Summary:
In William Shakespeare's "King Lear, the bard's textual integrity allows it to be understand and relevant generations later. Textual integrity can be defined as a universal meaning and values that any generation can understand.
"KING LEAR has, and continues to be valued, because it possesses a sense of textual integrity." How has the textual integrity of the play allowed it to be read and received in a variety of contexts"
From it's first production in 1605 in London before the court of James I, until it's modern representation by Brian Blessed's in 1999, Shakespeare's King Lear exists as a play that may be interpreted and valued in a variety of ways. It is the composer's coherent use of language and dramatic form, namely the textual integrity, provoking audience's for several hundreds of years which makes this play capable of being read and received from the 17th to the 21st century. These techniques have effectively produced an integrated text in terms of meaning and values, allowing different interpretations to emerge through the ages.
The multifaceted composition of King Lear, with the various language devices; symbolism metaphors and rhetorical questions, in addition to the emotive language and reflective tone, allows various readings of the play to be received in different eras. For example, the earliest interpretation of King Lear by A.C Bradley; an Aristotelian reading of King Lear, is evident when examining the characterization of Lear. His misjudgement, arrogance and irresponsibility inevitably lead to his demise, and the notion of hubris is accentuated through the love test in the introductory scene. Through the language of Shakespeare, Lear is characterised as an egotistical and excessively proud character questioning Cordelia "What can you draw a third more opulent than the sisters"" His fatal character trait is highlighted when considering the previous responses from Goneril's "Sir, I love you more than word can wield the matter" and Regan's "I am alone felicitate in your dear highness's love," with his lack of satisfaction, and demand for further flattery. Lear insists that Cordelia embellish her words when he opens another opportunity for praise, "Nothing will come of nothing, speak again... Mend your speech a little, lest you may mar your fortunes." The use of instructive commands, to "Mend your speech" adequately highlights his anticipation of sycophancy.
Further, this representation of the text continues to be received in the contemporary context through Michael Elliot's 1983 Granada Production of King Lear, where the textual integrity is reflect as Elliot to presents Lear in a grandiose thrown. The production conforms to an Aristotelian representation evidently shown as Lear is adorned in a massive crown, dressed in a fur coat and instructs his daughters and courtiers to kiss his crown and the ground at his feet. Elliot's use of costuming is a form of textual integrity he adopts, accentuating the theme of blindness by representing Lear's dress in elaborate and ostentatious robes as a means of boosting his ego and attracting attention. It is the timeless values of responsibility which allows the play to be read and received through the numerous centuries.
The hamartia emerges when Lear makes the erroneous decision of dividing the kingdom based upon the love test, which ultimately reflects his irresponsibility as a king. The quick and dismissive command "Out of my sight!" reflects his obsession with power and authority, and through the composer's repeated reference to sight as Kent advises "See better... remain the true blank of thine eyes," one is positioned to acknowledge the foolish decision of Lear of splitting the kingdom based on the professions of love. Dramatic irony pervades, as the audience acknowledges his banishment of the most loyal contemporaries, but bonding to those who are corrupt. However, Lear's failure to see beyond the façade of Goneril and Regan is altered when he realizes that "A man may see how this world goes with no eyes. Look with thine eyes," after the storm. This continual reference to sight is Shakespeare's use of textual integrity in order to allow responders to depict the hamartia more easily, in a variety of contexts.
However, the perspective of a Christian reading espouses a view more committed to the Christian dogma, where the belief of god exists, serving as a tool which establishes divine justice. The introductory scene in this case alludes to Cordelia's representation of Christ, through Shakespeare's use of asides: "What shall I do? Love and be silent"" which cleverly parallels Christ's thoughts at the trial before the Sanhedrin. The composer conveys Cordelia's honesty to her father through the use of emotive language "Unhappy as I am, I cannot heave my heart into my mouth" which further alludes to the book of Ecclesiastics which states "The hearts of fools is in the mouth; but the mouth of the wise men is in their heart," and explores the value of honesty; a value still relevant to the contemporary society of today.
Brian Blessed's 1999 production reads the play in much the same way, with the change in context still accepting this Christian view; where Blessed, similar to Elliot, utilises props and costuming to develop characterisation. The dark colours of black and deep purple is associated closely to clothing of the treacherous characters in the play; Goneril, Regan and Cornwall, utilising red costuming occasionally to heighten the villainous characters. Cordelia's earth-tone coloured costume and the wearing of a headband, which resembles the "crown of thorns," illustrates her as a Christ-like figure. Further, Blessed uses the visual representation of the destruction of nature as he tears up the bunch of flowers in Cordelia's hand, symbolising the destruction of nature and order. Moreover, the composer's use of flames in the setting, positioning the "evil" characters in front, is congruent to representations of devils in hell around a circle of fire and it is through the visual form, which Blessed represents his reading, retaining the textual integrity of King Lear, conveying ideas still relevant to the contemporary society.
The storm corresponding to Act 3 reads as the anagnorisis in an Aristotelian reading, where Lear unveils the truth through a reflective tone in the 4th scene "dids't thou give all to thy daughters? And art though come to this"" Elliot's production inevitably supports this classical reading by using zoom-in to portray Lear's 'noble anger', white hair 'signed in water,' arms outstretched, powerlessly against the sky, with tears mixing with the pouring rain. He is hence visually able to convey Shakespeare's intentions of Lear declaring "here I stand you slave, a poor, infirm, weak, and despised old man," which evokes pity and empathy from the audience. A Christian reading metaphorically describes the storm as Lear's punishment, where the gods are passing judgements on him. Moreover, Lear's approval of "Pour on... I will endure" is symbolic of his acceptance of any passing judgements from the gods, for his sins of pride. However, Elliot interprets and represents the storm as the washing away of Lear's hubris and the emergence of a wiser Lear who has "gained his wits"
One must recognise Shakespeare's use of the third person voice in Lear's speech, where he insists that "pelican daughter - nothing could have subdued nature/ to such a lowness, but his unkind daughters." Responders are not only left in fear because of the unsettling storm, but also the use of the third person narrative suggests Lear's avenue to madness. However, this scene evokes pity, where he is finally exposed to the truth of his daughter's (Goneril and Regan) schemes. Shakespeare's symbolic references to clothing re- surfaces, with Lear exclaiming "Off Off! You lending," and "fur gowns hide all." This is represented in Elliot's production with Lear stripping away from his clothing, comprehending the metaphorical meaning that clothing elaborate clothing the truth.
In the same scene, the statement of a gentlemen "thou has one daughter/ who redeems nature from the general curse/ which twain have brought her to," foregrounds the fate of Cordelia and represents her unique role in a Christian representation. However, it is in the final scene, where the Christian and Aristotelian reading diverges the most; where the responder is most satisfied with the deaths of Goneril and Regan and fulfilled with Edmund and Cornwall's endurance of physical pain before death, to emphasise the mechanisms of divine justice from a Christian perspective. The death of Lear is explained, as he has committed a sin too great, however, as an essentially admirable character, Shakespeare does not allow physical pain to be inflicted upon him and allows him to convene with Cordelia before death. The lack of physical pain and completion of his wishes allows the composer and adequately distinct between the deaths of the admirable (and dies for committing sins) and those of the treacherous (who naturally plots evil against others for their own benefits)
Cordelia's death represents "the perfect sacrifice," alike the death of Christ and alludes from the introductory scene, where her impersonation of Christ is palpable. Lear's comment of "The heaven's vault should crack/ She's gone forever" signifies that the gods have taken Cordelia away and Shakespeare's use of rhetorical questions "Is this the promised end"" stimulates thought from the audience and accentuates the idea of eternity, alluding to Judgement day (determines the end of the world). This insinuation is blatantly obvious through the composer's use of a further rhetorical question"Or image of the horror," suggesting hell and the end of humanity.
The textual integrity of King Lear is preserved in Blessed's production, where the final scene connotes a sense of ending and finale. Through the use of the camera, Blessed is able to position and influence responders to believe the impersonation of Christ in Cordelia with her lying on a death bed dressed in white signifying purity, as compared to the villainous characters who still retain their ostentatious robes. A most interesting element is added to this production, which not only maintains Shakespeare's textual integrity, but develops his own reading. Retribution of Lear is clarified as Blessed directs Lear to repeat quotes which highlight his erroneous decisions from the opening scenes "mend you speech a little, lest you may mar your fortunes."
Although Lear's repentance "I might have saved her, but now she's gone forever," can be read in light of a Christian reading, it is the reflective and poignant tone of Shakespeare, read from an Aristotelian perspective, which evokes cathartic feelings and empathy for Lear. Further, the rhetorical questions of emotive language and repetition is the composer's way of shaping the text as a unity, as evident in "Cordelia, Cordelia... stay a little...what is thou sayst? - Her voice was ever soft, gentle and low." Elliot purges the emotions of responders by accentuating the grief and sorrow of Lear, to Cordelia's death, through an airbrushed camera which uses extreme close-ups. It is apparent that Elliot interprets the language devices of Shakespeare's play in a visual form, interpreting to show values of love pertinent in late 20th century.
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