The Tragedy of King Lear: A Comparison of Psychological and Physical Deceit and Disguise
The Tragedy of King Lear:
A Comparison of Psychological and Physical Deceit and Disguise
In many of Shakespeare’s works, he suggests that appearances are not reflective of reality and uses this idea to develop many subplots in his works. He is notorious for constructing these false identities to advance the plotline and create unsuspecting twists. As his plays progress, different characters employ different strategies to promote their actions, with some opting to psychologically deceive their targets while others select to physically disguise themselves as someone else. Shakespeare’s King Lear, is no exception; he portrays this theme through the various disguises of an array of characters that utilize deceit to reach their goals, which range from being supportive to being sinister.
This element of deceit and disguise is first established in the opening scene when the reader discovers that King Lear is planning to divide his kingdom between his three daughters. He tests his daughters by demanding them to proclaim their love for him, with the intentions of awarding the daughter who displays her love to him the best with the largest share of his kingdom. The play has just begun and Shakespeare’s theme of fake appearances has already arisen, as the outside appearances that each of the sister’s displays for their father is not in accordance with their actual thoughts. Goneril and Regan, King Lear’s two oldest daughters, both spin verbose and grandeur explanations about their deep love for him with Goneril starting off by stating, “Sir, I love you more than word can wield the matter…beyond all manners of so much I love you” (I.i.60-67). Regan then plays off of her sister’s lead and begins to say, “I am made of that self mettle as my sister…And find I am alone felicitate / In your dear Highness’ love” (I.i.76-84). This psychological ploy they use on King Lear seems to work, as he becomes frustrated and dissatisfied with his youngest daughter, Cordelia’s,
A Comparison of Psychological and Physical Deceit and Disguise
In many of Shakespeare’s works, he suggests that appearances are not reflective of reality and uses this idea to develop many subplots in his works. He is notorious for constructing these false identities to advance the plotline and create unsuspecting twists. As his plays progress, different characters employ different strategies to promote their actions, with some opting to psychologically deceive their targets while others select to physically disguise themselves as someone else. Shakespeare’s King Lear, is no exception; he portrays this theme through the various disguises of an array of characters that utilize deceit to reach their goals, which range from being supportive to being sinister.
This element of deceit and disguise is first established in the opening scene when the reader discovers that King Lear is planning to divide his kingdom between his three daughters. He tests his daughters by demanding them to proclaim their love for him, with the intentions of awarding the daughter who displays her love to him the best with the largest share of his kingdom. The play has just begun and Shakespeare’s theme of fake appearances has already arisen, as the outside appearances that each of the sister’s displays for their father is not in accordance with their actual thoughts. Goneril and Regan, King Lear’s two oldest daughters, both spin verbose and grandeur explanations about their deep love for him with Goneril starting off by stating, “Sir, I love you more than word can wield the matter…beyond all manners of so much I love you” (I.i.60-67). Regan then plays off of her sister’s lead and begins to say, “I am made of that self mettle as my sister…And find I am alone felicitate / In your dear Highness’ love” (I.i.76-84). This psychological ploy they use on King Lear seems to work, as he becomes frustrated and dissatisfied with his youngest daughter, Cordelia’s,