King Lear: Cordelia

It's so important to show that [Cordelia's] someone who could lead an army, which leads back to the first scene - that makes you understand why she makes a stand: She's got that strength, she could kill someone.

King Lear: The knights

[The knights] have killed on his behalf, in his name.  So they're not a kind of benign set of people, blowing the froth off tankards of beer.  They're armed and they're dangerous.  

King Lear: The first scene

Really [the first scene is] the first domino, and it has to get knocked absolutely perfectly for everything else to follow and make sense.

King Lear (Act I, scene i)

KING LEAR

Meantime we shall express our darker purpose.
Give me the map there. Know that we have divided
In three our kingdom: and 'tis our fast intent
To shake all cares and business from our age;
Conferring them on younger strengths, while we
Unburthen'd crawl toward death. Our son of Cornwall,
And you, our no less loving son of Albany,
We have this hour a constant will to publish
Our daughters' several dowers, that future strife
May be prevented now. The princes, France and Burgundy,
Great rivals in our youngest daughter's love,
Long in our court have made their amorous sojourn,
And here are to be answer'd. Tell me, my daughters,--
Since now we will divest us both of rule,
Interest of territory, cares of state,--
Which of you shall we say doth love us most?
That we our largest bounty may extend
Where nature doth with merit challenge. Goneril,
Our eldest-born, speak first.

GONERIL

Sir, I love you more than words can wield the matter;
Dearer than eye-sight, space, and liberty;
Beyond what can be valued, rich or rare;
No less than life, with grace, health, beauty, honour;
As much as child e'er loved, or father found;
A love that makes breath poor, and speech unable;
Beyond all manner of so much I love you.

CORDELIA

[Aside] What shall Cordelia do?
Love, and be silent.

LEAR

Of all these bounds, even from this line to this,
With shadowy forests and with champains rich'd,
With plenteous rivers and wide-skirted meads,
We make thee lady: to thine and Albany's issue
Be this perpetual. What says our second daughter,
Our dearest Regan, wife to Cornwall? Speak.

REGAN

Sir, I am made
Of the self-same metal that my sister is,
And prize me at her worth. In my true heart
I find she names my very deed of love;
Only she comes too short: that I profess
Myself an enemy to all other joys,
Which the most precious square of sense possesses;
And find I am alone felicitate
In your dear highness' love.

CORDELIA

[Aside] Then poor Cordelia!
And yet not so; since, I am sure, my love's
More richer than my tongue.

KING LEAR

To thee and thine hereditary ever
Remain this ample third of our fair kingdom;
No less in space, validity, and pleasure,
Than that conferr'd on Goneril. Now, our joy,
Although the last, not least; to whose young love
The vines of France and milk of Burgundy
Strive to be interess'd; what can you say to draw
A third more opulent than your sisters? Speak.

CORDELIA

Nothing, my lord.

KING LEAR

Nothing!

CORDELIA

Nothing.

KING LEAR

Nothing will come of nothing: speak again.

CORDELIA

Unhappy that I am, I cannot heave
My heart into my mouth: I love your majesty
According to my bond; nor more nor less.

KING LEAR

How, how, Cordelia! mend your speech a little,
Lest it may mar your fortunes.

CORDELIA

Good my lord,
You have begot me, bred me, loved me: I
Return those duties back as are right fit,
Obey you, love you, and most honour you.
Why have my sisters husbands, if they say
They love you all? Haply, when I shall wed,
That lord whose hand must take my plight shall carry
Half my love with him, half my care and duty:
Sure, I shall never marry like my sisters,
To love my father all.

KING LEAR

But goes thy heart with this?

CORDELIA

Ay, good my lord.

KING LEAR

So young, and so untender?

CORDELIA

So young, my lord, and true.

KING LEAR

Let it be so; thy truth, then, be thy dower:
For, by the sacred radiance of the sun,
The mysteries of Hecate, and the night;
By all the operation of the orbs
From whom we do exist, and cease to be;
Here I disclaim all my paternal care,
Propinquity and property of blood,
And as a stranger to my heart and me
Hold thee, from this, for ever. The barbarous Scythian,
Or he that makes his generation messes
To gorge his appetite, shall to my bosom
Be as well neighbour'd, pitied, and relieved,
As thou my sometime daughter.

KENT

Good my liege,--

KING LEAR

Peace, Kent!
Come not between the dragon and his wrath.
I loved her most, and thought to set my rest
On her kind nursery. Hence, and avoid my sight!

King Lear (Act I, scene i), by William Shakespeare

The Kings of English Literature

Nearly four centuries after his death, no writer has come close to matching Shakespeare's understanding of the world -- or his gift for dramatic poetry. It's not just kings and queens that he captured so uniquely in his transcendent verse. Shakespeare analysed the human condition, not just for Elizabethan England, but throughout the world and for eternity. Britain may not have matched the Continent for music or art but when it comes to literature, Shakespeare sees off all international rivals, whether it's in the spheres of comedy, tragedy or the sonnet. Even today you and I quote Shakespeare without knowing it: if you act more in sorrow than in anger, if you vanish into thin air, or have ever been tongue-tied, hoodwinked or slept not one wink, you're speaking the Bard's English. 

Milton, say his fans, works on an altogether different, higher plane. In Paradise Lost -- the best poem ever written in English -- Milton moved beyond the literary to address political, philosophical and religious questions in a way that still resounds strongly today. In his complex, intellectual poetry he drilled down deep into the eternal truths and sought to embody new scientific discovery in his work. 

His engagement with the issues of the day -- with the nature of knowledge, slavery, free will, love and creation -- was unparalleled. Despite complete blindness in middle age, he was the English republic's best known, most fervent apologist, and a key civil servant for Oliver Cromwell. In his other works, notably in Areopagitica, his attack on censorship, he showed himself as much a master of prose as poetry. He defines not only his age, but our own. 

To help you decide who should be crowned king of English letters we brought together advocates to make the case for each writer, and they called on a cast of leading actors to illustrate their arguments with readings from the works.

The Conspiracy Theories

William Shakespeare: The Conspiracy Theories

If these fabulous plays were written by another author, or authors, the main questions for me are: What is the evidence for these so-called conspiracy theories, and why were these plays attributed to Shakespeare in the first place?

There is so little known about the real William Shakespeare. It is hardly surprising therefore that plenty of theories about our most famous bard and his work have arisen. It was, after all, Mark Twain who said: “So far as anybody actually knows and can prove, Shakespeare of Stratford-on-Avon never wrote a play in his life.”

Not always as easily dismissed as Shakespeare champions would have you believe, here are the most widely known theories about the authorship of the plays.

Various authors 

In 1848 the American Joseph C Hart wrote a book putting forward the argument that the plays were written by several different authors. In 1856 Delia Bacon, another American, wrote an article to support this theory and attributed the authorship to a group of people who were overseen by Sir Francis Bacon and Sir Walter Raleigh. 

The Shakespeare authorship question is the argument that someone other than William Shakespeare of Stratford-upon-Avon wrote the works attributed to him. Anti-Stratfordians—a collective term for adherents of the various alternative-authorship theories—say that Shakespeare of Stratford was a front to shield the identity of the real author or authors, who for some reason did not want or could not accept public credit. Although the idea has attracted much public interest, all but a few Shakespeare scholars and literary historians consider it a fringe belief and for the most part acknowledge it only to rebut or disparage the claims. 

Shakespeare's authorship was first questioned in the middle of the 19th century, when adulation of Shakespeare as the greatest writer of all time had become widespread. Shakespeare's biography, particularly his humble origins and obscure life, seemed incompatible with his poetic eminence and his reputation for genius, arousing suspicion that Shakespeare might not have written the works attributed to him. The controversy has since spawned a vast body of literature, and 80 authorship candidates have been proposed, the most popular being Sir Francis Bacon, Edward de Vere, 17th Earl of Oxford, Christopher Marlowe, and William Stanley, 6th Earl of Derby. 

Supporters of alternative candidates argue that theirs is the more plausible author, and that William Shakespeare lacked the education, aristocratic sensibility, or familiarity with the royal court that they say is apparent in the works. Those Shakespeare scholars who have responded to such claims hold that biographical interpretations of literature are unreliable in attributing authorship, and that the convergence of documentary evidence used to support Shakespeare's authorship—title pages, testimony by other contemporary poets and historians, and official records—is the same used for all other authorial attributions of his era. No such direct evidence exists for any other candidate, and Shakespeare's authorship was not questioned during his lifetime or for centuries after his death. 

Despite the scholarly consensus, a relatively small but highly visible and diverse assortment of supporters, including prominent public figures, have questioned the conventional attribution. They work for acknowledgment of the authorship question as a legitimate field of scholarly inquiry and for acceptance of one or another of the various authorship candidates.

 Note: Click on the link in the above caption to view the video.

The Secret Life of a Tudor Woman

In Shakespeare’s Mother: The Secret Life of a Tudor Woman, Michael Wood tells the extraordinary story of an ordinary woman in a time of revolution. Born under Henry VIII, Mary Arden is the daughter of a Warwickshire farmer, but she marries into a new life in the rising Tudor middle class in Stratford upon Avon. There she has eight children, three of whom die young. Her husband becomes mayor but is bankrupted by his shady business dealings. Faced with financial ruin, religious persecution, and power politics, the family is the glue that keeps them together until they are rescued by Mary’s successful eldest son – William Shakespeare! 

Using local documents and government archives, wills and inventories, and even a report from an Elizabethan informer, Michael Wood reconstructs Mary’s story: the youngest of eight sisters, who married an illiterate but ambitious glover John Shakespeare. John rose in the world to become a well-off middle class entrepreneur, and finally mayor of Stratford, before his shady business activities brought their world crashing down and bankrupted the family. It would be Mary’s eldest son who restored the family’s fortunes with the money from his box office hits. 

The film also looks at women’s work, and at the role a Tudor mother played in the raising and education of her children. Could she read and write? Did she teach her kids to read? What part might she have had in shaping her son’s creative imagination? Mary’s story is dramatic, with its tales of bankruptcy, family feuds, political plots and religious persecution. It's the glittering Tudor world viewed from below, from a small provincial town: a window onto an age of fantastic wealth, riches and cultural achievement, through whose storms Mary steered her family, in the process raising the world’s most famous poet.