Title: Invocations to the Gods in King Lear

Author(s): Frances Biscoglio

Source: Shakespeare Newsletter. (Spring-Suer !""#): p#$. Fro Literature Resource
Center.
%ocuent T&pe: 'ritical essa&
Boo(ar(: Boo(ar( this %ocuent
In coposing King Lear) Sha(espeare deli*eratel& cast o++ the 'hristian setting o+ one o+ his
sources) The True 'hronicle ,istor& o+ King Leir) and chose the pre-'hristian environent o+
priitive Britain. -erhaps the poet.s strateg& /as to strip a/a& an& sense o+ +orali0ed religion)
/hich /ould liit or *lur the +ocus on the essential 1uestions the characters in the pla& as(:
2hat are /e to a(e o+ this /orld3 ,o/ can /e +ind an& satis+actor& eaning in it3 2hat) i+
an&thing) governs the /orld /e live in3 In their struggle to unravel the &sterious /or(ings o+
divine 4ustice) ost o+ the characters translate these 1uestions into an ongoing series o+
invocations ade to ultiate po/ers e*odied as gods and +orces o+ nature. These addresses
are soething o+ a phenoenon in the pla&. The religious re+erences in King Lear occur ore
+re1uentl& than in the other tragedies (Bradle& !5#)6 there are) in +act) ore than +ort& such
addresses (2hitehead #77) in the +or o+ adoration) than(s) re1uest) oath) or curse. 8oreover)
the cries to the gods are as varied and as changea*le in the attitudes the& e9press to/ard *elie+
as are the characters /ho utter the.
In the a4or critical stud& on this topic) King Lear and the Gods) 2illia :. ;lton has sought
to elucidate the eaning o+ these invocations *& classi+&ing the characters /ho spea( the
according to the +our ain religious attitudes ascri*ed to pagans in the :enaissance. (#) This
scholarl& /or( has added invalua*le in+oration to our understanding o+ the pla& *& setting it
/ithin the conte9t o+ the religious and historical *ac(ground o+ ;li0a*ethan ;ngland. <ur
present stud&) though rooted in an historical conte9t) /ill approach the topic +ro another
perspective: it vie/s the characters as t/o opposing t&pes) the =good= and the =evil)= not unli(e
those in a edieval 8oralit& pla&. According to the /or( o+ >ohn %an*&) their =*enignant= or
=alignant= natures re+lect t/o prevailing currents o+ thought e9isting in opposition in
:enaissance societ&: the =*enignant= characters represent orthodo9 :enaissance thought (!#))
inherited +ro the 8iddle Ages6 the alignant characters re+lect the ne/l& eerging *elie+ in
the pre-einence o+ the individual) *olstered *& discoveries in science a*out the huan *od&
and ind (?@). <ur anal&sis o+ the appeals to the gods +ro this dual perspective) treating +irst
the evil and then the good characters) a& lead to a deeper understanding o+ the personae
theselves) their *ehaviors) and their religious *elie+s. It a& also shed soe light on /hether
their huan cries ever reach the ears o+ the gods) and i+ the& do) /hether it a(es an&
di++erence in the characters. lives and the resolution o+ the pla&. Finall&) it /ill touch upon the
uni1ue role 'ordelia pla&s) and the signi+icance o+ her approach to contact /ith the
transcendent.
Be+ore discussing the invocations to the gods) it is /ell to suari0e %an*&.s vie/ o+ /hat the
characters represent in the pla&. (!) Belie+ in and acceptance o+ the traditional vie/ o+ a
universe created *& God and serving as a odel +or huan *ehavior is represented *& Lear)
Gloucester) ;dgar) Kent) and later Al*an&. It /as a /orld o+ haron&) order) and hierarch&)
/hich huan *eings /ere destined to support through :eason) 'usto) La/) and :estraint.
The individual /as a icrocos o+ the orderliness in nature) /hich in turn /as a re+lection o+
God. The evil) or alignant) characters) nota*l& ;dund and his circle (Goneril) :egan) and
'orn/all)) reverse this pattern to ephasi0e the iportance o+ the sel+. The& *elieve in a /orld
shaped and deterined *& the supree po/er o+ huan intelligence and the e9altation o+ the
huan *od&. In such a /orld) /hich contained /ithin itsel+ the seeds o+ odernis) the
individual controls the +orces in the universe and anipulates the to serve huan needs and
desires. %eviation +ro the accepted order signals not transgression *ut creativit&.
<ne startling o*servation is that the =evil= characters hardl& address the gods at all. :egan.s
single address to the (=< the *lest godsA so B 2ill &ou /ish on e) /hen the rash ood is
on=)) ($) in response to Lear.s curse o+ Goneril) is not an act o+ authentic *elie+ in the
supernatural *ut an act o+ ridicule o+ her +ather. 'orn/all) Goneril) and <s/ald do not ention
the gods. The one e9ception is ;dund.s draatic salutation to Cature in Act #(!.#-!!): =Thou)
Cature) art & goddess.= In this address) he cele*rates the intellectual) oral) and ph&sical
superiorit& o+ one /ho) li(e the others in the group) is outside the nor) and there+ore not part
o+ a traditional *elie+ s&ste. ;dund.s Cature is the cosic e1uivalent o+ his o/n anarchic
personalit&. It is a /ild and untaed +orce that turns order into chaos) a +orce operating on its
o/n energ&) epitoi0ed in the stor scene on the heath in $.!. #-!?. This vision o+ Cature is
opposed to the Catura o+ edieval tradition) /ho Alan o+ Lille understood as =vicaria %ei=
and =procreatri9 o+ the su*lunar& /orld= (;conoou 5?)) shaping and +oring pre-e9isting
atter -- chaos -- into order. The sel+-interest o+ these characters *loc(s concern +or others and
o*viates the need +or an& transcendent po/er. ;dund and his circle have *ecoe gods
theselves) e9ulting in their sel+-ade /orld /here the sacred *onds o+ +ailial relationships
are irrelevant. ;dund.s *astard& and :egan and Goneril.s a*rogation o+ +ilial love and respect
violate traditional values and represent the e9pression o+ their o/n narcissistic desires.
The =good= characters /ho do address the gods +all into t/o groups. The +irst consists o+ three
characters) Kent) Al*an&) and ;dgar) /hose approach to the gods is una*iguous and
consistent throughout the pla&. The second group is ade up o+ t/o +oolish old en) Lear and
Gloucester. The& /aver in their approach to the gods) vacillating *et/een coplete trust and
utter despair. 'ordelia) /ho pra&s to the gods onl& once on her +ather.s *ehal+) is a special case.
Although she is ph&sicall& a*sent +or ost o+ the pla&) her character is central to its eaning)
and) as her nae iplies) at the heart o+ all the varied huan relationships /ithin it. The silent
+orce o+ her goodness gro/s as the cople9 actions o+ the characters un+old. She is li(e an icon
representing the ideal) as di++erent +ro the evil nature o+ ;dund as +ro the +altering
struggles o+ the good characters.
The =good= characters o+ the +irst group have unconditional +aith that the gods support the
oral order) direct and protect huan lives) re/ard (indness) and oppose in4ustices.
Accordingl&) their *ehavior re+lects a *elie+ in a 4ust and ordered universe and an openness to
the needs o+ others. Kent invo(es the gods in the +irst act to protect 'ordelia /hen she has *een
disinherited: =The gods to their dear shelter ta(e thee) aid) B That 4ustl& thin(.st and hast ost
rightl& saidA= (#.#.#D!-$). ,is /ords validate her response to Lear and highlight the iportance
o+ a +ilial relationship *ased on truth and love) not *argaining. Kent is oved *& Gloucester.s
(indness to Lear and than(s the gods +or it ($.@.E). ,e re+utes Lear.s invocation to Apollo)
ipl&ing that the god /ill not ans/er the pra&ers o+ a an /hose actions are so un4ust: =Co/)
*& Apollo) king) B Thou s/ears.t th& gods in vain= (#.#.#@"). 2hen he is un4ustl& placed in the
stoc(s) Kent stoicall& accepts his lot as the capricious /hi o+ the goddess Fortune: =Fortune)
good night6 sile once ore) turn th& /heel= (!.!.#5$). This *elie+ in the *enevolent
deterinis o+ the heavens appears again /hen Kent e9plains /h& there is such an incredi*le
disparit& in the natures o+ 'ordelia) Goneril) and :egan. ,e sa&s) =It is the stars) B The stars
a*ove us) govern our conditions= (?.$.$!-$). Kent) ho/ever) is not venge+ul to/ards the gods
/hen the& do not act according to 4ust principles. Although he is convinced o+ the inevita*ilit&
o+ their in+luence on huan(ind) he reains +aith+ul to the. ,is +idelit& to the gods is
irrored in his +idelit& to Lear. ,e su++ers *anishent +or his straight+or/ard opposition to
Lear.s unnatural rupture o+ the parental *ond6 still) he o++ers his king uncoproising lo&alt&
and service) despite Lear.s +oolhard& resignation o+ that o++ice.
Al*an&) li(e Kent) *elieves that the gods are to *e revered and deonstrates an innate sense o+
goodness in his relations to others. <riginall& associated /ith :egan) 'orn/all) and Goneril)
Al*an& develops into a positive and strong character during the course o+ the pla&. 2hen the
dead *odies o+ :egan and Goneril are *rought *e+ore hi at the end o+ the pla&) he +eels the&
have received divine retri*ution: =This 4udgent o+ the heavens) that a(es us tre*le) B
Touches us not /ith pit&= (E.$.!$!-$). In addressing the gods) Al*an& e9presses +aith)
con+idence) adoration) and gratitude +or the 4ust /or(ings o+ the divine order. ,e calls the)
=gods that /e adore= (#.?.!7")) and /hen he learns that 'orn/all has *een (illed *& his servant
in order to protect Gloucester) Al*an& addresses the gods in gratitude +or divine 4ustice: =This
sho/s &ou are a*ove) B Fou 4usticers) that these our nether cries B So speedil& can vengeA=
(?.!.5D-D"). A+ter he discovers Goneril.s enorous cruelt&) he pleads +or this sae divine
4ustice) propheticall& announcing her destruction *& her o/n deeds:
I+ that the heavens do not their visi*le spirits
Send 1uic(l& do/n to tae GtheseH /ild o++enses)
It /ill coe)
,uanit& ust per+orce pre& on itsel+)
Li(e onsters o+ the deep. (?.!.?@-E")
Al*an&.s *elie+ in the gods re+lects his oral attitude and *ehavior to/ards others.
;dgar) /ho Bradle& considers the ost religious person in the pla&(!#7)) has a deep spiritual
sensi*ilit&6 in +act) the integration o+ the natural and supernatural is so coplete in hi that
ost o+ his re+erences to the gods arise spontaneousl& rather than +orall& as an invocation:
the& are in the indicative rather than in the iperative. =Th& li+e.s a iracle= (?.@.EE)) he sa&s to
his +ather) and a+ter/ards) =Thin( that the clearest gods) /ho a(e the honours B <+ en.s
ipossi*ilities) have preserved thee= (?.@.5$-?). ,e responds to his +ather.s decision never to
thin( o+ suicide again /ith) =2ell pra& &ou) +ather= (?.@.!#7)6 *e+ore the *attle /ith ;dund.s
+orces) he /ants his +ather to =pra& that the right a& thrive= (E.!.!). To ;dund) /ho is devoid
o+ an& oral sense) he gives the ultiate re*u(e: =thou art a traitor6 B False to th& gods=
(E.$.#$?-E). The one tie ;dgar addresses the gods directl& coes at the oent o+ his deepest
despondence) /hen he *eholds his *linded +ather on the heath: =< godsA 2ho is.t can sa&) II a
at the /orst.3 B I a /orse than e.er I /as= (?.#.!E-@).
But ;dgar aintains a*solute trust in the gods) and the ease /ith /hich he counicates /ith
the in ties o+ 4o& and a++liction is a re+lection o+ a li+e lived in pursuit o+ the good) ever
conscious o+ the oral order. It is signi+icant that his ad chatter as To <.Bedla is +ull o+
re+erences to the coandents that have *een violated ($.?.D"-$)) as /ell as coents a*out
his conception o+ the sins that ost plague huan(ind ($.?.DE-7?). 8ost iportantl&) ;dgar
assues the role o+ a savior. ,e is directl& responsi*le +or rescuing his +ather.s li+e +ro
ph&sical and spiritual death.
Gloucester and Lear coprise the second group o+ =good= characters /ho address the gods.
Their parallel roles in the pla& are +ar ore cople9 than those o+ Kent) Al*an&) and ;dgar.
Their addresses to the gods are inconsistent and contradictor&) o+ten /avering *et/een utter
con+idence and near despair) as the& plead +or divine 4ustice. Their lives irror each other. Both
are +oolish old en /ho have *etra&ed and *een *etra&ed *& their children. Both su++er
intensel&) e9perience soe +or o+ *lindness) and eventuall& arrive at insight through patience.
Both are redeeed *& the love o+ the /ronged child. But their 4ourne& is a tortuous one) +ull o+
set*ac(s. Lear as(s +or patience one oent and calls do/n vengeance on Goneril the ne9t6
Gloucester turns a/a& +ro despair /hen ;dgar saves hi) *ut his de4ected spirit returns
to/ards the end o+ the pla& (E.!.7-##)) /hen he once again receives support +ro his son. Thus
their apostrophes to the gods re+lect their a*ivalent +eelings to/ards the vicissitudes o+ their
lives. The& *elieve) the& dou*t) the& despair) the& struggle) the& hope.
At the *eginning o+ the pla&) Gloucester.s *elie+ in celestial deterinis is uch dar(er than
that o+ Kent. ,e iplies that the gods are up to no good) and that huan *eings are their
victis) claiing that the oral distur*ances o+ the earth are the result o+ =GTheseH late eclipses
in the sun and oon= (#.!.#"$). ,e is superstitious and gulli*le) *elieving ;dund.s incredi*le
lies a*out his *rother.s treacher&) as Lear *elieved his t/o daughters. ept& protestations o+
+idelit&.
Gloucester.s gro/th in sel+-(no/ledge is a long and arduous process) and his changing attitude
to/ards the gods points out the contradictions and
+ragentation in his li+e) as he s/ings +ro one eotion to the other. 2hen his e&es are gouged
out) the gods are cruel: =Give e soe helpA < cruelA < &ou godsA= ($.5.5"). 2hen he repents
+or his *etra&al o+ ;dgar) he sees the gods as (ind: =< & +olliesA Then ;dgar /as a*us.d B Kind
gods) +orgive e that) and prosper hiA ($.5.7#-!). At his lo/est point) +eeling re4ected and
a*andoned) the gods are sadistic onsters: =As +lies to /anton *o&s are /e to th. gods) B The&
(ill us +or their sport= (?.#.$@-5). <n the heath) /hen he suddenl& *ecoes a/are o+ the huge
i*alance *et/een rich and poor) the gods are po/er+ul dispensers o+ social and econoic
4ustice (?.#.@E-5#). 2hen he o++ers a *lessing to the still unrecogni0ed ;dgar) the gods are
*ene+icent (?.@.!7-$"). 8inutes later) as he (neels in pra&er to 4usti+& his ipending suicide) the
gods are onipotent: =< &ou ight& godsA B This /orld I do renounce) and) in &our sights B
Sha(e patientl& & great a++liction o++= (?.@.$?-@). In the end) ho/ever) /isdo coes through
;dgar) /ho saves his +ather +ro suicide and despair. Gloucester.s +inal apostrophe to the gods
sho/s a sense o+ haron& /ith the) as he has coe to ters /ith his o/n li+e: =Fou ever-
gentle gods) ta(e & *reath +ro e) B Let not & /orser spirit tept e again B To die *e+ore
&ou pleaseA= (?.@.!#5-#7).
Lear.s relationship to the gods is even ore cople9 than Gloucester.s) and is +illed /ith
a*iguities. ,is reaction to/ards the and his *elie+ in their po/er change as +orce+ull& as do
the circustances o+ his li+e. Though he su++ers /ith great passion and intensit&) Lear
nevertheless oves through dar(ness to/ards introspection) a/areness) and soe sense o+
peace. ,e cries out to his pagan gods) to the goddess Cature) and to the heavens.
In the opening scene o+ the pla&) Lear is a proud) /ill+ul an /ho asserts his po/er *&
*argaining /ith his children over the distri*ution o+ his (ingdo) thus setting in otion all the
events o+ the pla& /hich cause his su++ering and huiliation. ,e is supreel& sel+-con+ident:
his +irst invocation sho/s un1uestioned +aith and trust in the po/er o+ the gods and the cosic
order o+ the universe. Ironicall&) at the sae tie) he is rupturing the oral order as he diso/ns
'ordelia:
For *& the sacred radiance o+ the sun)
The G&steriesH o+ ,ecat and the night6
B& all the operation o+ the or*s)
Fro /ho /e do e9ist and cease to *e6
,ere I disclai all & paternal care)
-ropin1uit& and propert& o+ *lood)
And as a stranger to & heart and e
,old thee +ro this +orever. (#.#.#"7-#@)
Su*se1uentl&) he *anishes the lo&al Kent /ith invocations to the gods Apollo (#.#.#@") and
>upiter (#.#.#5D).
Lear.s +aous address to Cature in Act I is signi+icant since it is a counterpoint to the other
length& apostrophe to Cature *& ;dund. The latter.s narcissistic appeal to the Goddess had
*een +ull o+ con+idence that she /ould *less) rather than repudiate) the disordered *onds o+ his
illegitiac&. ,is pra&er is on his *ehal+ onl&. In contrast) Lear.s attitude to Cature is con+licted
as the certitude o+ his values *egins to deteriorate. At +irst) he is the *ene+icent Lear) /ho
*elieves in the traditional role o+ Cature to sustain order in the created /orld on *oth a ph&sical
and oral level. ,o/ever) /hen he perceives that an& sense o+ a eaning+ul universe has *een
shattered *& Goneril.s +ilial cruelt&) he *ecoes enraged and urges Cature to *rea( her
iuta*le la/s) /rea( vengeance on his daughter) and a(e her sterile:
,ear) Cature) hear) dear goddess) hearA
Suspend th& purpose) i+ thou didst intend
To a(e this creature +ruit+ul.
Into her /o* conve& sterilit&)
%r& up in her the organs o+ increase)
And +ro her derogate *od& never spring
A *a*e to honor herA (#.?.5E-D#)
Lear.s *itter condenation o+ Goneril echoes his earlier renunciation o+ 'ordelia and the
reoval o+ =all & paternal care= (#.#.##$) +ro her. It also sho/s his iage o+ Cature) at this
point in the pla&) to *e identical to ;dund.s: she is an un*ridled +orce that sanctions and
cele*rates the unnatural in +ilial relationships. But unli(e ;dund) Lear does not sustain this
attitude. ,is addresses to the heavens continue to *e ar(ed *& a pattern o+ contradictor&
attitudes6 the& reveal his o/n sense o+ gro/ing inner turoil. ,is initial con+idence in the
po/er o+ the gods has *een sha(en *& the increasing a/areness that there has *een no divine
retri*ution +or the indignities he has su++ered. ,is anguished pra&ers vacillate *et/een gentle
pleas +or patience and angr& cries +or vengeance. At +irst) the apostrophes sho/ a ar(ed shi+t
to a so+ter) ore personal tone. T/ice) he addresses the heavens as =s/eet)= and *egs +or sel+-
control and support: First) he cries) =<) let e not *e ad) not ad) s/eet heavenA B Keep e in
teper6 I /ould not *e adA= (#.E.?@-5). Later) he repeats the pra&er:
< heavensA
I+ &ou do love old en) i+ &our s/eet s/a&
Allo/ o*edience) i+ &ou &ourselves are old)
8a(e it &our cause6 send do/n and ta(e & part.
(!.?.#D7-7!)
But the s/eetness alternates /ith a rene/ed vengeance against Goneril) and the iage o+ the
s(ies igniting into the +lae o+ his /rath appears as Lear addresses lightning:
Fou ni*le lightnings) dart &our *linding +laes
Into her scorn+ul e&esA In+ect her *eaut&)
Fou +en-suc(.d +ogs) dra/n *& the po/.r+ul sun)
To +all and *listerA (!.?.#@E-D)
Lear.s over/rought condition signals his descent into adness6 at the sae tie it is the
*eginning o+ his sel+-(no/ledge) and the reali0ation that he ust *e =the pattern o+ all patience=
($.!.$5-D). ,e pleads: =Fou heavens) give e that patience) patience I need B Fou see e here)
&ou gods) a poor old an) B As +ull o+ grie+ as age) /retched in *oth= (!.?.!5#-$). But the
violent anatheas return. In the cliactic stor scene on the heath) /hich re+lects his personal
chaos) he *roadens his curse to *e directed not onl& to his ungrate+ul daughters) *ut to
=ungrate+ul an= ($.!.7). The gods o+ the stor) he +eels) ought to e9pose the hidden sins o+ all
people: =Let the great gods) B That (eep this dread+ul pudder o.er our heads) B Find out their
eneies no/= ($.!.?7-E#).
<ne o+ the last o+ Lear.s invocations) /hich coes a+ter he has *een guided to a house *& Kent
and the Fool during the stor) is a pra&er +or epath& /ith the su++erings o+ others. In a speech
rese*ling Gloucester.s in Act ? (#.@?-5#)) the su++ering Lear as(s that there *e a ore e1ual
distri*ution o+ aterial good on earth to help the =poor na(ed /retches= ($.?.!D). 2hen he is
+inall& united /ith 'ordelia a+ter his ordeal on the heath) Lear is) in her /ords) =a child-
changed +ather= (?.5.#@). At this point) she utters her onl& invocation to the gods in the pla& -- a
heart+elt pra&er that her +ather *e ade /hole: =< &ou (ind godsA B 'ure this great *reach in his
a*used nature) BTh.untuned and 4arring senses) <) /ind up= (?.5.#$-#E). <+ all the addresses to
the gods) 'ordelia.s is the onl& one ade in the spirit o+ love) see(ing the goodness and
restoration o+ another. <ne ight speculate that her long a*sence +ro the action o+ the pla&
s&*oli0es that she is outside and a*ove the constant turoil and agon& o+ /restling /ith the
gods +or an ans/er. She has no need to a(e an& +urther invocations to the) *ecause she
alread& possesses /hat all the others are searching +or on various levels: the /isdo o+ caritas.
I+ her pra&ers are ans/ered) ho/ever) it is *ut a teporar& reprieve) +or the shattering end o+ the
pla& ruptures the *reach irrevoca*l&) rather than cures it. Lear.s earlier passing /ish that the
heavens *e =ore 4ust= ($.?.$@) *ecoes *itterl& ironic. It echoes the *urning 1uestion o+
divine retri*ution that is at the heart o+ all the invocations ade to the gods. 2hat then are the
/ider iplications o+ these invocations in the conte9t o+ the pla&3
First o+ all) the invocations to the gods sa& less a*out the gods than the& do a*out the individual
characters /ho utter the or do not utter the. 'alling on the gods) in other /ords)
ac(no/ledging a transcendent po/er outside onesel+) is a characteristic o+ all =good=
characters) and ust there+ore *e seen as a spontaneous response o+ oral huan *eings. In
+act) those characters /ho counicate /ith the gods have an ethical sensi*ilit& e9pressed in
their care +or and service to others. Goodness) Sha(espeare sees to *e sa&ing) eans +ocusing
the center o+ attention a/a& +ro one-sel+ -- 1uintessentiall& e*odied in 'ordelia -- and
searching +or understanding and eaning in relationship /ith others) no atter ho/ tortuous
and uncertain the search is. Thus the silence o+ the =evil= characters in addressing the gods
sho/s their heightened sel+-a*sorption and sel+-interest) to the e9clusion o+ an& other concern.
This ideolog& is *est represented *& ;dund.s revealing coent in his single address to
Cature: =;dund the *ase B Shall top th. legitiate. I gro/) I prosper= (#.!.!"-!#).
Furtherore) the gods addressed in King Lear do not provide satis+actor& ans/ers to 1uestions
o+ divine 4ustice6 the& do not even o++er guidance in the +ace o+ treendous huan su++ering. It
is true that soe o+ the pra&ers to the gods are ans/ered: Goneril) :egan) 'orn/all) and
<s/ald pa& /ith their lives +or their evil deeds) and ;dund.s villain& is e9posed. ,o/ever)
an& sense o+ divine retri*ution is nulli+ied *& the incoprehensi*le cruelt& o+ 'ordelia.s and
Lear.s deaths. The gods o++er onl& silent indi++erence to their plight) vividl& draati0ed in the
4arring opposition *et/een Al*an&.s =The gods de+end her= (E.$.!E5) and Lear.s entrance /ith
the dead 'ordelia in his ars) oents later. In +act) there is a recurring oti+ in the pla& that
huan *eings are anipulated +or the sadistic pleasure o+ the gods. Gloucester sa&s the gods
=(ill us +or their sport= (?.#.$5). ;dgar notes that the gods use huan vices as =instruents to
plague us= (E.$.#5!)) /hich suggests =instruents o+ torture such as the rac(= (2hitehead !"7))
an idea clearl& stated *& Kent in the last scene o+ the pla& /hen he spea(s o+ the dead Lear:
=Je9 not his ghost. <) let hi pass) he hates hi B That /ould upon the rac( o+ this tough /orld
B Stretch hi out longer= (E.$.$#?-#@).
Kltiatel&) the gods are inscruta*le. The unans/ered 1uestions that the characters grapple /ith
are still present at the end o+ the pla&: the silence o+ the gods) the e9istence o+ evil) and the
pro*le o+ undeserved su++ering are part o+ the &ster& o+ the huan condition in a pagan as
/ell as a 'hristian /orld. It is true that the characters in this pla& lac( a relationship /ith a
personal God /ho 'hristians call =A**a)= /ho provides a sense o+ securit& and trust even in
ties o+ deepest dar(ness. In Lear.s /orld) there is no such securit&) *ut there is 'ordelia. She
is the invisi*le +ulcru) the still point around /ho the +luctuating and divergent cries to the
gods s/irl to the s(ies. ;dund.s *laspheies) Kent.s *lessings) Lear.s vacillating
condenations and praises to the divine po/ers see to lose their urgenc& in the light o+
'ordelia.s response to Lear.s penitence:
Lear: Be &our tears /et3 Fes) +aith. I pra& /eep not. I+ &ou have poison +or e) I /ill drin( it. I
(no/ &ou do not love e) +or &our sisters ,ave (as I do ree*er) done e /rong6 Fou have
soe cause) the& have not.
'ordelia: Co cause) no cause. (?.5.5"-5?)
As the characters grope to/ards eaning in the dar(ness o+ their incoprehension and dou*t)
'ordelia.s +orgiveness o++ers the cleansing po/er o+ love) a redeeing oent that is an
alternative eaning to hopelessness. It shines *ut *rie+l& *e+ore her li+e is ta(en a/a&) *ut its
e9istence is enough to validate the onl& /isdo the pla& provides. It is) at last) a /isdo that
a(es the cries to the gods irrelevant. In the eantie) the onl& no*le response to the huan
condition is patient endurance) openness and receptivit& to the redeptive possi*ilities that
such love provides -- /hat ;dgar suggests /hen he sa&s) =8en ust endure B Their going
hence) even as their coing hither) B :ipeness is all= (E.!.7-##).
C<T;S
(#) 2illia :. ;lton) King Lear and the Gods. ;lton enuerates these +our attitudes in 'hapter
III) $5) as: #) the =prisca theologia= or virtuous-heathen vie/6 !) the atheistic vie/6 $) the
superstitious vie/6 and ?) the vie/ that is =the result o+ huan reaction to the e++ects o+ the
hidden providence= --/hat he calls the =%eus a*sconditus.=
(!) An e9tensive e9planation o+ the ideas suari0ed *rie+l& in the +ollo/ing paragraph can *e
+ound in 'hapter II (!"-$#) and 'hapter III ($#-?$) o+ his *oo(.
($) 2illia Sha(espeare) King Lear) The :iverside Sha(espeare) !.?.#@D-7. All +urther
re+erences to this pla& are ta(en +ro this edition and /ill *e cited in the te9t *& act) scene) and
lines onl&.
2<:KS 'IT;%
Bradle&) A. '. Sha(espearean Traged&. Ce/ For(: 8eridian Boo(s) #7EE.
%an*&) >ohn F. Sha(espeare.s %octrine o+ Cature: A Stud& o+ King Lear. ?th ed. London: Fa*er
and Fa*er) #7@#.
;conoou) George %. The Goddess Catura in 8edieval Literature. 'a*ridge: ,arvard K-)
#75!.
;lton) 2illia :. King Lear and the Gods. San 8arino)'ali+ornia: The ,untington Li*rar&)
#7@D.
Sha(espeare) 2illia. The :iverside Sha(espeare. ;d. G. Bla(eore ;vans. !nd ed. Ce/
For(: ,oughton 8i++lin) #775.
2hitehead) Fran(. =The Gods in King Lear.= ;ssa&s in 'riticis ?! (#77?): #7@-!#7.
Frances Biscoglio (8erc& 'ollege)
Biscoglio) Frances
Source Citation
Biscoglio) Frances. =Invocations to the Gods in King Lear.= Shakespeare Newsletter Spring-
Suer !""#: #$L. Literature Resource Center. 2e*. !! 8a& !"##.