logo

74 pages 2 hours read

King Lear

Fiction | Play | Adult | Published in 1606

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.

Acts I-IIChapter Summaries & Analyses

Act I, Scene 1 Summary

Two noblemen, Kent and Gloucester, discuss a mysterious political change: the King plans to relinquish his power and divide his kingdom. Gloucester introduces Kent to his illegitimate son Edmund, making a few rude jokes about Edmund’s birth.

King Lear arrives and welcomes his family members: his eldest daughter Goneril and her husband Albany, his middle daughter Regan and her husband Cornwall, and his youngest unmarried daughter Cordelia. Lear announces he will “shake all cares and business from our age,/Conferring them on younger strengths while we/Unburdened crawl toward death” (39-41). He intends to divide his kingdom between his daughters and to marry Cordelia to one of two suitors, the King of France or the Duke of Burgundy.

Before relinquishing his kingdom, Lear insists that his daughters tell him: “Which of you shall we say doth love us most,/That we our largest bounty may extend/Where nature doth with merit challenge” (51-53).

The two eldest daughters take turns lavishly praising their father. Goneril goes first and shamelessly flatters him; Regan follows, saying that she loves her father as Goneril does, only even more. The youngest daughter, Cordelia, listens in horror to this insincere display. When it is her turn, Lear expects that his favorite daughter will praise him the most. But Cordelia refuses to speak. Instead, she critiques her sisters’ false flattery.

Enraged by Cordelia’s refusal to play along, Lear banishes her, stripping her of her dowry. The shocked Kent tries to tell his master this is a terrible mistake, but Lear only turns his fury on his loyal councillor, banishing him as well.

Without her dowry, Cordelia is left to whichever prince is willing to take her. Burgundy withdraws his suit, but the King of France sees Cordelia’s wisdom and goodness. She accepts his offer of marriage and departs for his kingdom.

As the scene ends, the two elder sisters talk privately, remarking that their father is senile. They have little sympathy for their exiled younger sister.  

Act I, Scene 2 Summary

Edmund, Gloucester’s illegitimate son, delivers a soliloquy on the injustices of his position in life. He swears allegiance to Nature rather than the customs of a society that denies him rank and power because his father wasn’t married to his mother: “Why bastard? Wherefore base,/When my dimensions are as well compact,/my mind as generous, and my shape as true,/As honest madam’s issue?” (6-9). Embittered by his ill-treatment, he plots to turn Gloucester against his legitimate brother Edgar and take over the dukedom himself.

Gloucester appears in a flurry, shocked at recent events, including Kent’s banishment, hostilities between France and England, and Lear’s abdication of the throne. As he bustles in, Edmund makes an obvious show of hiding a letter, which Gloucester insists on seeing. It is a fake letter from Edgar, composed by Edmund. In it, Edgar supposedly asks Edmund to assassinate Gloucester with him. Appalled, Gloucester asks Edmund to investigate further. He reflects that the astrological signs bode ill; the stars predict war and discord within families and nations.

When Gloucester leaves, Edmund scoffs at his father’s superstition, maintaining that the stars have no effect on human character: “I should have been that I am, had the maidenliest star in the firmament twinkled on my bastardizing” (131-133). Edgar interrupts his musings. Edmund tricks him into believing that Gloucester is enraged with him. Although Edmund says he will try to calm their father down, he warns his brother to carry a weapon. Frightened and overwhelmed, Edgar departs. Edmund rejoices. His father’s credulity and his brother’s innocence both serve his purposes.

Act I, Scene 3 Summary

Goneril storms onstage in a huff, asking her servant Oswald if Lear hit one of her men for provoking his Fool. She is fed up with her father’s behavior. He and his entourage of drunken knights party day and night in Goneril’s house. She tells Oswald she plans to avoid Lear for a while and that he should tell her father she’s sick if he asks for her. She also counsels Oswald and the rest of her staff to be as rude and lazy as they like around Lear and his men.

Act I, Scene 4 Summary

The banished Kent disguises himself as a rough servant named Caius so he can watch over Lear; his loyalty to his master outweighs all other concerns. As Caius, he presents himself to Lear’s crew of knights and quickly earns Lear’s trust when he upbraids Oswald—who, as Goneril instructed him, is blatantly rude to the former king.

The Fool, Lear’s much-beloved jester, is heartbroken since Lear sent Cordelia away. He now emerges to read his master a lesson in his mistakes. When he sings a mocking song, and Lear ominously asks, “Dost thou call me fool, boy?”, he replies, “All thy other titles thou hast given away; that thou wast born with” (145-47).

As the Fool mocks Lear and his daughters, the furious Goneril enters. She tells her father she will no longer tolerate his chaotic knights, and he must send at least some of them away. Lear flies into a rage and curses his eldest child, calling on Nature to “Dry up in her the organs of increase” so that she’ll never have a child of her own (275). With that, he departs, intending to go to Regan’s house where he believes he can do what he wants. Goneril sends Oswald ahead to warn Regan and to tell her to hold firm with their father. Her husband Albany warns her that this may be a mistake.

Act I, Scene 5 Summary

Lear sends the disguised Kent to deliver a letter to Regan’s castle explaining what happened at Goneril’s house. Left alone with the Fool, Lear broods. The Fool gently teases him and tries to warn him that Regan isn’t likely to behave any differently than Goneril.

Lear is shaken by his recent fits of uncontrollable rage. He fears for his sanity, saying, “O let me not be mad, not mad, sweet heaven!/Keep me in temper; I would not be mad!” (43-44).

Act II, Scene 1 Summary

Edmund hears rumors about a war brewing between Albany and Cornwall, who both may have designs on the undivided throne. Regan and Cornwall will visit the Gloucester household that night, giving Edmund more opportunity to scheme.

He continues his plot against his own family, telling Edgar: “My father watches. O sir, fly this place” (20). The enraged Gloucester, Edmund claims, is on Edgar’s trail, and Edmund will need to pretend to attack his brother in order to keep him safe. Edmund draws his sword, and the bewildered, frightened Edgar flees into the night. Edmund wounds himself to give the impression that Edgar injured him.

When Gloucester appears, Edmund spins a tale in which Edgar mutters of patricide and chants magical charms. Crazed with rage and grief, Gloucester threatens to have his legitimate son killed and vows to grant Edmund his title and lands, just as Edmund plotted.

Cornwall and Regan arrive and commiserate with Gloucester. They also swear friendship with Edmund, whom they see as a potentially useful man.

Act II, Scene 2 Summary

Goneril’s steward Oswald meets Kent outside Gloucester’s house. Kent, remembering Oswald’s rudeness to Lear, is accordingly rude to Oswald, going on an exuberant tirade against him: Oswald, Kent says, is:

[a] knave, a rascal, an eater of broken meats; a base, proud, shallow, beggarly, three-suited, hundred-pound, filthy worsted-stocking knave; a lily-livered, action-taking, whoreson, glass-gazing, superservicable, finical rogue (13-17).

At last, Kent draws his sword, and Oswald screams for help.

Edmund, Gloucester, Regan, and Cornwall overhear the ruckus and confront the two men. Kent won’t budge, and Cornwall commands him to be put in the stocks for his insolence. Regan adds that, in spite of his old age, Kent must sit in the stocks all day and all night.

With Kent imprisoned, everyone but Gloucester departs. Gloucester empathizes with Kent and says he will try to change Cornwall’s mind. Whatever happens, he and Kent both know that Lear won’t take this well; it is a serious insult for Cornwall to put Lear’s servant in the stocks.

Act II, Scene 3 Summary

Edgar, on the run, pauses to deliver a soliloquy. Confused and terrified, he considers his options, all of which are bad. Nowhere is safe, and no friendly face can be trusted. His best option is to disguise himself as someone no one looks at twice. He decides to dress up as a vagrant madman called Poor Tom, vowing, “[M]y face I’ll grime with filth,/Blanket my loins, elf all my hair in knots,/And with presented nakedness outface/The winds and persecutions of the sky” (9-12). He will chant nonsense, beg for alms, and entirely unmake himself: “Edgar I nothing am” (21), he says.

Act II, Scene 4 Summary

Lear and the Fool arrive at Gloucester’s house and find Kent in the stocks outside. Lear is outraged and unbelieving, shocked that Cornwall would dare to disrespect his servant this way. Kent also tells Lear that Oswald delivered letters from Goneril ahead of his arrival. The Fool isn’t surprised; this is exactly what he predicted, and he sings cryptic little songs to that effect.

Lear rushes off and returns with Gloucester who tries to calm him down. Cornwall delayed his meeting with Lear, refusing to jump at the former king’s command. When Cornwall and Regan eventually arrive, Lear is furious with them, and they coolly condescend to him. When Goneril appears, the two sisters present a united face against their father, asking him why he needs even one servant, let alone his retinue of rowdy knights. As before, Lear flies into a rage, calling Regan “a boil,/A plague-sore, or embossèd carbuncle,/In my corrupted blood” (222-224).

As madness descends upon him, Lear flees from the house, pursued by the Fool and Kent. In spite of Gloucester’s appalled protests, his family lets him go. There is a violent storm brewing, and the family is reluctant to follow Lear into it.

Acts I-II Analysis

The first acts of King Lear gather like the storm that breaks at the end of Act II. The play begins with a queasy lightning flash: Lear’s manipulative question to his daughters. Right away, readers are exposed to a world in which love is corrupted into a tool for maintaining power. In relinquishing his kingdom to his children, Lear attempts to exert a deeper power through emotional backchannels, demanding that his daughters bow to his demands for a very specific kind of affection and attention. As Cordelia points out, these demands border on emotional incest. Something is thoroughly out of order in Lear’s kingdom, and the balance of nature is about to set it right, through means that no mere human is going to like very much.

The daughters’ different responses to Lear’s manipulation set up one of the play’s big themes: reality and self-delusion. Cordelia’s refusal to play her father’s game infuriates him because he doesn’t get to bask in obsequious praise. More than that, however, the refusal is a critique of Lear’s emotional dishonesty, revealing that his self-image can’t stand up to resistance or disagreement. He depends on the belief that he’s the finest father and the best king in all the world, and any threat to that belief shakes his whole worldview. As Regan points out, “[H]e hath ever but slenderly known himself” (1.1.298-99). Lear, like all the play’s characters, will reckon with what he really is over the course of the play.

Questions of truth and deception touch on every character’s predicament. The parallel stories of Edmund and Edgar provide a piquant example. Edmund, Gloucester’s illegitimate son, uses deception to rise to a noble position that feels truer to his self-image, but this new reality is based entirely on treacherous falsehoods. Meanwhile, Edgar, the legitimate son, finds truth through his seemingly false disguise as the mad “Poor Tom.” The play repeatedly insists that public status and honor are essentially worthless. Contact with reality and with one’s true self involves complete humility, even abasement. In turn, pride and power sever the play’s characters from reality and the perceptions of others.

These early acts also set up two contrasting views of man and nature, one of which is exemplified by Lear and Gloucester, while the other is exemplified by Edmund. Lear and his ilk profess faith in the old Medieval traditions of noble birth and kingly patriarchy. When this worldview is shattered by his daughters’ lack of deference, Lear devolves into madness. Edmund, meanwhile, represents the “New Man” emerging in Shakespeare’s time. This figure rejects Lear’s Medieval worldview and instead adopts a Hobbesian view of the world in which all men war against one another for an advantage. This is reflected in Edmund’s self-interested schemes which recall Machiavelli’s 1513 book The Prince. Though written almost one hundred years earlier, The Prince remained highly influential in Shakespeare’s era.  

blurred text
blurred text
blurred text
blurred text
Unlock IconUnlock all 74 pages of this Study Guide

Plus, gain access to 8,800+ more expert-written Study Guides.

Including features:

+ Mobile App
+ Printable PDF
+ Literary AI Tools