b'T3 Journal - Student Writing in Drama, University of Exeter 2019-20On King LearRethinking Shakespeare is an English module for Combined Honours English and Drama students. In this extract from her final assignment, Susannah Bramwell explores the significance of William Shakespeares adaption of King Lear from Nahum Tates The True Chronicle History of King Leir.Short EssaysSusannah BramwellBy linking family discord to the tragedy, Shakespearesa total of nine times, creating a structured and sterile retelling of The True Chronicle History of King Leir addressesscene. Contrastingly, Shakespeares retelling reaches the contemporary political discussions, including the Britishfull tragic potential of reconciliation and intensifies the union debate. The most explicit reference to the unionfinal scene. He creates empathy in Lear, with poignance debate is Shakespeares adaptation of Leirs happy endingin the line Am I in France? (IV.7.78), highlighting the to a tragic one, in which the characters die due to theKings madness. Cordelia is consequently forced to care conflict Lear causes in dividing the Kingdom, using hisfor him which further moves the audience with the destructive patriarchal authority. softness conveyed in the monosyllabic murmured repetitions: I am, I am, and no cause, no cause (IV.7.72, Although Bullough considers that the change of endingIV.7.77). Critically, Lear identifies in a unique intertextual may have been first thought of merely because hisreference (Hirschfield 589) that, according to his source company wanted a tragedy from him (283), I think thismaterial, he should be in France. Hirschfield conclusively is a limited assumption, specifically when consideringasserts this adds to the bewilderment of the reunion scene the final scene. In Leir, the scene lacks emotional power;(591). Thus, a conclusive commentary is delivered on the by making the ending restorative, the author created noconsequences of dividing a kingdom, and Shakespeare space for redemption. Leir says, But now I see, I am nocreates a tragedy of the time and not merely a tragedy whit beguiled// Thou lovedst me dearely, and as oughtfor his players.a child (23.2651-2652) which neatly completes the plot, accentuated by tight rhyming couplets. The tone createdMcLuskie sees the reconciliation from a feminist angle, is saccharine. Whereas, in Shakespeares version, Lear isclaiming the purpose of their dramatized reunion is to punished for his irresponsibility with death. Therefore,serve as the symbolic restoration of patriarchal harmony an incomprehensible experience is created for an(101). I believe this is a valid argument, the patriarchal audience expecting a happy ending. The five repetitionsstructure of a family being a crucial point of tension. of never (Shakespeare V.3.308) creates a sense ofJames I wrote in his True Lawe of Free Monarchies By the nihilism. Compounded with the exclamatory line Looklaw of Nature the King becomes a natruall Father to all on her! Look, her lips! (V.3.311), the result is even morehis lieges at his Coronation, and this patriarchal absolute wrenching. The King dies without absolution, contraryauthority is reflected in Lear to form what Khan calls a to Bulloughs claims that Lear learns his lesson (282).tragedy of masculinity (Saunders 404). Arguably, the The audience knows Cordelia is dead, yet the sad optimismcause of this comes from the absence of the mother figure of a mad King results in an experience that goes beyondin Shakespeares retelling of Lear. Conversely, in Leir the usual catharsis of a tragedy into what Samuel Johnsonthe mother is present immediately: Thus to our griefe argued was contrary to the natural ideas of justice (Tate).the obsequies performed// of our (too late) deceast and dearest Queen (1.1-2). The formality of public grieving Shakespeare increases this impact by replacing the stiltedis contrasted with the consonance of deceast and scene of recognition between Leir and Cordella in Leir fordearest which form the impression of a Queen much an empathetic one. In Leir, Leir and Cordella are told byloved. Shakespeare retells Leir entirely in his opening, the stage directions to kneele and riseth (24.2298-2347) causing Rosefeldt to assert the differences between this 42'