George Washington University

King Lear and the Prodigal Son Author(s): Susan Snyder Source: Shakespeare Quarterly, Vol. 17, No. 4 (Autumn, 1966), pp. 361-369 Published by: Folger Shakespeare Library in association with George Washington University Stable URL: http://www.jstor.org/stable/2867910 . Accessed: 15/03/2014 15:27 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp

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KingLear and theProdigalSon SUSAN SNYDER Andwastthoufain,poorfather, To hoveltheewithswineandroguesforlorn, In shortand mustystraw? (King Lear IV. vii. 38-40)'

ORDELIA'S pityingquestion,which precedesher reunion withLear, expressesan intuitivecomprehension of his ordeal. Few readersor spectators, caughtup in herfiercecompassion, would stop to considerthat the pictureshe evokes is only partlytrue,in the literalsense.Lear has hoveledwitha fool and a "madman", rogues forlorncertainly,but not with swine.Yet Cordelia'sdescription strikesno jarringnote,forshe has chosen,as a kind of emblemforLear's experience, an image of degradationand suffering alreadyfamiliar.Elizabethanaudienceswould be remindedof anotherfoolish man who came down in the world and was finallyreducedto living with swine and sharingtheirfood. The parable of the Prodigal Son (Luke xv.II-3I),2 always popular,was particularly so in thesixteenth century. The elevationof the repentantProdigal overhis righteouselderbrother, suggestingthe supremacyof faithoverworks, made the storyattractiveto Protestants. Prodigal Son plays,firston the Continentand later in England, exploitedthe storyto promotesound education and to denounceparentalindulgenceand filialingratitude. In thesedramasthe Prodigal'sriotouscareerthroughthe tavernsand brothelsreceiveddue attention, as well as his eventualrepentanceand reconciliationwith his father. Shakespearehimselftestifies to theparable'spopularity, in two ways.Richmond Noble findsit "the most frequently mentionedParable of the Gospels in the plays".3Furthermore, severalof the references listedby Noble indicatethatthe Prodigal and his storywere a common subjectfor puppet shows (Winter's 1

All Shakespearereferences are to The CompleteWorks,ed. G. L. Kittredge(Boston,1936). in the AuthorizedVersion.Biblicalquotationsare fromTomson's revisedNew Testament,whichwas veryoftenprintedwiththeGenevaOld Testamentin place of the originalGeneva New Testament.Accordingto RichmondNoble (Shakespeare'sBiblical Knowledge and Use of the Book of CommonPrayer(London, I935), p. 8), "thereis good reasonto believethatShakespeare owned or otherwisehad access to a quarto Tomson New Testamentbound up with a GenevaOld Testamentof i595 or subsequentdate." 3 Noble, p. 277. He lists (pp. 277-278) nine references, althoughone seemsdoubtful.In spite of the identification of "younker"and "prodigal" (see Merch.II. vi. Ia), Falstaff'sdemand "will you make a younkerof me?" (1H4, III. iii. 92)-that is, will you cheat me?-need not refer to the ProdigalSon, since the generalconnotationof naive, easilygulled youthis all specifically that is necessary.It is noteworthy, though,that of the othereight allusionsthreeare connected with Falstaff.They operatedirectlyto underlinehis role as frequenter of tavernsand adherent of "riotousliving" and ironicallyto emphasizeFalstaff'sage and girthby contrastwith the lean youngProdigal.Noble'slistdoes notmentionKing Lear. 2 II-32

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Tale IV. iii.

I03-I04)

and wall paintings,especiallyin taverns(Merry Wives

IV. v. 7-9; 2 HenryIV, II.i. I56-I57).

patternof associations.Dromio of SyraOtherallusionsshow an interesting sergeant"he thatgoes in the calve'sskin thatwas cuse calls the leather-coated killed forthe Prodigal",presumablyto commentironicallyon the difference In The Two betweenthesergeantwho punishesand thefatherwho forgives.4 Gentlemenof Verona,Launce tellsof receivinghis "proportion"like the "prodigiousson" and leavinghomeamid the tearsof his family(II. iii. I-35); while Orlando in As You Like It taxeshis elderbrotherwithmakinghim live like Prodigal,with the animals,while refusinghim his rightful the impoverished portion: Shall I keepyourhogsand eat huskswiththem?What prodigalportion thatI shouldcometosuchpenury? haveI spent, (I. i. 40-42) Falstaff,consideringhis armyof scarecrowsin i Henry IV, comparesthemto from "a hundredand fiftytatteredProdigalslatelycome fromswine-keeping, theProdieatingdraffand husks" (IV. ii. 36-38).Leannessand rags also typify gal in Gratiano'smetaphorin The Merchantof Venice: ora prodigal How likea younker The scarfed barkputsfromhernativebay, wind! bythestrumpet Hugg'dandembraced How liketheProdigaldothshereturn, ribsandraggedsails, Withover-weather'd wind! Lean,rentandbeggar'dbythestrumpet (II. vi. I4-I9) The "strumpetwind" recallsthe harlotsamong whom theProdigalwastedhis inheritance.5 Apparently,then,the featuresof the Prodigal Son parable that bothparentcame mostreadilyto Shakespeare'smindwerefamilyrelationships, childand brother-brother; "portions"and thepropertimefortheirdistribution; tavernsand "riotousliving"; leanness and tatteredclothes; and swine and husks. This summarysuggeststhat Cordelia's pictureof her fatheramong the swine may not be the only link betweenKing Lear and the parable.Shakespearefoundin his sourcesa storyresemblingin its broad outlinesthatof the startsby rejectingthe one who loves him most, ProdigalSon: the protagonist and embarkson a recklesscourse which bringshim eventuallyto suffering he lacked before-and finally to the self-knowledge want-and, paradoxically, 4Err. IV. iii. 17-i8.

See R. A. Foakes's note on this line in the New Arden ed. (London,

I 9 6 2).

5 In additionto thosecitedby Noble, theremay be anotherallusionto the ProdigalSon in MV II. v. 13-15, whereShylockexplainsto Jessicahis reasonfor agreeingto dine with Bassanio and me. / But yetI'll go in hate, to feed upon / The Antonio:"I am not bid for love: theyflatter prodigalChristian."The word "prodigal"servesto bringout the contrastbetweenthe Jewwho observesonlythe ritualof the guestwithoutthe love that should informit, and the carelessbut of values,the letter generousChristian-a contrastconnectedwith the play's centralconfrontation of the law vs. the freegiftof love, justicevs. mercy.Jewand Christianare used by Shakespeare of the contrastingvalues, followinga traditionwhich operatesalso in the as representatives of the ProdigalSon parable (see below). Gratiano's"How like a younker standardinterpretations linesafterShylock'sstatement. or a prodigal"speechappearsonlyfifty-five

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is received and forgiven bytherejected one.The inherited pattern is common enough,butit is markedbytwofeatures whichwe haveseenwereconnected in Shakespeare's mindwiththeProdigalSon: familyrelationships and,more significantly, thepremature granting of portions. If theBiblicalstorywas in histhoughts, as theswineimagesuggests, it mayhaveinfluenced certain other imagesand situations in theplay.The constant references to nakedness and raggedness in theheathscenesmayowe something to theragsandtatters that characterize theProdigalforShakespeare. Like theProdigal(especially in the to dramas)Lear is ashamed seektheone he has wronged(IV. iii.40-49);but, liketheBiblicalfather, Cordeliais so readyto forgive thatsheanticipates him, commanding a "century" to "searcheveryacrein thehigh-grown field/ And bringhimto our eye" (IV. iv.6-8). In likemannerthefather in theparable

saw his son at a greatdistanceand ran to meethim (v. 20). The brokenLear

is greeted as theProdigalwas,notwiththeexpected butwithmusic, reproach fresh garments, anda kiss.In bothcasesthereconciliation is presented explicitly in termsofrebirth: Lear is,in hisowndescription, takenfromthegrave(IV. vii.45); whiletheProdigal's father rejoicesthat"thismysonnewas dead,and is aliveagaine"(v.24). Thereare echoesin the subplotas well.Gloucester also mustfindselfin adversity, mustdie symbolically knowledge beforehe emerges intoa new stateof loveand acceptance. WhenEdgarhas to lead his fatherto thevery brinkofsuicide, we areshowndramatically theneedforhisspiritual deathand thuswithhis despair/ Is doneto cureit" (IV. vi. rebirth: "WhyI do trifle 33-34).Shakespeare appears,in fact,to havemadedoubleuse of theProdigal motifin theGloucester plot.In thefalsereport givenbyhis brother, Edgar's forhis patrimony impatience (I. ii.48-57)is liketheProdigal's, and as Poor Tom he givesan accountof thepastthatbrought himto penury(III. iv.87ioi) thatrecallsthedrinking, oftheerrant dicing,andwenching youthin the in thisconnection ProdigalSon plays.Interesting is Regan'sattempt to connect the much-disputed Edgar with her father'sroistering hundred followers, "Was he notcompanion withtheriotousknights knights: / That tendupon as a falseProdimyfather?" (II. i. 96-97).6The soberEdgaris thuspresented whathe is not,to underline therealcondition gal,seeming ofhisfather. The ProdigalSon parallelsreinforce, and mayevenhavesuggested, ShakeofLear as a child.His Prodigalis an old manwhohas speare'spresentation everreaching livedto a greatage without The termsusedbyothers maturity. himat theplay'sopeningareappropriate to describe to youth, notage: he is "fullofchanges", "rash","unruly", givento "unconstant starts", "folly", "way6 The insistent and repeatedapplicationof the terms"riot" and "riotous"to Lear's followers (I. iii. 6; I. iv. 223; I. iv. 265; II. i. 96; II. iv. 145) may be a directecho of the BiblicalProdigal's 4'riotousliving".If Shakespearewas thinkingof Lear as a spiritualProdigal,he mayhave chosento in sinsof thefleshand thustransferred avoid involvinghim directly thedebauchery themeto Lear's knights,who are almostprojectionsof himself.Certainlytheirbehavior,as describedby Goneril, recallsthedissipationscenesof theProdigalSon plays:

Men so disorder'd, so debosh'd,and bold That thisour court,infected withtheirmanners, Showslikea riotousinn.Epicurismand lust Make it morelikea tavernor a brothel Than a grac'dpalace. (I. iv. 263-267)

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"hideousrashness". Lear'schildishdesireto havethetrappings wardness", of kingship withouttheresponsibilities leadshimto inverttheusualpattern of tobecomethepowerless childinsteadofthestrong tomake dependence, father, hisdaughters (as theFool remarks) hismothers (I. iv. i87-i88). It is theywho nowmakedecisions him. forhim,demandhisobedience, chastise and instruct "Old foolsarebabesagain",saysGonerilcontemptuously (I. iii.i9), andRegan Lear as if he werea child: tooaddresses Youshould berul'dandled thatdiscerns Bysomediscretion yourstate Better thanyouyourself. (II. iv. i50-i52) Motherknowsbest.If he refuses hercounselhe will haveto learnthehard his own mistakes. way,through "To wilfulmen",moralizesRegansententiously,"The injuriesthattheythemselves procure/ Mustbe theirschoolmasters"(II. iv.305-307). ThisimageofLear as a schoolboy hasalready beenintroducedby theFool: "thoumad'stthydaughters thymother. . . thougav'st themtherodandputt'st downthineownbreeches . . ." (I. iv.i87-I90). The fatherbecomestheson,theportion-giver becomestheProdigal,theold man is setto school. Lear'ssubjection to hisdaughters, whilewrongin itself, is thehumiliation thatopenshiswaytowisdom.In thelightofit,he realizesthathis"maturity" was a lie: "Theyflatter'd me likea dog,and toldme I had whitehairsin my bearderetheblackoneswerethere"(IV. vi.98-ioo). His new childhood is a painfulstate,butnevertheless morepromising thantheself-deceived prideof A passagefromEcclesiastes, kingship. firstnotedby ThomasCarter,7 might serveas a glosson histwoconditions: "Better is a pooreand wisechildthan an oldandfoolish kingwhichwilnomorebeadmonished." GonerilandReganareinstruments in thehumbling and educating ofLear, buthiswayoutis not,as theshivering Fool suggests, to asktheirblessing(III. ii. I2) and remain in subjection to these"mothers" whoseevilfarexceedshis own.Theirposeas wiseand guidingparents is ultimately as falseas Edgar's as Prodigal. The trueparentfigure position in thisinverted pattern is Cordelia, who has bothwisdomand mercy, who knowsLear thoroughly and forgives himall,likethefather oftheProdigal. Learragesat thethought ofkneeling to Reganto beg for"raiment, bed,and food"(II. iv.I56-I58); the idea is unnaturaland offensive. Yet we feelit rightwhenhe kneelsto Cordeliaat their reunion.Cordeliaplaysa doublerolehere,and his actionpresents heras his whileherown instinctive not spiritual superior, must kneel"is "No, sir,you propertothenaturalandlovingchild.It is Cordelia, appropriately, whospeaks of Lear as "thischild-changed intoa child.8 father"-changed byhis children She is thinking ofhismadness, butthephrasesumsup hiswholeparadoxical thatofa father whohad to becomea childagainand findhistrue experience, mentor in hisowndaughter. The themeofchildas mentor, somewhat obscured in Cordelia'scasebyher 7 Shakespeareand Holy Scripture(London, 1905), p. 434. Carterquotes the Geneva version, Ecclesiastesiv. 13. 8 IV. vii. 17. Scholarshave arguedfor one or the othermeaning(see notesin the New Variorum and New Ardeneds.). I agree withthe opinionof CleanthBrooks,citedby KennethMuir, theNew Ardeneditor,that"the ambiguity is deliberate".

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simultaneousrole of reverentdaughter,emergesveryclearlyin the subplot. ThroughoutActs IV and V the helplessGloucesteris guided,physicallyand spiritually, by his good son. Edgar uses the suicideattemptas a teachingdevice,and Gloucesterhumblyacceptsthelessons: I do remember now;henceforth I'll bear Affliction tillitdo cryoutitself 'Enough,enough,'and die. (IV. vi.75-77) RobertB. Heilman pointsout thatin preventinghis father'ssuicideEdgar is "protecting his fatheragainsthimself,normallya functionperformed by parent forchild."9 One functionof the Prodigal Son echoes in the play,then,is to sharpen the pictureof Lear and Gloucesteras immatureold men educated through suffering. Beyondthis,the generalspiritof the parableis relevantto a major concernof theplay-justice. Like the parablesof the lost sheep and the lost drachmathatprecedeit in the fifteenth chapterof Luke, the ProdigalSon storyaffirms God's mercyand freeforgiveness of sins.God is seen not as righteousjudge but as lovingfather. In all threeparableslove is specifically placed above justice.The Prodigaldoes not deserveto be honoredabove his virtuouselder brother;nor does the disproportionate joy of the angels over one recoveredsinnerseem fair to the ninety-nine just persons.The guidingprincipleis not fairnessor rewardof just desertsbut overpoweringlove. Traditionalinterpretations10 identifythe elder on thefulfillment of theLaw, and withtheJews,who pridedthemselves brother theyoungerwiththeGentiles,who acknowledgedtheirsin and perceivedtheir dependenceon the mercyof God. In these termsthe parable representsthe supremacyof theNew Law of love overtheOld Law of justice.However,just as theOld had to comebeforetheNew, justas Luther'sway to theGospelleads throughthe rigorsof the Law, so the Prodigalmust move fromhis original sinfulnessto a just evaluationof himself("I haue sinnedagainstheauen,and beforethee,and am no more worthyto be called thysonne") beforehe can transcendjusticein the feastof love. Lear's progressparallelsthe Prodigal'son a human,non-theological level. Having violatedjustice,he mustcome to termswithit beforemovingon to a different plane in thereunionwithCordelia. The entirefirstscenedisplaysLear's failuresin justice:to Cordelia,to Kent, to his subjects.For the initialdivisionof the kingdom,as criticshave pointed his use of the love-testas the basis of out,is a sin againstorder;furthermore, that divisionwould have been unjust even if Cordelia had won the portion more opulentthan her sisters'. It is with thisproblemof justicein mind,I think,thatwe must evaluate Cordelia'smuch-debated responseto Lear in thisscene.Her carefulstatement 9 This GreatStage (Baton Rouge, I948), p. 52. Heilman notes that this reversalof roles is ironicallyanticipatedin the opinionsfalselyimputedto Edgar by Edmund: "I have heard him oft maintainit to be fitthat,sons at perfectage, and fathersdeclining,the fathershouldbe as ward to theson,and thesonmanagehis revenue"(I. ii. 76-79). 10 See, forexample,Jerome,"EpistolaXXI ad Damasum de duobus filiis",Patrologialatinas XXII, 379-394; Luther,Lectureson Romans,trans.and ed. WilhelmPauck, Libraryof Christian Thomas Classics,XV (Philadelphia,i96i), 302; and glosses on Luke XV in Glossa ordzlnaria, Aquinas' Catenaaurea,Criticisacri,and theGenevaBible.

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is meant to contrastnot only with the insincerehyperboleof Goneril and itself. Regan but also withthecapriciousinjusticeof the love-test I loveyourMajesty tomybond;no morenorless. According You havebegotme,bredme,lov'dme; I Returnthosedutiesbackas arerightfit, Obeyyou,loveyou,andmosthonouryou.

(I. i. 94-IOO)

that She returnswhat she owes; this is the essenceof justice.It is significant Kent,theonlyone who approvesof Cordelia'sspeech,praisesit foritsjustness: takethee,maid, The godstotheirdearshelter said! (I. i. I85-I86) andhastmostrightly Thatjustlythink'st Almosteverycriticof the play has founda faultin Cordelia'sattitude-pride, On one level theyare sullenness,obstinacy,withdrawalfromresponsibility.1" mockeryof love she this from herself probablyright;that is, in dissociating audienceknowsof The for him. failsto show Lear the veryreal love she feels that love fromher firsttwo asides, but Lear, who has not heard them,is shockedand hurtby her measuredremarks.But Lear is incapableof understandinglove at thispoint.When one considersCordeliaas tutorto Lear, her stand on justiceis appropriate.He must apprehendjustice,learn the lessons Lear is at the rejectedhere,beforehe can know love. When Cordelia returns, nextstepand she is, as we would expect,the embodimentof love and mercy. Her placementof justiceover love in the firstsceneis partof a process,fitted is to his stateat thenextmeetto Lear's need at thetimeas herfreeforgiveness ing of fatherand daughter.'2 Meanwhilethe play is much concernedwithjustice-trueand false,divine is onlypartof the picture;he seeksjusand earthly.Lear's self-condemnation justicealso provesinadeticeforothersas well,and in thislargerinvestigation Human justiceis too oftenmocked quate as a basis forhuman relationships. by brutalpower,as in the "trial" of Gloucesterby Regan and Cornwall,or as in thelove-test and thedowryscene,both defacedbyvanityand self-interest, in a sense"trials"of Cordelia. Lear in his madnessseeksjustice,firstas a victimcallingforvengeance("I am a man / More sinn'dagainstthansinning",III. ii. 59-60),thenas a justicer But the judges are who joins with a fool and a bedlam to tryhis persecutor. theguiltyone escapes,the causesof heriniquitycannotbe reasoned. impotent, 11 The views of Coleridgeand othersare given in the New Variorumed.; see also A. C. Harold S. Wilson, On pp. 320-32I; Tragedy,2nd ed. (London, I905), Bradley,Shakespearean the Design of ShakespearianTragedy(Toronto,I957), pp. i83-i84 and p. i9o; J.M. Nosworthy, "King Lear-The Moral Aspect",EnglishStudies,XXI (I939), 26i; Heilman,Stage, pp. 35-36 and p. 300. J. F. Danby is almostalone in findingthe Cordelia of Scene i "simplythe truly patientwoman and daughter"(Poets on Fortune'sHill (London, I952), p. II9). in King Lear", SQ, X (0959), 390) pointsout that 12 DorothyC. Hockey ("The Trial Pattern akin to honesty-something Cordelia in the firstscene "places a youthfulsense of self-righteous "not guiltless".I agree with a sense of justice-above love thatis freelygiven" and is therefore the premisebut not withthe conclusion.

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he losesinterest As Lear'sself-knowledge grows, andwithithisself-indictment, in dealingoutjusticeto others: thatman'slife.Whatwasthycause? I pardon Adultery? No. Thoushaltnotdie.Die foradultery? Thewrengoesto't,andthesmallgildedfly Doeslecher in mysight. Let copulation thrive.(IV. vi. iii-ii6) Evil is universal, whenall areguilty. Who evennatural. Judgment is impossible willjudge?"Seehowyondjusticerailsuponyondsimplethief. Hark,in thine whichis thethief?" tar: changeplaces,and,handy-dandy, whichis thejustice, (11.I55-I58). The beadlewho beatsthewhorelustsafterher,themagistrate but thecozeneris himself who condemns a usurer.The weakare punished, is guilty.Lear'sconclusion "None doesofeveryone is to abandonjudgment: fend,none-I saynone!"(1.I72) a newmoralvisionwhichendsin As Lear'smadness growshe acquires therecognition is nodivision intothejustandtheunjust. "None thatthere none".. . . Thisis morethanthemovement fromvengeance doesoffend, to compassion, . . . follows a whichit is often takento be; thestatement ofuniversal allareequally fierce picture lechery anddeceit....It is because runsthrough these guilty thatnonedoesoffend. The roadtotruehumility bitter insights.13 It is humility thatcharacterizes Lear in thereunionwithCordelia.Although hehasrejected hejudgeshimself: judgment ofothers, Ifyouhavepoison forme,I willdrink it. I knowyoudonotloveme. (IV. vii.72-73) It is onlyjustthatsheshouldhatehim,forhe has givenhercause.But Cor"No cause,no cause."Withthesamecharged deliareplies, brevity with simply, whichsheoncespokeforjustice,sheheretranscends it,blotting outthejudgmentbywhichLear is guiltyand replacing theirrelationship on a new basis love.King Lear asksquestions aboutmanand man,theBiblical of redoubled man, parableaboutmanand God; bothgivethesameanswer.For imperfect theonlypositive and more relationship possibleis basedon love,forgiveness, love."You mustbearwithme",saysLear to Cordelia.And shemust,if man at all. "Prayyounow,forget and forgive" is to meananything (IV. vii.83-84). hisnewstateis further WhenLear and Cordeliaarecaptured, illuminated. of Goneriland Reganis surelyunjust,buttheyhavebecomeso The victory thathe willnotevenseethem."No,no,no,no! Come,let'sawayto irrelevant oftherights andwrongsofthatimprisonment. prison"(V. iii.8). No mention Prisonis simplya placeto be withCordelia.Fromit theywill observethe to itsinjustice or eventryto makeit conworldbutwillno longercontribute Insteadheenvisages constant constant "When formtojustice. humbling: giving, I'll kneeldown/ And ask oftheeforgiveness" thoudostaskme blessing, (V. onearthcanpartthem;evenwhenthe"brandfromheaven" iii. io-ii). Nothing themin death,lovebridgesthegap fora moment and Lear dies doesseparate joyful. 13

David Daiches,"Guiltand Justicein Shakespeare",LiteraryEssays (Edinburgh,I956), p.

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Butifman'sjusticeis foundlacking, whatofthegods'?EdgarandAlbany, whosecomments we trust, severaltimesaffirm divinejustice.But it is at best one-sided: thegodspunishthewickedbutdo notprevent theinnocent from suffering. On hearingofCornwall's violentendAlbanysays,"Thisshowsyou are above,/ You justicers, thattheseour nethercrimes/ So speedilycan venge!"(IV. ii.78-80);andhe seesin thedeathsofGonerilandRegana "judgmentof theheavens"(V. iii.231). Edgarfindshisfather's blindness a grimly appropriate punishment forhisadulterous nights: Thegodsarejust,andofourpleasant vices Makeinstruments toscourge us; Thedarkandvicious theehegot placewhere Costhimhiseyes. (V. iii. I70-I73)

Butevenwhileperceiving thejusticeofthegods,Edgarseesalso theneedfor forgiveness amongmen:thissamespeechto thedyingEdmundbegins"Let's exchange charity" (1.i66). A firmfaiththatthewickedwilleventually be destroyed is toonegative a principle toinform humanties.Furthermore, thegood die as wellas thebad.All areguilty, all aretainted withthesmellofmortality thatLear discovered on his own hand,all are undersentence of death. The sternjusticeof thegodsin King Lear offers littlecomfort to faulty man.It is notin thedivinerealmthatwe findsavingloveand mercy, butin the human-especially in Cordelia.S. L. Bethellhas collecteda long listof allusionsto showthatCordeliais "fromfirstto last. . associated withtheoare and Christian These allusions logicalterminology symbol". particularly noticeable in thedeterminedly non-Christian ofLear. Cordeliais assosetting ciatedwithmiracles, faith,holywater,heaven,blessing;she echoesthevery wordsof Christ("O dearfather, thatI go about").Most / It is thybusiness the naturefromthegeneralcurse".14 she"redeems significant, By embodying and Christprinciple in a mortalbeingand placingheramidstanimalcruelty ethicwe should showsthatiftherewereno Christian divinerigor, Shakespeare in thisone of thenextworld,man'ssalvation haveto inventone.Regardless his In King Lear Shakespeare dependsonlyon loveand forgiveness. deprives values characters of revealedChristianity and forcesthemto createChristian need-ortoperish.15 outoftheirownterrible Even theallegorical character of theProdigalSon talethusbecomesrelea supernatural in peculiarly vant.It presents humanterms.The relationship father is God,we know,buthe is alsoa recognizable and convincing human afterall, workstwoways.A humanmay"standfor"God; being.Allegory, orwemayfindinhumanactionthedivineprinciple. ofhumanlove,theinadequacy ofhumanjustice, thevision The importance of Lear as a childhumbledand instructed by a tragicworld-all these,like withtheProdigalSonparable, areShakespeare's mostoftheincidental parallels Bethell,Shakespeareand the PopularDramaticTradition(Durham,N. C., I944), pp. 66-68. Muir believesthatin Lear Shakespeare"shows us his characters gropingtheirway towards of the values traditionalin his society"(Introd.,New Arden ed., p. lvii)-that is, a recognition sacrifice.Wilson (Design, p. 2i2) concurs:"For all its carefulavoidanceof charity,forgiveness, of the value of human love in the play reflectsa Christianallusions,the centrality specifically Christianmode of thoughtand feeling." distinctively 14

15

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owncontributions to theLear legend.His sources forthatlegend16 suggest no connection beyondthegeneralthemeof familyrelationships and the initial One canonlyguessat theextent division ofportions. oftheparable'sinfluence as a shapingforce;butitswiderimplications bringus closeto theheartof the playand illuminate someof its deepestconcerns. Swarthmore College 16The True ChronicleHistoryof King Leir, the accountsin Geoffrey of Monmouth,Holinshed,and Spenser,and Higgins' tragedyof Queene Cordila in the I574 MirrorforMagistrates.

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