lear and cordelia at home (theme and variations)

8/14/2019 LEAR AND CORDELIA AT HOME (Theme and Variations)

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LEAR AND CORDELIA AT HOME:

THEME AND VARIATIONS

Herbert Lindenberger

This play is protected by U.S. copyright. The permission of the authormust be obtained for any performances.

Lear and Cordelia at Home was performed at Principia College, Elsah,Illinois, February 8-11, 1968, under the direction of Charles R. Lyons,

who also played the role of Lear. Barbara Becker played Cordelia;Jeffrey Hamlin played the part marked Director, and Edward Bradleywas the King of France. The following persons played the variousAttendants: Richard Booth, Paula Bradley, Elizabeth Edwards, HarleyGates, Alec Jones, Todd Kneeland, Sarah McGuiness, Alice Rayner, andRobert Thomas.

PREFATORY NOTE:Rereading this play for the first time in 36years, the author was amazed at how surely it reeks of the theater ofthe 1960's, whose conventions it sought to treat in an at once serious

and playful way. As one looks back historically, one notes itsostentatiously impoverished dcor and costumes, its mock-spontaneous interactions between actors and audience, its existentialand psychoanalytical clichs, its deliberately irritating repetitions, itsBeckett-inspired obsession with objects, its Genet-like games, itsBrechtian alienations, above all, its unashamedly shamelesstheatricality.

CHARACTERS:

LearCordelia, his youngest daughterKing of France, Cordelia's husbandA ManA WomanDirector (to be played if possible by the real director)Attendants (a dozen or so)


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SETTING:

A mythical ancient France

THEME: "... thou mad'st thy daughters thy mothers."

Fool to Lear, I, iv

VARIATIONS:

Agony IReunionCoronationPhone-callBuilding-blocksGongWind-machine

ApologiaDeath-bedHome-movieMasked-ballAuctionImprovisationIntermissionTrialAgony IICatastrophe

EpilogueALTERNATE VARIATIONS:Fence (in place of Wind-machine)Club (in place of Improvisation)

NOTES TOWARD PRODUCTION:

(l) A unit set should be used to insure quick scene changes. The setmust make provision for, among other things, a stairway, thrones,auction block, judge's bench. Furniture should be crude and/or stylizedto make possible multiple uses for single pieces.(2) Throughout the play the full title LEAR AND CORDELIA AT HOME:

THEME AND VARIATIONS must remain projected somewhere within theaudience's view. Directly underneath the play's title the name of eachscene must be projected during the time the scene is being played. Ifslide projections are unfeasible, a sign with the play's title should beset up somewhere, while the names of scenes, to be placed under thistitle, can be changed from scene to scene by one of the attendants.(3) Easy access must be maintained between stage and audience.
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(4) LEAR and CORDELIA are to wear tights under their robes.Characters designated as MAN, WOMAN, and DIRECTOR are to dressas nearly as possible in the way they expect members of the audienceto dress. ATTENDANTS should lack individuality. They should wearidentical costumes--robes that accord with the style of LEAR and

CORDELIA's. Men and women may be used interchangeably asATTENDANTS. Certain ATTENDANTS will have specialized functions,and their costumes should indicate these functions by some symbolattached to them--a musical note, for instance, for MUSIC ATTENDANTor a quill pen for SCRIBE ATTENDANT.(5) All "backstage" effects must be (or at least seem) visible toaudience. Musical effects, for instance, are to be in the hands of theMUSIC ATTENDANT, who officiates in some visible place at, say, an old-fashioned wind-up phonograph (or tape-recorder if the latter fits inbetter with the rest of the production). Even the person in charge ofprojections should be visible, if possible, and dressed in the regularATTENDANT's costume. ATTENDANTS should not hesitate to assumemore than a single function as long as their actions do not seemconfusing. Thus, MUSIC ATTENDANT, after putting on record forCoronation March, may join the other ATTENDANTS cheering at thecoronation.(6) List of theme (the Fool's line to Lear from Shakespeare) andvariations (the titles of the various scenes) must be included on thetheater program.(7) At the director's discretion an intermission may be held betweenWIND-MACHINE and APOLOGIA in addition to the intermission

designated in the list of variations on the program. If this extraintermission is held, the word INTERMISSION should be removed fromthe list of variations, and the program should simply indicate that twointermissions will take place. In this case only the secondintermission--the one between IMPROVISATION and TRIAL--shouldinclude actor participation.(8) The only variations that need be performed in the stipulated orderare the first three (AGONY I, REUNION, and CORONATION) and thefinal three (TRIAL, AGONY II, and CATASTROPHE). The order of thevariations in between may be altered to suit a particular production.

And one or more of these may be omitted if this should also suit aproduction. The director and cast may even choose to compose anadditional scene or two as long as it can legitimately serve as avariation to the stated theme.(9) At the director's discretion a note may be included in the programto inform the audience that from the late l7th century through themid-19th century King Learwas regularly performed in England with ahappy ending composed by Nahum Tate, from whose version the verse


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lines at the beginning of the first scene are borrowed.

AGONY I

(As lights dim, the title AGONY I is projected directly under the title ofthe play. MUSIC ATTENDANT is seen and heard beating metal. When

the stage has become totally dark we hear the sound of groaning fromstage center. As lights go on we see LEAR, without crown, lyingstretched out across what seems like a boulder. The sounds of themetal become gradually less frequent after stage lights up.)LEAR (Feebly): Director!DIRECTOR (Getting up from an aisle seat in audience, speaksimpatiently): Here I am! Here I am!(He runs briskly down to stage and confronts LEAR, whose groaninghas become increasingly less perceptible since he calledDIRECTOR)Now what is it you want?

LEAR: I want the happyending.DIRECTOR: The happyending? Are you sure you know what you'resaying?LEAR: It's much too painful this way. I want the happy ending.DIRECTOR: You know there's nothing like the tragic ending to give theaudience the proper lift!LEAR: I don't want the tragic ending any more.DIRECTOR: I'm warning you, the happy ending's never the same fun.LEAR I've told you three times now: I don't want the tragic ending.DIRECTOR (Exasperated): Have you fully considered what you owethese people?

(He extends his arm to indicate audience)They've stood in line at the box office holding their hard-earnedmoney, they've had their baby sitters hired weeks in advance, and nowthey're sitting here all tense for a fine and exhilarating evening. Youbetter be sure you know what you're doing.LEAR: Let me have the happy ending.DIRECTOR: (Less resistant now) I want there to be no recriminations,self or otherwise.LEAR: I want the happy ending.DIRECTOR (Calling out backstage in a somewhat despairing tone):

Give him the happy ending.(Immediately a number ofATTENDANTS come out from both sides,start pulling furniture out from among props. CORDELIA, ratherconfused, is led out by an ATTENDANT from left. She wears a largecrown, which, except for a few specified intervals, she will continue towear throughout play. DIRECTOR helps LEAR up, leads him out right.NeitherLEAR norCORDELIA notices the other at thispoint. ATTENDANTS are all talking to one another. Lights gradually dim


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to black-out as DIRECTOR leads LEAR out.In the middle of theconfusion MUSIC ATTENDANT starts a drum-roll which he continuesuntil start of next scene.)(Back to list of Variations)

REUNION(Drum-roll comes to gradual halt. As lights go on, DIRECTOR is theonly person moving on the stage. In the centerCORDELIA lies on acot. She is covered up to the neck by a sheet.LEAR is barely visible inright wings. He is blind-folded, is held back by two ATTENDANTS,eachof whom holds one of his arms. DIRECTOR moves behind cot, in frontof it, views it from various angles. CORDELIA raises her head slightlyat one point, then lies back again. A moment later she raises her heada good bit further, looks atDIRECTOR, who, with a sweep of the hand,signals her to lie down again. She lowers her head, then raises it

immediately after.)CORDELIA (Turning to DIRECTOR): It doesn't seem right this way.DIRECTOR: Just lie down and keep still for now.(CORDELIA lies back again. DIRECTOR signals ATTENDANTS, wholeadLEAR, still blind-folded, to CORDELIA'S cot and place him so thathe stands directly above her head)LEAR: Tell me, friends, where am I?FIRST ATTENDANT:In a new country, Sir, where past afflictionsAre forgot and long-rent ties renewed.She pines for thee, yet knows not thou art near.

An early grief did blight her youth and days.Yet weep not when thou dost behold her, Sir.One glance at thee and all the gloom that's dragg'dHer spirits down will melt like morning dew.LEAR (Confused): What lowly creature, friends, doth pine for me?I understand thee not.FIRST ATTENDANT:Much wrongd King,Thou know'st not yet the change that Nature's wrought:The Wheel of Fortune now has made her circle.

And blessings yet stand 'twixt thy grave and thee.SECOND ATTENDANT:Remove his napkin. Great wonders such as earthHath never seen await him now.(FIRST ATTENDANT removes blind-fold. LEAR blinks his eyes,gradually gets used to the light, looks around him)Look down,My Lord, behold the treasure thou hast found.
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(Pause, as LEAR gradually recognizes CORDELIA)LEAR: Is't possible? Cor . . . Cordelia, oh Cordelia I(CORDELIA gradually raises her head)Let the spheres stop their course, the sun make halt,The winds be hush'd, the seas and fountains rest,

All Nature pause, and listen to the change.(During LEAR's speech CORDELIA has gradually raised herself, lookedhim briefly in the eye, then suddenly gets up from cot, turns her backto LEAR and faces DIRECTOR)CORDELIA: Stop it, stop it, stop it! I don't like this thing at all.(During following speeches LEAR andATTENDANTS remain frozen inthe poses they were in at the moment ofCORDELIA's interruption)DIRECTOR (Obviously miffed): What's ailing you now?CORDELIA: I think we ought to start again from scratch.DIRECTOR (Hurt): I simply meant for you to try it out this way, to . . .to give it a chance.CORDELIA (Moving back and forth, speaks without lookingatDIRECTOR): It's so miserably forced a way of bringing us together. Iwant it to be natural . . . simple . . . without all that fuss.(Ellipses in CORDELIA's speeches indicate not only pauses, but also agesture characteristic ofCORDELIA throughout this, but no other,scene: as she grasps for words she extends one or both arms partway, holds her palms upward, momentarily clenches her fists)DIRECTOR (Trying to be conciliatory): Would you feel better if we cutdown on the speeches?CORDELIA: In a way, I suppose. But then . . . whatever I say . . . I

don't think you're really going to understand.DIRECTOR: Say it and give me a chance at least.CORDELIA: Well, the way you're making me play it . . . this way . . .let's face it, it just isn't . . . me!DIRECTOR (Impatiently) Oh God!CORDELIA: It just isn't me having to lie there passively . . . havingmyself ministered to.(Pause, then abruptly)Well, now I've said it.DIRECTOR (Decisively, to ATTENDANTS): We'll try it the other way

around. Bring him out on a stretcher, will you?(ATTENDANTS quickly leadLEAR offstage right. At the sametime CORDELIA turns away from DIRECTOR, moves slowly toward left,sulking with her back to DIRECTOR. DIRECTORaddresses her unawareof her reaction)Now we'll have him put down there--(He points to cot)--and you'llbe the one who's ministering to him. In other words I'm


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reversing the whole plan just to suit you.(ATTENDANTS quickly bring LEAR out on a stretcher, evenbefore DIRECTOR has finished speaking, place LEAR on cot, pull sheetover him. DIRECTOR addresses CORDELIA, who still has her backturned both to him and to cot)

Well?(No answer. ATTENDANTS meanwhile have gone offstage)Doesn't this suit you any better?(Pause. CORDELIA looks slowly, disdainfully at cot, atDIRECTOR, thenturns away again)CORDELIA (Still turned away, speaks quietly): None of you are evergoing to understand, so it's no use explaining. Couldn't you see Iwanted it to be . . . natural . . . spontaneous . . . with both of us facingeach other as equals, in full awareness of what the other is? I . . . Iwanted this scene to be something lovely that all of us wouldremember.DIRECTOR (Calling to ATTENDANTS backstage, speaks with an acidtone to his voice): Take him back again. The prima donna doesn't likeit this way either.(To CORDELIA)So why didn't you speak up earlier?CORDELIA (Quietly): I'm sorry. I know I shouldn't let myself go thatway. I'm afraid I let myself get all pent up inside till I finally had toexplode. You see . . . well . . . if you really want to know the truth . .. do you really want to know the truth?DIRECTOR (Impatient): So--out with the truth!

CORDELIA: You see, all this time I was waiting for you to show somesensitivity to my needs.DIRECTOR (Angry): So what is it you want of me? I'm just the directorhere, I'm not your daddy.CORDELIA: I knew you'd never understand--you're so busyengineering all those grand-style effects of yours. May I ask yousomething? Has it ever occurred to you you had anything but a bunchof marionettes you could shunt about the stage at your every whim?Has it ever occurred to you?DIRECTOR (Conciliatory): All right, so let's be practical. How would you

go about arranging for this reunion? Will you want him to come to youin a dream? Are you planning a formal rendezvous, with cocktails, upon Cloud Nine? Speak up, and whatever you say, I'll see if I can thinkup some way of staging it.CORDELIA (Thinking to herself, looks the stage over, gestures asthough placing things around the stage): We must set up a barrierthat's still not quite a total barrier . . . something that can hold usapart, yet also work to bring us together.


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(Pause, then quickly)I think I want a window.DIRECTOR: You're always insisting on objects and things.CORDELIA: The things I use onstage are things that are full ofmeaning for me. They . . . they are meant to suggest even . . . bigger

things, you might say.DIRECTOR (Sighing, to ATTENDANTS backstage) Attendants, bring thelittle lady a window.(To CORDELIA)Was there anything else you could use while they're still out there?CORDELIA (Still looking over the stage): Don't rush me, please. It'sjust now I'm even able to feel my way into Cordelia. These things taketime.(During her speech two ATTENDANTS have come in with a mullionedwindow frame. They look to DIRECTOR for instruction as to where toput it)DIRECTOR (To ATTENDANTS): Ask her where she wants it. I don'twork here any more.CORDELIA (Before they can even ask): Right here, parallel with thecot. This--(She points to cot)--this will be Cordelia's chaise and above it, though about two feetaway, let's say, we'll have the window. I must ask you to hold it up fornow so I can get the total picture.(ATTENDANTS stand on either side of frame, hold it up accordingto CORDELIA'Sdirections. Throughout the following scene she seems

to be speaking as much to herself as to DIRECTOR and audience)What we've got to realize from the start is the special dilemma thatCordelia's in. The point of the scene is to portray this dilemma in all its. . . emotional coloring and at the same time to show the coming ofher father as her . . . way out of the dilemma. When the scene openswe see her sitting and reading--(As she says this she sits down on cot as though it were a chaise andtakes an imaginary book off an imaginary table next to chaise)--for months now she's been immersed in the most rarified of studies .. . yet somehow . . . these have not sufficed--

(She lets the feigned book drop on the floor, shakes her head slowly toindicate her despair)It can all be conveyed quite beautifully, you see, by pantomime. Andall this time we have Lear standing in the wings in readiness attendedby his friends--(ATTENDANTS enter holding LEAR at right entrance, as at beginning ofscene, except that he is not blind-folded now)--yet before he can discover her she must reveal . . . the texture of


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her life--(CORDELIA looks around stage a moment)She tries embroidery--(CORDELIApretends to pick up embroidery from the imaginary tablenext to cot and works at it for the next few lines)

--there's no stimulation here, of course, but it's something to get hermind off herself momentarily, something to kill time with through allthe painstaking demands it makes . . . yet to no avail--(She drops the feigned embroidery on floor with the same head-shaking as when dropping book)--she lies staring at the ceiling and contemplates her . . . place in life.(CORDELIA lies back and looks upward, but, as though aware that thecot is supposed to be a chaise, she does not let her head go all theway down)Given her position as Queen of France, you see, she lives in a mostunnatural sort of isolation. She has servants for everything she needs,her marriage is good and all that, yet something is missing that she'snever quite been able to put her finger on--in short, her life has beenbadly deficient in meaning.(She sits up again)She has tried her hand at verse, among other things--(She picks up an imaginary pencil and writing-block from imaginarytable, pretends to write a word or two, then looks up perplexed,waving pencil in her hand)--verse of a rather wry and wistful sort . . . but again to no avail . . .sometimes the words refuse to corne.

(She drops pencil and writing-block as she had dropped the books andembroidery, shakes her head again, then abruptly gets up, walks backand forth while speaking following lines)She little suspects at this point that something new is about to fill thevacuum she has felt for so long . . . she tries out her lute--(During following lines she picks up lute from imaginary table, sitsdown with back to window pretending to strum)It's in just this pose he must catch his first glimpse of her--(ATTENDANTS start to bring LEAR to window, then leave him thereand return backstage immediately. LEAR at first sees CORDELIA only

from the back, looks confused)--she plays a slow and mournful tune to symbolize her sadness. Yes,unbeknownst to her, they have brought him here to France, to put himin her care . . . yet she still has no inkling. . . . She hears a light tap onthe window-pane--(Her words are immediately followed byLEAR's knocking on window-frame. He still acts unsure who is inside)--she turns around to see who might be intruding at this strange


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hour--(CORDELIA turns around and looks at him, then turns away quicklyshaking her head; LEARmeanwhile has recognized her and stoppedtapping, has opened his mouth to indicate wonder and happiness, butas soon as she turns away he starts knocking loudly on the frame)

--she sees him, yes, but she refuses to trust her eyes for fear of laterdisappointment. She keeps telling herself it's only some beautiful ghostfrom the past. . . . She shakes her head in disbelief. . . . The knockinggrows louder. She stands up . . . looks around again--(She is momentarily disconcerted as she remembers she wassupposed to be holding a lute)She has already dropped her lute in the excitement. . . . She looks athim--(He stops knocking, stares mouth agape at her, as earlier)--and she knows that now it is real, yet still she shakes her headwondering how she has ever deserved this joy--(She walks around to window shaking her head, yet beaming)--an emotion like this is too much for any two human beings to haveto absorb at once. . . . They rub their noses against the window-pane,having no other way, it turns out, to express themselves to oneanother--(She starts rubbing her nose against pane and LEAR quickly followssuit)--they are really quite speechless, to say the least. . . .(She draws her head back and looks at him with a beaming smile, andhe quickly follows suit. They remain in this position for a moment,

both shaking their heads slightly to indicate wonder. As they look ateach other, one ATTENDANT signals the other and pointsconspicuously with one hand first atLEAR andCORDELIA's heads,then at window-frame, then at floor. The otherATTENDANT gets thejoke and both quickly move frame downward so that it rests onfloor. LEAR andCORDELIA suddenly find themselves without barriers,at least from the waist upward. As soon as they realizethis, CORDELIA exclaims "Father!"andLEAR exclaims "Cordelia!" andthey meet in a passionate embrace, though with the window framestill separating the lower parts of their bodies. The DIRECTOR, who

has remained onstage throughout this time, claps vigorously. Quickblack-out, thoughDIRECTOR's clapping can still be heard for a fewseconds but is soon drowned out by music for next scene.)(Back to list of Variations)

CORONATION

(MUSIC ATTENDANT has put on record of Coronation March fromMeyerbeer's Le Prophteduring black-out. Music must start softly,


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gradually build up in volume during course of scene. Lights go quicklyto full brightness. A half dozen or more ATTENDANTS form crowd ofspectators downstage. Upstage are three thrones, that ofKING OFFRANCE at right,CORDELIA's in the middle, and a conspicuouslysmaller throne forLEAR at left. Thrones are unoccupied when lights go

on. ATTENDANTS look eagerly toward offstage right, occasionallywhisper to one another such phrases as "Can you see him?" "He'scoming!" "What's the latest rumor about the Queen's father?" One ofthem seems to see part of the procession coming in the distance andgives signal to the others, shouts "They'recoming!"Soon CORDELIA appears in a be-ribboned sedan chair carriedbyATTENDANTS. Chair is stopped for a moment while spectatorscheer, shout"Long live the Queen!" and CORDELIA waves at themregally. Then she is brought near her throne, steps off, ascendsthrone, continues to wave at spectators from throne.Meanwhile ATTENDANTS with chair have gone off left and quickly re-entered from right carrying KING OF FRANCE. Crowd shouts"Long livethe King!" Chair is stopped for a moment, KING gestures to crowd toquiet down.)KING (Pompously, after finally managing to quiet crowd down): Inconjunction with my spouse the Queen--(He gestures benignly towardCORDELIA)--in conjunction with my spouse the Queen, I hereby proclaim hervenerable sire, known by the name of Lear, to the honorary rank ofKing-Father, to reign at our sides forever, with all the privileges andhonors due his age, his station, and his immeasurable sufferings.

(Crowd cheers, KING is brought near his throne, steps off, ascendsthrone, continues to wave at spectators fromthrone. ATTENDANTS with chair quickly go out left. Spectators arealready beginning to peer out toward offstage right, and one of themgives a signal to the others when he appears to see LEAR. Theywhisper things like "I never even knew she had a father," "I can't waitto see him!" "Isn't it wonderful?""They never had to dothis!" ThenLEAR enters from right on sedan chair. His crown, which hewears throughout rest of play, is conspicuously smaller than those ofthe KING andCORDELIA. When he enters, the enthusiasm of the

crowd is even greater than it was forKING andCORDELIA. He smilesand waves regally at crowd, who shout"Long live the King-Father!" The chair stops briefly to show him off to crowd, then delivershim near his throne. KING andCORDELIA extend their arms to himand look at him benignly as he ascends throne. Quick black-out as hesits down on throne. MUSIC ATTENDANT cuts off record in the middleand we immediately hear the sound of somebody's feet stomping highabove the stage.)


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(Back to list of Variations)

PHONE-CALL

(Sound of two feet stomping from above, At first all that is visible is alit-up telephone. Gradually lights go on, but they remain fairly dim

throughout scene. Telephone is a luxurious pink, with a pink cordextending upwards to ceiling. Two cots are set parallel to one anotheron stage, with telephone in between. On cots are KING OFFRANCE andCORDELIA, both with their crowns on. When lights go on,both are tossing and turning violently, as though disturbed by thestomping. They glance at one another briefly, thenCORDELIA liftsphone receiver and dials. A distant ring is heard, stomping stops whenphone is answered. ThroughoutCORDELIA's speech KING remainsimmobile, though he looks at her admiringly.)CORDELIA: Is that you, Father? I wasn't disturbing you, I hope. . . .

Well, as a matter of fact I suspected you weren't quite asleep yet. IfI'd thought you were sleeping, I'd have waited till morning, of course.But I have a fairly good way of knowing when you're still up andaround--I have a fairly good way, yes I have. . . . It's not exactly thatyou're keeping us awake, since we're sure to go to sleep eventually--it's just going to take a little longer, that's all. . . . Ofcourse I can seethat and we're the first to understand how easy it is to forget everynow and then that we're right under you. . . . Yes, of course, weunderstand completely, but you really didn't need to growl at Francewhen he tried to take the matter up with you yesterday. Now I wantyou to be nice to France. He has nothing but the best of intentions and

he's been very good to me, you know. . . . Of course not, Father.There's no reason in the world you have to force yourself to go to bedthe same time we do. . . . I can't blame you at all for not being able tosleep. You've been through such a lot, and so much more thananybody could ever conceive of. . . . Of course we want you near us. Ifwe'd thought only in terms of the noise problem we'd have moved youto the East Wing, but we know for a fact we can't give you the sort ofcare there that we give you here. It's much better this way for all ofus. . . . Of course we want you to feel free to walk around. But thenyou know there's walking and walking, and the kind of walking you've

been doing is more on the order of, shall we say, stomping. . . .Heavens no, it's not just for our sakes, for France and me, that is, butyou're getting to an age where stomping around like that isn't any toogood for you. . . . No, of course not. As you yourself just said the otherday, you can't hope for too much when you get up in years like that. . .. I should say so, and you're not the first person in the world who'shad to face up to this. Nor the last either. The time will come whenFrance'll have to face the fact he isn't the man he once was, and I'll


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have to start keeping him in tow too.(Long pause)Why of course I have time right now. . . . I think that's a superb idea. .. . Yes of course I will. . . .(She moves receiver away from her and cocks her ear toward ceiling.

Same loud stomping as before is heard, then stops,andCORDELIA moves receiver back to ear)It could be better, yes, it definitely could.(She moves receiver away again, and this time somewhat lighterfootsteps are heard)That's still a bit brisk, dear.(She moves receiver again, and this time only a light pitter-patter canbe heard. CORDELIAsmiles benignly)That's lovely. Father. You'll live to be a hundred that way. Good night,dear, sleep well.(She puts receiver down, she andFRANCE quickly turn over ready forsleep as lights go out. Pitter-patter continues and light on telephonedims out a few seconds after other lights.)(Back to list of Variations)

BUILDING-BLOCKS

(LEAR sits on floor at stage center putting the finishing touches on acastle he is building out of children's blocks. As lights go on, voices areheard approaching from offstage left.FRANCE andthree ATTENDANTS enter, with FRANCE walking next toone ATTENDANT--to be designated as ARCHITECT ATTENDANT--and

the other two behind them. FRANCE is holding a large set of blueprintsand the ARCHITECT ATTENDANT is pointing to various parts of theblueprints. The two ATTENDANTS behind them are trying to look at theblueprints overFRANCE's shoulder and at the same time to listen tothe conversation. The conversation between FRANCE andARCHITECTATTENDANT takes the following form, though the first part of it, whichoccurs offstage, will remain largely unintelligible to the audience)FRANCE: You're sure we can't possibly put it over the West Wing?ARCHITECT ATTENDANT: It wouldn't support another story.FRANCE: Why wouldn't the South Wing do?

ARCHITECT ATTENDANT: It would spoil the symmetry of the castle asa whole.FRANCE: I'd have nothing against using the East Wing if you think it'llwork.ARCHITECT ATTENDANT: The forest would obscure the view fromthere, unless of course you'd want to remove some trees.FRANCE: The Queen would never approve of that. Then why don't wesettle on the North Wing?


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ARCHITECT ATTENDANT: The insulation would be prohibitive the waythe wind from the heath comes through there in winter.(If this conversation has been exhausted by the time they havecrossed the stage, they should start in again at the beginning.Conversation should continue so that audience can hear their voices

dying out offstage right. As soon as LEAR is aware of themapproaching the stage, he stops building and looks toward wings atleft, all the while holding in his hand the last block he was about to puton his castle)LEAR (To FRANCE,trying to interrupt him as soon as the latter hasentered the stage): Can you tell what this is I'm building? Can youguess?(FRANCE andATTENDANTS neither hear nor see LEAR, but continuetalking as they walk. When LEAR sees they are walking in path of hisbuilding he suddenly shouts)Watch it! Watch where you're going!(They fail to hear him and, still continuing their conversation andstudying blueprints, walk across LEAR's building and completelydestroy It. They finish crossing stage without ever noticing what theyhave done. LEAR tugs atFRANCE's gown as he passes by,butFRANCEcontinues on. LEAR shouts)Look what you've done! Can't you even see what you've done? Thiswas your own castle you trampled down.(The next lines afterFRANCE andATTENDANTS are offstage)France! Come back here, you! Get away from those men! Come backhere, France! You've got to come back here to help me rebuild this!

It's your own castle you did this to! Come back here, France!(While he has been shouting, CORDELIA has appeared from offstageleft and, without his having noticed her, has come over and bent overhim)CORDELIA (Putting her hand firmly on his shoulder and interrupting ashe shouts): Whatever is the matter, Father?(She pats him lightly on the cheek)Calm down now. Calm down so you can tell me what's the matter.LEAR (Shaking, almost hysterical, points to mass of blocks): Look whathe did!

CORDELIA (Still patting his cheek): Look what who did?LEAR (Pointing at mass of blocks): France did. He trampled it down.CORDELIA: But that's nothing, dear. All we have to do is build it upagain.(She gets on floor, starts gathering blocks to rebuild)LEAR: It was ourcastle.CORDELIA: So we'll simply rebuild our castle.(Throughout the following dialogue CORDELIA works busily rebuilding


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castle)LEAR: I want you to go tell France what he did.CORDELIA: Nonsense, dear. France would feel much better about it ifhe knew we'd rebuilt it right away.LEAR: I don't want France to feel good.

CORDELIA: You'll be very happy once we're done. Now come help me.Why don't you start working on that side over there?(LEAR, sulking in an obvious way, reluctantly puts a few blockson. CORDELIA works several times as fast as he does)Now see how easy it is? It goes much faster than you think when youput your mind to it. Aren't you happy to see how well it's going?(She looks at him, gets no reply)Of course you're happy, and you'll be even happier when you see it alldone. Yes?(She looks at him again, still gets no reply. He reluctantly puts onanother block)You're just going to have to accept the fact that things get created andthings get destroyed, and once they're destroyed it doesn't do anygood to fret about what's past and done with. It does nobody any goodat all, so that once something's broken we've got to put all ourthoughts into rebuilding it, just like this. Aren't you happier now?(She looks at him, gets a slight, very reluctant nod)I knew you'd be. And see, we're almost done now. You never thoughtit would go so fast. I know you never did. That's your trouble, dear,you get discouraged so easily you forget how much you're capable ofdoing. I want you to remember this, Father. Now I'm perfectly willing

to help you this time, but from here on out you're on your own. If youexpect to survive in this world you're going to have to learn there's nosubstitute for fending for oneself. And whenever anybody breaks downwhat you've been building up, you're not to waste your time moping orgetting back at him, but you simply keep your chin up and start allover again if you have to. Now you see how easy it's been? There'sreally nothing to it. Wasn't that easy now?(She stares him in the eye)Wasn't it?(Pause, then he smiles and nods)

I knew you'd think so.(CORDELIA gets up)Now, I want you to know that what I'm about to do is meant for yourown good, and I want you to remember everything I've just told you,and then I'm going to leave and let you work things out for yourself--(Just then she unobtrusively, though quite intentionally, kicks thewhole structure down with her foot)--just for yourself alone.


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(LEAR squirms and turns away as soon as he sees what she has done.She does not notice his reaction)You've seen how quick and easy it is. I'll leave you alone now and youcan call me when you're done. Wasn't that quick and easy now? Wasn'tit?

LEAR (Suddenly turning to look at her, shouts at top of his lungs assoon as she has finished her question): No!(CORDELIA, stunned, starts to run off left. LEAR does not move. Quickblack-out.)(Back to list of Variations)

GONG

(During black-out four gongs are heard. When lights goon, CORDELIA is standing on a platform, a gong next to her, and inher hand the stick with which she rings it. LEAR stands across the

stage from her.)CORDELIA: That was very bad.LEAR: But not the worst, certainly.CORDELIA: Bad enough though.LEAR: Five bells would be worse than four bells.CORDELIA: Four bells is nothing to boast about.LEAR: So how many bells means it's unforgivable?CORDELIA: Those things can't be measured.LEAR: Then what business did you have measuring the last one?CORDELIA: Go easy now, Father. I'd hate to have to start ringing itagain.

LEAR (Raising voice slightly): I said what business did you havemeasuring the last one? You insist on calling that one very bad, andthen you won't tell me how much is unforgivable. I don't like it one bit,not one bit!CORDELIA: I think it's time you got your mind off this and settleddown to--LEAR (Raising his voice): I said I don't like this one bit. It's grosslyunfair what you and this husband of yours are making me do.CORDELIA: His name is France and he's your son-in-law.LEAR: I don't care what his name is and what connection, if any, he's

supposed to have with me.CORDELIA: Easy now, or you'll say something really unforgivable.LEAR: I don't care what I say. Do you hear that? And I'll say anything Idamn please about the two of you any place, any time. Did you hearthat?(She tries to interrupt him, but he interrupts her interruption)Any place, any time, and if I feel like saying you're hateful, I'll say--(She rings the gong three times. Pause)


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LEAR (In a subdued voice): So that's all it was worth? Just three thistime.CORDELIA: It's what I'd call bad.LEAR: Just bad this time, but not very bad.CORDELIA: If that's the way you want to put it.

LEAR: I'll put it any way I like. Do you hear that? Any God-damn way.And I'll tell you something: I've had enough of you. Do you hear that?I've had enough of you and that man.(CORDELIA rings gong twice. Pause. LEAR speaks subdued)Two this time.(Long pause, then LEAR suddenly shouts at her)You're a trollop! You hear that? You're a trollop and I wish you weredead!(CORDELIA tosses stick on floor, walks toward him, looks him in theeye, speaks up slowly and sternly)CORDELIA: I will not have you doing anything unforgivable.(She walks offstage curtly, LEAR remains motionless as before. Aftershe is out he looks around suspiciously, stamps his foot to see if shecan hear, gets no response, whistles, gets no response, sticks out histongue and makes an obscene noise, looks around, runs quickly up togong, picks up stick, strikes gong wildly five times, laughs exultantly.Black-out)(Back to list of Variations)

WIND-MACHINE

(A high gate with spears across the top separates two parts of the

stage. Before lights go on, audience is aware of something beingwheeled around. As lights go on, it sees a canvas-covered contraptionabout four feet square on rollers. The contraption is being wheeledfrom left to right behind the gate by two ATTENDANTS.AthirdATTENDANT, to be designated as DOCTOR ATTENDANT, comes upfrom behind, moves ahead of them as though looking for a spot tohave them park the contraption. During the dialogue belowDOCTORATTENDANT finds a place for it at far right. At the same time he islooking suspiciously toward offstage left. All this while, CORDELIA hasbeen sitting on platform on top of stairway. She holds a spy-glass

which, during the first part of scene, before LEARhas come onstage,she picks up several times to see if anyone is near gate.)FIRST ATTENDANT (To DOCTOR ATTENDANT): Think we'll have to usethe machine this time?DOCTOR ATTENDANT: It's one of his bad days.SECOND ATTENDANT: Is he likely to scale the gate again?DOCTOR ATTENDANT: Have the net ready in any case, but remember,you're never to use force on him.


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FIRST ATTENDANT: Where do we hide?DOCTOR ATTENDANT (Peering toward offstage left): Get behind themachine fast. I'll be up with the queen if you need me.(First two ATTENDANTS disappear behind machine, DOCTORATTENDANT rushes upstage to join CORDELIA. During following scene

they exchange the spy-glass several times to watch gate; whisper toone another. Soon afterATTENDANTS have all left the main stagearea, LEAR enters slowly from left, as though out for a leisurely stroll.He does not yet notice gate. He keeps his eyes mainly on the ground,walks about in a somewhat zig-zag fashion. He sees a flower, stoopsdown, picks it, walks about for a few moments smelling it, thencrushes it. He looks about, notices gate, quickly walks up to it. turnshandle. At this pointCORDELIA stands up apprehensively. SheandDOCTOR ATTENDANT continue passing spy-glass to one another.When gate fails to open, LEAR looks up to see how high it is, thenlooks back and forth horizontally to see how far gate extends. Heshakes his head. Then he turns handle several times. He pulls frompocket a ring with two large old-fashioned keys on it. He tries one,shakes his head, then tries next one, shakes head again. Then he letsthe keys drop. He tries handle again, this time shaking it violently.Then he shakes gate, first somewhat gently, then with increasingviolence. He looks around, sees nobody, then slowly starts to climbthe gate. CORDELIA tries to start down the stairs, butDOCTORATTENDANT holds her back at first. As soon as LEAR starts climbing,the two ATTENDANTS quietly come out from behind machine holding anet between them. They get into position directly underLEAR and hold

net beneath him in preparation for a fall. LEAR meanwhile has climbedto top, touched spikes to see how sharp they are, shaken his head. Helooks down again, suddenly notices ATTENDANTS,freezes into theposition he was in when he noticed them, remains motionless. As soonasLEAR has noticed them, FIRST ATTENDANTputs two fingers in hismouth and sends a loud, piercing whistle to CORDELIA andDOCTORATTENDANT. Both at this point are already part way downstairs)DOCTOR ATTENDANT: We're on our way. Don't move.(LEAR keeps his eyes on attendants untilCORDELIA, quite out ofbreath, arrives running.DOCTOR ATTENDANT runs straight from

bottom of stairway to machine, gets behind it when LEAR is notlooking in his direction. During following dialogue audience should beaware ofDOCTOR ATTENDANT constantly peering out from behindmachine to see what is going on)LEAR (Desperately, to CORDELIA): Cordelia, you've got to save mefrom these men.CORDELIA: These men are your friends, dear. They're here to breakyour fall.


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LEAR: Who says I'm going to fall?CORDELIA: You've never yet made it down from there by yourself.LEAR: If you don't tell them to go away, I'll have France called.CORDELIA: France is very busy this time of day.LEAR: (Raising his voice) What's he so busy with he can't see his own

family?CORDELIA: France is busy ruling.LEAR: That's just an excuse. You know good and well who does theruling around here.CORDELIA: Now I don't want to get going on that game again, Father.(Short pause)I think it's time we started thinking about coming down.LEAR: I wouldn't have to be up here at all if you weren't alwayschanging locks on me.CORDELIA: But you must understand, Father, we can't have yougetting lost on that heath again.LEAR: (Raising voice): If I've told you once, I've told you a thousandtimes. I never got lost at all. It's you who decided I was lost.CORDELIA: I know you're very proud, Father, but I don't want to haveto go through this again, especially while you're perched soprecariously up there. Now, shall we start thinking about comingdown, dear?LEAR (Roaring): I told you I won't come down until you send thosemen away.CORDELIA (Beckoning DOCTOR ATTENDANT): I think it's time.(DOCTOR ATTENDANT starts wheeling machine toward

gate. CORDELIA tries to keep LEARfrom noticing it right away)Now I want you to understand, Father, as long as you're staying in ourcastle we can't take any chances on your falling. Bones get verybrittle, you know, when a person reaches an age--LEAR (Interrupting, as he notices machine): Don't let them put me inthe machine. Don't let them--CORDELIA: You always like it once you're in it, dear.LEAR: I won't go in. I won't go in.CORDELIA: It gives you everything you ever wanted on the heath. Yousaid so yourself, Father.

LEAR: I want the real wind on the real heath. Don't let them--(By this time DOCTOR ATTENDANT has arrived at gate with machine.He stands by it quietly, leaving the cover of it on)CORDELIA: We never force you, Father. We always wait till you givethe word.LEAR: I'll never give my word.CORDELIA: I'm not even asking you to, dear. I just want you to thinkback and try to remember how sick you were after that night you ran


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out on the heath.(She turns to DOCTOR ATTENDANT, who quickly pulls small piece ofpaper out of his pocket from which he reads his succeeding speechesas inconspicuously as he can)Remember how sick he was?

DOCTOR ATTENDANT: I certainly do. He was about as sick as anyonecan be and still survive at his age.CORDELIA (To LEAR): You see, Father?(To DOCTOR ATTENDANT)And remember all those hours when we hadn't the slightest idea wherehe'd run off to?LEAR: Stop it, I know exactly what you're trying to do.CORDELIA (Paying no attention to LEAR's interruption): I told you togive the King a sedative since it was no use the two of us having tosuffer that way all night.DOCTOR ATTENDANT (Stumbling a bit over the text he is readingfrom) He thought it'd be too much for you holding your vigil alone.CORDELIA: But it was much better that way, don't you agree, since Ireally didn't trust myself not to get hysterical--LEAR (Trying in vain to interrupt): Stop it!CORDELIA: --After all, the last thing I wanted was for the King to haveto nurse me along. No, I never really trusted myself--I might as welladmit it now--but then, as it turned out. I never broke down either. Ididn't want to eat, of course, but one meal more or less isn't going tomake a whole lot of difference.LEAR: Stop it!

DOCTOR ATTENDANT: You held up very well, all things considered.LEAR: He's reading it. I caught him! He always reads his part.CORDELIA (Paying no attention to LEAR's interruption): You told me Iwas being very good, but I never let any of you know how I really feltinside. This way I could insist you keep me informed exactly how thesearch was going. "Don't spare me a single detail," I told you, "even ifyou think it'll make me unhappy."DOCTOR ATTENDANT: It was only my duty.LEAR: Stop it!CORDELIA: And remember what I vowed to do if we got him back

safely? I vowed I'd never let him out of my sight again, even if itmeant casting everything else out of my life during the few years hehad left--LEAR: Stop it!CORDELIA (Paying no attention): And when you carried him in thenext day he was already half a corpse from all that exposure to thewind and the rain, but I begged you under no condition to reproachhim until you had him fully recovered--


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LEAR: Stop it, stop it, stop it, stop it! I don't want to have to hear thisany more.CORDELIA (To LEAR): Do you want to go in the machine now?(DOCTOR ATTENDANT starts removing cover from the machine)LEAR (Roaring): I don't want to go anywhere!

CORDELIA (To DOCTOR ATTENDANT): It's then I knew I should havebeen a better daughter all along. I reproached myself constantly forbeing selfish enough not to foresee these dangers but you kept re-assuring me that there's only so much--LEAR (Louder than before): Stop it, stop it, stop it, stop--CORDELIA (Interrupting, has to raise her voice loud enough so that hewill hear her): Don't you think you'd like to now?(Pause. DOCTOR ATTENDANT starts turning a lever on the machine.and the sound of wind comes out as long as he is manipulating lever)CORDELIA: You're sure you're not ready for it? You're absolutely sure?LEAR: Let me in the machine.(He lets himself fall into net. ATTENDANTS set him down and carry himinto machine.)CORDELIA (Clapping her hands in time to her wordswhile ATTENDANTS are lifting him in):Blow wind blowBlow wind blowBlow wind blow(She speaks the following words without clapping)You're always so happy once you're in it.(Meanwhile, all three ATTENDANTS have helped install him in the

machine. The machine has a crude, home-built look and consistslargely of a frame of wooden board with some bellows and leversinside. ATTENDANTSplace his arms and legs on levers and help him atfirst to start working the levers. As he pushes them the sound of windcomes out, though the actual sound will likely have to come fromoffstage. As soon as LEAR is working all the levers with his hands andfeet, DOCTOR ATTENDANT slips into his mouth a pipe attached to themachine. Sound of wind immediately gets louder)CORDELIA (Clapping her hands and singing as though to structure therhythm with whichLEAR works the machine):

Blow wind blowFather's all aglowBlow wind blowBlow wind blowCordelia's deep in woeFather's all aglowFrance is in the snowHee haw ho


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his time. That's for others to judge, not me. But I do know one thingfor sure. I'm no longer the silly girl I was at the time the two of us hadthat famous collision of ours which Shakespeare has described so well.There are some mistakes, you know, that a person only makes once,and I've learned from mine. Things have changed a lot for me, in fact.

I've had my own responsibilities having to keep things under control inthis castle. And, I might add, there's no surer way of learning theseresponsibilities than when you're on your own. So I knew pretty wellalmost as soon as father arrived here that if we let him have the run ofthe place he'd have us all in an uproar a good ninety per cent of thetime. You give in to a single one of his demands and next time, youknow, he'll run your whole castle for you and he'll have you allupset--you, your husband, your servants, and not least of all himself. Anddon't think for a moment he'd enjoyhaving the run of the place. Themore freedom you give him the more miserable he gets. It's every bitas hard for him to take as it is for any of the rest of us.(She starts moving back to stage)And believe me, when I'm his age I just hope there's somebodyaround to do the same for me that I'm doing for him right now. I reallymean that. I don't want to be a burden on anybody, least of all those Ifeel closest to, and the last thing in the world I'd want is people givingin to my whims and fearing my every move.(She sits down again on throne. A moment later, in the middle of hernext sentence, LEARappears at top of stairway. He is about to godown, but suddenly becomes aware ofCORDELIA's voice, sits down ontop stair to listen to what she says)

So, as I've said, there's no reason one can't learn to handle Father andkeep him happy at the same time. There's nothing in the world wrongwith anticipating a problem before it develops and taking the properprecautions before things get totally out of hand. And there are waysof dealing with people so skillfully they don't have the faintest ideawhat you're up to. The strange thing is, they end up being muchhappier and much more grateful to you that way.(During following lines she turns the crown around several times in herlap, then, as unobtrusively as she had taken it off, puts it back on herhead again)

Then there's another thing I've learned: you can be a completelydecent and honorable person and still manage to look out for yourselfonce in a while. There are, of course, people who refuse to understandthe sorts of things I've been trying to explain to you. They'll insist ontelling you what it's your solemn duty to do no matter how tangled andcomplicated the individual situation might be. They'll tell you a fatherand his daughter are supposed to act in such and such a way even ifthey both end up being perfectly miserable.


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(She stands up, speaks following lines pacing back and forth in front ofthrone)My only answer is that you can't set up rules in the abstract andexpect all the people around you to conform to these rules. It simplyisn't human nature. And I can assure you of one thing: I've had more

than my share of watching human nature in action. I haven't alwaysliked what I've seen, but I also know there's only so much I can doabout it. Well, that's enough for now.(She starts turning toward stairway, but still has her eye on theaudience. LEAR quickly stands up, pretends he has only now entered)I've taken considerable advantage of your time and your good will, butI'm sure you'll understand.(CORDELIA notices LEAR, but seems to have the impression he hasonly now entered. She starts up the stairs and at the sametime LEAR starts down. Both turn their faces away from one another.When they reach the same stair, LEAR suddenly turns to her andgrabs her arm long enough to make her stop)LEAR: Do you want to know something?CORDELIA (Coolly) Yes?LEAR: You were a mistake.CORDELIA (Uncomprehending): Mistake? What do you mean by that?LEAR Your sisters wore planned for, but you were a mistake.CORDELIA (Softly and martyred) I see.(CORDELIA continues up the stairs with martyred dignity, LEAR hurriesdown. Black-out)(Back to list of Variations)

DEATH-BED

(The tableau should be somehow reminiscent of Renaissance picturesdepicting the death of the Virgin. At top of stairway a cot onwhich CORDELIA lies, the crown as always on her head. On thehighest step is the DOCTOR ATTENDANT, who ministersto CORDELIAthroughout the scene. On the step belowDOCTORATTENDANT is FRANCE, on the next step is an ATTENDANT who will bereferred to as LEAR's ATTENDANT since it is his duty to maintaincontrol ofLEAR, who occupies the lowest step. Only the DOCTOR

ATTENDANT is allowed to communicate with CORDELIA directly.Messages from the DOCTOR ATTENDANTto LEAR are relayed down theline. As lights go on, it is evident thatLEAR's ATTENDANT, whomaintains a firm grip on LEAR, has all he can do to keep LEAR fromrunning up toCORDELIA's bedside.)LEAR (Quietly): How serious is it?DOCTOR ATTENDANT (Whispering almost inaudibly to FRANCE, whorelays whisper toLEAR's ATTENDANT): Shhl Shh!


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LEAR'S ATTENDANT (Very audibly): Shh! ShhlLEAR (Raising his voice): I said, how serious is it?DOCTOR ATTENDANT (Whispering to FRANCE, who relays messagedown the line): Tell him he's making it worse for her by talking.LEAR'S ATTENDANT: He says you're making it worse for her by talking.

LEAR (Loudly): She's my daughter. I have a right to know.(Pause. DOCTOR ATTENDANT andFRANCE both look at himdisapprovingly)Is it serious, or is it not?DOCTOR ATTENDANT (Whispering to FRANCE, who relays messagedown the line): Tell him it's very serious, but every word he shouts willmake it worse.LEAR'S ATTENDANT (Softly to LEAR): It's very serious, but every wordyou shout will make it worse.(LEAR'S ATTENDANT tightens hold on LEAR as LEAR tries to rush upthe stairs. Pause.CORDELIA makes an incoherent sound. DOCTORATTENDANT holds her wrist, puts other hand on herforehead, FRANCE gazes at her longingly, shakes his head in despair,then another incoherent sound from CORDELIA)DOCTOR ATTENDANT (Whispering to FRANCE, who relays themessage): Tell him she's trying to say something.LEAR'S ATTENDANT (Softly to LEAR): She's trying to say something.(All wait with anticipation)CORDELIA (After uttering more incoherent sounds): My . . . my fatheralways meant well. My father was good to me. I have nothing toregret. (Her voice fails. DOCTOR ATTENDANTbends over to breathe

into her mouth, he breathes hard, then stands away for a moment,looks at her intently)DOCTOR ATTENDANT (Whispering to FRANCE, who relays message):Tell him this is the crisis. Tell him it can go either way.(DOCTOR ATTENDANT breathes into her mouth again while messagegoes down the line)LEAR'S ATTENDANT (Softly to LEAR): This is the crisis. It can go eitherway.LEAR (Trying vainly to break out ofATTENDANT's grip, shouts loudly):Help her! Help her!

(FRANCE quickly whispers to LEAR's ATTENDANT, who puts his handoverLEAR's mouth while trying to hold him back with the otherhand. FRANCE has to help in holding LEARback. DOCTORATTENDANT continues breathing into CORDELIA, then stands back tolook, holds her pulse, bends over, listens to her heart beat, standsback)DOCTOR ATTENDANT (Whispering to FRANCE, who relays message):Tell him she's rallying.


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LEAR'S ATTENDANT (Softly to LEAR while still holding his handoverLEAR's mouth): She's rallying.FRANCE (Sighing in relief, then softly): Thank God!(LEAR tries to utter a sound, which is stifled behindATTENDANT'shand, LEAR makes a violent attempt to move, is still held back

byATTENDANT andFRANCE)DOCTOR ATTENDANT (Whispering to FRANCE, who relays message):Tell him she'll make it.LEAR'S ATTENDANT (Softly to LEAR): She'll make it.(Another stifled but also louder sound from LEAR as lights quickly fadeout.)(Back to list of Variations)

HOME-MOVIE

(A sheet hung against wall serves as a movie screen. CORDELIA sits

alongside a projector.LEAR sits in a chair placed at an anglesomewhere between projector and screen. The movie (or video) beingshown is without sound track. It is an obviously amateur attempt atmoviemaking, showing mainly close-ups ofLEAR andCORDELIA intragic poses. The realCORDELIA comments on the movie at variouspoints.)(FIRST SECTION OF MOVIE: LEAR in long embracewith CORDELIA, then a more distant shot in which CORDELIA bendsdown andLEAR gives her a fatherly benediction.)CORDELIA (Commenting at strategic intervals): They've just been re-united and he's only now recognized who she is. . . . He's not seen her

in all this time. . . . It's obviously too much for him. . . . For her too. . .. They vow they're never going to be parted again, never again.(SECOND SECTION OF MOVIE: Sharp interruption of soldiers crossing,close-ups of spears, sadistic faces of soldiers, confusion.)CORDELIA: We see vast battles all around them. . . . Menacing forceseverywhere. . . . Soldiers breaking in on them. . . . All the marvelousthings the two of them had planned for each other are quicklyforgotten. . . . It was not to be. . . .(THIRD AND LONGEST SECTION OF MOVIE: LEAR andCORDELIA areshown behind prison bars. She sits on a cot strumming a lute. He lies

on the cot, his head resting on her lap. Occasionally she stops, looksat him, strokes his hair.)CORDELIA: They've been captured by the troops, placed in thenarrowest of cells. . . . In distant chambers the death sentence hasbeen pronounced on her. . . .(LEAR quietly gets up from his chair, circles chair from behind, sitsdown again. CORDELIApays no attention to him)CORDELIA: She knows inside what's in store for her, but her first


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thought is to keep it from him as long as she possibly can. . . .(LEAR extends an arm in the path of the projector. It appears on thescreen. He quickly removes his arm, waits a moment, then extends itagain and lets his fingers move against each other to cast animalshadows on the screen. CORDELIA goes on as though nothing has

happened)She sings to him, tells him quaint stories, keeps his mind occupiedwith happy trivial things. . . . She knows that soon the executioner willcome for her, but first they will let him, the one who's foremost in hermind, go free. . . . He will wait for her, certain that once again they willbe reunited. . . . She knows inside the time will come when he mustlearn what they have done to her, but she will protect him for now. . . .(LEAR removes arm, sits quietly watching as at start of scene)She has learned to dissemble and has discovered a multitude of waysto re-assure him that all is going well. . . . The impending tragedymust be held back from him as long as is humanly possible, and soshe sings him one last song. . . . Yet there is one thing she has refusedto recognize inside, and this is that he too fears the worst. Both, infact, have learned to hide their deepest fears from one another, foreach of them wants to protect the other more than either cares toprotect himself. The truth is obviously too much for them tocontemplate, too painful, too terrifying in every way. And so she singshim one last song. . . . Still, there are moments when, try as she will,she cannot prevent a sob from breaking through--(CORDELIA herself suppresses a sob or two at this point)So she pretends it is all a part of the song, nothing personal, of

course, but something that the performance simply demands. Shesmoothes it over with a smile. . . .(During the last few moments LEAR has quietly got up, walked over tothe screen and yanked it off the wall. Movie, however, continuesshowing on the wall behind the screen. When LEAR notices this, heplants himself squarely in the path of the projector and arches hisback provocatively so that the movie is projected against his rearend. CORDELIA goes on narrating as though trying to ignore what hashappened, but more and more sobs appear as she speaks)Yet there is only so much a person can hide, try as she will. She can

hide her sobs in her singing, but she fears she will lose all control ofherself when they come to fetch her for the execution. She will try tobite her lips . . . by dint of sheer will, force out a loving smile. . . .(CORDELIA is overcome by sobs. She quickly gets up and runs out thetheater aisle sobbing. LEAR remains motionless as the moviecontinues on the back of his gown. Projector suddenly stops, leavingstage dark.)(Back to list of Variations)


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MASKED-BALL

(Before lights go on MUSIC ATTENDANT starts playing a familiarStrauss or Lehar waltz tune. Throughout the scene, whenever nodialogue is going on for an extended period, he turns the volume up.

Just before conversations begin, he turns the volume down. Whenlights go on we see at least four couples--ATTENDANTS plus CORDELIA andFRANCE--waltzing. Several smallbenches to which the dancers periodically retire are set in variousparts of stage. All the dancers wear masks. They also should wearsomething to symbolize a special ball costume--for instance a stripe ofcrepe paper extending from shoulder to hip. Sincethe ATTENDANTS wear similar gowns, women ATTENDANTS aredistinguished in this scene by the fact that they carry fans. Theaudience will be able to distinguish LEAR,CORDELIA, andFRANCE from

each other and from the ATTENDANTS through the fact that all arewearing their usual gowns. This is the one scene, however, in whichnone of the royal characters wears a crown. Throughout the scene theaudience should be aware of a mildly erotic atmosphere among thedancers: occasionally they are seen stealing kisses from one anotheror surreptitiously handing billet-doux to somebody else's partner.During the dancing there should always be one couple sitting on abench, though they should not remain there for a great length of time.Partners should be exchanged frequently. Throughout thescene BUTLER ATTENDANT stands stiffly at attention at head of stairs,as though guarding entrance. Soon after lights have gone on and

audience has sized up what is going on, LEAR, masked, enters stageat head of stairs. He walks pompously, looks down at dancers, then isstopped abruptly byBUTLER ATTENDANT as he starts to descendstairs.)BUTLER ATTENDANT (To LEAR, as he holds him back): Do you have aninvitation to this ball, sir?LEAR: No, but I have an account to settle here.BUTLER ATTENDANT: You'll never get in unless you settle accountswith me first.(LEAR pulls a wad of paper money out of his sleeve, puts it

into BUTLER ATTENDANT's hand. BUTLER ATTENDANTpockets it in aconspicuously inconspicuous way)LEAR (Looking down again at dancers): Which one is the Queen?BUTLER ATTENDANT: We never give out that sort of information at ourmasked-balls.LEAR (Pulling another wad of money out of his sleeve): Let me ask youagain: which one is the Queen?BUTLER ATTENDANT (Pocketing money as before, speaks without


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having to look down to observe): She's the lady with the red stripe.(LEARpromptly tries to start downstairs, is stopped again byBUTLERATTENDANT. BeforeBUTLER ATTENDANT is able to sayanything, LEAR has pulled another wad of money out, tried to hand itto BUTLER ATTENDANT)

LEAR: Will this do?BUTLER ATTENDANT (Moralistically disdaining the money): Really, sir, Iwas merely going to remind you it's the custom here to announce therole you are assuming for the ball.LEAR (Thinks for a moment) You may call me the Mystery King.BUTLER ATTENDANT (Stepping forward to address dancers): Hear ye!Hear ye!(Music and dancing stop, everybody looks up expectantly. LEAR standsstill while he is being introduced)Lords and ladies, I beg to announce the arrival of the Mystery King.(LEAR descends the stairs resolutely. Ladies,including CORDELIA, wave their fans, whisper such things as "I wonderif he's someone we know," "Where could he ever be from?" "Isn't thatan impressive stride?" "I hope he asks me for a dance." Music startsagain, couples start dancing, everybody glances frequently atLEAR tosee whom he is going to dance with. LEAR walks back and forthamong the dancers looking them over, stops when hefinds FRANCE andCORDELIA,pokes FRANCE in theback. FRANCE andCORDELIA stop)LEAR (To FRANCE): May I?CORDELIA (Coquettishly, waving fan): Oo! The Mystery King!

FRANCE (Bowing): Your Highness!CORDELIA (Still coquettishly, still waving fan): I never dreamt I'd beso honored.(LEAR grabs her forcefully, moves her quickly away from FRANCE andstarts to dance. Throughout following conversation they dance close tofront of stage. Music must be soft enough so that they may be easilyheard. FRANCE, meanwhile, starts keeping time to the music with onehand, then is captured by a flirtatious ATTENDANT who

forces him to dance. While he dances he constantly tries to keep an

eye on LEAR andCORDELIA)LEAR (Solemnly, while dancing): I have a thing or two to say to you.CORDELIA (Coquettishly, as throughout the following dialogue): You'llsay it with style, I hope.LEAR: I'm rather old for that, I suspect.CORDELIA: I've always admired older men.LEAR: What if they're over fifty?CORDELIA: That's when their charm begins.


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LEAR: And over sixty?CORDELIA: There's a fine mellowness that sets in at sixty.LEAR: And over seventy?CORDELIA: Grey hair becomes a man.LEAR: I'm afraid I'm too wrinkled for a young woman like you.

CORDELIA: A man doesn't begin to be interesting until he shows thoselittle lines of maturity.LEAR (Showing signs of fatigue, draws her to a bench near front ofstage): I get out of breath pretty fast these days.CORDELIA (Sitting down with him, starts to wave fan): That's onlybecause you've come a long way today.LEAR: Not as long as you might think.CORDELIA (Turning face as though expecting him to steal a kiss):You've not yet told me where you're from.LEAR (Ignoring her play for a kiss): I'm the Mystery King, remember.CORDELIA (Trying again for a kiss): That doesn't excuse you fromgiving me at least a hint.LEAR (Still trying to ignore her play for a kiss): Let's say I'm from--(Pause, then he gives her a perfunctory kiss to get it over with)Let's say I'm from Mysteryland.CORDELIA (A little sourly): I can see that men are none too courtly inMysteryland.LEAR: We do our best.CORDELIA (Coyly, waving fan): Do you ever offer personal tours ofMysteryland to--(Pause)

--to foreign visitors?LEAR: I haven't up to now--never had the time, in fact.CORDELIA (Still waving fan, looks him eagerly in the eye): Any chanceyou might make an exception?LEAR: As a matter of fact, now that I'm alone I might be able to fit in atour or two here and there.CORDELIA (With tact): You're alone then? I mean, you have noimmediate family?LEAR: Not anymore. They've all gone their own ways, you might say.CORDELIA (With sympathy): If it makes you feel better to talk about

them, I'll be happy to listen.LEAR: As a matter of fact, it makes me feel worse.CORDELIA (With resignation): Anything you say.(Pause, while he looks away)Wasn't there something you were going to say to me?LEAR: Maybe I ought to leave it for some other time.CORDELIA (Coquettishly again): The time may never come again forus.


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LEAR: I think I'd better say it in private.CORDELIA: I know your type.(Pause, while she looks around, then points toward stairs, whispers tohim)Maybe we could step over there a moment.

(She grabs his hand, leads him to stairs. Music volume increasestemporarily during this interval. FRANCE drags his partner to try to getcloser to LEAR andCORDELIA and see what is going on, but hispartner quickly pulls him back and forces him to start dancing again.During following dialogue LEAR andCORDELIA slowly move up thestairs, one stair at a time, between snatches of conversation. BUTLERATTENDANT, as motionless as ever, remains standing at top. Musicvolume is turned down before LEAR andCORDELIA starttalking. CORDELIA waves fan as she talks)I shouldn't be doing this, I know I shouldn't.(She goes down a step)I think I really ought to go back.LEAR: Just give me a moment.CORDELIA: A lot can happen in a moment.LEAR: I'll make it quick.CORDELIA: All right then.(She moves up a stair)Now tell me what you wanted to say.LEAR (Drawing her up another stair): Come be my queen inMysteryland.CORDELIA (Coyly): Oo la la! But you don't even know if I'm free.

LEAR (Drawing her up another stair): If you're not free, you shouldn'tbe leading me on this way.CORDELIA (Innocently): Why, I've never led anyone on in my life.LEAR: Then come be my queen in Mysteryland.CORDELIA: You manage to come on rather strong, sir.LEAR: At least tell me what you think my chances are.CORDELIA: Well, it's a bit hard to say at this point.(Pause, as she waves her fan in contemplation)On the other hand, I wouldn't completely rule things out.LEAR (Drawing her up another stair): Is there anything I could do to

better my chances?CORDELIA: Well . . .(She contemplates for a moment, waves fan)I'd like to know a little more about you first--your background, yourambitions, your way of living, that sort of thing.LEAR: You want me to show you something?CORDELIA (Eagerly) What could it be?LEAR: Look, you little vamp!


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(He lifts his mask)CORDELIA (Turning away In surprise): Oo!(LEAR remains motionless, keeps mask lifted up with hishand. CORDELIA remains looking away at first, then slowly turnstoward him again to make sure that what she saw was true. After she

looks him in the face again she quickly turns away once more, speaksin a horrified tone of voice)Oh my Godl(Pause. LEAR fastens his mask back on, laughs softly to himself.Then CORDELIA turns toward him abruptly, speaks coldly as neverbefore in this scene)Don't you know you're supposed to have been in bed hours ago?LEAR (Defiantly): Ha!CORDELIA: The servants will ring the kidnap-alarm the moment theysee that your bed's empty.LEAR: Ha!CORDELIA (Exasperated): Whatever gave you the notion to comedown here this way?LEAR (Quietly, firmly): I came to expose you in front of your guests.CORDELIA: Expose . . . me?(Pause, while she opens her fan again, briefly waves it)You might as well know that flirting's the most natural thing in theworld when we have our masked-balls.LEAR: That's not what I meant.(Suddenly with bitterness)I came here to expose you for all the other things you've been doing

to me.(He turns to dancers, starts running up the rest of the stairs, speakswhile running up)Look up here, all of you--(Music stops, dancers look up, whisper things like "I never expected aspecial show," "What could he be trying to do?")Look up and see for yourselves what--CORDELIA (Removing her mask, interrupting LEAR before he can goon with his speech): Ninny, why it's Ninny!(She calls out below)

France, France, look who's here! It's our old jester Ninny, after allthese years away from us.LEAR: No, it isn't and don't you try to interrupt--CORDELIA: And guess whom he's impersonating tonight, France?Guess whom? Won't you say hello to the King, Ninny?LEAR: I will not, and I'm not Ninny either.(LEAR tears off his mask, throws it violently toward dancers below)CORDELIA: That's right, take off your mask, Ninny, and show us how


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well you can play the King-Father.LEAR: I'm not playing the King-Father, I am the King-Father.CORDELIA: Of course you're the King-Father and you're playing himgorgeously, Ninny.(LEAR glowers at her in impotent anger)

Bravo, Ninnyl I see you're doing him angry tonight. Come show us howhe clenches his fists.(Pause, while LEAR tries to vent his anger first by shaking his head,then his body, ends up clenching his fists.Dancers laugh, one or twostart clapping their hands)How I wish the King-Father were here to see you, Ninny!(She turns to dancers)There's nobody but his old fool Ninny that he ever suffered to mimichim.(LEAR roars at her like a lion. Dancers laugh and clap theirhands. CORDELIA addresses dancers)Poor Father, he'll be downcast all morning when he finds out we neverwoke him to watch Ninny play the old king.LEAR: I'm Lear, I'll have you know, I'm King Lear.(Dancers laugh and applaud)CORDELIA: Play it old, Ninny, play it old. Remember, the King-Father'svery infirm these days.(LEAR takes deep breaths, as though in agony)Breathe hard, Ninny, be old and infirm!(To dancers)How I wish my father were here now! There's no one he loves more

than Ninny, not even me!(LEAR attempts to speak, though at first he is able to utter onlyinarticulate sounds)Speak up, Ninny, and remember to breathe hard. We want you to saysomething memorable.LEAR: I . . . I(His voice dies out. He holds the palm of his left hand against his leftchest, holds right hand out to dancers. Then he brings palm of righthand to right chest, then slowly moves both hands outward, raisesthem in air. He sputters at first, begins to talk once he has his hands

high in air)I . . . I . . . can't . . . stand this anymore!(He collapses. Dancers laugh, applaud wildly, yell"Bravo, Ninny!" asdoes CORDELIA. BUTLER ATTENDANT, who has stood stiffly in hiscustomary position throughout scene, betrays a disdainful look at thecollapsed body. Black-out.)(Back to list of Variations)


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AUCTION

(LEARpresides at auction before an audience ofATTENDANTS who aresitting on floor before him. A drawn curtain hides the item he is aboutto sell. An ATTENDANT stands nearby to pull curtain. Before lights goon we hearATTENDANTS whisper things like "What could he be up to

now?" "He's been holding something back all along," "There'ssomething tricky about this man." Whispering is interrupted by thesharp pounding ofLEAR's gavel. Lights go on as he is still poundingand as the ATTENDANTS start to quiet down.)LEAR: Don't go yet, gentlemen, we have one more item up for saletoday. And I can tell you frankly, gentlemen, there was a time when I'dnot for the world have parted with this item. But times have changed,and, as it turns out, I have no use for it anymore, no use at all, andnow, you see, I've decided to put it on the block. I shall hold you insuspense no longer, gentlemen: I want you to give this item a good

look and judge for yourselves.(To ATTENDANT near curtain)You can pull the curtain now.(Great gasp of admiration as soon as curtain is drawn, for itreveals CORDELIA, veiled, stooped in a bird cage. She remainsmotionless. SeveralATTENDANTS scream in horror. Onemale ATTENDANT screams in falsetto voice, "This is the height ofcallousness!" then runs out left. Some ATTENDANTS, obviouslyapproving, point at her and whisper things like"Her plumage isn't badat all!" "It's a shame he has to sell her," "The bidding'll go beyondwhat I can afford." Others, obviously disapproving, whisper things

like "He knows no shame," "How could he do a thing like that?" "If Ihad a bird like that, I'd starve before I sold her." LEAR looksatCORDELIA a moment after curtain is drawn, then abruptly turnsaway. Quite suddenly the bidding begins)FIRST ATTENDANT (In a vulgar tone): Six hundred.SECOND ATTENDANT (Directly thereafter): Seven hundred fifty.THIRD ATTENDANT (Just as quickly thereafter) Nine hundred fifty.LEAR (Pounding gavel): Hold it, gentlemen. I never said the biddingwas supposed to begin yet. I want to be absolutely fair with you.Before we even start the bidding, I want you to find out for yourselves

what you'll be getting in this bird here. I had three such birds once, I'llhave you know, and this one was by far the best of them, but she stillleft a good bit to be desired. As it turns out, she's outlived herwelcome with me, or, to put it more simply, I don't like her any more.This doesn't of course mean she might not suit another master. I canassure you, for one thing, that she comes from a very rare species andhas the best of pedigrees. For all I know, gentlemen, she might not bethe same nasty bird in somebody else's house that she was in mine.


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(He turns to CORDELIA)Now I want you to show the gentlemen your claw, Cordelia. I wantthem to see for themselves what a powerful claw you have. Hold outyour claw, Cordelia.(Pause. CORDELIA slowly extends a hand in LEAR's direction. She

waves the hand repeatedly in a graceful and pleading way)I said show it to the gentlemen, not to me.(He looks conspicuously away from CORDELIA)If you keep on doing that, Cordelia, I shall have to start your pricevery high and nobody will want you.FIRST ATTENDANT: I offer two thousand.SECOND ATTENDANT (Quickly thereafter): Two thousand five hundred.THIRD ATTENDANT (Quickly thereafter): Three thousand one hundred.LEAR (Pounding gavel):Hold it a moment, hold it, gentlemen.(ATTENDANTS quiet down. During next speech ATTENDANT who hadrun out irately slinks back in, sits down, later joins in bidding)I haven't even announced the starting price yet and you're taking itupon yourselves to tell me what this bird is worth. I won't have you bidtill you really know what you're getting.(He turns to CORDELIA)Now I want you to show the gentlemen your beak, Cordelia. Showthem what a sharp little beak you have.(Pause. CORDELIA slowly draws back her veil, brings her hand to hermouth, throws LEARa series of kisses. LEAR quickly turns his headaway from her)I didn't want you doing that, Cordelia. That isn't what I asked you to

do at all.(He looks at her again, sees she is still sending him kisses, turns awayabruptly)If you keep on doing that I'll simply have to take you off the market.FIRST ATTENDANT: Five thousand for that bird.SECOND ATTENDANT (Quickly thereafter): Six thousand five hundred.THIRD ATTENDANT (Quickly thereafter): Nine thousand.FOURTH. ATTENDANT (Quickly thereafter): Eleven thousand eighthundred.LEAR (Pounding gavel): I want order around here, gentlemen. If you

can't maintain a modicum of order this sale will never be able to takeplace. And I won't have this bird leaving the auction block until she'sshown you she can behave herself. Now I want you to show thegentlemen how you can sing, Cordelia.(He turns to CORDELIA)I want you to show them what a piercing tone you command. Chirp,chirp, Cordelia, chirp!(Pause. CORDELIA slowly pulls back her veil, turns to LEAR and, in a


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soft voice, slowly repeats the word"Father" over and over againthroughout the following speeches. LEARquickly turns away, thenspeaks afterCORDELIA has said"Father" two or three times)Don't do that to me, Cordelia. That wasn't what I asked for at all.FIRST ATTENDANT: Fifteen thousand.

SECOND ATTENDANT: Nineteen thousand.THIRD ATTENDANT: Twenty-three thousand five hundred.FOURTH ATTENDANT: Thirty thousand.FIFTH ATTENDANT: Thirty-nine thousand.LEAR (Pounding gavel as bidding goes on, outshouts bidders): She'snot for sale, gentlemen! I want order, please. Can't you hear, I've saidshe's not for sale, I've taken her off the market.SIXTH ATTENDANT: Fifty thousand.SEVENTH ATTENDANT: Sixty-eight thousand five hundred.EIGHTH ATTENDANT: (Very loudly) One hundred thousand.LEAR (Shouting atATTENDANT near curtain): Draw the curtain, you!Didn't you hear me say I've taken her off the market?(ATTENDANT draws curtain; CORDELIA's voice stops saying "Father" atthis point.ATTENDANTS, who have become increasingly restless, startrushing up toward curtain.LEAR rushes to beat them to curtain and,with the help of the ATTENDANT drawing curtain, manages to wardthem off. ATTENDANTS are now bidding fees like "Five hundredthousand," "Two million," "Five million" while fighting to get to cage.LEAR shouts while warding off onslaught ofATTENDANTS)Don't let them take my bird! Don't let them! She's mine. Can't you seeshe's mine? Don't let them!

(Lights go out in middle of uproar. MUSIC ATTENDANT starts music fornext scene immediately after and quickly drowns out the noise.)(Back to list of Variations)

IMPROVISATION

(Showy organ music of a Csar Franck-like sort. Slow processionofATTENDANTS crosses stage from left to right. ATTENDANTS comeout in twos, with hands folded, faces pious and motionless. As eachcouple reaches stage center, it turns downstage briefly and genuflects,then continues procession towards right. By the time the third or

fourth couple has crossed, CORDELIA enters alone. She marches inthe same slow rhythm as the couples before her. In one hand shecarries a prayer-book, in the other a long rope which extends behindher offstage. Before she can reach the centerLEAR enters. He iscrawling on all fours, and the end of the rope which CORDELIA leads islooped around his waist. As soon as the audience has had a good lookat him DIRECTOR's voice is heard from audience.)DIRECTOR (Getting up abruptly): OK, I've had enough of this for now.


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You can cut it.(He walks briskly toward stage. MUSIC ATTENDANT stops music assoon as he has spoken. For the first moment ortwo CORDELIA andLEAR continue as before)Did you hear me? I said cut it.

(More loudly)Cut it!(CORDELIA andLEAR finally stop dead in their tracks. They lookbewildered. During following speech DIRECTOR takes a knife out of hispocket, cuts LEAR's leash, addressesLEAR)I think it's time you cut out that outrageous pose and stood up like aman.(LEAR slowly stands up. DIRECTOR now addresses both of them)You've indulged yourselves more than enough for a single evening. Iwas perfectly willing to go along with this business for a while--(He points disdainfully at rope, walks over to tearCORDELIA's prayer-book out of her hand)--but this is more than anybody--and I know I'm speaking for thewhole audience--is willing to accept. I'll put up with absurdity--to apoint, of course--and I'll allow you to steal unashamedly from everyother contemporary play, and, for that matter, I'm even willing to putup with prayer-books and Christian ritual in a strictly pagan work, butI'll tell you one thing for sure, I won't put up with all thisrepetitiousness and gimmickiness. I gave you free rein to do what youwanted, and now you've reduced what might have been a beautifulplay to the sheer mechanicalness of a formula.

(At firstLEAR andCORDELIA look stunned, then they gradually showsigns of anger andCORDELIA waits for her first chance to interrupt)Why, there isn't a person in this whole house--(He extends his arm to encompass audience)--who couldn't pick up from here and start repeating those tired oldroutines of yours exactly where you left off--CORDELIA (Showing anger): What in God's name are you trying to useus for?(Then sarcastically)Or are you staging another one of your famous object-lessons?

DIRECTOR: I'm not staging anything. I'm simply telling you there'snothing in the least original, or entertaining, or even provocative inthese routines you've been dishing up, and I'm convinced that almostany person in this theatre--(He extends his arm to audience once again)--could continue this play from here--CORDELIA (Exploding): Well then I think it's high time some of themgave it a try!


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(She precipitously tears off her gown, revealing tights underneath.She takes off her crown, coldly hands gown and crown to DIRECTOR,then looks atLEAR, addressing him by the actor's first name)And you, too! Do you think I'm going to subject myself to thishumiliati

lear and cordelia at home (theme and variations)

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