Women and King Lear

Feminist criticism

- A general overview of some of the feminist perspectives on the play.

- Use to guide your reading

- Be purposeful/ critical

Marilyn French/ Linda Bamber

• Early feminist criticism of play suggest that Shakespeare is a feminist writer, sympathetic to the difficulties of the female he represents.

• Critics often compare women in the play with Puritan goodwife/ companion/ stereotype of the time, much debated in Renaissance handbooks, to support their points.

• However, doesn’t take into account historical circumstance, only the values ascribed to men and women.

• This view presents feminism as a set of social attitudes rather than a project for fundamental social change.

Kathleen McLuskie ‘The Patriarchal Bard: feminist criticism and

Shakespeare’• McLuskie sees the play as

fundamentally misogynistic and also, a paradigm for the sexual politics of its genre (tragedy) and history (Shakespeare’s time).

• Tragedy is misogynistic as although it claims to talk about the existence of a permanent, universal and unchanging condition, the protagonist is always male/ with male concerns and plots. Adding to this, Shakespeare aligns anarchy and sexual insubordination via Goneril and Regan.

• In chronicle play ‘King Leir’, sisters’ villainy is a plot device; their mocking pleasure at C’s downfall a comic act and their evil is an exciting plot twist on Lear’s life.

Kathleen McLuskie ‘The Patriarchal Bard: feminist criticism and

Shakespeare’• In ‘King Lear’, all female resistance is

defined by gender, sexuality and position in the family; family relations are fixed and any move against them is portrayed as a destructive move against the rightful order.

• For example:– ‘into her womb convey sterility’ Lear, 1.4– ‘whores do churches build’ Fool, 3.1– ‘women will all turn monsters’ servant,

3.7– ‘humanity must perforce prey on itself,/

like monsters of the deep’ Albany, 4.2

Coppélia Kahn, ‘The Absent Mother in King Lear’

• Misogyny is instrumental and instructive; charts Lear’s progress from misogynist rejection of womanly values to a final acceptance of his more womanly qualities.

• It’s an exploration of male anxiety in a historical account of the way feelings are apparently feminine.

• Psychoanalytical reading of play which suggests Lear’s desire to be mothered by Cordelia.

Coppélia Kahn, ‘The Absent Mother in King Lear’

• ‘O! How this mother swells upward toward my heart/ Hystericopassion! Down, thou climbing sorrow/ Thy element’s below!’ (2.4, 56-8) Hysteria characterized as feminine – disease of the hyster, the womb.

• In Shakespeare’s time, hysteria also called ‘the mother’ – vivid metaphor to describe the woman in society; destined for childbirth, but physically weaker than man.

• Womb is a sign of weakness; remedy is regular sexual intercourse/ husband. Signifies her weakness for the flesh over mind/ spirit.

Coppélia Kahn, ‘The Absent Mother in King Lear’

• First scene about male anxiety; real purpose is about giving away his youngest daughter; variation of wedding scene; bond between father and daughter.

• Perhaps Lear is deliberately manipulating giving away of Cordelia; incestuous purpose.

• The surrender of her also awakens a deeper emotional need in Lear; need for the daughter/ mother

• Lear as a child: wants absolute power over those closest to him and to be absolutely dependent on them. Pre-Oedipal experience/ desire.

• As man, father and ruler, habitual needs for love have been repressed; he wants to ‘crawl’ like a baby towards death. He needs his ‘nursery’ – Goneril and Regan don’t provide this; hence re-enactment of a childish rage about the absence of a mother figure.

Introductory activity for Act 4, scene 2

“To thee a woman’s services are due,/ A fool usurps my bed.” (Goneril to Edmund)

• Some critics find the sudden revelation that both Goneriland Regan love Edmund a little far-fetched. If you were directing a play how would you deal with this love triangle? What advice would you give the actors? (AO3)

Close reading of Act 4, scene 2

• Focusing on presentation of Goneril

• The role of Albany

• Edmund’s motivations

• Relationship between the sisters

• Critical links to feminist criticism

Activity – women in the play

‘Tigers, not daughters…’ • This is a play full of images

which present women as monstrous or inhuman. Collect examples from the play – making a careful note of who is speaking and the context.

• Would you agree that this play reflects a patriarchal world view and seems terrified by women and what they might represent?

Essay Question:By considering the dramatic effects of the play evaluate the view that, ‘the play reflects a patriarchal world view and seems terrified by women and

what they represent’

Homework:Gloucester preparation

• Revisit, research and annotate speeches in Act 3, Scene 7Act 4, Scene 1 Act 4, Scene 6

• Create a character profile for Gloucester

• Consider the other characters within the subplot – Edgar& Edmund compile character notes