King Lear by William Shakespeare
Introduced by Mr Anthony
King Lear begins and ends with a cautionary note on the dangers of speaking. Cordelia, realising that the currency of language has been debased by her sisters’ inflated rhetoric, refuses to extemporise on her love for Lear and instead explains that it is Goneril and Regan who have used language to say 'nothing'. At the play’s close, Edgar advises those still standing to 'speak what we feel, not what we ought to say', reminding us that language is always performative, that social context often strangles self-expression, and that the spoken word is, like Wilde’s truth, 'rarely pure and never simple'.
And who would know this better than a community of aristocrats knelt anxiously at the feet of a king whose capriciousness precedes him? In this, Shakespeare was merely reflecting the mechanics of the Stewart court, an obsequious sequence of meta-events in which courtiers were repeatedly called upon to demonstrate their proficiency in what they 'ought to say', in exchange for patronage and influence. James I was notorious for promoting handsome male favourites, men such as Robert Carr and George Villiers, who publicly flattered the king; for his efforts the previously cash-strapped Carr was gifted Sherbourne Castle and the post of Lord Chamberlain, whilst Villiers (when Carr fell out of favour) was made Earl of Buckingham and referred to by the monarch as 'my sweet child and wife'. When Elizabeth I’s one-time favourite Sir Walter Raleigh married without telling her, he was banished from court and had to wait five years before the queen consented to see him again.












