Within the tragedy that is ‘King Lear’, Shakespeare explores the
theme of deception through the contrasting characters with the
play. While certain characters, such as Cordelia and Kent, are
portrayed as truly loyal, juxtaposing characters, such and the
Machiavellian Edmund, take every chance to deceive their own
family in the ain to satisfy themselves. The theme of deceit is also
explicit within ‘Oedipus Rex’ as the protagonist himself comes to
discover that he has been living a lie.
The theme of deception clearly emerges in the beginning scenes of
‘King Lear’, particularly the love trial Lear’s hubristic nature could
be deemed at fault for his tragic downfall, as -for the sake of
satisfying his ego- he puts his daughters in competition with each
other, believing Goneril and Regan’s ‘glib and oily art’ instead of
his one true daughter –Cordelia. Both Goneril and Regan use
hyperbolic, dramatic language within their speeches to ensure that
they gain their share of the kingdom. Cordelia’s simple language
of ‘nothing’ contrasts to their deceitful web of lies. Coleridge once
stated that ‘there is something of disgust at the ruthlessness of’
both Goneril and Regan. Critic Catherine Belsey agrees that
although Lear is very irascible; easily inflamed to rage and
bitterness, ‘his daughters are if anything worse’
Various stage adaptations, such as David Farr’s 2010 production,
juxtapose the sisters, highlighting Cordelia’s honesty as opposed to
Goneril and Regan’s deceit. Both vindictive sisters face each other
on stage, whilst Cordelia is left isolated in the darkness. However,
one could argue that Lear is to blame for their deceitful behaviour,
as he makes it clear that Cordelia is his favourite and will therefore
inherit the largest share. This echoes that of the Sir Brian Annesley
case in 1603, which took place before ‘King Lear’ was first,
performed. Annesley’s older daughter tried to have her father
declared insane in the hope that she would receive her rightful
share of the estate. However, his youngest daughter, Cordell,
successful defended her father, eventually gaining his property.
The contemporary audience would have been fully aware of the
event, therefore may have thought that Cordelia would have had a
more hopeful outcome.
Similarly to Lear, Gloucester is also fooled by his deceitful son.
However, Edmund is deceitful because of his resentment towards
Edgar – Gloucester’s legitimate son. Edmund highlights his need
for avengence in one of his many soliloquies.
‘God pray for bastards’
Shakespeare uses a somewhat determined diction to emphasis
Edmund’s absolute need for avengence. Whereas one could say
that Edmund is almost too aware of his past –‘that dark and vicious
place where thee hath got’, Oedipus is completely ignorant and
blind to the truth.
‘I curse the murderer; let him drag out his life in agony’
There is prolepsis here, as the audience fully know that Oedipus is
the ‘disease’ that is infecting Thebes. However, unlike Edmund,
Oedipus tragic flaw is his ignorance and his downfall can not be
blamed on his own deceitful behaviour.
Within the play, Shakespeare uses the repetition of ‘nothing’ to
contrast between Cordelia and Edmund’s human nature. Whilst
Cordelia simple speaks ‘nothing, my Lord’ in true honesty,
Edmund repeats the phrase in an extremely different manner.
Whilst hiding a letter form his father, Edmund assures Gloucester
that he is hiding ‘nothing’ from him. However, like Lear,
Gloucester possesses harmartia, believing that Edgar is the
‘Villain! Abhorred Villain!’
Shakespeare’s use of caesura, plosive vowel sounds and repetition
emphasises Gloucester’s rage at his one loyal son. However, as
with Lear, Gloucester experiences a moment of anagnonsis and
comes to realise that Edgar was honest, only driven to his
deceptive disguise in the desperation and hope that his father
would come to realise the truth. Lear also comes to realise that
Cordelia was truly honest in her speech, hoping for her to live, as
‘it is a chance that does redeem all sorrows’. John Danby states
that ‘Cordelia, for Shakespeare is virtue’.
Both playwrights dramatise the tragic consequences of deception
through the downfall of both protagonists. However, although it
could be argued that Lear is at fault for his bleak and tragic
outcome, Oedipus was not wholly to blame as he was born into a
lie. However, one certainty is that the act of deception leads to the
Aristotelian idea of peripitaea for both protagonists.