Tolstoy on Shakespeare: A Critical Essay on ShakespeareTolstoy, Leo, graf
General
Tolstoy on Shakespeare: A Critical Essay on Shakespeare
Tolstoy, Leo, graf
Shakespeare, William, 1564-1616 -- Criticism and interpretation; Shakespeare, William, 1564-1616 -- Political and social views
He approaches Gloucester, in the character of yet a different person,
and expressing astonishment at the latter not being hurt by his fall
from such a dreadful height. Gloucester believes that he has fallen and
prepares to die, but he feels that he is alive and begins to doubt that
he has fallen from such a height. Then Edgar persuades him that he has
indeed jumped from the dreadful height and tells him that the
individual who had been with him at the top was the devil, as he had
eyes like two full moons and a thousand noses and wavy horns. Gloucester
believes this, and is persuaded that his despair was the work of the
devil, and therefore decides that he will henceforth despair no more,
but will quietly await death. Hereupon enters Lear, for some reason
covered with wild-flowers. He has lost his senses and says things wilder
than before. He speaks about coining, about the moon, gives some one a
yard--then he cries that he sees a mouse, which he wishes to entice by a
piece of cheese. Then he suddenly demands the password from Edgar, and
Edgar immediately answers him with the words "Sweet marjoram." Lear
says, "Pass," and the blind Gloucester, who has not recognized either
his son or Kent, recognizes the King's voice.
Then the King, after his disconnected utterances, suddenly begins to
speak ironically about flatterers, who agreed to all he said, "Ay, and
no, too, was no good divinity," but, when he got into a storm without
shelter, he saw all this was not true; and then goes on to say that as
all creation addicts itself to adultery, and Gloucester's bastard son
had treated his father more kindly than his daughters had treated him
(altho Lear, according to the development of the drama, could not know
how Edmund had treated Gloucester), therefore, let dissoluteness
prosper, the more so as, being a King, he needs soldiers. He here
addresses an imaginary hypocritically virtuous lady who acts the prude,
whereas
"The fitchew nor the soiled horse goes to't
With a more riotous appetite.
All women inherit the gods only to the girdle
Beneath is all the fiend's"--
Public-domain text, read in full here on John Shaqi.
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