Consider the motifs below and more...
sight (eyes, blindness) and other senses (touch, smell {noses}); fools, madness, and wisdom; duty and betrayal; naturalness and unnaturalness; animals and humans; storms and calms; age and youth; parents and children; rank and status; nothingness, loss, nakedness...& self...
Comment on at least two interrelated motifs. Your comments should refer to at least two specific passages (at least one passage for each motif). Demonstrate your understanding of the play so far by linking the motifs and the passages to each other and to the overall events and themes. Again, we're using close attention to small particulars in order to illuminate the whole.
At the beginning of your post include your name, name the motifs, and quote the passages (include act.scene.line). Your insightful well-supported commentary comes next.
These comments are due by the beginning of class (12:00pm) on Thursday, March 13.
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16 comments:
Motifs: Fools & Madness and Wisdom
Passages: 2.4.74-94; 3.2.27-43
Oftentimes in his works, Shakespeare will add a character referred to as the “fool” into the story. Not accidentally, these characters provide comic relief, but more importantly a subtle wisdom and omniscient factor to the work. Like a wink to the audience, the fools are anything but; though they seem frivolously joking, they provide insights into the other characters – as well as the situation as a whole. In this instance, King Lear is joined by a Fool in Acts 2 and 3. This motif of the title of “fools” directly associates with another theme of the play, the juxtaposition of madness and wisdom.
The first passage in Act 2, Scene 4 is between the Fool and Kent, as Kent sits in the stocks as punishment. As they discuss the current state of affairs plaguing the King – who is already succumbing to madness, it seems – the Fool offers some of his own counsel. He explains why King Lear has had difficult time befall him, and why his knights have abandoned him. His words are logical and full of reason, even when he resorts to rhyme to emphasize the foolishness of standing behind someone who cannot support you. After his words of wisdom, Kent tries to ground the Fool back in his ranking, asking him where he learned what he had just said, and calling him a Fool. The Fool, continuing to be his own name’s contradiction, fires back, “Not i’ th’ stocks, fool.”
In the second passage – Act 3 Scene 2 – King Lear and the Fool are wandering outside through the storm, as the King slips further into madness brought on by his daughter’s betrayals. The Fool is trying to talk the King into returning to the safety of shelter, but Lear will not have it. The Fool comments that “He that has a house to put ‘s head in has a good headpiece,” meaning that the man who seeks shelter has inherent wisdom. The irony of the Fool saying this to the once prosperous King is not lost to the audience. The Fool continues offering his wisdom, which the King seems to ignore, and continues in the belief that he is fine, feigning patience with the circumstances. As Kent enters and asks who has he stumbled upon, the Fool ambiguously replies, “a wise man and a fool”, but never clarifies who falls under what title. This leads the audience to revel in the irony that Shakespeare and his Fool has created onstage.
Overall, these motifs of fools and wisdom and madness have a super objective that relates to the entire message of the play. The King is literally led by the Fool; he is stripped of his nobility by his on-setting madness. By turning the stereotypical opinions of certain classes and rankings on its head, we see humans on their most basic level – not by status – but by intelligence and sanity.
John Ryan
Motifs: Nakedness and self
Passages: 2:3:1-12, 3:4:8-17
In Shakespeare’s King Lear, a connection between the motifs nakedness, blindness, and self are apparent. Act three alone contains all three of these motifs and proves to be an acceptable example of how the ideas of nakedness, blindness and self are related to each other and the play’s overall themes.
Nakedness is most apparent in both a literal sense and figurative sense when King Lear is kicked out into the rain by his own flesh and blood (the motifs of blood, unnaturalness, and parents and children are also obvious here). Regardless, at this point King Lear is naked of all possessions, without friends, without family, without money, and without knights. He has literally been cast out into the storm exposed to the elements. Lear speaks of his situation.
LEAR:
Thou think’st ‘tis much that this contentious storm
Invades us to the skin. So ‘tis to thee…
But where the greater malady is fixed,
The lesser is scarce felt. Thou’dst shun a bear,
But if thy flight lay toward the roaring sea,
Thou’dst meet the bear i’ th’ mouth. When the
mind’s free,
The body’s delicate. This tempest in my mind
Doth from my sense take all feeling else
Save what beats there. Filial ingratitude!
This short passage brings about the other motif, the idea of developing a self. Lear creates this bear metaphor to share a reality of the formation of the self. Lear is explaining that man avoids obvious problems his entire life and only deals with them when such issues trap him at the edge of madness. It is here that we must deal with these issues and develop a self. Lear is careful to add that this is only established when the mind’s free, or rather when man is completely naked of influence and can finally see others for who they truly are, only then is the good in people visible and man’s true alliances tested.
Another passage that illustrates the connection between the two motifs nakedness and self is in act two scene three. Here Edgar disguises himself to escape a death sentence. Similarly to Lear, Edgar has been stripped of all his possessions and friends and forced to escape to exile. Instead of seeing the truth of his situation and the injustices brought against him, Edgar develops a new self, one that can survive in this new situation, and one that has the ability to see the faults in society and has the ability to unravel the situation as he sees it. This was an ability that Edgar did not seem able to develop. Edgar explains his situation.
EDGAR:
I heard myself proclaimed
And by the happy hollow of a tree
Escaped the hunt. No port is free; no place
That guard and most unusual vigilance
Does not attend my taking. Whiles I may ‘scape,
I will preserve myself, and am bethought
To take the basest and most poorest shape
That ever penury in contempt of man
Brought near to beast. My face I’ll grime with filth,
Blanket my loins, elf all my hears in knots,
And with presented nakedness outface
The winds and persecutions of the sky.
Here Edgar simply describes how he must transform and become the lowest of the low, completely drop his past self to successfully develop a new self and uncover his eyes and see the truth of this situation.
Motif: sight, sense Act 4 Scene 4 lines 1-10
EDGAR
You do climb up it now: look, how we labour.
GLOUCESTER
Methinks the ground is even.
EDGAR
Horrible steep.
Hark, do you hear the sea?
GLOUCESTER
No, truly.
EDGAR
Why, then, your other senses grow imperfect
By your eyes' anguish.
Gloucester went blind, and he finally sees that people can be good. His senses betrayed him before, because they made him see that things were not as he thought. He was treated with kindness because he saw Edgar while he could not see; as a good person, even though he was a beggar. Edgar even said that his senses were bad in order to help him.
Motifs: Rank/Status and Humans/Animals
Dan Aloisio
2.4.174-176, 4.6.148-174
In the play, the idea of position is pervasive, sometimes relating to a place within society, but often going as far as to be considered outside society, outside the realm of men, and within the realm of beasts and animals. In the play, it seems as though the rigid social order, the hierarchy within families and within nations, simultaneously breaks down as the lower ranks assume more power and cunning than the upper echelons. It seems that the way up the social ladder is by way of deception, and down by way of generosity or misplaced trust. Therefore, to the rational lower caste member, all that stands in the way of upward mobility is morals. To the higher caste member who possesses power and status already, it is more reasonable to be virtuous. The higher member is not aware of the consequences of this action. The lower members, therefore, who are more aware, inherit the wealth of the kingdom, suggesting (at least in this point of the play) that power should be self-aware, rather than self-righteous.
In act two, scene two, Lear tries to find a home with his last daughter, Regan. Lear begs Regan to allow him to stay human by asking her to provide him with the basic necessities of “raiment, bed, and food.” Without clothing, shelter, or sustenance, Lear would be reduced to the lowest possible human status, bordering on being an animal. It is interesting here, that Lear does not attempt to move back up the social scale by sycophantism. Rather, he degrades himself, calling “age unnecessary,” humbling himself, on his “knees” begging. He is, however, somewhat praising of Regan, but this soon-after flattery can be interpreted as a sincere hope in his daughter, rather than a duplicitous gambit to gain back rank.
In scene six of act four, Lear appears to be trying to abandon his worldly, corporal self in favor of a reflective, existentially aware being. When Gloucester asks to kiss Lear’s hand, Lear replies, “Let me wipe it first; it smells of mortality.” I interpret this to mean that humanness (mortality) is immensely unappealing to Lear. Rather, Lear can extricate himself from the world, and is better able to see it clearly from this humbled position. One insight that he has is that “a dog’s obeyed in office.” This phrase evidences the juxtaposition of the motifs rank/status and humans/animals. In Lear’s low status, his altered state, he is able to see that it is not the animalness or the humanness of the “authority,” but rather the “office” itself. This concept is very democratic, suggesting that any human or animal is capable of power, though also scathing in its implication that power (or rather the pursuit of it) is abused. Nevertheless, Lear is able to group animals and humans in a classless way, suggesting that human nature is borne of situation rather than inheritance.
Motifs: sight senses
Passages: Act 4 scene 1 lines 20-28
GLOUCESTER
Our means secure us, and our mere defects prove our commodities. Ah!...Might I live to see thee in my touch, I'd say if I had eyes again.
He has gone blind, and has begun to see what matters. His money secures him, but his defect makes him see what he has. He wants to see Edgar again. The only son that he could ever trust is gone, and he needs him. It is the only thing that he needs. He needs only touch.
2.1.16
2.1.134
2.4.26
3.1.12
Motifs: duty, betrayal; natural, unnatural
Acts II and III of the Shakespearean play King Lear highlight the motifs of duty and betrayal and of nature and the unnatural. Although these motifs are apparent in other acts they are especially prolific in acts II and III.
The opening sequence of act II illustrates Edmund betraying his half brother. Edmund tells his brother Edgar that he felt it was his duty to warn him that their father wishes Edgar dead: “My father hath set guard to take my brother, And I have one thing of a queasy question, Which I must act. Briefness and fortune work!-Brother a word. Descend. Brother, I say!” Lies come naturally to Edmunds lips.
Later in an encounter between Edmund and Cornwall, the Duke of Cornwall expresses his gratitude towards Edmund for exposing the false-truth that Edgar was planning to usurp his father power: “Natures of such deep trust we shall much need.” The betrayers have a natural affinity, Cornwall has been thankless of Lear’s gift of power and wealth in a sense he has betrayed King Lear.
In act II scene four Lear experiences another disappointment, he servant-the disguised Kent- has been put in the stocks: “They could not, would not do’t. ‘Tis worse than murder. To do upon respect such violent outrage.” Lear felt that only he could delve out punishment to his own servants; soon after Regan refuses hospitality to her father. Lear’s unwritten codes surrounding the duties of servant and master and those of a daughter to a father are betrayed. The pinnacle of Lear’s betrayal occurs when Reagan sides with Goneril in that they will not support Lear in their homes. Lear is devastated his mind literally enters a storm as he rushes out into the night.
The state of Lear’s mind is revealed, in his madness Lear wanders unprotected out onto the moor. Unable to cope with his betrayal and mental pain he reverts to nature. The storm blowing outside is described as being unnatural: “The to-and-fro conflicting wind and rain.” Even the lion the so called king of the animals shivers in its cave. The unnatural storm is in both Lear’s mind and on the moor.
As the story continues King Lear, Kent, and Edgar meet up in the storm. Nature brings together the betrayed. The betrayals that came so natural to those safe in Gloucester’s castle unknowingly unite their newly made enemies, unnatural symmetry.
Avery
Motifs: Naturalness and children and parents
Lear speaks all quotes
2.4.195
Thy tender-hefted nature shall not give thee o'er to harshness... Thou better know'st the offices of nature, bond of childhood, effects of courtesy, dues of gratitude
2.4.320
-No, you unnatural hags
3.2.18
Nor rain, wind, fire are my daughters.
I tax not you, you elements, with unkindness.
I never gave you kingdom, called you children;
You owe me no subscription
3.4.76
Nothing could have subdued nature
To such a lowness but his unkind daughters.
3.6.81
Is there any cause in nature that make these hard hearts?
Lear often draws a connection between nature/naturalness and the connection with his children. Lear’s intended definition of “nature” changes with the context the word. Sometimes it describes the environment, or a character’s disposition, or human nature in general.
Lear is extremely bothered by his daughter’s behavior and finds it unnatural. He believes that he has taken good care of his daughters and deserves better treatment, expression of love, and loyalty. Not only is he their father, but he has also given them his money and power.
Lear has trouble dealing with his daughter’s actions which drives him to madness. For example he does not believe that Regan’s personality, her nature, can transform and become ill. He believes that it is human nature for a strong bond to be formed between a parent and his or her children. Lear clearly believes that his daughters are acting unnaturally and unfairly.
Lear accepts the harshness of the natural elements and environment. The connection he has with nature surrounding him is entirely different from the relationship he feels has had with his children. The abuse he feels from the storm is a physical and natural depiction of the mental anguish he feels from the unnaturalness of his daughters.
Motifs: Sight, blindness & wisdom, truth
Passages:2.1.41-47, 4.1.19-25
In Shakespeare's play King Lear it seems that the motifs of blindness and sight are linked to the motif of wisdom. The senses of the character's often betray them in making wise decisions. It is not until they are stripped of their senses that they can see the truth .
In the first passage Gloucester has banished his son Edgar and sided with his illegitimate son Edmund. Even though the audience knows Edmund's skewed intentions Gloucester does not. Gloucester's sight of the evidence that Edmund puts forth taint Gloucester's judgment in the matter.
2.1.41-47
Gloucester: Now, Edmund, where's the villain?
Edmund: Here stood he in the dark, his sharp sword out, mumbling of wicked charms, conjuring the moon to stand auspicious mistress.
Gloucester: But where is he?
Edmund: Look sir, I bleed.
Gloucester’s sight betrays him by not allowing him to see through Edmund. They only allow him to see the physical evidence in front of him.
In the second passage Gloucester’s eyes are torn out and he can no longer rely on sight to make decisions. Once he is forced to use his mind rather than his eyes he can see the truth and make wise decisions.
4.1.19-25
Gloucester: I have no way and therefore want no eyes. I stumbled when I saw. Full oft’ tis seen our means secure us, and our mere defects prove our commodities. O dear son Edgar, the food of thy abused father’s wrath, might I but live to see thee in my touch, I’d say I had eyes again.
Gloucester clearly sees the situation once his vision is gone. By losing his sight he gained a new sight of the situation.
These two motifs of the play, sight and wisdom, reinforce the overall meaning of Shakespeare’s work as a whole. Only once the physical elements that the characters rely on, sight, money, power, are taken away can the true situation be revealed. These physical elements only act to mask the true situation from the characters. As soon as they realize this they can make the wise decisions that they did not see before.
Ben Tavares
Motifs: Sight & Madness
Passages: 2.3.1-21 & 3.7.1-129
In 2.3, Edgar has a soliloquy in which he explains what he is doing to escape a death sentence. In a disguise, his physical appearance is masked, preventing him from being noticed. The one's searching for him will not be able to notice him if they rely on their sight. In this sense, the SIGHT (or lack thereof) motif is quite literal. The inability to see Edgar's physical appearance helps save him. This exemplifies the concept that men rely too heavily on what is in front of them to make decisions. Another aspect to Edgar's disguise is his feigning being insane. This fake insanity emancipates him from a lot of blame. He explains that he will expect These men to see that he is destitute and mad so, instead of rage (which is the response elicited from his normal appearance) the men will feel sorry for his insanity and overlook any minor physical trait his disguise might have. For Edgar, madness and blindness work in his favor.
In 3.7, Gloucester has his eyes plucked out. This is a major turning point in the play because situations become more and more outrageous. Gloucester's eyes are plucked out after he has a change of heart about Lear. When Gloucester changes his perspective and begins to see things differently, he is robbed of his sight by Cornwall, a sadistic madman. One man's madness causes another to lose his sight. Immediately after losing his second eye, it is revealed that Gloucester had been wrong about the loyalties of his sons. Cornwall informs him that Edmund was, in fact, the one who betrays him and Edgar has always been true. Only after losing his eyes does Gloucester see the truth. Madness becomes ubiquitous throughout the story at the conclusion of the act. Characters (such as Lear) fall deeper into insanity and situations go from bad to worse. The conclusion of Act 3 is truly the "point of no return" in The Tragedy of King Lear.
Tuany Lopes
rank and status
4.1.1-7.
Edgar:
Yet better thus, and known to be contemned,
Than still contemned and flattered. To be worst,
The lowest and most dejected thing of fortune,
Stands still in esperance , lives not in fear.
The lamentable change is from the best;
The worst return of laughter.
1.4.311-316.
Leer:
I’ll Tell thee. Life and death! I am
ashamed
That thou hast power to shake my manhood thus.
That these hot tears, which break from me perforce,
Should make thee worth them. Blasts and fogs upon
thee!
In both passages two different character’s have their own expectations of rank and status. In Lear’s case the importance of his rank is easily torn apart by his own daughters. He sees importance in being powerful and having a rank, however once he no longer has this he becomes insane. It is as if his rank was his identity and without it he does not know who he is. Along with the power of the rank, betrayal constantly occurs in the fight for it. All of the troubles in the play are derived from too many individuals seeking a rank. Unlike King Lear, Edgar is the one openly deceived by family with dangerous lies. His brother’s struggle for wealth and a noble name, despite being the bastard son, causes a web of lies. Edgar, however, is not threatened by the loss of power, however, he simply feels that he has been wronged by his greedy simply. King Lear, Goneril, Reagan, and Edmund are tempted to have as much rank as possible because with a high rank and status comes wealth and power. Although the play shows the struggle for a high rank and noble status, it also shows how those who seek it are corrupt.
Melanie Tobey
Motifs: Senses & Nature
2.4.187-190
Lear- You nimble lightings, dart your blinding flames Into her scornful eyes! Infect her beauty, You fen-sucked fogs drawn by the powerful sun To fall and blister!
In this first passage King Lear expressing his anger towards his daughter Goneril for her unkindness towards him. King Lear is venting to Regan and in return Regan tells King Lear to ask Regan for forgiveness. In the passage itself Lear incorporates both a person’s senses and nature. He discusses Goneril’s eyes, lightning, and the sun.
3.2.44-51
Kent- Alas, sir, are you here? Things that love night Love, not such nights as these. The wrathful skies Gallow the very wanderers of the dark And make them keep their caves. Since I was man, Such sheets of fire, such bursts of horrid thunder, Such groans of roaring wind and rain I never Remember to have heard. Man’s nature cannot carry
Th’ affliction nor the fear.
This passage is when Kent finds King Lear wandering in the storm. After refusing to find shelter from the fool, Kent persuades King Lear to find shelter. In this passage Kent is describing to King Lear how bad the storm actually is and within it he discusses senses of humans and nature. Kent mentions the sky, thunder, rain, and hearing nature.
In both passages King Lear and Kent speak of nature and senses. The first passage Shakespeare incorporated both seeing and nature to express King Lear’s anger. In the second passage Kent describes the storm through hearing and nature. Through these two different motifs Shakespeare reinforces King Lear’s dilemma. He uses the senses and nature to show King Lear’s craziness caused by his daughters. His craziness in the fact that he was wandering around in the storm and has a sudden burst of hate towards his own daughter. These two passages also reinforce to the characters around King Lear that he has gone crazy and that he also continues to struggle controlling his emotions.
John Castellucci
Motifs: Sight and Nature.
Passage 1: 3.2.1-11
This first passage takes place in the beginning of act 3 where Lear is sent out to "brave the elements" and enter the storm outside. We are shown the motif of nature in a few spots, for example in the words, " Blow winds," "hurricanes" and " Crack nature's molds". what is important about the motif's presence is that the storm is not the only thing related to nature in the passage. Lear himself has been stripped of all his power, homes, daughters etc. He is stripped bare in a sense, and must live out in the wild.
Passage 2: 3.7.103-112
In this passage Gloucester is being punished for his apparent "treason" by the Duke of Cornwall. Gloucester's eyes are forced out and his is left without his outer vision. This is where the motif of sight is brought into play. His outer vision is cut of, but by losing that outer vision he gains the inner vision or wisdom.
Both these passages / motifs relate back to each other easily. Gloucester's loss of sight seems to us unnatural, because he has lost his real vision and gained a sort of wisdom vision. Lear also has lost things: his power, money , respect, etc. By losing those things, or in a sense their vision of the world, both men are tossed out into nature to try and figure out true vision. It is ion that nature that they finally "see".
Youth and Age
Throughout a majority of the play the sense of authority evolves and devolves as each character digresses from powerful to useless. In act two Edmund manages to dictate to both Gloucester and Edgar. Although he is the younger he still has the capability of convincing both his father and elder brother to falsely replace their own wisdom by adapting to his lies.
Act 2.1.57
Edmund -
The child was bound to th'father--sire, in fine
Seeing how loathly opposites I stood.
2.1.123
Cornwall- I near that you have shown your father a childlike office.
2.2.138 Kent- Sir, I am too old to learn.
2.3.5 I will preserve myself, and behtough
To take the barest and most poorest shape.
2.4.55-60
Fool- Fathers that wear rags
Do make their children blind
But fathers that bear bags
Should see their children kind.
Shakespeare reveals through these different speakers, most prodominantly the fool, that if it has taken double the life span of Lear and Gloucester to discover this corrupt enviornment that surrounds them, how soon will their children identify the dishonestly.
Act three 3.2.15
Fool- Here's a night that pities neither wise men nor fools.
3.3.100 That going shall be used with feet.
This prophecy Merlin shall make, for I live before his time.
3.4.24 Edmund -That which my father loses--no less than all
The younger rises when the old doth fall.
3.5.178
Gloucester-I, loved him my friend,
no father his son dearer.
True to tell thee, the greif hath crazed my wits, what a night's this.
3.7.75
Gloucester- Yet, poor old heart, he holp the heavens to rain.
If wolves had at thy gate howled that stern time,
Gloucester- The winged vengeance overtake such children.
At this point Gloucester is given the title of a traitor. While he is being punished Gloucester proceeds to make a comment regarding Edgar and it is fascinating to compare the two as being both stripped of who they used to be, and delivering similar reactions. One purposely, and the other sudden of course.
Emily Munroe
Motifs: nothingness and naturalness
Passages:2.4.310-328; 3.7.102-114
In Shakespeare's King Lear the motif of nothingness is often brought up. "Nothing will come of nothing", Lear states early on in the play, yet this statement proves to be contradictory when viewing his and Gloucester's experiences throughout the rest of King Lear. With these two experiences in particular another motif of nature or naturalness is linked. Whenever each mirroring character is stripped of all they have, they resort to nature as the only thing they have left. The aspect of nature almost acts as a period of rebuilding for these two characters, yet neither understand that in the beginning.
The passage from Act 2, Scene 4 is where Lear has been completely betrayed by his daughters, Regean and Goneril and decides to venture into the storm. Lear goes as far to explain that nature does not ask of him what the unnatural world does. He also calls his daughters "unnatural hags" showing the distance he has from him. Towards the end of this passage Lear openly states that he shall go mad, which for a period of time is correct. Stripped of everything Lear ventures into an actual natural disaster.
The second passage from Act 3, Scene 7 is the actual moment where Gloucester's second eye is removed and he becomes fully blind. At this moment in time Gloucester has had everything taken from him even his ability to see what surrounds him. Right after the act is committed Gloucester calls out to his son Edmund to "enkindle all the sparks of nature/ To quit this horrible act". Here Gloucester is literally stating go to nature to get back what has been taken away from me.
2.1.20-99
Sight
In this scene Edmund is approached by Edgar and then by Gloucester afterwards. Edmund deceives Edgar, tricking him into fleeing for his safety. Then Edmund fools Gloucester into believing that Edgar wishes to take Gloucester’s life. Neither sees that they have been given the opposite ends of Edgar’s deception. This motif of lack of sight is furthered when Edgar and Gloucester don’t visually witness the other during the scene and the link between the two events is Edmund, the deceptive veil between the two.
3.4.50-166
Madness
In this scene Edgar is disguised as Poor Tom, and he joins company with Lear. Edgar plays the part of madness, but as a means to not reveal himself as Edgar. Lear, being actually mad, believes Edgar and takes him to be a philosopher.
In both scenes, a form of deception is achieved. Edmund successfully fools his father and brother because of their lack of “sight”. Later, Edgar is able to deceive Lear because of Lear’s own madness. Edgar also deceives his father as well because he pretends to be mad himself, and also because of Gloucester’s previous lack of “sight”. Two characters are fooled in each scene by a third character, and the strongest link between the two deceiving characters is their relation as brothers.
The theme of order is recurrent in King Lear. Lear, in the highest rank possible for someone in his nation, succumbs to madness and is consistently mocked by his servant, the fool, reversing the natural order of things. In the case of Gloucester, his son Edmund (conceived illegally and out of the usual order of things) tries to manipulate the law in order to gain Gloucester's money. In doing so, he forces the respectable Edgar to dress in rags and live like a begger in the forest.
All this chaos, ironically, results in a new and better understanding. This is another theme in King Lear; realization of the truth. Gloucester is blind, but in his blindness has a better sense of the real value of life, leading him to want to commit suicide for his shallowness. His eyes, which caused him to lustfully create an illegitimate son, can no longer divert him from seeing the truth of his own behavior. Lear's madness has a similar effect in that he sees that he has betrayed Cordelia while rewarding his unfaithful daughters.
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