The young people of Shakespeare's dramas . they might be provoked to re-bellion. Thus far Strabo. Holinsheds Chronicle also furnishedShakespeare with the name of Imogen. In theold black-letter it is written Innogen, and shewas queen to Brute, king of Britain. In thesame work he also found the name of Cloten,who, when the line of Brute was at an end,was one of the five kings that governed Brit-ain, Cloten, or Cloton, being king of he probably took from Sidneys Ar-cadia. There Leonatus is the legitimate sonof the blind king of Paphlagonia, on whosestory, many say, the episode o
The young people of Shakespeare's dramas . they might be provoked to re-bellion. Thus far Strabo. Holinsheds Chronicle also furnishedShakespeare with the name of Imogen. In theold black-letter it is written Innogen, and shewas queen to Brute, king of Britain. In thesame work he also found the name of Cloten,who, when the line of Brute was at an end,was one of the five kings that governed Brit-ain, Cloten, or Cloton, being king of he probably took from Sidneys Ar-cadia. There Leonatus is the legitimate sonof the blind king of Paphlagonia, on whosestory, many say, the episode of Gloster, Ed-gar, and Edmund is formed in * King Lear. THE BOY FOOL IN KING LEAR. PERSONS MENTIONED IN PLAY. Lear.—King of Britain. Duke of Albany. ) ^ . ^ r,j r^-^ ^ \. Sons-tn-Law of the King, Duke of Cornwall, f jo Gloster. Kent. The Fool. Edgar,—A Pretended Madman. King of France. i Goneril. \ Regan. >• Daughters of King Lear. Cordelia. ) \ English Lords, Fi iends of Lear. ^ ^ r Suitors to Cordelia. Duke of Burgundy, V. King Lear. The Boy Fool. il THE BOY FOOL IN KING LEAR. The play of * King Lear belongs to theheathen period of British history, but to a timefar anteceding that of Cymbeline. Quite in-tentionally in this play, Shakespeare has de-picted Lears bursts of rage, Cornwalls cruel-ties, the rude vehemence of Kent, the unnaturalhard-heartedness of Lears two eldest daugh-ters, for they are the legitimate fruits of an agewhen impulses had an ungovernable strength,and crime a gigantic enormity. In Lear we have no splendid furniture,and elegant costumes, and Roman courtesy ofmanners; we must imagine its scenes in nar-row chambers of rude masonry, on wild, bar-ren moors, and amid stout Gothic coarsenessand barbarity—a heathenish time, when chancereigned above, and power and force below. l82 THE BOY FOOL. i and when the wicked met death without apang of remorse. Selfishness and self-will dom-inate, and the play would be too painful andtragic for perusal, i
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