The reverse of natural order is also shown when Gloucester rejects his legitimate son Edgar much to the benefit of his illegitimate son Edmund who is deemed to be a "Loyal and natural boy" (II. i. 84) by his father. This is, as it were, the carnivalesque-grotesque version of the play's main plot when the story of Cordelia's disinheritance leads finally to the delegitimization of the king himself. The reversal here triggers several other grotesque distortions in the subplot. Here Edmund's mock-legitimization gives nature a free rein to intrude upon the judicial rule of the state. The love triangle between Edmund, Regan, and Goneril drives a lot of action in the final moments of the play and it is "a part of the play's general atmosphere of moral decay."15 This moral decay notewithstanding, there is much more to Edmund who is born in the "lusty stealth of Nature" (I. ii. 11). He even comes to announce his natural legitimziation as he avows that "Now gods, stand up for
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It "covers the face, presents the image of a face other than that of its wearer, and conveys the message that wearer is temporarily not representing himself."17 In King Lear, masks are used for two reasons: to conceal one's plan and to protect oneself or others. Edmund, Goneril, and Regan are hiding behind metaphorical masks to conceal their evil intents. While Edgar and Kent wear masks to serve virtuous purposes. Edgar disguises himself into a beggar and Kent into a peasant to dismiss their identities. Their disguises help them to reclaim their lost status and bring justice. Oswold, the "serviceable villain" (IV. vi. 254) in the play and Goneril's servant, is wearing another mask. He is wearing a mask of a new man who tries to acquire aristocratic status by imitating the manner and clothing of a gentleman. His seeking of posthumous fame is increased when he believes that Goneril will rule Britain after Lear's
It "covers the face, presents the image of a face other than that of its wearer, and conveys the message that wearer is temporarily not representing himself."17 In King Lear, masks are used for two reasons: to conceal one's plan and to protect oneself or others. Edmund, Goneril, and Regan are hiding behind metaphorical masks to conceal their evil intents. While Edgar and Kent wear masks to serve virtuous purposes. Edgar disguises himself into a beggar and Kent into a peasant to dismiss their identities. Their disguises help them to reclaim their lost status and bring justice. Oswold, the "serviceable villain" (IV. vi. 254) in the play and Goneril's servant, is wearing another mask. He is wearing a mask of a new man who tries to acquire aristocratic status by imitating the manner and clothing of a gentleman. His seeking of posthumous fame is increased when he believes that Goneril will rule Britain after Lear's