1. Women and King Lear

2. Feminist criticism
A general overview of some of the feminist perspectives on the play.
Use to guide your reading
Be purposeful/ critical

3. Marilyn French/ Linda Bamber
Early feminist criticism of play suggest that Shakespeare is a feminist writer, sympathetic to the difficulties of the female he represents.
Critics often compare women in the play with Puritan goodwife/ companion/ stereotype of the time, much debated in Renaissance handbooks, to support their points.
However, doesn’t take into account historical circumstance, only the values ascribed to men and women.
This view presents feminism as a set of social attitudes rather than a project for fundamental social change.

4. Kathleen McLuskie ‘The Patriarchal Bard: feminist criticism and Shakespeare’
McLuskie sees the play as fundamentally misogynistic and also, a paradigm for the sexual politics of its genre (tragedy) and history (Shakespeare’s time).
Tragedy is misogynistic as although it claims to talk about the existence of a permanent, universal and unchanging condition, the protagonist is always male/ with male concerns and plots. Adding to this, Shakespeare aligns anarchy and sexual insubordination via Goneril and Regan.
In chronicle play ‘King Leir’, sisters’ villainy is a plot device; their mocking pleasure at C’s downfall a comic act and their evil is an exciting plot twist on Lear’s life.

5. Kathleen McLuskie ‘The Patriarchal Bard: feminist criticism and Shakespeare’
In ‘King Lear’, all female resistance is defined by gender, sexuality and position in the family; family relations are fixed and any move against them is portrayed as a destructive move against the rightful order.
For example:
‘into her womb convey sterility’ Lear, 1.4
‘whores do churches build’ Fool, 3.1
‘women will all turn monsters’ servant, 3.7
‘humanity must perforce prey on itself,/ like monsters of the deep’ Albany, 4.2

6. Coppélia Kahn, ‘The Absent Mother in King Lear’
Misogyny is instrumental and instructive; charts Lear’s progress from misogynist rejection of womanly values to a final acceptance of his more womanly qualities.
It’s an exploration of male anxiety in a historical account of the way feelings are apparently feminine.
Psychoanalytical reading of play which suggests Lear’s desire to be mothered by Cordelia.

7. Coppélia Kahn, ‘The Absent Mother in King Lear’
‘O! How this mother swells upward toward my heart/ Hysterico passion! Down, thou climbing sorrow/ Thy element’s below!’ (2.4, 56-8) Hysteria characterized as feminine – disease of the hyster, the womb.
In Shakespeare’s time, hysteria also called ‘the mother’ – vivid metaphor to describe the woman in society; destined for childbirth, but physically weaker than man.
Womb is a sign of weakness; remedy is regular sexual intercourse/ husband. Signifies her weakness for the flesh over mind/ spirit.

8. Coppélia Kahn, ‘The Absent Mother in King Lear’
First scene about male anxiety; real purpose is about giving away his youngest daughter; variation of wedding scene; bond between father and daughter.
Perhaps Lear is deliberately manipulating giving away of Cordelia; incestuous purpose.
The surrender of her also awakens a deeper emotional need in Lear; need for the daughter/ mother
Lear as a child: wants absolute power over those closest to him and to be absolutely dependent on them. Pre-Oedipal experience/ desire.
As man, father and ruler, habitual needs for love have been repressed; he wants to ‘crawl’ like a baby towards death. He needs his ‘nursery’ – Goneril and Regan don’t provide this; hence re-enactment of a childish rage about the absence of a mother figure.

9. Introductory activity for Act 4, scene 2
“To thee a woman’s services are due,/ A fool usurps my bed.” (Goneril to Edmund)
Some critics find the sudden revelation that both Goneril and Regan love Edmund a little far-fetched. If you were directing a play how would you deal with this love triangle? What advice would you give the actors? (AO3)

10. Close reading of Act 4, scene 2
Focusing on presentation of Goneril
The role of Albany
Edmund’s motivations
Relationship between the sisters
Critical links to feminist criticism

11. Activity – women in the play
‘Tigers, not daughters…’
This is a play full of images which present women as monstrous or inhuman. Collect examples from the play – making a careful note of who is speaking and the context.
Would you agree that this play reflects a patriarchal world view and seems terrified by women and what they might represent?