Marginalia

The Death of Cordelia

Lear enters carrying his hanged daughter, howling, searching for her breath with a mirror and a feather — “Never, never, never, never, never.”

Where Act 5, Scene 3 In King Lear
✶ In the Atlas

Everything seems to be resolving. Edmund is dying; Goneril and Regan are dead; Edmund, at last, reveals his secret order to hang Cordelia, and a runner is sent to stop it. Albany prays: “The gods defend her!”

Enter Lear, with Cordelia dead in his arms.

“Howl, howl, howl, howl! O, you are men of stones!” He knows she is dead — “She’s dead as earth” — and yet he cannot stop hoping. He asks for a looking-glass to see if her breath will mist it; he holds a feather to her lips: “This feather stirs; she lives!” He tells them he killed the slave that was hanging her. He barely recognizes Kent.

And my poor fool is hanged! No, no, no life! Why should a dog, a horse, a rat, have life, And thou no breath at all? Thou’lt come no more, Never, never, never, never, never! Pray you, undo this button: thank you, sir. Do you see this? Look on her, look, her lips, Look there, look there!

He dies — perhaps believing she breathes.

Why it matters. There is no reason for Cordelia’s death. The plot could have saved her by a minute; Shakespeare’s source let her live; Nahum Tate’s rewrite (1681–1838) gave her a happy ending. Shakespeare chose otherwise. Kent asks, “Is this the promised end?” — meaning the Last Judgement. It is a scene that has been read as the deepest Christian tragedy and the deepest denial of providence, sometimes by the same reader on different days. Set beside Ivan Karamazov’s refusal of a harmony bought with innocent suffering (Rebellion — Returning the Ticket) and the “never” of every bereavement.

The line “Never, never, never, never, never” — five trochees, the reverse of the iambic heartbeat of English verse — may be the most famous metrical effect in Shakespeare.

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