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Das Leben und der Tod des Königs Lear
Das Leben und der Tod des Königs Lear
Das Leben und der Tod des Königs Lear
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Das Leben und der Tod des Königs Lear

Bewertung: 4 von 5 Sternen

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SpracheDeutsch
HerausgeberArchive Classics
Erscheinungsdatum1. Jan. 1
Das Leben und der Tod des Königs Lear

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Bewertung: 4.086745660554772 von 5 Sternen
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  • Bewertung: 5 von 5 Sternen
    5/5
    Classic Shakespeare tragedy.
  • Bewertung: 3 von 5 Sternen
    3/5
    another play. another dreary subject. another tragic ending.
  • Bewertung: 3 von 5 Sternen
    3/5
    A fairly quick read. I didn't love it as much as I remember. Lear was way obsessed with 'nature' and the whole thing was so pompous. But not as bad as some of his other stuff.
  • Bewertung: 5 von 5 Sternen
    5/5
    The division of the Kingdom begins the play with first, the Earls of Kent and Gloucester speculating on the basis for the division and second, the actual division by Lear based on professions of love requested from his three daughters. When this event goes not as planned the action of the play ensues and the reader is in for a wild ride, much as Lear himself.The play provides one of Shakespeare's most thoroughly evil characters in Edmund while much of the rest of the cast is aligned against each other with Lear the outcast suffering along with the Earl of Gloucester who is tricked by his bastard son Edmund into believing that his other son Edgar is plotting against him. While there are some lighter moments the play is generally very dark filled with the bitter results of Lear's poor decisions at the outset. Interestingly we do not get much of a back story and find, other than his age of four score years, little else to suggest why Lear would surrender his power and his Kingdom at the outset. The play is certainly powerful and maintains your interest through dramatic scenes, while it also provides for many questions - some of which remain unanswered.
  • Bewertung: 5 von 5 Sternen
    5/5
    A very enjoyable edition. Unlike most of the Arden editions, Foakes comes across more as an educator than an academic-among-friends. This does mean occasionally that he'll cover ground most professional-level readers already understand, but it makes this a really well-rounded introduction to the play.

    The decision here is to incorporate both Quarto and Folio texts in one, with the differences clearly delineated. It's probably the best possible option for this play, and well done.
  • Bewertung: 3 von 5 Sternen
    3/5
    The illustrations are unremarkable.
  • Bewertung: 4 von 5 Sternen
    4/5
    Een van de krachtigste stukken van Shakespeare; een confrontatie van extremen.
  • Bewertung: 4 von 5 Sternen
    4/5
    This did not quite top Hamlet as my favorite Shakespeare play but it is way up there. With the exception of the black and white hatted Gloucester boys there is a lot more moral complexity and ambiguity than you normally see in Shakespeare play; it wasn't until well into the play that I had any idea who I was supposed to sympathize with between the king and the daughters and that suspense actually adding a great deal to my interest while reading. Edgar's antic disposition is a lot more interesting and entertaining to me than Hamlet's but he doesn't have anything like Hamlet's soliloquies.
  • Bewertung: 4 von 5 Sternen
    4/5
    Een van de krachtigste stukken van Shakespeare; een confrontatie van extremen.
  • Bewertung: 5 von 5 Sternen
    5/5
    This is especially devastating because (sorry, Aristotle's Poetics, but indeed because) it departs from the conventions of good Greek tragedy. Nobody's led astray slickly by their tragic flaw;* Lear's ennobled by suffering perhaps but at the start he's no philosopher king (as I'd envisioned) but a belching, beer can crushing Dark Ages thug lord who definitely brings it on himself, but not in any exquisite "his virtue was his fall" way. Cordelia is, not an ungrateful, but an ungracious child whose tongue is a fat slab of ham and who can't even manage the basic level of social graces to not spark a family feud that leaves everyone killed (surely a low bar!!). Goneril and Regan are straight-up venial malice, Shakespeare's Pardoner and Summoner; Edmund, obviously, charismatic, but a baaaad man; and the default good guys, the ones with the chance to win the day and transform this blood-filled torture show into two hours' pleasing traffic of the stage, obviously fumble it bigly (Albany, unbrave and too subtle; Kent, brave and too unsubtle; Gloucester, a spineless joke; and what is Edgar doing out in that wilderness when he should be teaming up with Cordelia and Kent to plan an invasion that's a MacArthuresque comeback and not a disaster, to go down as the plucky band of good friends who renewed the social compact with their steel and founded a second Camelot, a new England). They're not all monsters, and there are frequent glimmers of greatness, but they fuck it all up; in other words, they're us.And then Lear's madness has much too much of, like, an MRA drum circle meeting, with the Fool and Kent and Edgar/John o'Bedlam (that's a name, that) farting around the wastes going "Fuckin' bitches, can't live with em, can't smack em one like they deserve" (though of course this is a Shakespearean tragedy, so everyone pretty much gonna get smacked one sooner or later). Not tragic flaws, in other words, but just flaws, with only glimmers of the good, and all the more devastating for that because all the more real. It's haaard to keep it together for a whole lifetime and not degenerate into a sad caricature of you at your best, or you as you could have been, and I wonder how many families start out full of love and functional relations and wind up kind of hating each other in a low key way just because of the accretion of mental abrasions plus the occasional big wound and because life is long.This seems like a family that just got tired of not hating each other, standing in for a social order that's gotten tired of basically working from day to day, and everyone's just itching to flip the table and ruin Thanksgiving. I have little faith, post-play, that Edgar or Albany in charge will salvage the day--historically, of course, their analogues did not--and it's gonna be a long hard road to a fresh start (we don't of course try to find one such in the actual history--I mean, 1066?--pretty sure fresh starts don't happen in actual history--but I trust the general point is clear). This seems like the most plausible/least arbitrary of Shakespeare's tragedies, I am saying here, and thus also the most desolate, and one with lessons for any family (cf., say, Hamlet, with its very important lessons for families where the mother kills the dad and marries his brother and the dad's ghost comes back to tell the son to kill his uncle, a niche market to say the least), and one that I'll revisit again and again.*Side note, my friend Dan calls me "My favourite Hamartian," and I'm recording that here because we may grow apart and I may forget that but I never want to forget really and so, hope to find it here once more
  • Bewertung: 5 von 5 Sternen
    5/5
    At the risk of sounding flippant, I realized that there are two productions of King Lear that need to be done: one set in the Klingon Empire, and the other performed by Monty Python. Go ahead, I dare you, read Poor Tom's lines like Eric Idle and try not to laugh!
  • Bewertung: 5 von 5 Sternen
    5/5
    There are three main reasons for the disorder already occurring by the end of Act I. The first and most obvious is Lear's madness. He certain seems to be loosing it a bit, and his crazed banishment of Cordelia and Kent couldn't possibly have done anything but harm to him. The second reason is Cordelia's sister's treachery. It could be argued that they appear to be trying to protect him and their people by taking away his knights, he is crazy after all, if it weren't for Cordelia's parting words to them; "I know you what you are;/And, like a sister, am most loth to call/Your faults as they are nam'd. Love well our father:/To your professed bosoms I commit him:/But yet, alas, stood I within his grace, I would prefer him to a better place." And a few lines later; "Time shall unfold what plighted cunning/Who cover faults, at last shame them derides." These lines seem to indicate that Cordelia knows that Goneril and Regan are not only flattering Lear for gain, but also that they hold him in contempt, and will likely do him harm, and revealing the second harbinger of disorder.

    The third indicator of the chaos to come is Edmund. I feel bad for him, for the contempt others hold him in because of the doings of his parents, but he quickly does what he can to dispel my pity for him with his evil attitudes as he works to turn his father and brother against one another. I find it ironic that he distains his father's belief in fate through astrology, yet confesses that because of when he was born he was supposed to be 'rough and lecherous,' yet doesn't believe himself to have those traits he was just showing.

    Shakespeare's purpose in showing this disorder seems to come from the idea of dividing his kingdom. A divided kingdom would often lead to civil war and chaos, so Lear's deliberate dividing of the kingdom would probably have been viewed as deliberately inviting disorder.

    Power in England was structured in a pyramid. The king on top, and wealth and power went to a few nobles who had all the money. Lear was trying to disrupt that structure in a way that would have alarmed the people watching the play. Cordelia took a great risk in not bowing to her father's wishes, as his denying her dowry could have driven away both her suitors, leaving her alone and destitute in a world that didn't favor lone women. In her case, however Cordelia's suitor from France still marries her, which would be very unusual since she had no dowry, and she wouldn't gain him an alliance with England.

    Family dynamics can change depending on the health of a person, as others may come into their lives and as children grow up. Cordelia was Lear's favorite child, yet when she would not lie to him with flattery, he cast her off. Why? Did he not realize that her impending marriage would change is relationship with her? She would still love him, of course, but even with the play being in pre-Christian era, the belief would probably have been that the wife's foremost alliegence should be to her husband, and Lear should have understood this. In fact, it seems strange that he would have even questioned this part of the structure of society at all.

    No one has a perfect family. This is shown in Edgar and Edmund's family. Gloster (or Gloucester as some versions call him) may have been unfaithful to his wife, it's never stated whether she was alive at the time of Edmund's conception. If Gloster was unfaithful to his wife than he was dishonest and breaking one of the oldest understandings of marriage. If Edgar's mother had already died, that Gloster was not responsible enough to remarry, and to marry Edmund's mother, or at least admit himself Edmund's father when the boy was a child, instead of waiting until Edmund was old enough to distinguish himself, and in doing so, add to Gloster's reputation. It seems very unfair that Edmund, and almost any other illigitmate child born until the the late 1900s should be punished for something that their parents did. Yet neither should Edmund take out his misfortunes on his brother, who was, in all probability, guiltless in tormenting him. After all, Edgar trusts Edmund completely, which does not seem like an attitude he would hold had he tormented Edmund before. I think that Gloster could have stopped his fate had he treated Edmund with kindness from the beginning of his life, rather than waiting until Edmund could add to his reputation to acknowledge him.

    I don't actually seem him mocking Edmund, so much as simply being ashamed of his illegitimacy because it was Gloster's own act that was the cause of Edmund's bastardy. As Gloster was speaking to Kent, he was very frank about the manner of Edmund's conception, to the point that we would say he was being rude to Edmund, but really, for the time, the fact that he had acknowledged Edmund as his son at all was better than many bastards would have gotten. For this reason I think that more than anything it was the fact that he took so long to acknowledge Edmund, that led to Edmund's bitterness and Gloster's downfall.

    (This review is patched up from posts I made on an online Shakespeare class)
  • Bewertung: 4 von 5 Sternen
    4/5
    An intriguing play aptly portrayed by the cast, working with an excellent script.
  • Bewertung: 4 von 5 Sternen
    4/5
    Vain and silly King Lear demands that each of his three daughters describe their love for him. When the youngest and favored Cordelia gives a reply that is less gushing, but more reasonable, than her sisters, the King banishes her. This sets up a chain of miserable events in which the sisters and their husbands scramble to replace Cordelia in their father's heart, but fail because ambition brings out their cruelty.
  • Bewertung: 5 von 5 Sternen
    5/5
    One of my favorite Shakespeare plays. King Lear asks his daughters who truly loves him, and the oldest two spin golden words of flattery while the third one cannot do so. Lear abandons his third daughter and this opens the story to the madness that follows. Brilliantly imagined characters and psyches. Worth it
  • Bewertung: 5 von 5 Sternen
    5/5
    I enjoy the Folger editions of Shakespeare - to each his own in this matter. Some find Lear to be overblown, I am tremendously moved by it, and haunted by the image of the old man howling across the barren heaths with his dead daughter in his arms. 'I am bound upon a wheel of fire, that mine own tears Do scald like molten lead.' Lear 4.7.52-54
  • Bewertung: 4 von 5 Sternen
    4/5
    Thoughts on the play: -A classic tragedy in which almost everyone dies at the end. -I really didn't have much sympathy for Lear. He acted incredibly foolishly, not just once in turning his back on Cordelia, but many times. -At first, Goneral seemed to be acting reasonably. If Lear had restrained his knights, much of the tragedy would have been lessened. (This was one of the foolish actions of Lear's I mentioned above.) However, as the plot moves on, she is revealed as being more and more terrible. -Edmund struck me as the villain, and he also acted as a catalyst for villainy. So I found the scene at near the end after he & Edgar had dueled a bit hard to believe - after everything, Edgar just forgives him!?! -I was shocked when Cornwall plucks out Gloucester's eyes. I didn't know that was going to happen! Gloucester struck me as the true tragic hero, rather than Lear. Both of them cast off deserving children, but Gloucester realized his error and suffered for it. It wasn't clear to me that Lear recognized his own faults the way Gloucester did.
  • Bewertung: 4 von 5 Sternen
    4/5
    Probably the best of Shakespeare's works thematically, but not the easiest to follow. The sub-plots, the various intrigues, makes for a very convoluted plot. Some great roles though -- Lear, Edgar playing a madman, the Fool, the evil Edmund and the scheming daughters ... some serious scene-stealing material.
  • Bewertung: 5 von 5 Sternen
    5/5
    Maybe the fifteenth time I've read Lear (this time in the tiny red-leather RSC edition). Always impressed, especially with the curses and curse-like screeds. I can't stand Lear onstage, particularly the blinding of Gloster (so spelled in this edition). How sharper than a serpants teeth it is / to have a thankless child--though having a thankless parent like Lear, Act I Sc I, ain't so great either. I do love the Russian film Lear with music by Shostakovich, and the King's grand route through his bestiary of hawks and eagles.I suppose this is Shakespeare's great (that's redundant, since "Sh" is mostly "great") assessment of homelessness. The undeservingly roofless. it is also his only play on retirement, which he recommends against. Or perhaps Lear should have had a condo in Florida? Of course, his hundred knights, a problem for the condominium board, as it was for his daughters. And Shakespeare, who says in a sonnet he was "lame by fortune's despite" also addresses the handicapped here, recommending tripping blind persons to cheer them up.Of course, Lear has his personal Letterman-Colbert, the Fool, so he doesn't need a TV in the electrical storm on the heath. That's fortunate, because it would have been dangerous to turn on a TV with all that lightening. The play seems also to recommend serious disguises like Kent's dialects and Edgar's mud. Next time I go to a party I'll think about some mud, which reduces Edgar's likelihood of being killed by his former friends.And finally, the play touches on senility, where Lear cannot be sure at first Cordelia is his daughter.I'm not sure, but the author may be recommending senility as a palliative to tragedy--and to aging. A friend of mine once put it, "Who's to say the senile's not having the time of his life?"
  • Bewertung: 5 von 5 Sternen
    5/5
    Excellent work. I saw this performed at the Great River Shakespeare Festival in Winona, MN. Very powerful performance. I liked this edition in particular because it explained the nuances of the language right next to the original text. That plus the performance made this easier to understand.
  • Bewertung: 5 von 5 Sternen
    5/5
    When people want to rank Shakespeare's plays, usually Hamlet comes out as number one. This, in my experience, is the only other of his plays that I have seen mentioned as his greatest. If I were to rank his plays solely based upon their impact upon the world, I would probably agree with the usual placement of Hamlet as number one. However, were I to rank them based upon their impact on me, Lear gets the nod. Lear accurately and horrifyingly portrays the primal nature of man like few other works of literature; the only other to come to my mind is Lord of the Flies. Yet it's more than that; Lord of the Flies can afford to ignore the effects of sexual attraction and familial ties upon our nature, but Lear (the work, not the character) meets these head-on and uses them to devastating effect. This play alone would guarantee Shakespeare a place as one of the greatest English authors. With the rest of his body of work, there's no question that he is the greatest.
  • Bewertung: 3 von 5 Sternen
    3/5
    There is an abundance of reviews, essays, opinions and prejudicial comments available when talking about Shakespeare. It would seem that the man was incapable of jotting down a bad sentence, let alone a bad story, at least, that's the veil they hand you when calling Shakespeare, morbidly referred to as 'Willy' by those who know the first three lines of Hamlet's 'to be or not to be'-speech, 'the greatest writer of all time'.

    In this review, I shall not beshame my opinion by calling anyone Willy, Shakey, Quilly or by using the word 'Shakespearean'. 'King Lear' is not the strongest play in the exuberant repertoire of Shakespeare. It is, however, one of the more reader-friendly ones, which means you don't need a detailed map of familial relations to follow the plot. The story of King Lear relies heavily on stories that already existed at the time, but had only served as traditional folk tales or as long forgotten myths. For those who are oblivious to the plot - King Lear wants to divide his kingdom between his three daughters, Goneril, Regan and Cordelia. Whereas Goneril and Regan go out of their proverbial ways to flatter their father, Cordelia remains reticent (but honest). Which, of course, is not much appreciated. What follows resembles the story of Oedipus, that other Blind King who slowly wandered into his own destruction. Gloucester, one of the side characters, actually does lose his eyes.

    'King Lear', in the end, is a reflection on power and what one will do to achieve it. Even though it might be a bit stale nowadays, it still holds true to its message, and for those who enjoy Shakespeare's husky metaphor, this play will provide you with all the ammunition needed.
  • Bewertung: 5 von 5 Sternen
    5/5
    There are three main reasons for the disorder already occurring by the end of Act I. The first and most obvious is Lear's madness. He certain seems to be loosing it a bit, and his crazed banishment of Cordelia and Kent couldn't possibly have done anything but harm to him. The second reason is Cordelia's sister's treachery. It could be argued that they appear to be trying to protect him and their people by taking away his knights, he is crazy after all, if it weren't for Cordelia's parting words to them; "I know you what you are;/And, like a sister, am most loth to call/Your faults as they are nam'd. Love well our father:/To your professed bosoms I commit him:/But yet, alas, stood I within his grace, I would prefer him to a better place." And a few lines later; "Time shall unfold what plighted cunning/Who cover faults, at last shame them derides." These lines seem to indicate that Cordelia knows that Goneril and Regan are not only flattering Lear for gain, but also that they hold him in contempt, and will likely do him harm, and revealing the second harbinger of disorder.

    The third indicator of the chaos to come is Edmund. I feel bad for him, for the contempt others hold him in because of the doings of his parents, but he quickly does what he can to dispel my pity for him with his evil attitudes as he works to turn his father and brother against one another. I find it ironic that he distains his father's belief in fate through astrology, yet confesses that because of when he was born he was supposed to be 'rough and lecherous,' yet doesn't believe himself to have those traits he was just showing.

    Shakespeare's purpose in showing this disorder seems to come from the idea of dividing his kingdom. A divided kingdom would often lead to civil war and chaos, so Lear's deliberate dividing of the kingdom would probably have been viewed as deliberately inviting disorder.

    Power in England was structured in a pyramid. The king on top, and wealth and power went to a few nobles who had all the money. Lear was trying to disrupt that structure in a way that would have alarmed the people watching the play. Cordelia took a great risk in not bowing to her father's wishes, as his denying her dowry could have driven away both her suitors, leaving her alone and destitute in a world that didn't favor lone women. In her case, however Cordelia's suitor from France still marries her, which would be very unusual since she had no dowry, and she wouldn't gain him an alliance with England.

    Family dynamics can change depending on the health of a person, as others may come into their lives and as children grow up. Cordelia was Lear's favorite child, yet when she would not lie to him with flattery, he cast her off. Why? Did he not realize that her impending marriage would change is relationship with her? She would still love him, of course, but even with the play being in pre-Christian era, the belief would probably have been that the wife's foremost alliegence should be to her husband, and Lear should have understood this. In fact, it seems strange that he would have even questioned this part of the structure of society at all.

    No one has a perfect family. This is shown in Edgar and Edmund's family. Gloster (or Gloucester as some versions call him) may have been unfaithful to his wife, it's never stated whether she was alive at the time of Edmund's conception. If Gloster was unfaithful to his wife than he was dishonest and breaking one of the oldest understandings of marriage. If Edgar's mother had already died, that Gloster was not responsible enough to remarry, and to marry Edmund's mother, or at least admit himself Edmund's father when the boy was a child, instead of waiting until Edmund was old enough to distinguish himself, and in doing so, add to Gloster's reputation. It seems very unfair that Edmund, and almost any other illigitmate child born until the the late 1900s should be punished for something that their parents did. Yet neither should Edmund take out his misfortunes on his brother, who was, in all probability, guiltless in tormenting him. After all, Edgar trusts Edmund completely, which does not seem like an attitude he would hold had he tormented Edmund before. I think that Gloster could have stopped his fate had he treated Edmund with kindness from the beginning of his life, rather than waiting until Edmund could add to his reputation to acknowledge him.

    I don't actually seem him mocking Edmund, so much as simply being ashamed of his illegitimacy because it was Gloster's own act that was the cause of Edmund's bastardy. As Gloster was speaking to Kent, he was very frank about the manner of Edmund's conception, to the point that we would say he was being rude to Edmund, but really, for the time, the fact that he had acknowledged Edmund as his son at all was better than many bastards would have gotten. For this reason I think that more than anything it was the fact that he took so long to acknowledge Edmund, that led to Edmund's bitterness and Gloster's downfall.

    (This review is patched up from posts I made on an online Shakespeare class)
  • Bewertung: 3 von 5 Sternen
    3/5
    The version of Lear I saw in 2012 too closely matched the texted: too many story lines, too many gag scenes, and too much talking about how hard it is to be king. The tragedy of Lear is that he gets exactly what he deserved. For me, it lacks much of the intrigue of Macbeth or the poetry of Hamlet or Othello.
  • Bewertung: 4 von 5 Sternen
    4/5
    Shakespeare but I have not read it in a long time and I do not think that I have ever seen it.
  • Bewertung: 4 von 5 Sternen
    4/5
    One of my favorite Shakespeare plays, though it had been a long time since I read it. Didn't disappoint on a reread!
  • Bewertung: 4 von 5 Sternen
    4/5
    King Lear makes a fateful decision to divide his kingdom between his three daughters. The reaction of one daughter, Cordelia, displeases the king so much that he cuts her out of any inheritance. The kingdom will be divided between the other two daughters, Goneril and Regan. His plan is that they will take care of him in his old age. They soon decide that they don't want to use their inheritance to support their father, and the king finds himself with nowhere to shelter in a violent storm. Meanwhile, the Earl of Gloucester's illegitimate son plots to usurp his legitimate brother's place as their father's heir. As in many of Shakespeare's plays, there are characters in disguise. It's filled with violence and cruelty without comic relief like the gravedigger scene in Hamlet. The family conflict at its heart will continue to resonate with audiences and readers as long as there are families.
  • Bewertung: 4 von 5 Sternen
    4/5
    To sum up the play in one sentence: this is the story of a king seeking to divide his kingdom among his three daughters based on who could articulate her love for him the best. Beyond that it is the tragedy of emotional greed - of wanting to be loved at any cost. It is the tragedy of politics and family dynamics. Youngest daughter Cordelia is unwilling to conform to her father's wishes of exaggerated devotion. Isn't the last born always the rebel in the family? As a result Cordelia's portion of the kingdom is divided among her two sisters, Goneril and Regan. The story goes on to ooze betrayal and madness. Lear is trapped by his own ego and made foolish by his hubris.
  • Bewertung: 3 von 5 Sternen
    3/5
    Not my cup of tea, but it was nice to read it because I haven't before.
  • Bewertung: 5 von 5 Sternen
    5/5
    King LearWilliam ShakespeareThursday, March 27, 2014 In my Shakespeare class, senior year of college, the professor thought this was the play central to understanding Shakespeare. The tale is familiar; Lear gives up his Kingdom to avoid the cares of ruling, dividing it among his daughters. Cordelia, the most honest, points out that she owes him a duty but also owes her fiancé, the King of France, love and affection. Lear casts her out, because she is not as effusive as her sisters, Regan and Goneril. Goneril, hosts the King first, instructs her servants to ignore his knights, and when he goes to Regan, she sends a letter to ensure he is cast out there as well. Lear goes mad in a storm, succored by Kent, a loyal knight whose advice was unwelcome in the initial scene, and by Edgar, the son of the Earl of Gloucester, who has been usurped by the machinations of Edmund, a bastard son, and who is the lover of Regan and Goneril. Cordelia brings an army to rescue Lear, but is defeated, and in the schemes of Edmund is killed in captivity. Regan dies, poisoned by Goneril jealous of Edmund, Goneril dies by suicide after Edmund is killed by Edgar, Gloucester dies after a blinding, and Lear dies of heart attack. Lear's speeches while mad are the essence of the mature understanding of the human situation "Striving to better, oft' we mar what's well""Let me kiss your hand!" Lear, in response "Let me wipe it first, it smells of mortality"Leather bound, Franklin Library, Tragedies of Shakespeare ($34.60 4/28/2012)

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Das Leben und der Tod des Königs Lear - Christoph Martin Wieland

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Title: Das Leben und der Tod des Koenigs Lear

Author: William Shakespeare

Release Date: January, 2005 [EBook #7240] [Yes, we are more than one year ahead of schedule] [This file was first posted on March 30, 2003]

Edition: 10

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Das Leben und der Tod des Königs Lear.

William Shakespeare

Übersetzt von Christoph Martin Wieland

Personen des Trauerspiels.

Lear, König von Brittannien.

König von Frankreich.

Herzog von Burgund.

Herzog von Cornwall.

Herzog von Albanien.

Graf von Gloster.

Graf von Kent.

Edgar, Glosters Sohn.

Edmund, Bastard von Gloster.

Curan, ein Höfling.

Medicus.

Narr.

Oswald, Gonerills Haushofmeister.

Ein Officier.

Ein Edelmann, der Cordelia begleitet.

Ein Herold.

Ein alter Mann von Glosters Unterthanen.

Ein Bedienter von Cornwall.

Zwey Bediente von Gloster.

Gonerill, Regan und Cordelia, Lears Töchter.

Ritter die dem König aufwarten, Officiers, Boten, Soldaten und

Bediente etc.

Der Schauplaz ligt in Brittannien.

Erster Aufzug.

Erster Auftritt.

(Der Königliche Palast.)

(Kent, Gloster, und Edmund der Bastard, treten auf.)

Kent. Ich dachte, der König liebe den Herzog von Albanien mehr als den von Cornwall.

Gloster. So schien es uns allezeit; allein izt, bey der Theilung seiner Königreiche kan man nicht sehen, welchen von beyden er höher schäze; das schärfste Auge könnte nichts entdeken, das einem Theil vor dem andern den Vorzug gäbe; so genau sind sie nach ihren verschiedenen Beschaffenheiten und Vorzügen gegen einander abgewogen.

Kent.

Ist dieses nicht euer Sohn, Mylord?

Gloster. Die Last seiner Erziehung fiel auf mich. Ich habe schon so oft erröthet ihn für meinen Sohn zu erkennen, daß ich nicht mehr erröthen kan.

Kent.

Ich begreiffe euch nicht.

Gloster. Die Mutter dieses jungen Menschen konnt' es; sie bekam davon eine gewisse Geschwulst, und zulezt, Sir, fand sich, daß sie einen Sohn für ihrer Wiege hatte, ehe sie einen Gemahl für ihr Bette hatte. Riechet ihr den Fehler?

Kent. Die Würkung dieses Fehlers ist so schön, daß ich nicht wünschen kan, er möchte unterblieben seyn.

Gloster. Ich habe zwar auch einen gesezmässigen Sohn, der etliche Jahre älter, aber mir nicht werther ist als dieser. Wenn dieser lose Junge gleich ein wenig unverschämt auf die Welt kam, eh man ihn verlangte, so war doch seine Mutter schön; es gieng kurzweilig zu als er gemacht wurde, und der H** Sohn muß erkannt werden. Kennst du diesen Edelmann, Edmund?

Edmund.

Nein, Mylord.

Gloster. Es ist Mylord von Kent. Erinnere dich künftig seiner als meines würdigen Freundes.

Edmund (zu Kent.)

Ew. Gnaden geruhen meine Dienste anzunehmen.

Kent.

Ihr gefallet mir, wir müssen besser mit einander bekannt werden.

Edmund.

Mylord, ich werde mich bestreben euere Gewogenheit zu verdienen.

Gloster.

Er ist neun Jahre ausser Landes gewesen, und soll noch länger seyn.

(Man hört Trompeten, der König kömmt.)

Zweyter Auftritt.

(König Lear, Cornwall, Albanien, Gonerill, Regan, Cordelia und

 Gefolge.)

Lear. Gloster, gehe denen Fürsten von Frankreich und Burgund Gesellschaft zu leisten.

Gloster.

Ich gehe, mein Gebieter.

(Geht ab.)

Lear. Nunmehr ist es Zeit, unser geheimes Vorhaben zu entdeken—Gebet mir diese Land-Carte—Wisset, wir haben unser Königreich in drey Theile getheilt, und es ist unsre erste Absicht, unser Alter aller Regierungs-Sorgen und Geschäfte zu entladen, und solche jüngern Schultern aufzulegen, indeß daß wir unbelastet dem Tod entgegen kriechen—Unser Sohn von Cornwall, und ihr, nicht minder geliebter Sohn von Albanien, wir haben den standhaften Schluß gefaßt, in dieser Stunde die verschiedenen Morgengaben unsrer Töchter bekannt zu machen, damit allem künftigen Streit darüber vorgebogen werde. Die Fürsten von Frankreich und Burgund, ansehnliche Nebenbuler um die Liebe unsrer jüngern Tochter, haben schon lange ihren verliebten Aufenthalt an unserm Hofe gemacht, und sollen izt ihre Antworten erhalten. Saget mir, meine Töchter, (da wir uns nun der obersten Gewalt, der Landesherrschaft und der Sorge des Staats zu begeben willens sind,) von welcher unter euch sollen wir sagen, daß sie uns am meisten liebe? damit wir unsre freygebigste Huld dahin ergiessen, wo die Natur für das gröste Verdienst Ansprüche macht. Gonerill, unsre Erstgebohrne, rede zuerst.

Gonerill. Sire, ich liebe euch mehr als Augenlicht, Raum und Freyheit; mehr als alles was theuer und selten geschäzt werden mag; nicht minder als Leben, Gesundheit, Schönheit und Ehre; so sehr als jemals ein Kind geliebt, oder ein Vater geliebt zu seyn verdient hat—mit einer Liebe, die den Athem arm, und die Sprache unzulänglich macht, die über allen Ausdruk ist, liebe ich euch.

Cordelia (beyseite.)

Was soll Cordelia thun? Lieben und schweigen.

Lear. Von allen diesen Ländereyen, (von dieser Linie bis zu jener,) mit schattichten Wäldern und offnen Ebnen, mit fruchtbaren Strömen und weit verbreiteten Matten bereichert, machen wir dich zur Beherrscherin. Deiner und Albaniens Nachkommenschaft sollen sie auf ewig eigen seyn!—Was sagt unsre zweyte Tochter, unsre geliebteste Regan, Cornwalls Gemahlin? Rede!

Regan. Ich bin von eben dem Metall gemacht wie meine Schwester, und schäze mein getreues Herz nach dem Werth des ihrigen. Ich finde, daß sie das wahre Wesen meiner Liebe ausgedrükt hat; nur darinn fällt sie zu kurz, daß ich mich selbst eine Feindin aller andern Freuden erkläre, welche die vier* edelsten Sinnen uns zu geben vermögend sind, und finde, daß Eurer Majestät Liebe meine einzige Glükseligkeit macht.

{ed.-* Durch diese vier edelsten Sinne sind hier Gesicht, Gehör, Geruch, und Geschmak zu verstehen; denn eine junge Dame konnte mit Anständigkeit nicht zu verstehen geben, daß sie die Vergnügungen des fünften kenne. Warbürton.

Der Übersetzer überläßt dieses dem Ausspruch der jungen Damen, und wagt nur die Vermuthung, ob es nicht weit natürlicher sey zu denken, Regan nenne eben darum die vier edelsten Sinne, weil sie dem fünften nicht entsagen will.}

Cordelia (beyseite.)

Arme Cordelia!—und doch nicht arm, denn ich bin gewiß, daß meine

Liebe gewichtiger ist als ihre Zunge.

Lear. Dir und den Deinigen bleibe zum ewigen Erbtheil dieser ansehnliche Drittheil unsers schönen Königreichs, nicht geringer an Grösse, Werth und Schönheit, als derjenige, den wir an Gonerill übertragen haben—Nun du, unsre Freude, nicht die geringste, obgleich die lezte, deren jugendliche Liebe das weinvolle Frankreich, und das milchtrieffende Burgund zu gewinnen streben, was sagst du, ein drittes noch reicheres Loos zu ziehen als deine Schwestern?

Cordelia.

Nichts, Milord!

Lear.

Nichts?

Cordelia.

Nichts!

Lear.

Aus Nichts kan nichts entspringen. Rede noch einmal.

Cordelia.

Ich Unglükliche, daß ich mein Herz nicht bis in meinen Mund hinauf

bringen kan! Ich liebe Eu. Majestät so viel als meine

Schuldigkeit ist, nicht mehr und nicht weniger.

Lear. Wie? wie, Cordelia? Verbeßre deine Rede ein wenig, oder du möchtest dein Glük verschlimmern.

Cordelia. Mein theurer Lord, ihr habet mich gezeugt, erzogen, und geliebt. Ich erstatte diese Wohlthaten wie es meine Pflicht erheischet, ich gehorche euch, ich liebe und verehre euch. Wofür haben meine Schwestern Männer, wenn sie sagen, sie lieben euch allein? Wenn ich mich vermählen sollte, so wird der Mann dem ich meine Hand gebe, auch die Helfte meiner Liebe und Ergebenheit mit sich nehmen. Wahrhaftig, ich will nimmermehr heurathen wie meine Schwestern, um allein meinen Vater zu lieben.

Lear.

Sprichst du aus deinem Herzen?

Cordelia.

Ja, mein theurer Lord.

Lear.

So jung, und so unzärtlich?

Cordelia.

So jung, Mylord, und so aufrichtig.

Lear. So laß denn deine Aufrichtigkeit deine Mitgift seyn. Denn bey den heiligen Stralen der Sonne, bey den Geheimnissen der Hecate und der Nacht, bey allen Würkungen der himmlischen Kreise, durch welche wir entstehen und aufhören zu seyn—entsage ich hier aller väterlichen Sorge und Blutsverwandschaft, und erkläre dich von diesem Augenblik an auf immer für einen Fremdling zu meinem Herzen, und mir. Der barbarische Scythe, oder der mit dem Fleische seiner eignen Kinder seinen unmenschlichen Hunger stillt, sollen meinem Herzen so nahe ligen, und so viel Mitleiden und Hülfe von mir zu erwarten haben als du, einst meine Tochter.

Kent.

Mein theurer Oberherr!

Lear.

Zurük, Kent! Wage dich nicht zwischen den Drachen und seinen Grimm.

Ich liebte sie höchlich, und gedachte den Rest meines Eigenthums

ihren holden Abkömmlingen zu vermachen—Hinweg aus meinem Gesicht!

(zu Cordelia)

—So sey mein Grab meine Ruhe, als ich sie hier aus ihres Vaters Herzen verstosse.—Ruffet die Fürsten von Frankreich und Burgund!— Cornwall und Albanien, zu meiner beyden Töchter Mitgift, theilet auch die dritte unter euch. Der Stolz den sie Aufrichtigkeit nennt, mag sie versorgen. Euch belehne ich beyderseits mit meiner Oberherrlichkeit, und allen den hohen Gerechtsamen und reichen Vortheilen, welche die Majestät begleiten. Wir selbst werden mit Vorbehalt von hundert Edelknechten, die ihr unterhalten sollet, unsern monatlichen Aufenthalt wechselsweise bey euch nehmen; dieses und der königliche Titel mit seinem Zugehör ist alles was wir uns ausbedingen;

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