1. Unhappy that I am, I cannot heave
My heart into my mouth. I love your majesty
According to my bond; no more nor less.

Cordelia speaks these words when she address her father, King Lear, who has demanded that his daughters tell him how much they love him before he divides his kingdom among them (1.1.90–92). In contrast to the empty flattery of Goneril and Regan, Cordelia offers her father a truthful evaluation of her love for him: she loves him “according to my bond”; that is, she understands and accepts without question her duty to love him as a father and king. Although Cordelia loves Lear better than her sisters do, she is unable to “heave” her heart into her mouth, as her integrity prevents her from making a false declaration in order to gain his wealth. Lear’s rage at what he perceives to be her lack of affection sets the tragedy in motion. Cordelia’s refusal to flatter Lear, then, establishes her virtue and the authenticity of her love, while bringing about Lear’s dreadful error of judgment.

2. Thou, nature, art my goddess; to thy law
My services are bound. Wherefore should I
Stand in the plague of custom, and permit
The curiosity of nations to deprive me,
For that I am some twelve or fourteen moonshines
Lag of a brother? Why bastard? wherefore base?
…
Legitimate Edgar, I must have your land.
Our father’s love is to the bastard Edmund
As to the legitimate. Fine word—“legitimate”!
Well, my legitimate, if this letter speed,
And my invention thrive, Edmund the base
Shall top the legitimate. I grow; I prosper.
Now, gods, stand up for bastards!
Edmund delivers this soliloquy just before he tricks his father, Gloucester, into believing that Gloucester’s legitimate son, Edgar, is plotting against him (1.2.1–22). “I grow; I prosper,” he says, and these words define his character throughout the play. Deprived by his bastard birth of the respect and rank that he believes to be rightfully his, Edmund sets about raising himself by his own efforts, forging personal prosperity through treachery and betrayals. The repeated use of the epithet “legitimate” in reference to Edgar reveals Edmund’s obsession with his brother’s enviable status as their father’s rightful heir. With its attack on the “plague of custom,” this quotation embodies Edmund’s resentment of the social order of the world and his accompanying craving for respect and power. He invokes “nature” because only in the unregulated, anarchic scheme of the natural world can one of such low birth achieve his goals. He wants recognition more than anything else—perhaps, it is suggested later, because of the familial love that has been denied him—and he sets about getting that recognition by any means necessary.

3. O, reason not the need! Our basest beggars
Are in the poorest thing superfluous.
Allow not nature more than nature needs,
Man’s life’s as cheap as beast’s …
…
You heavens, give me that patience, patience I need!
…
If it be you that stir these daughters’ hearts
Against their father, fool me not so much
To bear it tamely; touch me with noble anger,
And let not women’s weapons, water-drops,
Stain my man’s cheeks! No, you unnatural hags,
…
No, I’ll not weep.
I have full cause of weeping, but this heart
Shall break into a hundred thousand flaws,
Or ere I’ll weep. O fool, I shall go mad!
Lear delivers these lines after he has been driven to the end of his rope by the cruelties of Goneril and Regan (2.4.259–281). He rages against them, explaining that their attempts to take away his knights and servants strike at his heart. “O, reason not the need!” he cries, explaining that humans would be no different from the animals if they did not need more than the fundamental necessities of life to be happy. Clearly, Lear needs knights and attendants not only because of the service that they provide him but because of what their presence represents: namely, his identity, both as a king and as a human being. Goneril and Regan, in stripping Lear of the trappings of power, are reducing him to the level of an animal. They are also driving him mad, as the close of this quotation indicates, since he is unable to bear the realization of his daughters’ terrible betrayal. Despite his attempt to assert his authority, Lear finds himself powerless; all he can do is vent his rage.

4. As flies to wanton boys are we to the gods;
They kill us for their sport.

Gloucester speaks these words as he wanders on the heath after being blinded by Cornwall and Regan (4.1.37–38). They reflect the profound despair that grips him and drives him to desire his own death. More important, they emphasize one of the play’s chief themes—namely, the question of whether there is justice in the universe. Gloucester’s philosophical musing here offers an outlook of stark despair: he suggests that there is no order—or at least no good order—in the universe, and that man is incapable of imposing his own moral ideas upon the harsh and inflexible laws of the world. Instead of divine justice, there is only the “sport” of vicious, inscrutable gods, who reward cruelty and delight in suffering. In many ways, the events of the play bear out Gloucester’s understanding of the world, as the good die along with the wicked, and no reason is offered for the unbearable suffering that permeates the play.

5. Howl, howl, howl, howl! O, you are men of stones:
Had I your tongues and eyes, I’d use them so
That heaven’s vault should crack. She’s gone forever!
I know when one is dead, and when one lives;
She’s dead as earth.

Lear utters these words as he emerges from prison carrying Cordelia’s body in his arms (5.3.256–260). His howl of despair returns us again to the theme of justice, as he suggests that “heaven’s vault should crack” at his daughter’s death—but it does not, and no answers are offered to explain Cordelia’s unnecessary end. It is this final twist of the knife that makes King Lear such a powerful, unbearable play. We have seen Cordelia and Lear reunited in Act 4, and, at this point, all of the play’s villains have been killed off, leaving the audience to anticipate a happy ending. Instead, we have a corpse and a howling, ready-for-death old man. Indeed, the tension between Lear as powerful figure and Lear as animalistic madman explodes to the surface in Lear’s “Howl, howl, howl, howl,” a spoken rather than sounded vocalization of his primal instinct.