The theme of pride plays a fundamental role in determining the ultimate denouement of the play. Indeed, it's the way to obtain both Lear's downfall and the next downfall of his kingdom. Lear's take great pride in is not in isolation however; Regan, Goneril, Edmund and probably Cordelia's delight also play an intrinsic part in the demise of Lear's kingdom. Hence, delight is a visible and ongoing theme throughout Ruler Lear and essentially exemplifies both the 'good' people and the 'wicked' heroes.
Like all tragic heroes, Lear has one fatal flaw- satisfaction. It is obviously evident that he would like to be cured as a ruler yet he has no wish to fulfil the tasks that come with his name; fundamentally, Lear ignores the failings of the legal system: "legal systems that hammer the sins of the poor while winking at the wrongs of the rich". In many ways, it is possible to dispute that Lear has truly gone against God. It was originally identified that God find the monarchs; certainly, in this esteem Lear has forgotten his responsibilities as a king to meet his feeling of self value. Essentially, Satisfaction has led Lear to abandon his commitment to his kingdom and God. The idea of "who shall we say doth love us most" thus reiterates, the term "say" specifically, that Lear would prefer a superficial display of love, which is exhibited by Regan and Goneril, instead of Cordelia's love which is evident through her devotion and devotion to her dad. Certainly, Cordelia has already been his favourite child and he has decided on providing her "another more opulent than (her) sisters". Undoubtedly though, Lear overlooks Cordelia's "kind nursery" simply because she won't be a part of his egotistical 'love test'. However, this is merely because she cannot describe the true level of her love in words, she "cannot heave (her) heart and soul into (her) mouth area"; nevertheless, Lear favours Regan and Goneril's false-hearted, albeit manipulative flattery. More importantly, Lear's pride eventually see's him going against the two people who ironically have his best interests at heart- despite Cordelia's description of her "ponderous" daughters and Kent's caution to Lear of his "hideous rashness", Lear's satisfaction window blinds him and he again sides with his other daughters' flattery. The stark consequence of Lear's rashness is accentuated at the end of the first landscape as Regan and Goneril opt to "hit alongside one another"; thus creating a solid sense of foreboding. Lear's tragic flaw-pride, certainly leads to Lear's important misuse of ability, which culminates in his life and his kingdom moving further out of his control.
Despite Lear's evident transformation as the play produces, he nevertheless keeps a certain notion of pride. Without doubt, Lear is adamant that he attacks again at his two deceiving daughters through sterilising them; Lear wants that Goneril is unable to have children: "Dry out in her the organs of increase". This emphasises that he still blames his daughters- his pride is yet again blinding him from since it was his narcissistic 'love test' which brought about his downfall. Lear's obsession with justice carries on as he "anatomizes" his daughters in the mock trial he enacts, which is a parody of the 'love test', in Action one. Once more, whilst Lear is now able to start to see the true identity of his daughters, he never even contemplates that he previously a role in his downfall. More significantly, Lear's delight is shown through his sympathy towards Poor Tom. Lear is not concerned with himself who is now "houseless" but instead with the "naked wretches" such as Low of the Tom. Whilst this demonstrates Lear's newfound humbleness, it is also indicative that Lear still feels more worthy than Low-quality Tom; Lear gets the desire to be an "unaccommodated man" through stripping off his clothes- yet this in the end shows that he still feels he has more position. In this esteem, it poses the question of whether Lear has learned from his experience in any way.
Edmund's pride alternatively, ends in him virtually heading to any methods to control his illegitimacy: "all with me's meet. . . that I can fashion fit". Ironically, however, Edmund's talk, "why bastard?" in Function two, decries his stereotype; yet he subsequently conforms to this stereotype through his behaviour. Therefore, Edmund epitomises Machiavellian features, that was a recurring topic in Jacobean episode. Most of Edmund's values are summarised in his soliloquy in Field two of Work one, whereby he rejects the hierarchy that has made his sibling and father productive. However, Edmund's disapproval is due to his pride; the truth is Edmund also wishes to succeed in society's conditions. Certainly, the importance Edmund places on status is illuminated incidentally he callously structures Edgar- this runs against natural order which suggests how Edmund seems his social position is of more importance that his romantic relationship with his brother and father. In many ways, Gloucester, Edgar and Edmund simply echo Lear's predicament. Furthermore, it is possible that Lear, Kent and Cordelia signify the old ways of the monarchy and social order, while Edmund, Goneril and Regan represent a fresh hierarchy, which adheres to Machiavellian rules- these three are after all arguably synonymous with the devil. Without doubt, Shakespeare was alert to the social transfer that was occurring when he published a lot of his plays which could be a reference to it. Irrespective of Shakespeare's purpose however, it can provide damning proof Edmund's take great pride in and the stark effects of computer.
Similar to Edmund, Regan and Goneril's quest for self-gratification results in tragedy. Their satisfaction is noticeable through their flattery towards their daddy in the starting landscape- Goneril expresses that she loves her dad more than "eyesight, space, and liberty". This highlights how, like Edmund, Goneril and Regan are willing to go to extreme measures to attain their goal of getting rule over Great britain. Indeed, their pleasure leads to the barbaric treatment of Lear in Function two, when he is remaining in "the hell-black night time" of the surprise. Again, this goes against natural order and reveals that they feel their status is more important than their father's well-being. The notion "all cruels else subscribe" may symbolize how on such a terrible night every other creature could have pitied Lear and given him shelter, however, not his daughters who are becoming significantly sadistic in the search for rule over Britain. Essentially, both daughters are personifications of evil- they haven't any conscience, only greed and this greed enables those to crush all things in their path to achieve their goal. Albany's biblical allusion to Goneril as a "gilded serpent", accentuates how, like Eve was tempted by to take the fruits from the tree of knowledge, Lear has been enticed and deceived by Goneril's superficial behavior. Ironically, however, greed is the sisters' downfall. Their desire for status is satisfied- yet Edmund, the sisters' lust subject, destroys their alliance and crucially they ruin one another. Thus, pride is the source of their damaging nature, which in the end destroys them too.
Cordelia's is perhaps the only figure who owns 'good' satisfaction; it is her pride and morals, which at first cause her to alert her father above the "dog hearted" Goneril and Regan. Actually, Cordelia's virtue and purity is implied through religious imagery, for case, "she shook the Holy drinking water from her heavenly eyes"- in this respect Cordelia epitomises Christian qualities. It is arguable that Cordelia is more a resemblance of the angel rather than human being. Her satisfaction is exemplified through her sacrifice in the ultimate landscape; as Christ is considered to have redeemed the sins of men and women through his crucifixion, Cordelia has redeemed Lear's sins through her loss of life. Hence, Cordelia's sacrificial dynamics makes her more like a Christ-like shape. Also, her sacrifice has led her to pass away with her morals intact, thus keeping her dignity and take great pride in. On the other hand, it is arguable that Cordelia's pride leads to the ultimate downfall of the kingdom. Her prideful stubbornness stops her from participating in Lear's 'love test', which stubborn "nothing" results in Regan and Goneril's rebellion. Certainly, this recommendation may have justified Cordelia's fatality to the audience; however, most believe that her satisfaction, which results in her staying loyal to her dad, as the sole good exemplory case of pride in Ruler Lear.
To conclude, the theme of delight takes on a pivotal role in catalysing a series of happenings, which show Lear's kingdom deteriorating and being placed into the hands of his deceitful daughters. Thus, whilst there is certainly evidence of some goodness produced out of delight in the play, eventually it has resulted in the destruction of the kingdom and the fatality of many of the heroes. Pride is therefore, the key source of the tragedy.
