Abstract
The agreed, major sources of King Lear are the anonymous history play King Leir and Sidney’s Arcadia. To these and other early modern ‘originals’ this chapter adds classical tragedies by Seneca, Euripides, and Sophocles—most conspicuously his Oedipus at Colonus, which was readily available in Latin translation. The ancient tragedies resonate with King Lear thanks to conventions of literary imitation that were well understood in the Jacobean period, but their presence is also symptomatic of a drive within the play to get back to the origins of nature, injustice, and causation. The influences of Plutarch and Montaigne are also highlighted. The portrayal of death (or the illusion of it) and the desire for death, in the play and its sources, are analysed. Focusing on the scenes at Dover Cliff and the division of the kingdom/s, this chapter moves to a new account of the complications of the play’s conclusion in both quarto and Folio texts.
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