O Sir, you are old.Nature in you stands on very vergeOf his confine (Regan, King Lear II.iv.139-141)I always thought when I got older that God would sort of come into my life in some way. He didnt. I dont blame him. (Uncle Ellis, No Country for Old Men 267)In final of his thirteen soliloquies that punctuate each episode of action in Cormac McCarthy's bleak novel No Country for Old Men, SheriffEd Tom Bell finds himself silently observing stone water trough. The contrast between this quiet moment and what to this point has been Bell's turbulent investigation of horribly botched drug transaction is striking, both to reader and to Bell himself. Remembering that trough in question is constantly kept full by galvanized metal pipe, Bell begins to make inferences maker behind such solidly constructed yet seemingly trivial piece of work:[T]his man had set down with hammer and chisel and carved out stone water trough to last ten thousand years. Why was that? What was it that he had faith in? It wasnt that nothin would change. Which is what you might think, I suppose. He had to know bettern that. (306)Change, Bell has come to realize, is only constant. His world is one in which cattle rustlers with whom sheriffs were formerly charged with putting to justice now seem almost quaint-having evolved into morally bankrupt drug runners and mercenaries. It is world in which men identified in novel's title are doomed to extinction if they fail to adapt to changing times. It is also world in which, as Bell further realizes, stone trough is worth careful consideration, if only because its concrete shape and clear, simple function make it one of an increasingly few dependable, tangible entities in his experience.The depth of Bell's despondency at end of novel-It was defeat, (306) third-person narrative succinctly tells us page earlier-can only be as profound as it is because Bell is an man. His world view, which has always hinged on faith in some sort of divine justice and order in universe, now seems hopelessly obsolete and he knows it. Because of his age, because of nature of his crisis of conscience so late in life, and because his general outlook has just been inextricably altered from glimpse directly into face of evil, Bell recalls one of literature's most familiar old men: King Lear. As distant as McCarthy and Shakespeare seem, both chronologically and stylistically, novelist's work has certain quality that has drawn critics to compare it to some of behemoths of Western Literary canon. Critics have routinely cited litany of American novelists as direct influences on McCarthy. In review of McCarthy's 1998 novel Cities of Plain, New York Times reviewer Michiko Kakatuni refers to author as a direct descendent of Hemingway (E1). Scott Esposito has called him the heir of that ultimate Southern stylist, William Faulkner (Esposito). In tracing his work's lineage, others have gone farther back: Critic Peter Josyph goes as far as to outline connection between McCarthy's 1985 novel Meridian and epic poem Beowulf in his essay Blood Music, relationship that Rick Wallach expands on in his essay From Beowulf to Meridian.Inevitably, some readers have made intriguing, if improbable, comparison between McCarthy and Shakespeare. In notes from her 2007 production of King Lear at New Jersey Shakespeare Theater, director Bonnie J. Monte uses an excerpt from McCarthy's 2006 novel The Road, dark portrait of father and son's journey through bleak, post-apocalyptic world. The play, she says, is about world completely out of balance, awash in chaos, and leaderless (Monte). The same can be said of No Country for Old Men, whose ending recalls those of Shakespeare's bloodiest tragedies. The similarities between two pieces-in terms of hero's central dilemma and its tragic implications, as opposed to surface details of plot-are more than skin deep. …