The monster Goneril prepares what is necessary, [pg 195] while the character of Albany renders a still more maddening grievance possible—namely, Regan and Cornwall in perfect sympathy of monstrosity. Not a sentiment, not an image, which can give pleasure on its own account is admitted; whenever these creatures are introduced, and they are brought forward as little as possible, pure horror reigns throughout. In this scene and in all the early speeches of Lear, the one general sentiment of filial ingratitude prevails as the main-spring of the feelings;—in this early stage the outward object causing the pressure on the mind, which is not yet sufficiently familiarised with the anguish for the imagination to work upon it.
Ib.—
“Gon. Do you mark that, my lord?
Alb. I cannot be so partial, Goneril,
To the great love I bear you.
Gon. Pray you content,” &c.
Observe the baffled endeavour of Goneril to act on the fears of Albany, and yet his passiveness, his inertia; he is not convinced, and yet he is afraid of looking into the thing. Such characters always yield to those who will take the trouble of governing them, or for them. Perhaps the influence of a princess, whose choice of him had royalised his state, may be some little excuse for Albany's weakness.
Ib. sc. 5.—
“Lear. O let me not be mad, not mad, sweet heaven!
Keep me in temper! I would not be mad!”