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O rei Lear
O rei Lear
O rei Lear
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O rei Lear

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Ao chegar à velhice, Lear, rei da Bretanha, se vê obrigado a dividir seu reino. A maior desgraça para um monarca atingira-o: para protegê-lo e garantir sua sucessão, nenhum filho varão, apenas três filhas mulheres, Goneril, Regana e Cordélia. As duas primeiras são casadas, respectivamente, com o Duque da Albânia e com o Duque da Cornualha, enquanto que Cordélia recusa-se a casar, para permanecer ao lado do pai. Mas o assédio de estranhos pelo reino não é o mal maior do qual padece o rei. A progressiva dificuldade de discernir as atitudes e os discursos daqueles que o cercam e o embotamente da percepção da sinceridade e da falsidade humana provam ser males fatais para o outrora grande monarca.
IdiomaPortuguês
Data de lançamento6 de jun. de 1997
ISBN9788525423344
O rei Lear
Autor

William Shakespeare

William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England’s Avon River. When he was eighteen, he married Anne Hathaway. The couple had three children—an older daughter Susanna and twins, Judith and Hamnet. Hamnet, Shakespeare’s only son, died in childhood. The bulk of Shakespeare’s working life was spent in the theater world of London, where he established himself professionally by the early 1590s. He enjoyed success not only as a playwright and poet, but also as an actor and shareholder in an acting company. Although some think that sometime between 1610 and 1613 Shakespeare retired from the theater and returned home to Stratford, where he died in 1616, others believe that he may have continued to work in London until close to his death.

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Avaliações de O rei Lear

Nota: 4.0697502825065275 de 5 estrelas
4/5

2.681 avaliações53 avaliações

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  • Nota: 5 de 5 estrelas
    5/5
    Classic Shakespeare tragedy.
  • Nota: 3 de 5 estrelas
    3/5
    another play. another dreary subject. another tragic ending.
  • Nota: 3 de 5 estrelas
    3/5
    A fairly quick read. I didn't love it as much as I remember. Lear was way obsessed with 'nature' and the whole thing was so pompous. But not as bad as some of his other stuff.
  • Nota: 4 de 5 estrelas
    4/5
    Een van de krachtigste stukken van Shakespeare; een confrontatie van extremen.
  • Nota: 5 de 5 estrelas
    5/5
    Teaching it for the second time. The Folger edition is okay, but it badly needs to be updated; and the illustrations in the facing page are, to my mind, badly chosen, unless they're meant only to promote the grandeur of the Folger library. I think they would have done much better to provide photos of scenes taken from various productions/films/adaptations of Lear; no doubt the students would pay more attention to such things, to say nothing of nonexpert instructors like me.

    Oh, the play: certainly very good at cutting the legs out from under the notion that suffering can be redemptive. Lear discovers compassion and love, Gloucester grows up, but what do they get? Death. And what are we left with? The two appalling milquetoast prigs, Albany and Edgar,* perhaps the two characters in Lear who understand least well what the whole thing is about. At least Kent has the grace to go off and wait to die.

    * Hilarious: I just googled these names and the second hit is some plagiarism mill that's selling an essay that reads "Albany and Edgar both possess honest and kind characters." You have got to be kidding me! Please, please, please let someone try to get this paper past me. How stupid or desperate would someone have to be to pay for a paper that's, at best, a B-?
  • Nota: 5 de 5 estrelas
    5/5
    My absolute favorite Shakespeare play. Extra love for the fact that this came up when I searched for Stephen King.
  • Nota: 3 de 5 estrelas
    3/5
    Compare to his other masterpieces, this was for me too wide in character and at the same time lacking the intimacy of baseline human feelings or experience. "Thy truth be thy dower."
  • Nota: 5 de 5 estrelas
    5/5
    This is my favorite Shakespeare tragedy. The plot, language, and characterization show the dramatist at his mature best.
  • Nota: 3 de 5 estrelas
    3/5
    There is an abundance of reviews, essays, opinions and prejudicial comments available when talking about Shakespeare. It would seem that the man was incapable of jotting down a bad sentence, let alone a bad story, at least, that's the veil they hand you when calling Shakespeare, morbidly referred to as 'Willy' by those who know the first three lines of Hamlet's 'to be or not to be'-speech, 'the greatest writer of all time'.

    In this review, I shall not beshame my opinion by calling anyone Willy, Shakey, Quilly or by using the word 'Shakespearean'. 'King Lear' is not the strongest play in the exuberant repertoire of Shakespeare. It is, however, one of the more reader-friendly ones, which means you don't need a detailed map of familial relations to follow the plot. The story of King Lear relies heavily on stories that already existed at the time, but had only served as traditional folk tales or as long forgotten myths. For those who are oblivious to the plot - King Lear wants to divide his kingdom between his three daughters, Goneril, Regan and Cordelia. Whereas Goneril and Regan go out of their proverbial ways to flatter their father, Cordelia remains reticent (but honest). Which, of course, is not much appreciated. What follows resembles the story of Oedipus, that other Blind King who slowly wandered into his own destruction. Gloucester, one of the side characters, actually does lose his eyes.

    'King Lear', in the end, is a reflection on power and what one will do to achieve it. Even though it might be a bit stale nowadays, it still holds true to its message, and for those who enjoy Shakespeare's husky metaphor, this play will provide you with all the ammunition needed.
  • Nota: 5 de 5 estrelas
    5/5
    When people want to rank Shakespeare's plays, usually Hamlet comes out as number one. This, in my experience, is the only other of his plays that I have seen mentioned as his greatest. If I were to rank his plays solely based upon their impact upon the world, I would probably agree with the usual placement of Hamlet as number one. However, were I to rank them based upon their impact on me, Lear gets the nod. Lear accurately and horrifyingly portrays the primal nature of man like few other works of literature; the only other to come to my mind is Lord of the Flies. Yet it's more than that; Lord of the Flies can afford to ignore the effects of sexual attraction and familial ties upon our nature, but Lear (the work, not the character) meets these head-on and uses them to devastating effect. This play alone would guarantee Shakespeare a place as one of the greatest English authors. With the rest of his body of work, there's no question that he is the greatest.
  • Nota: 4 de 5 estrelas
    4/5
    Fourth book of the readathon. Read in snatches during a car journey and between acts in a concert! Which is probably not the best way to experience Shakespeare, laying aside the issue that I think the best way to experience it is by watching it, but I enjoyed it. I've always rather liked Cordelia, with her steadfast truthfulness, and I do remember some very vivid mental images regarding eyes being put out when, at the age of nine, I read a children's version of the story.

    And of course, Shakespeare's use of language, his sense of timing, his grasp of what will look good on stage -- that's as expected: he was a master.
  • Nota: 5 de 5 estrelas
    5/5
    I enjoy the Folger editions of Shakespeare - to each his own in this matter. Some find Lear to be overblown, I am tremendously moved by it, and haunted by the image of the old man howling across the barren heaths with his dead daughter in his arms. 'I am bound upon a wheel of fire, that mine own tears Do scald like molten lead.' Lear 4.7.52-54
  • Nota: 5 de 5 estrelas
    5/5
    Excellent work. I saw this performed at the Great River Shakespeare Festival in Winona, MN. Very powerful performance. I liked this edition in particular because it explained the nuances of the language right next to the original text. That plus the performance made this easier to understand.
  • Nota: 3 de 5 estrelas
    3/5
    The illustrations are unremarkable.
  • Nota: 5 de 5 estrelas
    5/5
    The proud King Lear disowns his most dutiful daughter and is consequently betrayed by his other two. A bastard son betrays both his brother and father out of jealousy and malice. I think it is the saddest of his tragedies, and it moves very quickly to me (though not as quickly as Macbeth). It is also really one of the most profound expressions of human suffering ever written in the English language. The play sees deeply into the soul, and so I would often linger a bit on a line or speech with a quiet awe. The actions pierce its characters with a sad, penetrating irony. The eyes will eventually see in their blindness. The heart bleeds and the storm rages. It is depressing, yes. But in all, as depraved as its villains are, I also read in King Lear what is very beautiful about humanity and kinship, however frail it may appear teetering on the edge of a cliff: compassion, loyalty, charity, and mercy.
  • Nota: 5 de 5 estrelas
    5/5
    This is my favorite of all of Shakespeare's works. Blood, death, and treachery. Who could ask for more!
  • Nota: 5 de 5 estrelas
    5/5
    If I could only recommend one Shakespeare Play it would be King Lear.
  • Nota: 5 de 5 estrelas
    5/5
    At the risk of sounding flippant, I realized that there are two productions of King Lear that need to be done: one set in the Klingon Empire, and the other performed by Monty Python. Go ahead, I dare you, read Poor Tom's lines like Eric Idle and try not to laugh!
  • Nota: 5 de 5 estrelas
    5/5
    A very enjoyable edition. Unlike most of the Arden editions, Foakes comes across more as an educator than an academic-among-friends. This does mean occasionally that he'll cover ground most professional-level readers already understand, but it makes this a really well-rounded introduction to the play.

    The decision here is to incorporate both Quarto and Folio texts in one, with the differences clearly delineated. It's probably the best possible option for this play, and well done.
  • Nota: 5 de 5 estrelas
    5/5
    Shakespeare, William. King Lear. University of Virginia Electronic Text Center, 15XX. This is my favorite Shakespeare play. I don't know if I would have re-read it now if I hadn't had a copy on my iPaq and needed something to read at night without disturbing Molly and Tony on our trip to Madrid. I like Lear for its apocalyptic vision and because I think the transition from one generation to the next is an interesting topic. The paper I wrote on this play in college, which compares Edgar to the Fool, is one of my favorites.
  • Nota: 3 de 5 estrelas
    3/5
    Another great tragic tale as told my Shakespeare. Like all his plays, you're able to dig deep into this story and draw out tons of stories, themes and hidden meanings out of all its layers. An enjoyable read for any Shakespeare enthusiast.
  • Nota: 5 de 5 estrelas
    5/5
    The writer I feel most in awe of, by a mile, is Shakespeare. I'm not going to say anything much about him because it's all been said, so I'll just say he's the boss, and the play that most shocks and thrills and saddens me is King Lear. But I could almost have said exactly the same about most of the plays he wrote. Every time I experience him in performance I feel overwhelmed by his brilliance, and I just have to shut up before I get too sycophantic.
  • Nota: 5 de 5 estrelas
    5/5
    Where is the 6th star, or even up to the 101st? Most likely the best English language play ever written, with one of the most phenomenal characters ever created. Hundreds of years before neural imaging began (like, last Tuesday,) to reveal the importance of intrinsic and extrinsic networks on behavior, the different tendencies between men and women and between man and man, the pyramidical, male-dominated social structures our species has tended to create over the last 10,000 years or so, Shakespeare intuited so, so much. From the start, where nothing will come from nothing, (a pun on 'noting' or social mores which, perhaps, the Bard intended in a more comprehensive way,) to Lear's failed, heartbreaking attempt to return to and save something greater than himself, it's a devastating, crystal clear work. We should use our tongues and eyes to crack heaven's gate, but we don't. A lifetime of careful observation, a brilliant mind, and a one-in-a-billion talent for prosody concentrated into a few hours.
  • Nota: 5 de 5 estrelas
    5/5
    There are three main reasons for the disorder already occurring by the end of Act I. The first and most obvious is Lear's madness. He certain seems to be loosing it a bit, and his crazed banishment of Cordelia and Kent couldn't possibly have done anything but harm to him. The second reason is Cordelia's sister's treachery. It could be argued that they appear to be trying to protect him and their people by taking away his knights, he is crazy after all, if it weren't for Cordelia's parting words to them; "I know you what you are;/And, like a sister, am most loth to call/Your faults as they are nam'd. Love well our father:/To your professed bosoms I commit him:/But yet, alas, stood I within his grace, I would prefer him to a better place." And a few lines later; "Time shall unfold what plighted cunning/Who cover faults, at last shame them derides." These lines seem to indicate that Cordelia knows that Goneril and Regan are not only flattering Lear for gain, but also that they hold him in contempt, and will likely do him harm, and revealing the second harbinger of disorder.

    The third indicator of the chaos to come is Edmund. I feel bad for him, for the contempt others hold him in because of the doings of his parents, but he quickly does what he can to dispel my pity for him with his evil attitudes as he works to turn his father and brother against one another. I find it ironic that he distains his father's belief in fate through astrology, yet confesses that because of when he was born he was supposed to be 'rough and lecherous,' yet doesn't believe himself to have those traits he was just showing.

    Shakespeare's purpose in showing this disorder seems to come from the idea of dividing his kingdom. A divided kingdom would often lead to civil war and chaos, so Lear's deliberate dividing of the kingdom would probably have been viewed as deliberately inviting disorder.

    Power in England was structured in a pyramid. The king on top, and wealth and power went to a few nobles who had all the money. Lear was trying to disrupt that structure in a way that would have alarmed the people watching the play. Cordelia took a great risk in not bowing to her father's wishes, as his denying her dowry could have driven away both her suitors, leaving her alone and destitute in a world that didn't favor lone women. In her case, however Cordelia's suitor from France still marries her, which would be very unusual since she had no dowry, and she wouldn't gain him an alliance with England.

    Family dynamics can change depending on the health of a person, as others may come into their lives and as children grow up. Cordelia was Lear's favorite child, yet when she would not lie to him with flattery, he cast her off. Why? Did he not realize that her impending marriage would change is relationship with her? She would still love him, of course, but even with the play being in pre-Christian era, the belief would probably have been that the wife's foremost alliegence should be to her husband, and Lear should have understood this. In fact, it seems strange that he would have even questioned this part of the structure of society at all.

    No one has a perfect family. This is shown in Edgar and Edmund's family. Gloster (or Gloucester as some versions call him) may have been unfaithful to his wife, it's never stated whether she was alive at the time of Edmund's conception. If Gloster was unfaithful to his wife than he was dishonest and breaking one of the oldest understandings of marriage. If Edgar's mother had already died, that Gloster was not responsible enough to remarry, and to marry Edmund's mother, or at least admit himself Edmund's father when the boy was a child, instead of waiting until Edmund was old enough to distinguish himself, and in doing so, add to Gloster's reputation. It seems very unfair that Edmund, and almost any other illigitmate child born until the the late 1900s should be punished for something that their parents did. Yet neither should Edmund take out his misfortunes on his brother, who was, in all probability, guiltless in tormenting him. After all, Edgar trusts Edmund completely, which does not seem like an attitude he would hold had he tormented Edmund before. I think that Gloster could have stopped his fate had he treated Edmund with kindness from the beginning of his life, rather than waiting until Edmund could add to his reputation to acknowledge him.

    I don't actually seem him mocking Edmund, so much as simply being ashamed of his illegitimacy because it was Gloster's own act that was the cause of Edmund's bastardy. As Gloster was speaking to Kent, he was very frank about the manner of Edmund's conception, to the point that we would say he was being rude to Edmund, but really, for the time, the fact that he had acknowledged Edmund as his son at all was better than many bastards would have gotten. For this reason I think that more than anything it was the fact that he took so long to acknowledge Edmund, that led to Edmund's bitterness and Gloster's downfall.

    (This review is patched up from posts I made on an online Shakespeare class)
  • Nota: 4 de 5 estrelas
    4/5
    To sum up the play in one sentence: this is the story of a king seeking to divide his kingdom among his three daughters based on who could articulate her love for him the best. Beyond that it is the tragedy of emotional greed - of wanting to be loved at any cost. It is the tragedy of politics and family dynamics. Youngest daughter Cordelia is unwilling to conform to her father's wishes of exaggerated devotion. Isn't the last born always the rebel in the family? As a result Cordelia's portion of the kingdom is divided among her two sisters, Goneril and Regan. The story goes on to ooze betrayal and madness. Lear is trapped by his own ego and made foolish by his hubris.
  • Nota: 4 de 5 estrelas
    4/5
    King Lear makes a fateful decision to divide his kingdom between his three daughters. The reaction of one daughter, Cordelia, displeases the king so much that he cuts her out of any inheritance. The kingdom will be divided between the other two daughters, Goneril and Regan. His plan is that they will take care of him in his old age. They soon decide that they don't want to use their inheritance to support their father, and the king finds himself with nowhere to shelter in a violent storm. Meanwhile, the Earl of Gloucester's illegitimate son plots to usurp his legitimate brother's place as their father's heir. As in many of Shakespeare's plays, there are characters in disguise. It's filled with violence and cruelty without comic relief like the gravedigger scene in Hamlet. The family conflict at its heart will continue to resonate with audiences and readers as long as there are families.
  • Nota: 3 de 5 estrelas
    3/5
    Not my cup of tea, but it was nice to read it because I haven't before.
  • Nota: 4 de 5 estrelas
    4/5
    What can I say about Shakespeare. He wrote a tragedy and I lived it through this book. Though reading such complicated manner of writing was a difficult task, I did not disturb my understanding of the story line. Since it is a tragedy, I was not a surprise to me that people died at the end, but the reason for which they died made me almost cry. One of the main themes of this tragedy is the bond between a father and a his offspring: King Lear and his daughters and Gloucester and his sons. Honesty and betrayal play an important role in the plot. I was socked by the behavior of the two daughters towards their father. They were mean to his just so they can get his kingdom. Although, Lear only wanted their love. I was a good read for sure and I can't wait until I will be able to discuss it with my classmates.
  • Nota: 5 de 5 estrelas
    5/5
    Its Shakespeare! What more do you want me to say. He's wonderful!
  • Nota: 3 de 5 estrelas
    3/5
    This play was discussed by the Great Books KC group of which I am a member. We also watched the movie "A Thousand Acres" to see another version of the plot. This story becomes more harrowing the older one becomes. It's a reminder that one's children don't always remain loyal. But then again, some parents do bad things or make unwise choices.

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O rei Lear - William Shakespeare

ATO I

Cena I

(Salão nobre do palácio do Rei Lear. Entram Kent, Gloucester e Edmundo.)

Kent: Pensei que o Rei preferisse o Duque de Albânia ao Duque de Cornualha.

Gloucester: Também sempre pensamos assim, nós todos; mas agora, na partilha do reino, é impossível saber qual dos dois ele mais estima. A divisão está tão perfeita que aquele que escolher primeiro não terá maneira de escolher melhor.

Kent: Não é esse o seu filho, meu senhor?

Gloucester: A educação dele ficou aos meus cuidados. Já ruborizei tantas vezes ao ter de perfilhá-lo que não há mais nada no mundo que me ponha vermelho.

Kent: Eu não consigo conceber...

Gloucester: Pois a mãe do rapaz o conseguiu; e logo se pôs de ventre redondo e teve um filho no berço antes de ter um marido na cama. Sente o cheiro do pecado?

Kent: Que importa o pecado quando o fruto é tão belo?

Gloucester: Mas eu tenho outro filho, nos critérios da lei, meu senhor. Mais velho do que este um ano e pouco; mas nem por isso mais amado. Embora este patife tenha entrado no mundo de atrevido, sem ser solicitado, não foi um desprazer confeccioná-lo. Sua mãe era uma beleza, e o filho da mãe teve de ser reconhecido. Conhece este nobre fidalgo, caro Edmundo?

Edmundo: Não, meu senhor.

Gloucester: É o senhor conde de Kent. De agora em diante lembre-se dele como um meu honrado amigo.

Edmundo: Estou às ordens de Sua Senhoria.

Kent: Pretendo ser seu amigo e conhecê-lo melhor.

Edmundo: Senhor, me esforçarei por merecer.

Gloucester: Edmundo esteve fora nove anos e irá embora de novo dentro em breve. (Soam fanfarras.) É o Rei chegando. (Entra um servidor carregando uma coroa. Depois entram o Rei Lear, os duques de Cornualha e Albânia, com Goneril, Regana, Cordélia e o séquito.)

Lear: Gloucester, cuida dos senhores da França e da Borgonha.

Gloucester: Já vou, majestade. (Sai, com Edmundo.)

Lear: Enquanto isso revelaremos as nossas intenções mais reservadas. Dêem-me esse mapa aí. Saibam que dividimos em três o nosso reino. É nossa firme decisão diminuir o peso dos anos, livrando-nos de todos os encargos, negócios e tarefas, confiando-os a forças mais jovens, enquanto nós, liberados do fardo, caminharemos mais leves em direção à morte. Nosso filho da Cornualha, e tu, nosso não menos amado filho da Albânia; é chegada a hora de proclamar os vários dotes de nossas filhas a fim de evitar qualquer divergência no futuro. Os príncipes da França e da Borgonha, fortes rivais no amor de nossa filha mais moça, permaneceram longo tempo em nossa corte em vigília amorosa, e agora temos que lhes dar uma resposta. Digam-me, minhas filhas – já que pretendo abdicar de toda autoridade, posses de terras e funções do estado –, qual das três poderei afirmar que me tem mais amor, para que minha maior recompensa recaia onde se encontra o mérito natural. Goneril, minha filha mais velha, falará primeiro.

Goneril: Senhor, eu o amo mais do que podem exprimir quaisquer discursos; mais que a luz dos meus olhos, do que o espaço e a liberdade, acima de tudo que pode ser avaliado – rico ou sublime; não menos do que a vida, com sua graça, beleza, honra e saúde; tanto quanto um filho jamais amou um pai ou um pai jamais se viu amado; um amor que torna a fala inútil e a palavra incapaz. Eu o amo além de todos os valores disso tudo.

Cordélia: (À parte.) E o que irá dizer Cordélia, agora? Ama; e cala.

Lear: De todos estes limites, incluindo o espaço desta linha a esta, florestas ensombradas e planícies cultivadas, os rios abundantes e as vastas pradarias, te faço aqui dona e senhora. Um direito perpétuo extensivo aos descendentes teus e da Albânia. Que diz nossa segunda filha, esposa de Cornualha, nossa amada Regana?

Regana: Eu sou feita do mesmo metal de minha irmã e julgo ter valor igual ao dela. Do fundo do coração acho que exprimiu também o meu amor, ao exprimir o dela; fica distante porém quando eu me declaro inimiga de quaisquer desses prazeres que os sentidos têm como supremos; só me sinto feliz em idolatrar Vossa Amada Alteza.

Cordélia: (À parte.) E então, pobre Cordélia? Mas, contudo, não sei; pois teu amor, tenho certeza, é mais profundo do que tua fala.

Lear: A ti, e aos que de ti descenderem, pertença para sempre este vasto terço de nosso belo reino, não menor em extensão, valor e encantos naturais do que o que foi dado a Goneril. Agora, nossa alegria, embora a última e mais moça, por cujo amor juvenil os vinhedos da França e os prados da Borgonha disputam apaixonados; que poderás tu dizer que mereça um terço mais opulento do que o delas duas? Fala.

Cordélia: Nada, meu senhor.

Lear: Nada?

Cordélia: Nada.

Lear: Nada virá do nada. Fala outra vez.

Cordélia: Infeliz de mim que não consigo trazer meu coração até minha boca. Amo Vossa Majestade como é meu dever, nem mais nem menos.

Lear: Vamos, vamos, Cordélia: corrige um pouco tua resposta, senão prejudicas tua herança.

Cordélia: Meu bom senhor, tu me geraste, me educaste, amaste. Retribuo cumprindo o meu dever de obedecer-te, honrar-te, e amar-te acima de todas as coisas. Mas para que minhas irmãs têm os maridos se afirmam que amam unicamente a ti? Creio que, ao me casar, o homem cuja mão receber minha honra deverá levar também metade do meu amor, dos meus deveres e cuidados. Jamais me casarei como minhas irmãs, para continuar a amar meu pai – unicamente.

Lear: Mas, teu coração está no que dizes?

Cordélia: Está, meu bom senhor.

Lear: Tão jovem e tão dura?

Cordélia: Tão jovem, meu senhor, e verdadeira.

Lear: Pois se assim é, assim seja: tua verdade será então teu dote. Pelo sagrado resplendor do sol, pelos mistérios de Hécata, deusa do céu e do inferno, pelo negror da noite, por todos os giros das esferas celestes por cujos eflúvios passamos a existir ou deixamos de ser, renego aqui todas as minhas obrigações de pai, parentesco e afinidade de sangue, e, de hoje em diante, e para todo o sempre, te considero estranha a meu coração e a mim mesmo. Ao bárbaro Cita, e ao Canibal que transforma os filhos em alimento para satisfazer o apetite, darei em meu peito acolhida, piedade e proteção igual a ti, que não és mais minha filha.

Kent: Meu bom soberano...

Lear: Cala, Kent! Não te metas entre o dragão e sua fúria. Eu a amava demais, e pensava confiar o meu descanso aos seus ternos cuidados. Daqui! e sai da minha vista! Agora só me resta a paz do túmulo, agora, depois que retirei dela o coração de pai. Chamem o Rei da França! Ninguém se move? Chamem Borgonha! Cornualha e Albânia, juntem este terceiro dote aos dois anteriores. Que esse orgulho, que ela chama franqueza, case com ela. Transfiro aos dois, conjuntamente, o meu poder, soberania, e todos os grandes privilégios que compõem a realeza. Quanto a mim, ficarei apenas com uma escolta de cem homens, sustentada por ambos, e, em ciclos mensais, morarei com os dois, cada um a seu turno. Conservarei apenas o título real e todas as honras e prerrogativas a ele devidas. O poder, rendimentos e a disposição do resto lhes pertencem, amados filhos. Confirmando o que, entrego-lhes, para que a compartilhem, esta coroa.

Kent: Real Lear, a quem sempre honrei como meu soberano, amei como pai, segui como senhor e invoquei em minhas orações como meu protetor...

Lear: Meu arco está curvo e a corda tensa; cuidado com a flecha.

Kent: Prefiro que dispares, mesmo que a ponta aguda da flecha atinja o fundo do meu coração. Kent será rude enquanto Lear for louco. Que pretendes fazer, velho Rei? Julgas que o dever terá medo de falar quando o poder se curva à adulação? A honra tem de ser sincera quando a majestade se perde na loucura. Conserva o teu comando, considera e reflete, freia esse impulso hediondo. Respondo por minha opinião com a minha vida; tua filha mais moça não é a que te ama menos; não está vazio o coração cujo som, por isso mesmo, não ressoa.

Lear: Por tua vida, Kent, pára!

Kent: Nunca considerei minha vida senão como um peão para jogar contra teus inimigos; e não temo perdê-la quando está em jogo a tua segurança.

Lear: Fora da minha vista!

Kent: Vê melhor, Lear, e deixa que eu continue sendo o verdadeiro ponto de mira dos teus olhos.

Lear: Pois então, por Apolo...

Kent: Pois então, por Apolo! Ó Rei, tu invocas teus deuses em vão.

Lear: Ah, vassalo! Ah, traidor! (Leva a mão à

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