King Lear: cultural context

Historical Context

King Lear was most likely first performed in 1606, during the rule of King James I of England. This was an era marked by political intriged and social unrest, which is mirrored in the disorder and upheaval depicted in the play.
The theme of inheritance and Lear’s division of his kingdom would have been a pressing matter for playwright and audience alike, considering James I’s own ascension to the throne of England following the childless Elizabeth I.
In Jacobean society, the monarch was thought to be appointed by God, a concept known as the Divine Right of Kings. Lear’s decision to abdicate and divide his kingdom would have been seen as unnatural and hubris-filled, setting the stage for the chaos that ensues.

The treatment of the elderly and attitudes towards madness were starkly different in Shakespeare’s time. Insanity was poorly understood and often associated with demonic possession or punishment from God.
Lear’s descent into madness and Gloucester’s despair offer a critique of the societal attitudes towards ageing and mental health. Yet, their condition also serves to illuminate their increasing understanding of their own faults and human suffering.

Women in Elizabethan and Jacobean society were often seen as inferior and subservient. Goneril and Regan’s pursuit of power and independence sharply contrast their socially expected roles.
Cordelia, however, embodies the idealised female virtues of obedience, kindness and silence, failing to engage in the empty flattery her sisters partake at the start of the play, but is, regardless, Lear’s ultimate source of forgiveness and redemption.
The punishment meted out to Goneril and Regan for their ‘unwomanly’ ambition can be seen as a reflection of deeply ingrained fears of matriarchal power and the dismantling of traditional gender roles.

King Lear echoes the tropes of morality plays popular in the Medieval period, such as the journey towards self-knowledge, the struggle between good and evil, and the eventual retribution for sins committed.
Characters like Edgar and the Fool, with their dialogues on justice, worldly vanity and humanity’s folly, can be seen as successors to the allegorical ‘Vice’ and ‘Truth’ figures of those morality plays.

The supernatural features prominently in the play, reflecting common beliefs during Jacobean era. Natural disaster, such as the storm in Act III, were interpreted as divine response to human actions.
The character of the Fool, while human, often speaks in riddles and cryptic wisdom, functioning almost as an oracle or a supernatural conscience for Lear. Edgar, in his guise as Poor Tom, is perceived to be possessed by demons, playing into contemporary fear and superstition.