King Lear Flattery Quotes

Our son of Cornwall,
And you, our no less loving son of Albany,
We have this hour a constant will to publish
Our daughters’ several dowers, that future strife
May be prevented now.
The two great princes, France and Burgundy,
Great rivals in our youngest daughter’s love,
Long in our court have made their amorous sojourn,
And here are to be answered. Tell me, my daughters –
Since now we will divest us both of rule,
Interest of territory, cares of state –
Which of you shall we say doth love us most,
That we our largest bounty may extend
Where nature doth with merit challenge. Goneril,
Our eldest born, speak first.

– William Shakespeare

King Lear, Act 1, Scene 1. The proud and egotistical old King Lear devises a "love test" to decide how to divide his kingdom between his daughters, Goneril, Regan and Cordelia. He demands that they flatter him with a declaration of total love, and their share of the kingdom will be based on whoever professes to love him most. Lear’s plan is to prevent "future strife" that might result from him dying without an heir – he has no sons and three daughters, with Regan married to the Duke of Cornwall, Goneril to the Duke of Albany, and the King of France and Duke of Burgundy love rivals for youngest daughter Cordelia’s hand. There is a terrible irony in this because Lear’s foolish action results in tragic consequences and the very strife he wishes to avoid. Lear’s fatal flaw is his pride and that and its fellow traveler folly bring about his downfall, which is foreshadowed in this passage.

Sir, I love you more than word can wield the matter,
Dearer than eyesight, space, and liberty,
Beyond what can be valued, rich or rare,
No less than life, with grace, health, beauty, honour;
As much as child e’er loved, or father found;
A love that makes breath poor, and speech unable.
Beyond all manner of so much I love you.

– William Shakespeare

King Lear, Act 1, Scene 1. Goneril is the first to respond to her Lear’s "who loves me most?" test. She falsely professes undying love for her father, using verbal irony to say that she loves him more than words can express. The gullible Lear shows mental and moral blindness when he fails to recognize Goneril’s over the top and insincere flattery as she tells him what he wants to hear. In the matter of his daughters’ love, he cannot tell the difference between the appearance and reality. So he goes on to award Goneril a generous share of his kingdom. The Earl of Gloucester’s later blinding is also forshadowed by Goneril’s declaration of her love being "dearer than eyesight," a phrase that underlines how terrible it would be to lose your eyesight.

I am made of that self mettle as my sister
And prize me at her worth. In my true heart
I find she names my very deed of love;
Only she comes too short, that I profess
Myself an enemy to all other joys
Which the most precious square of sense possesses,
And find I am alone felicitate
In your dear Highness’ love.

– William Shakespeare

King Lear, Act 1, Scene 1. Regan, not to be outdone by Goneril’s exaggerated declaration of love for Lear, tries to "one up" her sister. A hypocritical Regan suggests that Goneril’s love "comes too short" compared to hers, and that the only thing that makes her truly happy is Lear’s love. This highlights the competition between the pair, a rivalry that will climax in destructive violence in the final act, so foreshadowing the murder-suicide to come. Regan talks of having the same "mettle" as her sister, her pun on the word "metal" conveying dramatic irony. For the sisters are very much alike and both have the hardness of metal. As with Goneril, Lear rewards Regan with a large share of his kingdom, unable to distinguish between her empty flattery and the truth. Both sisters are simply trying to gain as much of his power and wealth as possible but he doesn’t see.

LEAR: Speak.
CORDELIA: Nothing, my lord.
LEAR: Nothing?
CORDELIA: Nothing.
LEAR: Nothing will come of nothing. Speak again.

– William Shakespeare

King Lear, Act 1, Scene 1. Lear asks Cordelia to articulate the depth of her love for him, so that in the division of the kingdom she can "draw a third more opulent than your sisters." But his favorite daughter has nothing to say, her pride and stubbornness won’t allow her play her father’s game like her sisters have done. The repetition of the word "nothing" in this passage and throughout the play reflects themes of disorder, chaos and disintegration in the tragedy of King Lear. English Shakespearean actor Corin Redgrave said in an article in The Guardian newspaper: "Cordelia’s little word ‘nothing’, from which, according to classical philosophy, there could be no consequences, sets in motion a chain of action and reaction that, like the butterfly’s wings in the chaos theory, leads to Armageddon." Lear does indeed warn Cordelia that she will gain no favors from him if she does not make flattering speeches of her love for him. Lear’s use of the language of nihilism, "nothing will come of nothing" is significant. It prepares us for a drama that opens with the absurdity of Lear’s rash and senseless actions and ends with hopelessness, despair and lack of redemption for some of its characters. Ironically Lear is one of these characters, who ends up with nothing in the end, foreshadowed here by his own words.

I cannot heave
My heart into my mouth. I love your Majesty
According to my bond, no more nor less.

– William Shakespeare

King Lear, Act 1, Scene 1. The stubborn Lear encounters an equally stubborn Cordelia, as her integrity and pride stop her from taking part in the narcissistic Lear’s love test in which his daughters must flatter him to gain his wealth. Using a metaphor she says that she cannot "heave" her heart into her mouth – put her feelings into words. She tells him that she loves him as a daughter should love a father and her king, no more and no less. The "bond" she refers to is the relationship within a family, and also the one between kings and their subjects.

Reserve thy state,
And in thy best consideration check
This hideous rashness. Answer my life my judgment,
Thy youngest daughter does not love thee least,
Nor are those empty-hearted whose low sounds
Reverb no hollowness.

– William Shakespeare

King Lear, Act 1, Scene 1. Kent tries to make Lear see the foolishness of his actions. He asks him to reverse his decision to break his bond with Cordelia. He labels Lear’s act as hideous and rash, swearing on his own life that Lear’s youngest daughter Cordelia doesn’t love him least. Just because her plain speech does not offer hollow words of flattery (a dig at Regan’s and Goneril’s insincerity) doesn’t mean she is unloving, Kent bluntly tells Lear.

It is no vicious blot, murder, or foulness,
No unchaste action, or dishonoured step,
That hath deprived me of your grace and favour;
But even for want of that for which I am richer,
A still-soliciting eye, and such a tongue
As I am glad I have not, though not to have it
Hath lost me in your liking.

– William Shakespeare

King Lear, Act 1, Scene 1. Cordelia makes clear to Lear that she is no fortune hunter. She said that she lost her father’s favour not for an act of murder, lust or dishonour. But she offended him because she didn’t have a greedy eye and smooth tongue. She tells him she is glad she doesn’t have them, even though it has cost her his love. Cordelia shows her integrity and honesty in this speech, and shows up Lear for his foolishness and blindness.

Put on what weary negligence you please,
You and your fellows. I’d have it come to question.
If he distaste it, let him to my sister,
Whose mind and mine I know in that are one,
Not to be overruled. Idle old man
That still would manage those authorities
That he hath given away. Now, by my life,
Old fools are babes again and must be used
With checks as flatteries, when they are seen abused.
Remember what I have said.

– William Shakespeare

King Lear, Act 1, Scene 3. Goneril’s evil intent and wicket behavior towards her retired father can be seen when she instructs the servant Oswald to be rude and less polite to Lear. She calls him a foolish old man, who believes he can still wield the power that he has given away. Old fools become like babies again, she points out to Oswald, and they must be disciplined instead of flattered when they are misguided.

This is some fellow
Who, having been praised for bluntness, doth affect
A saucy roughness and constrains the garb
Quite from his nature. He cannot flatter, he.
An honest mind and plain, he must speak truth!
An they will take it, so; if not, he’s plain.
These kind of knaves I know, which in this plainness
Harbour more craft and more corrupter ends
Than twenty silly-ducking observants
That stretch their duties nicely.

– William Shakespeare

King Lear, Act 2, Scene 2. Cornwall calls into question Kent’s true nature and his real motivation behind the honest and plain speaking that he prides himself for. Accusing Kent of duplicity, he suggests that his bluntness is just a "garb" and strategy to conceal his real intentions. Kent is not able to flatter, says Cornwall, but his "garb" of honest speech hides more craftiness and dishonest purpose than is seen in twenty bootlicking servants who bow and flatter. Cornwall is not completely off the mark in calling Kent a deceiver. For the Earl of Kent is disguised here as the commoner Caius – Cornwall is not aware of this, but the audience is, making this a good example of dramatic irony.

Ha! Goneril with a white beard? They flattered me like a dog and told me I had the white hairs in my beard ere the black ones were there. To say "ay" and "no" to everything that I said "ay" and "no" to was no good divinity. When the rain came to wet me once and the wind to make me chatter, when the thunder would not peace at my bidding, there I found ’em, there I smelt ’em out. Go to. They are not men o’ their words; they told me I was everything. ‘Tis a lie. I am not ague-proof.

– William Shakespeare

King Lear, Act 4, Scene 6. The mad Lear believes Gloucester to be Goneril with a beard. In this revealing soliloquy, Lear realizes that his two daughters Goneril and Regan are liars, who "flattered him like a dog" (simile) and told him that he had wisdom before his time, but in reality they care nothing about him. He takes responsibility for not seeing this when he wore the crown and occupied the throne as ruler of Britain. His moment of enlightment came during the storm when he was subjected to the forces of nature. He only appeared to see his own stupidity and susceptibility to his daughters’ false flattery, when he stood powerless in the face of something greater than himself. There is irony here, since when Lear was sane he could not see his daughters’ deception, but now mad and wearing a crown of flowers and weeds he sees them for what they truly are and that he is not "ague-proof."
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