ation of their father's intention to visit them, from their own house to that of the Duke of Gloster: the most palpable affront was put upon the King, and the desired opportunity happily found of intimately connecting the harmonious and beautiful episode of Gloster and his sons with the history of Lear.

The only hint Shakspeare appears to have had for exposing Lear to contention with the "fretful elements" is to be found in the old play, where, flying from the persecution of his “pelican daughters," he seeks protection at the hands of Cordella.

Landing in France, with Perillus, they are without the means of remunerating the mariners for their passage, except by an exchange of their rich garments for the sailors' clothes, and then, utterly destitute, they are on the point of perishing from hunger and fatigue.

Holinshed, the old play, and the ballad, agree in sending Lear to France. Not only has Shakspeare's arrangement the advantage of considerably simplifying the action; but, when the manner is known in which the meeting between the father and daughter had been previously effected, it will not be thought that the confining of the scene to England was the most important improvement introduced.

The king of France, of the old play, possessed with the spirit of masquerading, disguises himself, Mumford his friend, and Cordella his Queen, "like countrey folke," and they set out on a journey to the coast, carrying their own basket of provisions. They accidentally arrive in time to meet and relieve Leir and Perillus in their extremity. A long conversation ensues, and Leir is induced to tell his story, and Cordella weeps, and says,

"Myself a father have a great way hence,
Used me as ill as ever you did her;

Yet, that his reverend age I once might see,
Ide creep along, to meet him on my knee."

And yet he knows her not, till she addresses him by the name of father, calls herself his daughter, and kneels to him!

The narrative of the Chronicle, which the ballad follows, is less improbable.

"The lady Cordeilla hearing that he was arrived in poor estate, she first sent to him, privily, a certain sum of money to apparel himself withal, and to retain a certain number of servants, that might attend upon him in honourable wise, as appertained to the estate which he had borne and then, so accompanied, she appointed him to come to the court, which he did, and was so joyfully, honourably, and lovingly

received, both by his son-in-law Aganippus, and also by his daughter Cordeilla, that his heart was greatly comforted: for he was no less honoured, than if he had been king of the whole country himself."

A few words conclude the history of Leir: the powers of France invade his kingdom, drive his daughters and their husbands from his throne, and reinstate Leir in his rights. Thus far the old play, with which the ballad and the Chronicle accord, in assigning the victory to Leir's party; but the ballad sings that Cordelia was slain in the battle, and Leir died of grief.

For the outlines of Leir's character Shakspeare was indebted to "The History of King Leir and his Three Daughters."

"I am as kind," says the king of the old play,

"as is the pelican,

That kills itself, to save her young

ones' lives:

And yet as jealous as the princely eagle,

That kills her young ones if they do but dazzle
Upon the radiant splendour of the sun."

Shakspeare is not so discriminating, for he ascribes to Lear the tenderest love of his children, notwithstanding his cruelty to Cordelia. Again of his dotage:

"O that I had some pleasing mermaid's voice,
For to enchant his senseless senses with!"

Whate'er I say to please the old man's mind,
Who dotes as if he were a child again.

For he you know is always in extremes.

But his old doting doltish withered wit,
Is sure to give a senseles check for it."*

Besides the motive for interrogating his daughters before alluded to, the old play assigns an anxiety to entrap Cordella into marriage :

My youngest daughter, fair Cordella, vows

No liking to a monarch unless love allows.
She is solicited by divers peers ;

But none of them her partial fancy hears.
Yet, if my policy may her beguile,

I'll match her to some king within this isle,
And so establish such a perfect peace

As fortune's force shall ne'er prevail to cease.

I am resolved, and even now my mind
Doth meditate a sudden stratagem,

To try which of my daughters loves me best:
Which till I know I cannot be in rest.
This granted, when they jointly shall contend,
Each to exceed the other in their love:
Then at the vantage will I take Cordella,
Even as she doth protest she loves me best,
I'll say, then, daughter, grant me one request,
To shew thou lovest me as thy sisters do,
Accept a husband whom myself will woo.

* Old play.

This said, she cannot well deny my suit,
Although (poor soul) her senses will be mute:
Then will I triumph in my policy,

And match her with a king of Britainy."

Shakspeare makes the whole of Lear's rage and inflexibility emanate from his own mind; whereas, in the old play, much of his violence is attributable to the instigation of his fiendlike daughters. Before the old man has an opportunity of replying to Cordella's modest tender of the duty of a child, his dissatisfaction is prompted by both Gonorill and Ragan.

Gon." Here is an answer answerless indeed : Were you my daughter, I should scarcely brook it. Rag. Dost thou not blush, proud peacock as thou art, To make our father such a slight reply?"

It appears also, afterwards, that they persevered in their wicked scheme :

Gon. "I have incenst my father so against her, As he will never be reclaim'd again.

Rag. I was not much behind to do the like."

And Leir himself particularly expresses how deeply they were implicated in the guilt of his unjust severity:

"Oh, how thy words add sorrow to my soul,

To think of my unkindness to Cordella!