Word: cordelia
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...authority he can no longer wield over his daughters or his kingdom. When he finally realizes his true state, when he sees "how wretches feel," he is calm; but it is a tragic, disquieting calm. Since he lacks power to implement them, his compassion and his forgiveness to Cordelia serve only to pain him. In the final scene, deep in grief over Cordelia's death, Carnovsky distractedly twines his hair. It knots, like the hair of Poor Tom the Bedlam beggar. Stripped of authority Lear...
Shrill Idealism. Perhaps in rebellion against tyrannical Daddy, Prescott's cynical, slatternly daughter Cordelia seduces one of his prize ex-pupils, Charley Strong, and shacks up with him in Paris. Poor Charley, missing one lung from shrapnel in World War I, has not long to live, and Cordelia genuinely loves him. But Prescott is determined to save them both. He pops up in Paris "at his most ebullient, his most awful." He takes over Charley and ousts Cordelia. When Charley dies, it is in Prescott's, not Cordelia's arms, and it is clear that Prescott...
...women are not so satisfactory. Deborah Fortson is lovely as Cordelia and moves well in the part, but she does not always speak to full effectiveness. Cordelia, at any rate, the vessel of all love and virtue, may be a more difficult role than Lear. Her sisters Goneril and Regan, Madelon Hambro and Emily Levine, are excellent bitches but bad actresses. They read lines in a shrewish monotone which neither entertains nor shocks, and they fail to distinguish between themselves so that their characters, except for different dresses, might be identical. Regan should be the softer, nicer...
...Assorted tributes on his 400th anniversary by poets, musicians and scholars on one side of the record, and on the other, brief readings from his later works by 16 leading Shakespearean actors, including excerpts from two plays now on the boards: Paul Scofield reading Lear's reconciliation with Cordelia and Sir Laurence Olivier delivering Othello's speech to the Senate...
...women are not so satisfactory. Deborah Fortson is lovely as Cordelia and moves well in the part, but she does not always speak to full effectiveness. Cordelia, at any rate, the vessel of all love and virtue, may be a more difficult role than Lear. Her sisters Goneril and Regan, Madelon Hambro and Emily Levine, are excellent bitches but bad actresses. They read lines in a shrewish monotone which neither entertains nor shocks, and they fail to distinguish between themselves so that their characters, except for different dresses, might be identical. Regan should be the softer, nicer...