As a result, the Folio is often considered more authoritative.
However, there is a great deal of uncertainty about the relationship
between the printed texts and what took place on stage during Shakespeare’s
lifetime. Some would argue that the differences between the Quarto
and the Folio reflect changes made to the play as it was performed
in Shakespeare’s theatre - changes in which the playwright
may or may not have had a hand.
From Quarto to Folio
My research into the textual and performance history of the play
supports this argument. I would argue that the majority of the changes
made from the Quarto to the Folio represent alternations to the
dramatic action and characters that improve the play theatrically.
There is an entire scene (4.3) in the Quarto that does not appear
in the Folio. This scene, which involves Kent and a Gentleman discussing
the states of mind of both Cordelia and Lear, was seen as superfluous.
But cutting the play’s length is not the only change between
the Quarto and the Folio. The changes include hundreds of small
variants, involving words or phrases as well as full lines. Some
speeches have been given to different characters, stage directions
have been altered, as has punctuation. There are roughly 285 lines
in the Quarto that are not in the Folio and 115 lines in the Folio
that are not in the Quarto. This is clearly not just an issue of
the play’s running time.
The changes affect characterisation, structure, emphasis and the
pacing of scenes, rather than presenting radical alterations to
the plot. In particular, as Michael Warren has convincingly argued,
Albany and Kent are weaker characters in the Folio and Edgar’s
character becomes more forceful, justifying the shift to Edgar as
the heir apparent for the next generation.
Changes to the play’s final scene
The best illustration of the changes from the Quarto to the Folio
is perhaps the last scene of the play in which both Lear’s
final lines are changed and the final speech is attributed to a
different character. The following passages show both a shift in
King Lear’s final vision of the world and a softening of the
character of Kent.
Quarto text
Lear And my poor fool is hanged. No, no life?
Why should a dog, a horse, a rat have life, [280]
And thou no breath at all? O, thou wilt come no more,
Never, never, never.
Pray you, undo this button. Thank you, sir.
O, O, O, O.
Edgar He faints. My lord, my lord!
Lear Break, heart, I prithee break.
Edgar Look up, my lord.
Kent Vex not his ghost. O, let him pass. He hates
him
That would upon the rack of this tough world
Stretch him out longer. [Lear dies]
Folio Text
Lear And my poor fool is hanged. No, no, no life?
Why should a dog, a horse, a rat have life, [280]
And thou no breath at all? Thou'lt come no more,
Never, never, never, never, never.
Pray you, undo this button. Thank you, sir.
Do you see this? Look on her! Look, her lips.
Look there, look there. [He dies]
Edgar He faints. My lord, my lord!
Kent Break, heart, I prithee break.
Edgar Look up, my lord.
Kent Vex not his ghost. O, let him pass. He hates
him
That would upon the rack of this tough world
Stretch him out longer. [Lear dies]
In the above example, Lear acquires two new lines in the Folio
before he dies, shifting his character away from the despair of
the line ‘Break, heart, I prithee break’. This line
is instead given to Kent, establishing that he too has come to the
end of his journey, thereby justifying the fact that he declines
the opportunity to lead after Lear’s death. The reintroduction
of hope in Lear’s last line can be performed either as redemption
and absolution or delusion. As is true of so much of Shakespeare’s
work, these lines are ambiguous.
The play’s concluding lines
The final lines of the play in the Quarto are given to Albany,
which is appropriate in terms of his seniority within the social
structure to the play. However, in the Folio these lines are given
to Edgar, the only person on stage who has not engaged in the battle
between the generations until the very last scene. Edgar is presented
in the Folio as the leader of the new generation and the representative
of a gentler form or leadership.
Albany (Q) Edgar (F) The weight of this
sad time we must obey,
Speak what we feel, not what we ought to say.
The oldest have borne most; we that are young
Shall never see so much, nor live so long. [300]
[Exeunt with a dead march]
Edgar ending the play introduces hope of a new beginning with a
different set of values in place. As Richard Eyre, who directed
the play at the National Theatre in 1997, says ‘there is something
wonderful about this terribly simple advice being given to you by
a man who has had to grow up in the most violent way. Edgar, a sort
of mild, bookish man, becomes a warrior, then sees this holocaust,
and the advice he gives you is, open your heart, speak what you
feel’.
I suggest, then, that there is strong evidence the changes between
the Quarto and the Folio were made as a result of the audience response
to the play during Shakespeare’s lifetime. The ending, in
particular, is altered to change it from a scene of absolute despair
to a scene of possible redemption and rebirth. Hope is reintroduced
into the Folio ending of the play, something that makes this tragedy
more poignant but also more bearable in its Folio form.