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RV 266 (Rh) It appears once more in that exclamation of Kent’s, as he listens to the description of Cordelia’s grief:

(This is not the only sign that Shakespeare had been musing over heredity, and wondering how it comes about that the composition of two strains of blood or two parent souls can produce such astonishingly different products.)

This mode of thought is responsible, lastly, for a very striking characteristic of King Lear—one in which it has no parallel except Timon—the incessant references to the lower animals and man’s likeness to them. These references are scattered broadcast through the whole play, as though Shakespeare’s mind were so busy with the subject that he could hardly write a page without some allusion to it. The dog, the horse, the cow, the sheep, the hog, the lion, the bear, the wolf, the fox, the monkey, the pole-cat, the civet-cat, the pelican, the owl, the crow, the chough, the wren, the fly, the butterfly, the rat, the mouse, the frog, the tadpole, the wall-newt, the water-newt, the worm—I am sure I cannot have completed the list, and some of them are mentioned again and again. Often, of course, and especially in the talk of Edgar as the Bedlam, they have no symbolical meaning; but not seldom, even in his talk, they are expressly referred to for their typical qualities—‘hog in sloth, fox in stealth, wolf in greediness, dog in madness, lion in prey,’ ‘The fitchew nor the soiled horse goes to’t With a more riotous appetite.’ Sometimes a person in the drama is compared, openly or implicitly, with one of them.