A explicitly abusive version of [King Lear] robs us of our ability to feel for Lear. But an explicitly sympathetic Lear robs us of the ability to feel for his daughters. So I think the best version of Lear is exactly the one that Shakespeare wrote: ambiguous. It's the only version in which each character is frustratingly, but fascinatingly, complex. Cordelia loves her tyrannical and mercurial father, but she can't bring herself to say it. It's a paradox- and a question- so rich and sad that Shakespeare required a whole play to explore it.
Jillian Keenan, Sex with Shakespeare: Here's Much to Do with Pain, but More with Love














