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The Fool suffers unrequited love for Cordelia? It’s another rich suggestion offered up in Rosenberg’s work that plucks at the heartstrings:
he pines for Cordelia, especially if he is seen with her in I, i. Such Fools can only pine; they must remain non-persons, like madmen, outside the world of normal intimate relationship. Some of Fool’s strangeness was suggested in a Norwegian “Lear” by a sad, spectral melody, plucked on strings, that accompanied his first entrance, and, in shreds and hints, followed him faintly in the storm.“King Lear” really wasn’t among my top favorites, but this is an example of how Rosenberg can life up the play and help it to fly.
