A storm rages on the heath. Kent, seeking Lear in vain, runs into one of Lear’s knights and learns that Lear is somewhere in the area, accompanied only by his Fool. Kent gives the knight secret information: he has heard that there is unrest between Albany and Cornwall and that there are spies for the French in the English courts. Kent tells the knight to go to Dover, the city in England nearest to France, where he may find friends who will help Lear’s cause. He gives the knight a ring and orders him to give it to Cordelia, who will know who has sent the knight when she sees the ring. Kent leaves to search for Lear.
Read a translation of Act 3, scene 1 →
Meanwhile, Lear wanders around in the storm, cursing the weather and challenging it to do its worst against him. He seems slightly irrational, his thoughts wandering from idea to idea but always returning to fixate on his two cruel daughters. The Fool, who accompanies him, urges him to humble himself before his daughters and seek shelter indoors, but Lear ignores him. Kent finds the two of them and urges them to take shelter inside a nearby hovel. Lear finally agrees and follows Kent toward the hovel. The Fool makes a strange and confusing prophecy.
Inside his castle, a worried Gloucester speaks with Edmund. The loyal Gloucester recounts how he became uncomfortable when Regan, Goneril, and Cornwall shut Lear out in the storm. But when he urged them to give him permission to go out and help Lear, they became angry, took possession of his castle, and ordered him never to speak to Lear or plead on his behalf.
Gloucester tells Edmund that he has received news of a conflict between Albany and Cornwall. He also informs him that a French army is invading and that part of it has already landed in England. Gloucester feels that he must take Lear’s side and now plans to go seek him out in the storm. He tells Edmund that there is a letter with news of the French army locked in his room, and he asks his son to go and distract the duke of Cornwall while he, Gloucester, goes onto the heath to search for Lear. He adds that it is imperative that Cornwall not notice his absence; otherwise, Gloucester might die for his treachery.
When Gloucester leaves, Edmund privately rejoices at the opportunity that has presented itself. He plans to betray his father immediately, going to Cornwall to tell him about both Gloucester’s plans to help Lear and the location of the traitorous letter from the French. Edmund expects to inherit his father’s title, land, and fortune as soon as Gloucester is put to death.
Read a translation of Act 3, scene 3 →
The information that Kent gives the knight brings the audience out of the personal realm of Lear’s anguish and into the political world of Lear’s Britain. Throughout the play, we hear rumors of conflict between Albany and Cornwall and of possible war with France, but what exactly transpires at any specific moment is rarely clear. The question of the French is not definitively resolved until Act 4. Kent’s mention of Dover, however, provides a clue: Dover is a port city in the south of England where ships from France often landed; it is famous for its high white cliffs. As various characters begin moving southward toward Dover in the scenes that follow, the tension of an inevitable conflict heightens. Whatever the particulars of the political struggle, however, it is clear that Lear, by giving away his power in Britain to Goneril and Regan—and eventually Edmund—has destroyed not only his own authority but all authority. Instead of a stable, hierarchical kingdom with Lear in control, chaos has overtaken the realm, and the country is at the mercy of the play’s villains, who care for nothing but their own power.
Read more about authority versus chaos as a theme.
This political chaos is mirrored in the natural world. We find Lear and his courtiers plodding across a deserted heath with winds howling around them and rain drenching them. Lear, like the other characters, is unused to such harsh conditions, and he soon finds himself symbolically stripped bare. He has already discovered that his cruel daughters can victimize him; now he learns that a king caught in a storm is as much subject to the power of nature as any man.
Read more about the storm as a symbol.
The importance of the storm, and its symbolic connection to the state of mind of the people caught in it, is first suggested by the knight’s words to Kent. Kent asks the knight, “Who’s there, besides foul weather?”; the knight answers, “One minded like the weather, most unquietly”(3.1.1–2). Here the knight’s state of mind is shown to be as turbulent as the winds and clouds surrounding him. This is true of Lear as well: when Kent asks the knight where the king is, the knight replies, “Contending with the fretful elements; / . . . / Strives in his little world of man to out-scorn / The to-and-fro-conflicting wind and rain” (3.1.4–11). Shakespeare’s use of pathetic fallacy—a literary device in which inanimate objects such as nature assume human reactions—amplifies the tension of the characters’ struggles by elevating human forces to the level of natural forces.
Lear is trying to face down the powers of nature, an attempt that seems to indicate both his despair and his increasingly confused sense of reality. Both of these strains appear in Lear’s famous speech to the storm, in which he commands, “Blow, winds, and crack your cheeks! rage! blow! / You cataracts and hurricanoes, spout / Till you have drenched our steeples, drowned the cocks!” (3.2.1–3). Lear’s attempt to speak to the storm suggests that he has lost touch with the natural world and his relation to it—or, at least, that he has lost touch with the ordinary human understanding of nature. In a sense, though, his diatribe against the weather embodies one of the central questions posed by King Lear: namely, whether the universe is fundamentally friendly or hostile to man. Lear asks whether nature and the gods are actually good, and, if so, how life can have treated him so badly.
Read important quotes from King Lear about the storm.
The storm marks one of the first appearances of the apocalyptic imagery that is so important in King Lear and that will become increasingly dominant as the play progresses. The chaos reflects the disorder in Lear’s increasingly crazed mind, and the apocalyptic language represents the projection of Lear’s rage and despair onto the outside world: if his world has come to a symbolic end because his daughters have stripped away his power and betrayed him, then, he seems to think, the real world ought to end, too. As we have seen, the chaos in nature also reflects the very real political chaos that has engulfed Britain in the absence of Lear’s authority.
Read more about the play’s style.
Along with Lear’s increasing despair and projection, we also see his understandable fixation on his daughters: “Nor rain, wind, thunder, fire, are my daughters: / I tax you not, you elements, with unkindness” (3.2.14–15). Lear tells the thunder that he does not blame it for attacking him because it does not owe him anything. But he does blame his “two pernicious daughters” for their betrayal (3.2.21). Despite the apparent onset of insanity, Lear exhibits some degree of rational thought—he is still able to locate the source of his misfortune.
Finally, we see strange shifts beginning to occur inside Lear’s mind. He starts to realize that he is going mad, a terrifying realization for anyone. Nevertheless, Lear suddenly notices his Fool and asks him, “How dost my boy? Art cold?” (3.2.66). He adds, “I have one part in my heart / That’s sorry yet for thee” (3.2.70–71). Here, Lear takes real and compassionate notice of another human being for the first time in the play. This concern for others reflects the growth of Lear’s humility, which eventually redeems him and enables him to win Cordelia’s forgiveness.
