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Great drama! "Speak what we feel, not what we ought to say" runs through the whole book. As for this Oxford version, some notes are meant for scholars, unnecessary for students.

自十三场以后，插科打诨的小丑从剧中消失，同时李尔王变得疯疯癫癫，在修辞层面取代了小丑的反讽功能。前半段主要在讲filial ingratitude（Sc. 11.13），把财产和家长权力全部交出去后，反而备受女儿唾弃，仿佛在讲述子女履行赡养义务的故事，只不过场景搬到了王室中，现实意义最为可观。Edgar装疯卖傻讲了一连串「hog in sloth, fox in stealth, wolf in greediness...lion in prey」，近似《狂人日记》第六节「狮子似的凶心，兔子的怯弱，狐狸的狡猾」，是否有联系待考。当失去双目的Gloucester毅然跳崖赴死，却在Edgar的指引下没能死成，一种啼笑皆非的荒诞感，于焉形成。大姐和二姐与Edmund的奸情交待得太晚，给人感觉突兀。

Great drama! "Speak what we feel, not what we ought to say" runs through the whole book. As for this Oxford version, some notes are meant for scholars, unnecessary for students.

Great drama! "Speak what we feel, not what we ought to say" runs through the whole book. As for this Oxford version, some notes are meant for scholars, unnecessary for students.

自十三场以后，插科打诨的小丑从剧中消失，同时李尔王变得疯疯癫癫，在修辞层面取代了小丑的反讽功能。前半段主要在讲filial ingratitude（Sc. 11.13），把财产和家长权力全部交出去后，反而备受女儿唾弃，仿佛在讲述子女履行赡养义务的故事，只不过场景搬到了王室中，现实意义最为可观。Edgar装疯卖傻讲了一连串「hog in sloth, fox in stealth, wolf in greediness...lion in prey」，近似《狂人日记》第六节「狮子似的凶心，兔子的怯弱，狐狸的狡猾」，是否有联系待考。当失去双目的Gloucester毅然跳崖赴死，却在Edgar的指引下没能死成，一种啼笑皆非的荒诞感，于焉形成。大姐和二姐与Edmund的奸情交待得太晚，给人感觉突兀。