ABSTRACT
N OWHERE were Shakespeare's intentions in language more complex and his success more complete than in King Lear. All is subject to the dramatic design, and that is conceived in the terms of poetic drama, with the poetry solely at its service. No longer is the approach experimental, as in Romeo and Juliet, for the employment is now fully and consciously controlled, or, it may be, that the word, 'consciously', is inappropriate, for so wide are the resources held in command that it would seem here that the conscious mind is working in unity with the unconscious in a rare and rewarding way.
