Introduction to the play
Shakespeare’s King Lear challenges us with the magnitude, intensity, and sheer duration of the pain that it represents. Its figures harden their hearts, engage in violence, or try to alleviate the suffering of others. Lear himself rages until his sanity cracks. What, then, keeps bringing us back to King Lear? For all the force of its language, King Lear is almost equally powerful when translated, suggesting that it is the story, in large part, that draws us to the play.
The play tells us about families struggling between greed and cruelty, on the one hand, and support and consolation, on the other. Emotions are extreme, magnified to gigantic proportions. We also see old age portrayed in all its vulnerability, pride, and, perhaps, wisdom—one reason this most devastating of Shakespeare’s tragedies is also perhaps his most moving.
The Folger Shakespeare
Our bestselling editions of Shakespeare's plays and poems
How sharper than a serpent’s tooth it is
To have a thankless child.
As flies to wanton boys are we to th’ gods;
They kill us for their sport.
—Gloucester
Act 4, scene 1, line 41–42
King Lear in our collection
A selection of Folger collection items related to King Lear. Find more in our digital image collection
Essays and resources from The Folger Shakespeare
King Lear
Learn more about the play, its language, and its history from the experts behind our edition.
About Shakespeare’s King Lear
An introduction to the plot, themes, and characters in the play
Reading Shakespeare’s Language
A guide for understanding Shakespeare’s words, sentences, and wordplay
An Introduction to This Text
A description of the publishing history of the play and our editors’ approach to this edition
Textual Notes
A record of the variants in the early printings of this text
A Modern Perspective
An essay by Susan Snyder
Further Reading
Suggestions from our experts on where to learn more
Shakespeare and his world
Learn more about Shakespeare, his theater, and his plays from the experts behind our editions.
Shakespeare’s Life
An essay about Shakespeare and the time in which he lived
Shakespeare’s Theater
An essay about what theaters were like during Shakespeare’s career
The Publication of Shakespeare’s Plays
An essay about how Shakespeare’s plays were published
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Teaching King Lear
Use the Folger Method to teach King Lear. Become a Teacher Member to get exclusive access to lesson plans and professional development.
The Key to Getting ALL Students Understanding and Interpreting Complex Texts
The Key to Getting ALL Students Understanding and Interpreting Complex Texts
Free resource
Cutting a Scene: King Lear 4.6
Cutting a Scene: King Lear 4.6
Choral Reading: King Lear 1.2
Choral Reading: King Lear 1.2
Choral Reading: Fences and King Lear
Choral Reading: Fences and King Lear
Early printed texts
The textual history of King Lear is complicated, from its first printing to how it is edited today. The play first appeared in 1608 as a quarto titled True Chronicle Historie of the life and death of King Lear (Q1). That version of the play is in itself confusing: some verse lines are erroneously divided or set as prose, prose lines are sometimes set as verse, and the book went through multiple changes during its press run, correcting mistakes, but also introducing new ones. The play was reprinted in 1619 (Q2), with some additional lineation and word changes. In 1623, the play was included in the First Folio as The Tragedie of King Lear (F1). This version of the play is markedly different than Q1: there are about 100 lines that are in F1 but not Q1, and about 300 lines (including the entirety of 4.3) that are in Q1 but omitted in F1; there are also differences in about 800 words between the two versions.
Since the 18th century, editors have conflated the two versions—combining both texts to produce a play that is different from either Q1 or F1. In the 20th century, scholars increasingly argued that each version was a distinct play, either due to one of the versions incorporating interventions from someone other than Shakespeare, or due to Shakespeare’s own revision of the play. It is possible now to find modern editions that conflate Q1 and F1, that are based on solely Q1 or F1, or that present Q1 and F1 on facing pages. The Folger edition is based on Q1, but it includes additions from F1 where the omission would otherwise leave a gap. The edition marks off the F1-only text in square brackets; Q1-only text is indicated with angled brackets. In some cases, the editors have made changes that are not from F1 or Q1; those emendations are marked with half-brackets.
