Recent Changes

Saturday, October 6

Sunday, January 13

  1. page home edited King Lear in the Hood ... today's audiences. After finishing the translation, we will record …

    King Lear in the Hood
    ...
    today's audiences. After finishing the translation, we will record a podcastTable of it as a radio series using GarageBand (or, if you have a PC, the less powerful Audacity - but it still works).
    Directions
    1. Find your name and partner below. You will team up to write a translation,
    contents in modern "street language," of King Lear.sidebar.
    .
    {Lear_Heart.jpg} Act
    ...
    Scene 3
    2. Click on the link to start your new page.
    3. Click "edit this page" to re-write the play in natural language used today. There are no rules here but this: try to make the comedy, the anger, the tragedy, and everything else as natural AND as effective as you can. If there's a metaphor, you can choose a different metaphor that makes more sense today, for example.
    --AT THE TOP OF YOUR PAGE, write the ACT, SCENE, and LINE NUMBERS.
    --FORMAT: Like a play. Character name in all capitals.
    4. Save your page.
    5. If you have any disagreements about your page, leave them on the "discussions" page
    6. You will be assessed for the real-world accuracy of plot, characterization, mood, and tone, AND for the pleasure and effectiveness of your modern translation.
    First assignment: Due Thursday, Sept. 20
    page5 JungHee and Daniel
    page6 Jane and JiEun
    page7 CatherineM and Faye
    page8 KathrynK and Shana
    page9 Joanna and Frances
    page10 Shim and Ivory
    page11 JaeHo and Phoebe
    page12 Stephen and JoonPyo
    page13 John and Nicole
    page14 JaneL and JiHae
    page15 Hweemin and HyeIn
    page16 and 17 Olivia, Christina and Cindy
    Second assignment: Due Monday, Oct. 1
    page18 Daniel and JaneH
    page19 JiEun and CatherineM
    page20 Faye and KathrynK
    page21 Shana and Joanna
    page 22 Frances and Shim
    page 23 24 Ivory and JaeHo
    page 25 26 Phoebe and Stephen
    page 27 JoonPyo and John
    page 28 Nicole and JungHee
    Third assignment: Due Thursday, Oct. 4
    Jane and JiEun 29 - 31
    Catherine and Faye 32-34
    Kathryn and Shana 35-7
    Joanna and Frances 38-40
    Shim and Ivory 41-3
    JaeHo and Phoebe 44-6
    Stephen and JoonPyo 47-49
    John and Nicole 50-2
    JungHee and Daniel 53-55
    JiHae and HweeMin 56-8
    HyeIn and Olivia 59-61
    Christina Cindy and Jane L 63-5
    Fourth Assignment: Due Thursday, Oct. 11:
    Jane and Catherine 66-7
    Kathryn and Joanna 68-9
    Shim and JaeHo 70-1
    Stephen and John 72-3
    JungHee and JiEun 74-5
    Faye and Shana 76-7
    Frances and Ivory 78-9
    Phoebe and JoonPyo 80-1
    Nicole and Daniel 82-3
    JiHae and HyeIn 83-4
    Christina, Cindy and HweeMin 85-6
    Olivia and Jane 87-9

    Photo Credits:
    "M A D" logo by semaphoria on Flickr
    (view changes)
    7:32 pm

Wednesday, November 7

  1. page Dramatis Personae edited Lear, King of Britain > Don Lear King of France > Don France Duke of Burgundy > Under…

    Lear, King of Britain > Don Lear
    King of France > Don France
    Duke of Burgundy > Underboss Burgundy
    Duke of Cornwall > Underboss Cornwall
    Duke of Albany > Underboss Albany
    Earl of Kent > Consigliere Kent
    Earl of Gloucester > Consigliere Gloucester
    Edgar, son to Gloucester
    Edmund, bastard son to Gloucester
    Curan, a courtier
    Oswald, steward to Goneril
    Old Man, tenant to Gloucester
    Doctor
    Fool
    An Officer, employed by Edmund
    A Gentleman, attendant on Cordelia
    A Herald
    Servants to Cornwall > Cugines to Cornwall
    Goneril, Regan, Cordelia, daughters to Lear
    Knights of Lear's train, Officers, Messengers, Soldiers and Attendants > Made Men of Lear's train, Officers, Messengers, Soldiers and Attendants
    Scene: Britain

    (view changes)
    4:31 am
  2. page Sc. 2 Outside Gloucester's mansion edited The following work is done by Catherine M. and Faye :) Lines 93-178 CORNWALL This is some fellow…
    The following work is done by Catherine M. and Faye :)
    Lines 93-178
    CORNWALL This is some fellow,
    Who, having been praised for bluntness, doth affect
    A saucy roughness, and constrains the garb 95
    Quite from his nature: he cannot flatter, he,
    An honest mind and plain, he must speak truth!
    An they will take it, so; if not, he's plain.
    These kind of knaves I know, which in this plainness
    Harbour more craft and more corrupter ends 100
    Than twenty silly ducking observants
    That stretch their duties nicely
    CORNWALL This is the guy who was praised for his honest bluntness. And now he dares to pretend to be gruff, constraining his style from coming out. He cannot say kiss-up words. Being honest and straight, he must speak up what he thinks! If people take it, that’s fine. If not, he’s at least honest! I know these kinds of cafones whose insides are craftier and more corrupt than twenty stupid alert cugines who do more than what you want
    KENT Sir, in good sooth, in sincere verity,
    Under the allowance of your great aspect,
    Whose influence, like the wreath of radiant fire 105
    On flickering Phoebus' front,--
    KENT Sir, honestly, and seriously, With your gracious permission, Whose influence is with the Holy Father, the Son, and the Holy Spirit—
    CORNWALL What mean'st by this?
    CORNWALL What do you mean by this?
    KENT To go out of my dialect, which you
    discommend so much. I know, sir, I am no
    flatterer: he that beguiled you in a plain 110
    accent was a plain knave; which for my part
    I will not be, though I should win your displeasure
    to entreat me to 't.
    KENT I try to stop speaking plainly, because you hate it so much. I know, sir, that I do not use honeyed words. The guy who has charmly deceived you with plain words was just a crook, which I am not. You will be rather annoyed that I am not that kind of person.
    CORNWALL What was the offence you gave him?
    CORNWALL What did you do to offend him?
    OSWALD I never gave him any: 115
    It pleased the king his master very late
    To strike at me, upon his misconstruction;
    When he, conjunct and flattering his displeasure,
    Tripp'd me behind; being down, insulted, rail'd,
    And put upon him such a deal of man, 120
    That worthied him, got praises of the king
    For him attempting who was self-subdued;
    And, in the fleshment of this dread exploit,
    Drew on me here again.
    OSWALD I didn’t do anything! Lately, he pleased Don Lear by hitting me based on misunderstanding. He took sides with the don, showing off his annoyance on me, tripped me behind, insulted me, and cursed me! He acted like he was courageous and worthy. The don praised him for attacking someone who did not even resist. And now, remembering the excitement and reward that he gained after the abuse, he pulled out a knife again.
    KENT None of these rogues and cowards 125
    But Ajax is their fool.
    KENT These rogues and cowards are making the brave man the fool.
    CORNWALL Fetch forth the stocks!
    You stubborn ancient knave, you reverend braggart,
    We'll teach you--
    CORNWALL Bring the stocks! You stubborn old scoundrel, you snobby braggart! I’ll teach you a lesson—
    KENT Sir, I am too old to learn: 130
    Call not your stocks for me: I serve the king;
    On whose employment I was sent to you:
    You shall do small respect, show too bold malice
    Against the grace and person of my master,
    Stocking his messenger. 135
    KENT I am too old to learn, sir. Take back your stocks. I serve the don. Don Lear employed me and sent me to you. You should show some respect. Stocking Don’s messenger is too rash against the grace and dignity of him.
    CORNWALL Fetch forth the stocks! As I have life and honour,
    There shall he sit till noon.
    CORNWALL Bring the stocks! I swear on my life and honor, you will sit here until noon.
    REGAN Till noon! till night, my lord; and all night too.
    REGAN Till noon!? Until night, dear. All night!
    KENT Why, madam, if I were your father's dog,
    You should not use me so. 140
    KENT Why, ma'am, if i were your father's dog, you'll not treat me as so.
    REGAN Sir, being his knave, I will.
    REGAN Oh, you’re his crafty cafone, so I will.
    CORNWALL This is a fellow of the self-same colour
    Our sister speaks of. Come, bring away the stocks!
    CORNWALL This is the kind of fellow your sister warned us about. Hurry, bring the stocks, now!
    [Stocks brought out]
    GLOUCESTER Let me beseech your grace not to do so:
    His fault is much, and the good king his master 145
    Will cheque him for 't: your purposed low correction
    Is such as basest and contemned'st wretches
    For pilferings and most common trespasses
    Are punish'd with: the king must take it ill,
    That he's so slightly valued in his messenger, 150
    Should have him thus restrain'd.
    GLOUCESTER I advise you, do not do this. He did wrong to you, but the don, his master, will punish him for it. This kind of punishment is for the thugs and scoundrels who broke the code. Don Lear will be offended to see his messenger so badly treated.
    CORNWALL I'll answer that.
    CORNWALL I will take care of it.
    REGAN My sister may receive it much more worse,
    To have her gentleman abused, assaulted,
    For following her affairs. Put in his legs. 155
    [KENT is put in the stocks]
    Come, my good lord, away.
    REGAN My sister will be much more offended if she finds out that her messenger was abused and beaten up again for following her order. Put his legs into the stocks! Come, my dear, let’s go.
    [Exeunt all but GLOUCESTER and KENT]
    GLOUCESTER I am sorry for thee, friend; 'tis the duke's pleasure,
    Whose disposition, all the world well knows,
    Will not be rubb'd nor stopp'd: I'll entreat for thee.
    GLOUCESTER I’m sorry, my friend. The underboss always does as he wants to. Everyone here knows that once he makes his decision, it will not be changed or stopped. I’ll try to talk to him again.
    KENT Pray, do not, sir: I have watched and travell'd hard; 160
    Some time I shall sleep out, the rest I'll whistle.
    A good man's fortune may grow out at heels:
    Give you good morrow!
    KENT Please do not, sir. I was alert and traveled hard for a long time. I will sleep out here for a while, and whistle for the rest. A good man’s fortune grows out from overcoming bad lucks. Wish you a good tomorrow!
    GLOUCESTER The duke's to blame in this; 'twill be ill taken.
    GLOUCESTER The underboss will be blamed for this. The don will be angry with him.
    [Exit]
    KENT Good king, that must approve the common saw, 165
    Thou out of heaven's benediction comest
    To the warm sun!
    Approach, thou beacon to this under globe,
    That by thy comfortable beams I may
    Peruse this letter! Nothing almost sees miracles 170
    But misery: I know 'tis from Cordelia,
    Who hath most fortunately been inform'd
    Of my obscured course; and shall find time
    From this enormous state, seeking to give
    Losses their remedies. All weary and o'erwatch'd, 175
    Take vantage, heavy eyes, not to behold
    This shameful lodging.
    Fortune, good night: smile once more: turn thy wheel!
    [Sleeps]
    KENT Good Don, he should be respected by the made guys. He is like the Sun to the Family, God’s blessing to us! Sun! Come down, shine down on the Earth, and help me read this letter! Only in hardship one can achieve miracles. I know this letter is from Cordelia, whom I luckily informed that I’m secretly serving the Don. She knows this difficult situation, and is finding a way to fix these losses. I am too tired for not sleeping too long. I will get some rest. At least, when resting, I can forget what I’m broken down into. Good night to you, my Holy Father! Give me good luck once more, and make this bad luck pass away!
    ACT II SCENE III A wood.
    Lines 1-22
    [Enter EDGAR]
    EDGAR I heard myself proclaim’d;
    And by the happy hollow of a tree
    Escaped the hunt. No port is free; no place,
    That guard, and most unusual vigilance, 5
    Does not attend my taking. Whiles I may ‘scape,
    I will preserve myself: and am bethought
    To take the basest and most poorest shape
    That ever penury, in contempt of man,
    Brought near to beast: my face I’ll grime with filth; 10
    Blanket my loins: elf all my hair in knots;
    And with presented nakedness out-face
    The winds and persecutions of the sky.
    The country gives me proof and precedent
    Of Bedlam beggars, who, with roaring voices, 15
    Strike in their numb’d and mortified bare arms
    Pins, wooden pricks, nails, sprigs of rosemary;
    And with this horrible object, from low farms,
    Poor pelting villages, sheep-cotes, and mills,
    Sometime with lunatic bans, sometime with prayers, 20
    Enforce their charity. Poor Turlygod! Poor Tom!
    That’s something yet: Edgar I nothing am.
    [Exit]
    EDGAR I heard I was declared to be broken! By hiding in the hollow of a tree, I was able to escape from people hunting me. Every port and every place is full of enforcers. They failed to catch me even with their perseverance. But I have to escape, I will survive! I will disguise to the basest and the poorest. A jamook that is beneath contempt, almost a beast! I will smudge my face with filth, wear only rags, knot and mat all my hair, and stand in the wind and rain naked. I will follow the jamooks out of insane asylums, howling around and piercing pins, skewer, nails, and sprigs of flower into the numb arms. With this horrible look, pray or curse to get charity from the streets. Call me crazy Turlygod! Or Poor Tom! Well, at least that’s something. As Edgar, I am nothing now.

    (view changes)
    3:59 am

Monday, November 5

  1. page Sc. 5 Gloucester's mansion edited ... done by Junghee JungHee Lee and ACT III SCENE V Gloucester’s castle. ( p53)
    ...
    done by JungheeJungHee Lee and
    ACT III SCENE V
    Gloucester’s castle. ( p53)
    (view changes)
    9:45 pm
  2. page Sc. 3 The British camp near Dover edited The following work is done by Nicole Kim and Daniel Oh ACT V SCENE III The British camp near Dove…
    The following work is done by Nicole Kim and Daniel Oh
    ACT V SCENE III The British camp near Dover.
    Enter, in conquest, with drum and colours, EDMUND,KING LEAR and CORDELIA, prisoners; Captain,Soldiers, &c
    EDMUND Some officers take them away: good guard,
    Until their greater pleasures first be known
    That are to censure them.
    EDMUND Guards, take them away and guard them well until we decide how we will punish them.
    CORDELIA We are not the first 5
    Who, with best meaning, have incurr'd the worst.
    For thee, oppressed king, am I cast down;
    Myself could else out-frown false fortune's frown.
    Shall we not see these daughters and these sisters?
    CORDELIA We're not the first people to face this horrible situation.
    But I'm worried about you, father.
    I could've blamed my misfortune by myself.
    Aren't we going to see these daughters and these sisters?
    KING LEAR No, no, no, no! Come, let's away to prison: 10
    We two alone will sing like birds i' the cage:
    When thou dost ask me blessing, I'll kneel down,
    And ask of thee forgiveness: so we'll live,
    And pray, and sing, and tell old tales, and laugh
    At gilded butterflies, and hear poor rogues 15
    Talk of court news; and we'll talk with them too,
    Who loses and who wins; who's in, who's out;
    And take upon's the mystery of things,
    As if we were God's spies: and we'll wear out,
    In a wall'd prison, packs and sects of great ones, 20
    That ebb and flow by the moon.
    KING LEAR No, no, no, no! Let's go to prison
    We will sing like birds in the cage
    and when you ask me for blessing, I'll kneel down,
    and ask for your forgiveness. So we'll live
    and pray, and sing, and tell old stories, and
    enjoy nature, and hear the rogues talking
    of the news, and we'll talk with them too
    about who's winning and who's losing,
    who's captured and who's released.
    We'll try to find out the mystery of nature
    as if we are God's spies, and we'll live longer
    than the rulers that come into this prison.
    EDMUND Take them away.
    EDMUND Take them away.
    KING LEAR Upon such sacrifices, my Cordelia,
    The gods themselves throw incense. Have I caught thee?
    He that parts us shall bring a brand from heaven, 25
    And fire us hence like foxes. Wipe thine eyes;
    The good-years shall devour them, flesh and fell,
    Ere they shall make us weep: we'll see 'em starve
    first. Come.
    Exeunt KING LEAR and CORDELIA, guarded
    KING LEAR Cordelia, even the gods are surprised by
    the sacrifices you have made. Did I hug you?
    The person who wants to separate us will need a
    sword from heaven and strike us. Don't cry.
    The time will make them old before they'll make
    us cry. We'll see them starve first. Let's go.
    Exit KING LEAR and CORDELIA, guarded
    EDMUND Come hither, captain; hark. 30
    Take thou this note;
    Giving a paper
    go follow them to prison:
    One step I have advanced thee; if thou dost
    As this instructs thee, thou dost make thy way
    To noble fortunes: know thou this, that men 35
    Are as the time is: to be tender-minded
    Does not become a sword: thy great employment
    Will not bear question; either say thou'lt do 't,
    Or thrive by other means.
    EDMUND Come here, captain. Listen.
    Take this note
    (Giving a paper)
    Go follow the two.
    I promoted you already, but if you
    do as told, I'll guarantee you a fortune.
    Remember that men should be strong at times
    like these. Weakness will not help.
    Don't even think about questioning this mission.
    You will either do it, or go find another job.
    Captain I'll do 't, my lord. 40
    Captain I'll do it, sir.
    EDMUND About it; and write happy when thou hast done.
    Mark, I say, instantly; and carry it so
    As I have set it down.
    EDMUND Once you're done, you will be satisfied.
    Go right now, and do as I have written down.
    Captain I cannot draw a cart, nor eat dried oats;
    If it be man's work, I'll do 't. 45
    Exit
    Flourish. Enter ALBANY, GONERIL, REGAN, anotherCaptain, and Soldiers
    Captain I can't afford to find other jobs.
    If this is the work I have to do, I'll do it.
    Exit
    Flourish. Enter ALBANY, GONERIL, REGAN, another Captain, and Soldiers.
    ALBANY Sir, you have shown to-day your valiant strain,
    And fortune led you well: you have the captives
    That were the opposites of this day's strife:
    We do require them of you, so to use them
    As we shall find their merits and our safety 50
    May equally determine.
    ALBANY You really showed your abilities today,
    and you were lucky too. You captured the enemies.
    They're under your control. Use them
    effectively and for the safety of us.
    EDMUND Sir, I thought it fit
    To send the old and miserable king
    To some retention and appointed guard;
    Whose age has charms in it, whose title more, 55
    To pluck the common bosom on his side,
    An turn our impress'd lances in our eyes
    Which do command them. With him I sent the queen;
    My reason all the same; and they are ready
    To-morrow, or at further space, to appear 60
    Where you shall hold your session. At this time
    We sweat and bleed: the friend hath lost his friend;
    And the best quarrels, in the heat, are cursed
    By those that feel their sharpness:
    The question of Cordelia and her father 65
    Requires a fitter place.
    EDMUND Sir, I think we should have
    sent the king to a well guarded place.
    His old age and title made him quite popular.
    I'm worried that our soldiers might even turn
    against us. I sent Cordelia with him for the same reason.
    You can have the session tomorrow wherever you like.
    During this kind of a war, soldiers suffer because they
    lose their friends. They might even come to oppose a
    justified war. We should discuss the two in a better place.
    ALBANY Sir, by your patience,
    I hold you but a subject of this war,
    Not as a brother.
    ALBANY I'm sorry but you follow my orders.
    You're not my equal.
    REGAN That's as we list to grace him. 70
    Methinks our pleasure might have been demanded,
    Ere you had spoke so far. He led our powers;
    Bore the commission of my place and person;
    The which immediacy may well stand up,
    And call itself your brother. 75
    REGAN That is a matter I should decide.
    How can you say such a thing without my permission?
    Edmund led our army and finished the task well.
    And his relationship with me is enough to make him
    your equal.
    GONERIL Not so hot:
    In his own grace he doth exalt himself,
    More than in your addition.
    GONERIL Wait a minute.
    He deserves more honor than how much
    you give him.
    REGAN In my rights,
    By me invested, he compeers the best. 80
    REGAN I gave him the mission.
    He is honored because of my decision.
    GONERIL That were the most, if he should husband you.
    GONERIL He'd be honored the most if he marries you.
    REGAN Jesters do oft prove prophets.
    REGAN Jokes often turn out to be true.
    GONERIL Holla, holla!
    That eye that told you so look'd but a-squint.
    GONERIL Holla, holla!
    Your eyes are telling me something about you and him
    REGAN Lady, I am not well; else I should answer 85
    From a full-flowing stomach. General,
    Take thou my soldiers, prisoners, patrimony;
    Dispose of them, of me; the walls are thine:
    Witness the world, that I create thee here
    My lord and master. 90
    REGAN I'm feeling sick. If I weren't feeling so,
    I'd answer you better. General, Take my soldiers,
    prisoners, and my inheritance and do as you want.
    All are yours. Everyone should see that I made you
    my husband.
    GONERIL Mean you to enjoy him?
    GONERIL Are you trying to sleep with him?
    ALBANY The let-alone lies not in your good will.
    ALBANY You can't make that judgment.
    EDMUND Nor in thine, lord.
    EDMUND Nor can you sir.
    ALBANY Half-blooded fellow, yes.
    ALBANY Yes I can, you half-blood.

    [Translation by Cindy, Christina, Hwee Min]
    EDMUND: In wisdom I should ask thy name;
    (view changes)
    9:24 pm
  3. page Sc. 5 Gloucester's mansion edited The following work is done by Junghee Lee and Daniel Oh ACT III SCENE V Gloucester’s castle. ( p…
    The following work is done by Junghee Lee and Daniel Oh
    ACT III SCENE V
    Gloucester’s castle. ( p53)
    Enter CORNWALL and EDMUND
    [CORNWALL and EDMUND enter]
    CORNWALL (original):
    I will have my revenge ere I depart his house.
    CORNWALL (translation):
    I’m gonna revenge before I leave this house
    EDMUND (original):
    How, my lord, I may be censured, that nature thus
    gives way to loyalty, something fears me to think
    of.
    EDMUND (translation):
    I’m scared that I might be criticized for choosing my loyalty for you over my father.
    CORNWALL (original):
    I now perceive, it was not altogether your
    brother’s evil disposition made him seek his death;
    but a provoking merit, set a-work by a reprovable badness in himself.
    CORNWALL (translation):
    Coming to think about it, I think that your brother’s evil intentions, after all, was not because he was a evil man. It’s your father who is so evil.
    EDMUND (original):
    How malicious is my fortune, that I must repent to
    be just! This is the letter he spoke of, which
    approves him an intelligent party to the advantages
    of France: O heavens! that this treason were not,
    or not I the detector!
    EDMUND (translation):
    What’s wrong with my luck, now that I have to be sorry for being just!! This is the letter he was talking about that says that he was a spy of France. Oh my god, I wish this wasn’t true or I wasn’t the one to discover this!
    CORNWALL (original):
    o with me to the duchess.
    CORNWALL (translation):
    Let’s go to the duchess.
    EDMUND (original):
    If the matter of this paper be certain, you have
    mighty business in hand.
    EDMUND (translation):
    If this letter is true, you really have some heavy business going on.
    CORNWALL (original):
    True or false, it hath made thee earl of
    Gloucester. Seek out where thy father is, that he
    may be ready for our apprehension.
    CORNWALL (translation):
    Whether it’s true or not, you’re now the Earl of Gloucester. Go to your father and let him know that he’s gonna be arrested.
    EDMUND (original):
    Aside
    Stuff his suspicion more fully. –I will persevere
    in my course of loyalty, though the conflict be sore
    between that and my blood.
    EDMUND (translation):
    [Aside]
    If I find him helping the king, Cornwall will suspect him even more. I’ll act for my loyalty even if that hurts me for betraying my own father.
    CORNWALL (original):
    I will lay trust upon thee; and thou shalt find a
    dearer father in my love.
    Exeunt
    CORNWALL (translation):
    I believe you, and I’ll be a better father than Gloucester.
    [Exit]
    P54.
    ACT III SCENE IV A chamber in a farmhouse adjoining the castle.
    Enter GLOUCESTER, KING LEAR, KENT, Fool, and EDGAR
    [GLOUCESTER, KING LEAR, KENT, Fool, and EDGAR enter]
    GLOUCESTER (original):
    Here is better than the open air; take it
    thankfully. I will piece out the comfort with what
    addition I can: I will not be long from you.
    GLOUCESTER (translation):
    It’s better than being outside; be thankful. I’ll do my best for your comfort. I’ll be back soon.
    KENT (original):
    All the power of his wits have given way to his
    impatience: the gods reward your kindness!
    Exit GLOUCESTER
    KENT (translation):
    He lost his patience because he’s just too sad. God bless you.
    [GLOUCESTER exits]
    EDGAR (original):
    Frateretto calls me; and tells me
    Nero is an angler in the lake of darkness.
    Pray, innocent, and beware the foul fiend.
    EDGAR (translation):
    Frateretto is saying that Nero is a fisherman in the lake of darkness. You better pray, naïve people, and watch out the devil.
    Fool (original):
    Prithee, nuncle, tell me whether a madman be a
    gentleman or a yeoman?
    Fool (translation):
    Uncle, is this crazy guy a noble man or just a low class person?
    KING LEAR (original):
    A king, a king!
    KING LEAR (translation):
    A king, a king!
    Fool (original):
    No, here’s a yeoman that has a gentleman to his son;
    for he’s a mad yeoman that sees his son a gentleman
    before him.
    Fool (translation):
    No, he’s a low class person whose son is noble; he’s crazy because his son became noble even before him.
    KING LEAR (original):
    To have a thousand with red burning spits
    Come hissing in upon ‘em, --
    KING LEAR (translation):
    Thousands of devils with red hot nods are coming to get them!
    EDGAR (original):
    The foul fiend bites my back.
    EDGAR (translation):
    The devil is biting my back.
    Fool (original):
    He’s mad that trusts in the tameness of a wolf, a
    horse’s health, a boy’s love, or a whore’s oath.
    Fool (translation):
    You’re crazy to believe such a blatant lie.
    KING LEAR (original):
    It shall be done; I will arraign them to straight.
    To EDGAR
    Come, sit thou here, most learned justicer;
    To the Fool
    Thou, sapient sir, sit here. Now, you she foxes!
    KING LEAR (translation):
    Okay, let’s do it. I’ll have them tried right now.
    [To EDGAR]
    Come here and sit, judge.
    [To the Fool]
    And you sit here, wise man. Now, she tricks you!
    EDGAR (original):
    Look, where he stands and glares!
    Wantest thou eyes at trial, madam?
    Come o’er the bourn, Bessy, to me,--
    EDGAR (translation):
    Look where he’s standing and staring at! Are you watching this, madam?
    Bessy, come over the stream to me.
    Fool (original):
    Her boat hath a leak,
    And she must not speak
    Why she dares not come over to thee.
    Fool (translation):
    Her boat is leaking and she must not speak why she wouldn’t come over to you.
    EDGAR (original):
    The foul fiend haunts poor Tom in the voice of a
    nightingale. Hopdance cries in Tom’s belly for two
    white herring. Croak not, black angel; I have no
    food for thee.
    EDGAR (translation):
    The devil tries to haunt me with his nightingale-like voice. Hopdance is in my belly and crying for two white herring (a kind of fish). Stop it, devil; I don’t have any food.
    KENT (original):
    How do you, sir? Stand you not so amazed:
    Will you lie down and rest upon the cushions?
    KENT (translation):
    How are you sir? Don’t stand there being so amazed. Lie down on the cushions.
    KING LEAR (original):
    I’ll see their trial first. Bring in the evidence.
    To EDGAR
    Thou robed man of justice, take thy place;
    To the Fool
    And thou, his yoke-fellow of equity,
    Bench by his side:
    To KENT
    you are o’ the commission,
    Sit you too.
    KING LEAR (translation):
    I’ll see their trial first. Bring in the evidence.
    [To EDGAR]
    Judge, take your seat.
    [To the Fool]
    And you, the fellow judge, sit next to him.
    [To KENT]
    You’re the judge too, sit down.
    EDGAR (original):
    Let us deal justly.
    Sleepest or wakest thou, jolly shepherd?
    Thy sheep be in the corn;
    And for one blast of thy manikin mouth,
    Thy sheep shall take no harm.
    Pur! The cat is gray.
    EDGAR (translation):
    Let’s judge fairly.
    Jolly shepherd, are you sleeping or awake?
    Your sheep are in the corn.
    If you blow your horn,
    the sheep will not be harmed.
    Purr! The cat is gray.
    KING LEAR (original):
    Arraign her first; ‘tis Goneril. I here take my
    oath before this honourable assembly, she kicked the
    poor king her father.
    KING LEAR (translation):
    Let’s judge Goneril first. I swear that she kicked me, the king.
    Fool (original):
    Come hither, mistress. Is your name Goneril?
    Fool (translation):
    Come here, ma’am. Are you Goneril?
    KING LEAR (original):
    She cannot deny it.
    KING LEAR (translation):
    She can’t deny it.
    Fool (original):
    Cry you mercy, I took you for a joint-stool.
    Fool (translation):
    I beg your pardon, I thought you were a good person.
    KING LEAR (original):
    And here’s another, whose warp’d looks proclaim
    What store her heart is made on. Stop her there!
    Arms, arms, sword, fire! Corruption in the place!
    False justicer, why hast thou let her ‘scape?
    KING LEAR (translation):
    And here’s the other one (Regan), whose distorted face reflects her heart. Stop here! Arms, arms, sword, fire! This place is corrupted! You corrupt judge, why did you let her escape?
    EDGAR (original):
    Bless they five wits!
    EDGAR (translation):
    I beg your pardon.
    KENT (original):
    O pity! Sir, where is the patience now,
    That thou so oft have boasted to retain?
    KENT (translation):
    Oh my god. Where’s your patience that you said you would keep, godfather!
    EDGAR (original):
    Aside
    They’ll mar my counterfeiting.
    EDGAR (translation):
    Aside
    I’m crying and they might notice my acting.
    KING LEAR (original):
    The little dogs and all, Tray, Blanch, and
    Sweet-heart, see, they bark at me.
    KING LEAR (translation):
    The little dogs, Tray, Blanch, and Sweet-heart, all barking at me.
    EDGAR (original):
    Tom will throw his head at them. Avaunt, your curs!
    Be thy mouth or black or white,
    Tooth that poisons if it bite;
    Mastiff, grey-hound, mongrel grim,
    Hound or spaniel, brach or lym,
    Or bobtail tike or trundle-tail,
    Tom will make them weep and wail:
    For, with throwing thus my head,
    Dogs leap the hatch, and all are fled.
    Do de, de, de. Sessa! Come, march to wakes and
    fairs and market-towns. Poor Tom, thy horn is dry.
    EDGAR (translation):
    I will take care of them. Shoo!
    Whether your mouth is black or white, even if your tooth might have poison,
    Whatever the heck you are, I’ll make you cry.
    With the throwing of my head, they’ll be scared and run away.
    Do-de, de, de. Sessa! Off you go!
    Your cup is dry.
    KING LEAR (original):
    Then let them anatomize Regan; see what breeds
    about her heart. Is there any cause in nature that
    makes these hard hearts?
    To EDGAR
    You, sir, I entertain for one of my hundred; only I
    do not like the fashion of your garments: you will
    say they are Persian attire: but let them be changed.
    KING LEAR (translation):
    Let them attack Regan and see what happens with her heart. How can there be such a cold-blooded heart?
    [To EDGAR]
    You can serve me, but I don’t like how you dress; you look like a Persian. Change them.
    KENT (original):
    Now, good my lord, lie here and rest awhile.
    KENT (translation):
    Please rest, my king.
    KING LEAR (original):
    Make no noise, make no noise; draw the curtains:
    so, so, so. We’ll go to supper i’he morning. So, so, so.
    KING LEAR (translation):
    Be quiet and pull the curtains. Yeah like that. We’ll eat in the morning.
    Fool (original):
    And I’ll go to bed at noon.
    Re-enter GLOUCESTER
    Fool (translation):
    I’ll sleep at noon
    [GLOUCESTER re-enters]
    GLOUCESTER (original):
    Come hither, friend: where is the king my master?
    GLOUCESTER (translation):
    Hey, come here. Where’s the king?
    KENT (original):
    Here, sir; but trouble him not, his wits are gone.
    KENT (translation):
    He’s right here but he’s not quite sane.
    GLOUCESTER (original):
    Good friend, I prithee, take him in thy arms;
    I have o’erheard a plot of death upon him:
    There is a letter ready; lay him in ‘t,
    GLOUCESTER (translation):
    Go get him, please. I heard someone is plotting to kill him. I have a carriage ready so lay him there.

    The following section was translated by Kathryn and Joanna.
    ACT IV SCENE V Gloucester's castle
    (view changes)
    8:37 pm
  4. page Sc. 4 Albany's hall edited ... As you wish. Exit The following work is done by Jane Hyun and Daniel Oh P18 KING LEAR: Wh…
    ...
    As you wish.
    Exit
    The following work is done by Jane Hyun and Daniel Oh
    P18
    KING LEAR: What says the fellow there? Call the clotpoll back.
    (Exit a Knight)
    Where's my fool, ho? I think the world's asleep.
    (Re-enter Knight)
    How now! where's that mongrel?
    KING LEAR : What the hell is he saying? Call that jerk back.
    (Exit first knight)
    Where’s my fool? Is everyone deaf or something?
    (Enter first knight)
    Hey there! Where’s that idiot?
    Knight: He says, my lord, your daughter is not well.
    Knight: Sir, he says your daughter is sick.
    KING LEAR: Why came not the slave back to me when I called him.
    KING LEAR : Why didn’t he come back when I called him?
    Knight: Sir, he answered me in the roundest manner, he would not.
    Knight : He answered me bluntly that he will not.
    KING LEAR: He would not!
    KING LEAR : He did?!
    Knight: My lord, I know not what the matter is; but,
    to my judgment, your highness is not entertained with that
    ceremonious affection as you were wont; there's a
    great abatement of kindness appears as well in the
    general dependants as in the duke himself also and your daughter.
    Knight : I don’t know what’s happening, but I think that you are not being treated as you should be. Your daughter, her husband and her lackies are not showing enough respect.
    KING LEAR : Ha! sayest thou so?
    KING LEAR : You think so?
    Knight : I beseech you, pardon me, my lord, if I be mistaken;
    for my duty cannotbe silent when I think your highness wronged.
    Knight : Forgive me if I am mistaken. I can’t stand you being treated disrespectfully.
    KING LEAR : Thou but rememberest me of min own conception: I
    have perceived a most faint neglect of late; which I
    have rather blamed as mine own jealous curiosity
    than as a very pretence and purpose of kindness:
    I will look further into't. But where's my fool? I have not seem him this two days.
    KING LEAR : Actually that’s what I’ve been thinking. I sensed their disrespect lately but I blamed myself for being overly sensitive about their rude attitude. I’ll look into it. But where’s my fool? I didn’t see him for two days.
    Knight : Since my young lady's going into France, sir, the fool hath much pined away.
    Knight : Ever since your young daughter went to France, he has been very depressed.
    KING LEAR : No more of that; I have noted it well. Go you, and tell my daughter I would speack with her.
    (Exit an Attendant)
    Go you, call hither my fool.
    (Exit an Attendant, Re-enter OSWALD)
    O, you sir, you, com you hither, sir: who am I, sir?
    KING LEAR : Don’t talk about that. I realized that too. Go and tell my daughter that I would speak with her.
    (Exit an attendant)
    You go bring my fool here.
    (Exit another attendant, Re-enter OSWALD)
    Hey, you, come here. Who am I, gentleman?
    OSWALD : My lady's father.
    OSWALD : My mistress’ father.
    KING LEAR: "My lady's father"! my lord's knave: your whoreson dog! you slave! you cur!
    KING LEAR: “My mistress’ father?” for Christ's sake! You, useless piece of shit!
    OSWALD: I am none of these, my lord; I beseech your pardon.
    OSWALD : I beg your pardon. I’m none of them.
    KING LEAR: Do you bandy looks with me, you rascal? (Striking him)
    KING LEAR: What’s up with your attitude, you idiot? (he strikes OSWALD)
    OSWALD: I'll not be struck, my lord.
    OSWALD: Don’t hit me, godfather.
    KENT: Nor tripped neither, you base football player. (Tripping up his heels)
    KENT: What about this, you asshole? (Tripping OSWALD)
    KING LEAR: I thank thee, fellow; thou servest me, and I'll love thee.
    KING LEAR: (to KENT) Thank you. You did me a favor, and I owe you one.
    KENT: Come, sir, arise, away! I'll teach you differences:
    away, away! if you will measure your lubber's
    length again, tarry: but away! go to; have you wisdom? so. (Pushes OSWALD out)
    KENT: (to OSWALD) Come on! Get up! Get the hell out of here! I’ll teach you some better manners. Get out if you don’t want to get tripped again. Go! Keep on running! Do you have a brain? There it is. (Pushes OSWALD out)

    The following work is done by Catherine M. and JiEun :)
    Lines 89-139
    (view changes)
    8:35 pm

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