Folly and Improvised Rhyme in King Lear. (9th July 2021)

• Record Type: Journal Article
• Authors: Clark, Molly
• Is Part Of: Review of English studies. Volume 72:Number 306(2021)
• Page Start: 686
• Page End: 706
• Publication Date: 2021-07-09
• Subjects: English literature -- History and criticism -- Periodicals; English philology -- Periodicals; 820.90005
• DOI: 10.1093/res/hgab042
• Languages: English
• ISSNs: 0034-6551

Abstract

Abstract: This article focuses on rhyme, specifically the extemporary rhyme that was a hallmark of early modern professional clowns and fools, and its contribution to the battle between sense and nonsense in King Lear . In the first half, I trace this rhyming tradition through Will Sommers, to Richard Tarlton, to Robert Armin, exploring the 'rhyme and reason' paradigm in this context, and considering the unique forms of interactive comedy that become possible when writers and performers exploit this technique. I pay particular attention to the dramatic potential of the 'quip': an improvised rhyming riposte for which Tarlton was famous, and which Armin picked up again onstage as well as in his own published writing. In the latter half of the article, I move on to consider the collaborative relationship between Armin and Shakespeare, focusing on King Lear . I argue that Shakespeare plays with the tradition of improvised fool rhymes, particularly the quip, when crafting the speech of Lear's Fool and Poor Tom. Considering both characters, and also both versions (quarto and Folio), I argue that 'improvisatory' rhyme strikes a key note in the play, epitomizing nonsensical truth-telling in a world in which speaking and listening have a fraught relationship.