The diction of a play is another way of saying the language that the characters use. There are several important things to note about the language devices employed by Shakespeare.

The first is the use of verse and prose. If you are unsure about these devices, please read the following post that clearly outlines the differences and intended effects of each.

Identify three characters who switch from verse to prose in their speech. Find and copy two extracts for each character that illustrate this change.

Often, the change between verse and prose can signal something significant for that character at that moment of the story. Some common examples which are traditionally used in Elizabethan drama are when characters switch from moments of sanity to moments of madness or confusion, a drastic change in power and a change due to the portrayal of a different character as a disguise. In King Lear, blank verse (unrhymed iambic pentameter with 5 stressed and 5 unstressed syllables to each line), prose and occasionally rhyme (to draw attention to particular thoughts or idea eg. fool’s songs)

Lear is a primary example of a character speaking in verse and then changing to speaking in prose. During the beginning of the play, Lear speaks solely in verse, as he is King and he has ultimate power and status. However, Lear’s wits begin to desert him, Lear’s speech becoming more broken which is indicative of him becoming madder and therefore losing sense in his speech. He becomes increasingly more careless of how sophisticated and proper his speaking is because he is slowly realising that he is no longer entitled to talk like a king would. Lear is transitioning from his status of being king to a foolish old commoner (according to the great chain of being), who are less educated, powerless and do not need to impress others as much as those of high status do. Lear doesn’t know his place in society after losing his title and role

Verse is used in act 1 scene 1, since Lear has not given away his power yet and is still sane:

“Meantime we shall express our darker purpose. Give me the map there. Know that we have divided In three our kingdom, and ’tis our fast intent To shake all cares and business from our age,”

Prose is used in act 3 scene 6, as Lear is at the height of his peripetia and is completely mad, speaking in nonsense as he hallucinates his daughters during the mock trial.

“Then let them anatomize Regan. See what breeds about her heart. Is there any cause in nature that makes these hearts?”

Gloucester is another example of a character who switches from prose to verse frequently throughout the play. Verse, typically being spoken by those with high intelligence and/or power, isn’t consistently spoken by Gloucester in the first few acts in comparison to others in power (eg. Cornwall, Albany, Goneril and Regan) despite him still having high social status and therefore power. The speaking of prose is exemplified during Act 1 during scenes 1 (when conferring with Kent) and 2 and act 3 scene 3 (whilst conferring with Edmund). These examples are shown below in order of appearance.

“It did always seem so to us: but now, in the
division of the kingdom, it appears not which of
the dukes he values most; for equalities are so
weighed, that curiosity in neither can make choice
of either’s moiety.”

“These late eclipses in the sun and moon portend
no good to us: though the wisdom of nature can
reason it thus and thus, yet nature finds itself…….
……offence, honesty! ‘Tis strange.”

“Go to; say you nothing. There’s a division betwixt
the dukes; and a worse matter than that: I have
received a letter this night; ’tis dangerous to be
spoken; I have locked the letter in my closet:
these injuries the king now bears will be revenged…
….some strange thing toward, Edmund; pray you, be careful.

All of these instances of Gloucester speaking in prose occurs whilst he is in hysteria, in overwhelming confusion over the state of the kingdom. During act 1, Gloucester is troubled over Lear’s decision to divide the kingdom, muttering in prose due to his fast-paced thinking not being calm and collected due to his lack of understanding of the chaos which unfolds around him which he feels will only grow worse. Gloucester speaking in prose during act 3, when he grows increasingly more concerned over Lear and is also troubled over the conflict between Albany and Cornwall, indicates that Gloucester is still flustered and is lacking clarity in his perception of the world (making him an easy target for being manipulated by Edmund).

Despite his loss of power and increased level of insanity after the ‘gouging incident’ in act 3 scene 7, it is during and after this traumatic scene that Gloucester begins to consistently speak in verse.

“Because I would not see thy cruel nails
Pluck out his poor old eyes; nor thy fierce sister
In his anointed flesh stick boarish fangs…..
….The winged vengeance overtake such children.”

This change shows that Gloucester has gained his wits and is visible to the truth behind the treason and treachery which goes on in the kingdom, being able to ‘see clearly now’.

Edgar is another character who switches from peaking in verse to prose throughout the play. A reason that prose is spoken is when a character is displaying madness, like Lear, and since Edgar is portraying Poor Tom, who is of the poorest shape of a man and is essentially a homeless madman, he frequently speaks in prose whilst in the presence of other characters. The speaking of verse occurs whilst Edgar speaks in soliloquy when he is only speaking to the audience. This is evident in the contemplation of his transformation into Poor Tom during act 2 scene 3, when he isn’t trying to convince anyone to believe this character yet.

“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,….
….Enforce their charity. Poor Turlygod! poor Tom!
That’s something yet: Edgar I nothing am.”

Edgar’s portrayal of Poor Tom is expressed by the use of poor grammar, nonsensical language and prose. His first appearance as Poor Tom whilst in the presence of Lear and company is an important example of Edgar switching to prose.

“Who gives any thing to poor Tom? whom the foul
fiend hath led through fire and through flame, and
through ford and whirlipool e’er bog and quagmire;…                                    …have him now,–and there,–and there again, and there.”