Actions Speak Louder than Words… Unless No Words are Spoken

         The discrepancy between word and action is characteristically summarized in the discrepancy in Cordelia’s word choice, as shown by the editorial choice made in the line “What shall Cordelia speak? Love and be silent” (I.i.61). The Quarto offers “do” in place of the Folio’s “speak,” drawing a sharp contrast between action and the deliberation speech implies, which permeates through the entirety of Lear.

         Cordelia, despite being a rather minor character who appears briefly in the first act, and does not reappear until the end, propels the action of the play, as she refuses to succumb to the polarization that the other characters seem to embrace. As the youngest daughter, she is most likely to be constantly in an observational role – she has watched her older sisters go through courtship and get married, neither of which she has done. Her unmarried state must contribute to her apprehension toward fulfilling Lear’s capricious demand – after all, what she says in this extraordinarily public forum can and will be reported to her suitors. Her advantage here is that she is constantly watching. Because she is to speak last, she has the opportunity to choose each word she says and use them to reflect her exact sentiments. It is this very reason that places so much importance on the actual word used, “do” or “speak.” Ironically, despite these two actions that Cordelia is “offered” in the two different texts, she does nothing, says nothing. Her question is calculated, showing a temperance not held by Lear, her sisters, or Edmund. Each of the other characters acts rashly in some manner by not questioning the situations they are in, so it is rather notable that Cordelia takes the time to make her aside, thinking before she speaks.

         The word “do,” is the very essence of action – it implies the dynamic instead of the passive. Cordelia, however, is marked by her inaction, and this word is in sharp contrast to all that follows. She “does” more in her inaction by bringing to light the utter absurdity of having professions of love equate to actual love, and thus provides the catalyst for the downward spiral of Lear’s kingdom. Her speech is itself an action and thus “do” can function well here.

         Words are all that Goneril and Regan have to offer Lear, so when Cordelia asks what she should “speak,” only to say nothing, her question is answered by the fact that she wishes to remove herself from her sisters. They have words; she has actual love for her father. If she says anything at all, how will anyone, much less herself, be able to discern the verity of her love from that of her sisters? Her deliberation in using the word “speak” implies that action is not her immediate concern. After all, she can take no action as the youngest child and a woman in a patriarchal society. Her conscious articulated inaction plays an integral role in asserting a refusal to be thoughtless and flighty.

         One of the many discrepancies in this society is that words do not accompany actions, as Lear gives up his kingdom in all but name and Goneril and Regan only speak of love for their father. Cordelia’s response is to remove empty words, and let her actions stand on their own. Because she does this, it seems more appropriate to choose “speak” as the variant that appears in the contemporary text. Her action is in her lack of speech. Because Lear places so much emphasis upon the spoken word and not on accompanying action, especially in this public forum, it is Cordelia’s tangible speech that causes Lear’s fury. In her attempt to draw attention away from trite dialogues, Cordelia, too, must use speech, and so it appears more fitting that she asks herself what she should “speak,” rather than what action she can possibly take.