Lear: The "Abused Nature" "Of This Child-Changed Father"

One of the great pleasures in reading literature is to discover a few sentences or lines that are so rich with significance that they simultaneously do two things.  On the one hand, they deepen the narrative, play, or poem as it advances, and, on the other hand, radiate, and encapsulate, the work’s broader meaning and concerns.

In Shakespeare’s King Lear, Act 4, scene 7, lines 16-19, Lear’s youngest daughter Cordelia meets her father and becomes overwhelmed by his state of affairs:  his dementia and his abandonment -- more than that, his abuse and rejection -- by his other two elder daughters Goneril and Regan.  Cordelia interrupts her speech with an apostrophe to the “kind gods,” and she prays that Lear may be healed.

CORDELIA                                           O, you kind gods,
Cure this great breach in his abusèd nature!
Th’ untuned and jarring senses, O, wind up,
Of this child-changèd father!

-- King Lear, IV.vii.16-19

The short passage is pregnant with significance, especially double meanings.

First, “abused nature” refers most immediately to his madness (i.e., insanity).  Cordelia finds his unmooring from reality to be particularly pitied.  These are his “untuned and jarring senses.” At the same time, the “abused nature” signifies the natural relationship of father and daughter that Goneril and Regan have “abused” in not patiently caring for their aging, ailing father and in their acute hostility toward him. This is also, as much as the dementia, the “breach” in his natural constitution:  as a person of sound mind and as a father of (falsely) doting daughters.  Ironically, it was Cordelia who in Act 1 affirmed her love for Lear “as are right fit” (1.1.107) and “according to my [natural filial] bond” (1.1.102), yet whom Lear rejected, abused, by disowning and banishing from the kingdom. 

"Lear and Cordelia," Ford Madox Brown, 1848

Second, the other petition in Cordelia’s prayer is for the gods to “wind up,” or to mend or fix, the senses (the mental, perceptual, and emotional capacities) of this “child-changed father.”  The image may be one of a chiming clock, “untuned and jarring,” imprecise in reflection of reality (as a clock that needs to be wound) and jarring in the sound it makes as a result of its chiming at the wrong time. Lear himself variously lashes out and speaks nonsense because of the two factors that so plague him:  his failing mental capacities and his shattered family relationships with his children.  He is, both because of his own banishment of Cordelia and because of Goneril’s and Regan’s essential “banishment” of him, a “child-changed father.”

This passage, then, echoes succinctly a key, overarching, tragic irony of the play. Lear himself, because of his combined natural, hasty, manic disposition and his increasing dementia, rejects genuine affection where it was to be found (Cordelia) and is himself rejected by false affection where he chose, in his foolish pursuit of public professions, to believe it was true (Goneril and Regan).  Cordelia perceives and feels deeply the tragedy of Lear’s losing himself and his ties to his daughters, both of which are abuses to his nature.