@article{oai:nagoya.repo.nii.ac.jp:00008804,
 author = {滝川, 睦 and TAKIKAWA, Mutsumu},
 journal = {名古屋大学文学部研究論集. 文学},
 month = {Mar},
 note = {In contrast to Cordella in The True Chronicle Historie of King Leir and His Three Daughters, Cordelia in 4.4 of King Lear appears, deprived of vagrancy, as a warrior who “redeems nature from the general curse” (4.6.202). The question now arises: why does Shakespeare dare to deprive Cordelia of vagrancy? The purpose of this paper is to elucidate some aspects of vagrancy in King Lear, especially putting focus on the relevance between the mobility of female characters and vagrancy in early modern England. The reproof of Goneril who accuses Lear and his knights of their riotousness, strongly reminiscent of aristocrats’ complaints against royal progresses in Elizabethan England, indicates that Lear’s stay at Goneril’s palace plays a variation on an official journey of royalty. Moreover, it seems reasonable to suppose that Lear’s wandering in the wilderness represents the “darker” (1.1.35) side of the royal progress. It is important to note that Lear’s daughters also play the parts of wanderer in the theatrical space: Cordelia is banished from Lear’s court and then, returns as an exile; Both Goneril and Regan free themselves from the fetters of patriarchy and make a temporary “amorous sojourn” (1.1.47) at Gloucester’s house. They are clearly representative of “masterless women” in early modern England, who deserted their husbands or run away from masters. One can safely state that Lear’s cry “O, how this mother swells up toward my heart!” (2.2.246) correctly predicts the mobility of his daughters. The relationship between Edgar and Edmund will offer the clue to finding the reason why the vagrancy of Cordelia has to be eradicated. It is obvious that Edgar, in respect of imitating gestures and voice of “Tom / o’Bedlam” (1.2.135-36), bears a striking resemblance to Edmund. Nevertheless, when Edgar, by casting off vagrancy in 5.3, reveals himself as Gloucester’s legitimate son, he decisively breaks away from Edmund. This is even more true of Cordelia in 4.4, who identifies herself as “one daughter / Who redeems nature from the general curse / Which twain have brought her to” (4.6.201-03).},
 pages = {39--51},
 title = {“O, How This Mother Swells Up toward My Heart!”　―　King Learにおける放浪の諸相　―},
 volume = {54},
 year = {2008}
}