Passage 051 · 1606
King Lear - Storm Scene
Main effectThrough stripped imperatives, apostrophe to natural forces, and commanded apocalypse, Shakespeare creates syntax of madness and rage. The form performs Lear's state: commanding what can't be commanded, addressing what can't hear, demanding destruction of everything. This is syntax as loss of reason—grammar that treats inanimate forces as subjects who must obey, while the actual human king has no subjects left. The imperatives pile up powerlessly, revealing through their very syntax that Lear can only command storms, having lost his human kingdom.
Device index
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Tropes
Direct address to absent or non-human entity.
No words highlightedCommand form.
Attribution of human qualities to non-human things.
Deliberate exaggeration.
No words highlightedSyntax
"Blow, winds"—the imperative verb followed by vocative (direct address). The syntax is stripped: command + addressee, nothing else. This compression creates intensity.
"and crack your cheeks"—the coordinating conjunction links two imperatives. The second command anthropomorphizes—winds have cheeks that can crack from blowing hard. The syntax makes this metaphor grammatically natural.
"Rage! Blow!"—two one-word imperatives separated by exclamation points. The syntax creates staccato, furious rhythm. Each verb is complete sentence—maximum compression, maximum force.
"You cataracts and hurricanoes"—the second person pronoun "You" followed by coordinated nouns. The syntax treats natural phenomena as persons who can be addressed, commanded. The spelling "hurricanoes" (Shakespeare's form) adds syllable for metrical purposes.
"spout"—continues the command structure. The syntax maintains mood: everything is imperative, nothing is indicative (statement of fact).
"Till you have drench'd our steeples, drown'd the cocks"—the temporal conjunction "Till" introduces subordinate clause expressing the desired result. The syntax doesn't just command storms to blow, but specifies how much: until complete inundation.
"have drench'd...drown'd"—the present perfect (have + past participle) in subordinate clause suggests completed future action: keep going UNTIL this is done. The syntax creates goal for the destruction.
"drench'd...drown'd"—the two past participles are phonetically similar (internal rhyme), creating sonic linkage. The syntax through sound connects the two types of inundation.
"our steeples...the cocks"—the possessive "our" includes all humanity; "steeples" (churches) and "cocks" (weathervanes on top) represent civilization from highest point downward. The syntax specifies targets: human structures, religious buildings.
The exclamation points create maximum emphasis. Modern editions vary in their punctuation, but the imperatives themselves carry exclamatory force. The syntax is performative—these sentences do what they describe (command, rage).
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Opening Command
"Blow, winds"—the imperative verb followed by vocative (direct address). The syntax is stripped: command + addressee, nothing else. This compression creates intensity.
Coordinate Command
"and crack your cheeks"—the coordinating conjunction links two imperatives. The second command anthropomorphizes—winds have cheeks that can crack from blowing hard. The syntax makes this metaphor grammatically natural.
Exclamatory Repetition
"Rage! Blow!"—two one-word imperatives separated by exclamation points. The syntax creates staccato, furious rhythm. Each verb is complete sentence—maximum compression, maximum force.
Vocative List
"You cataracts and hurricanoes"—the second person pronoun "You" followed by coordinated nouns. The syntax treats natural phenomena as persons who can be addressed, commanded.
The spelling "hurricanoes" (Shakespeare's form) adds syllable for metrical purposes.
Another Imperative
"spout"—continues the command structure. The syntax maintains mood: everything is imperative, nothing is indicative (statement of fact).
Purpose/Result Clause
"Till you have drench'd our steeples, drown'd the cocks"—the temporal conjunction "Till" introduces subordinate clause expressing the desired result. The syntax doesn't just command storms to blow, but specifies how much: until complete inundation.
Perfect Aspect
"have drench'd...drown'd"—the present perfect (have + past participle) in subordinate clause suggests completed future action: keep going UNTIL this is done. The syntax creates goal for the destruction.
Parallel Participles
"drench'd...drown'd"—the two past participles are phonetically similar (internal rhyme), creating sonic linkage. The syntax through sound connects the two types of inundation.
Objects of Destruction
"our steeples...the cocks"—the possessive "our" includes all humanity; "steeples" (churches) and "cocks" (weathervanes on top) represent civilization from highest point downward. The syntax specifies targets: human structures, religious buildings.
Punctuation as Syntax
The exclamation points create maximum emphasis. Modern editions vary in their punctuation, but the imperatives themselves carry exclamatory force. The syntax is performative—these sentences do what they describe (command, rage).
Stylistic Effect
Through stripped imperatives, apostrophe to natural forces, and commanded apocalypse, Shakespeare creates syntax of madness and rage. The form performs Lear's state: commanding what can't be commanded, addressing what can't hear, demanding destruction of everything. This is syntax as loss of reason—grammar that treats inanimate forces as subjects who must obey, while the actual human king has no subjects left. The imperatives pile up powerlessly, revealing through their very syntax that Lear can only command storms, having lost his human kingdom.