2021-03-03 3:06:53 ¶ ●

## TOP 13 SONGS WITH EDMUND VIBES, AND WHICH LYRICS IN THEM SPECIFICALLY MADE ME THINK OF HIM

## (#2 WILL SURPRISE YOU)

(Did I do this clickbait thing right?)

(Let me just say- organizing these from least to most Edmund-y was a lot more difficult that I thought it would be.)

#13- Burned Out by Dodie

Why: he wants to be loved- and he is loved- but he doesn’t see it until he’s dying. “Words only get through if they’re sharp”- he’s motivated and fueled by his anger and resentment towards the world- The constant insults and degrading is what got through to him and pushed him towards getting revenge

#12- Pantsuit Sasquatch by Molly Lewis

Why: Honestly this is more my opinion than something that comes directly from the play, but had everyone just left Edmund alone he may not have decided that revenge was necessary. Sure he’d still hate the system in general, but he may not have taken everything so far if everyone acted half decently towards him.

#11- Pretender by AJR

Why: “I do not belong here. You all clearly do. But I’m a good pretender” Enough said.

#10- The Last Day of Summer from The Lightning Thief Musical (that one based off of Percy Jackson) (Specifically Luke’s part) (somehow Luke has major Edmund vibes that I didn’t notice until recently?)

Why: “It doesn’t pay to be a good kid, a good kid, a good son”- in Edmund’s case; literally. He has no inheritance. “You know this world will never be ours so long as our parents rule over the stars” and “The gods were never on our side so I think it’s time we watch them fall” (for those who never read Percy Jackson- “the gods” are their parents- they’re demigods)- anyway. Yeah I don’t think I need to explain why I put that there.

#9- Hurricane from Death Note the Musical (yeah there’s a musical based off of Death note)

Why: remember that one part where he. Like. Writes this letter that says something like “heyyy Edmund lets kill dad. Love, Edgar”? And then Gloucester was like “well I gotta execute Edgar now I guess”?

#8- Are you Satisfied? by Marina

Why: ok. We’re getting to the point on this list where I really don’t have to justify or explain these anymore.

#7- Sweet Hibiscus Tea by Penelope Scott

Why: again this is more my opinion than fact, but I feel like Edmund, pre-play, when he was a child at least, did try really hard to earn approval and respect from Gloucester. Hold on I’m going to try to find textual evidence for this. Oh right the whole “look sir I bleed” thing. Still trying to get approval. Yup. I knew I didn’t just make that up. So “Here’s the thing I can’t do anything right, try as I absolutely totally might” is justified. Now moving on- “I’m not your protagonist, I’m not even my own”- Edmund never tries to justify what he does. He never sees himself as a good person, or even a justifiable person. He goes “hey. Look. I’m the bad guy here, alright? Got that?” Leading us into the next song on this list:

#6- The Bad Guy by Thomas Sanders

Why: the stereotype for a bastard in Shakespearean times was that he’d be a plotting scheming villain sort of character. He looked around and saw that that’s what the world expects of him, and said “oh well I guess I may as well go along with it.”

#5- You’re Gonna Go Far Kid by The Offspring

Why: Edmund doesn’t do anything directly- instead he turns people against each other and watches the chaos from afar. He’s one of the few Shakespeare antagonists to commit 0 direct murders.

#4- Nothing Left to Lose from Tangled the Series (I know, right? Who’d have thought it would have good songs? But it does!)

Why: Edmund’s perfectly satisfied with being he villain- morality is of no concern to him. He wants what should have been his, had the system been more merit based and less blood based.

#3- Waiting in the Wings from Tangled the Series

Why: He’s been overlooked his whole life, that’s about it with the reason for this one.

#2- Build a Wall from Shrek the musical. YES. SHREK THE MUSICAL (remember when I said #2 will surprise you?)

Why: no need to explain this one. But also for the line in this song “the best way to conquer they say is to divide!!”, because divide and conquer is a very Edmund thing to do.

#1- Crossing the Line from (again) Tangled the Series (just. Just read the words here. Please. It’s literally his first soliloquy.)

Why: no explanation needed.

2021-03-04 6:06:01 ¶ ●

analysis of Gloucester that my AP Lit teacher told us in class, and I liked enough to decide to post it here-

So basically, Gloucester’s no idiot. And anyone with half a brain would have thought that Edmund’s whole “ohhh nooo my brother totally wrote to me saying he wants you dead!!” Would be suspicious. So at first glance, there seem to be a few problems here-

1- Why does Gloucester automatically believe that what he’s being told is true- that his son wants to kill him? His son, who never showed any sign of wanting him dead before?

2-Why doesn’t Gloucester suspect, even for a second, that Edmund’s lying, when Edmund has every reasonable motive to lie? Shouldn’t he suspect Edmund automatically?

The thing is though, he doesn’t see Edmund as having a motive to lie. It’s human nature to be more likely to believe what you hear than not to. And he doesn’t see Edmund as having a reason to be resentful.

See, the whole thing with illegitimate children not inheriting wasn’t a new thing, it was just how the world worked. To him, he was an earl because he was born into it, and random citizens weren’t nobility because they weren’t born into it. They all just accepted their place in society- you don’t see citizens, during a stable government’s reign, fighting the system or trying to become nobility.

Same worked for bastards. To Gloucester, the same way the average random citizen felt no resentment and had no motive to commit treason, to him Edmund had no reason to feel resentment or try to take on more power or status than he was born with. So he didn’t suspect that Edmund had any reason to lie to him or frame his brother for attempted patricide. Because he was so caught up in the system that he couldn’t imagine how the system might be harmful to those who don’t benefit from it.

(Tbh same applies to modern society and we can get all political here, but this is a Shakespeare blog not a politics blog)

2021-03-05 5:22:24 ¶ ●

I don’t know why I haven’t posted about this before, but if there was one semi competent person in King Lear, they would have called Edmund out in 2.1 right away-

Edmund: Yeah so I saw Edgar being very sus so I confronted him and told him patricide is bad, but then he stabbed me and ran away

Competent Person: So you didn’t have time to counterattack?

Edmund: no he ran away

CP: then why’s there blood on your sword?

Edmund: …

CP: seems like you stabbed yourself.

2021-03-08 5:53:01 ¶ ●

Also thoughts on “Our father’s love is to the bastard Edmund as to the legitimate”

It’s not though?

And this line bothered me, because 1.1 proves that it’s definitely not. So what’s the deal here? I don’t think he’s in denial- he’s not the type. He seems to be very aware in the rest of his soliloquy that he’s not exactly the most loved guy around here. So how can you read this line and make it valid?

Here are some options- but please feel free to add your own or enlighten me on how it’s actually supposed to be read

1- “(Now) our father’s love is to…”- as in “with this letter our father’s love will be to the bastard Edmund as to the legitimate”

2- (*sarcastically*) “our father’s love is to…- as in “oh yeah. Totally. Yeah, our father totally loves bother of us equally. Seems legit.”

3-(*said as a quote*) “our father’s love…”- as in he’s quoting probably Gloucester and others, who have told him that Gloucester loves both of them equally. Which has always come across as a blatant lie to him.

2021-03-10 5:38:21 ¶ ●

Anyway this thing happened today where I was supposed to come up with reasons why Goneril was Wrong to tell her servants to be rude to Lear, and I Couldn’t, and I was just trying to get the answer the teacher wanted,

so I was like “… because he was the king? But he’s barely the king now??”

And she was like “and why else?”

And I was like “…I guess he’s her father so she has some obligation to be polite to him??”

And she was like “and Why Else??”

And I was like “?????? I don’t know?”

And she was like “because he just gave her land and she should be grateful!!”

And I was like “??????????????”

Like. Yeah. Who else would he have given it to?? He wants it to stay in the family, right? So he’s not gonna give it to anyone other than his daughters?? It was his choice to retire?? They never asked for land he just handed it to them?? Unless you count praising him as asking for land, but praising a vey unstable all powerful ruler just seems like a common sense thing to do if you dont wanna die or get banished??

2021-03-11 6:54:14 ¶ ●

## contains Edmund VS Iago, and also analyzing Edmund’s first soliloquy

Anyway back to Edmund VS Iago, what I feel like isn’t spoken about enough is their relationship with the audience and how they “interact” with them

So Edmund and Iago are both really into soliloquies and asides. Iago more than Edmund, but that’s not the point.

The point is that without their soliloquies and asides, the audience would have absolutely no idea what’s happening.

So they’re kind enough to fill us in. Tell us what they’re about to do and then say “hey look, I did it, just like I said I would!”.

But the major difference that really sets them apart is that Iago constantly gives excuses for his actions, while Edmund never gives excuses for them. I know I know, I’ve said that a hundred times. As did everyone else who’s ever mentioned Edmund on this site. But wait, there’s more to it.

(Here’s where my super cool analysis comes in, except there’s a high chance that I’m completely wrong)

So let’s go on the assumption that they know there’s an audience there- or at least are talking to the audience intentionally and not just talking to themselves.

In that case, why would Edmund not bother justifying himself, when the audience is judging him and he knows it? And why would Iago throw one bad excuse after another at us, when any audience would see right through them and say “nope. That guy’s just racist.’?

Well, in Shakespearean times chances are they weren’t thinking about racism. Iago’s talking to the probably racist Shakespearean audience. He knows there’s a chance he can get them on his side. He’s white, Othello’s black, the audience is racist, so he thinks he has a shot at convincing them, no matter how wrong he is.

Meanwhile, Edmund’s also talking to the Shakespearean audience. The audience is used to the bastard stereotype- which, as a quick google search will confirm, was “treacherous” “plotting/ scheming villain”. Edmund gives up all hope of turning the audience to his side as soon as he’s introduced, because the audience already knows what they expect of him, and frankly, that’s exactly what they’re going to get.

He opens up his first soliloquy with “Thou, nature, art my goddess” and everyone in the Shakespearean audience knew what that meant. No one was sitting around wondering what he means- what his nature is. The audience understood that he was essentially saying “you know how you passed your judgement on me as soon as the play began? Well guess what. You were right.”

Then he goes on to say a few more lines, along the lines of “life is unfair, I deserve more than I’m getting”- which, to be fair, is pretty standard villain stuff to say. Sure, Edmund may be more correct with these lines than the modern day antagonist, but it still sounds like what you’d expect him to say.

Until “Why brand they us with base? With baseness? With bastardy? Base, base?”

We had similar lines earlier- “why bastard? Wherefore base?”,which he used to lead into “when my dimensions are as well compact..”- saying “these stereotypes kinda suck,…. especially when I’m so hot and smart and talented”

But in the lines “why brand they us with base? With baseness…” he gets lost in them. The first time he was able to pull himself out of the mindset of recognizing the unfairness of his situation, but when he brings it up a second time, he dwells on it longer and gets dragged into it. He knows the audience won’t recognize any valid claims he makes against the system or against Gloucester. There’s no point in trying to convince them he’s right. Which (in my opinion at least) is why the transition is so unsmooth. He goes from “why brand they us with base” to “for who in the lusty stealth of nature”, to “Well, legitimate Edgar, I must have your land”.

He switches topics from recognizing the unfairness of his situation, and how it’s never an even playing field for him, and how he’ll always be considered less than Edgar, no matter how hard he works, no matter how smart and talented he becomes- to the topic of “well bastard are better than legitimates anyway”- to the topic of “anyway. let’s get to what you came here for- I’m going to take my brother’s land”

He literally has to force himself to go back into villain mode.

Anyway I’m not sure where I’m going with this, so I’ll leave this as it is for now-

2021-03-14 20:15:16 ¶ ●

## Albany for acts 1-4 of King Lear

2021-03-18 20:58:09 ¶ ●

Me, on a test: Regan and Goneril possibly had valid concerns about Lear’s anger issues and impulsive decision making, because if you give unlimited authority to someone who makes decisions on impulse, bad stuff will probably happen

The Teacher: ok but actually Regan and Goneril are evil bc of that whole Gloucester’s eyes thing. So you’re wrong.

Me: akajsjdjkskakaka when did I say they aren’t- we aren’t even talking about Gloucester’s eyes we’re talking about if their concerns from 1.1 are valid