The dominant place in "King Lear" takes a picture of the clashes between the two camps, sharply opposed to each other in the first place in terms of morale. Given the complexity of the relationship between the individual characters that make up each of the camps, a violent evolution of some of the characters and the development of each of the camps in general, these groups of actors that come into irreconcilable conflict, only the code name can be given.
If the basis for the classification of these camps is based on the central scene of the tragedy, we have the right to talk about the clash of camp Goneril and camp Lear Regan; if to characterize these camps on the characters that best expresses the ideas that guide the representatives of each of them, or rather it would be better to call them camps Cordelia and Edmund. But perhaps the most fair would be the most conventional division of existing pieces on the camp of good people and the camp of evil. The true meaning of this convention can be opened only as a result of the study, when it becomes clear that Shakespeare conceived not by abstract moral categories, and imagined the conflict between good and evil in all of its historical specificity.
"The forces of evil - wrote J. Stampfer, - acquire in" King Lear "very large scale, and there are two special variants of evil: evil as the animal represented by Reganoy and Goneril, and evil as theoretically grounded atheism is represented by Edmund. Mix these species does not follow. "
Edmund – is a villain, characterized in the traditional manner of Shakespeare. The principles of construction of an image Edmund generally the same as the principles used when creating playwright images such as, for example, Richard III and Iago; in monologues, repeatedly uttered these characters reveal their inner being deeply veiled, and their evil plans.
Edmund - a character who would never commit crimes and violence with a view to admire the results of the villainous "feats". At each stage of the activity he pursues very specific tasks that should be its enrichment and elevation.
Edmund at the beginning of the play just wants to be Edgar. Luck develops in him a craving for power, and enters into the temptation of evil - power and evil as such. It pleases deception for deception. He hurt his arm, like a drunk in a fun massacre, deceiving Cornwall, and then it becomes dangerous. The "natural" son behaves abnormally and is a criminal, whose dagger directed against anyone and everyone.
The dominant place in "King Lear" takes a picture of the clashes between the two camps, sharply opposed to each other in the first place in terms of morale.