be secure has to resort to the shifts of folly, and so puts himself in the agonizing position of the foola self-awareness that is powerless to act. But there is a vital difference between him and the writer. 'Handy-dandy cries the mad Lear, 'which is the justice, which is the thief?' Where does real madness liein the 'voices or in the sterile cleanliness of a friendless observation ward? They cannot return to a world which they desperately need. But if, as Antonio has said, the world is a stage where people must play a part (and this is an important image for our understanding of the fool) why should Gratiano not play the part of the fool? Even for this let us divided live, And our dear love lose name of single one, That by this separation I may give. In a world where opposites have not harmonised, the poet is like 'the lunatic and the lover' because, like them, he is different from the majority of people.
The key to this presentation is that the fool is being studied from the outside. He is a trail-blazer, committed to probing the totality of existence, and unwilling to reject any of the views, however bizarre, that are a part. The naturals are also children in their incomprehension of the complexities of language. It is worth noticing in this connection how largely he takes his cue from the attitudes of other people. And so he retreats into a pose of non-involvement, assuming the detachment of a scholar reporting on insignificant facts in an abstruse journal.
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