Perfect use of parallelism in King LearMany twists and turns characterize today's television serials. Subplots are a distinctive feature of these daytime dramas as they keep the audience in suspense. Subplots keep the material fresh and the audience wanting more. Shakespeare uses subplots as a literary device to greatly dramatize the action of the play and to create contrast with his underlying themes in King Lear. Subplots can incalculably enhance the effect of dramatic irony and suspense. The effective use of subplots in King Lear, as a form of parallelism, presents analogous traits of important characters. The use of such a literary device allows the audience to understand the emotions of the essential characters in the play. The magnificent similarity of different plots and characters can illustrate Shakespeare's perfect use of parallelism in King Lear. Parallelism is greatly enhanced by the use of subplots, as it creates emphasis and suspense. The parallel between Lear and Gloucester displayed in the play can in no way be accidental. The subplot of Gloucester corresponds to the main plot of Lear. Both fathers have their own legitimate and loyal children, as well as their own wicked and disloyal parents. Both Gloucester and Lear are honorable men, who have children who come back to them in times of need, and who are blind to the truth. Like Lear, Gloucester is tormented and his favorite child returns to life; he is cared for and healed by the child he wronged. Their suffering is attributable to their extreme folly and injustice, as well as a selfish pursuit of their pleasure. At the beginning of King Lear, Cordelia says that her love for her father is the love between father and daughter, no more, no less. link; neither more nor less. (Shakespeare.Ii93-95) In response, Lear becomes angry, disowns Cordelia, and divides his share of the kingdom between his two unworthy sisters. Such madness and injustice are encountered by Gloucester in the subplot. "O villain, villain! His very opinion in the letter. Abhorred villain, unnatural villain, hated, brutal; worse than brutal! Go, sir, look for him. I will apprehend him. Abominable villain! Where is he? (I.ii.80-84)