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The History of King Lear, A TRAGEDY: As it is now acted at the King's Theatres. Revived, with Alterations, by N. Tate.
The History of King Lear, A TRAGEDY: As it is now acted at the King's Theatres. Revived, with Alterations, by N. Tate.
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Scanned, proofed and corrected from the original edition for your reading pleasure. It is also searchable and contains hyper-links to chapters.
***
"The History of King Lear" (with revisions by Nahum Tate) appeared about seventy-five years after Shakespeare's original. The changes made were as follows:
1) A happy ending, with Lear regaining his throne at the end
2) A romance between Edgar and Cordelia (whom never spoke to each other in the original)
3) Ends with a happy Edgar declaring that "truth and virtue shall at last succeed."
***
An excerpt from the Dedication:
TO My Esteemed FRIEND
Thomas Boteler, Esq;
Sir,
You have a natural Right to this Piece, since, by your Advice, I attempted the Revival of it with Alterations. Nothing but the Power of your Persuasion, and my Zeal for all the Remains of Shakespear, cou'd have wrought me to so bold an Undertaking. I found that the New-modelling of this Story, wou'd force me sometimes on the difficult Task of making the chiefest Persons speak something like their Character, on Matter whereof I had no Ground in my Author. Lear's real, and Edgar's pretended Madness have so much of extravagant Nature (I know not how else to express it) as cou'd never have started but from our Shakespear's Creating Fancy. The Images and Language are so odd and surprizing, and yet so agreeable and proper, that whilst we grant that none but Shakespear cou'd have form'd such Conceptions, yet we are satisfied that they were the only Things in the World that ought to be said on those Occasions. I found the whole to answer your Account of it, a Heap of Jewels, unstrung and unpolisht; yet so dazling in their Disorder, that I soon perceiv'd I had seiz'd a Treasure. 'Twas my good Fortune to light on one Expedient to rectifie what was wanting in the Regularity and Probability of the Tale, which was to run through the whole A Love betwixt Edgar and Cordelia, that never chang'd word with each other in the Original. This renders Cordelia's Indifference and her Father's Passion in the first Scene probable. It likewise gives Countenance to Edgar's Disguise, making that a generous Design that was before a poor Shift to save his Life. The Distress of the Story is evidently heightned by it; and it particularly gave Occasion of a New Scene or Two, of more Success (perhaps) than Merit. This Method necessarily threw me on making the Tale conclude in a Success to the innocent distrest Persons: Otherwise I must have incumbred the Stage with dead Bodies, which Conduct makes many Tragedies conclude with unseasonable Jests. Yet was I Rackt with no small Fears for so bold a Change, till I found it well receiv'd by my Audience; and if this will not satisfie the Reader, I can produce an Authority that questionless will. Neither is it of so Trivial an Undertaking to make a Tragedy end happily, for 'tis more difficult to Save than 'tis to Kill: The Dagger and Cup of Poyson are alwaies in Readiness; but to bring the Action to the last Extremity, and then by probable Means to recover All, will require the Art and Judgment of a Writer, and cost him many a Pang in the Performance.
***
"The History of King Lear" (with revisions by Nahum Tate) appeared about seventy-five years after Shakespeare's original. The changes made were as follows:
1) A happy ending, with Lear regaining his throne at the end
2) A romance between Edgar and Cordelia (whom never spoke to each other in the original)
3) Ends with a happy Edgar declaring that "truth and virtue shall at last succeed."
***
An excerpt from the Dedication:
TO My Esteemed FRIEND
Thomas Boteler, Esq;
Sir,
You have a natural Right to this Piece, since, by your Advice, I attempted the Revival of it with Alterations. Nothing but the Power of your Persuasion, and my Zeal for all the Remains of Shakespear, cou'd have wrought me to so bold an Undertaking. I found that the New-modelling of this Story, wou'd force me sometimes on the difficult Task of making the chiefest Persons speak something like their Character, on Matter whereof I had no Ground in my Author. Lear's real, and Edgar's pretended Madness have so much of extravagant Nature (I know not how else to express it) as cou'd never have started but from our Shakespear's Creating Fancy. The Images and Language are so odd and surprizing, and yet so agreeable and proper, that whilst we grant that none but Shakespear cou'd have form'd such Conceptions, yet we are satisfied that they were the only Things in the World that ought to be said on those Occasions. I found the whole to answer your Account of it, a Heap of Jewels, unstrung and unpolisht; yet so dazling in their Disorder, that I soon perceiv'd I had seiz'd a Treasure. 'Twas my good Fortune to light on one Expedient to rectifie what was wanting in the Regularity and Probability of the Tale, which was to run through the whole A Love betwixt Edgar and Cordelia, that never chang'd word with each other in the Original. This renders Cordelia's Indifference and her Father's Passion in the first Scene probable. It likewise gives Countenance to Edgar's Disguise, making that a generous Design that was before a poor Shift to save his Life. The Distress of the Story is evidently heightned by it; and it particularly gave Occasion of a New Scene or Two, of more Success (perhaps) than Merit. This Method necessarily threw me on making the Tale conclude in a Success to the innocent distrest Persons: Otherwise I must have incumbred the Stage with dead Bodies, which Conduct makes many Tragedies conclude with unseasonable Jests. Yet was I Rackt with no small Fears for so bold a Change, till I found it well receiv'd by my Audience; and if this will not satisfie the Reader, I can produce an Authority that questionless will. Neither is it of so Trivial an Undertaking to make a Tragedy end happily, for 'tis more difficult to Save than 'tis to Kill: The Dagger and Cup of Poyson are alwaies in Readiness; but to bring the Action to the last Extremity, and then by probable Means to recover All, will require the Art and Judgment of a Writer, and cost him many a Pang in the Performance.
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