The History of King Lear
The History of King Lear is an adaptation by Nahum Tate of William Shakespeare's "King Lear". It first appeared in 1681, some seventy-five years after Shakespeare's version, and is believed to have replaced Shakespeare's version on the English stage in whole or in part until 1838.
The History of King Lear
who, after sufferings and tortures such as [Lear's], would wish to see his life prolonged? What! replace a sceptre in that shaking hand?—a crown upon that old grey head, on which the tempest had poured in its wrath, on which the deep dread-bolted thunders and the winged lightnings had spent their fury? O never, never!
Jameson was equally appalled by the introduction of a romance between Cordelia and Edgar, which had not been part of the old legend. While acknowledging that prior to Shakespeare's writing of "King Lear", some versions of the story had ended happily, and that Tate's returning of the crown to Lear was therefore not a complete innovation, Jameson complained that on stage:
they have converted the seraph-like Cordelia into a puling love heroine, and sent her off victorious at the end of the play—exit with drums and colours flying—to be married to Edgar. Now anything more absurd, more discordant with all our previous impressions, and with the characters as unfolded to us, can hardly be imagined.
The Shakespearean critic A.C. Bradley was more ambivalent. Though agreeing that we are right to "turn with disgust from Tate's sentimental adaptations, from his marriage of Edgar and Cordelia, and from that cheap moral which every one of Shakespeare's tragedies contradicts, 'that Truth and Virtue shall at last succeed'", yet he "venture[d] to doubt" that "Tate and Dr. Johnson [were] altogether in the wrong". Sharing Johnson's view that the tragic ending was too harsh, too shocking, Bradley observed that "King Lear", while frequently described as Shakespeare's greatest work, the best of his plays, was yet less popular than "Hamlet", "Macbeth", and "Othello"; that the general reader, though acknowledging its greatness, would also speak of it with a certain distaste; and that it was the least often presented on stage, as well as being the least successful there. Bradley suggested that the feeling which prompted Tate's alteration and which allowed it to replace Shakespeare on stage for over a century was a general wish that Lear and Cordelia might escape their doom. Distinguishing between the philanthropic sense, which also wishes "other" tragic figures to be saved, and the dramatic sense, which does not, but which still wishes to spare Lear and Cordelia, he suggested that the emotions have already been sufficiently stirred "before" their deaths, and he believed that Shakespeare would have given Lear "peace and happiness by Cordelia's fireside", had he taken the subject in hand a few years later, at the time that he was writing "Cymbeline" and "The Winter's Tale". Agreeing with Lamb that the agony that Lear has undergone makes "a fair dismissal from the stage of life the only decorous thing for him", Bradley argues that "it is precisely this "fair" dismissal which we desire for him", not the renewed anguish which Shakespeare inflicts on him with the death of Cordelia.