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The History of King Lear

di Nahum Tate

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The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT036411Altered from the play by W. Shakespeare.London: printed for C. Hitch and L. Hawes, P. Brindley, J. Hodges, M. and T. Longman, A. and C. Corbett and 5 others in London], 1759. 69, 1]p.; 12… (altro)
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Much derided for giving Shakespeare's King Lear a happy ending, Nahum Tate's The History of King Lear is a fascinating read and reflection on readers' and audience's expectations. Most noticeably subtleties are removed and characters are either black or white; Gonerill and Regan ('proud imperial sisters') are more villainous and Lear is less blameable. Cordelia is washed almost to whiteness and purity and consequently she becomes less interesting. She is good and suffers patiently. There is no stubborn Cordelia, no determined daughter invading her father's divided lands with a French army to restore order. Here she waits for a rescuer to arrive to set people and country in their proper place again. In the final scene she lives to marry and 'crowned, / Th'imperial grace fresh blooming on her brow.' Late seventeenth-century and early eighteenth-century audiences would have sighed because, unlike the original, 'truth and virtue shall at last succeed.' Cordelia's apotheosis and happiness flusters her a little and with typical (Tate) modesty proclaims: 'I blush to own myself o'er paid / For all my sufferings past.'

Perhaps this is Shakespeare lite or Shakespeare traduced. Well, as Mrs Barry (who played Tate's Cordelia) said in the epilogue: 'still so many master-touches shine, / Of that vast hand that first laid this design'.
  Sarahursula | May 22, 2014 |
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The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars.The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++British LibraryT036411Altered from the play by W. Shakespeare.London: printed for C. Hitch and L. Hawes, P. Brindley, J. Hodges, M. and T. Longman, A. and C. Corbett and 5 others in London], 1759. 69, 1]p.; 12

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