Page 63 - King Lear: The Cambridge Dover Wilson Shakespeare
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lviii           KING     LEAR
                Virtue shall at last succeed'.  As to the Fool, Tate prob-
                ably thought  of him  as the mere stage buffoon;  Garrick
                                                            1
                and most eighteenth-century  readers did the same,  and
                not till 1838 was he again seen on the stage.  Besides thus
                remoulding the play, Tate reminted numerous lines and
                even whole passages in his own debased poetic currency. 3
                Protests  from  men  of  letters  were  heard  from  time  to
                time  against  what  a pamphlet  of  1747  called  an  'exe-
                crable alteration'. Thus  as early as 1711 Addison in the
                Spectator, no  40,  declared  that  the  play  as  thus  're-
                formed  according  to  the  chimerical  notion  of  poetical
                justice...has  lost  half  its beauty';  Lamb  in  1811, and
                Hazlitt in  1817, quoting Lamb  in extenso, pronounced
                emphatic  condemnation  of  the  'happy  ending'.3  But
                  1
                    For  Garrick,  who  once thought  of restoring  the Fool,
                but  feared  to  'hazard  so  bold  an  attempt',  see  Thomas
                Davies,  Dramatic  Miscellanies  (1783),  11,  267;  cf.  D.
                Nichol  Smith, Shakespeare in the Eighteenth Century (1928),
                p.  21; and  for  Column's  view  in  1768, ibid.  p.  23.  Even
                Leigh  Hunt  in  an  Examiner  article  of May  1808  approved
                Tate's  excision  of  the  Fool  as 'now  out  of date'  (see L.  H.
                and  C.  W.  Houtchen's  Leigh  Hunt's  Dramatic  Criticism
                (1950), pp.  i5-2o)._
                  2
                   Tate's  version  is in  Montague  Summers's Shakespeare
                Adaptations  (1922);  a  useful  analysis  is  in  C.  B.  Hogan's
                Shakespeare in  the  Theatre,  1701-1800:  London,  ijoi-50
                (1952), p.  244; and  an  excellent  short  criticism  in  Nichol
                Smith,  op. cit. pp.  20-2.  See  also  Genest,  Some Account of
                the  English  Stage,  1660-1830  (1832),  V,  194-200;  H.  H.
                Furness's  New  Variorum  Shakespeare ed.  of  Lear  (1882),
                pp. 466-77;  G.  C. D.  Odell,  Shakespeare from  Betterton  to
                Irving  (1921),  r, 53-6; Hazelton Spencer, op. cit. pp. 242-9.
                  3  See  Genest,  iv,  475-6  (for  the  pamphlet);  Lamb,  On
                the  Tragedies of Shakespeare with  Reference to their Fitness
               for  Stage Representation  (from  the  Reflector, No.  IV,  1811),
                in  Lamb's  Miscellaneous Prose,  ed.  E.  V.  Lucas,  1912,
                pp.  124-5;  Hazlitt,  Characters  of  Shakespeare's  Plays
                (Works, edited  Waller  and  Glover,  1, 270-1,  1902).
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