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17th C - restoration period
nahum tate’s reworking: “too horrible and too comfortless to be enjoyable”, edgar and cordelia marry
samuel johnson: ending was “contrary to the natural ideas justice, to the hope of the reader” shakespeare has “overstepped boundaries and tate has reinstated them”
18th C - Romantic period
valorisation of suffering
“the picture becomes gigantic and fills us with such alarm that we should entertain the idea that heavenly bodies might one day fall from their appointed orbits”
the large scale “terrible beauty” is not sad but sublime
Haslet - “the mind of lear is like a tall ship driven about by the winds”
questions whether nature is the “prime mover” or if there is a “prime mover behind nature”
early 20th C
Bradley - ending is unlike other tragedies as it doesn’t seem inevitable “fall suddenly like a bolt from a sky cleared by the vanished storm”
Jobian parallels of Lear - “spiritual development through suffering”, provides a Jobeish comfort that suffering is worthwhile as we gain spiritual awareness
Wilson Knight - the plays suffering is a part of “purgatorial progress to self knowledge”
encourages to endure life and to not look for pleasure on earth but for life after death
1960’s
absurdism due to the post-war disillusion reflecting on the absurdity of the human condition
Barbara Everett - “attempts to read the play as a parable of meaningful suffering were self deluding and wilful misreadings”
Jan Kott - “nothing but the cruel earth where man goes on his journey from cradle to grave” “a gigantic pantomime” where “all that remains is the earth empty and bleeding”
1980’s
Dollimore - the plays suffering is about “power, property, inheritance” - selfhood is attained and destroyed through property
21st C
Trevor Nunn - “history tells us to believe the gods will intervene on the side of virtue, shakespeare says they dont”
Laurence Olivier - “he’s like all of us really: he’s just a stupid old fart”
“the essence of Wood’s Lear was that he lived in a permanent state of spiritual schizophrenia”