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This tragedy, I believe, was written in 1605. See An Attempt to ascertain the Order of Shakspeare's Plays, vol. ix.
The tragedy of Lear is deservedly celebrated among the dramas of Shakspeare. There is, perhaps, no play which keeps the attention so strongly fixed; which so much agitates our passions, and interests our curiosity. The artful involutions of distinct interests, the striking opposition of contrary characters, the sudden changes of fortune, and the quick succession of events, fill the mind with the perpetual tumult of indignation, pity and hope. There is no scene which does not contribute to the aggravation of the distress or conduct of the action, and scarce a line which does not conduce to the progress of the scene. So powerful is the current of the poet's imagination, that the mind, which once ventures within it, is hurried irresistibly along.
On the seeming improbability of Lear's conduct, it may be observed, that he is represented according to histories at that time vulgarly received as true. And, perhaps, if we turn our thoughts upon the barbarity and ignorance of the age to which this story is referred, it will appear not so unlikely as while we estimate Lear's manners by our own. Such preference of one daughter to another, or resignation of dominion on such conditions, would be yet credible, if told of a petty prince of Guinea or Madagascar. Shakspeare, indeed, by the mention of his earls and dukes, has given us the idea of times more civilized, and of life regulated by softer manners; and the truth is, that though he so nicely discriminates, and so minutely describes the characters of men, he commonly neglects and confounds the characters of ages, by mingling customs ancient and modern, English and foreign.
My learned friend Mr. Warton, who has in the Adventurer very minutely criticised this play, remarks, that the instances of cruelty are too savage and shocking, and that the intervention of Edmund destroys the simplicity of the story. These objections may, I think, be answered, by repeating, that the cruelty of the daughters is an historical fact, to which the poet has added little, having only drawn it into a series by dialogue and action. But I am not able to apologize with equal plausibility for the extrusion of Gloster's eyes, which seems an act too horrid to be endured in dramatic exhibition, and such as must always compel the mind to relieve its
distress by incredulity. Yet let it be remembered that our author well knew what would please the audience for which he wrote.
The injury done by Edmund, to the simplicity of the action, is abundantly recompensed by the addition of variety, by the art with which he is made to co-operate with the chief design, and the opportunity which he gives the poet of combining perfidy, and connecting the wicked son with the wicked daughters, to impress this important moral, that villany is never at a stop, that crimes lead to crimes, and at last terminate in ruin.
But though this moral be incidentally enforced, Shakspeare has suffered the virtue of Cordelia to perish in a just cause, contrary to the natural ideas of justice, to the hope of the reader, and, what is yet more strange, to the faith of chronicles. Yet this conduct is justified by The Spectator, who blames Tate for giving Cordelia success and happiness in his alteration, and declares, that, in his opinion, the tragedy has lost half its beauty. Dennis has remarked, whether justly or not, that, to secure the favourable reception of Cato, the town was poisoned with much false and abominable criticism, and that endeavours had been used to discredit and decry poetical justice. A play in which the wicked prosper, and the virtuous miscarry, may doubtless be good, because it is a just representation of the common events of human life: but since all reasonable beings naturally love justice, I cannot easily be persuaded, that the observation of justice makes a play worse; or that, if other excellencies are equal, the audience will not always rise better pleased from the final triumph of persecuted virtue.
In the present case the public has decided. Cordelia, from the time of Tate, has always retired with victory and felicity. And, if my sensations could add any thing to the general suffrage, I might relate I was many years ago so shocked by Cordelia's death, that I know not whether I ever endured to read again the last scenes of the play till I undertook to revise them as an editor.
There is another controversy among the critics concerning this play. It is disputed whether the predominant image in Lear's disordered mind be the loss of his kingdom or the cruelty of his daughters. Mr. Murphy, a very judicious critic, has evinced, by induction of particular passages, that the cruelty of his daughters is the primary source of his distress, and that the loss of royalty affects
him only as a secondary and subordinate evil. He observes with great justness, that Lear would move our compassion but little, did we not rather consider the injured father than the degraded king.
The story of this play, except the episode of Edmund, which is derived, I think, from Sidney, is taken originally from Geoffrey of Monmouth, whom Holinshed generally copied ; but perhaps immediately from an old historical ballad. My reason for believing that the play was posterior to the ballad, rather than the ballad to the play, is, that the ballad has nothing of Shakspeare's nocturnal tempest, which is too striking to have been omitted, and that it follows the chronicle; it has the rudiments of the play, but none of its amplifications: it first hinted Lear's madness, but did not array it in circumstances. The writer of the ballad added something to the history, which is a proof that he would have added more, if more had occurred to his mind; and more must have occurred if he had seen Shakspeare. JOHNSON.
THE FABLE AND COMPOSITION
ROMEO AND JULIET.
THE story on which this play is founded, is related as a true one in Girolamo de la Corte's History of Verona. It was originally published by an anonymous Italian novelist in 1549, at Venice; and again in 1553, at the same place. The first edition of Bandello's work appeared a year later than the last of these already mentioned. Pierre Boisteau copied it with alterations and additions. Belleforest adopted it in the first volume of his collection, 1596; but very probably some edition of it yet more ancient had found
way abroad; as, in this improved state, it was translated into English, and published in an octavo volume 1562, but without a name. On this occasion it appears in the form of a poem entitled, The tragical Historie of Romeus and Juliet. It was republished in 1587, under the same title: 66 Contayning in it a rare Example of true Constancie: with the subtill Counsels and Practices of an old Fryer, and their Event. Imprinted by R. Robinson." Among the entries on the books of the Stationers' Company, I find Feb. 18, 1582.M. Tottell Romeo and Juletta." Again, Aug. 5, 1596: "Edward White] a new ballad of Romeo and Juliett." The same story is found in The Palace of Pleasure: however, Shakspeare was not entirely indebted to Painter's epitome; but rather to the poem already mentioned. Stanyhurst, the translator of Virgil in 1582, enumerates Julietta among his heroines, in a piece which he calls an Epitaph, or Commune Defunctorum: and it appears