 | King Lear |  |
INTRODUCTION.
THE great Spartan law-giver, when he was framing his famous code, introduced no statute against Parricide; and being asked, why? he said, it was superfluous to provide against what could never happen. This reply reflected great honour on his own humanity, and that of a nation where such barbarity was unknown. The same-feelings would instruct any man to think, that no such trespass on human nature could exist, as filial ingratitude; but that both these petrefactions of the heart have frequently taken place, we too authentically know; wherefore, exposing the latter, for the former would be too shocking in representation, in its proper odious colours, and fatal tendency, is a work of great praise. In this light we view King Lear; and rejoice that the subject fell to Shakespeare's lot: not only because it opened an ample field for his muse of fire, but also because that genius afforded opportunities, and excellent ones, for the exertion of such acting merit, in Mr. Garrick's performance, as no pen but our author's could sufficiently describe; nor any thing but the Genius of Painting's pencil, suitably delineate.
This tragedy originally is, in many places, too diffuse, and in others obscure. Tate, in his alteration, has properly curtailed, and, in general, polished it: however, we think the following edition, as performed at the theatre in Drury-lane, by judiciously blending of Tate and Shakespeare, is made more nervous than that by the Laureat; and much more agreeable than Mr. Colman's late alteration.
| King Lear | |