Sources of Lear
Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of English © Lynne Bradley, 2008 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) iii Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) Abstract The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. In the twentieth century, the meddling continued with works like King Lear’s Wife (1913) by Gordon Bottomley and Dead Letters (1910) by Maurice Baring.
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