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Welcome to my web site, now under development for more than twenty years.   
-- Philip Weller, November 13, 1941 - February 1, 2021
Dr. Weller, an Eastern Washington University professor of English and Shakespearean scholar for more than 50 years.

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Bradley, A. C. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth.
2nd ed. London: Macmillan, 1905.
PAGE 243



     King Lear has again and again been described as Shakespeare's greatest work, the best of his plays, the tragedy in which he exhibits most fully his multitudinous powers; and if we were doomed to lose all his dramas except one, probably the majority of those who know and appreciate him best would pronounce for keeping King Lear.

     Yet this tragedy is certainly the least popular of the famous four. The 'general reader' reads it less often than the others, and, though he acknowledges its greatness, he will sometimes speak of it with a certain distaste. It is also the least often presented on the stage, and the least successful there. And when we look back on its history we find a curious fact. Some twenty years after the Restoration, Nahum Tate altered King Lear for the stage, giving it a happy ending, and putting Edgar in the place of the King of France as Cordelia's lover. From that time Shakespeare's tragedy in its original form was never seen on the stage for a century and a half. Betterton acted Tate's version; Garrick acted it and Dr. Johnson approved it. Kemble acted it, Kean acted it. In 1823 Kean, 'stimulated by Hazlitt's remonstrances and Charles Lamb's essays,' restored the original tragic ending. At last, in

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