Overture to King Lear. Op.4.

Mode of access: Internet.

Shakespeare's tragedy of King Lear;

Lear, the aging King of Britain, has chosen to lay aside the care of kingship and divide his kingdom between his three daughters. Their share is to be determined by their love for him. Two daughters speak with grandiose expressions of love while the third daughter finds nothing to say. The courts disinherit the third daughter, Cordelia. Much treachery, murder, and deceit ensued and Lear and Cordelia are captured and sentenced to death.

Tragedy of King Lear /

Mode of access: Internet.

Shakespearean tragedy; lectures on Hamlet, Othello, King Lear, Macbeth,

"Based on a selection from materials used in teaching at Liverpool. Glasgow, and Oxford."--Pref.

Rúdin: a romance, and A King Lear of the steppes,

Mode of access: Internet.

M. William Shake-speare, his true chronicle history of the life and death of King Lear, and his three daughters. : With the vnfortunate life of Edgar, sonne and heire to the Earle of Glocester, and his sullen and assumed houmour of Tom of Bedlam. As it was played before the Kings Maiesty at White- Hall, vpon S. Stephans night, in Christmas hollidayes. By his Maiesties seruants, playing viually at the Gloabe on the Banck-side. /

Xeroxed copy. Ann Arbor : University Microfilms, Inc.

King Lear's wife,

Mode of access: Internet.

King Lear's wife, The crier by night, The riding to Lithend, Midsummer eve, Laodice and Danaë, plays,

"The plays ... were originally published separately."--p. 7.

Shakespeare's tragedy of King Lear.

Mode of access: Internet.

Simply Genre Films: Extracting “King Lear” from “House of Strangers” and “Broken Lance"

The purpose of this thesis is to evaluate and refute Yvonne Griggs’ claims that the films “House of Strangers” (1949) and “Broken Lance” (1954) are as Griggs deems “genre-based adaptations” of William Shakespeare’s “King Lear.” I argue that the films, although they have some essential elements of “King Lear,” lack intentionality and reception, pivotal components in determining viability as a Shakespearean film adaptation. Using Griggs’ book as my critical background, I will show that these films are better classified under their respective genre categories, Western and film noir, not as “King Lear” genre adaptations. I will also suggest criteria for determining the level of canonicity of a “King Lear” film adaptation. Popularity of films does not determine validity, and a film does not need purported Shakespearean provenance to validate its ratings. Some films, like these, merely reference or pay homage to Shakespeare through use of essential elements of “King Lear”; here, I deem such affinities to be more unintentional than intentional.

Jane Smiley's "A Thousand Acres": A Feminist Revision of "King Lear"

Jane Smiley retells the tale of “King Lear” through the perspective of one of the evil sisters, in her novel “A Thousand Acres”. While the literary canon places William Shakespeare and his plays at the top of the list, I disagree that the canon should denote what is considered “classic” and what would be disregarded. Jane Smiley's novel is not canonized, but why? Her feminist revision of “King Lear” answers why Goneril and Regan were so evil. I argue that “King Lear” (both the text and the play) does not provide the evidence of dysfunction that Smiley's novel exhibits. “A Thousand Acres” opens up questions about gender formation, issues that are misrepresented and occluded in Shakespeare's “King Lear”. By bringing the trauma of incest to the forefront of the novel, its reverse emotional structures allow the reader to obtain a new perspective to a complex four-century-old play.

La scène de reconnaissance : allégorie politique et métaphore de l’adaptation dans "The History of King Lear" de Nahum Tate (1681)

International audience

El rey Lear.

Mode of access: Internet.