000			01869nam a2200193Ia 4500
008			210916s9999 xx 000 0 und d
020			_a9788126907847
082			_a822.33 _bRAY
100			_aRay, Ratri _97404
245		0	_aWilliam shakespeare's king lear
260			_aNew Delhi _bAtlantic Pub. _c2007
300			_a172p.
500			_ahttps://www.theatlantic.com/magazine/archive/1880/07/king-lear/632291/
520			_aSHAKESPEARE was forty-one years old when he wrote King Lear. Just at the time of life when a well-constituted, healthy man has attained the maturity of his faculties, he produced the work in which we see his mind in all its might and majesty. He had then been an actor some fourteen or fifteen years, and of his greater plays he had written Romeo and Juliet, Richard III., The Merchant of Venice, King Henry IV., Much Ado about Nothing, As You Like It, Hamlet, and Measure for Measure. In the case of a man who mingled himself so little with his work, who was, in other words, so objective a poet, it is not safe to infer the condition of his mind from the tone of his writings. But it is worthy of remark that King Lear quickly followed Measure for Measure, and came next to it as an original play, and was itself followed next by Timon of Athens, and that in these three plays the mirror that is held up to human nature tells more revolting and alarming truths than are revealed in all his other plays together. Not in all the rest is the sum of the counts of his indictment of the great criminal so great, so grave, so black, so damning. Hardly is there to be gathered from all the others so many personages who are so bad in all the ways of badness as the majority of those are which figure in these three.
650			_aKing Lear (Shakespeare, William) _97405
650			_aLiterature _91284
650			_aTragedy _97406
942			_cBK
999			_c7070 _d7070