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RV 248 (Rh) great tragedies. No doubt, as Lamb declared, theatrical representation gives only a part of what we imagine when we read them; but there is no conflict between the representation and the imagination, because these tragedies are, in essentials, perfectly dramatic. But King Lear, as a whole, is imperfectly dramatic, and there is something in its very essence which is at war with the senses, and demands a purely imaginative realisation. It is therefore Shakespeare’s greatest work, but it is not what Hazlitt called it, the best of his plays; and its comparative unpopularity is due, not merely to the extreme painfulness of the catastrophe, but in part to its dramatic defects, and in part to a failure in many readers to catch the peculiar effects to which I have referred,—a failure which is natural because the appeal is made not so much to dramatic perception as to a rarer and more strictly poetic kind of imagination. For this reason, too, even the best attempts at exposition of King Lear are disappointing; they remind us of attempts to reduce to prose the impalpable spirit of the Tempest.

I propose to develop some of these ideas by considering, first, the dramatic defects of the play, and then some of the causes of its extraordinary imaginative effect.

We may begin, however, by referring to two passages which have often been criticised with injustice. The first is that where the blinded Gloster, believing that he is going to leap down Dover cliff, does in fact fall flat on the ground at his feet, and then is persuaded that he has leaped down Dover cliff but has been miraculously preserved. Imagine this incident transferred to Othello, and you realise how completely the two tragedies differ in dramatic atmosphere. In Othello it would be a shocking or a ludicrous