...whom, as Lamb put it, 'the greatness of Lear is not in corporal dimension, but in individual . . . While we read it, we see not Lear, but we are Lear,...which baffles the malice of daughters and storms.' The absence even of Tate's version from the London stage during the Regency years encouraged such imaginative...

...makes everything corporeal; the power of the senses completely usurps the power of the imagination. But 'while we read it, we see not Lear, but we are Lear,...grandeur which baffles the malice of daughters and storms'.8 Whereas reading licenses a sublime identification with the character of Lear, representation...

...Lear is not in corporal dimension, but in intellectual ... .On the stage we see nothing but corporal infirmities and weakness, the impotence of rage; while...which baffles the malice of daughters and storms. (Lamb 1891, 185-86) Similarly Coleridge said that he "never saw any of Shakespeare's plays performed...

...even as he himself neglects it. On the .stage we .see nothing but corpora] infirmities and weaknesses, the impotence of rage : while we read it, we see not...sustained by a grandeur which baffles the malice of his daughters and storms : in the aberrations of his reason, we discover a mighty irregular power of...

...insignificant to be thought on—even as he himself neglects it. On the stage \ve see nothing but corporal infirmities and weakness, the impotence of rage; while we read it, we see not Lear, but we are Lear—we are in his mind—we are sustained by a grandeur which baffles the malice of daughters and...