assured, that the event will not only add to his
reputation, but what is a more important consideration with our
managers, will add to his profits also. Let Shakspeare and Tate have a
fair struggle; and who can doubt the final triumph of Shakspeare.[I]

Dr. Johnson is the advocate of Tate's alteration; but Addison, whose
opinion is countenanced by Steevens, declares, that "the tragedy has
lost half its beauty." Dr. Johnson is in part excusable for maintaining
so erroneous an opinion; but at the same time his sentiments ought to
have no weight with others; for we know, that in the present case he has
formed his judgment, not with that solidity of taste which generally
distinguishes his criticism, but with all the nervous agitation of a
hypochondriac. But why should he defend his opinion by arguments at once
unfair and untrue? it is not true, that "in the present case the public
has decided" in favour of the altered play: "Cordelia," says the critic,
"from the time of Tate has always retired with victory and felicity:"
but does he mean to assert, that the original drama, before Tate's
corruption, was not well received by the public? he cannot assert this,
because he could not make good such an assertion. The fact is, as stated
by Steevens, that "the managers of the theatres-royal have decided, and
the public has been obliged to acquiesce in their decision."

Of the alterations introduced by this reformer of Shakspeare, the first
and most obvious is the change of the catastrophe. King Lear and
Cordelia, instead of dying as in the original, are finally triumphant,
and _live very happy after_. Here is improvement, here is poetical
justice, here is every thing that can be desired to the perfection of a
drama. "Since all reasonable beings," says doctor Johnson, "naturally
love justice, I cannot easily be persuaded, that the observation of
justice makes a play worse; or that, if other excellencies are equal,
the audience will not always rise better pleased from the final triumph
of persecuted virtue." This reasoning is just; but the critic has
unfortunately advanced a sentence, which must be a perpetual
stumbling-block to every advocate of Tate, viz. "_if other excellencies
are equal_," &c. Had Shakspeare chosen, according to the "faith of
chronicles," to represent Cordelia triumphant; had he adorned the scenes
of poetical justice with his peculiar spirit, and nature, and poetry;
then indeed the excellencies of the drama, thoug