The modern text of King Lear derives from three sources: two quartos, published in 1608 (Q 1 ) and 1619 (Q 2 )  respectively, and the version in the First Folio of 1623 (F 1 ). The differences between these versions are significant. Q 1 contains 285 lines not in F 1 ; F 1 contains around 100 lines not in Q 1 . Also, at least a thousand individual words are changed between the two texts, each text has a completely different style of punctuation, and about half the verse lines in the F 1 are either printed as prose or differently divided in the Q 1 . The early editors, beginning with Alexander Pope , simply conflated the two texts, creating the modern version that has remained nearly universal for centuries. The conflated version is born from the hypothesis that Shakespeare wrote only one original manuscript, now unfortunately lost, and that the Quarto and Folio versions are distortions of that original. Others, such as Nuttall and Bloom, have identified Shakespeare himself as having been involved in reworking passages in the play to accommodate performances and other textual requirements of the play. 
* Arthur Miller, "Tragedy and the Common Man," from The Theater Essays of Arthur Miller (Viking Press, 1978) pp. 3-7. Copyright 1949, Copyright 0 renewed 1977 by Arthur Miller. Reprint(by permission of Viking Penguin, Inc. All rights reserved.
Because Lear is capable of change, he becomes a tragic hero ; because Antigone is incapable of change, she never becomes a tragic heroine. Aristotle defines ...
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From about 1500 printed copies, in the original languages, of the works of Sophocles , Seneca , and Euripides , as well as comedic writers such as Aristophanes , Terence and Plautus , were available in Europe and the next forty years saw humanists and poets translating and adapting their tragedies. In the 1540s, the European university setting (and especially, from 1553 on, the Jesuit colleges) became host to a Neo-Latin theatre (in Latin) written by scholars. The influence of Seneca was particularly strong in its humanist tragedy. His plays, with their ghosts, lyrical passages and rhetorical oratory, brought a concentration on rhetoric and language over dramatic action to many humanist tragedies.