Nahum Tate

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Tate, Nahum

(nā`həm), 1652–1715, English poet and dramatist, b. Dublin. He wrote several popular adaptations of Shakespeare, the most famous being his King Lear (1681), in which he omitted the part of the fool and had Cordelia survive to marry Edgar. With Dryden he wrote the second part of Absalom and Achitophel (1682). In 1692 he became poet laureate. His metrical version of the Psalms (1696), written with Nicholas Brady, is generally regarded as tedious and verbose. He was the target of an attack by Pope in The Dunciad.


See study by C. Spencer (1972).

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1594/1605; William Shakespeare 1604/08; Nahum Tate 1681) studied in relation to one another.
(2) See James Black's introduction to his edition of Nahum Tate, The History of King Lear (London: Arnold, 1975); all references to Tate's Lear are from this edition.
On Hobbes and Tate, see James Black, 'The Influence of Hobbes on Nahum Tate's King Lear', Studies in English Literature, 7 (1967), 377-85.
How, then, do the discrepancies introduced by Nahum Tate coalesce to support a political reading of Dido and Aeneas that is in keeping with this system of allegorical representation?
These three actors ushered in various poets including Robert Southey and Colley Cibber and occasionally muttered their disbelief when unknown poets were flashed up ('Nahum Tate - never heard of him!').
Advance word was that the show's creators had imposed upon the novel a happy ending, which in fact isn't quite true even if the prospect did raise thoughts of a contemporary equivalent to some of Nahum Tate's 17th century "adjustments" to, say, "King Lear." Like "Lear," Hardy's novel takes a fairly merciless view of humankind's chances confronted with a fatalistic and Godless universe, as here repped by Tess' rhetorical question: "Who is spinning the wheel?"
A real favourite among schoolchildren, this has been one of the most important hymns for English-speaking Protestants ever since Irishman Nahum Tate wrote the words in 1700.
The list of poets laureate (with dates of tenure) follows: John Dryden (1668-89), Thomas Shadwell (1689-92), Nahum Tate (1692-1715), Nicholas Rowe (1715-18), Laurence Eusden (1718-30), Colley Cibber (1730-57), William Whitehead (1757-85), Thomas Warton (1785-90), Henry James Pye (1790-1813), Robert Southey (1813-43), William Wordsworth (1843-50), Alfred, Lord Tennyson (1850-92), Alfred Austin (1896-1913), Robert Bridges (1913-30), John Masefield (1930-67), C.
After a shaky start (Nahum Tate, Lawrence Eusden and William Whitehead are all names who jumped on the charabanc to obscurity) the list of previous laureates makes quite impressive reading: Southey, Wordsworth and Tennyson, Bridges, Masefield and Day Lew is, Betjeman and Hughes have all worn the laurels.
He succeeded Nahum Tate as poet laureate in 1715 and was also the foremost 18th-century English tragic dramatist, doing much to assist the rise of domestic tragedy (in which the protagonists were middle class rather than aristocratic).
The poets and composers commissioned to write the Odes were drawn from the most celebrated of the period, and included (among the writers) John Oldham, Nahum Tate, Thomas D'Urfey, and Thomas Shadwell, and (among the musicians) Jeremiah Clarke, Henry and Daniel Purcell, and John Blow.
A closer parallel to Dryden's wording and thought, and thus a likelier source for his lines, is to be found in Nahum Tate's poem, |On Their Majesties Pictures drawn by the Life, by Mr.