In the following excerpt, Spencer presents an analysis of Tate's adaptations of Shakespeare, detailing how his versions of King Lear, Richard II, and Coriolanus differ from the originals.

In the following essay, Scott-Thomas argues that Tate's work clung to the Elizabethan past, that he struggled unsuccessfully to explore in his writings newer ideas and modes, and that his psychological and intellectual preoccupation with the past resulted in a superficial quality in his writing.

In the following essay, Fisk and Munns explore issues of gender and imperialism, the costs of conquest, and the emotional experience of loss in Dido and Aeneas.

In the following essay, Austin and Ralph offer an overview of Tate's life and literary career, suggesting that while his literary merit is limited, he has been misrepresented and deserves more respect than he has received.

In the following excerpt, McGugan comments on Tate's life and reputation, and discusses his adaptations and scholarly responses to his works.

In the following essay, Massai examines Tate's use of different versions of Shakespeare's King Lear in his revision of the play.

In the following essay, Spencer discusses the two editions of Tate's Poems and his translations of Latin classics, which the critic says show that Tate was not particularly creative or original but had considerable talent for collaboration. The critic then examines Tate's mock-heroic poem, A Poem upon Tea, and offers a brief assessment of the author's place in English literary history.

In the following essay, Olsen argues that Tate's Coriolanus is particularly important because it is representative of political and aesthetic tendencies on the Restoration stage.

In the following essay, Hardman examines the changes made by Tate to Edmund, Edgar, and Albany in King Lear, considering how Tate's audience might have responded to the characters in light of contemporary political events.

In the following essay, Green argues that the omission of the Fool in Tate's King Lear resulted in more focus on the internal workings of Lear's mind, an element that has been retained in productions of Shakespeare's play.

In the following essay, Viator presents a stage history of Tate's Richard II, which he says reveals important facts about the monarchy's attitude toward the stage and censorship practices during the Restoration.

In the following essay, Spencer claims that Tate's King Lear should not be dismissed as hackery and a mutilation of Shakespeare's version, arguing that the play is coherent, entertaining, and has its own plan.

In the following essay, Sharkey examines a 1967 staging of Tate's King Lear, revealing the influence of stage history on modern versions of Shakespeare's Lear.

In the following essay, Black examines the influence of the philosopher Thomas Hobbes on Tate as he was writing his King Lear, maintaining that Hobbesian ideas are seen most clearly in the character of Edmund.