Nahum Tate?s adaptation of Shakespeare?s King Lear was so successful in Restoration theatre. Modern critics, however, regard Tate?s work as a second class drama which deserves mockery and dismiss it from master narratives of the history of English theatre. Therefore, we examine the `fields of cultural production? of Shakespeare?s and Nahum Tate?s King Lear from Shakespeare?s time to the present to find out how each period values a certain work of literature. In the discussion, we would like to argue that the shifting `fields of cultural production? determines the acceptance and rejection of Nahum Tate?s King Lear. By analyzing the `fields of cultural productions? of both plays, we show that Tate?s has been excluded from the canonization within modern field of production?s discourses because of shifting circles of belief.