King Richard’s ability as an actor within a play explores how this type of villainy was entertaining in the era of Shakespeare. Richard’s evil is immediately established as his moral deformities are clearly embodied in his physical deformities. In justifying his premeditated meddling, he personifies war in his first soliloquy. ‘Grim visag’d war hath supported his wrinkled front’ and moved to caper ‘ nimbly in a lady’s chamber!’ Richard’s nature: ‘Deform’d, unfinished’ thus justifies his evil as he cannot participate in the war -lovemaking atmosphere. This was obviously a form of entertainment to the Shakespearean audience who had known of the war of the Roses and Richard’s deformities.…
Individuals may use the power of language to manipulate and deceive, to fulfil their ambition of gaining power. Richard frequently uses powerful rhetoric to charm and seduce the characters during his quest for the crown. To gain power, Richard decides to marry Anne, the step daughter of the late King Henry. “I’ll have her, but I won’t keep her long”, Richard uses Anne purely as a political piece to gain recognition. Anne clearly despises Richard, referring to him as “Foul devil”.…
Intrinsic to both texts, there is the notion that art is used to directly influence and impact existing historical perceptions. Shakespeare’s “Richard III” explores this idea, using the most influential artistic medium of the time, theatre, to further publicise the ‘Tudor Myth’ perception. On stage, the visual motif of Richard’s appearance as “deformed, unfinished” reflects his moral deficiencies, reinforced by his soliloquys and asides that expose his underlying treachery. He forges a duplicitous role as both director and actor within the play, stating in the opening soliloquy “plots that I have laid, inductions dangerous…” Richard seemingly ‘stage manages’ the entirety of his world, creating a sense of dramatic irony from the juxtaposing of the different “masks” he feigns in contrast to his true intentions; he plays the role of the “grieving” brother, “Christian prince,” etc. As such, Richard’s meta-theatricality engages us on a psychological level that reinforces the perception of the Tudor Myth given not just the heinous nature of his crimes but the “villainous”…
1. First, make your bubble solutions, and store them in clearly labeled glass mason jars. Use one jar for each different solution and label with the formula using a permanent marker. Here are three basic solutions to try, but notice that the total volume of the…
Richard has a confidence and arrogance to him, which he uses to his advantage especially with the knowledge of how fragile Lady Anne is; when Richard firsts enters, Shakespeare writes in the stage direction that she "spits at him". This is impactful on the audience, as they know straight away that this scene will be emotionally rough and aggressive between the interaction of Lady Anne and Richard III. The fact she "spits" at him, as soon as she sees him, without first talking to Richard III shows her to be furious and disgusted with him - she would rather show her disdain towards him through action rather than having to acknowledge him with speech that to him would be less impactful. Arguably, this seems…
By analysing the parallels and differences between King Richard III and Looking For Richard, the responder is positioned to appreciate the distinctive contexts from which each text emerged. Whilst an exploration of the moral vices and corruptive consequences of the relentless pursuit of power is explored in both texts, a closer examination of the way power is represented…
Her fans considerd her the “Queen of tejano music”. She was the tex mex (texas and mexican) singer. She was one of the best country singers in her time in spanish and in english. Her name was selena quintanilla perez.…
The above passage demonstrates not only Richard pointing to his deformities as an excuse to his wrongdoings, but it also highlights his habit of blaming and deferring to others for his malicious deeds. He enshrines himself in self-pity and blames those around him for his shortcomings. He blames the world for not accepting him and conforming to accept him. While it may be initially compelling to fall for Richard’s rhetoric, a simple parallel can show why this method of thinking is flawed. Let’s draw the parallel between Richard and a group that is referred to as “incels”.…
In The Deposition of Richard II, it is obvious that the English king was disliked by all. A list of his grievances was drawn up, citing all of his poor choices as king and the reasons why he should be dethroned. The number one cause of the hatred of him was “his evil rule, that is, he has given the goods and possession…
In Act 1 scene 4 of “King Richard III”, Shakespeare explores the concept of free will clashing with Providentialism through the debate between Clarence and the two Murderers. Shakespeare juxtaposes Clarence’s dream with his murder in order to affirm the value of Providentialism and the Great Chain of Being which underpinned Elizabethan hierarchical society. On wakening from his dream, Clarence describes the torment of his soul in Hell at the behest of Warwick and the murdered Prince Edward who, “dabbled in blood” demands that the furies “take him in torment”. Clarence accepts his crimes and the punishment which is to be his as a just outcome of Providentialism, praying only that God “spare my guiltless wife and children”. This is immediately juxtaposed with the entrance of the two Murderers who, in their decision to murder a Prince, represent the rising power of secularism and free will. Shakespeare explores this dichotomy in Clarence’s pleas for his life; firstly he appeals to their secular greed, promising that “my brother Gloucester…shall reward you” for his life and, when this fails, asks if they “will war with God” by murdering him. Shakespeare’s use of emotive language such as “beastly, savage, devilish” draws attention to the crisis of…
Richard III is a remarkable, if not irregular, rendition of the renowned historical figure, Richard III. In it, Shakespeare poses Richard as a villain with no remorse towards others—without any fear. This is evident when Richard awakes and holds an internal dialogue in which he berates his conscience for giving him bad dreams. "What do I fear? Myself? There's none else by" (5.5.136). He continues in this vein, first blaming and then defending himself for a short while. Ratcliffe enters and gets…
differed in the way they viewed Richard III. This could have been because the writer's attitudes…
When our forefathers drafted the constitution in 1787, it was just a mere four years after the Revolutionary War. They were victorious but at a great cost. With this new foundation they would replace the broken Articles of Confederation. Additionally, they would finally have the beginnings to concrete laws and to a better Government for their new country. The Legislative Branch is the most influential Branch in our government. It has the power to declare war and to overrule a presidential veto. Just these two powers alone almost completely make the Executive Branch powerless. The Legislative Branch can also impeach Judges from the Judicial Branch as well as control the national budget.…
As just young children, we are almost immediately taught about the power of our words. Parents constantly lecture children on the consequences of what they say, emphasizing how powerful just one word can be to someone. Often, we are taught this with bullying. A common saying we learned as children is “If you don’t have nothing to say, don’t say it at all.” Throughout Shakespeare’s epic, Richard III, there is a clear theme showing the power of word choice. Richard uses words to gain power, woo Lady Anne, motivate his army, and to trick Hastings in putting himself to death. Throughout Richard III, Shakespeare shows the power of diction in getting what one wants.…
Shakespeare also gives great insight on Richard’s mind via diction. In Richard’s opening lines he specifically says, “Our dreadful marches to delightful measures” (1,1,8). Instead of fighting the Lancasters Richard (and his family) are in a time of harmony. He intentionally changes the negative word to a positive. Lines like these are all throughout the opening soliloquy. Richard allows the audience to see that he is at peace, that he is relaxed. By his big soliloquy in Act 5, Richard’s attitude is down. He’s worried about all the deeds he’s done. He directly states, “Is there a murderer here? No. Yes, I am:” (5,3,211). Not only does he leave the negative word of “murderer” in the sentence, but he…