Rhetorical Devices In Journey's End

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”. Incels are a group typically made up of men who blame and antagonize typically women, but also broader society for “oppressing” them because they are “undesirable”. They use this as a justification for violent actions against the groups they believe are “oppressing” or “harming” them. Just as the rhetoric of incels in no way justifies the hate they perpetuate onto society, Richard’s actions are not offset by his circumstances and deformities. It is also worth noting that at no point does a character
in the play say they hate Richard specifically because he is physically deformed. The ill-will of the other characters in the play Richard stems more from his actions towards him and not his physical state.

The final potential trait that could be said to offset Richard’s harms under the structure of utilitarianism is that of honesty.
However, this falls when it is realized that while Richard is honest with us, the audience, he is not honest with those around him or the victims of his crimes and manipulation. Additionally, his honesty with the audience typically comes from a place of gloating about his superior intelligence and evil plots. This means that his honesty neither creates any benefit in the world he lives or comes from a place of positive intention. In summation, Richard’s practical actions cause great harm unto others and bring very minimal benefits. The other excuses Richard attempts to pawn up in the play also fall very quickly under examination. The utilitarian framework decidedly dictates that Richard is a villain, and no amount of gloating or whining about his deformities can change
that.

The final framework we must examine Richard in is that of culpability and intent. As stated in the opening paragraph, “the act is not culpable unless the mind is guilty". As we have now proved that Richard not only fills the meta-role of the villain but had undoubtedly committed guilty acts, the final piece of the puzzle is to prove the presence of a guilty mind. There are two primary factors here that must be examined. The first is to prove that Richard had a clear motive for his actions. The second is to prove that Richard had full knowledge of the extent and impact of his actions.

On the first criteria of motive, it is very clear from the start of the novel that Richard is motivated by what guides all other characters in the story- the pursuit of power. In the case of Richard specifically, however, he is not only motivated by power but uniquely by ascending to the throne. Other characters in the play are content with accumulating power through working within the system of monarchy and befriending those of higher status to work their way up. Richard, however, will not rest until he achieves the throne. There is no greater goal in his mind, and no person or thing he places above reaching his goal.

Now, for the second criteria of knowledge of one’s actions, let us examine the following passage:

RICHARD: I must be married to my brother's daughter,
Or else my kingdom stands on brittle glass.
Murder her brothers, and then marry her:
Uncertain way of gain. But I am in
So far in blood that sin will pluck on sin.
Tear-falling pity dwells not in this eye.
(Act 4, Scene 4, Lines 61-66)

In this passage, Richard is at the height of his power but attempting to hold on to his kingdom by any means necessary. Even in the thickest of his sins, he has full knowledge of his next steps and is unfettered and ruthless in taking them. He also shows full knowledge of his past misdeed when he attempts to use them to justify further sins in this passage. He knows that he lives in a pool of sin and has no qualms about adding water to that pool so long as he can hold on to the throne.

In summation, Richard III fulfills not only the role of the villain from a meta-literary sense, but he also possesses both a record of guilty actions and a guilty mind. Richard’s character not only manipulates those around him but also the audience through pleas for pity and deferring the culpability of his actions unto those around him. His excuses ultimately fall short, however, and he is left with very little to redeem him and offset the harms of his actions.