Richard III demonstrated a great capacity to become a good king. Whilst in charge he made many wise decisions and the bad choices were made with the best of intentions or due to necessity. I will show how far he had the capacity to become a great king.…
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.…
In a world where the approaching winter will last for 40 years, kings, queens, knights and vagabonds struggle for control of the Iron Throne. Some fight with sword and axe, some with magic and poison. To the north, however, beyond the Wall, the Others are preparing their army of the dead to march southward as the warmth of summer is drained from the land. This book stands out by way of its superbly developed characters and adroit prose. Chivalry is a concept integral to the society of the Seven Kingdoms, with tourneys and knights in shining armor galore. These trappings, however, merely give cover to dangerous men and women who will stop at nothing to accomplish their goals. When Lord Neddard Stark of Winterfell, an honest man and perhaps the only good-hearted creature in the noble caucus, comes south to act as the King’s chief…
Shakespeare’s “Richard III” exists as a providential narrative in support of the Tudor Myth; that it was only through the divinely sanctioned rule of Henry VII that brought about peace after an era of turmoil under the reign of Richard III. As such, Shakespeare’s pro-Tudor bias highlights the politically and morally absolutist agenda of his time.…
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…
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.…
During the War of the Roses, England was constantly in a state of war between the House of Lancaster and the House of York, who were massive rivals that competed for the throne of England (History 320 Lecture, 10/30/2015). In Polydore Vergil’s account of Henry VII, Richard III’s personal ambition can be seen. The author first tells of a nightmare Richard has the night before Bosworth Field, which Vergil believes was “no dream but a conscience guilty of heinous offences, a conscience, I say” (Polydore Vergil, Account of Henry VII, 479). Though the source makes no explicit mentions of it, it is widely believed that Richard III murdered his nephews to take the throne. When his brother, Edward IV died, his legitimate son was crowned Edward V, but was shortly taken captive by his uncle and placed into the Tower of London (History 320 Lecture, 10/30/2015). Instead of allowing for a legitimate heir to take the throne as it should have gone, Richard went to immeasurable lengths to ensure he would be king, further escalating the conflict and disrupting English society as a whole. This caused not only great scandal, but Richard III was a terrible king, guilty of many offenses as Vergil states. He created great disruption not only in his court by taking the throne away from his nephew, but also to the lives of his subjects. Vergil makes note of this as well, specifically mentioning the strife of the English people, who had consistently been “torn by rival factions” (Polydore Vergil, Account of Henry VII,…
Richard III- Richard, himself is very aware of the gap between his outwards reality and inward reality. As a consequence he carefully constructs his façade while fully acknowledging his Machiavellian motivations to the audience in his asides.…
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…
King Richard III and Looking For Richard directly relate to historical and social contexts respectively, social drawing on historical’s challenge to the context in which it was written. Shakespeare’s play was crafted in a difficult time of political and religious adherence. Shakespeare’s portrayal of Richard focuses on his devilish and Machiavellian nature. Machiavelli’s The Prince teaches that an adept ruler should aim to achieve power at any cost. Richard is a Machiavel; he calls himself a devil, ‘Thus like the formal Vice, Iniquity, I moralise two meanings in one word.’…
King Richard III begins, and ends, with a civil war between the House of York and House of Lancasters for the English crown. Similarly, Looking for Richard ends with a war as well but the different textual form of these texts changes the representation of the war. In King Richard III, the metaphor “Now is the winter of our discontent/Made glorious summer by this son of York;” encourages the reader to draw a comparison between two seemingly unrelated things, as well as find similarities between them. Richard uses the seasons of summer and winter as a metaphor to suggest that King Edward IV's reign has turned everyone's winter-like sadness into a time of "glorious," summer-like celebration. In addition, there is a pun on ‘son’ and ‘sun’ indicating good weather and good times, while ‘son’ indicates the good rule of King Edward IV. Similarly in Looking For Richard,…
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.…
A values that is used in both King Richard III and Looking for Richard is the value of integrity. In order to claim power to the throne, Richard uses much deceit and the misuse of power throughout the play, which highlights Richard’s lack of integrity. It is through such devious and detailed schemes that the audience is able understand the importance of the value of integrity throughout one’s life. One of the clear misuses of power can be seen in the scene of the innocent murder of the princes where Tyrrel expresses “The tyrannous and blood act is done, the most arch deed of piteous massacre that ever yet this land was guilty of…within their alabaster innocent arms. Their lips were four red roses on a stalk…A book of prayers on their pillow lay.” Through this quote, Tyrell describes the murder as the most ruthless in the country and pledges the innocence of the princes through their pure, white skin, red lips and uses religious imagery to describe their angelic innocence. The juxtaposition of the evil deed of their murder and the description of the innocence of the princes highlights the evil that has come out of…
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…
The themes in the play “Richard III”; manipulation, dreams, and deception are enhanced by the use of figures of speech, diction, and the features of drama such as stage directions. These help to convey the way in which Richard is able to gain the trust of the other characters allowing him to trick and fool them in order for him to gain the upper hand and become the new king.…