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Renaissance and religious reformation
Dramatic techniques in richard iii
William Shakespeare's influence on society
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Recommended: Renaissance and religious reformation
The Contribution of the Supernatural to Richard III
During the Renaissance period people were very superstitious and
England on a whole was an extremely religious country; people believed
in both God and the Devil and Heaven and Hell. They also believed in
prophecies, supernatural and curses. A modern audience would have
reacted very differently to the play than a Shakespearean audience.
The events contained within Richard III must have seemed very real to
a Shakespearean audience as it depicts the historical events of the
rise and fall of Richard III. For a Shakespearean audience these
events happened only a century earlier. To a modern audience it is
viewed as what it is, a dramatisation of a historical event.
The War of the Roses was a civil war in England that lasted from
1455-1487. These thirty years of warfare were even more destructive to
England than the hundred years of warfare had been in the previous
century. Fought between two branches of the Plantagenet family, the
Houses of Lancaster and York, the wars were named after the emblems of
the contending parties: the white rose of York and the red of
Lancaster. Richard’s opening soliloquy refers to the fact that the
Yorkist faction is in the ascendant:-
‘Now is the winter of our discontent
Made glorious summer by this sun of York.’
This is a reference to Richard and his brother Edward IV being
Yorkist.
William Shakespeare’s play Richard III is littered with references to
the supernatural. This contributes to our understanding of the plot of
the play; it also brings excitement to the audience and draws them
into the action of the play. I believe Shakespeare...
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...Anne asked.
Lady Anne asks for revenge with a string of curses. Despite Lady
Anne’s anger her speech pattern remains consistent, she continues to
use repetition as a powerful weapon to complement her anger.
‘…. O cursed be the hand that made these holes, cursed the blood that
let this blood from hence, cursed the heart that had the heart to do
it’
The repetition of ‘cursed’ implies a spell has been cast.
Both Lady Anne and Queen Margaret use curses as a form of control over
the situation. The use of curses is the only power these women
possess.
Richard III took his own destiny and that of his country into his own
hands. He disturbed the natural order of things, and for that God made
pay. To conclude we in the end we say God take his revenge upon
Richard and made him accountable for all his evil doing.
Shakespeare’s portrayal of power reflects the conflicting influences of Medieval Morality plays and Renaissance literature during the Tudor period, demonstrating that the text is a reflection of contextual beliefs. The Third Citizen’s submission to a monotheistic deity in the pathetic fallacy of “The water swell before a boisterous storm – but leave it all to God” qualifies the theological determinism of power due to the rise of Calvinism. Pacino embodies Richard’s desire for royalty in LFR through the emphasis on celebrity culture, as he is determined to film himself in close-up, which although emphasizes the importance of Pacino, leaves out the broader scene. Soliloquies are substituted with breaches in the fourth wall, and his metatheatrical aside to the audience “I love the silence… whatever I’m saying, I know Shakespeare said it”, subverts the cultural boundaries which, deter contemporary American actors in performing Shakespeare. Shakespeare’s breach of the iambic pentameter in “Chop off his head…And when I’m king” strengthens the Renaissance influence, as Richa...
of England. Their hope was to return to the more primitive ways, to reject the
Beowulf an old english poem consisting of 3,182 lines tells a tale of an astonishing man named Beowulf. Beowulf surpases everything that Joseph Campbell defines as a hero in his Hero’s Journey Chart. Along with his natural strength he has other sources of help or characteristics that makes him a hero in Joseph Campbell's opinion. Those three sources include the separation, the supernatural aid he receives, and the challenges that he overcomes to return home. The separation comes when Beowulf leaves Geatland with the call of adventure to Denmark. The supernatural aid that gives him the power that he needs is God himself. After completing the other two aspects of Campbell’s chart Beowulf finally returns to his
"Thou must not suffer a witch to live." This single phrase justified the death of thousands of victims throughout Europe and North America. Matthew Hopkins was an English witchfinder who was responsible for the ruthless persecution of scores of alleged witches during the witchcraft mania that swept parts of England under the Puritans.
Writers often use supernatural to add suspense and interest to their work. The Witches and ghosts create a sense of horror as well as foreshadow what will happen next. Ghosts and apparitions really took over MacBeth’s emotions and fears. For example in the opening scene witches are used to create an atmosphere of horror and suspense. Later in the scene the ghost of Banquo appears at the dinner table and drives Macbeth mad. His wife try's to calm him but she can't and Macbeth has the people at the table getting awfully suspicious. Again we see it when Macbeth saw the dagger, he is seeing things due to guilt. The witches foresaw what happened through the play by telling Macbeth his future as well as Banquo. Ghosts made the audience feel scared the sky black and the wind misty.
The Importance of the Supernatural in Macbeth by William Shakespeare The supernatural is to play an essential part in the play 'Macbeth'; this is made clear from the first paragraph of the play, when the three witches are introduced. It is represented in many different forms, mainly: the witches, the dagger and the ghost of Banquo. Shakespeare's use of imagery and creative language in the play creates tension, fear and clearly displays the importance of the supernatural theme. At the start of the play, the supernatural is disguised in the form of nature, in this case a storm. Shakespeare uses pathetic fallacy to describe the strong force of nature- "Thunder and lightning - Enter three Witches.
The undeniable pursuit for power is Richard’s flaw as a Vice character. This aspect is demonstrated in Shakespeare’s play King Richard III through the actions Richard portrays in an attempt to take the throne, allowing the audience to perceive this as an abhorrent transgression against the divine order. The deformity of Richards arm and back also symbolically imply a sense of villainy through Shakespeare’s context. In one of Richard’s soliloquies, he states how ‘thus like the formal Vice Iniquity/ I moralize two meanings in one word’. Through the use of immoral jargons, Shakespeare emphasises Richard’s tenacity to attain a sense of power. However, Richard’s personal struggle with power causes him to become paranoid and demanding, as demonstrated through the use of modality ‘I wish’ in ‘I wish the bastards dead’. This act thus becomes heavily discordant to the accepted great chain of being and conveys Richard’s consumption by power.
Lastly, a tragic hero’s fall occurs when they have realized the error in their ways. Richard does not realize this because he only cares about himself. There is perhaps one small part where he kind of understands what he has done: “All several sins, all used in each degree, / Throng to the bar, crying all, “Guilty! guilty!” / I shall despair. There is no creature loves me, /
In the Shakespearean play, the tragedy of Macbeth. The Supernatural also known as the witches or Weird sisters, played an important role in the plot and story of the play. They controlled Macbeth by making him overconfident with his ambitious thoughts, which later on affected his state of mind and encouraged him to embark on his actions to kill anyone that was in his way including his friends and foes. All hail, Macbeth, hail to thee, Thane of Glamis! / All hail, Macbeth, hail to thee, Thane of Cawdor! / All hail, Macbeth, that shalt be King hereafter! (I. iii. 50-52). This incantation was said during the witches first encounter with Macbeth. This incantation was the start of rising action for the play because it foreshadowed what will happen
Superstitions have influenced the lives of human beings perhaps since the beginning of mankind. For millennia, people have clung to beliefs and practices surrounding preternatural activities. Even after science has produced evidence to explain what was once considered supernatural, the superstitious traditions have continued. During the Middle Ages, many new superstitious rituals were developed and some can still be seen in use today. However, the trivial superstitious rituals of today, such as hanging a horse shoe on a door or knocking on wood to bring good fortune, did not begin so simply.
From witches to apparitions, supernatural elements are the constituents of the play, Macbeth. The supernatural occurrences served as role as a manifestation of evil temptations that seduced Macbeth into murdering, even his own comrades. Macbeth’s first meet with the supernatural was the ignition of his ambition to kill for his own success; the second encounter of the supernatural allowed his sanity and judgment to wander off to a murderer’s mind with the basis of his before gained ambition. Supernatural’s third fated meeting with Macbeth had left him the unbearable token of guilt and insecurity in which compelled him to act in a petrified way during his banquet. The last meeting ultimately left Macbeth with the evading thought of killing his once close friend and his close friend’s family. From what was stated, the supernatural played a large role that motivated Macbeth’s action to the extent where his moralities became impaired, and he had succumbed to executing dark deeds.
Composers throughout various zeitgeists are linked by different representations of universal human concerns, and their texts simultaneously embody certain values and agendas individual to themselves. An exploration of Shakespeare’s King Richard III (1592) and Al Pacino’s Looking for Richard (1996) allows for a greater understanding of the composer’s respective contexts, along with their intended agendas, through the lens of their own societal values and concerns. The manipulation of Richard III’s persona, whether by authorial adaptation of historical sources related to his character, or through the differing views of Richards motives, are universal concepts, that when studied in relation to the differing time periods, accentuates the context and our understanding of recurrent aspects of the human experience.
Altering the ?facts? of Richard III?s history, supernatural elements inconspicuously blend into the play and create a strong backbone for the plot. Clarence and Stanley?s dreams bridge the abyss between dream and reality, while the ghosts? appearance lends horror to the play and reminds all that the higher powers will triumph over mortal evils. The curses of the female royalties add psychological and supernatural forces to drive the character?s actions, thus furthering the plot. Dreams, ghosts, and curses ? these supernatural elements all have a natural place in Richard III, for they weave together the fascinating horror in the storyline and ensure that the tyranny of a mortal man will not reign in the end.
Since the death of Richard III at Bosworth field in 1485, many historians, appointed officials, and playwrights, have written their histories, thoughts, and accounts of Richard III’s life for hundreds of years. If we think about all of the medieval kings, princes, and other historical figures who were reported as doing just as many, if not worse crimes during their reign, how come Richard III still gains attention for his? This debate continues to this day, because of the early written records that tried to prove his malicious nature. In addition, the plagiaristic tendencies of early historians further added to the debate because century after century, accounts of Richard’s life became more and more negative.
Medieval Europe is characterized by a series of unfortunate and tragically nonsensical events. Due to the unexplainable nature of these tragedies, it became commonplace to assign unnatural explanations to seemingly supernatural events. Medieval Europe is a prime example of an era drowning in constant hysteria; disease, prejudice, and misconceptions dominated the mindsets of the general public. In most occasions, the most rational explanations became the supernatural. ?Supernatural? is a very broad term to describe a constantly shifting subject throughout history; however, the theme pertaining to the perception of supernatural forces remains a relevant and constant ideology. Whether it be through religion, or medicine, or science, supernatural themes are prevalent in many aspects of history. Throughout Medieval Europe, supernatural perceptions influenced the way people viewed the natural world, and also affected the way people behaved and how history developed.