A Hero, a King, and a Daemon

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Gifted with the darkest attributes intertwined in his imperfect characteristics, Shakespeare’s Richard III displays his anti-hero traits afflicted with thorns of villains: “Plots have I laid, inductions dangerous / By drunken prophecies, libels, and dreams” (I.i.32-33). Richard possesses the idealism and ambition of a heroic figure that is destined to great achievements and power; however, as one who believes that “the end justifies the means”, Richard rejects moral value and tradition as he is willing to do anything to accomplish his goal to the crown. The society, even his family and closest friends, repudiate him as a deformed outcast. Nevertheless, he cheers for himself as the champion and irredeemable villain by turning entirely to revenge of taking self-served power. By distinguishing virtue ethics to take revenge on the human society that alienates him and centering his life on self-advancement towards kingship, Richard is the literary archetype of an anti-hero. Richard’s disdain for humane beliefs and customs (such as religion, marriage, and family) shows when he treats them as nothing more than empty forms – this further labels him as a demon of indiscipline and rebellion. He sees virtues as contrary to his power-thirsty nature and aim, which emphasizes his pathological shamelessness and lack of hremorse. With his charisma, he woos Lady Anne in order to disempower her, revealing his disregard towards the seriousnesss of murder and respect for women: “What though I killed her husband and her father?” (I.i.156). Richard shows his disrespect towards love and marriage as he becomes her husband “ not so much for love / [but] for another secret close intent” (I.i.159-160) to benefit himself. In Act IV, Richard “prays” with ... ... middle of paper ... ... bloody pathway to kingship. Filled with scorn against a society that rejects him and nature that curses him with a weakened body, Richard decides to take revenge and ultimately declares a war between himself and the world. By achieving goals for the mere sake of self-advancement, a self-made hero, an ambitious king, and an atrocious villain were created. Richard assumes that love forms a bond which men can break, but fear is supported by the dread of ever-present pain (Machiavelli ch. XXIV); thus, for true success the hero must be a villain too. Richard III becomes one of literature’s most recognized anti-heroes under the hands of Shakespeare as he has no objective or thought to take up any other profession than the art of hatred; however, ironically being a representative of a heroic ruler sent by God, he is made to commit murder to redeem society of their sins.

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