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The complex character of richard ii
The complex character of richard ii
Imagery in Shakespeare
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Clarence's Speech in William Shakespeare's Richard III
The speech I am going to be examining is from one of Shakespeare's
plays, Richard III. It is the part of the play where George, Duke of
Clarence is explaining a prophetic nightmare he had whilst being
locked in the Tower of London.
Richard III was a real king of England, but had been killed in battle,
around 100 years prior to when Shakespeare wrote this play. At the
time of writing, in 1594, the queen was Elizabeth I, a Tudor. One of
the Queens ancestors, Henry VII, had killed Richard III on Bosworth
Field. Shakespeare, to make sure he was in favour with the Queen, made
Richard's character into a complete villain, as well as physically
deformed.
The play takes place before Richard becomes king. It is about how
Richard, Duke of Gloucester, plots to eradicate anyone standing in the
way of him becoming king. In order for Richard to come to the throne,
after his brother Edward IV), he must dispose of the three people due
to inherit the throne before him: his brother, George, and his
nephews, Edward and Richard.
To do this, Richard starts a rumour that someone whose name begins
with 'G' will murder Edwards's heirs. Clarence (George) is then
imprisoned in the Tower of London by the King as he is seen as a
threat. Richard promises Clarence that he will go and plead to the
King for him, but instead, he just creates more suspicion. Richard
hears news that King Edward is very ill, and realises he must act
quickly. He plots with two executioners to kill Clarence.
One night, whilst locked in the Tower, Clarence has a nightmare and
describes it to his jailor, Brackenbury. Shak...
... middle of paper ...
...is a placed commonly feared by the guilty minded as they worry that it
actually exists and they may be sent there after death. As Clarence's
dream was all about death, and he had a guilty conscience, it isn't
unexpected that he would worry about hell as religion was important at
this time and it would have been drilled into people about the
consequences of sin.
As I have mentioned previously, Clarence's dream was prophetic, a
prediction, a warning. The next part of the play is the death of
Clarence (off stage). The audience is told that he is drowned in a
butt of Malmsey wine. The dream is a warning the Richard is going to
kill him by drowning. In the dream Clarence pushes him overboard,
killing him, and in the play, Richard has him drowned. This is
Shakespeare's way of telling the unaware audience Clarence's future.
In his article, "Shakespeare 's King Richard III and the Problematics of Tudor Bastardy", Maurice Hunt gives a convincing (dare I say legitimate!) argument for why he believes Shakespeare took a large risk writing and performing his play King Richard III during the life of Queen Elizabeth I. Knowing the challenges Elizabeth faced during her childhood and into her reign because of her father, King Henry VIII 's ever-changing mind whether or not she was a legitimate heir or a bastard, I agree with Hunt in the fact Shakespeare took a huge risk with his performances of Richard III, if in fact she did see the performance which is something I will be touching on later on, but for the sake of the review of his article I will be focusing on his argument based on Elizabeth being present. Hunt also spends a great deal explaining the history of bastardry in the Tudor family so that we can understand why that
One of the most prominent faces of Disney, Cinderella was most famously known for singing ‘A Dream Is A Wish Your Heart Makes’, in which she proclaimed that “the dream that you wish for will come true”. However, when the Disney movie graced the screen in 1950, the film conveniently left out the parts in the original story in which the two sisters, desperate for the Prince’s affections, chopped off the heels of their feet and were later blinded by vindictive pigeons. As was with the sisters in the story of Cinderella, in the classic tragedy Romeo and Juliet, seemingly happy things hide an undercurrent of maliciousness, and dreams are often cruelly broken by reality. William Shakespeare uses Mercutio’s “Queen Mab” speech in Romeo and Juliet to
From the beginning of the play, the character of Richard is depicted as amiss. Thomas More’s account of King Richard states that King Richard“was malicious, wrathful, envious, and, from afore his birth ever forward” (More, 2005:10).King Richard’s mother, the Duchesse of York is said to have had a hard labour at his birth. Richard is said to have come into the wor...
and not that he did this by his own choice. With this metaphor of a
Hamlet's classsic "To be or not to be..."(Hamlet, prince of Denmark, 3.1.57) speech really shows who he is. Obviously Hamlet is horribly depressed. We have already seen several examples of this, but this speech gives us a clear picture of his sadness. More importantly however, his speech shows his weakness and indecisiveness. Hamlet is consistently melancholy, but he never really acts on it; he just kind of wallows around, full of self-pity and loathing. Finally, it gives us Hamlet's reason for not committing suicide. Throughout the play he seems to wish for death and here we find out why he doesn't bring it on himself. This also gives us a window into his personality. This speech provides us with a clear understanding of Hamlet and his motivations.
In order for one to keep their political status and please their country, there are some qualities, traits and skills required. For some, political skills may be a natural or intuitive trait. For others, it feels uncomfortable and takes excessive effort. In either case, political skills must be practiced and honed in order to recap its benefits. For instance, one may naturally possess skills such as listening to others, communicating and commitment. On the other hand, one may not possess those skills and it may require excessive effort to possess those skills. Prince Hal realizes that he must learn to possess these characteristics if he wants to be a successful king. Henry IV, Part 1 by Shakespeare deals with the struggle of King Henry IV to maintain his control of the English throne which he usurped from Richard II. The play deals with the conflict between King Henry IV and his son, Prince Harry, and their tense relationship. King Henry is the ruling king of England. He is worn down by worries and guilty feelings about having won his throne through a civil war. Hal, the Prince of Wales who demonstrates his ability to manipulate others to complete his selfish goals. Hal is an effective leader because unlike his father, his mastery of language shows that he will be a virtuous ruler, able to understand lower and upper class and manipulate them to believe his words.
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.
Written during a time of peace immediately following the conclusion of the War of the Roses between the Yorks and the Lancasters, William Shakespeare’s play Richard III showcases a multi-faceted master of linguistic eloquence, Richard, Duke of Gloucester, a character who simultaneously manages to be droll, revolting, deadly, yet fascinating. Richard's villainy works in a keen, detestable manner, manifesting itself in his specific use or, rather, abuse of rhetoric. He spends a substantial amount of time directly interacting and therefore breaking the fourth wall and orating to the audience in order to forge a relationship with them, to make members not only his confidants of murderous intentions, but also his accomplices and powerless, unwilling cohorts to his wrongdoings. Through the reader’s exploration of stylistic and rhetorical stratagem in the opening and final soliloquies delivered by Richard, readers are able to identify numerous devices which provide for a dramatic effect that make evident the psychological deterioration and progression of Richard as a character and villain.
Shakespeare, William. Richard III. The Norton Shakespeare. Ed. Stephen Greenblatt. (New York: W.W. Norton and Company, 1997), 515-600.
In this essay I will explore how significant act 3 scene 7 is to the
Richard had weakened since he had become king and was no longer ruthless as he had no reason to be ruthless. He had got what he wanted and was pleased with himself. He thought he was invincible, and he was too confident, which cost him his life. If he had been more careful, he would have been aware of the danger that lied before him. But, he did use some similar techniques in both the scenes.
The truth is something that everyone looks for at any particular point in time. It can be as simple as an answer to a question, or as complicated as a search for clues and answers in a murder. Whatever the situation may be, one must investigate, interrogate, or do anything else possible to find the truth. In William Shakespeare's Hamlet, the death of Hamlet's father was a mystery, until a ghost told the prince to avenge his father's murder. Hamlet then suspected his uncle, King Claudius, of being the murderer of his father. Since the court was then going to watch a play, Hamlet found that as the best opportunity to reveal his uncle as the one responsible for the death of his father. He gives the players a new speech to recite and advises them how to "act," so that the King can unveil himself by his own actions and expressions toward the play.
and sent before his time" and "since he cannot prove to be a lover; he is
How strange or odd soe 'er I bear myself/ As I perchance hereafter shall think meet/ To put an antic disposition on,/ That you, at such times seeing me, never shall—/ With arms encumbered thus, or this headshake,/ Or by pronouncing of some doubtful phrase,/ As “Well, well, we know,” or “We could an if we would,”/ Or “If we list to speak,” or “There be an if they might,”/ Or such ambiguous giving out—to note/ That you know aught of me. This not to do,/ So grace and mercy at your most need help you,/ Swear. (Shakespeare I.v.170-180)
Shakespeare is of course establishing Henry's ability to gather support from the masses, the very key to his victory over Richard later in the play. The speech also clarifies Richard's position on the subject to underline this contrast between the two men. To fine tune Richard's character, Gaunt gives a revealing and unbridled description of Richard to his face just before dying. After Richard exiles the soul heir to his estate, Gaunt is bitter and fed up with his weak and pompous qualities: