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On the other hand, Shakespeare’s Richard begins the play as brilliant at spreading rumors. He calls Catesby and orders to spread rumor that his wife Anne is very sick and likely to die soon. “Come hither, Catesby. Rumor it abroad That Anne my wife is very grievous sick. I will take order for her keeping close. Inquire me out some mean poor gentleman,Whom I will marry straight to Clarence' daughter.” (Act4-2) Richard plans to get Clarence’s kids out the way too –just to be safe. He does not worry about Clarence’s young son and Richard reveals his worst part of his plan. He hires murderer to kill the two princes in the tower because he thinks it would be a good idea to marry her after he gets rid of Anne. “But did’st thou see them dead?.. …show more content…
Richard then gives the audience useful information: he is imprisoned Clarence’s young son, married off Clarence’s daughter to some harmless guy, and killed Edward’s son, married off Clarence’s daughter to some harmless guy, and his wife Anne is dead. By double checking their death, Richard shows that he is trying to cover his fears and concerns. This murder scene makes me feel a sympathy and piteous. I can see his detailed strategies, but
I feel his anxiety about the glory as a king and I see how many questions –death or life- Richard asks himself and to the world. Hi murders are reputed as a murderous psychopath, however, I think his narcissistic tendencies are interesting and attractive. As soon as I read his lines, I became an intellectual complicity with him in order to secure and maintain his power. Shakespeare’s words touched my pity enough. In Act 1 scene 2, Richard tells Anne “But I know none, and therefore am no beast” (line 74) and “But I know none, and therefore am no beast.” (line 86). Some people argue that Richard’s emotional appeal is to obtain sympathy to justify his acts, but I think he knows his inner deformity, the result of uncontrollable
...ive for Richard’s manipulation in different ways, reflecting the values of their respective zeitgeists, and Looking for Richard emphasizes that there is no fear of divine retribution in the modern context, but the impact of their immoral behavior on their individual identity.
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.
Anne is quite like a modern woman in the way that if a man tells her
Richard starts of persuading Lady Anne to marry him. After killing her husband and dad, he still blames her for not accepting his love. With great confidence, he tells her to either kill him or marry him. “Arise,
In conclusion, it is apparent that Richard III is quite a moral play. The characters in it are able to repent their own transgressions, and condemn those of others, and finally, retribution and judgement are always carried through. This text fully demonstrates a social morality that is, early on, ignored, but culminates in the fulfilment of a natural justice, and thereby endorses the moral codes it shows us.
Richard can never bring himself to be "eased" with being ordinary, with being what he sees as "nothing" and so he can never live as a subject instead of a ruler. It is perhaps significant that when he dies he seeks to return to the only identity he really knew, that of a ruler, and warns that "Exeter, thy fierce hand / Hath with the King's blood stained the King's own land" (V.v. 109-10). He has accepted intellectually the transient nature of kings' power and understands he can no longer possess even that, yet in death he reaches for the only identity he ever really held, that of absolute monarch.
Bennet estate, asked Elizabeth to marry him and she said no. Close to this time Bingley,
Loncraine's film brilliantly furthers Richard III's role as the diabolical genius. His use of economy and symbolism in portraying Richard gives completeness to the character that the text in some ways lacks. The short but intriguing stable scene in the film makes this clear.
Shakespeare, William. Richard III. Ed. Barbara A. Mowat and Paul Werstine. New York: Washington Square Press, 1996.
In this scene of William Shakespeare’s play, Richard II, King Richard deposes himself before Henry Bolingbroke and must resign the crown. In answer to Bolingbroke’s question whether he is contented to do so, he answers thus. Despite his lowered status, Richard makes a performance out of this demeaning ceremony, in his confusing and highly emotional reply and in his metaphorical language apparent in the rest of the scene. He talks in an ambiguous manner, in his equivocal answer to a yes or no question, “Ay, no. No, ay,” that plays on the possible meaning of the sound “ay” as a form of agreement, or as the pronoun “I,” and in his statement, “I must nothing be.” His vague answer reflects the shifting equilibrium of who holds the power, as well as who holds the audience’s sympathy in the play. In undoing himself he refers to the divine right of kings, where the king’s
From the outset of the play, it is obvious that Richard subscribes to the majority of the Machiavellian principles. Certainly, he is not ashamed or afraid to plot heinous murder, and he does so with an ever-present false front. "I do mistake my person all this while,"1 he muses, plotting Anne's death minutes after having won her hand. He will not even entertain the ideas in public, demanding they "Dive...down to [his] soul."2 He knows that he must be cunning and soulless to succeed in his tasks. Richard also knows it is essential to guard against the hatred of the populace, as Machiavelli warned.
also said that Richard was always plotting ways that he could become king such as killing his brother Clarence and killing young
Overall, we can see the major cost behind main character Richard's death is his mother cursing him to lose the fight at the Battle of Bosworth Field. Although, it was difficult for the Duchess of York to cures her son but she had to do it unfortunately to stop the violence. This plot acknowledge us about the patience of The Duchess of York and that she avoids to be angry instead stays away for good.
With Richard's last words, we see the final result of this moment of truth, this self-realization, as he bravely assaults and kills two of his attackers before dying a noble death: ìMount, mount, my soul! thy seat is up on high;/Whilst my gross flesh sinks downward, here to dieî (5.5.111-112).
In Richard III, Richard kills off the powerful characters who are royal, in order to get closer to...