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Richard III as anti - hero
Richard III character analysis
Characterization of Richard III in the play Richard III
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Loncraine's Film Production of Shakespeare's Richard III
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.
The first thing I noticed about the stable scene in the film was the monochromatic color scheme. As Donaldson noted, the muted browns, grays, and beiges are reminiscent of the several death scenes. The colors befit the place where Richard meets Tyrrel, Clarence's murderer, and receives Tyrrel's vow of loyalty. Both characters' connections to the following death scene are foreshadowed by Loncraine's choice of color palate: Tyrrel as the murderer-for-hire, Richard as the instigator.
Richard's reaction toward the animals in the stable gives glimpses of insight into his character. For instance, seeing the boar in the pen initially amuses Richard. He sees Tyrrel feeding the boar, looking on approvingly. As Richard moves away from the boar's pen, Tyrrel tosses an apple to the man accompanying Richard in a quick gesture of recognition and camaraderie. Richard proceeds to gently feed the apple to a horse; this is a direct prediction of Richard's need for a horse in the final battle: "A horse! A horse! My kingdom for a horse!" (V.iv.). Richard is feeding a useful and important animal, showing more sympathy and care than he does for the rest of the humans in the film.
Conversely, Richard throws his apple at the boar after discerning Tyrrel's loyalty. The boar serves two purposes in the scene; it is both more useful when it is not alive (as food), and a symbol of Richard's family (Richard's crest contains the image of a boar, and Richard himself is often referred to as a boar in the text). Richard obviously has more use for the horse than he does the boar, alluding to his value of a creature or character based on its usefulness-he is quick to kill anything or anyone he finds opposing or challenging him. This includes his family, which is the boar's symbolic purpose. The boar, though penned and harmless, becomes the target of Richard's sadistic desire to bring harm to those around him. In the same way, Richard designs schemes to injure his family members for the more useful goal of gaining kingship. His family is no good to him while they are alive; they are more useful when they are dead and out of his way.
I feel that Richard gains our sympathy when he resigns the crown, refuses to read the paper that highlights his crimes, and smashes the mirror, which represents his vanity. In terms of kingship, I interpret the play as an exploration between the contrast with aristocratic pride in the law and the king's omnipotent powers. It also shows the chain reaction on kingship as past events in history determine present
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...
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
“I am determined to prove a villain / and hate the idle pleasures of these days. / Plots have I laid, inductions dangerous, / by drunken prophecies, libels and dreams.” Richard III, the evil Duke of Gloucester, is fighting a bloody road to the crown in Shakespeare's dramatic play. Stopped by nothing and with brilliant intelligence, Richard fights his way to the king’s position, clothing his villany with “old odd ends stolen out of holy writ.” With no one to fully trust, Richard breaks many hearts by killing all people in his way, and becomes the unstoppable villain. He hides behind a shield of kindness and care, but when he is alone, his real soul comes alive. Sending murderers, or killing people himself, he has no mercy. Manipulating Lady Anne to marry him and promising Buckingham rewards for his deeds, he knows what he is doing, and won’t stop until the crown lies at his feet.
Throughout the book, Robert develops a bond with the animals as he lacks connections with the everyday people in his life. Robert’s natural instinct to save but failure to do so is portrayed with horses: “I’m going to break ranks and save ...
Instead of a powerful physical image, like Queen Elizabeth I, Richard implements elegant soliloquies, engages in witty banter, and attunes the audience to his motives with frequent asides. This flexibility demonstrates Richard's thespian superiority and power over the rest of the play's cast, making him a unique character in the play, but why does he do it? This constant battle between characters to claim mastery over a scene leaves the audience with a seemingly overlooked source of power for an actor [clarify/expand].
...e was also writing in Tudor England and seemed to have openly dislike Richard III. In other portions of his writing he describes Richard as an unattractive deformed man who was born with a full set of teeth. He writes that he had a “sour countenance , which seemed to savour of mischief, and utter evidently craft and deceit.”
There is a long history of single-sex schooling, in which males and females attend specific classes or schools only with members of their same sex. This separation of genders may be done for educational purposes or in combination with other factors, such as social interactions that occur between male and female students. There is some support for the idea that single-sex schooling can be beneficial, especially for outcomes related to academic achievement and more positive academic aspirations (Lee, 2008). Although, there are many benefits of children attending single-sex schools, evidence shows that sex segregation can also gender stereotyping and legitimizes institutional sexism (Kennedy, 2000).
At the very outset of the play, readers are presented with the power-hungry, self-loathing Duke of Gloucester, defined by his thirst for vengeance and power and by his uncanny ability to manipulate the minds of the people around him. Richard appeals to the audience’s sympathies in his self-deprecating description, when he declares that he is deformed, unfinished, and so hideous and unfashionable that dogs bark at him as he passes by. The imagery he utilizes throughout the opening soliloquy also evokes a feeling of opposition and juxtaposition which speaks to the duality of his nature.The juxtapositions he employs are more than rhetorical devices, as ...
This contributes to a very villainous role. Richard begins his journey to the throne. He manipulates Lady Anne. into marrying him, even though she knows that he murdered her first. husband.
The task which Shakespeare undertook was to mold the hateful constitution of Richard's Moral; character. Richard had to contend with the prejudices arising from his bodily deformity which was considered an indication of the depravity and wickedness of his nature. Richard's ambitious nature, his elastic intellect, and his want of faith in goodness conspire to produce his tendency to despise and degrade every surrounding being and object, even as his own person. He is never sincere except when he is about to commit a murder.
According to many, Shakespeare intentionally portrays Richard III in ways that would have the world hail him as the ultimate Machiavel. This build up only serves to further the dramatic irony when Richard falls from his throne. The nature of Richard's character is key to discovering the commentary Shakespeare is delivering on the nature of tyrants. By setting up Richard to be seen as the ultimate Machiavel, only to have him utterly destroyed, Shakespeare makes a dramatic commentary on the frailty of tyranny and such men as would aspire to tyrannical rule.
gender stereotypes. An allied benefit includes girls being able to participate more without being outshined by boys by “equaling the playing field” (Gross-Loh 2015 n.p.). Gross-Loh (2015) states that “Stereotypes work both ways. Culture… can winnow children towards certain restrictions of behavior (think a young girl who absorbs early on the idea that she must always be interested in playing with dolls, or a boy who feels uncertain and worried about his budding interest in princesses), but the wider culture is endemic with gender stereotypes that single-sex schools aim to free children of… (n.p.) ” Attending a single sex school is completely voluntary, and parents can opt out at any time (Hollingsworth & Bonner 2012).
The issue of single- sex education and mixed- sex education have occupied the minds of almost all the professors of the educational process all over the world for centuries. To deal with this issue, there must be many sayings and arguments. Also, other studies related, should be put into consideration. There are many more opinions that support single-sex education, others support co-education. Most world countries are following the opinion that says that coeducation is better and more effective than single sex education. Theoretically, co-educational process is more fruitful than single-sex education that's because of three main factors that affect greatly; firstly, the students' behavior; secondly, the educational level; thirdly the socialization in society and how students emotionally affected..