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The complex character of richard ii
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Richard II in William Shakespeare
The plays of William Shakespeare are generally easy to categorize, and the heroes of these plays are equally so. However, in the history play Richard II, Shakespeare’s king is more ambiguous than Hamlet or Romeo– there is no clear cut answer to whether Richard II is a tragic hero... or simply a tragedy. Historically, Richard II was crowned at a very young age, forced into the role of monarch, and thrust without hesitation into the murky world of political intrigue, which perhaps lends his character sympathy because he had no choice in his fate. However, despite his forced role in life, Richard II seems to rely on the concept of divine right to secure his throne, making no effort to sustain it once it is “irrevocably” his. Richard II is both the tragic hero and the tragedy– simply playing the role of King for the majority of the play, but only coming into his own after he is deposed, and only then to fight for his own existence.
From the beginning of the play, Richard II is apathetic at best in his royal role. By exiling Bolingbroke and...
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 constructs King Richard III to perform his contextual agenda, or to perpetrate political propaganda in the light of a historical power struggle, mirroring the political concerns of his era through his adaptation and selection of source material. Shakespeare’s influences include Thomas More’s The History of King Richard the Third, both constructing a certain historical perspective of the play. The negative perspective of Richard III’s character is a perpetuation of established Tudor history, where Vergil constructed a history intermixed with Tudor history, and More’s connection to John Morton affected the villainous image of the tyrannous king. This negative image is accentuated through the antithesis of Richards treachery in juxtaposition of Richmond’s devotion, exemplified in the parallelism of ‘God and Saint George! Richmond and victory.’ The need to legitimize Elizabeth’s reign influenced Shakespeare’s portra...
... middle of paper ... ... This resonates with the dramatic irony of Richard’s depiction of “Christian prince” with “two props of virtue” in RIII, demonstrating the common connection of duplicity to the environment. Evidently, the play itself manipulates the audience’s perception of reality as it presents a historical recount designed to solidify the ruling monarch, and condemn Richard.
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.
...f control of scenes and verbal encounters, which finally ends with his magnificent downfall. [implement more Margaret control/curses/competition in the beginning]. Despite Richard's best attempts to write his own ending, the audience is now forced with the truth that it was Margaret's prophecy that ripened to fruition. With Richard's final soliloquy taking blame for his actions and "the outward movement away from any semblance of Richard's control, completes the separation of Richard and audience" (Schellenberg 66). Through the course of Act V, Richard takes part in only two of the six scenes. Of these two scenes, he shares the stage with Richmond, the rising actor to take the lead role.
Compare the behavior and reactions of Richard, Anne and Elizabeth in Act One Scene Two and Act Four Scene Four.
...in themes similar to those found in the two Henry IV plays, such as usurpation, rebellion, and the issue of lineage of royal right. But Richard II and King Henry V are decidedly more serious in tone, and in comparing them to I Henry IV and II Henry IV, the argument can be made that it is these two latter plays which resound with greater realism with the broader spectrum of life which they present. Shakespeare carefully balances comedy and drama in I Henry IV and II Henry IV, and in doing so the bard gives us what are perhaps the most memorable characters in all of English literature.
King Richard II is Shakespeare's example of a king who removes himself from the reality of the common people. Richard views his position as a source of amusement. His "cares" as King, other than an opportunity for an agreeable audience, are merely a burden. Instead of investigating the accusations of treachery from Henry and Mawbrick, he exiles both men as an easy way out. Richard was born a King, and knows no life other than that of royalty. Unfortunately the lesson that must know men to rule them costs him the thrown. Richard's lesson influences his usurper and his usurper's heir to the thrown, demonstrating to them both the value of humility.
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.
"therefore, since I can not prove a lover, To entertain these fair well spoken days, I am determined to be a villain".As a villain Richard must be heartless, he can not let his emotions interfere with his actions.
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.
Nevertheless, as a man of action, Bolingbroke has achieved for himself the goal of retrieving his father Gaunt's estates and much more. He, in the end, is king, King Henry IV. And though Richard as king was full of pomp and ceremony, those things were no match for ambition carried to its fullest. His strong words belied incompetence as a ruler, and he could not hold his position. It seems that it was inevitable that Bolingbroke would be the victor at last. Richard should have taken more note of his usurper, before he was such, this man he called "[Gaunt's] bold son" (1.1.3).
The tragedy of Hamlet, Shakespeare’s most popular and greatest tragedy, presents his genius as a playwright and includes many numbers of themes and literary techniques. In all tragedies, the main character, called a tragic hero, suffers and usually dies at the end. Prince Hamlet is a model example of a Shakespearean tragic hero. Every tragedy must have a tragic hero. A tragic hero must own many good traits, but has a flaw that ultimately leads to his downfall. If not for this tragic flaw, the hero would be able to survive at the end of the play. A tragic hero must have free will and also have the characteristics of being brave and noble. In addition, the audience must feel some sympathy for the tragic hero.