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Dramatic techniques in richard II
Analysis for twelfth night shakespeare
Analysis of William Shakespeare
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In this play of challenge and debate, could it be possibly suggested that King Richard had a part to play in the murder of his uncle the Duke of Gloucester? Could the reader possibly pick up this assumption having known nothing about the play? These are all factors that one must find by reading in between the lines, noticing and understanding the silence that is exchanged. For the silence is just as important as the speech.Why is it assumed that King Richard II has anything to do with the murder? Let us review a scene from the play were Gaunt accuses Richard of being accountable for Gloucester's death.
"Gaunt: O, spare me not, my [brother] Edward's son, For that I was his father Edward's son, That blood already, like the pelican, Hast thou tapp'd out and drunkenly carous'd. My brother Gloucester, plain well-meaning soul, Whom fair befall in heaven 'mongst happy souls, May be a president and witness good That thou respect'st not spilling Edwards blood." (II.i) That passage simply states: You may be a king, but you could have respected my brother enough not to kill him. There is also another quote were Mowbray indirectly suggests that the King is also at fault. "Mow: O, let my sovereign turn away his face, And bid his ears a little while be deaf, Till I have told this slander of his blood, How God and good men hate so foul a liar." (I.i) Yet with saying this remark about the King, he also begs for his innocence.
"Mine honor is my life, both grow in one, Take honor from me, and my life is done. Then, dear my liege, mine honor let me try; In that I live, and for that I will die." (I.i) These passages indirectly state that King Richard II is at fault for the death of his uncle. But for the reader to see this they must break down the play and search for those "hidden meanings".For the ordinary reader, who does not search, the text clearly states that the fight for innocence is distinctly between Bullingbrook and Mowbray. Such an example can be found in Act I: "Bull: That he [Mowbray] did plot the Duke of Gloucester's death,Suggest his soon-believing adversaries,And consequently, like a traitor coward,Sluic'd his innocent soul through streams of blood." The rest of the dialogue converses back and forth between Bullingbrook and Mowbray, each fighting for their own innocence.
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...
...remained constant regardless of 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. This one-sided portrayal is achieved through animal imagery of a “usurping boar”, as Shakespeare’s pro-monarch propaganda highlights how duplicitous representations of reality may influence a society, regardless of context.
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 did not manage to recover from the usurpation of Edward and after allegedly murdering the two Princes in the tower his reputation had fallen greatly. He had lost a lot of respect from nobles and from the populus. Killing the Princes could be seen as one of the major factors of his downfall. It was common place in monarchical families to have brothers and sisters "put out of the picture", but even in these primitive times, the murder of innocent children was a taboo.
“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.
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].
Shakespeare’s treatment of illegitimacy in the play King Lear can be interpreted in many ways depending on the audience. The situation of illegitimacy is portrayed through the relationships of the characters the Earl Of Gloucester and his two sons Edgar and Edmund. Edmund is the illegitimate son while Edgar was born within the law. We learn of Edmund’s illegitimacy in the opening scene in the first act where The Earl of Gloucester is holding a conversation with Kent while Edmund is nearby. Gloucester speaks flippantly and lightly of the way his illegitimate son came into the world while introducing him to Kent saying, “ Though this knave came something saucily into the world before he was sent for, yet his mother was fair, there was good sport at his making, and the whoreson must be acknowledged” (Act I, Scene I, Lines 19-24). There are several peculiar things about this dialogue. One of the interesting aspects of Gloucester and Kent’s discussion is the readiness of Gloucester to admit he has fathered a child out of wedlock. This may be influenced by the fact that Edmund had obviously grown into a son that a father would be proud to have. At first meeting he seems polite, courteous, and loyal. Perhaps these admirable character traits are cause for Gloucester’s willingness to publicly claim Edmund as his own. Another unusual occurrence in the opening dialogue is that Gloucester calls Edmund a whoreson and a knave while he is close by and probably in hearing distance. This seems odd because Gloucester professes to feel only love for his son and no shame but he seems to almost mock him in this situation. One explanation for this behavior may be that deep down Gloucester still harbors some discomfort about the relationship between himself and his son despite his verbal proclamations of shamelessness. This could be inferred from Gloucester’s statement, “ His breeding, sir, hath been at my charge. I have so often blushed to acknowledge him that now I am brazed to ‘t.” (Act I, Scene I, Line 9). Again, depending on the audience the attitudes displayed in the play by the characters and Shakespeare himself by his writing can be interpreted in a variety of ways depending on the observer.
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.
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 ...
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.
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.
had Clarence killed so that he could have an uncontested line to the throne. Shakespeare also said that Richard killed young
This is a prime example of Richard using his authority by way of rulings and pronouncements rather than action, even to the point of disallowing an action. Bolingbroke, on the other hand, is quite ready to do battle no matter what the consequences. Moments before Richard puts a stop to the proceedings, Bolingbroke says, ". . . let no noble eye profane a tear / For me, if I be gorged with Mowbray's spear" (1.3.58-59). Here is a man who is resolved in his intent.