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Dramatic techniques in Richard III
Critical essay on richard iii deception
Critical essay on richard iii deception
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Recommended: Dramatic techniques in Richard III
In Richard III, Richard is introduced as a villain who has extraordinary skills with words and wins the throne with them; however, his malicious personality is a ‘product’ of the environment around him. He suffers with the fact that no one likes with his physical appearance- hunchback and deformity. Even his mother, Duchess doesn’t like him; “Thou cams't on earth to make the earth my hell. A grievous burthen was thy birth to me; Tetchy and wayward was thy infancy; Thy school days frightful, desp'rate, wild, and furious” (p. 262). This quote shows the reason why Richard becomes a villain; he isn’t even loved by a person who gave birth to him. “Deformed, unfinished, sent before my time into this breathing world, scarce half made up” (p. 2). Richard
Iago throughout the book uses manipulative language to convince characters throughout scenes. However he doesn’t fail, from the beginning he has a well thought out plan, he manipulates people and he has complete lack of empathy which gives him the perfect traits for being a villain. A perfect villain in my definition is someone who can plan out a villainous act and act it out without failure. Iago has achieved this and so I consider him a perfect villain. Although Iago has a few flaws acting out his plan he achieves his goal to an extent in an evil and villainous way such as the failure of murdering of Cassio and his being tortured.
may the God of vengeance now yield me His places to punish the wicked,” (Dumas 131).
“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.
Villains come in all forms of malevolence throughout all types of literature. They help to drive the plot of the story and influence the themes and purposes as desired by the author. In The Scarlet Letter by Nathaniel Hawthorne, the character assigned the appellation of Roger Chillingworth is the main antagonist. He is first seen attending the public humiliation of Hester Prynne, who is the protagonist of the book. Chillingworth is established as a physician whom Hester had previously cheated on. Throughout the novel, Chillingworth is seen as being controlling over Arthur Dimmesdale, who testifies to one of the book’s main themes of guilt. Nathaniel Hawthorne’s historical drama The Scarlet Letter renders Roger Chillingworth as the villain who
The Crucible, a play written in the 1950’s by American playwright, Arthur Miller, is based on the chaotic witch hysteria in Salem, Massachusetts during the 1600’s. Abigail, a sinful protagonist in the play, is the root to the myriad problems that conspire throughout the play. She is to blame for the executions of innocent citizens, and for acts of lechery between marriages. An important reappearing theme throughout the play is one’s reputation and the extremes the characters would take in order to preserve their name. The characters in The Crucible, particularly, Parris, John Proctor, and Judge Danforth, use the sanctity of their names to prioritize how they will look in the public eye, rather than what is beneficial to them individually.
Media makes celebrities seem as if they live life facing no problems or hardships. In reality, they do not live a perfect life, but that characteristic of celebrities' life tends to go unseen. In Charles Dickens’s, A Tale of Two Cities, Dickens develops Mr. Lorry into a character where business engulfes his life. Mr. Lorry continually tries to suppress his emotions using many different strategies. Even though business is always Mr. Lorry’s top priority, he always has a special place in his heart for the people he cares about, the Manette’s. Through the use of characterization and dialogue, Charles Dickens uses Mr. Lorry to promote how humanity overrides one’s business side no matter how hard they try to suppress it.
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.”
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.
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.
Richard, while showing traits of all three, is predominantly a Machiavel. This is apparent in his initial soliloquy, when he states, “And therefore, since I cannot prove a lover -- to entertain these fair well-spoken days, -- I am determinèd to prove a villain -- and hate the idle pleasures of these days.” Richard’s decision to be evil in his beginning soliloquy shows that he is not an incarnation of the Devil, as would be characteristic of the Vice. By stating that becoming evil was a choice of his, subconsciously or not, he shows that the evil within him is not necessarily an intrinsic part of his being. Throughout the play and movie both, we can see that Richard is more prone to tactics which are Machiavellian in nature, and is more subtle in his machinations.
From the beginning of the play, Richard II is apathetic at best in his royal role. By exiling Bolingbroke and...
In actuality, his mind overpowers his self. Because he firmly holds on to the belief that he “cannot prove a lover” without offering any proof that he really is incapable of wooing “a wanton ambling nymph,” Richard chooses “to prove a villain” (Shakespeare 6). His mind constantly rejects optimism and instead thrusts him back into the darkness where he can protect himself from disappointment. By doing so, Richard’s body becomes a canvas upon which his mind can paint any identity. Richard plays the concerned, supportive brother to an imprisoned Clarence, a good-hearted, loyal citizen in front of Brackenbury, and a drooling lover in front of Lady Anne. In reality, however, neither of these personas come even remotely close to the truth of his identity. By hiding behind these facades as well as expressing evil intentions and a strong connection to the dark side, Richard finds himself capable of being someone amazing. But that someone is not him. He revels in being able to “seem a saint…when mostly…play[ing] the devil,” and thus gains an identity through his villainous and monstrous ideas (36) Every physical action he takes can be traced back to its origin in the mind as a carefully crafted piece of his overall plan to ascend the