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Analyse the character of King Richard II
Analyse the character of King Richard II
Essay Richard 2. Shakespeare
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Richard III, by William Shakespeare, is a play based on the amount of power and decisiveness needed to become the king of England. The main character Richard of Gloucester is the brother of the current king. The fact that Richard is evil for no apparent reason troubles readers. Yet overtime, the audience begins to warm up to Richard in part because of his skill with words. Richard's obvious skill of language allows him to successfully manipulate nearly every character in the play. This skill enables him to woo Lady Anne, have Clarence thrown in prison, blame the king for Clarence's death, and achieve Hastings's execution, all without any harm to himself. Although Richard's use of words permits him to manipulate and control those around him, it becomes evident that this is Richard's only defense. When the Princes match wits with Richard, they are quickly executed. The default action of the main character, if unable to manipulate, is to kill. The skill of Richard's language is clear when he states, "I would to God my heart were flint like Edward's, or Edward's soft and pitiful like mine" (Shakespeare 6). At first glance this quote seems to be just another one of Richard's quick deceitful lines that is told merely to pass suspicion away from him. However, Richard is insinuating that Edward is a cold-hearted ruler who has no compassion for his people. Richard then says that his own heart is weak and pitiful. Richard says this in order for the subjects to see him as a hero and to see Edward as a villain. This cunning move by Richard does not convince Queen Margaret or Queen Elizabeth. Throughout the play Richard makes subtle attempts at manipulating both Elizabeth and Margaret without success, while easily influencing... ... middle of paper ... ...undeveloped by some because of the irrational and sporadic murderous events that the main character takes part in. Although Richard may seem undeveloped, the contrary is tangible. Richard's ability to manipulate and control those around him is evidence enough of his characters complexity. Not only does he have this skill of language working for him, but his ambitious nature creates opportunities for him to utilize his skill. Shakespeare's uses dreams, throughout the play, to foreshadow the events to come. Richard believes that his nightmare is truthful and that he will pay for his sins, while Clarence was uncertain about his dream and Hastings completely dismissed Stanley's dream. This shows that Richard's mental awareness is higher than that of his brother and nobleman. Although Richard is successful in becoming king of England, his success is short lived.
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...
To explore connections between texts is to heighten understanding of humanity’s progressing values and the underlying relevant themes that continue to engage societies regardless of context. William Shakespeare’s King Richard III (1592) (RIII) and Al Pacino’s docudrama Looking for Richard (1996) (LFR) demonstrate how opinion is created through comparative study, both explore the struggle for power within differing contexts to determine the duplicity of humanity. Ultimately, despite the divergent eras of composition and textual form, these connections expose the relevant social commentaries of their composers, highlighting innately human values, which remain constant.
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
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.
Shakespeare creates a tragic tone through characterization and juxtaposition. He defines natural law and sets it apart from social law, but Edmund mistakes one for the other and falls from power, revealing his hamartia. Shakespeare establishes Edmund’s motives by highlighting his bastardy. Both of Gloucester’s sons are his by nature, but society has made the difference between the two.
Richard III challenges notions of how history is created and presented. Shakespeare’s play depicts the infamous Richard not only at odds with the other characters, but also fighting for a different interpretation of history. Richard and Margaret function as two characters opposed to each other with regard to history; Richard attempts to cover up the past as Margaret attempts to expose it. However, the creation and acceptance of history is largely predicated on more common figures. In particular the scrivener, a seemingly small side character, becomes an integral figure who creates the documentation of history, cementing the written version as a truth. The scrivener, tasked with the duty to write the documents falsely indicting Hastings at Richard’s request, approaches the audience in Act III, scene 6 and laments his position of falsely creating a legal document construed as truth, and manifests the complicated truth of history. The scrivener’s position as a figure entrusted with written truth is observantly figured against both Richard’s approach to history through his language and the play as a whole–a text figured with propagandistic interests with the Tudor line. The scrivener’s scene, with its focus of documented history, exposes Richard’s verbal tricks and the play’s reliability as a historical document. While critics including Paige Martin Reynolds and Linda Charnes have identified both Richard and Margaret of Anjou as figures who engage with and distort history, lesser characters serve similar vital functions. Overall, Charnes and Reynolds contribute much to the conversation of history within the text and are essential to this particular reading, yet the level that the scrivener as a character works on contributes to...
One cannot escape one’s fate. The theme of fate and freewill is central to William Shakespeare’s play Richard III, in which Richard III battles with the two in his quest for the crown. Richard seeks to escape his fate as a deformed and unfinished hunchback by using what little power he has to gain more power and respect. Although Richard thinks that he is acting on his own free will, fate still controls him throughout his journey. In addition, Richard’s fate is expressed in the form of a curse that Margaret delivers as punishment for his crimes against her and her family. Even though everyone sees Margaret as an irrational person, her curses against Richard and several other people end up coming true. Although Richard’s fate comes true, free will is still seen throughout the play, namely in the struggle of conscience.
Almost every time he speaks he is lying and deceiving. Thirdly, Richard loses his throne and his life. It is worth mentioning this downfall can also include losing one’s good reputation. While Richard did not have a good reputation due to his deeds, Buckingham respected Richard up until he did not give Buckingham what he was owed. So in a small way he did lose respect and his reputation.
"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.
Shakespeare’s, Richard III depicts the unscrupulous rise to power and ensuing short reign of Richard III of England. Through all of his plays, Richard is becoming known as the perfect villain for the way he raises to power. We know that Richard is obviously a villain by the way he single-handedly orchestrates all of the chaos and violence throughout the course of the play. However, Richard III makes the readers reevaluate the meaning of what a hero really is. As malevolent as he is, there is no question that he is the play’s protagonist. He is motivated by self-interest and the play’s plot is ultimately developed around his battle to become the king and remain in power over the people. The reader’s get in depth looks at his character and they almost develop a false sense of sympathy for the jealousy and pain that he had endured, while blatantly disregarding the fact that he is a murderer. On the other hand, he can be viewed in some aspects as the hero of the play. As crazy as this may be, Richard shares some noble qualities that heroes have. During his rise to power, he displayed perseverance and courage in a way that was never thought possible.
This excerpt of King Richard III by William Shakespeare is from Act 5, Scene 3, and lines 316 to 343. It is right before the Battle of Bosworth, between Richard and Richmond. The two opposing sides have been drawing closer to each other, while the tension builds. The huge contrast in character between the leaders of the two armies is extremely evident. Having just been visited and cursed by ghosts, Richard is feeling extremely unconfident and unsure of himself. As the drum of his enemy sounds in the distance, Richard attempts to give his soldiers a final speech. He is trying to motivate his men, although the majority does not support him. He has to use a variety of tactics to make his soldiers more passionate. The literary features such as
Richard III by Shakespeare incorporates many stylistic features, devices, and elements as a means of aiding the creation of this complicated play, but also to help Richard achieve the his only goal, the throne.
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.