Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
The complex character of richard ii
Essays on richard the iii
Essays on richard the iii
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: The complex character of richard ii
In mythology, the term “Satan” is defined as the ruler of the underworld. In literature however, that title is associated with the “opposer”, or the arch-rebel. This name originates from the corrupt hero Satan in Milton’s Paradise Lost. Interestingly, Satan is not completely depicted as demonic and repugnant. On the contrary, he is able to deliver exhilarating speeches, evoke pity of the public, and even demonstrate some virtues normally affiliated with a tragic hero. However, Milton is not the only one to use such a figure in his writing. Shakespeare also utilizes the “satanic hero model” in many of his tragedies. A famous example can be seen in Richard III, where he characterizes Richard as a “devilish embodiment of evil” and a “satanic usurper” (Pearlman, 1), who nevertheless possesses heroic traits. Richard is a clever and inspiring orator as he is a brave and bold warrior. Despite having these conventional heroic traits, Richard is portrayed as a true satanic hero through his corruption of what society views as sacred: love, religion, loyalty, and ultimately himself.
Similar to Satan, Richard yearns to exploit what he is restrained from, such as romantic love and marriage. He is deprived of these privileges due to his deformed appearance, and for that reason, he seeks to demoralize and taint it. William C. Carroll the same observation in his essay: “The natural form and order of marriage and birth, then represent for Richard what he is denied, what he desires, and what he must violate (2).” Richard’s assault on love is a ferocious and revengeful one. This is evident before his wooing of Anne, when he declares, “What though I kill’d her husband and her father? / The readiest way to make the wench amends / Is to become her h...
... middle of paper ...
...es an immoral mind.
Works Cited
Carroll, William C. “‘The Form of Law’: Ritual and Succession in Richard III.”
Shakespeare’s Histories (Bloom’s Major Dramatists). Ed. Harold Bloom, Broomall, PA: Chelsea House, 2000. 24-28.
Pearlman, E. “The Invention of Richard Gloucester.” Shakespeare’s Histories (Bloom’s
Major Dramatists). Ed. Harold Bloom, Broomall, PA: Chelsea House, 2000. 28-30.
Schlegel, August Wilhelm. “Lectures of Dramatic Art and Literature.” Shakespeare’s
Histories (Bloom’s Major Dramatists). Ed. Harold Bloom, Broomall, PA: Chelsea House, 2000. 19-21.
Shakespeare, William. King Richard III. Eds. Pat Baldwin and Tom Baldwin.
Cambridge: Cambridge UP, 2005.
Young, Bruce W. “Ritual as Grace: Parental Blessings in Richard III.” Shakespeare’s
Histories (Bloom’s Major Dramatists). Ed. Harold Bloom, Broomall, PA: Chelsea House, 2000. 21-23.
Composers throughout various zeitgeists are linked by different representations of universal human concerns, and their texts simultaneously embody certain values and agendas individual to themselves. An exploration of Shakespeare’s King Richard III (1592) and Al Pacino’s Looking for Richard (1996) allows for a greater understanding of the composer’s respective contexts, along with their intended agendas, through the lens of their own societal values and concerns. The manipulation of Richard III’s persona, whether by authorial adaptation of historical sources related to his character, or through the differing views of Richards motives, are universal concepts, that when studied in relation to the differing time periods, accentuates the context and our understanding of recurrent aspects of the human experience.
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.
Richard starts of persuading Lady Anne to marry him. After killing her husband and dad, he still blames her for not accepting his love. With great confidence, he tells her to either kill him or marry him. “Arise,
...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.
...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.”
In Act Scene Two, Richard is very clever and intelligent with his moves in convincing Anne to marry him. In fact his knowledge and organisation led him to having three stages of development in manipulating Anne. Anne was an easy target though. He thought that Elizabeth was just as easy to convince, so he did not put any extra effort in. But little did he know that that extra effort would have saved his life. He totally put aside his manipulation skills and took it calm and easy in Act Four Scene Four, so he had to get quite desperate at the end of the scene. He was satisfied to know that he won both oral battles against the ladies, at least he thought so. But Elizabeth was not as weak as poor Anne was. She had a couple of tricks up her sleeve. She was aware of Richard’s evil plans. She had a feeling Richard had slaughtered her dear sons, as well as innocent lady Anne. She knew for sure that he had murdered Anne’s husband and father in-law. And she had a feeling that he had done more harm than what meets the eye. She acted as though she gave in and made the path clear for Richard to marry her daughter (Elizabeth, of the same name).
It is not terribly odd to see directors adapt Shakespearian plays to a different era. In fact, contemporary elements in films like Baz Luhrmann’s Romeo and Juliet and the most recent Much Ado About Nothing by Joss Whedon have definitely bring valuable new readings to the text. Embracing this trend, Richard III (1995) by Richard Loncraine shifts its background to 1930s Britain. Starring Ian McKellen as Richard, the movie makes an undeniable connection to Nazi Germany; very details include costume design, set and prop, and cinematography choices all closely relate Richard to Hitler, an equivalent villain from modern history. The choice of blending Hitler into Richard puts viewers now into the shoes of audience from Shakespeare’s time to better understand Richard’s evil; although Richard III is quite ancient, Hitler is still a new scar.
Many arguments have been made that Dante’s Inferno glimmers through here and there in Milton’s Paradise Lost. While at first glance the two poems seem quite drastically different in their portrayal of Hell, but scholars have made arguments that influence from Dante shines through Milton’s work as well as arguments refuting these claims. All of these arguments have their own merit and while there are instances where a Dantean influence can be seen throughout Paradise Lost, Milton’s progression of evil and Satan are quite different from Dante. Dante’s influence on Milton is noted by many scholars and is very apparent in several instances throughout Paradise Lost, however, Milton shows a progression of evil through his own vision of Satan and creates a Hell that is less meticulously constructed than Dante’s and more open to interpretation.
Wicked, dishonorable, corrupt, villainous, malicious, and vicious all have one thing in common: they define evil. A person or a group of people that display these qualities are often defined as evil beings or creatures. Two people that have many of these characteristics developed within them are Iago from Shakespeare’s Othello and Lucifer from the Bible. Both Iago and Lucifer are developed with many “evil” qualities woven intricately into their character development. The representation of each “evil” characteristic gives them something they have in common, allowing the description and portrayal of both Iago and Lucifer in literature show the audience they share common “evil” characteristics and that they lead to chaos and downfall.
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.
"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.
In considering Aristotle’s idea of hamartia, someone who is a good person, but fell from grace, and apply it to Satan then it seems reasonable to interpret Satan as having hero like characteristics. Aristotle would say that a courageous person is inspired by confidence, faces dangerous, and acts appropriately to this courage (Nicomachean Ethics). Not only is Satan a courageous figure, but starts off as a good character even though he makes mistakes along the way. In the first two Books Milton does this very thing of portraying Satan as a hero to appeal to the readers so that they are able to identify with his charact...
Milton uses many events like the ones listed above to encourage the reader to view Satan as a hero. "Satan is described to be the brightest and most important angel" (McColley 32). These traits of Satan show how one might recognize Satan as the second in power right below God, who was the highest power of all. Before Satan decides to give up what he has and to rebel against God, he was one of the wisest and most beautiful of all the angels in heaven (McColley 24). Although Satan was beautiful, the most important trait that makes him fit into the hero category is that he was the most powerful angel in heaven.
In Milton's Paradise Lost, he writes the story of the fall of Satan, his followers, and mankind. Many critics often view Satan as the unlikely or tragic hero of the epic poem. Satan is, obviously, the main character throughout most of the poem, but not necessarily the hero. Satan's main purpose is to fight G-d, and try to be on the same level as Him. The important thing is to realize that Satan is sin, and being humans, who are all born into sin, we can easily relate to a sinful character. G-d is holy and perfect. This is something which we, being fallible humans, cannot begin to comprehend. Satan does, at the beginning, follow many of the attributes which coincide with Aristotle's definition of a tragic hero; however, after the first few Books, Satan looses his status as a tragic hero rather rapidly. Along with this, Satan's thoughts parallel the idea of "Evil, be thou my good," (p76, line 110) which is the opposite of what G-d intends.