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critical essay on richard iii decpetion
richard iii character analysis
Characterization of richard iii in the play richard iii
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The Last Act of Richard III
In Shakespeare's play Richard III, the main character Richard is developed as an actor - to the degree of morbidity. Richard is forever putting on an act, and playing the part that he thinks will most please whomever he shares the stage with at a given moment. Not that to please is his ultimate goal, it is just a means to get what he wants--which is the tempting role of the king. His acts are from the start plentiful, and for some time almost surprisingly effective. To Clarence he plays the Loving and Concerned Brother. His counterfeit fools Clarence into a state of trust that is stunning to the spectator, who knows that the events which make Richard exclaim "We are not safe, Clarence, we are not safe!" (I.i.70) are in fact Richard's own doing.
Alone with his audience, Richard plays the part of the Self-confident Villain. The audience serves a function not unlike that of a mirror, only it mirrors character traits rather than looks. He introduces himself as the actor who cannot play the role of lover (i.e. be good) satisfactorily, so he chooses to play the villain (i.e. be bad) instead. The notion that this is a choice, as well as his use of the word play rather than be, underline the fact that to him this is all acting. In front of the audience--his mirror and thus a second self--Richard toys around with the conviction that he can do anything he sets his mind to through the means of his acting abilities. He leaves his audience speechless by going through with the overly ambitious task he sets up. He tells us that he will marry Warwick's youngest daughter, and the next thing you know, he has pulled it off. Whether Anne falls for Richard's sex appeal or his rhetoric is moot, yet she does fall. Richard himself seems credulous at her giving in so easily; "Was ever woman in this humour woo'd? / Was ever woman in this humour won?" (I.ii.232-233) He talks as if it were a sign that his repulsiveness must in some way appear attractive to her, although the way he expresses this makes me doubt his seriousness. Perhaps this is an attempt at sharing a joke with his audience, his feeling being that as it cannot possibly be his looks she has fallen for, it must be his words.
In order to better understand the premises of the story a short summary is needed to get to know the narrator better. The protagonist, although not named tries to enjoy his summer with two of his friends Jeff and Digby by being rebels. Initially looking for trouble, they ride around from place to place using the protagonist’s parents’ borrowed car. They go looking for trouble at a place called Greasy Lake where they mistake a car for their friend’s car and try interrupt him while getting busy with a lady. When they interrupt the couple in the car, they find out that their friend Tony wasn’t in there, but a stranger, a real “badass”, their foil, was interrupted who proceeds to beat down the protagonist and his two friends. Out of rash thinking he hits the “badass” in the head with a tire iron just enough to knock him out. Once he is down the protagonist and his friends try to ravage the “foxy” lady the re...
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.
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].
At the start of Adolf Hitler’s reign of terror, no one would have been able to foresee what eventually led to the genocide of approximately six million Jews. However, steps can be traced to see how the Holocaust occurred. One of those steps would be the implementation of the ghetto system in Poland. This system allowed for Jews to be placed in overcrowded areas while Nazi officials figured out what to do with them permanently. The ghettos started out as a temporary solution that eventually became a dehumanizing method that allowed mass relocation into overcrowded areas where starvation and privation thrived. Also, Nazi officials allowed for corrupt Jewish governments that created an atmosphere of mistrust within its walls. Together, this allowed
Alphonse Capone was born in Brooklyn, New York, on January 17, 1899. He grew up in a very rough neighborhood and became a part of two gangs during this time. He was a very bright kid, yet he quit school in the sixth grade at age fourteen. He worked several jobs, such as a clerk at a candy store and a pin boy at a bowling alley, in between scams.
... order to gain resources there that could aid them in their war against China. Further, invading and conquering Korea would have cut China off from what was a vital tributary/vassal state of the Chinese, and would have weakened them considerably. These were his main motives in attack.
and sent before his time" and "since he cannot prove to be a lover; he is
Al Capone was a boy born on January 17, 1899 (Chicago Historical Society). He was born in the city of Brooklyn, New York. His given name was Alphonsus Capone from his Italian background, but everyone called him Al. Capone grew up in a truly poor neighborhood in Brooklyn. He was a very smart kid; however, he dropped out of school at the young age of fourteen. He was a member of two different child gangs. The names were the Brooklyn Rippers and the Forty- thieves Juniors. The Forty- thieves Juniors were a young branch of the original Forty- thieves. Not only was he already part of child gangs, Capone also had many odd jobs in his life. Some examples of these jobs are a clerk in a candy store, pin boy in a bowling alley, cutter in a book bindery, Harvard Inn bouncer and bartender. As he grew up he was still tied into many bad things, but then he met Mary Coughlin. He met her at a dance in 1918. On December 4, 1918, she gave birth to their son Albert “Sonny” Francis. Capone and Coughlin were married on December 30, 1918 (Chicago Historical Society). His sid...
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.
The term “ghetto” came from the Jewish Quarter in Venice that was made in 1516, when the Venetian experts required the entire city’s Jewish people to live in this area. The Ghettos separated the Jews from the Non-Jews and from other Jewish communities. There were three types of ghettos, closed, open, and destruction ghettos. My thoughts are that the destruction ghettos are concentration or death camps. The ghetto was not a Nazi invention.
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.
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.
Throughout these different stages that Richard experiences, the reader reactions change as well. Although there is negative feedback throughout the first half, it seems as if Richard’s character is supposed to slowly elicit sympathy from the reader. In a journal article Paula Blank asserts, “Richard seems, for some readers, to emerge as the victim rather than the perpetrator of a crime.” (Blank, 328). By cleverly assuming the position of victim by the end, the King captures the emotions and feelings of many readers; thus, William Shakespeare orchestrates riveting transformations for King Richard in Richard II, and in return creates evolving reactions from the reader.
...ory seems to be based on the perceivers working under the ideal circumstances, where stimulus information is plentiful and available for an appropriate length of time. Gregory’s constructivist theories have typically involved viewing under less than ideal conditions. We understand and see things not as they are, but as we are and see them to be. The world can be compared to an illusion by not always being able to see things as they are. It is the choice of the human brain whether to understand things. Naturally, each mind is different and is meant to perceive things differently. While growing up, our family, education, and experiences impact our mind and persuade each of our opinions and alter perceptions of everything we do. Our perception becomes the basis of our future. As we grow older, learn new ideas, and experience new things, our perception can be changed.
The second play shows Richard's lying and manipulation as a Machiavel figure. The audience clearly sees all of the lies that Richard tells throughout the play. Richard is able to manipul...