Richard's Loss of Self in Richard III
The attack of "conscience" that King Richard suffers in Act 5, Scene 5 of Shakespeare's Richard III (133-157) can be seen as the psychological climax of the drama, one that is critical to both Richard's development as a character and the play's ultimate success. Richard's struggle to reconcile the many different roles he attempts to play into one unified self, reflected in the tone and composition of his speech, adds depth and humanity to his character; at the same time, his ultimate failure to maintain his "self-made" identity simplifies the play in a way that allows the author to satisfy his audience by punishing the villain and reaffirming the world views that Richard's character appears to challenge (Luxon). While examining his own vision of himself, Richard finds his identity at a breaking point, and is forced to rely on the very ideas he used for his own advantage to judge himself. As the king, who seemed to be above the "afflict[ion] of "coward conscience" (5.5.133) is overwhelmed by the many different conceptions of who he is that are presented in the play, the audience cannot help but feel a mixture of sympathy and relief.
Richard's self "love" (5.5. 141), the kernel of his own identity, is threatened by the "fear" (5.5.136) his conscience instills in him. Throughout most of the play, the statement "Richard loves Richard" (5.5.137) functions as the character's motivation ‹ Gloucester consistently acts for his own "gain" (1.2.162). That self, however, has never been firmly worked out. The many "outward appearances" (Luxon) that Richard projects in the play are often contradictory, as he himself admits when he states that he "seem[s] a saint when most [he] play[s]...
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...ea of sin and retribution.
By causing Richard to condemn himself with the very principles that he used to raise himself up, Shakespeare manages to satisfy the audience without threatening their belief system. As Richard shifts from believing, as the first murderer does, that conscience is a "blushing, shamefaced spirit that mutinies in a man's bosom...[that] every man that means to do well endeavors to trust to himself and live without it" (1.4.130-135) to seeing it as something that can indeed "afflict"(5.5.133) and "condemn"(5.5.149) him, the "humanistic possibilities" that his character presented are "contained" (Luxon).
Works Cited
Luxon, Thomas. Lecture and Study Questions, Summer 1997.
Shakespeare, William. Richard III. The Norton Shakespeare. Ed. Stephen Greenblatt. (New York: W.W. Norton and Company, 1997), 515-600.
Watts, Cedric. 'Heart of Darkness.' The Cambridge Companion to Joseph Conrad. Ed. J.H. Stape. Cambridge: Cambridge University Press, 1996. 45-62.
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.
Special Operations Forces are stationed in hot spots throughout the globe to combat insurgency and terrorism in area. For instance, there is a Special Operations Joint Task Force in Afghanistan and their job is to "hunt down or kill high-value terrorist and insurgent leaders" (Shanker). US Special Operation Forces have conducted these type of missions not only in Afghanistan but also Somalia, Yemen, Pakistan, Philippines, and Iraq (Turse) because there are many terrorist cells that operates in area and they are a threat to the United States and its allies. Special Operations Forces is also stationed in Afghanistan to conduct counter-I.E.D operations. The Taliban plant these improvised explosive device to kill US and Coalition troops and sometimes these explosive devices kill innocent civilians (Shanker). The United States plan to withdraw the remaining troops out of Afghanistan and transfer control back to Afghan troops but US Special Operations Force will s...
Shakespeare, William. Hamlet (The New Folger Library Shakespeare). Simon & Schuster; New Folger Edition, 2003.
Conrad, Joseph. Heart of Darkness. The Longman Anthology of British Literature. Ed. David Damrosch, New York: Pearson. Copyright 2004.
Society’s outlook on “what’s in” changes every day, from what’s hot to what’s not. Fads repeat themselves over time and grow to be something that everyone now loves. Tattoos are the main trending thing of this century. They were once only a symbolism for criminals, sailors, prostitutes, and bikers, but now tattooing is mainstream in today’s times. Tattoos are seen as works of arts and your body is the canvas for aspiring tattoo artist. Nowadays there is such a wide variety of tattoos with different meanings, such as, a hand print of a loved one to someone’s favorite quote or bible verse. Some tattoos don’t always have to have meaning behind it. Anyone can decorate their body simply because they want meaningless, but artsy and funny tattoos. Inking up is becoming a significant part of someone’s life whether there is a meaning behind the tattoo or not, it is a growing thing to do and it doesn’t seem to be stopping anytime soon.
Alexa Stevenson. “Probing Question: What Is The History of Tattooing.” Penn State News. 20 June, 2008: 1
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 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.
The attitudes of the people who will allow themselves to be dominated is by far worse than a domineering government.
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.
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.
and sent before his time" and "since he cannot prove to be a lover; he is
Shakespeare, William. The Three-Text Hamlet. Eds. Paul Bertram and Bernice Kliman. New York: AMS Press, 1991.
The Heart of Darkness, by Joseph Conrad, displays the power of humans and nature. Joseph Conrad says, “ My task is by the power of the written word before all, to make you see.” His words display, the contradiction of humanity and their actions through the manipulation of the light and dark forces. The heart of darkness is ambiguity between humans, their malcontent with themselves, and how they bend to natures will.