Richard's Actions in William Shakespeare's Play
To begin with, this essay will summarise Act 1 by pointing out the
main factors. There are three main factors in Act 1, which are
firstly, the opening soliloquy, secondly, the wooing of Lady Anne, and
finally, Richard and Clarence.
Richard is appealing because he is an expert actor and trickster.
Whilst he is outlining his plots, he is always in charge of himself,
and extremely aware of how to play every scene to his advantage. His
dishonesty and deception are daring and irresistible to the audience.
He is skilled at playing the concerned family man, taking his brother,
Clarence and then he becomes the Protector of his nephews.
Richard's ultimate plan is to be King, to reach this goal; he must
conduct acts of tyranny because he has no right to be King (the Divine
Right of Kingship).
In the opening soliloquy, Richard lays out his plots and thinks about
how he can get Clarence imprisoned and killed. During the wooing of
Lady Anne, first of all she is reluctant to give into Richard, however
after a while of Richard wooing her, she gives in to him.
And, throughout the conversation between Richard and Clarence, Richard
is seen to be a Machiavellian character. Richard wants to get rid of
his other brother, the Duke of Clarence, who has a closer claim to the
throne as the older heir. Richard instigates a plot to get the two
brothers to be against each other between the king and Clarence, which
result in Clarence being imprisoned in the Tower of London. Later, two
murderers are sent by Richard execute him.
Richard's opening soliloquy frames much of the play and reveals a
great deal about the personality of Richard's character. The opening
remarks are very logical in their progression: because Richard is
deformed, he cannot be loved; because he cannot be loved, he must be a
villain; because he must be a villain, he will strive for the throne.
This logical progression is of course anything but logical.
First power, amongst the royal family the mother, Eleanor is the Queen; the father is King Henry, the youngest son John, middle son Geoffrey, and oldest son Richard. In the play not one, but all of these characters have power in some kind of way. King Henry spent his life conquering many regions and wants to continue to conquer by passing king down to one of his three sons. A quote from the play that shows the greed that having power can create Henry asked, “Isn’t being chancellor power enough?” Geoffrey replies, “It’s not the power I feel deprived of. It’s the mention I miss.” Geoffrey does not think he will receive enough respect if he is just the chancellor and his younger brother John is king. When he comes to Richard, the oldest brother he thinks he should be king because of his army he has behind him, but this is where futility comes into play. It is not always about war and killing people to prove your powerful, but in Richards’s ways that is the only way. Richard says, “I am a constant soldier, a sometime poet, and I will be king.” This quote describes the type of person Richard wants to be, he wants to have all the power to rein over the castle and do it through war. Each of the family members is jealous of one another especially the children of the king and queen, it is pretty much a sibling rivalry between them. Having power can be a good thing or bad thing, in this situation the king and queens children have a different view on having power and what they would do if crowned
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.
Anne is quite like a modern woman in the way that if a man tells her
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].
Much of Shakespeare’s tribute to England in “Richard II” involved patriotism and the wish to please the audience. There was only a small amount of xenophobia involved. He often praised England and regarded it as a “demi-Paradise” (Shakespeare, “Richard II” 3) that was “built by Nature for herself.” (Shakespeare, “Richard II” 4) The compliments also served to please the audience since the audience often liked it if someone gave compliments about their country. There were only two lines that can be considered xenophobic: “As is the sepulcher in stubborn Jewry” (Shakespeare, “Richard II” 16) and “against the envy of less happier lands.” (Shakespeare, “Richard II”
Shakespeare Richard III was a traitor, a murderer, a tyrant, and a hypocrite. The leading characteristics of his mind are scorn, sarcasm, and an overwhelming contempt. It appears that the contempt for his victims rather than active hatred or cruelty was the motive for murdering them. Upon meeting him he sounds the keynote to his whole character. " I, that am curtailed of this proportion, cheated of feature by dissembling nature, Deform'd, unfinish'd sent before my time Into this word scarce half made up"( 1.1.20-23)
Compare the behavior and reactions of Richard, Anne and Elizabeth in Act One Scene Two and Act Four Scene Four.
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.
In this essay I will explore how significant act 3 scene 7 is to the
When one reflects on the questions they are asked in life, one of the most thought provoking questions is “what is your favorite movie?” Though a trivial question, one constantly finds oneself baffled trying to think of a movie in which they can truly say is their favorite. Once one comes up with an answer to this question, the preceding question is “why?” What is it that truly makes a movie great? One can argue the characters, or the story line that makes the movie great. But ultimately it is the memorable scenes in which make the movie ones favorite. It is the scenes that truly stand out above the other components of a movie or play. For this reason, numerous writers emphasize one or two scenes in which stand out from all the rest. This technique was mastered by no other than the playwright William Shakespeare. Shakespeare throughout his tragedies focuses on two scenes that stand out to the audiences. Shakespeare’s emphasis on scenes is evident in act 1 scene 1, act three scene 1 of his play Hamlet, and Act 2kj… of his play King Lear.
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.
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.
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.
The Character of Hamlet in William Shakespeare's Play Some critics have stated that the appeal of Hamlet to the audience is his many human weaknesses, the most notable being his indecision. His deliberations and procrastinations are particularly high-lighted when he is faced with the task of revenge. The law and Christianity, around the early seventeenth century, were clear in condemning personal revenge as an attempt by man to arrogate the prerogatives of God. Hamlet’s contradicting feelings toward avenging his father and avoiding breaking the law and going against Christianity were most likely felt by the Elizabethan audience also, which would have been made up of many Christians, namely, Protestants. Catherine Belsey stated: …The act of vengeance, in excess of justice, a repudiation of conscience, hellish in its mode of operation, seems to the revenger (and the audience) an over-riding imperative.
Throughout the historical literary periods, many writers underrepresented and undervalued the role of women in society, even more, they did not choose to yield the benefits of the numerous uses of the female character concerning the roles which women could accomplish as plot devices and literary tools. William Shakespeare was one playwright who found several uses for female characters in his works. Despite the fact that in Shakespeare's history play, Richard II, he did not use women in order to implement the facts regarding the historical events. Instead, he focused the use of women roles by making it clear that female characters significantly enriched the literary and theatrical facets of his work. Furthermore in Shakespeare’s history play, King Richard II, many critics have debated the role that women play, especially the queen. One of the arguments is that Shakespeare uses the queen’s role as every women’s role to show domestic life and emotion. Jo McMurtry explains the role of all women in his book, Understanding Shakespeare’s England A Companion for the American Reader, he states, “Women were seen, legally and socially, as wives. Marriage was a permanent state” (5). McMurtry argues that every woman’s role in the Elizabethan society is understood to be a legal permanent state that is socially correct as wives and mothers. Other critics believe that the role of the queen was to soften King Richard II’s personality for the nobles and commoners opinion of him. Shakespeare gives the queen only a few speaking scenes with limited lines in Acts two, four, and five through-out the play. Also, she is mentioned only a few times by several other of the characters of the play and is in multiple scenes wit...