King Richard's Conscience Essay

He cannot take revenge on the man who got rid of his father and took his place with his mother. The horror could awaken Hamlet’s violence, which is replaced by remorse and scruples of conscience. Scruples in the consciousness that correspond to something that goes beyond it, that is, in the unconscious.

Shakespeare’s and Pacino’s texts both depict Richard’s downfall due to his lack of conscience and virtues in his ambitious quest for power to reflect the beliefs of a Providential and secular society respectively. As such, Shakespeare's use of stichomythia and rhetorical question “Was ever woman in this humour wooed? Was ever woman in this humour won?” accentuates the lack of compassion and morality in Richard’s persuasive abilities to emotionally manipulate Anne to accept him as a suitor in his path to attain greatness. With Richard’s gratification of his achievement, Shakespeare illustrates the tyrant within Richard as his moral conscience diminishes due to over-ambition, hence reflecting the harsh Machiavellian politics in the Elizabethan era. Shakespeare’s underlying message on over-ambition is further exemplified through the dissolution of Richard’s unjust reign and mental stability through the death imagery in “It is now dead midnight. Cold fearful drops stand on my trembling flesh. What do I fear? Myself?”. Richard’s unstable mind in the ghosts’ precession, encapsulates Shakespeare’s message of the ramifications of sacrilegious acts whilst asserting God’s divine retribution on any form of theomachy ambition. In accordance to Shakespeare’s illustration of the fall of man due to ambition,

the play draws its readers to identify with Richard and thereby to participate in a

His mother says … Shame serves thy life and doth thy death attend… (Act IV, Scene 4, l.2986); even though she is his mother, she sees what Richard has done and does not approve of it. She is a character that reminds Richard that he is constantly wrong and he came … on earth to make the earth my hell… (Act IV, Scene 4, l.15). She has very strong feelings of revenge towards Richard, like most of the females in the play, but is powerless in front of him.

Hamlet does not only value his own morality, but also the morality of others. Besides worrying about his own morality, his mother's morality has much significance to him. As Robert Luyster states, "Hamlet would have Gertrude, like himself, become purified, but this can only be done through the acceding to consciousness' claim to be hard"(Luyster 77). Hamlet contemplates his every action. This problem eventually overwhelms him while also causing his madness. The depth of his thought concerning the murder of Claudius following Hamlet's play reveals his madness. "Reason and action are not opposed in Hamlet, but for most of the play, they fail to coalesce as either we or the characters would like them to" (Kastan 48).

Richard I reigned over England during the Middle Ages from 1189 to 1199 with great bravery and immense courage. Richard was born as the third legitimate son of King Henry II of England and never assumed that he would ever ascend to become the king. After leading his country in the Third Crusade, he gained the nicknames “the lionhearted” and “the absent king.” Through many heroic deeds while away at war, he deserved the nickname of “The Lionhearted” the most.

Shakespeare’s Richard III, is filled with desires and determination to achieve and fulfill ambition. Shakespeare uses the power of language to explicate Richard’s manipulative ways to fulfill his desires of becoming king, thus doing so by bringing darkness to the content world of others. According to Anderson’s article The Death of a Mind: Study of Shakespeare’s Richard III Richard’s state of mind is oriented around imposing “dark shadows over the positive dispositions of the others’ lives” (Anderson 701); he works at spreading destruction and grievance to those around him. Throughout the play Richard is in his own state of mind, with his main focus on the crown. Act I scene ii, illustrates Richard’s power and manipulative ways through language in order to gain advantage and gain a step forward in achieving the crown. The dialogue between Richard and Lady Anne at King Henry’s funeral exemplifies his manipulation when he uses charming and charismatic words to obtain her attention. Throughout this essay I will agree with Anderson’s point that Richard’s manipulative ploy is a means of fulfilling his ambition. This essay will explicate how Richard manipulates and uses the power of language to exemplify what his deranged state of mind can do to unsuspecting and naive minds. Lady Anne, her character at the beginning of the scene is distressed and angered, however as the scene progresses, Richard’s dialogue with Lady Anne begins to illustrate her naive mind and weak character

In William Shakespeare’s play, Hamlet, the playwright introduces the compelling, complex, and complicated character of the Prince of Denmark, Hamlet. In the events of the play, Hamlet swears revenge against his uncle for the foul murder of his father, the king. However, despite his intense catalyst, Hamlet reveals to be continuously torn between his motive of revenge and conflicted conscience, generating an inability to carry out his desired actions. While Hamlet possesses the passion and intellect to murder his uncle, Claudius, his actual inclination to act upon the murder directly opposes that of his powerfully emotional contemplations (S.T. Coleridge). Hamlet’s overzealous thoughts become unrealistic compared to his actual endeavors throughout the play.

Ambition is an earnest desire for achievement. Both texts are self reflexive and emphasise Richard’s obsessive ambition, desire and longing for the throne. Each Richard strives towards capturing the throne regardless of consequences and bloodshed. Richard is depicted in both texts as an ambitious character who strives to gain power and independence through deception and self confessed villainy. ‘Since I cannot prove a lover. . . I am determined to prove a villain’ This obsession which drives Richard to commit horrific evils to gain and then protect his claim to the throne. His ambition, power and evil blinds him and inevitably is responsible for his downfall in both of the texts. A connection is formed between Looking for Richard and King Richard III in the final scenes Al Pacino’s interpretation and ‘Hollywood’ background influences an ending which can be interpreted as portraying Richmond as a coward. Elizabethan audiences

Although the concept of good and evil is subjective, one who knowingly commits a wrongful act, otherwise known as sin, must face consequences either externally or within their own mind. In the final Act of William Shakespeare's Richard III, Richard's conscience torments him after he dreams that he is visited from all of the souls he has killed. Act 5 Scene 3 is perhaps the most notable of the play, as it is the only scene in which Richard pauses to reflect on the severity of his actions; it is the only moment in which he feels guilty, fearful and unsure of himself and his success. In the passage following Richard's dream, Shakespeare relies on rhetorical and structuring devices to demonstrate Richard's uncertainty.

Richard then gloats over his success in a soliloquy stating how he has won her heart even though he is regarded by her as the devil with dissembling looks and he stabbed Edward her love just 3 months earlier. This highlights how he thinks of himself as the best as he brags about his misdeeds as though he is immortal.

My report is on Richard I, byname Richard the Lion-Hearted. He was born September 8, 1157 in Oxford, England. He died on April 6, 1199 in Chalus, England. His knightly manner and his prowess in the Third Crusade(1189-92) made him a popular king in his own time, as well as the hero of countless romantic legends. He has been viewed less kindly by more recent historians and scholars.

The pursuit of individual recognition in the form of power and authority remains intrinsic in texts despite the change in contexts. This is evident in William Shakespeare’s 16th century play, King Richard III and Al Pacino’s 19th century docu-drama, Looking for Richard. Both texts explore that the pursuit of individual recognition can be initiated by an individual’s flaw in character caused by the corruption of their sense of morality in order to gain power. This is depicted through the malicious and treacherous nature of the central character, Richard in both texts. There are central ideas conveyed in these texts, including the nature of authority, the acquisition of power and the significant impact determinism plays in one’s decisions and actions. However, due to the difference in cultural context, Pacino reshapes these values to make Shakespeare accessible to a modern day audience. As a result, Pacino sequentially follows the plot of King Richard III in order to emphasise the relevance of Shakespeare’s plays in a modern society. Pacino addresses this through an emphasis on film techniques instead of dramatic techniques. Therefore, it is evident that the comparative study of these texts allows the responder to appreciate the connection between contexts and values, allowing the responder to reflect upon their own society’s concerns.

In King Leer, Shakespeare presents characters who suffer great injustices as well as those who never seem to suffer or feel remorse over their actions. Maynard Mack states, it is better to suffer than to live without a conscience; but simply suffering remains insufficient. While suffering remains superior to having no conscience, it alone does not make a person good, but creates opportunities for the growth of a conscience, instead of blinding someone from the reality of their actions.

The necessity of balance within the human mind is addressed by the theme of action and inaction within the play. Hamlet, the protagonist of the play, must seek revenge for his father’s murder. However he suspects that his informant, the ghost of his father, could be the devil in disguise, so Hamlet requires proof that Claudius is guilty. In act 2, scene 2, Hamlet soliloquises, ‘I’ll have grounds / More relative than this. The play’s the thing / Wherein I’ll catch the conscience of the King’. The use of iambic pentameter, and the rhyming couplet at the end of the scene conveys the importance of the plan. Hamlet has asked the players to perform a scene, mimicking his father’s murder. If Claudius is guilty, he will react poorly to the scene. This example of careful planning illustrates the balance between thought and action that humanity seeks to exemplify. In act 3, scene 1, Hamlet declares, ‘Thus conscience does make cowards of us all, / And thus the native hue of resolution / Is sicklied o'er with the pale cast of thought’, soliloquising that natural instinct is inhibited by thought. The personification of fear and the connotations associated with the words, ‘sicklied’ and ‘pale’ depict action as strong and thought as weak. This power imbalance between action and thought foreshadows the climax of the play, where action without thought provokes chaotic consequences. In act 5, scene 2, Horatio says to Hamlet, ‘If your mind dislike anything, obey it. I will forestall their repair hither and say you are not fit’. Hamlet replies, ‘Not a whit… If it be now, ’tis not to come. If it be not to