The Character of Richard III as Shakespeare Presents Him to Us

Richard II was one of Shakespeare's political works depicting the rise and fall of King Richard II. Richard became king of England as a boy at 10 years of age, although his advisors made most of the political decisions of the kingdom until he matured. During this maturation period, Richard was more interested in learning about aesthetic things in life rather than things more responsible to the monarch. He had very little experience and talent in the areas of military tactics and his decisions relating to the monarch seemed arbitrary.

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

Richard, the main character of the Shakespeare’s play, Richard III is portrayed as socially destructive and politically over-ambitious. His destructive potential is depicted by the way he relates with the other protagonists in the play and also by what he confesses as his intentions.

Shakespeare’s plays were grouped into three categories: comedies, tragedies and histories. The histories were those plays based on the lives of English kings. Shakespeare was one of the first writers to write about English history. According to Garber, “before Shakespeare’s time there were few history plays such written in England--- England history was told in verse and prose chronicles (239)”. It’s considered that Richard II is one of the early “historical plays”. The play became so iconic that even Queen Elizabeth said that she was “Richard the second, know ye not that”. Richard II tells the story about a king’s downfall.

William Shakespeare’s Richard III is a historical play that focuses on one of his most famous and complex villainous characters. Richard III or The Duke of Gloucester, who eventually becomes king, is ambitious, bitter, ugly and deformed. He manipulates and murders his way to the throne and sets the tone for the whole play with his very first speech, which is the opening of the play.

    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.

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

The language of Shakespeare connects both King Richard III & Looking for Richard, enriching the significance of each & enabling both to provide continuous meaning for a range of contexts. The apparently outdated language of Shakespeare is given new life for the modern context, enabling audiences to better understand the original text & thus elevating the play. The film Looking for Richard, through rehearsals of actors, cuts between scholars and ‘random’ people on the street,

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

Connections of commonality and dissimilarity may be drawn between a multiplicity of texts through an appreciation of the values and attitudes with which they were composed. Accordingly, the values and attitudes of the individual being may be defined as an acute blend of externally induced, or contextual and internally triggered, or inherent factors. Cultural, historical, political, religious and social influences, dictated by the nature of one’s surroundings, imprint a variable pattern of values and attitudes upon the individual. Thus any deviation in any such factor may instigate an alteration of the contextual component of one’s perspective. By contrast, the

A deeper understanding of ambition and identity emerges from pursuing the connections between King Richard III and Looking for Richard.

To understand the complexity of the lineage of the English monarchy, it is imperative to make a connection between present values and those of the past. While contemporary society demonstrate an appreciation of William Shakespeare’s play King Richard III (1851) it is not one of his plays they can readily connect with. Al Pacino’s docu-drama, Looking for Richard, (henceforth Looking for...) (1996) attempts to bridge that gap through intertextual connections. Both composers elucidate their respective contexts through their exploration of the English monarch, King Richard III, through their representation of the Elizabethan struggle for power and Pacino’s attempts to connect the post-modern world to the 16th century. Pacino attempts to transform the Elizabethan play in light of

In both Titus Andronicus and Richard II the protagonist must face adversity and prove to their respective enemies that they have not been defeated. Titus is put in a position where he made a deal that was broken and Richard has been robbed of his title as king from Bolingbroke. Both characters use their metaphors when speaking to prove to everyone that they are still powerful when their pride has been stolen from them.

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.

land in the north of England after both the Earl and Anne died. He was