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Essay on The Power of Women in Richard III

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The Power of Women in Richard III

In Shakespeare's The Tragedy of King Richard the Third, the historical context of the play is dominated by male figures. As a result, women are relegated to an inferior role. However, they achieve verbal power through their own discourse of religion and superstition. In the opening speech of Act 1, Scene 2, Lines 1-30 Lady Anne orients the reader to the crucial political context of the play and the metaphysical issues contained within it (Greenblatt, 509). Lady Anne curses her foes, using strong language to indicate her authority. She speaks in blank verse, by which she utilizes imagery to emphasize her emotions and reinforce her pleas. Her speech clearly illustrates the distinction between the …show more content…

It is significant that her glowing, positive praise of the King is produced with the religious language of holiness and honor which gives her power.

In addition to mourning the death of the King, she laments the fall of the House of Lancaster. The dispute between the house of York and the house of Lancaster is the crucial background of the tragedy. She asserts the right of the Lancaster dynasty rule in her statement: "Th'untimely fall of virtuous Lancaster, / Thou bloodless remnant of that royal blood" (1:2:6-7). Taken literally, the "ashes," and the "bloodless" King relate to a funeral pyre and the white skin tone of death. However the "pale ashes," can also be interpreted as the white rose which represents the King. A "bloodless" rose is also the white rose of the King's shield. This division and conflict between the white rose and the red rose are outside the sphere of Lady Anne's control. The War of the Roses is a war in the sense that it is within the male sphere and she is unable to change the unhappy result of the dispute which results in the death of her husband and father-in-law.

By addressing the ghost of the King, Lady Anne introduces the supernatural. At line 5 she turns from the pallbearers to address the lifeless form of the King. She describes the figure of the king as "key-cold" (1:2:5) associating the imagery of the cold metal with the chill of death. Having

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