The Supernatural in Shakespeare's Richard III Essay example

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

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.

    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 supernatural has always fascinated and continues to intrigue mankind. In many of Shakespeare’s plays, he uses the supernatural to strengthen a particular scene or to influence the impression the audience has about someone or something. This was not strange or uncommon in Shakespeare’s time. In fact, during the 1500s, many people still believed in witches and witchcraft. Even in today’s society, with such advanced science and technology, many people are still influenced, if not dictated by the supernatural. For example, religious people have the belief that their saviour, Jesus Christ was a man of many miracles; one of which was he turned water into wine. Despite the fact that it

This derives from the play as a recount of historical events with a known outcome and a medium for propaganda in support of the monarchy, an avid determinist. Nevertheless, the aforementioned tension is prevalent throughout and epitomised by the paradoxical pun ‘I am determined to prove a villain’. Uttered with a tone of poise and self-assuredness, the term ‘determined’ implies a conscious statement of purpose and a preordained villainy. Thus Richard is aligned with the stock character of the Vice, an instrument of predestination, and the innovative Machiavel, an advocator of humanism. Despite this, the ultimate decline of Richard is consequential of the reign of determinism. The directly antithetic correctio ‘I am a villain. Yet I lie, I am not’ yields an implicit self-doubt and acknowledgment of an inability to fulfil his humanist purpose. Providentialism thus displays precedence over self-determination. This is in direct contrast to Pacino’s docudrama, composed for a secular modern American audience disengaged with traditional notions of determinism. A greatly diminished and altered portrayal of Margaret, the primary instrument of determinism in the play, is expressive of this. Pacino devalues her curses by reducing her to a ‘sort of ghost of the past’. A frenzied montage of informative discourse and the activity of the play complete with

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

* Shakespeare shows the journey in Richard III of Richard himself on his dark quest to becoming king by both using his literary skills and performance to attain what he wants, ultimately being power.

Shakespeare used the physical deformities and the gray areas of history to create one of the most well known villains of all time. Shakespeare’s play, Richard III, is the leading voice in the Richard III story. He is portrayed as an ugly villain, an image that is fueling the way people think, talk and reference Richard III. In reality he differed as a person, but many mysteries remain unsolved. The murder of the princes in the tower at the hand of Richard III is still undecided. In more recent terms we are able to see what he actually looked like and if his physical appearance played the role it did in real life. Richard III is an unloved king by many people even though we base most of our assumptions on a play.

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.

Richard’s aspiration for power caused him to sacrifice his morals and loyalties in order to gain the throne of England. Shakespeare refers to the political instability of England, which is evident through the War of the Roses between the Yorks and Lancastrians fighting for the right to rule. In order to educate and entertain the audience of the instability of politics, Shakespeare poses Richard as a caricature of the Vice who is willing to do anything to get what he wants. As a result, the plans Richard executed were unethical, but done with pride and cunningness. Additionally, his physically crippled figure that was, “so lamely and unfashionable, that dogs bark at me as I halt by them,” reflects the deformity and corruption of his soul. The constant fauna imagery of Richard as the boar reflected his greedy nature and emphasises that he has lost his sense of humanity.

In Shakespeare's play The Tragedy of Macbeth, Shakespeare uses an underlying motif of the supernatural to control the characters and add a new dimension to the play.

The most common use of supernatural by Shakespeare within Richard III is curses. Curses are magic spells placed upon people with the intention of harm. The desired affect of curses can range from illness to death. Curses are commonly associated

Shakespeare adapts these tenants to construct a power thirsty character. Consequently, while the London elite was introduced to these ideals, Shakespeare shaped the overall plot of the play to exemplify the discussed the power quest introduced by Machiavelli. This results in Richard’s actions that lead him to kill his brother and manipulate his family into getting the throne.