The Titular Character Of William Shakespeare 's Richard IIi

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.

* Lady Anne scene – Richard turns from the monstrous Machiavellian character we see throughout most of the play, into a romantic wooer. He uses rhetorical language such as pathos to connect with her emotions which assists him in essentially ‘capturing’ Lady Anne. The fact that Richard had just killed her husband King Edward, with her still being with his coffin just makes Richard seem even more powerful as he still manages to pull Lady Anne into marrying him. Although in this scene Lady Anne proves to hold the knowledge of language too as there is constant stichomythia between the two characters through most of the scene but the line which best shows this is when Richard says “Bid me kill myself. I will do it.” And

Children bring out the underlying disposition and wicked intentions we all possess. Richard III, by William Shakespeare, is a tragic play about the Duke of Gloucester who desires to be the king of England. He does this through the manipulation and murder of many characters, including Queen Elizabeth’s children, Prince Edward and the Duke of York. These children emphasize some of the “adult” themes in the play and reveals the devastating nature of these themes. Their characteristics and deaths all contribute to the emphasis of these themes. Critics Marie-Hélène Bisnaught and Michel Bito, and Vincent Walsh all agree that the murder of Prince Edward and the Duke of York was an atrocious deed.

This decision is sure to lead to his ruin because it was known to Bolingbroke and his father Gaunt, that the king was involved in the murder of Thomas of Woodstock. Shakespeare shows that a king who is merciful, is not industrious, instead very incompetent for not putting an end to both parties that know of his treachery. Shakespeare goes on the show that Richard does not take counsel from those who have the experience and knowledge to further his rule, much like when he decided to banish Mowbry and Bolingbroke, that decision was done by himself, without hearing any advice or taking heed of what the consequences might be. Even Gaunt had tried to help Richard even on his deathbed he says that his “life’s counsel would not hear” but hoped that his “death’s sad tale may yet undeaf his ear” (II.i pg 401).Machiavelli points out that a prince who inherits the throne, like Richard, is the most enabled to keep and maintain his power, he who has connections and had witnessed those who succeeded him, for it is “a wise man ought always to follow the paths beaten by great men, and to imitate those who have been supreme” (Machiavelli 28). Richard’s arrogance and lack of rationality to heed the wise man’s words are predictable, the steady progression of incompetence proves that England needs a Machiavellian rule, instead of one who prefers flatterers advice. This damnation of self that is seen

Prior to the events of the play, Richard in his first monologue fills the audience in on his plans to become king and it is eventually revealed that he is responsible for the death of King Henry VI whom happens to be Lady Anne’s father-in-law. Lady Anne makes it apparent that she is well aware of Richard’s crimes “Dost grant me, hedgehog? Then, God grant me too Thou mayst be damned for that wicked deed. O, he was gentle, mild and virtuous (I.ii.105-110). Even though Richard is aware Anne detests him, he still continues on with his goal of wooing her, leaving the audience to wonder if this is more of a mind-game for Richard instead of a means of increasing his political influence. Unfortunately, after much diligence he succeeds in his intentions and even convinces Anne to marry him. How does this slimy, inappropriate, and ugly little man convince this woman, whose literally standing in front of her murdered father-in-law’s corpse, to not only court him

however it was not and he had to face him in battle. "My lord he doth

William Shakespeare’s ‘Richard III’ is an historical tragedy written in 1591. The play covers events in the latter years of the War of the Roses (1455-1485). That war a prolonged, intermittent conflict between the two noble houses of York and Lancaster; the play chronicles the bloody deeds and atrocities perpetrated by its central figure- the murderous and tyrannical King Richard III.

As we had seen, in the play of Richard the third how Richard is treated throughout the play either by alliances or foes we see the many reasons why that they seem to effect Richard. Either in his rule or treatment of others, the treatment from himself and the treatment he receives from other, and how he acts towards himself and others for his wants and needs. Throughout the play, Richard had always found ways to get rid of those in his way and manipulate due to not only power but for revenge. From the very begging in Richard’s speech he speaks about his deformities, mistreatment from his family and others, and his poor sufferings. In His speech in act 1 scene 1 he said (Shakespeare, William. Richard the Third. “Why, I, in this weak piping time of peace, have no delight to pass away the time, unless to see my shadow in the sun and descant on mine own deformity.”) Here in this statement we see how Richard starts to plan his attack on those around him not only in the play we see this, also countless other things. Like in such stories like The Hungry Artist and The Old Man with Enormous Wings the reader is given a sort of feeling of sympathy for the man characters as they are often mistreated and jeered at, at the most part don’t really have a choice to be the way that they are (except for the story of The Hungry Artist, although it was a way of “living”), and how the characters find ways to

This direct address effectively reminds the audience of its relationship with the players on the stage: they are not anonymous observers of an unfolding history but rather TK. As the Chorus continues its preemptive apology, it degrades the performance to come by calling the actors “flat unraised spirits” and the stage an “unworthy scaffold.” These degradations, furthermore, are part of a periodic sentence that ends by calling the subject of the play “so great an object.” By delaying the object of the sentence in this way, the Chorus heightens the grandeur of it, further emphasizing the difference/inferiority TK. The apology serves to remind the audience of nature: performance is an attempt to replay history but one that inevitably falls very short … Having acknowledged the performance’s shortcomings, the Chorus then emphasizes the fact that the play is a performance that requires the audience’s mental cooperation in order to succeed. The Chorus calls upon the audience

records show two difference figure of King Richard III who is not just a historical,

Sir Laurence Olivier’s version of Richard III was an outstanding film that William Shakespeare would be extremely impressed with. As Olivier played the lead role, Richard was plotting to steal the throne from his brother, King Edward IV. Throughout the betrayal process, many were killed while Richard’s bad behavior was slowly leading him down a path to his own downfall. Richard III was a phenomenal film that inspired the viewers to appreciate the time and effort that was put into this marvelous rendition of Shakespeare’s play and to sit back and enjoy the entirety of the film.

Richard was pushed far back in the line to the throne, being a third child and the present King already having his own heirs. To even have a chance at ruling, his brothers and the oldest brother’s children would have to be killed. Richard saw to this quickly and methodically, as if murdering family and children were completely natural to him. Near the end he did recognize that what he had done was a damnable deed, but he consoled himself by saying that it was a neccisary evil for him to ascend the throne. By using this justification, he was able to kill anyone who he thought was a threat to his kingship. Machiavelli advised his Prince that if he wanted to gain a position that didn’t belong to him, he would have to be ready to kill the defenders of that space. He warned the Prince that the deed might anger God, but implied that there was no other way

Shakespeare is renowned for his powerful monologues and soliloquies; from Romeo and Juliet’s lamenting beginning, as well as Hamlet’s dreary end. Richard III is no different, the opening speech in the beginning tells the audience Richard’s immediate intentions; an action deliberately made by Shakespeare. By introducing the play this way it gives the reader a sneak inside the man’s wicked soul, giving no doubt to the evil that is about to happen. Much like in Romeo and Juliet, the plot—or plan, rather—is explained and then the tale begins. By putting the action at the beginning, Shakespeare ensures that he has captured the audience’s immediate interest by showcasing a corrupted man’s inner thoughts.

Shakespeare paints yet another layer of irony in this quote because Richard did not actually confide in Hastings but he is, however, confiding in his audience as he mourns over Hastings’ treachery. Richard continues with terms and phrases like “apparent open guilt” and “laid from all attainture of suspect” further harping on the fact that Hastings had them all fooled and how outrageous it was, which again assists in Shakespeare’s development of the Machiavellian leader that Richard is. Perhaps the most ironic thing of the whole ordeal is that Richard is not only completely aware of what he’s doing but he finds great pleasure in it. This awareness contributes even more so to his Machiavellian nature because every immoral and twisted act he carries out is completely intentional so his desires can be met. He knows he’s bringing Hastings’ “crimes” to the forefront and yet Richard is the one committing these acts.