Essay about The Words of the Dying Gaunt

Upon Richard's return to England, he learns of the events that had transpired in his absence. At first his own arrogance allows him to believe that since it is his God given right to rule as King, he will be protected. But then just as quickly, Richard's arrogance turns into despair upon the realization that Henry has gained support of the nobles and the people of England. Henry and Richard finally meet at Ramparts Castle leading to the climax of the play. Henry demands retribution for the allocation of his families' possessions and

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.

The Tempest was Shakespeare’s last play that was written shortly after England colonized Virginia in 1609. Throughout the play, there are many different references to imperialism and colonialism within the characters. The Tempest analyzes the imperialistic relationships between England and America but applies it to personal human interaction between the central characters. The island gives newcomers a sense of endless possibilities like claiming the land for themselves because of the belief in the Great Chain of Being and the seventeenth century being an age of exploration. The idea of ruling a colony lured many people into the idea that having that kind of power over a large group of people is attainable. Master-servant relationships are

This is only one of a multitude of lies, each serving to further our opinion that, for Richard, appearance is to be valued over substance.  On face, and in action, he truly seems to be "That excellent grand tyrant of the earth, That reigns in galled eyes of weeping souls"7, Machiavelli's Prince.

Queen Elizabeth I is considered to be one of the most powerful women in history. In 1588, as ruler of England, she was faced with an invasion against Spain for control over trade in the new world. Her “Against the Spanish Armada” speech was addressed to the English Army at Tilbury Fort to help motivate and boost assurance, as well as showing support to her troops over the battle they were about to face. With her passionate words and courageous way, Queen Elizabeth establishes a connection with her soldiers; appealing to their patriotism and emotions through logos, pathos, and ethos. Although she was uncertain of a “famous victory”, Elizabeth instills the reassurance they need to fight against Spain and leading them to victory in the end.

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

The texts King Richard III and Looking for Richard both accept the centrality of power and the yearning for it, as a central plot driver and an assumed part of the human condition. However, each presents a different perspective as to the nature of power; its origins and morality.

In I Henry IV and II Henry IV, William Shakespeare brings together drama and comedy to create two of the most compelling history plays ever written. Many of Shakespeare's other works are nearly absolute in their adherence to either the comic or tragic traditions, but in the two Henry IV plays Shakespeare combines comedy and drama in ways that seem to bring a certain realism to his characters, and thus the plays. The present essay is an examination of the various and significant effects that Shakespeare's comedic scenes have on I Henry IV and II Henry IV. The Diversity of Society

To examine Shakespeare’s exploration of identity as a means of control, it is important to understand what all constitutes each character’s identity. In the case of Henry, for one, it is apparent that the actions of his past alter his perceived identity throughout the play. Before Henry speaks his first lines in the play, the Bishop of Ely calls Henry a “true lover of the holy Church,” to which the Archbishop of Canterbury replies, “The courses of [Henry’s] youth promised it not” (1.1.23-24). This reckless reputation follows Henry further into the play when an ambassador from France delivers a message to Henry from the Dauphin: “…the prince our master says that you savor too much of your youth and bids you to be advised there’s naught in France that can be with a nimble galliard won: you cannot revel into dukedoms there” (1.2.250-254). Along with this message, the Dauphin included a gift of tennis balls meant to further insult Henry. Even later in the play, after the English won the battle at Harfleur, the noble Frenchmen continue to underestimate Henry’s ability as a leader: “What a wretched and peevish fellow is this King of England, to mope with his fat-brained followers so far out of his knowledge” (3.8.120-122).

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.

The island of magic and mystery that Shakespeare creates in The Tempest is an extraordinary symbol of both the political and social realities of his contemporary society, and of the potential for a reformed New World. Shakespeare’s island is a creation which allows the juxtaposition of real and idealised worlds, and shows his audience both what they and what they ought to be. The seventeenth century was a time of ideological upheaval in Europe, with Medieval ideas of a hierarchical and ordered society being challenged by Renaissance thinkers. For the dynastic powers, including England under Elizabeth I, colonialism was an important opportunity to realise territorial ambition and prove religious

The Tempest, by Shakespeare, offers the reader a variety of themes. The one theme that stands out the most is that of colonialism. During the time of Shakespeare, many European countries such as Spain, France, and England, were expanding their borders by taking over less developed countries, referred to as colonies. During this time of exploitation, there was skepticism concerning the possible success of the colonies. While some scholars believe that the play is about the Americas, I argue that the play reflects on colonialism in general and how it is destined for failure which is shown through the character’s relationships throughout the play.

Richard II is an authoritative and greedy king of England, and he is living in a period of transition that medieval knights who are swearing total loyalty to a king has been disappearing and an aristocracy starts to gain a power for their own good. However, Richard II keeps believing the power of kingship, and he also is too confident himself. He overestimates his authority and power; furthermore, he ignores the periodical change. Therefore, he speaks confidently how firm his position as king is to the people in Wales, but his attitude changes when he suffers a defeat by Henry Bolingbroke that he

The Archbishop of Canterbury shows concern in giving up the church’s prime assets to the king and instead persuades him to go to war with France. He tells the king to “look back into your mighty ancestors.” The dialogue portrays the lineage of previous kings which King Henry carries the bloodline of. Therefore allowing King Henry to take pride in the true strength of the British, and gives him assurance that he is able to win against the French, based on the previous successes of the English. The archbishop then goes on “behold his lion’s whelp” “with half their forces the full pride of France.” The “lion”, a symbol of strength and bravery is used to metaphorically liken the English as brave, strong soldiers.” In comparison, the whole strength of the British is described by just one singular lion. Whereas the French are described as a “full pride [of lions]”, further

     Shakespeare’s enchanted island in The Tempest is a restorative pastoral setting, a place where ‘no man was his own’ and a place that offers endless possibilities to the people that arrive on it’s shores. Although the actual location of the island is not known, the worlds of Seneca aptly describe it’s significance to the play – it represents the ‘bounds of things, the remotest shores of the world’. On the boundary of reality, the island partakes of both the natural and supernatural both the imaginative and the real. It allows the exploration of both man’s potential and his limitations, his capacity for reform through art and his affinity for political and social realities. It is constructing