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The Life and Death of Richard the Third Now are our brows bound with victorious wreaths; Nay, now dispatch; 'twas I that stabb'd young Edward, But 'twas.
Table of contents
- Shakespeare's Globe
- Richard III | play by Shakespeare | Britannica
- Folger Theatre
- Shakespeare’s Richard III - Myth or Reality ?
- Richard III
He also sees "wedges of gold, great anchors, heaps of pearl, inestimable stones, unvalued jewels". All of these are "scattered in the bottom of the sea". Clarence adds that some of the jewels were in the skulls of the dead.
Shakespeare's Globe
He then imagines dying and being tormented by the ghosts of Warwick Anne's father , and Edward of Westminster Anne's deceased husband. After Clarence falls asleep, Brakenbury, Lieutenant of the Tower of London, enters and observes that between the titles of princes and the low names of commoners, there is nothing different but the "outward fame", meaning that they both have "inward toil" whether rich or poor. When the murderers arrive, he reads their warrant issued in the name of the King , and exits with the Keeper, who disobeys Clarence's request to stand by him, and leaves the two murderers the keys.
Clarence wakes and pleads with the murderers, saying that men have no right to obey other men's requests for murder, because all men are under the rule of God not to commit murder. The murderers imply Clarence is a hypocrite because, as one says, "thou One murderer insists Gloucester himself sent them to perform the bloody act, but Clarence does not believe him. He recalls the unity of Richard Duke of York blessing his three sons with his victorious arm, bidding his brother Gloucester to "think on this and he will weep". Next, one of the murderers explains that his brother Gloucester hates him, and sent them to the Tower to kill him.
Eventually, one murderer gives in to his conscience and does not participate, but the other killer stabs Clarence and drowns him in "the Malmsey butt within". The first act closes with the perpetrator needing to find a hole to bury Clarence. Richard uses the news of Clarence's unexpected death to send Edward IV, already ill, to his deathbed, all the while insinuating that the Queen is behind the execution of Clarence.
Edward IV soon dies, leaving as Protector his brother Richard, who sets about removing the final obstacles to his accession. These Richard arrests, and eventually beheads, and then has a conversation with the Prince and his younger brother, the Duke of York. The two princes outsmart Richard and match his wordplay and use of language easily. Richard is nervous about them, and the potential threat they represent. The young prince and his brother are coaxed by Richard into an extended stay at the Tower of London. The prince and his brother the Duke of York prove themselves to be extremely intelligent and charismatic characters, boldly defying and outsmarting Richard and openly mocking him.
Assisted by his cousin Buckingham , Richard mounts a campaign to present himself as the true heir to the throne, pretending to be a modest, devout man with no pretensions to greatness.
Richard III | play by Shakespeare | Britannica
Lord Hastings , who objects to Richard's accession, is arrested and executed on a trumped-up charge of treason. Together, Richard and Buckingham spread the rumour that Edward's two sons are illegitimate, and therefore have no rightful claim to the throne; they are assisted by Catesby, Ratcliffe, and Lovell.
The other lords are cajoled into accepting Richard as king, in spite of the continued survival of his nephews the Princes in the Tower. Richard asks Buckingham to secure the death of the princes, but Buckingham hesitates. Richard then recruits Sir James Tyrrell , who kills both children. When Richard denies Buckingham a promised land grant, Buckingham turns against Richard and defects to the side of Henry, Earl of Richmond , who is currently in exile. Richard has his eye on his niece, Elizabeth of York , Edward IV's next remaining heir, and poisons Lady Anne so he can be free to woo the princess.
Queen Elizabeth, as predicted, asks Queen Margaret's help in cursing. Later, the Duchess applies this lesson and curses her only surviving son before leaving.
Richard asks Queen Elizabeth to help him win her daughter's hand in marriage, but she is not taken in by his eloquence, and eventually manages to trick and stall him by saying she will let him know her daughter's answer in due course. The increasingly paranoid Richard loses what popularity he had. He soon faces rebellions led first by Buckingham and subsequently by the invading Richmond. Buckingham is captured and executed.
Both sides arrive for a final battle at Bosworth Field.
Prior to the battle, Richard is visited by the ghosts of his victims, all of whom tell him to "Despair and die! He awakes screaming for "Jesus" to help him, slowly realising that he is all alone in the world, and cannot even pity himself. This does not happen, as the battle is in full swing, and Richard is left at a disadvantage.
Richard is soon unhorsed on the field at the climax of the battle, and cries out, "A horse, a horse, my kingdom for a horse!
Folger Theatre
It is believed to have been written c. A second Quarto Q2 followed in , printed by Thomas Creede for Andrew Wise, containing an attribution to Shakespeare on its title page. The First Folio version followed in The Folio is longer than the Quarto and contains some fifty additional passages amounting to more than two hundred lines.
However, the Quarto contains some twenty-seven passages amounting to about thirty-seven lines that are absent from the Folio. At one time, it was thought that the Quarto represented a separate revision of the play by Shakespeare. However, since the Quarto contains many changes that can only be regarded as mistakes, it is now widely believed that the Quarto was produced by memorial reconstruction. It is unknown why the actors did this, but it may have been to replace a missing prompt book.
Unlike his previous tragedy Titus Andronicus , the play avoids graphic demonstrations of physical violence; only Richard and Clarence are shown being stabbed on-stage, while the rest the two princes, Hastings, Brackenbury, Grey, Vaughan, Rivers, Anne, Buckingham, and King Edward all meet their ends off-stage. Despite the villainous nature of the title character and the grim storyline, Shakespeare infuses the action with comic material, as he does with most of his tragedies.
Much of the humour rises from the dichotomy between how Richard's character is known and how Richard tries to appear. Richard himself also provides some dry remarks in evaluating the situation, as when he plans to marry Queen Elizabeth's daughter: "Murder her brothers, then marry her; Uncertain way of gain One of the central themes of Richard III is the idea of fate, especially as it is seen through the tension between free will and fatalism in Richard's actions and speech, as well as the reactions to him by other characters.
This influence, especially as it relates to the role of divine punishment in Richard's rule of England, reaches its height in the voice of Margaret. Janis Lull suggests that "Margaret gives voice to the belief, encouraged by the growing Calvinism of the Elizabethan era, that individual historical events are determined by God, who often punishes evil with apparent evil". Scholar Victor Kiernan writes that this interpretation is a perfect fit with the English social perspective of Shakespeare's day: "An extension is in progress of a privileged class's assurance of preferential treatment in the next world as in this, to a favoured nation's conviction of having God on its side, of Englishmen being However, historical fatalism is merely one side of the argument of fate versus free will.
It is also possible that Shakespeare intended to portray Richard as "a personification of the Machiavellian view of history as power politics". Kiernan also presents this side of the coin, noting that Richard "boasts to us of his finesse in dissembling and deception with bits of Scripture to cloak his 'naked villainy' I.
Machiavelli , as Shakespeare may want us to realise, is not a safe guide to practical politics". Kiernan suggests that Richard is merely acting as if God is determining his every step in a sort of Machiavellian manipulation of religion as an attempt to circumvent the moral conscience of those around him.
Shakespeare’s Richard III - Myth or Reality ?
Therefore, historical determinism is merely an illusion perpetrated by Richard's assertion of his own free will. However, though it seems Richard views himself as completely in control, Lull suggests that Shakespeare is using Richard to state "the tragic conception of the play in a joke. His primary meaning is that he controls his own destiny.
His pun also has a second, contradictory meaning—that his villainy is predestined—and the strong providentialism of the play ultimately endorses this meaning". Literary critic Paul Haeffner writes that Shakespeare had a great understanding of language and the potential of every word he used. The first definition is used to express a "gentle and loving" man, which Clarence uses to describe his brother Richard to the murderers that were sent to kill him.
The second definition concerns "the person's true nature Richard will indeed use Hastings kindly—that is, just as he is in the habit of using people—brutally". Haeffner also writes about how speech is written. He compares the speeches of Richmond and Richard to their soldiers. He describes Richmond's speech as "dignified" and formal, while Richard's speech is explained as "slangy and impetuous". However, Lull does not make the comparison between Richmond and Richard as Haeffner does, but between Richard and the women in his life. However, it is important to the women share the formal language that Richmond uses.
She makes the argument that the difference in speech "reinforces the thematic division between the women's identification with the social group and Richard's individualism". Janis Lull also takes special notice of the mourning women. She suggests that they are associated with "figures of repetition as anaphora—beginning each clause in a sequence with the same word—and epistrophe—repeating the same word at the end of each clause". Haeffner refers to these as few of many "devices and tricks of style" that occur in the play, showcasing Shakespeare's ability to bring out the potential of every word.
Throughout the play, Richard's character constantly changes and shifts and, in doing so, alters the dramatic structure of the story. Again, this is a major fabrication and in fact Richard proved extremely loyal to his brother, performing as a successful military commander during the Wars of the Roses. Shakespeare, however, makes it perfectly clear that Richard ordered their deaths to enable him to usurp the throne. Indeed, there were a number of different people who could have been responsible.
Historians today still have no definitive evidence to prove what actually happened. You might ask then, why was Shakespeare so inherently biased against Richard? This is not to mention the fact that all the historical sources that Shakespeare relied upon, suffered heavily from Tudor bias anyway. So how should we judge Richard? Malicious, power-hungry, and bitter about his physical deformity, Richard begins to aspire secretly to the throne—and decides to kill anyone he has to in order to become king. Using his intelligence and his skills of deception and political manipulation, Richard begins his campaign for the throne.
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He manipulates a noblewoman, Lady Anne, into marrying him—even though she knows that he murdered her first husband. Next Richard kills the court noblemen who are loyal to the princes, most notably Lord Hastings, the lord chamberlain of England.
Richard III
With Elizabeth and the princes now unprotected, Richard has his political allies, particularly his right-hand man, Lord Buckingham, campaign to have Richard crowned king. Richard then imprisons the young princes in the Tower and, in his bloodiest move yet, sends hired murderers to kill both children.
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- Shakespeare’s Richard III - Myth or Reality ?.
When rumors begin to circulate about a challenger to the throne who is gathering forces in France, noblemen defect in droves to join his forces.