Abbott defends his position and points out how, during the War of
Abbott defends his position and points out how, during the War of
On 22nd August 1485, King Richard III lost the Battle of Bosworth to Henry Tudor. One of the main reasons for him losing was due to his unpopularity with the people and his nobles. Richard was disliked by many of his nobles because he gave power to nobles from the north, which he knew, annoying the nobility in the south of England. This meant that in the battle he had little support, and some of his nobles, such as the Stanley’s fought for Henry. Richard was also disliked by the people of England. He seized the crown in 1483, and rumours spread that he killed his two nephews. This made him disliked, and few people supported him.…
King Richard’s ability as an actor within a play explores how this type of villainy was entertaining in the era of Shakespeare. Richard’s evil is immediately established as his moral deformities are clearly embodied in his physical deformities. In justifying his premeditated meddling, he personifies war in his first soliloquy. ‘Grim visag’d war hath supported his wrinkled front’ and moved to caper ‘ nimbly in a lady’s chamber!’ Richard’s nature: ‘Deform’d, unfinished’ thus justifies his evil as he cannot participate in the war -lovemaking atmosphere. This was obviously a form of entertainment to the Shakespearean audience who had known of the war of the Roses and Richard’s deformities.…
Intrinsic to both texts, there is the notion that art is used to directly influence and impact existing historical perceptions. Shakespeare’s “Richard III” explores this idea, using the most influential artistic medium of the time, theatre, to further publicise the ‘Tudor Myth’ perception. On stage, the visual motif of Richard’s appearance as “deformed, unfinished” reflects his moral deficiencies, reinforced by his soliloquys and asides that expose his underlying treachery. He forges a duplicitous role as both director and actor within the play, stating in the opening soliloquy “plots that I have laid, inductions dangerous…” Richard seemingly ‘stage manages’ the entirety of his world, creating a sense of dramatic irony from the juxtaposing of the different “masks” he feigns in contrast to his true intentions; he plays the role of the “grieving” brother, “Christian prince,” etc. As such, Richard’s meta-theatricality engages us on a psychological level that reinforces the perception of the Tudor Myth given not just the heinous nature of his crimes but the “villainous”…
Richard III- Richard, himself is very aware of the gap between his outwards reality and inward reality. As a consequence he carefully constructs his façade while fully acknowledging his Machiavellian motivations to the audience in his asides.…
King Richard III and Looking For Richard directly relate to historical and social contexts respectively, social drawing on historical’s challenge to the context in which it was written. Shakespeare’s play was crafted in a difficult time of political and religious adherence. Shakespeare’s portrayal of Richard focuses on his devilish and Machiavellian nature. Machiavelli’s The Prince teaches that an adept ruler should aim to achieve power at any cost. Richard is a Machiavel; he calls himself a devil, ‘Thus like the formal Vice, Iniquity, I moralise two meanings in one word.’…
During the late fourteenth to mid-sixteenth century, Great Britain underwent massive changes throughout the entire realm. From the new system of deposing kings to religious upheavals, England during this time had a hard time finding peace. During those two hundred years, personal ambition of kings and nobles was the most disruptive to English society, which was exacerbated by the religious break instituted by Henry VIII in 1534.…
In KRII, Richard’s evil dual personality was an inconceivable concept to the Elizabethan audience. They viewed Richard as a renowned villain of history during the War of the Roses, and only as a villain within the play. This allowed no room for tragedy, as they did not sympathise with Richard. Richard’s villainy was also further emphasised in his physical deformity, hinting at the corruption of the mind. Richard is seen as the vice of morality plays, and an example of the Christian devil in how he acts and constantly reminds us that he is “…determined to prove a villain” [Act 1, Scene 1] in his soliloquies and asides.…
Like many writers, Shakespeare’s purpose of writing was driven by the context and audiences of his times. Based on the political situation of Queen Elizabeth I, who had progressively enlarged her power at the expense of the…
Audiences at the time would have been shocked by his character and Shakespeare achieves this by contrasting what Richard…
Reading shakespeare in the modern area has proven to be quite a challenge. There have been many websites created for students and other people to understand the text. The old english has lost its touch but the meaning is still the same. Taking a closer look at how shakespeare gets his meaning across one can find many surprising views, such as gender can change the way people view others. This point was widely seen throughout two of Shakespeare's plays. In the plays Henry V and St Joan written by shakespeare both portray gender and class critical lenses and pathos rhetorical strategies.…
A deeper understanding of ambition and identity emerges from pursuing the connections between King Richard III and Looking for Richard.…
William Shakespeare’s 16th century historically tragic play, King Richard III and Al Pacino’s 20th century docudrama, Looking for Richard portray parallel themes of war, characterisation of Richard in context and plot. Shakespeare wrote King Richard III during the reign of Elizabeth I and the propaganda during the time supported the Elizabethan monarch. During Looking for Richard’s era, a concept of sheer evil appeared which presented characters whose evil was unmotivated. The issues Shakespeare explored are still experienced in contemporary surrounding, and reflect in Pacino’s text. Both texts explore similar aspects of war, characterisation of Richard in context and plot portraying in different textual forms. Thus, as texts are a reflection of their context, the purpose to connect with their audience remains constant irrespective of context.…
Shakespeare’s works are not limited to expressing the concerns and interests of a narrowly confined historical period. They have in them the…
Lenz, Carolyn Ruth Swift, Gayle Greene, and Carol Thomas Neely, eds. The Woman’s Part: Feminist Criticism of Shakespeare. Urbana: U of Illinois P, 1980.…
This difference is highlighted between Richard and looking for Richard through the reasons the audience seeks justice towards the character of Richard. The Shakespearean audience would hold the outlooks of Margaret from the beginning of the play as she states, "if heaven have any grievous plague in store exceeding those that I can wish upon thee o let them keep it till thy sins be ripe". Shakespeare encapsulates the tension created by Margaret’s curses in order to question whether justice is truly defined by man or god. The deviation from the iambic pentameter followed throughout the act exemplifies Margaret from the blind sited courts men within the room, ignorant towards Richard’s devious schemes. The omission of Margaret’s curses within the film and the omens present within the dream once more reflect the deflection from the religious traditions to address a more contemporary audience. The distinct emphasis on the psychological deterioration and conscience within character highlights before the murder of Clarence and the young princes stating, "Faith, some certain dregs of conscience are yet within me." Additionally, the hesitant manner of the murder conveys the role of our morality and personal beliefs in our action rather than those defined by…