A change in behavioral patterns usually indicates something of a larger term. Whether it is a change in verbiage, tone, or something else, those changes usually represent a mental change that could range from stress, busyness, and the likes. King Richard in Richard III is no different. His syntax shortens, his diction darkens, and his imagery grows worrisome. The change in Richard’s syntax, diction, and imagery pattern indicates his emotional change from open and relaxed to stressed and self-conscious.
In his first soliloquy, Richard’s syntax flows. He speaks using iambic pentameter, and the structure moves on with a relaxed feeling. The lengths of his sentences also vary giving more of a natural movement. The sentence structure actually varies from his 14 line monster (1,1,14-27)o his two sentence line (1,1,41). In his “closing” soliloquy (Act 5, scene 3) he is very short. His natural, relaxed feel begins to turn into a short struggle. He has become less particular with his syntax because he has got more problems to focus on. In his first soliloquy his family is at peace, which allows him to be relaxed, whereas in Act 5 scene 3 he’s on the eve of battle. The change in stress clearly bothers him, and he allows the audience to see by changing his sentence structures.
Shakespeare also gives great insight on Richard’s mind via diction. In Richard’s opening lines he specifically says, “Our dreadful marches to delightful measures” (1,1,8). Instead of fighting the Lancasters Richard (and his family) are in a time of harmony. He intentionally changes the negative word to a positive. Lines like these are all throughout the opening soliloquy. Richard allows the audience to see that he is at peace, that he is relaxed. By his big soliloquy in Act 5, Richard’s attitude is down. He’s worried about all the deeds he’s done. He directly states, “Is there a murderer here? No. Yes, I am:” (5,3,211). Not only does he leave the negative word of “murderer” in the sentence, but he...
Please join StudyMode to read the full document