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Individuals may use the power of language to manipulate and deceive, to fulfil their ambition of gaining power. Richard frequently uses powerful rhetoric to charm and seduce the characters during his quest for the crown. To gain power, Richard decides to marry Anne, the step daughter of the late King Henry. “I’ll have her, but I won’t keep her long”, Richard uses Anne purely as a political piece to gain recognition. Anne clearly despises Richard, referring to him as “Foul devil”.…
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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.…
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2. List the people who die by Richard's orders in Act III. What does each of them realize as they die? What does this suggest about the idea of justice presented in the play?…
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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”…
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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.…
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Richard III is a remarkable, if not irregular, rendition of the renowned historical figure, Richard III. In it, Shakespeare poses Richard as a villain with no remorse towards others—without any fear. This is evident when Richard awakes and holds an internal dialogue in which he berates his conscience for giving him bad dreams. "What do I fear? Myself? There's none else by" (5.5.136). He continues in this vein, first blaming and then defending himself for a short while. Ratcliffe enters and gets…
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However, this falls when it is realized that while Richard is honest with us, the audience, he is not honest with those around him or the victims of his crimes and manipulation. Additionally, his honesty with the audience typically comes from a place of gloating about his superior intelligence and evil plots. This means that his honesty neither creates any benefit in the world he lives or comes from a place of positive intention. In summation, Richard’s practical actions cause great harm unto others and bring very minimal benefits. The other excuses Richard attempts to pawn up in the play also fall very quickly under examination.…
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The characters, namely Richard III and Richmond, offer an insight into the contextual concerns of the Elizabethan period. Their values offer modern audiences the opportunity to identify contextual features because the values are a product of the context, as is the text itself. Richard III is the epitome of the villain. He values deceit, devilishness, power and a disconnection from God and family which is against everything the pious Elizabethans believed in and this is depicted through his actions and language “I am determined to prove a villain” (I.i.30). The emphasis on good vs. evil and wrong vs. right was of the utmost significance to audiences because it taught them moral lessons. These moral lessons were important to Elizabethans because religion was an overarching aspect of their cultural context. Shakespeare combined the idea of Richard being deformed together with these values to emphasise the insidious nature of his personality and in effect, contrast him against the heroic Richmond.…
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* Richard III – does conscience, acting and deception shape identity? Is Richard merely a creation of God’s divine will, or is he a cold hearted villain?…
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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…
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Shakespeare’s play Hamlet (1601) explores Hamlet’s growing insecurities and uncertainties, which stem from his attempt to find certainty and order within his changing transitioning society. Hamlet’s strong moral code and genuine grief at the beginning of the play contrasts with his descent into madness and deceit, as the corruption of the court begin to deteriorate his integrity and eventually lead to his tragic downfall. Throughout the play Shakespeare explores universal notions of authenticity contrasted with duplicity, the struggle between action and inaction and challenging the archetypal tragedian. Through an exploration of these themes, Shakespeare attempts to use the characters in his play to reflect his view on humanity and the shifting, conflicting paradigms between Medieval and Renaissance thinking.…
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William Shakespeare's play, Hamlet, documents one character's continual development. From a hesitant youth to a ruthless revenge-seeker, there are three major turning points that propose the start of Hamlet's wicked evolution. In dealing with his father's passing, Hamlet's grief burdens him to be overwrought with emotion and causes him to contemplate the irrational, even murder. The Players' scene, Prayer scene and Closet scene all present possible key turning points for this change. Although Hamlet's sanity remains questionable throughout the play, these three scenes suggest possible points in which Hamlet becomes particularly vicious. Beginning with the vision of his father's ghost relaying the notion of his own murder by Hamlet's uncle, Claudius, Hamlet's mind becomes increasingly flooded with impulsions.…
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William Shakespeare, regarded as one of the greatest English playwrights of all time, crafted Hamlet, a masterpiece that unravels a corrupt royal family. As the play opens with the death of the Denmark king, the audience is thrown into a world of power and betrayal. Prince Hamlet’s discovery of his father’s murder sets the stage for a creative and engaging story delving into the intricacies of revenge. In Hamlet, William Shakespeare uses the motif of revenge to convey the complexities of human nature rooted in internal conflicts, demonstrating the dangers of revenge. Hamlet’s journey for revenge leads him down an emotionally and internally difficult path swamped in moral dilemmas as he faces the consequences of revenge and the inevitability…
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Shakespeare’s hero, Hamlet, and his insanity is shown and is demonstrated in the different parts of the play. Many parts in the play points out his madness and his loss of control. Hamlet shows many mood swings throughout the play that makes him act mad and speaks like an insane. Hamlet illustrates many unclear emotions to show his insanity. We can see that there are two versions of Hamlet in the play because of the different actions. Sometimes he acts as a perfect prince and sometimes he acts as he is mad. There is a shift in the different personality Hamlet image, he therefore shows us that he in fact insane, with many example shown throughout the play.…
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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 psychological fundamentals of humanity are sturdy and whilst they partake in the definition of the values and attitudes of the individual, they are unwavering. Shakespeare’s historical play ‘Richard III’ and Pacino’s docudrama ‘Looking for Richard’ confirm such theory through an exploration of the contextual and inherent. A scrutiny of the contradictory forces of humanism and determinism and the function of women as demonstrated by both texts imparts an incongruity of context. Difference is thus conveyed. Conversely, an acknowledgement of the strength of conscience common to both texts suggests an inherent influence. Thus it is through inspection of the prescribed texts that one may distinguish the degree to which the texts converge on inherent matters and diverge on contextual matters.…
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