In what ways and to what purposes does Richard II engage with contemporary political thought (circa 16th Century)?
In what ways and to what purposes does Richard II engage with contemporary political thought (circa 16th Century)?
When Richard II was first performed in 1595, it would have had heavy political impact especially upon thoughts on the issues of Kingship. Shakespeare drew upon the feelings originally penned by the likes of Erasmus (highly respected at the time on points of Kingship and G. Buchanan (The Powers of the Crown in Scotland). The public's attention had been drawn to the position of a King and his power after the reign of Henry VIII who detached himself and England from the Catholic church in 1532. This act provoked thought amongst literary types, who recalled that the King had been intended as the ruler by appointment of God, and so should conform to the church. The power and inherent goodness of Kings was questioned, and such writers show this.
Erasmus, being a humanist, concentrated heavily in The Education of a Christian Prince (1516) upon the removal of celestial qualities which had been bestowed upon the title of "King" through the ages. He questioned what a prince was, more than "the physician of the state", meaning that the royal family was in place to protect the interests of the country as a body politic. Richard denies this responsibility at the beginning of the play (I.1 line 154) when he is showing his worst qualities. Erasmus continues to reinforce the human values necessary for Kingship saying that even if "princely authority is stripped from him [the virtuous prince] will still be great]". However in Richard's case he becomes a greater man after the removal of his title and in harmony his successor (Bolingbroke) becomes a lesser man once he is King. This is a somewhat cynical portrayal by Shakespeare, though it is historically accurate for the most part, and demonstrates well that were "a necklace, a sceptre, royal robes [and] a train of attendants all that made a king, [there is nothing to stop] the actors who come on stage decked with all the pomp of state from being called king". Richard admits the falsity of kingship in his deposition speech (IV.1 lines 206-9), showing how the icons and myths surrounding a king can so easily be removed, and whatever is left is the man who should be judged.
When Richard II was first performed in 1595, it would have had heavy political impact especially upon thoughts on the issues of Kingship. Shakespeare drew upon the feelings originally penned by the likes of Erasmus (highly respected at the time on points of Kingship and G. Buchanan (The Powers of the Crown in Scotland). The public's attention had been drawn to the position of a King and his power after the reign of Henry VIII who detached himself and England from the Catholic church in 1532. This act provoked thought amongst literary types, who recalled that the King had been intended as the ruler by appointment of God, and so should conform to the church. The power and inherent goodness of Kings was questioned, and such writers show this.
Erasmus, being a humanist, concentrated heavily in The Education of a Christian Prince (1516) upon the removal of celestial qualities which had been bestowed upon the title of "King" through the ages. He questioned what a prince was, more than "the physician of the state", meaning that the royal family was in place to protect the interests of the country as a body politic. Richard denies this responsibility at the beginning of the play (I.1 line 154) when he is showing his worst qualities. Erasmus continues to reinforce the human values necessary for Kingship saying that even if "princely authority is stripped from him [the virtuous prince] will still be great]". However in Richard's case he becomes a greater man after the removal of his title and in harmony his successor (Bolingbroke) becomes a lesser man once he is King. This is a somewhat cynical portrayal by Shakespeare, though it is historically accurate for the most part, and demonstrates well that were "a necklace, a sceptre, royal robes [and] a train of attendants all that made a king, [there is nothing to stop] the actors who come on stage decked with all the pomp of state from being called king". Richard admits the falsity of kingship in his deposition speech (IV.1 lines 206-9), showing how the icons and myths surrounding a king can so easily be removed, and whatever is left is the man who should be judged.