"How far do you agree that we are moved to sympathy, even to admiration, by Richard's journey to awareness?"
"How far do you agree that we are moved to sympathy, even to admiration, by Richard's journey to awareness?" Because King Richard is the eponymous character of this play, it is his emotional journey which readers follow in details. Through the play, numerous traits of his personality are clearly exposed, giving readers plenty of evidence on which to form opinions. In the opening scene of the play, Richard at first comes across as an authoritative ruler, with full control over the situation and an evident sense of fairness and justice. This gives readers scope to feel admiration for him, because he is apparently displaying vital qualities in a good monarch. However, it is not long before Richard slips up and allows his weakness to be exposed. After regally announcing, "We were not born to serve, but to command", he immediately falters and adds "Which since we cannot do..." This shows from the beginning that Richard is not a king capable of impressing us with authority and strength of mind, which I found to weaken the chance of me admiring him. "Richard II", as well as being a play about history, can also be seen as an exploration of psychological depth. Richard is a character who always makes his emotions known, through introspective, lyrical and highly metaphorical poetry. This allows us to trace his journey to awareness far more empathetically. Personally, I agree at
"By close analysis of the language, form and structure of this extract, discuss the presentation of Richard's view of his situation."
Richard II Extract Based Question- Act III Scene iii lines 142-170 PLUS 176-183. "By close analysis of the language, form and structure of this extract, discuss the presentation of Richard's view of his situation." This poignant monologue from Richard is a series of thoughts which he speaks aloud as he ponders on what it to become of him. Richard is a king with extremes of emotion, and so a monologue from him is always full of poetic devices and ornamentation of language, as he conveys his emotions rather than facts. In this case, his violent change of mood leaves his desperate and depressed, as he begins to convince himself that Bolingbroke has usurped his throne once and for all, and Richard prepares to resign himself to either an existence of poverty and shame, or an untimely and undignified death. The repetition of the word "king" emphasises Richard's pride of his title, and his bitterness in losing it. The word is used sarcastically as Richard remarks on the king doing what he "must", when it should be the king giving orders. The line "A god's name, let it go" could hint that Richard is relieved to no longer be king, as "let it go" could suggest dropping a burden. However, the line is ambivalent as it could also show Richard finding it difficult to let go and move on. The word "let" in any case however, shows Richard's acknowledgement that it is his responsibility to
RICHARD II KEY LITERARY ELEMENTS SETTING Richard II is located in various parts of England and Wales.
RICHARD II KEY LITERARY ELEMENTS SETTING Richard II is located in various parts of England and Wales. The tournament scene (Act I, Scene 2) is at Coventry, in the Midlands. Bolingbroke, although coming from Brittany, in France, lands on the north coast of England and undertakes the tediously long march southwest through the Cotswolds to Berkeley and on to Bristol. Richard returns from Ireland and lands at Barkloughly. He moves in a northwesterly direction towards Flint Castle, where he encounters Bolingbroke. The climactic scene takes place in Parliament in London. Then Richard is sent to the prison of Pomfret Castle, which is in Yorkshire. CHARACTERS Major Characters King Richard - Richard, the play's protagonist, is a poetic and intensely charming man, but a fatally weak monarch. His unshakable faith in his own quasi-divinity constitutes his tragic flaw, as does his bad judgment. He enjoys the role of performer, and after he is deposed, he casts himself as a martyr. Henry Bolingbroke - Bolingbroke is the Duke of Hereford and the son of John of Gaunt. After the latter's death, he becomes the Duke of Lancaster. Bolingbroke is a practical and ambitious man who replaces Richard on the throne. At the beginning of the play, Bolingbroke believes in the divinity of kings and in the need to obey them, regardless of their cruelty. He
Divine Right of Kings Implied in the Bishop of Carlisle's Speech in Richard II
Divine Right of Kings Implied in the Bishop of Carlisle's Speech in Richard II Shakespeare's Tragedy of King Richard II drips with references to the divine right of kings and the appropriate response of passive obedience by a king's subjects, as it explores the implications of Richard's involvement in the murder of Thomas of Woodstock, Duck of Gloucester, and Bolingbroke's revenge for that murder: the overthrowing of King Richard II. Numerous characters speak of the strong parallel between God and the king, but none approach the subject quite as directly as the Bishop of Carlisle does in his speech condemning Bolingbroke's acceptance of Richard's invitation to ascend the throne in Act IV, scene 1 of the play. After meeting with Bolingbroke at Flint Castle and agreeing to return his land and inheritance to him, King Richard asks Bolingbroke if he must return with him to London. Bolingbroke says yes, and Richard understands that he must resign the throne. The Duke of York returns to Westminster Hall, declaring that Richard has resigned the throne to Bolingbroke. Upon hearing this, Bolingbroke consents, "In God's name, I'll ascend the regal throne" (IV.i, 114). This infuriates the bishop, who begins his dialogue. The speech begins with an oath, "Marry," a strong indication that the bishop feels very strongly about the subject at hand. He continues, explaining that
What do we learn of the motivations & characters of both Richard & Clarence in Act I, scenes III & IV ?
What do we learn of the motivations & characters of both Richard & Clarence in Act I, scenes III & IV ? We first start to unravel the complex web of deceit which Richard has woven over the eyes of the characters in the play in Act I, Scene III, Richard addresses the characters, onstage and offstage in an oblique and brash manner, "They do me wrong. and I will not endure it!", (line 44). Here Richard was referring to the people in court or general public slandering him and spreading rumour, however his description of them is non specific, rather than addressing the people of court by title, his answer is rather generic or anonymous, Richard also repeats this when Lord Rivers interrupts him to defend Queen Elizabeth, only addressing her as "She", thrice consecutively; we are well aware within Elizabethan Society that royalty was given the highest respect, and within the actual tradition of aristocracy, several strict social codes were enforced, Richard's opposition to these rules, shows great disrespect towards the Queen. Although such behaviour from Richard is not executed in a seemingly random fashion, Richard's confidence and dare to oppose these strict rules reinforces the belief that Richard is again executing an intricate plan, further onwards the pace of the script is rapid, and Richard fires off several rhetoric questions which are aimed at the Queen and people
How does Shakespeare portray the character of Richard?
Michael Warden How does Shakespeare portray the character of Richard? King Richard II Coursework Shakespeare wrote 'King Richard II' in the 16th/17th Century, about 200 years after Richard was on the throne. His initial intent was to point out key factors within the Elizabethan monarchy. Queen Elizabeth was compared to King Richard because of her lack of an heir, her inclination towards heavy taxes and the indulgence of her favourites. Elizabethan critics viewed the play as being politically dangerous towards Queen Elizabeth's monarchy. Richard is presented , by Shakespeare, as being a man who pays more attention to his appearance rather than the duties and responsibilities of a king. Shakespeare also shows two key sides to Richard's persona: Richard's more weak and sympathetic side (seen towards the end of the play after his deposition as king) and also his rather cruel-hearted, more selfish side (his taking of Gaunt's possessions after his death, the banishment of Bolingbroke and Mowbray etc...) There is major contrast between Richard and Bolingbroke. Shakespeare shows the power shift between the king and the soon-to-be king. Bolingbroke starts with pretty much nothing and works his way up to the throne, whereas Richard is on the throne from the age of ten and ultimately goes from having everything he could desire, to having nothing. Shakespeare portrays Richard in a
Richard II. John of Gaunts patriotic assault on the unpopular Richard would appeal greatly to the Shakespearean audiences love for their country
Richard II John of Gaunt's patriotic assault on the unpopular Richard would appeal greatly to the Shakespearean audience's love for their country. Gaunt represents patriotism in the play, and is therefore the recipient of large amounts of sympathy from the audience. The death of such a well-liked character is particularly stirring. Richard's mockery of "aged Gaunt" makes his claim to have a fair and just reign unconvincing. The patriotic character of Gaunt is elucidated as he announces that he would gladly give his life "would the scandal vanish". However, in contrast to this, Gaunt criticises Richard for his lack of willingness to fight for his country in "Christian service". The audience's support for Gaunt is increased as they realise that "He that made" them "knows" that Gaunt is right. Immense feelings of patriotism are evoked in the audience as Gaunt is involved in a sticomythia with Richard. Richard threatens Gaunt with execution, however, his thunder is stolen as Gaunt replies that he will die soon anyway due to his "present sickness". His exit, to die, is highly dramatic as it symbolises the cessation of patriotism on the stage. Richard is presented as entirely detested, as he has taken away Gaunt's "love and honour". Richard's name is brought further into disrepute as Gaunt claims that Richard puts desire first and prophesises that his reign will
Explore Shakespeare's presentation of Kingship in Richard II
Maria Tennant Mr Marston English Coursework Explore Shakespeare's presentation of Kingship in Richard II Richard II is a play that centres on Kingship; Shakespeare presents vanity and flattery using rich language throughout the play to articulate the hazards a King must avoid to ensure their position as King is maintained. During the play we see the character of Richard presented as vain and tyrannical; as a man who is attempting to escape the responsibilities that Kingship brings such as succession and leadership. Written almost wholly in verse, Shakespeare contrasts Richard with his successor Bolingbroke to emphasize how care of the kingdom of England and good judgement is inextricably linked with being a successful King. From the onset, Shakespeare presents Richard as vain. In Act I of the first scene Richard's interruption of the duel suggests his egotism. The duel gives Richard the opportunity to make a dramatic and grand public gesture, asserting himself as King. As the brawl develops Richard calls Mowbray and Bolingbroke to "forgive, forget, conclude and be agreed". Shakespeare's use of verbs in the imperative makes this statement a command. It implies Richard has paid little attention to the reason behind the quarrel, and is instead more interested in people concentrating on his lavish words and public display. The repetition of the "o" sounds and alliteration
To What Extent Is Shakespeare's Richard II A Stereotypical Villain
To What Extent is Richard A Stereotypical Villain? Bethan Siddons When a stereotypical villain is imagined, ideas of 'pantomime baddies' and James Bond's arch enemies appear. On the surface, these seem unlikely to relate to the character of Richard III in William Shakespeare's play of the same name, however, on closer inspection character traits can be identified that seem very common between all of them. It is to the extent of which that will be investigated. It is simple to identify Richard's villainous role as his opening soliloquy reads, "I am determinèd to prove a villain." This seems similar to the idea that all evil characters plan deliberately to act vile rather than be forced into it by someone else. There is no mistaking his desire to do wrong as shown by the word "determinèd" which can suggest his mental attitude to attain the role as well as the thought that his life choices were already laid out before him by God and that he was born evil. A stereotypical villain could most definitely be one that has chosen their evil ways and know exactly what they plan to do. Richard falls into this category as he explains his idea to have his brothers murdered so he can take the throne. It can be argued that his disability, exaggerated by Shakespeare for dramatic effect, turned him toward the dark side but Richard himself blames his deformity for a lack of sexual
'Richard II' by William Shakespeare
'Richard II' by William Shakespeare During the course of the play, the audience is encouraged to feel different emotions for Richard and Bolingbroke. Their weaknesses are exposed, but Shakespeare also highlights areas where sympathy can be attached. In the first scene of the play, it becomes clear that Richard is out of his depth and has no idea of how he should be acting as king. During the confrontation between Mowbray and Bolingbroke surrounding Gloucester's death, Richard offers: "impartial are our eyes and ears.....Should nothing privilege him (Bolingbroke), nor partialize / The unstooping firmness of my upright soul." However, Richard is not impartial, as he reduces Bolingbroke's period of exile at the drop of a hat at Coventry, whilst Mowbray is banished for life. This shows Richard's general weakness in his position as king, supported by his cronies, desperate for his praise. At the duel Richard again shows his bias towards Bolingbroke. After halting the duel at the last possible moment, even after the charge had been sounded on trumpets, Richard hands out unconsidered, perhaps even random, terms of exile. Mowbray gets life, and Bolingbroke only ten years. Neither man has done any worse than each other, and Richard does not hazard an explanation for the length of the terms, or why Mowbray's is longer. This shows that he really doesn't know how to go about being