Another literary device Shakespeare used in this play is the rhyming couplet: March on, join bravely, let us to’t pell-mell/ If not to heaven, then hand in hand to hell. In Shakespeare’s poem, the rhyming couplet has an important significant. We see Richard, after this extract passage, obsessed with his own self-preservation, as indicated by his cry of “[a] horse! A horse! My kingdom for a horse!”. Richard clearly reveals his priorities. He would trade everything for a horse on which to improve his chances of surviving the battle rather than die honorably for his cause and this is contradicting his prior speech to the army.
Richard III is written in blank verse. Blank verse is unrhymed lines made up of ten syllables in which every second syllable is stressed (study unit 1 pg 26). The rhythms of the verses are caused by these unrhymed iambic pentameters Shakespeare uses. Iambic pentameter is a line made up of five pairs of short/long, or unstressed/stressed, syllables. For example: de-VISED at-FIRST to-KEEP the-STRONG in-AWE. This gives the verses rhythm and makes the verses interesting to read.
The tone of the extract passage is strong. There are uses of exclamation marks, for example: “Off with his son George’s head!” to show the wrath of Richard. Richard also poses questions. For example: “Shall these enjoy our lands? Lie with our wives?”. Questions can engage the viewers, making the viewers enter his thinking. The lines are also kept within ten syllabus and the words are short so that it will produce a more punchy effect as it is being read out. The short words and rhythmic tone in turns make the diction of the extract clear too.
b)
In Pacino’s film adaptation of extract passage of Richard III, Richard was filmed giving the oration to his army. When examining the cinematic space of the film, the camera shot from a very low angle as Richard was giving the oration. Richard is in the foreground and this makes him look very much bigger. Since it is shot from a low angle up to Richard, Richard seems to be looking down on everyone as he is speaking, emphasizing his power and authority. His oration is quite long and this emphasizes the power of language in achieving political powers, which is one of the central themes to Richard III. Language may not always be a necessary instrument of power, but for Richard, it is a crucial weapon. His extraordinary skill with words enables him to manipulate, confuse, and control those around him. In this case, Pacino is trying to show us that Richard’s words are powerful and he uses them to control his army. Also, as they shot from the low angle, it depicts the round, bird-like silhouette of Richard, emphasizing on his deformity even more. His deformed body is a symbol of corrupted nature and Pacino make the viewers see that.
Richard was the only one being filmed when he was giving the oration. He is in power, but he is alone: his brothers, nephews, and even his own wife are all dead at his hand, his mother has cursed and abandoned him, and even the person who was once his closest friend—Buckingham—has been sent to execution. His army was also not in the frame. Pacino probably wants to emphasize the fact that his army is not actually with him. His army served him not out of respect and loyalty but because they were afraid of him since he constantly beheads anyone who comes into his path.
In this film of the extract passage, it vividly dramatizes the contrast between Richard’s character and Richmond’s character, shifting the scene back and forth between them a few times. The leaders, in their respective camps, make almost identical preparations as they ready for the next day’s battle, but the difference between them can be seen in the way they go about their business. Richard speaks brusquely to his lords, and, as we can see, essentially is isolated from all human contact. Pacino made Richmond appeared gracious. The pre-battle preparation of the two leaders clearly shows their different styles: Richmond was filmed praying to God. In contrast, Richard simply mocks the enemy soldiers, calling them “a scum of Bretons and base lackey peasants”
Looking for Richard is a documentary film and for this scene, Richard is actually not dressed in the medieval costume. It is more like a rehearsal. This suggests Pacino’s search for the most effective way to bring the world of King Richard to life for a contemporary audience. It also points to their conviction that Shakespeare's characters and themes are timeless: Everyone can look for Richard, and find him, in the world around them.
In Olivier’s film adaptation of the extract passage Richard III, Richard was not filmed giving the long oration to his army. Instead, the viewers were treated to a battle to watch. The film adaptation was very much close to Shakespeare’s play. Olivier spoke with rhythm as Richard addresses his army. As he spoke “March on”, the army shouted a hail as a reply. After he spoke the rhyming couplet: pell-mell and to hell, he leads his army forward on his horse. It was dramatic as he was about to go to the battle.
The film was in technicolour and this probably appeals to the viewers at that time. With the technicolour used, the viewers were able to see vividly the colour of their medieval costumes and this makes the whole film real and engaging. The scene of the film was a long shot. There was not much editing done. Spatially, it was shot from afar so that both the army and Richard can be seen. There was not much close up shot except for when Richard has fallen off the horse and his crown rolled away. This foreshadows Richard’s dethroning.
In conclusion, the literary elements such as rhythm, diction, tone, settings, symbolism and themes compliments each other, making Shakespeare’s play a classic read all time. Both Pacino’s and Olivier’s film adaptation of Richard III provides viewers with different interpretation of the play, widening the viewers perspective of the play.
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Bibliography
ELT370 Shakespeare on film study guide. SIM University. 2011
Looking For Richard. Dir. Al Pacino. Perf. Al Pacino, , , . Twentieth Century Fox Film Corporation, 1996. Film.
paper ID: 178257272
