Richard III William Shakespeare

Throughout history, women have often been characterised as subordinate to men, their thoughts, feelings, and actions labelled as excessive or insignificant. In Shakespeare’s Richard III this phenomenon is subverted, his representation of Margaret...

Buckingham largely acts as a foil to Richard of Gloucester throughout much of Richard III. Both hubristic in their own ways, the pair are clearly two of a kind when it comes to their mastery of rhetoric and persuasion, having little difficulty in...

The resonances and dissonances between Shakespeare Richard III and Al Pacino’s Looking For Richard reveal that composers are responding to the contextual influences of their time. Shakespeare’s Richard III is heavily influenced by the value...

Given that Shakespeare’s primary motivation for writing Richard III was less fueled by a desire to accurately depict the objective truth regarding the title character’s short-lived tenure as England’s monarch, than it was by the intention of...

Few would likely disagree with Emily Sloan-Pace’s claim about the practically non-existent role of women in Shakespeare’s history plays: “Though women regularly assume starring roles in the comedies and tragedies, the history plays remain largely...

When Edmund challenges himself to conjure the worst prophecy he can think of for the forthcoming eclipse, he not only anticipates the plot of King Lear, but also highlights the fears of Tudor political society as

unnaturalness between the child and...

Shakespeare's Richard III is a play pervasive in figurative language, one of the most notable being the symbolic image of the sun and the shadow it casts. In an examination of a short passage from the text, it will be argued that Richard is...

'Distortum vultum sequitur distortio morum.'

[Distortion of character follows a distorted countenance.] --Thomas More

Shakespeare's Richard III from the so-titled play shares the unsettling characteristic of being expressly "determined to prove a...

In William Shakespeare's Richard III, Richard opens the play by informing the audience that, since he is "not shap'd for sportive tricks " (I.i.16) that are expected in the peacetime following the York's victory, he can only prove a spiteful,...

Shakespeare's Richard III and Coriolanus are both characters who possess all the qualities of potentially invincible, fearless, and heroic warriors. They fail to emerge as heroes because neither of them are able to live beyond their idealistic...

And lived with looking on his images;

But now two mirrors of his princely semblance

Are cracked in pieces by malignant death,

And I for comfort have but one false glass

That grieves me when I see my shame in him.

Thus does the Duchess of York lament...

From the very opening of William Shakespeare's tragic historical drama Richard III, the isolation of the main protagonist is made quite clear, for Richard progressively separates himself from the other main characters and gradually breaks the...

Unholy Mothers: Mothers as Negative Characters in Richard III, Cymbeline, Hamlet, Macbeth and The Tempest

by, Barret Buchholz

April 15, 2005

The mothers presented in Shakespeare's plays encompass a broad range of social positions, personalities,...

Although the mighty king persona is almost always on display in the characters of Richard II, Henry IV, and Henry V, the audience is at times presented with the inner workings found within the deep recesses of each monarch’s mind. The reader and...

Shakespeare’s Richard III and The Taming of the Shrew both teach audiences a lesson about "the great chain of being" -- by showing Richard and Kate’s refusal to accept the doctrine of passive obedience and the consequences that follow. In Richard...

In Shakespeare’s Richard III, Richard of Gloucester and Queen Margaret offer conflicting worldviews and perspectives on identity. Richard believes in the power of human agency. He challenges the notion of divine providence and attempts to take on...

Many critics and theorists alike have studied William Shakespeare’s “Richard III” in the attempt explain the external and internal mismatch of character and physical appearance. Richard III is able to deceive those around him based on these...

In Richard III, a morality play by William Shakespeare, the “undefeatable” characteristic of the vice excites the audience by allowing the main character to accomplish seemingly impossible tasks and get away with them. The action of Richard wooing...

In William Shakespeare’s Richard III, the protagonist and the central villain are one and the same, a power-hungry individual whose unrelenting ambition and lack of morality pose a lethal combination to anyone who stands between the tyrant and his...

The usurpation of Macbeth is said to have been foretold by the three witches; and the tyranny of Richard by omens. John Black’s study of the Elizabethan era reiterates that ‘in spite of its learning, culture and realism the elizabethans were...

Authors often perform the task of cultural historians, eternalizing with their written word the popular perspectives and social opinions of their time. Shakespeare himself perfectly encapsulated in his writing the Renaissance mentality towards...

Every text is a confluence of other texts, containing parallels and fragments that give meaning and timelessness through prevalent themes that transcend generations. An exploration of explicit and implicit connections between a pair of texts...

It is not uncommon to observe individuals that seek the validation their psyche demands from external sources in order to achieve their personal desires. More often than not, it is this undeterred resilience to achieve that seeks to confiscate...

The nature of power within Looking for Richard both reflects that which is represented in Richard III and extends or alters it to be incorporated into a modern context, appropriate for a wider, contemporary audience. Richard III is a Shakespearian...