Richard III (play)
Richard III is a play by
It is the second longest play in the Shakespearean canon and is the longest of the First Folio, whose version of Hamlet, otherwise the longest, is shorter than its quarto counterpart. The play is often abridged for brevity, and peripheral characters removed. In such cases, extra lines are often invented or added from elsewhere to establish the nature of the characters' relationships. A further reason for abridgment is that Shakespeare assumed his audiences' familiarity with his Henry VI plays, frequently referring to these plays.[2]
Characters
House of York
- King Edward IV– King of England
- Richard, Duke of Gloucester – Edward IV's brother; later King Richard III
- George, Duke of Clarence– Edward IV's brother
- Duchess of York – Edward, Richard and George's mother
- Edward, Prince of Wales– Edward IV's eldest son; later King Edward V (never crowned)
- Richard, Duke of York– Edward IV's younger son
- Boy – George's son
- Girl – George's daughter
House of Lancaster
- King Henry VI
- Ghost of King Henry VI
- Ghost of Edward of Westminster, Prince of Wales – Henry VI's son
- Lady Anne Neville– widow of Edward of Westminster; later wife of King Richard III
- Tressel and Berkeley – Lady Anne's attendants (non-speaking roles)
Woodville family
- Queen Elizabeth – wife of King Edward IV
- Earl Rivers – Elizabeth's brother
- Marquis of Dorset – Elizabeth's son (from a previous marriage)
- Lord Richard Grey – Elizabeth's son (from a previous marriage)
- Sir Thomas Vaughan – ally of Rivers and Grey
Richard III's group
- Duke of Buckingham
- Sir William Catesby
- Duke of Norfolk
- Earl of Surrey[a] – Norfolk's son
- Sir Richard Ratcliffe
- Sir James Tyrrell – assassin
- Lord Lovel[b]
- Two Murderers
- Richard's page
Earl of Richmond's group
- Henry Tudor, Earl of Richmond – Henry VI's nephew; later King Henry VII
- Lord Stanley, Earl of Derby – Richmond's stepfather
- Earl of Oxford[c]
- Sir Walter Herbert[d]
- Sir James Blunt[e]
- Sir William Brandon – Richmond's standard-bearer (non-speaking role)
Clergy
- Archbishop of Canterbury[f]
- Archbishop of York[g]
- Bishop of Ely
- Sir Christopher – chaplain of Stanley's household
- John – priest
Other characters
- Lord Hastings – Lord Chamberlain under Edward IV
- Sir Robert Brackenbury – Lieutenant of the Tower
- Lord Mayor of London
- Scrivener
- Keeper of the Tower[h]
- Three Citizens
- Hastings – pursuivant[i]
- Sheriff of Wiltshire[j]
- Ghosts of Clarence, Rivers, Grey, Vaughan, Edward (Prince of Wales), Richard (Duke of York), Hastings, Lady Anne and Buckingham
- Lords, Messengers, Soldiers etc.
Other
Although they do not appear in the text of the play, many productions include as on-stage characters Jane Shore (Edward IV's mistress), Elizabeth of York (Edward IV's daughter, later queen consort to Richmond [Henry VII]), and George Stanley (Lord Stanley's son, who is held hostage by Richard prior to the Battle of Bosworth Field).
Synopsis
The play begins with Richard of Gloucester describing the re-accession to the throne of his brother, King
Now is the winter of our discontent
Made glorious summer by this sun of York;
And all the clouds that lour'd upon our house
In the deep bosom of the ocean buried.
Richard is an ugly
I'll marry Warwick's youngest daughter.
What, though I kill'd her husband and her father?
Lady Anne attends the corpse of Henry VI with Trestle and Berkeley going from St Paul's Cathedral. She bids them set down the "honourable load" then laments. Richard appears, and Lady Anne says that "Henry's wounds [...] bleed afresh". He confesses the murder, and she spits at him. He offers himself to her sword, but she drops it. He offers to kill himself at her order, but she accepts his ring. Richard exults at having won her over so and tells the audience that he will discard her once she has served his purpose.
The atmosphere at court is poisonous. The established nobles are at odds with the upwardly mobile relatives of
Richard orders two murderers to kill Clarence in the tower. Clarence relates a distressing dream to his keeper before going to sleep. The murderers arrive with a warrant, and the keeper relinquishes his office. While the murderers are pondering what to do, Clarence wakes. He recognises their purpose and pleads with them. Presuming that Edward has offered them payment, he tells them to go to Gloucester, who will reward them better for having kept him alive. One of the murderers explains that Gloucester hates him and sent them. Pleading again, he is eventually interrupted by "Look behind you, my lord" and is subsequently stabbed before being drowned in a butt of Malmsey wine (1478).
The compacted nobles pledge absent enmities before Edward, and Elizabeth asks Edward to receive Clarence into favour. Richard rebukes her, saying: "Who knows not that the gentle duke is dead?". Edward, who has confessed himself near death, is much upset by this news and led off. Richard blames those attending Edward. Edward IV soon dies (1483), leaving Richard as Protector. Lord Rivers, Lord Grey, and Sir Thomas Vaughan, have been imprisoned. The uncrowned Edward V and his brother are coaxed (by Richard) into an extended stay at the Tower of London.
Assisted by his cousin Buckingham, Richard mounts a campaign to present himself as the true heir to the throne, pretending to be a modest and devout man with no pretensions to greatness. Lord Hastings, who objects to Richard's accession, is arrested and executed on a trumped-up charge of treason. Richard and Buckingham spread the rumour that Edward's two sons are illegitimate and therefore have no rightful claim to the throne, and they are assisted by Catesby, Ratcliffe, and Lovell. The other lords are cajoled into accepting Richard as king despite the continued survival of his nephews (the Princes in the Tower).
Richard asks Buckingham to secure the death of the princes, but Buckingham hesitates. Richard then recruits Sir
The increasingly paranoid Richard loses what popularity he had. He faces rebellions, led first by Buckingham and subsequently by the invading Richmond. Buckingham is captured and executed. Both sides arrive for a final battle at
At the Battle of Bosworth Field (1485), Lord Stanley (who is also Richmond's stepfather) and his followers desert Richard, whereupon Richard calls for the execution of George Stanley, hostage and Lord Stanley's son. But this does not happen, as the battle is in full swing, and Richard is at a disadvantage. Richard is unhorsed on the field, and cries out, "A horse, a horse, my kingdom for a horse". Richmond kills Richard and claims the throne as Henry VII.
Date and text
Richard III is believed to be one of
The Folio is longer than the Quarto and contains some fifty additional passages amounting to more than two hundred lines. However, the Quarto contains some twenty-seven passages amounting to about thirty-seven lines that are absent from the Folio.[6]: p.2 The two texts also contain hundreds of other differences, including the transposition of words within speeches, the movement of words from one speech to another, the replacement of words with near-synonyms, and many changes in grammar and spelling.[6]: p.2
At one time, it was thought that the Quarto represented a separate revision of the play by Shakespeare. However, since the Quarto contains many changes that can only be regarded as mistakes, it is now widely believed that the Quarto was produced by
Themes
Comedic elements
Unlike his previous tragedy Titus Andronicus, the play avoids graphic demonstrations of physical violence; only Richard and Clarence are shown being stabbed on-stage, while the rest (the two princes, Hastings, Brackenbury, Grey, Vaughan, Rivers, Anne, Buckingham, and King Edward) all meet their ends off-stage. Despite the villainous nature of the title character and the grim storyline, Shakespeare infuses the action with comic material, as he does with most of his tragedies. Much of the humour rises from the dichotomy between how Richard's character is known and how Richard tries to appear.
Richard himself also provides some dry remarks in evaluating the situation, as when he plans to marry Queen Elizabeth's daughter: "Murder her brothers, then marry her; Uncertain way of gain ..." Other examples of humour in this play include Clarence's reluctant murderers, and the Duke of Buckingham's report on his attempt to persuade the Londoners to accept Richard ("I bid them that did love their country's good cry, God save Richard, England's royal king!" Richard: "And did they so?" Buckingham: "No, so God help me, they spake not a word ...") Puns, a Shakespearean staple, are especially well represented in the scene where Richard tries to persuade Queen Elizabeth to woo her daughter on his behalf.
Free will and fatalism
One of the central themes of Richard III is the idea of fate, especially as it is seen through the tension between free will and fatalism in Richard's actions and speech, as well as the reactions to him by other characters.
Thus it seems possible that Shakespeare, in conforming to the growing "Tudor Myth" of the day, as well as taking into account new theologies of divine action and human will becoming popular in the wake of the Protestant
Scholar Victor Kiernan writes that this interpretation is a perfect fit with the English social perspective of Shakespeare's day: "An extension is in progress of a privileged class's assurance of preferential treatment in the next world as in this, to a favoured nation's conviction of having God on its side, of Englishmen being ... the new Chosen People".[11]: p.111–112
However, historical fatalism is merely one side of the argument of fate versus free will. It is also possible that Shakespeare intended to portray Richard as "a personification of the Machiavellian view of history as power politics".[9]: p.6–8 In this view, Richard is acting entirely out of his own free will in brutally taking hold of the English throne. Kiernan also presents this side of the coin, noting that Richard "boasts to us of his finesse in dissembling and deception with bits of Scripture to cloak his 'naked villainy' (I.iii.334–348) ... Machiavelli, as Shakespeare may want us to realise, is not a safe guide to practical politics".[11]: p.111–112
Kiernan suggests that Richard is merely acting as if God is determining his every step in a sort of Machiavellian manipulation of religion as an attempt to circumvent the moral conscience of those around him. Therefore, historical determinism is merely an illusion perpetrated by Richard's assertion of his own free will. The Machiavellian reading of the play finds evidence in Richard's interactions with the audience, as when he mentions that he is "determinèd to prove a villain" (I.i.30). However, though it seems Richard views himself as completely in control, Lull suggests that Shakespeare is using Richard to state "the tragic conception of the play in a joke. His primary meaning is that he controls his own destiny. His pun also has a second, contradictory meaning—that his villainy is predestined—and the strong providentialism of the play ultimately endorses this meaning".[9]: p.6–8
Literary critic Paul Haeffner writes that Shakespeare had a great understanding of language and the potential of every word he used.[12]: p.56–60 One word that Shakespeare gave potential to was "joy". This is employed in Act I, Scene III, where it is used to show "deliberate emotional effect".[12]: p.56–60 Another word that Haeffner points out is "kind", which he suggests is used with two different definitions.
The first definition is used to express a "gentle and loving" man, which Clarence uses to describe his brother Richard to the murderers that were sent to kill him. This definition is not true, as Richard uses a gentle façade to seize the throne. The second definition concerns "the person's true nature ... Richard will indeed use Hastings kindly—that is, just as he is in the habit of using people—brutally".[12]: p.56–60
Haeffner also writes about how speech is written. He compares the speeches of Richmond and Richard to their soldiers. He describes Richmond's speech as "dignified" and formal, while Richard's speech is explained as "slangy and impetuous".[12]: p.56–60 Richard's casualness in speech is also noted by another writer. However, Lull does not make the comparison between Richmond and Richard as Haeffner does, but between Richard and the women in his life. However, it is important to the women share the formal language that Richmond uses. She makes the argument that the difference in speech "reinforces the thematic division between the women's identification with the social group and Richard's individualism".[9]: p.22–23 Haeffner agrees that Richard is "an individualist, hating dignity and formality".[12]: p.56–60
Janis Lull also takes special notice of the mourning women. She suggests that they are associated with "figures of repetition as anaphora—beginning each clause in a sequence with the same word—and epistrophe—repeating the same word at the end of each clause".[9]: p.22–23 One example of the epistrophe can be found in Margaret's speech in Act I, Scene III. Haeffner refers to these as few of many "devices and tricks of style" that occur in the play, showcasing Shakespeare's ability to bring out the potential of every word.[12]: p.56–60
Richard as anti-hero
Throughout the play, Richard's character constantly changes and shifts and, in doing so, alters the dramatic structure of the story.
Richard immediately establishes a connection with the audience with his opening monologue. In the soliloquy he admits his amorality to the audience but at the same time treats them as if they were co-conspirators in his plotting; one may well be enamored of his rhetoric[13] while being appalled by his actions. Richard shows off his wit in Act I, as seen in the interchanges with Lady Anne (Act I, Scene II) and his brother Clarence (Act I, Scene I). In his dialogues in Act I, Richard knowingly refers to thoughts he has only previously shared with the audience to keep the audience attuned to him and his objectives. In 1.1, Richard tells the audience in a soliloquy how he plans to claw his way to the throne—killing his brother Clarence as a necessary step to get there. However, Richard pretends to be Clarence's friend, falsely reassuring him by saying, "I will deliver you, or else lie for you" (1.1.115); which the audience knows—and Richard tells the audience after Clarence's exit—is the exact opposite of what he plans to do.[14]: p.37 Scholar Michael E. Mooney describes Richard as occupying a "figural position"; he is able to move in and out of it by talking with the audience on one level, and interacting with other characters on another.[14]: p.33
Each scene in Act I is book-ended by Richard directly addressing the audience. This action on Richard's part not only keeps him in control of the dramatic action of the play, but also of how the audience sees him: in a somewhat positive light, or as the protagonist.
In the earlier acts of the play, too, the role of the antagonist is filled by that of the old Lancastrian queen, Margaret, who is reviled by the Yorkists and whom Richard manipulates and condemns in Act I, Scene III.
However, after Act I, the number and quality of Richard's
By the end of Act IV everyone else in the play, including Richard's own mother, the Duchess, has turned against him. He does not interact with the audience nearly as much, and the inspiring quality of his speech has declined into merely giving and requiring information. As Richard gets closer to seizing the crown, he encloses himself within the world of the play; no longer embodying his facile movement in and out of the dramatic action, he is now stuck firmly within it.[14]: p.47 It is from Act IV that Richard really begins his rapid decline into truly being the antagonist. Shakespeare scholar Stephen Greenblatt notes how Richard even refers to himself as "the formal Vice, Iniquity" (3.1.82), which informs the audience that he knows what his function is; but also like Vice in the morality plays, the fates will turn and get Richard in the end, which Elizabethan audiences would have recognised.[15]
In addition, the character of Richmond enters into the play in Act V to overthrow Richard and save the state from his tyranny, effectively being the instantaneous new protagonist. Richmond is a clear contrast to Richard's evil character, which makes the audience see him as such.[14]: p.32
Performance
The earliest certain performance occurred on 16 or 17 November 1633, when
In 2011 film actor
Adaptations
Film
Basil Rathbone played Richard III in the 1939 Universal horror film Tower of London, which was directed by Rowland V. Lee. The film was later remade by Roger Corman in 1962 with Vincent Price (who had played Clarence in Lee's film) in the lead role. While both films are influenced by the characterisation and structure of Shakespeare's play, neither includes any dialogue from it.
The most famous player of the part in recent times was Laurence Olivier in his 1955 film version. Olivier's film incorporates a few scenes and speeches from Shakespeare's Henry VI, Part 3 and Cibber's rewrite of Shakespeare's play, but cuts entirely the characters of Queen Margaret and the Duchess of York, and Richard's soliloquy after seeing the ghosts of his victims. Olivier has Richard seduce Lady Anne while mourning over the corpse of her husband rather than her father-in-law as in the play. Olivier's rendition has been parodied by many comedians, including Peter Cook and Peter Sellers. Sellers, who had aspirations to do the role straight, appeared in a 1965 TV special on the Beatles' music by reciting "A Hard Day's Night" in the style of Olivier's Richard III. The first episode of the BBC television comedy Blackadder in part parodies the Olivier film, visually (as in the crown motif), Peter Cook's performance as a benevolent Richard, and by mangling Shakespearean text ("Now is the summer of our sweet content made o'ercast winter by these Tudor clouds ...")
Richard Loncraine's 1995 film, starring Ian McKellen, is set in a fictional fascist England in the 1930s, and based on an earlier highly successful stage production. Only about half the text of the play is used. The first part of his "Now is the winter of our discontent..." soliloquy is a public speech, while the second part is a private monologue. The famous final line of Richard's "A horse, my kingdom for a horse" is spoken when his jeep becomes trapped after backing up into a large pile of rubble.
In 1996, Al Pacino made his directoral debut and played the title role in Looking for Richard, analysing the plot of the play and playing out several scenes from it, as well as conducting a broader examination of Shakespeare's continuing role and relevance in popular culture. Also in 1996, a pristine print of Richard III (1912), starring Frederick Warde in the title role, was discovered by a private collector and donated to the American Film Institute. The 55-minute film is considered to be the earliest surviving American feature film.
In 2002 the story of Richard III was re-told in a movie about gang culture called King Rikki (also known as The Street King).[19]
In 2017, Italian director
Television
The BBC Television Shakespeare version, first broadcast in 1983, starred Ron Cook as Richard.
BBC Two aired a new adaptation of Richard III in 2016 as part of The Hollow Crown series, with Benedict Cumberbatch playing the king. Executive producer Pippa Harris commented, "By filming the Henry VI plays as well as Richard III, we will allow viewers to fully appreciate how such a monstrous tyrant could find his way to power, bringing even more weight and depth to this iconic character."[21]
In culture
Now is the winter of our discontent
The 2010 film, The King's Speech, features a scene where the king's speech therapist Lionel Logue, as played by Geoffrey Rush, auditions for the role by reciting the lines, "Now is the winter of our discontent / Made glorious summer by this sun [or son] of York". Shakespeare critic Keith Jones believes that the film in general sets up its main character as a kind of antithesis to Richard III.[22] The same antithesis was noted by conservative commentator Noah Millman.[23]
In the Red Dwarf episode "Marooned", Rimmer objects to Lister's burning of the Complete Works of Shakespeare in an attempt to maintain enough heat to keep him alive. When challenged, Rimmer claims he can quote from it and embarks upon the soliloquy: "Now! ... That's all I can remember. You know! That famous speech from Richard III – 'now, something something something something'."
In the 1967 film Billion Dollar Brain, Harry Palmer is told to use the verse as a code phrase.
John Steinbeck used the opening line for the title of his novel The Winter of Our Discontent.
The phrase "Winter of Discontent" is an expression, popularised by the British media, referring to the winter of 1978–79 in the United Kingdom, during which there were widespread strikes by local authority trade unions demanding larger pay rises for their members.
My kingdom for a horse!
Richard begins act 5, scene 4 by exclaiming "A horse, a horse, my kingdom for a horse!" after being knocked from his steed during the climactic battle.[24][25] The phrase illustrates the drama and desperation of his sudden fall from grace and has entered common parlance as such.
In the 1949 Looney Tunes cartoon A Ham in a Role, the dog actor says Catesby and Richard III's lines, "Rescue, fair lord, or else the day is lost! A horse, A horse, My kingdom for a horse!" before being kicked out of the window by a Goofy Gophers-hauled horse.[citation needed]
Noël Coward's 1941 song Could You Please Oblige Us with a Bren Gun? includes a lyric referring to Colonel Montmorency: "He realised his army should be mechanised, of course/ But somewhere inside/ Experience cried/ 'My kingdom for a horse!'"
In the 1993
In E. T. A. Hoffmann's 1816 story The Nutcracker and the Mouse King, the Nutcracker shouts in one scene; "A horse – a horse – my kingdom for a horse!"
Other quotations
The film Being John Malkovich has many Shakespeare allusions, including a scene in which Malkovich is shown rehearsing Richard III's lines "Was ever woman in this humour woo'd? / Was ever woman in this humour won?" where Richard is boasting about using power, lies, and crime to seduce Lady Anne. As Visual Cultures professor Lynn Turner notes, this scene anticipates a parallel scene in which Craig uses deceit to seduce Maxine through Malkovich.[26] Mariangela Tempera has noted that the subservience of Lady Anne in the scene contrasts with the self-assertiveness of the actress playing Lady Anne as she seduces Malkovich offstage.[27]
In Adam Sandler's 2011 film Jack and Jill, Al Pacino reprises his role as Richard III, although the scenes are modified as Pacino interacts with the audience in a heavily comedic way.[28]
In V for Vendetta when V confronts Father Lilliman, he quotes the line "And thus I clothe my naked villany in old odd ends stol'n forth of holy writ, and seem a saint when most I play the devil."
In Freaked, an arrogant movie star who has been transformed into a "hideous mutant freak" makes use of his deformity by performing the opening soliloquy, condensed by a local professor in subtitles for the "culturally illiterate" to the more succinct "I'm ugly. I never get laid." One reviewer mentioned this as the best example of how the film seamlessly moves between highbrow and lowbrow culture.[29]
In The Goodbye Girl, an ambitious actor played by Richard Dreyfuss is forced by his off-Broadway producer to play Richard III as a caricature of a homosexual.[30]
In the 1975 film
The manga Requiem of the Rose King by Aya Kanno, which began in 2013, is a loose adaptation of the first Shakespearean historical tetralogy. It depicts Richard III as intersex instead of hunchbacked.[31]
The title of the Alistair MacLean film Where Eagles Dare is inspired by Richard's complaint that the "world is grown so bad, that wrens make prey where eagles dare not perch." (Quoted in Act I, Scene III)
Lincoln's assassination
US President Abraham Lincoln was renowned for his love of Shakespeare, and of Richard III in particular.[32] This fed Confederate propaganda, especially in Virginia, where residents of Richmond, Virginia, saw Lincoln as a Richard-like tyrant and identified their capital city with the Earl of Richmond, the hero of Shakespeare's play. Some interpreted Richard's Act IV speech as an omen favourable to the South[citation needed]:
a bard of Ireland told me once
I should not live long after I saw Richmond.
Within a fortnight of the president's visit to the defeated city, he was assassinated by John Wilkes Booth, a Shakespearean actor known for playing both Richard and Richmond. Booth's notorious final words from the stage were "Sic semper tyrannis".[33]
Historical inaccuracy
Shakespeare, and the Tudor chroniclers who influenced him, had an interest in portraying the defeat of the Plantagenet
There is no evidence to suggest that Richard was personally responsible for the death of his wife's first husband,
Richard returned from the North to fulfil Edward IV's wish that he rule as
At the
The only contemporary reference to Richard having any deformities was the observation that his right shoulder was slightly higher than his left, which is now known to have been caused by his scoliosis of the spine. After the discovery of Richard's remains in 2012 it became clear that he might have been slightly hunched, though the degree and direction of the curvature was not as serious as that of what is now known as spinal kyphosis.[52][53][54]
Editions of Richard III
- Bate, Jonathan and Rasmussen, Eric (eds.) Richard III (The RSC Shakespeare; London: Macmillan, 2008)
- Davison, Peter (ed.) The First Quarto of King Richard III (The New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1996)
- de Somogyi, Nick (ed.) Richard III: The Tragedy of Richard the Third (The Shakespeare Folios; London: Nick Hern Books, 2002)
- Dover Wilson, John (ed.) Richard III (The New Shakespeare; Cambridge: Cambridge University Press, 1954; revised edition 1961)
- Eccles, Mark (ed.) The Tragedy of King Richard III (Signet Classic Shakespeare; New York: Signet, 1964; revised edition, 1988; 2nd revised edition 1998)
- Evans, G. Blakemore (ed.) Richard III (The Pelican Shakespeare; London: Penguin, 1959; revised edition 1969)
- ———. The Riverside Shakespeare (Boston: Houghton Mifflin, 1974; 2nd edn., 1997)
- Greenblatt, Stephen; Cohen, Walter; Howard, Jean E. and Maus, Katharine Eisaman (eds.) The Norton Shakespeare: Based on the Oxford Shakespeare (London: Norton, 1997)
- Greg, W.W. (ed.) Richard III, 1597 (Oxford: Oxford University Press, 1959)
- Hammond, Anthony (ed.) King Richard III (The Arden Shakespeare, 2nd Series; London: Arden, 1981)
- Holland, Peter (ed.) Richard III (The Pelican Shakespeare, 2nd edition; London: Penguin, 2000)
- Honigmann, E.A.J. (ed.) Richard III (The New Penguin Shakespeare; London: Penguin, 1968; revised edition, 1995)
- Jowett, John (ed.) Richard III (The Oxford Shakespeare; Oxford: Oxford University Press, 2000)
- Lull, Janis (ed.) King Richard III (The New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1999; 2nd edition 2009)
- Siemon, James R. (ed.) King Richard III (The Arden Shakespeare, 3rd Series; London: Arden, 2009)
- Taylor, Michael (ed.) Richard III (The New Penguin Shakespeare, 2nd edition; London: Penguin, 2005)
- Thompson, A. Hamilton (ed.) The Tragedy of King Richard the Third (The Arden Shakespeare, 1st Series; London: Arden, 1907)
- Wells, Stanley; Taylor, Gary; Jowett, John and Montgomery, William (eds.) The Oxford Shakespeare: The Complete Works (Oxford: Oxford University Press, 1986; 2nd edn., 2005)
- Werstine, Paul and Mowat, Barbara A. (eds.) Richard III (Folger Shakespeare Library; Washington: Simon & Schuster, 2004)
Notes
- ^ Surrey appears only in the Folio text; his lines in 5.3 are assigned to Catesby in the quartos.
- ^ Lovell appears only in the Folio text; in the quartos, his line in 3.4 is absent and his line in 3.5 is spoken by Catesby.
- ^ Oxford is identified by name only in the Folio text. In the quartos, he is simply "First Lord".
- ^ Herbert is identified by name only in the Folio text. In the quartos, he is simply "Second Lord".
- ^ Although Blunt is identified by name in 5.4 of both the Folio text and the quartos, he is also referred to as "Third Lord" in 5.2 of the quartos.
- ^ Identified only in the Folio text; in the quartos, he is simply "Cardinal", and is amalgamated with the Archbishop of York.
- ^ Identified only in the Folio text; in the quartos, he is simply "Cardinal", and is amalgamated with the Archbishop of Canterbury.
- ^ Appears only in the Folio text; in the quartos, his lines in 1.4 are spoken by Sir Robert Brackenbury.
- ^ The pursuivant is identified as Hastings only in the quartos; in the Folio text he is referred to as "sirrah".
- ^ Wiltshire appears only in the Folio text; his lines in 5.1 are assigned to Ratcliffe in the quartos.
Citations
- ^ Baldwin, Pat; Baldwin, Tom, eds. (2000). Cambridge School Shakespeare: King Richard III. Cambridge University Press. pp. 1–2.
- ^ "Richard III | play by Shakespeare | Britannica". 22 September 2023.
- ^ "Nicolai Abildgaard, Richard III terrified by nightmarish visions. Shakespeare, Act 5, Scene 9". Nivaagaard Collection.
- ^ [1] See title page of facsimile of the original 1st edition (1597)
- ^ British Library
- ^ a b c d e f g Hammond, Anthony. 1981 (ed.). The Arden Shakespeare: King Richard III, Routledge.
- ^ "Boar mount belonging to Richard III detected". The Daily Telegraph. London. 3 December 2012. Archived from the original on 5 December 2012. Retrieved 3 December 2012.
- ISBN 978-1-4411-2774-7.
- ^ a b c d e f Lull, Janis. 1999 (ed.). The New Cambridge Shakespeare: Richard III Cambridge: Cambridge University Press.
- ^ Ribner, Irving. 1999. "Richard III as an English History Play" Critical Essays on Shakespeare's Richard III Ed. Hugh Macrae Richmond. New York.
- ^ a b Kiernan, Victor. 1993. Shakespeare: Poet and Citizen London: Verso.
- ^ a b c d e f Haeffner, Paul. 1966. Shakespeare: Richard III London: Macmillan.
- ^ Sila Senlen. "Chapter 3: Rhetoric in the Hands of the Machiavellian Villain: William Shakespeare's Richard III". In Words as Swords: Verbal Violence as a Construction of Authority in Renaissance and Contemporary English Drama. Stuttgart: ibidem verlag, 2009. pp. 60–95.
- ^ a b c d e f g h Mooney, Michael E. 1990. "Shakespeare's Dramatic Transactions". Duke University Press.
- ISBN 978-0712600989.
- ISBN 978-1-4438-6969-0.
- ISBN 978-0-19-953588-0.
- ^ Halliday, F.E. 1964. A Shakespeare Companion 1564–1964, Baltimore, Penguin.
- ^ "King Rikki • British Universities Film & Video Council". Bufvc.ac.uk. Retrieved 3 May 2016.
- ^ "Riccardo va all'inferno, versione femminista e in forma di musical del testo di Shakespeare con la regia di Roberta Torre". Il Fatto Quotidiano. 27 November 2017. Retrieved 3 August 2019.
- ^ Barraclough, Leo (6 April 2014). "Benedict Cumberbatch to Play Richard III in Neal Street's Film for BBC". Variety.
- ^ Shakespeare in King's Speech
- ^ Millman, Noah. "Weekly Double Feature: Richard III and The King's Speech" The American Conservative 24 March 2012
- ^ Shakespeare, Richard III, Act 5, scene 4, line 13
- Folger Library, 24 August 2021. Retrieved 23 June 2023
- ^ "Translating John Malkovich" by Lynn Turner originally published in Translations – Performance Research 2002 – Volume 7, No. 2, June
- ISBN 9782877753890. Essay: "Winter and Horses: References to Richard III on film and television"
- ^ Just How Good Is Al Pacino In Jack and Jill
- ^ "WTF:Freaked" Archived 12 November 2011 at the Wayback Machine. Spectrum Culture
- ISBN 0-425-18176-6.
- ^ "Viz Media Adds JoJo's Bizarre Adventures: Battle Tendency, Requiem of the Rose King Manga". Anime News Network. 4 July 2014. Retrieved 12 March 2015.
- ^ See Carter, Stephen L, "What Abraham Lincoln Liked about Richard III"
- Biography. Retrieved 31 October 2018.
- ^ Smart, Alastair (20 January 2013). "Richard III: Visions of a villain?". The Daily Telegraph. London. Archived from the original on 12 January 2022. Retrieved 16 May 2016.
- ^ Jones, Dan (25 June 2013). "Shakespeare: did he get his history right?". The Daily Telegraph. London. Archived from the original on 12 January 2022. Retrieved 16 May 2016.
- ISBN 978-1-136-63944-9.
- ^ ISBN 978-0520027817.
- ISBN 978-0-351-17096-6.
- ^ Wolffe, Bertram (1981). Henry VI.
- ^ Hartley, Cathy (2003). A Historical Dictionary of British Women.
- ISBN 9780900701627.
- ISBN 978-0-9576840-4-1.
- ^ W. W. Norton.
- ^ Brand, Paul; Phillips, Seymour; Ormrod, Mark; Martin, Geoffrey; Curry, Anne; Horrox, Rosemary (24 November 2014). Given-Wilson, Chris (ed.). Parliament Rolls of Medieval England – Richard III: January 1484. Institute of Historical Research.
- ^ de Commines, Philipe (1855). H. G. Bohn (ed.). The memoirs of Philip de Commines, lord of Argenton, Volume 1.
- ^ a b Cheetham, Anthony; Fraser, Antonia (1972). The Life and Times of Richard III. London: Weidenfeld & Nicolson. pp. 175–176.
- ^ Williams, Barrie (March 1983). "The Portuguese Connection and the Significance of the 'Holy Princess'". The Ricardian. 6 (90)..
- ^ ISBN 978-1-84854-909-8.
- ISBN 978-0-708-3121-86.
- ^ Chrimes, Stanley Bertram (1972). Henry VII. London: Eyre Methuen.
- ^ Gillingham, John (1981). The Wars of the Roses: peace and conflict in fifteenth-century England. Weidenfeld & Nicolson.
- ISBN 978-1-8485-48-930.
- S2CID 44719129.
- ^ King, Turi (2 November 2016). "How close was Shakespeare's portrayal of Richard III?". British Council. Retrieved 28 May 2018.
External links
- Richard III at Standard Ebooks
- The Tragedy of King Richard III at Project Gutenberg
- Richard III at the British Library
- Richard III public domain audiobook at LibriVox
- "Now is the winter of our discontent" Soliloquy translated into modern English