Richard III is a historical play by William Shakespeare believed to have been written around 1593. It describes the Machiavellian revival to the reigns and the short reign of King Richard III of England. The drama is grouped among histories in the First Folio and is most often classified as such. However, sometimes, as in the quarto edition, it is called a tragedy. Richard III summed up Shakespeare's first tetralogy (also containing Henry VI section 1-3).
This is the second longest drama in the canon after Hamlet and is the First Folio, which has a version Hamlet shorter than its Quarto counterpart. Drama often strung together; for example, certain peripheral characters are deleted entirely. In such cases, additional lines are often found or added from elsewhere in sequence to define the nature of character relationships. A further reason for abridgement is that Shakespeare assumes that his audience will be familiar with his game of Henry VI and often make indirect references to events in it, such as Richard's murder of HenryÃ, VI or the defeat of the queen Henry. , Margaret.
Video Richard III (play)
Karakter
House of York
- King Edward IV - King of England
- Richard, Duke of Gloucester - Edward IV's brother; then King Richard III
- George, Duke Clarence - brother of Edward IV
- Duchess of York - Edward, Richard and George's mother
- Edward, Prince of Wales - Edward IV's eldest son; then King Edward V (never crowned)
- Richard, Duke of York - Edward IV's younger son
- Boy - son of George
- The daughters of George
House of Lancaster
- Queen Margaret - widow of King Henry VI
- The Ghost of King Henry VI
- The ghost of Edward from Westminster, Prince of Wales - son of Henry VI
- Lady Anne Neville - widow of Edward of Westminster; then Queen becomes King Richard III
- Tressel and Berkeley - Lady Anne's maid (non-speaking role)
The Woodville Family
- Queen Elizabeth - Queen to King Edward IV
- Earl Rivers - Elizabeth's brother
- Marquis of Dorset - Elizabeth's son (from previous marriage)
- Lord Richard Gray - Elizabeth's son (from previous marriage)
- Sir Thomas Vaughan - ally of Rivers and Gray
Kelompok Richard III
- Adipati Buckingham
- Sir William Catesby
- Adipati Norfolk
- Earl of Surrey - putra Norfolk
- Sir Richard Ratcliffe
- Sir James Tyrrell - pembunuh bayaran
- Tuan Lovel
- Dua Pembunuh
- Richard Hood
Earl of Richmond Group
- Henry Tudor, Earl of Richmond - Henry VI's nephew; then King Henry VII
- Mr. Stanley, Earl of Derby - Richmond's stepfather
- Earl of Oxford
- Sir Walter Herbert
- Sir James Blunt
- Sir William Brandon - Richmond standard carrier (non-speaking role)
Pendeta
Other characters
- Lord Hastings - Lord Chamberlain under Edward IV
- Sir Robert Brackenbury - Lieutenant Tower
- Lord Mayor of London
- Scrivener
- Tower Guard
- Three Citizens
- Hastings - the pursuit
- Sheriff of Wiltshire
- Ghosts from Clarence, Rivers, Gray, Vaughan, Edward (Prince of Wales), Richard (Duke of York), Hastings, Lady Anne and Buckingham
- Master, Messenger, Warrior etc.
More Although they do not appear in the text of the game, much of the production includes as characters on stage Jane Shore (Edward IV's mistress), Elizabeth of York (daughter of Edward IV, then queen to Richmond [Henry VII]), and George Stanley (son of Lord Stanley, who was held hostage by Richard before Bosworth Battlefield)
Maps Richard III (play)
Synopsis
The drama begins with Richard (called "Gloucester" in the text) standing on the "road", describing his accession back to the throne of his brother, King Edward IV of England, the eldest son of the late Richard, Duke of York, implying the year is 1471.
("Sun of York" is a reference to the "sunny" badge, adopted by Edward IV, and "York's son", the Duke of York's son.)
Richard was an ugly hunch who "rudely stamped", "deformed, unable to do anything", and could not "deviate in front of a naughty mischievous lady." He responds to the sadness of his condition with the credo of the outcast: "I am determined to prove a villain/And hate the idle pleasure of today." Richard plans to have his brother Clarence, who stands before him on the line of succession, which is done to the Tower of London above prophecy, he bribes a fortuneteller to hunt down a suspicious King with; that " G of the heir of Edward the murderer must be", interpreted by the king as referring to G eorge of Clarence (unwittingly referring to G loucester).
Richard now plans to seduce "Lady Anne" - Anne Neville, widow of Edward Lancastrian Westminster, Prince of Wales. He confessed to the audience:
The scene then changed to reveal Lady Anne who was accompanying the deceased King Henry VI's body, along with Trestle and Berkeley, on her way to be buried at the cathedral. Paul. He asked them to place "honorable burden - if honor might be covered with a car", and then regretted the fate of Lancaster's home. Richard suddenly appeared and demanded that the "unmanaged dog" bring his car to put it, where a brief verbal dispute occurred.
Despite initially hating her, Anne was won by her love and repentance plea and agreed to marry him. As he left, Richard rejoiced to have won it despite everything he had done to him, and told the audience that he would throw it away once he had served his purpose.
The atmosphere in the castle was toxic: The established nobility were against the close relatives of Queen Elizabeth, a hostility driven by Richard's minds. Queen Margaret, widow of Henry VI, is back against her dismissal and warns aristocrats about Richard. Queen Margaret cursed Richard and the others present. The nobles, all of York, are reflexively united against this last Lancastrian, and the warning falls on deaf ears.
Richard ordered two assassins to kill Clarence in the tower. Clarence, meanwhile, associates the dream with her guard. The dream includes a language that clearly depicts Clarence falling from an imaginary ship as a result of Gloucester, who fell from the hold, attacking him. Beneath the water, Clarence saw the skeleton of thousands of "fish-chewed" humans. He also saw "gold wedges, big anchors, pearls of pearls, priceless stones, worthless jewelry". All of these are "scattered on the seabed". Clarence adds that some gems are in the skull of the dead. He then imagined dying and tortured by the ghosts of Warwick (Anne's father), and Edward of Westminster (husband of the late Anne).
After Clarence had fallen asleep, Brakenbury, Lieutenant of the Tower of London, entered and observed that between the title of prince and the low names of the common people, there was nothing different but "outward fame", which meant that they both had "hard work" whether rich or poor. When the assassins arrived, he read their warrant (issued in the King's name), and came out with the Guard, who disobeyed Clarence's request to stand beside him, and left the two key killers.
Clarence wakes up and pleads with the murderers, saying that men have no right to obey the other man's request for murder, because all men are under God's control to not commit murder. The murderers imply that Clarence is a hypocrite because, as one says, "You... forcibly unleash the contents of your son of sovereignty [Edward] whom you vow to honor and defend." Trying to win them by tactics, he tells them to go to his brother Gloucester, who will give them a better gift for his life than Edward would for his death. A killer insists Gloucester himself sends them to do bloody acts, but Clarence does not believe him. He remembers the union of Richard Duke of York blessing his three sons with a winning hand, offered his sister Gloucester to "think of this and he will cry". Sardonic, a murderer, said Gloucester wept with a millstone - echoing Richard's earlier comments about the spies of the murderers themselves who were crying with milled rocks rather than "stupid tears" (Act I, Sc 3).
Next, one of the assassins explains that his brother Gloucester hates him, and sends them to the Tower to kill him. Finally, a killer surrendered to his conscience and did not participate, but another assassin poked Clarence and drowned him in "Malmsey's inner butt". The first act closes with the perpetrator who needs to find a hole to bury Clarence.
Richard used the unexpected news of Clarence's death to send Edward IV, who was already ill, to his deathbed, insinuating that Queen was behind Clarence's execution. Edward IV soon dies, leaving as Patron's brother Richard, who sets about removing the last obstacle to his accession. He had killed Lord Rivers to further alienate the Queen and to stop all attempts to make the Prince immediately crowned. He meets his nephew, the young Edward V, who is on his way to London for his coronation accompanied by Edward's widow's family (Lord Hastings, Lord Gray, and Sir Thomas Vaughan). Richard was arrested, and finally chopped off his head, and then had a conversation with the Prince and his younger brother, Duke of York. The two princes outsmarted Richard and matched words and language usage easily. Richard is nervous about them, and their potential threats. The young prince and his brother were persuaded (by Richard) for an extended stay at the Tower of London. The prince and his brother, the Duke of York, proved themselves to be a very intelligent and charismatic character, bravely opposed and outsmarted Richard and openly taunted him.
Assisted by his cousin, Buckingham, Richard conducts a campaign to present himself as the true heir to the throne, pretending to be a pious simple man without pretensions for greatness. Lord Hastings, who objected to Richard's accession, was arrested and executed on suspicion of treasonous treason. Together, Richard and Buckingham spread rumors that Edward's two sons were invalid, and therefore had no legal right to the throne; they were assisted by Catesby, Ratcliffe, and Lovell. The other nobles were persuaded to accept Richard as king, regardless of the survival of his nephews (princes in the Tower).
Richard asked Buckingham to secure the death of the princes, but Buckingham hesitated. Richard then recruited Sir James Tyrrell, who killed the two children. When Richard denies Buckingham as the promised land grant, Buckingham turns against Richard and is handicapped to Henry's side, the Earl of Richmond, who is currently in exile. Richard paid attention to his nephew, Elizabeth of York, the heir of the remaining Edward IV, and poisoned Lady Anne so that she could be free to seduce the princess. The Duchess of York and Queen Elizabeth grieve over the death of the prince, when Queen Margaret arrives. Queen Elizabeth, as expected, asks Queen Margaret for help in cursing. Then, the Duchess applies this lesson and condemns his only surviving son before leaving. Richard asks Queen Elizabeth to help her win her daughter's hand in marriage, but she is not taken by her eloquence, and eventually manages to fool her and awaits her by saying that she will let her know her daughter's answer in time.
The more paranoid Richard loses the popularity of what he has. He soon faced a first led rebellion by Buckingham and later by an attacking Richmond. Buckingham was arrested and executed. Both sides arrive for the final battle at Bosworth Field. Before the battle, Richard was visited by the ghost of his victim, who all told him to "Despair and die!" after which they want a victory over Richmond. She wakes up screaming for "Jesus" to help her, slowly realizing that she's alone in the world, and can not even pity herself.
At the Battle of Bosworth Field, Lord Stanley (who is also Richmond's stepfather) and his followers left Richard's side, where Richard summoned the execution of George Stanley, Lord Stanley's son. This did not happen, because the fighting was in progress, and Richard had not benefited. Richard was immediately inducted in the field at the height of the battle, and shouted, "A horse, a horse, my kingdom for a horse!" Richmond kills Richard in the last duel. Furthermore, Richmond managed to ascend the throne as Henry VII, and married Princess Elizabeth of the House of York.
Date and text
Richard III is believed to be one of Shakespeare's earlier dramas, preceded only by three parts of Henry VI and possibly Titus Andronicus and a handful of comedies. It is believed to have been written c. 1592-1594. Although Richard III was incorporated into the Company List of Stationers on October 20, 1597 by bookmaker Andrew Wise, who published the first Quarto (Q1) of the end of the year (with the printing done by Valentine Simmes), Christopher Marlowe EdwardÃ, II , which can not be written more slowly than 1592 (Marlowe died in 1593), allegedly influenced by it. The second quarto (Q2) followed in 1598, printed by Thomas Creede for Andrew Wise, contains attributions for Shakespeare on the title page. Q3 appeared in 1602, Q4 at 1605, Q5 in 1612, and Q6 in 1622, a frequency that proved its popularity. The First Folio Version was followed in 1623.
The folio is longer than Quarto and contains about fifty additional sections totaling over two hundred lines. However, Quarto contained about twenty-seven sections totaling about thirty-seven lines that were not in Folio. Both texts also contain hundreds of other differences, including the transposition of words in speech, the movement of words from one speech to another, the replacement of words with close synonyms, and many changes in grammar and spelling.
At one time, he thought that Quarto represented a separate revision of the drama by Shakespeare. However, since Quarto contains many changes that can only be regarded as errors, it is now widely believed that Quarto was produced by a warning reconstruction. It is thought that Quarto is collectively produced by a perpetrator company that remembers their line. It is not known why the actors do this, but it might replace the missing book. Folio is considered to have much higher authority than Quarto, but since the Folio edition was compiled by the printing presses of Quarto (probably Q3), some mistakes from Quarto found their way into the Folio. Some parts of the Folio (the beginning of Act III and many of Act V) are clearly copied, with slight changes, directly from Quarto. Folio also has its own defilements and omissions, and corrections should be given, if possible, from Quarto.
Themes
Comedy element
In contrast to the previous tragedy of Titus Andronicus , this drama avoided a graphical demonstration of physical violence; only Richard and Clarence were shown stabbed on stage, while the others (the two princes, Hastings, Brackenbury, Gray, Vaughan, Rivers, Anne, Buckingham, and King Edward) all fulfilled their purpose off the stage. Despite the terrifying nature of his character and plot, Shakespeare inserted his action with comic material, just as he did with most tragedies. Much humor emerged from the dichotomy between how Richard's character was known and how Richard tried to perform.
Richard himself also gave some dry comments in evaluating the situation, such as when he planned to marry Queen Elizabeth's daughter: "Killing her brothers, then marrying her: Uncertain ways to get..." Another example of humor in the drama includes Clarence's murderer reluctantly, and the Duke of Buckingham report in his attempt to persuade London to accept Richard ("I bid those who truly love the screams of the good of their country, God saves Richard, the king of England!" Richard: "And are they so?" Buckingham: "No, so God help me, they do not say a word...") Also, Shakespeare's principal, is well represented in the scene where Richard tried to persuade Queen Elizabeth to seduce her daughter on her behalf.
Free will and fatalism
One of the central themes of Richard III is the idea of ​​destiny, primarily because it is seen through the tension between free will and fatalism in Richard's actions and speeches, and reactions to him by other characters.. There is no doubt that Shakespeare attracted much attention to Sir Thomas More's account of Richard III as a criminal and tyrant as an inspiration for his own rendering. This influence, especially relating to the role of divine punishment in Richard's government in England, reached its peak in Margaret's voice. Janis Lull suggests that "Margaret expressed her conviction, driven by the growing Calvinism of the Elizabethan era, that individual historical events were determined by God, often punishing evil with the evils" (real).
Thus it seems likely that Shakespeare, in keeping with the growing Tudor myth at the time, and considering new theologies of divine action and humanity would become popular behind the Protestant Reformation, attempting to paint Richard as God's final curse in England in punishment for Richard II's deposition in 1399. Irving Ribner argues that "Richard's evil path is a cleansing operation that root out evil from society and returns the world in the end to God-ordained goodness embodied in the new rules of HenryÃ, VII".
Scholar Victor Kiernan writes that this interpretation fits perfectly with the social perspective of English from the time of Shakespeare: "An extension is underway the guarantee of a privileged class of preferential treatment in the next world as in this case, for the belief of a favorite nation to have God by its side, the English become... new Chosen People ". When British Elizabethan gradually colonized the world, the people embraced the Divine Right and Self-Appeal view to do so, just as Richard did in the Shakespeare drama.
However, historical fatalism is but one side of the prediction of destiny versus free will. It is also possible that Shakespeare intended to portray Richard as "the personification of the Machiavellian view of history as power politics". In this view, Richard acted entirely out of his own volition in holding the brutal throne of England. Kiernan also presents this side of the coin, noting that Richard "boasted to us of his skill in hiding and deceiving with bits of Scripture to cover his bare thugs" (I.iii.334-8)... Machiavelli, like Shakespeare may wish we are aware, not a safe guide to practical politics ".
Kiernan points out that Richard only acts as if God determines his every move in a kind of Machiavellian religious manipulation in an attempt to avoid the moral conscience of those around him. Hence, historical determinism is simply an illusion made by Richard's assertion of his own will. The Machiavellian reading of the game finds evidence in Richard's interaction with the audience, as when he mentions that he is "determinÃÆ'¨d to prove a criminal" (I.i.30). However, although it seems that Richard sees himself as entirely in control, Lull points out that Shakespeare uses Richard to declare "the tragic concept of the game in a joke.The main meaning is that he controls his own destiny.His blow also has a second, contradictory meaning - that the villain is doomed - and the strong providentialism of the drama ends up supporting this meaning ".
The literary critic Paul Haeffner writes that Shakespeare has a great understanding of the language and potential of every word he uses. One word Shakespeare gives is "joy". It is used in Acta I, Scene, III, where it is used to denote "deliberate emotional effects". Another word that Haeffner points out is "good heart", which he says is used with two different definitions.
The first definition is used to express a "soft and loving" man, whom Clarence used to describe his brother Richard to the murderers sent to kill him. This definition is incorrect, since Richard used a gentle façade to seize the throne. The second definition concerns the "nature of the person... Richard will indeed use Hastings well - that is, just as he is in the habit of using people - brutally."
Haeffner also wrote about how the speech was written. He compared the speeches of Richmond and Richard with their soldiers. He describes Richmond's speech as "dignified" and formal, while Richard's speech is described as "slangy and impetuous". Richard's relaxed attitude in speaking is also noted by other authors. However, Lull does not make comparisons between Richmond and Richard as Haeffner did, but between Richard and the woman in his life. However, it is important for women to share the formal language used by Richmond. He made the argument that differences in speech "reinforce the thematic division between the identification of women with social groups and Richard's individualism". Haeffner agrees that Richard is "an individual, hates dignity and formality".
Janis Lull also noticed the women in mourning. He suggests that they are related to "repetition numbers as anaphoras - starting each clause in the same word sequence - and epistrophe - repeating the same word at the end of each clause". One example of epistrophe can be found in Margaret's speech in Act I, Scene III. Haeffner calls this a little of the many "stylish devices and tricks" that occur in the game, showing Shakespeare's ability to unleash the potential of every word.
Richard as an anti-hero
Throughout the game, Richard's character keeps changing and shifting and, thus, changing the dramatic structure of the story.
Richard soon established a relationship with the audience with his opening monologue. In soliloquy, he acknowledged his immorality to the audience but at the same time treated them as if they were co-conspirators in his plans; people may be captivated by his rhetoric when he is surprised by his actions. Richard shows his wits in Act I, as seen in exchange with Lady Anne (Act I, Scene II) and his brother Clarence (Act I, Scene I). In his dialogue, Acti I, Richard consciously refers to the thoughts he had previously only shared with the audience to keep the audience in tune with himself and his goals. In 1.1, Richard informed the audience with soliloquy how he planned to claw his way to the throne - killing his brother Clarence as necessary steps to get there. However, Richard pretended to be Clarence's friend, reassured him by saying, "I will free you, or lie for you" (1.1.115); known to the audience - and Richard told the audience after Clarence's departure - it was the opposite of what he had planned. Scholar Michael E. Mooney described Richard as occupying a "figural position"; he can move in and out of it by talking to the audience on one level, and interacting with other characters on one side.
Every scene in Act I is terminated by Richard directly to the audience. This action on Richard's part not only makes him control dramatic dramatic action, but also how the audience sees it: in a somewhat positive light, or as a protagonist. Richard really embodies the dramatic "Vice" character of the medieval morality drama - who is very familiar with Shakespeare from his time - with his "humorous humor". Like the Deputy, Richard is able to make what is bad and evil - his thoughts and goals, his views on other characters - into what is interesting and entertaining for the audience.
In the previous action, the role of the antagonist was also filled by the old Lancastrian queen, Margaret, who was bewitched by the Yorkis and Richard's manipulation and curse in Acta I, Scene III.
However, after Act I, the number and quality of Richard's aides to the audience was significantly reduced, as well as some interspersed scenes that did not include Richard at all, but the average Citizen (Act II, Scene III), or Duchess of York and his children, the son of Clarence (Act II, Scene II), who is equally morally with the evil Richard. Without Richard guiding the audience through dramatic action, the audience is left to evaluate for themselves what is going on. In ActÃ, IV, SceneÃ, IV, after the murder of the two young princes and the cruel murder of Lady Anne, the women of the drama - Queen Elizabeth, Duchess of York, and even Margaret - gather to mourn their country and to curse Richard; and difficult because the audience is not sympathetic to them. When Richard got into a bargain with Queen Elizabeth for his daughter's hand - a scene that echoes rhythmic dialogue as fast as the Lady Anne scene in Act I - she has lost her agility and playfulness for communication; Obviously he's not the same guy.
At the end of Act IV, everyone in the drama, including Richard's own mother, the Duke, has turned against him. He does not interact with the audience almost as much, and the quality of his inspiration speaks only to provide and need information. As Richard got closer to seize the crown, he wrapped himself in the world of drama; No longer manifesting a smooth movement in and out of dramatic action, he is now stuck firmly in it. From ActÃ, IV, Richard really started his rapid decline into a truly antagonist. Shakespeare scholar Stephen Greenblatt notes that Richard even refers to himself as "The Official Vice, Poorman" (3.1.82), which tells the audience that he knows what it is; but also like the Deputy in the drama of morality, fate will change and get Richard in the end, desired by Elizabethan's audience.
In addition, Richmond's character entered into the drama at Acta V to overthrow Richard and save the country from tyranny, effectively becoming a new protagonist instantly. Richmond is in stark contrast to Richard's evil character, which makes the audience see it that way.
Performance
The earliest first appearance occurred on 16th or 17th of November 1633, when CharlesÃ, I and Queen Henrietta Maria watched it on Queen's birthday.
Colley Cibber produced the most successful adaptation of Shakespeare Restoration with his version of RichardÃ, III in Drury Lane beginning in 1700. Cibber himself played the role until 1739, and his version was on stage for the next. half a century. It contained the line "Off with its head, so much for Buckingham" - perhaps the most famous Shakespeare line that Shakespeare did not write - and "Richard himself again!". The original Shakespeare version was re-produced at Sadler's Wells Theater in 1845.
Most versions of the movie Richard III feature an actor who has previously played Richard onstage. The two most famous film versions are those with Laurence Olivier and Ian McKellen. McKellen's film is directly based on the previous set of production stages in the Nazi Britain of the 1930s, which toured Europe for six years to sell it all-out before becoming shortly thereafter adapted to the film. McKellen wrote a screenplay for the movie version, though he did not direct it. Olivier played Richard onstage for several years in the 1940s before making his film in 1955. The film's appearance, if not the overall production, was strongly based on previous stage performances. The Movie of Al Pacino Searching for Richard is a documentary film of specific drama scenes, and a meditation on the significance of the game. Pacino had played a role on stage 15 years earlier.
In 2011, renowned film actor Kevin Spacey starred in an Old Vic production which later toured the United States, directed by famous director and director Sam Mendes. No plans for the film version has been announced. Spacey has played the role of Richard's henchman, Duke of Buckingham, in the movie Pacino.
Cultural adaptation and reference
Movies
Basil Rathbone, playing Richard III in the 1939 Universal horror film, Tower of London , directed by Rowland V. Lee. The film was later remade by Roger Corman in 1962 with Vincent Price in the lead role.
The most famous player in the latter part is Laurence Olivier in the film version of 1955. Olivier's film combines several scenes and speeches from Shakespeare's Henry VI, Section 3 and Cibber's rewriting of the Shakespeare drama, but cuts it completely characters Queen Margaret and Duchess of York, and Richard solilokui after seeing the ghost of his victim. Olivier had Richard lure Lady Anne grieving over her husband's corpse rather than her father-in-law as in the play. Olivier's appearance has been parodied by many comedians, including Peter Cook and Peter Sellers. The seller, who has aspirations to perform straight roles, appeared on 1965's special TV on The Beatles' music by reading "A Hard Day's Night" in the style of Olivier RichardÃ, III. The first episode of the BBad television comedy Blackadder in the parodies of Olivier's film, visually (as in the crown motif), Peter Cook's appearance as a kindly Richard, and by mangling the text of Shakespeare ("Now is summer content sweet we made winter o'ercast by this Tudor cloud... ")
Richard Loncraine's 1995 film, starring Ian McKellen, was set in a fictional British fascist in the 1930s, and based on a very successful stage of production before. Only about half the game text is used. The first part of "Now is the winter of our dissatisfaction..." soliloquy is a public speech, while the second part is a personal monologue. Richard's famous final line, "A horse, my kingdom for a horse" was pronounced when his jeep trapped after returning to a huge pile of rubble.
In 1996, Al Pacino made his director's debut and played the title role in Finding Richard, analyzing the plot of the drama and playing some scenes from him, as well as conducting a wider examination of Shakespeare's continuing. roles and relevance in popular culture. Also in 1996, the pure print of RichardÃ, III (1912), starring Frederick Warde in the title role, was invented by a private collector and donated to the American Film Institute. The 55 minute movie is considered the most surviving feature American feature film.
In 2002, the story of Richard-III is retold in a movie about a gang culture called King Rikki (also known as The King Street ).
Television
BBC Television Shakespeare version, first aired in 1983, starring 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 drama Henry VI and also Richard III , we will allow viewers to fully appreciate how such a gigantic tyrant can find a way to power, brings more weight and depth to this iconic character. "
References in popular culture
Lincoln Lincoln AssassinationAbraham Lincoln is famous for his love of Shakespeare, and especially of Richard III. This gave Confederate propaganda, especially in Virginia, where Richmond residents saw Lincoln as a tyrant like Richard and identified their capital with Earl of Richmond, the hero of Shakespeare's drama. (See photos of Richmond massacring Richard, above.) Some people interpret Richard Act IV's remarks as a good omen for the South:
The relationship between Lincoln and the drama was indelibly imprinted on history when on April 14, 1865, within two weeks of the president's visit to the losing city, he was killed by John Wilkes Booth, a Shakespeare actor known for playing Richard and Richmond. Booth's famous last words from the stage are "Sic semper tyrannis" .
Quote "Winter of our dissatisfaction"
The 2010 film, The King's Speech, features scenes in which the king's speeches Lionel Logue, as played by Geoffrey Rush, auditioned for the role by uttering the phrase, "Now is the winter of our dissatisfaction/Creating season the glorious heat of this sun [or son] of York. " Shakespeare's Critic Keith Jones believes that the film generally sets its main character as a kind of antithesis to Richard III. The same antithesis is noted by conservative commentator Noah Millman.
In Marooned's "Red Dwarf" episode "Marooned", Rimmer objected to Lister burning the Complete Works of Shakespeare in an effort to maintain sufficient heat to keep him alive. When challenged, Rimmer claimed he could quote from him and start with soliloquy: "Now!... That's all I remember, you know! That's a famous speech from Richard III - 'now, something something something '. "
John Steinbeck used the opening sentence for the title of his novel The Winter of Our Discontent .
The phrase "Winter of Dissatisfaction" is an expression popularized by the British media, referring to the winter of 1978-1979 in Britain, where there is a widespread strike by trade unions of local authorities demanding greater pay increases for its members.
"My kingdom for horses" quotes
In the Looney Tunes cartoon 1949 Ham in the Role , dog actors say Catesby and Richard III lines, "Saving, just lord, or the other day was lost! A horse, A horse, a kingdom for a horse! "before being kicked out of the window by Gophers-hauled Goofy horse.
In Rob Robin Hood: Men in Tights, Robin of Locksley's character, played by Cary Elwes, says, "Horse, my kingdom for a horse!" when he arrived in England in the opening scene.
This quote is found in many translations from Anton Chekhov Three Sisters . Vershinin, a cultured and philosophical character, refers to this famous quote when he says "Half my kingdom for a glass of tea!".
In CSI: Crime Investigation , Season 3, Episode 21, "Forever", when the horse trainer was killed at the scene, Grissom cites this particular phrase.
More
The film Being John Malkovich has a lot of Shakespeare innuendo, including the scene in which Malkovich is shown practicing Richard III lines "Have any women in this humor been won? had the woman in this humor won? "where Richard boasts of using force, lies, and evil to seduce Lady Anne. As noted by Lynn Turner's Visual Culture Professor, this scene anticipates the parallel scene in which Craig uses the trickery to tease Maxine through Malkovich. Mariangela Tempera has noted that Lady Anne's obedience in the scene contrasts with the assertiveness of the actress playing Lady Anne as she teases Malkovich off stage.
Adam Sandler's 2011 film Jack and Jill featured Al Pacino repeating the role of Richard III, although the movie scene was modified when Pacino interacted with the audience in a very comedic way. Some reviewers who highlight the film consider Pacino as the best element of the film.
In the V for Vendetta when V confronted Lilliman's father, he quoted the phrase "And thus I'm my naked villany's clothes at the frail old stolen streak of the scriptures, and it appears holy when most I play the devil. "
In Freaked , an arrogant movie star who has turned into a "creepy giant mutant" takes advantage of his deformity by opening soliloquy, condensed by a local professor in the subtitle for "cultural blindness" to be more succinct, "I ugly, I was never put to sleep. " One reviewer mentioned this as the best example of how the film moves smoothly between cultures and cultures.
In The Goodbye Girl, the ambitious actor played by Richard Dreyfuss was forced by producers outside Broadway to play Richard III as a homosexual caricature. Elliot Garfield (Dreyfuss) described his performance as "lousy".
In the 1975 movie L'i c'est d'aimer , directed by Andrzej? U? Awski, the production of Richard III in French is mise en abyme for the drama that covers the characters in the film.
Manga Requiem of the Rose King by Aya Kanno, which began in 2013, is a loose adaptation of Shakespeare's first historical tetralogy. It describes Richard III as intersex instead of hunchback.
Historical inaccuracy
Shakespeare, and the Tudor chroniclers who influenced him, had an interest in portraying Plantagenet House of York's defeat by the House of Tudor as a good conquering crime. Loyalty to the new regime requires that the last Plantagenet king, Richard III, be described as a villain. Historical inaccuracies in this drama can be attributed in part to Shakespeare sources, such as Holinshed's Chronicles , and some to artistic licenses. Some of these inaccuracies are listed below in the order in which they appear or are referenced in the game.
Richard claims he killed his wife's first husband, Edward of Westminster (son Henry VI), or his father, Richard Neville, the Earl of Warwick (though his game Henry VI, Part 3 did not show Richard responsible for the death of Warwick). They were killed in Tewkesbury and Barnet battles, respectively. Richard, then aged eighteen, took part in both battles, but no contemporary record shows him directly involved in death. Shakespeare's source did not identify Richard as involved in the death of Henry VI, who might have been killed on Edward IV's orders. Richard and his wife, Anne Neville, had known each other long before they married, spending part of their childhood in the same house. The widow of Henry VI, Queen Margaret, will not be seen in the palace after 1471; he was a prisoner of Edward IV and returned to France in 1475. Richard's brother, George (Duke Clarence), was executed by Edward IV for treason in 1478, when Richard was in the North of England, where he continued to live until Edward IV died five years later.
Richard returns from the North to fulfill Edward IV's desire that he reigns as Lord Protector. Plantagenet's tradition that a future king will live in the royal apartment of the Tower of London pending his coronation. No one knows why the "prince in the tower" disappears or what happens to them. Richard ascended the throne by the Law of Parliament, on the basis of a testimony stating that Edward IV's marriage to Queen Elizabeth (Elizabeth Woodville) has become famous. The contemporary rumor that Richard had killed his own wife seemed unfounded; she is suspected to have died of tuberculosis. There is no evidence of survival that shows that he plans to marry his nephew, Elizabeth of York, although rumors about this plan circulated at the time; he negotiated a marriage to Elizabeth with the Portuguese prince, Manuel, Duke Beja (later Manuel I of Portugal).
At the Battle of Bosworth, there is no single battle between Richard and Richmond (Henry Tudor), though it has been suggested that Richard is hoping for one. Richard saw Richmond in his back row surrounded by French pikemen and led a cavalry attack on him. Richard was taken away from Richmond by Sir Rhys ap Thomas. The Stanleys (Thomas, Lord Stanley and his younger brother, Sir William Stanley) just entered the fray to support Richmond when they saw that Richard was vulnerable; when he saw Stanleys, Richard shouted "Betrayal". Richard fell from his horse after losing a foothold in a swampy area; he was offered a new horse but was rejected. Now on foot, Richard is hacked to death.
The only contemporary reference to Richard's deformity is the observation that his right shoulder is slightly higher than his left shoulder, which is now known to be caused by his spinal scoliosis. After the discovery of Richard's body in 2012, it became clear that, although he may have bowed, the degree and direction of curvature are not as serious as the kyphosis of the spine (or "hunchback"), and nothing else. real shape deformity.
Note
Quote
Edition Richard III
- Bate, Jonathan and Rasmussen, Eric (eds.) Richard III (The RSC Shakespeare; London: Macmillan, 2008)
- Davison, Peter (ed.) First Quarto 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.) King Richard III Tragedy (Signet Classic Shakespeare; New York: Signet, 1964; revised edition, 1988; second 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 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, Series 2; London: Arden, 1981)
- Holland, Peter (ed.) Richard III (The Pelican Shakespeare, 2nd ed., London: Penguin, 2000)
- Honigmann, E.A.J. (ed.) Richard III (New Penguin Shakespeare; London: Penguin, 1968; revised edition, 1995)
- Jowett, John (ed.) Richard III (Oxford Shakespeare; Oxford: Oxford University Press, 2000)
- Lull, Janis (ed.) King Richard III (The New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1999; second edition 2009)
- Siemon, James R. (ed.) King Richard III (The Arden Shakespeare, Series 3; London: Arden, 2009)
- Taylor, Michael (ed.) Richard III (Shakespeare's New Penguin, 2nd ed., London: Penguin, 2005)
- Thompson, A. Hamilton (ed.) The Third King Richard Tragedy (The Arden Shakespeare, Series 1; London: Arden, 1907)
- Wells, Stanley; Taylor, Gary; Jowett, John and Montgomery, William (eds.) The Oxford Shakespeare: The Complete Works (Oxford: Oxford University Press, 1986; second edition, 2005)
- Werstine, Paul and Mowat, Barbara A. (eds.) Richard III (Folger Shakespeare Library: Washington: Simon & Schuster, 2004)
External links
- Richard the Third in Project Gutenberg
- Richard III in the British Library
- William Shakespeare, King Richard's third tragedy (London: Andrew Wise, 1597) - The first edition of HTML.
- Richard III public domain audiobook on LibriVox
- "Now is the winter of our discontent" Soliloquy is translated into modern English
- A lesson plan for RichardÃ, III on the Web English Teacher
- Interactive interview with Sir Ian McKellen. He discussed the opening speech, Richard III and Shakespeare.
- BBC Two confirmed that Benedict Cumberbatch will play Richard III in the second part of the Hollow Crown Mini-Series on his Twitter account, saying "We're happy to be sure that Benedict Cumberbatch will play Richard III in the series second from the Shakespeare History drama "
Source of the article : Wikipedia
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