Shakespeare: Richard III - Notes

Structures and features of Language

• 5 Act Play (using appropriate terms)
• Antithesis - opposites. Richard is opposite to Shakespeare’s conception of the ideal king
➡ ...thus, Richard is presented as an antithesis of God
• Rich in imagery - opening metaphor “winter of our discontent”
• Puns - “Sun of York”, sun is the symbol of york
• Juxtaposition
➡ The ghosts urge Richard to “despair and die”, which is juxtaposed with their wishes for
Richmond to “live and flourish”
• Repetition “Now, now” in 1st soliloquy
• Stichomythia - clever word play to indicate comparability in ability to argue or in passion, look at the
finely balanced rhythm and phraseology
➡ Stichomythic dialogue between Lady Anne/Queen Elizabeth and Richard
• The association of Richard with the devil and hell. The association of Richmond with heaven and
angels
• dichotomy - good/evil
➡ Shakespeare explores the dichotomy of good and evil in the play through the structures of a
split stage
• Notion of inversion “If I should be! I had rather be a pedler”
➡ Richard’s ability to control his appearance is seen through his natural ability to manipulate
language as he uses inversions, “If I should be! I had rather be a pedler” to present himself as a
righteous man
• Personification of God’s Vengeance
➡ Richard’s evil will inevitably be met by the hand of God’s vengeance, personified by
Richmond.
• Personification of Conscience
➡ Parade of Ghosts
• Biblical allusion to Pilate - ie. The washing of the hands which means refusing to take responsibility
➡ ...the Second Murder is guilted by his conscience and through his biblical allusion, “like
Pilate, would I wash my hands” he chooses to be an onlooker and take no part...
➡ “The great King of Kings Hath in the tables of His Holy law commanded”
• The image of Edward/King as the royal tree that bears royal fruit (fertility, growth in the kingdom)
• In Act 4, the character of Margaret remains once again at the back of the stage then marches forward,
just as she had done at the beginning of the play. Shakespeare often has parallel scenes in this play.
• The dream of Clarence will also have a parallel with Richard’s ‘dream’ when the ghosts of all those
murdered appear to him and wish that he ‘despair and die’ before they go to the sleeping Richmond
and wish that he ‘live and flourish’
• Hence, we have a split stage, the only time Shakespeare does this.
• Then we get the juxtaposition of “despair and die” against Live and flourish”
• Animal imagery - description of Richard
➡ “usurping boar”, “foul swine”, “hell-hound”, “that dog” and “bottled spider”

Richard Paragraphs
Richard’s evil
Opening soliloquy
Joshua Montebello
Shakespeare: Richard III - Notes

• Shakespeare structures the exposition act to show the audience an autonomous being who chooses to ignore his
consciences. He contends, through Richard that we all have the autonomy of will as he exposes Richard’s character as
a consummate actor “determined to prove a villain” in order “to entertain” and “hate the idle pleasures of these days”.
• In his opening soliloquy the “rudely stamped” Richard reveals his devious and malignant nature as he attempts
to rationalise his villainy by his ironic argument that he “cannot prove a lover” and thus will “set my brother Clarence
and the king in deadly hate the one against the other”. But it is impossible for the audience to agree with his reasoning
for burying his conscience, because the audience knows that he is capable “to court and amorous looking glass”.
• Richard, from the outset, establishes himself as the epitome of evil as his articulate promises of malice “plots
have I laid, inductions dangerous”, giving us an understanding of his yearning to inflict chaos within the social state.
He further jovially boasts of his “subtle, false and treacherous” evil, which he relishes in, thus he invites the audience
to delight in his “plots”. The audience may be appalled by his promises for evil and anarchy, however, they are
fascinated by the insight into his character.

Lady Anne
• This continuous irony evidences Richard’s articulate ability and capacity to deceive. However, the audience are
not deceived as they are aware of his ability to “court an amorous looking glass” as he is able to woo lady Anne. The
audience are captivated by Richard’s stichomythic dialogue with lady Anne.
• He is able to “hide deep vice” within a “virtuous visor” and switch his “tongue” with his heart and woo lady
Anne in her hearts most extreme hate. His use of dramatic irony, “my breast encloseth my poor heart”, makes an
absolute mockery of his opening soliloquy.
• The audience is forced into a state of awe and admiration of Richard’s success, however his subsequent words,
“And to win her yet! All the world to nothing! Ha!” ensures they do not sympathise with his “dissembling looks”, but
instead see him as a hypocrite and the antithesis of God.

Clarence
• The innocence of Clarence emphasises Richard’s evil, as he takes advantage of his credulity. So convincing is
Richard’s acting that he deceives Clarence into believing that he has favour with Richard, “love thee so”, and that it is
Edward who is responsible for sending the murderers.
• Shakespeare has Richard become an expert of verbal irony, whilst failing to acknowledge his own conscience,
“be sudden in the execution”. He tells Clarence “I will deliver you or else lie for you” when referring to delivering
Clarence from this night to “All souls day” rather than freeing him from the tower. Thus, Richard is able to “send”
Clarence’s soul to heaven with absolutely no remorse.

Richard as an actor
Lady Anne
• Richard’s protean capacity to control his language and mood enables him to “seem a saint, when most I play
the devil” to those around him. The audience is captivated by Richard’s stichomythic dialogue with Lady Anne as he
is able to “hide deep vice” within a “virtuous visor”, replacing his “tongue” with his heart and wooing Lady Anne in
her hearts most extreme “hate”.
• Thus, trenchant humour is provided by Richard through his frequent use of dramatic irony, “Even so my breast
encloseth my poor heart”, whilst making a mockery of his opening soliloquy. Thus, his ability to hide his intentions
and charm the audience into accepting his villainy is explicitly shown.
• The audience is forced into a state of awe and admiration of Richard’s triumph, however his subsequent words,
“And to win her yet! All the world to nothing! Ha!” ensures they do not sympathise with his “dissembling looks” and
see him as a hypocrite and the antithesis of God.

Reconciliation Scene
• Richard’s ability to adjust to his surroundings is further depicted by Shakespeare during the reconciliation
scene, where he creates a mosaic of verbal repetitions and balanced antithesis. Thus as the audience see the words
“hate” and “peace” repeated several times the audience are enlightened to the absence of love and peace within
Richard. Here, as usual, Richard effortlessly adjusts himself to the situation with which he is confronted. His
hypocritically friendly words contribute to the atmosphere of mutual apology and concord, “Poor Clarence did
Joshua Montebello
Shakespeare: Richard III - Notes

forsake his father”. His protestations of his friendly feelings outdo everything that has so far been avowed. But the
irony in this passage is somewhat overdone, as Richard appears to “thank my God for my humility”. In any case, the
involved logic and syntax mark Richard’s speech as hypocritical while its smooth conversational rhythm adds to the
impression of dishonesty.

Hastings
• Richard’s evil actions continue to emphasise his villainy/ lack of conscience/ capacity to deceive and act as he
murders the righteous Hastings as he did “not yield” to his conspiracies. Richard sees hastings as an asset, though of
no use if he does not comply, thus when Hastings has no desire for Richard to sit in the “chair” he signs his own death
warrant, “I will have this crown of mine cut from my shoulders before I’ll see the crown so foul misplaced”.
• The naivety and credulity of Hastings, “I thank Grace, he loves me well”, emphasises the evil nature and
ability Richard has to deceive even those closest to him. As Richard once again takes advantage of his “blasted
sapling withered up” arm in order to justify the murder, the audience cannot accept his villainy as a consequence of
his deformity. Hence, Richard presents himself as evil for evil and appears to have no conscience.
• The political chaos in the “reeling world” is described by Hastings, “Woe,woe, for England”, as the
“cacodemon” gains further power.

Richard and Buckingham

• Richard III is not a one man drama as Richard uses his “other self”, Buckingham, to help in his quest for
power. As Richard and Buckingham work hand in glove, Shakespeare offers to audience the irony of two actors on
stage, in character, talking about acting, as Richard asks Buckingham “Come, cousin, canst thou quake and change
thy colour”.
• As Richard remains the focus of the audience, Buckingham takes control of the production, “Play the maid’s
part - still answer nay and take it”, because Richard is concerned that the audience will not accept him ‘playing’ the
role as God’s anointed one. Thus, Buckingham’s argument of “holy sanctuary” provides utter blasphemy as
Shakespeare employs dramatic irony to infer humour in the audience as Buckingham commands Richard to be “get a
prayer book in your hand... aloft, between two bishops”, for the performance that will make him king.
• Richard here is at his most powerful. he is able to, with the help of Buckingham, make folly of the Lord Mayor
and portray himself as one with no desire for the crown, “To bear the golden yoke of sovereignty”. The crown here is
within reach and Richard is able to change all perceptions of his qualification to rule as he claims, “I am unfit for
state and majesty”. This development emphasises Richard as an entertained and his power as he is able to usurp the
“hollow crown”.

Denouement
• Richard’s determination, his willingness “to entertain” and “prove a villain” and confidence further adds to his
captivating aura. Even in the face of “death and despair” at the Battle of Bosworth, he leads his soldiers fearlessly “If
not to heaven, then hand in hand to hell”. But as he denies the once fertile “royal fruit”, the actions of Richard
inflames disapproval in the audience.
• Thus the rise of the divinely anointed Richmond, personifying God’s intervention, is welcomed with open arms
by the audience. Richard’s possession of the few admirable qualities, “My kingdom for a horse”, which are all
misused in his pursuit of evil, demonstrate Shakespeare’s faith in the might of God, who cannot be outfoxed or
destroyed, even by Richard, in the same vein that other characters are.
• The dichotomy of good and evil is depicted through the structures of the split stage as the parade of ghosts
invade Richard’s conscience. Their wishes for Richard to “despair and die” is juxtaposed with their desires for
Richmond to “live and flourish”. Thus, Richard’s “timorous dreams” and “coward conscience” is evidence that God
cannot simply be ignored in one’s life, as Richard’s atrocities are not without consequences of moral damnation.
Thus, through the dichotomy of good and evil, the audience is given the moral warning that men of virtue will
inevitable triumph over those who take delight in evil.

Conscience
Joshua Montebello
Shakespeare: Richard III - Notes

Clarence’s Murderers
• Clarence’s two murderers are a contrast of a man with and without a conscience, as one is unable to escape it
and thus wants nothing to do with the deed, “hath bred a kind of remorse in me”.
• Shakespeare uses the second murderer as a cynical expedition of the human condition as his flicker of
conscience, which will only last “while on tells twenty”, gets the better of him. But as the murderer is scared of
Richard and hopes that “this passionate humour of mine will change”, he remembers that he “had forgot the reward”
and his conscience is now “in the Duke of Gloucester’s purse”. But as immoral actions inevitably have consequences,
his conscience catches up with him.
• Shakespeare voices his argument that conscience “makes a man a coward. A man cannot steal... it accuseth
him... it checks him” through the second murder as it is a “blushing shamefaced spirit that mutinies a man’s bosom”.
If we apply this to Richard it is apparent that up until this point of the play he appears to be devoid of conscience.
• However, the second murder is guilted by his conscience and through his biblical allusion, “like Pilate, would I
wash my hands”, he choses to be and onlooker and take no part in the reward or the deed.

Buckingham
• Buckingham, like Richard, is also able to use some of the Machiavellian characteristics as he helps create
anarchy and chaos within the “tottering state” of England. His ludicrous argument on the subject of “holy sanctuary”
shows not only his ability to manipulate, but also further the “reeling world” which England has become.
• The “hell’s intelligencer” and his “other self” truly show their lack of conscience in their blasphemy of God.
The devilish duo do not only plan the profanity of usurping the throne, but also revel in it as they use it to further
create unrest in the “giddy world”. Buckingham command’s Richard to “play the maids part - but still answer nay,
and take it” and “get a prayer book in your hand” in order to make folly of the lord mayor and citizens in order to
usurp the “hollow crown”. Hence his total lack of conscience is demonstrated as he uses a Godly appearance to obtain
the “chair”, which was only given to god’s anointed one.
• Even though Richard and Buckingham are alike in many ways, Buckingham displays a conscience where as
Richard, up until this stage, hasn’t. As Richard asks Buckingham to have the “bastards” murdered, it is clear that his
moral boundaries have been met, “Give me some breath, some pause”. Thus his conscience overwhelms him, “Wrong
hath wrong, but blame the due of blame” and as Richard III is set within a Christian social universe he suffers the
inevitable consequences of immoral actions.

Tyrrel, Dighton & Forrest

• It is not only Buckingham who is overcome by conscience, but also the murderers; Tyrrel, Dighton and Forrest.
Richard has Tyrrel murder “the royal fruit” as he can be corrupted by “gold”. However after the “tyrannous and
bloody act” was done, Tyrrel is overcome by conscience and remorse, “the most arch dead and piteous massacre that
ever yet this land is guilty of”, thus, [refer to prompt].
• The murderers Dighton and Forrest are also filled with “conscience and remorse” after they “smothered the
most sweet and replenished work of nature” emphasising the deed as the most heinous crime in Elizabethan times.
• These reactions to the murders are contrasted with that of Richard who not only shows no remorse, but revels
in his evil as the news of their deaths are not enough. He further asks Tyrrel to “tell me the process of their death”,
thus, the Christian social sphere of the play suggests Richard’s downfall, as ultimately God will not allow such
injustice to rule. [Tie it to prompt].

Denouement
• Richard III is set in a christian social world, thus, it is anticipated that Richard will inevitably be dispatched.
Shakespeare uses the character of Richmond to demonstrate how divine retribution will always prevail when one
openly denies God. Richmond’s qualities of virtue present him as God’s form of justice for the “tottering state” which
will be returned to a “noble isle” as it’s rightful and able king.
• The dichotomy of good and evil is depicted at the end of the play through the structures of the split scene. Not
even “hells minister” is able to avoid the consequences of conscience, represented by the nightmare of the ghosts,
illustrating Richard’s power is fading. He is visited by his conscience for the first time by the ghosts who wish him to
“despair and die” which is juxtaposed with what they say to Richmond, “live and flourish”.

Joshua Montebello
Shakespeare: Richard III - Notes

• Richard’s flicker of conscience is immediately dismissed, “conscience is a word cowards use”. He is thus not
amoral as he does have a conscience, but choses to ignore it and thus he will “despair”. The outcome of the play is
obvious when we look at the Christian Social universe of the play.

Purpose of Characters
Hastings:
Serves dramatic purpose of drawing our attention to Richard’s usurpation of the throne away from its rightful heir,
Prince Edward. He carries all the lines about what tottering state it is. So deal with the common men when dealing with
Hastings. [His quote; “i’d rather have this crown cut from my shoulders...”].
Buckingham:
Serves the dramatic purpose of carrying the moral of the play that evil will incur the wrath of God, “wrong hath wrong,
but blame the due of blame”. He has a conscience, yes, but is almost as evil as Richard is. He is willing to put Richard
on the throne knowing the full extent of his evil and being complicit in it. His conscience comes too look to of any
benefit to anyone.
Queen Elizabeth:
Serves the dramatic purpose of outwitting Richard when she arranges for her daughter to marry Richmond and
strengthen his claim to the throne rather than Richard’s claim to the throne. She tricks him. His arrogance based on his
success with Lady Anne leads him to believe she is a “shallow relenting woman”.
Lord Stanley:
Serves the dramatic purpose of outwitting Richard on bosworth field, despite the risk with his son Gerge’s life. Stanley
is a capable politician and leader of a powerful army. He is a moral man and as such is given the dramatic role of
crowning Richmond.
Richmond:
Serves the purpose of restoring England to a place where people can live in peace and harmony rather than war and
violence. He shows morality, commitment, justice and humility. Yes he is one dimensional but that is his dramatic
purpose - to rid England of political corruption.

Joshua Montebello
Shakespeare: Richard III - Notes

Essay Plans
Conscience
•‘The play shows that you cannot escape a bad conscience’. Discuss.
•‘The play demonstrates that immoral actions have inevitable consequences for the wrong doer’. Discuss
•‘‘Buckingham is not similar to Richard in any respect’. Do you agree?

Shakespeare’s historical tragedy Richard III explores the nature of evil and the consequences of ignoring one’s conscience within the
moral framework of a Christian universe. He presents the protagonist Richard as evil from the outset as he generates destruction and
chaos in his usurpation of the throne. His crimes extend further than his eleven murders that include the murder of his brother
Clarence, the righteous hastings, two princes and his wife lady Anne. Thus he is willing to engage in atrocity after atrocity in order to
put his anxieties at rest. Buckingham, similar to Richard, is complicity and an asset to Richard as he dispatches him when his moral
boundaries are met. His evil is shown through his most heinous crime, the murder of the “royal fruit”. This is emphasised as Tyrrel,
Dighton and Forrest are all plagued by the prick of conscience and are filled with remorse, however, Richard displays no conscience
as he revels in the murders. Thus, as the play is set within a Christian Social universe the wages of sin are inevitably death. The
dichotomy of good and evil is explore in the resolution act as Richard does pay for his sins and his evil is inevitably anticipated by
the hand of divine vengeance, which is personified by Richmond.
Para 1: Exposition Act: Soliloquy, Lady anne, Clarence
• Shakespeare structures the exposition act to show an autonomous being who chooses to ignore his conscience.
•Richard’s Opening soliloquy - His evil intentions - Ironic lines (he is capable to court an amorous looking glass)
•Lady Anne - His courtship of her (stichomythic dialogue)
•Clarence - Takes advantage of his credulity - Richard surely has no conscience
Thus Richard is able to “send Clarence’s soul to heaven with absolutely no remorse, he surely has no conscience
Para 2: Murders of Clarence and hastings
• Clarence’s two murderers are a contrast of a man with and without a conscience, as one is unable to escape it and thus wants
nothing to do with the deed, “hath bred a kind of remorse in me”.
•Shakespeare uses Second murderer as a cynical expedition of a man with a conscience
•Shakespeare voices his argument that conscience “ makes a man a coward...” and “a blushing shamefaced spirit...”
•Second murderers biblical allusion
- However, the Second Murderer is guilted by his conscience and through his biblical allusion, “like Pilate, would I wash my hands”
he choses to be an onlooker and take no part in the reward or the deed.
•Richard’s evil continues
•Murder of Hastings - Only if you have time! (political state and Richard is further devoid of conscience)
Para 3: Buckingham
• Buckingham, like Richard is also a character who is able to use some of the Machiavellian characteristics as he helps create chaos
in the political order of England
•Ludicrous argument on “holy sanctuary”
•Blasphemy of God

Joshua Montebello
Shakespeare: Richard III - Notes
•Makes folly of lord Mayor
•Adopts a Christian appearance to usurp God’s anointed position
•Buckingham’s moral limits are reached
•Deceived by Richard
•Plagued by conscience and remorse
Para 4: Tyrrel, Dighton and Forrest
• It is not only Buckingham who is found by conscience, but also the murderers Tyrrel Dighton and Forrest
•Has Tyrrel to murder the “bastards” but he is met with conscience
•Dighton and Forrest also filled with “conscience and remorse”
•Contrast with Richard, who is devoid of conscience at this point and revels in his evil
•Queen Elizabeth, Richard’s power is fading as he is deceived. (He will inevitably be met by God’s divine vengeance)
Para 5: God’s retribution
•Richard III is set within a Christian social universe, thus, it is anticipated that Richard will inevitably be dispatched by God.
•Richmond, personification of God’s divine vengeance (uses Stanley to help him)
•The dichotomy of good and evil, structure through a split stage
•Richard chooses to ignore his conscience, thus, he will “despair and die” and the outcome is obvious.
Conclusion
End the way you began, and finish with “God and good angels fight on Richmond’s side while Richard falls in the height of all his
pride”.
The Audience’s Fascination with Richard/ Acting
•‘Because Richard speaks his “honey words” to us as well as Lady Anne, he charms us into accepting his villainy’. Discuss.
•‘Richard is an evil character but he remains the focus of the audience’s interest.’ Discuss.
•‘A charismatic villain is always more memorable than a hero’. Do you agree?
•‘Richard never would have succeeded but for the credulity of those around him’. Discuss.
•‘Ultimately, it is his formidable gift with words and speech that enables Richard III to go so far’. Discuss
•‘Richard would
never have succeeded
but for the credulity
and the moral weakness of those around him’. Do you agree?

In Shakespeare’s historical tragedy Richard III, he presents the protagonist, Richard, as an ambitious and malevolent character.
Despite his abhorrent nature, he manages to remain the focus of the audience’s interest. His ability to entertain the audience is
explicitly shown as he woos lady Anne and makes folly of those who help him. but this is not a one man drama as he has players in
his company. such as Buckingham, who help him. However, the audience is never complicit with Richard’s evil, nor are their views
sympathetic to his inevitable destruction at the hand of god’s avenger, Richmond. Shakespeare presents Richard as an incarnation of
the devil and a remorseless , consummate actor. Nonetheless, it is hard to ignore Richard’s natural ability to manipulate language, his
confidence, the revelry of his soliloquies, nor the theatrical manner in which he achieves his evil ends.
Para 1: Opening soliloquy (his ironic lines)
Shakespeare presents Richard to be acting from the beginning, mesmerising his audience in offering his innermost thoughts and
intentions
• How he revels in his malignant nature
• He takes the role on, in part, to entertain the audience. Nature as a consummate actor
• His attempt to rationalise his villainy through his deformity... he is motivated by evil its self and the enjoyment he takes
from it (stirred on by a need of his own)
• From the outset he establishes himself as evil, articulate promises of malice... “plots have I laid...”
• He jovially boasts in his diabolical desires... “subtle, false and treacherous”
- The audience may be appalled by his promises for evil and anarchy, however, they are fascinated by the insight into his character.
- As Richard is capable of speaking his “honey words” to the audience from the outset, he charms the audience into accepting his
villainy even as they are appalled by his promises for evil and anarchy.
Para 2: Lady Anne, Reconciliation scene
Richard’s protean capacity to control his language and mood enables him to “seem a saint, when most I play the devil” to those
around him.
• Stichomythic dialogue with lady Anne
• His Ironic lines as he provides trenchant humour through dramatic irony
• Audience in state of admiration

Joshua Montebello
Shakespeare: Richard III - Notes
- The Audience is thus forced into a state of awe and admiration of Richard’s triumph, however his subsequent words “And
to win her yet! Ha! All the world to nothing!” ensures they do not sympathise with his “dissembling looks” which are recognised as
a metaphor for his inner self.
- If there is time use the Reconciliation scene to show further devices (repetition, antithesis and inversion)
Para 3: Buckingham
As the plot progresses Richard creates situations and takes a primary role in the events that unfold. However, Richard III is not a one
man drama as Richard uses his “other self”, Buckingham, to help in his quest for power.
• Irony of two actors on stage, in character, talking about acting, “come cousin, canst thou quake and change thy colour”
• Buckingham takes control of the production. The utter blasphemy as they usurp the throne
• His ironic lines as he claims he does not want “to bear the golden yoke of sovereignty” and that he is “unfit for state and
majesty”, where he actually is unfit for the role of King
• Buckingham’s prick of conscience, “wrong hath wrong, but blame the due of blame”; emphasises Richard’s evil
This development emphasises Richard as an entertainer and his power as he is able to usurp the “chair” and dispose Buckingham
when he is no longer of any use.
Para 4: The denouement
Richard’s determination, his willingness “to entertain” and “prove a villain” and confidence further adds to his captivating aura.
• He leads soldiers fearlessly even in the face of “death and despair”, “If not to heaven, then hand in hand to hell”
• Murder of the “royal fruit”, the audience is inflamed with disapproval
• His demise is now inevitable as the play is set within a Christian social universe
• Richmond as the personification of God’s divine vengeance
• Dichotomy of good and evil shown through structures of split stage
- Thus the audience is given the moral warning that men of virtue will inevitable triumph over those who take delight in evil

His Motivations for Evil

• “I myself/Find myself no pity to myself”. Richard seems very aware of his behavior and Motivations, but does he really
know what he wants?
• “Since I cannot prove a lover... I am determined to prove a villain...” What motivates Richard to commit such evil acts in
the play?
• ‘Richard is not motivated by political power.’ Do you agree?
• ‘ What
motivates Richard III
is his envy of his
brother and his personal ambition to replace him as king.’ Do you agree?

Shakespeare’s historical tragedy Richard III presents an autonomous being fully aware of his insidious and malevolent nature.
Shakespeare presents Richard as a man determined to set England into spiritual and political chaos. Throughout the play Richard
appears to be fully aware of what he wants as his self assurance and confidence is depicted in his soliloquies, actions and his joy.
Thus, as he is able to murder his brother Clarence, the righteous Hastings and woo Lady Anne, the audience is exposed to how he
revels in his evil and is motivated by setting chaos upon England rather then any material gain. Shakespeare uses the character foil,
Buckingham, to depict a contrast as Richard is motivated by evil for evil where as Buckingham desires status. Richard’s inner self is
further depicted to the audience as he dispatches Buckingham when he becomes of no good use. Richard is without doubt evil for
evil, however, he goes further as he has the two princes murdered and as the play is set within a Christian social universe, he will
inevitably be met by the hand of God’s divine vengeance, personified by Richmond. Thus, as Richard is present from the outset as
evil for evil and at the battle of Bosworth values his evil intentions more than the kingdom, his motivation for is diabolical desires as
the joy and revelry he takes from it as he is evil for the sake of evil.
Para 1: Opening soliloquy (his ironic lines)
-Shakespeare uses the opening soliloquy to show an autonomous being fully aware of his evil and his diabolical desires, as he
mesmerises the audience in offering his innermost thoughts and intentions
-Shakespeare presents Richard from the outset as an actor as he uses his opening soliloquy to mesmerise the audience, however, we
are fully aware that he is motivated by evil for the sake of evil and thus do not accept his ironic assertions.
• Autonomy of will as Richard is exposed as a consummate actor... “determined...” in order to “hate the idle...”. Hence
Richard is fully aware of what he wants and the consequences

Joshua Montebello
Shakespeare: Richard III - Notes
• His strong sense of identity and self awareness, repetition of “I”
• Failure to mention any desire for the throne in his “plots have I laid, Inductions dangerous” emphasises his desire to revel
in chaos and anarchy.... “winter of our...” has been “made glorious by...”
• False attempts to rationalise his villainy, and thus what he intends to do, “set my brother Clarence...”
• He is able “to court and amorous looking glass” so we can’t accept his ironic lines, and thus we are aware of his
motivations.
-Thus, even the audience is aware of his motivation as each plot for evil appears to be spurred on by his desire to set chaos upon
England and the joy he takes from it.
Para 2: Lady Anne, Clarence, Hastings
-Richard makes a mockery of his opening soliloquy as he is able to use his protean capacity to “seem a saint, when most I play the
devil” to those around him, thus it is clear that the self driven Richard is fully aware of that he is evil for the sake of evil.
• Stichomythic dialogue with lady Anne, as he woo’s her in her hearts most extreme “hate”
• Trenchant humour is provide through his ironic lines, “even so my breast encloseth my poor heart”
• Ironic lines in his courtship; “Your beauty, that did haunt me in my sleep” immediately invites the audience...
• Audience is in awe an admiration, however, his subsequent words, “And to win her yet! Ha! All the world to nothing!”...
• His motivation for wooing Her
• Murder of Clarence as he becomes an expert in verbal irony and emphasises his ability to control language
• Hastings: Richard’s evil is furthered as he murders Hastings who does not yield to his evil intentions of usurping the throne
• Shakespeare uses Hastings to provide an insight into the political state of England, Richard wants to further this states
chaos.
Para 3: Buckingham
-Buckingham, like Richard, is also able to use some of the Machiavellian characteristics as he helps create anarchy and chaos within
the “tottering state” of England.
• His ludicrous argument on “holy sanctuary” as he helps Richard usurp the thrown - utter blasphemy.
• Contrast the two as Buckingham is motivated for the “Earldom of Heritage” and Richard evil for sake of evil
• Buckingham “grows circumspect” and moral boundaries are met as he cannot murder the innocent princes
• Contrast of conscience... Buckingham is filled with conscience and remorse, “wrong hath wrong, but blame the due of
blame”
Para 4: The denouement
-Even in the face of “death and despair” it his clear that Richard is motivated by his desires to set chaos upon england as he has “set
my life upon a cast” and thus puts his diabolical desires ahead of the throne at the battle of Bosworth.
• God’s justice, personified by Richmond. As richmodn will return the “tottering state” back to a “noble isle”
• Dichotomy of good and evil, seen through structures of split stage and parade of ghosts. He rejects his conscience.
• At battle he desires evil, not the ‘chair”, as he claims “my kingdom for a horse!”.

Joshua Montebello