richard iii essay good copy
Post on 08-Apr-2015
81 Views
Preview:
TRANSCRIPT
Zhang 1
Jason Zhang
Mr. Vidrih
ENG2D7-1D
29 October 2010
A Major Weapon: An Analysis into the
Powerful Wordplay in Richard III
Language is, undoubtedly, always a striking feature in any Shakespeare’s work. Different
characters were given different verses and lines, which effectively represent their distinctive
personalities. Under Shakespeare's pen, there have been so many vivid figures who have
mastered the art of language in order to serve their own purposes. In contrast, characters with
inferior levels of articulateness are often manipulated and overthrown. ‘Handle them
carefully, for words have more power than atom bombs.’ This famous maxim from Pearl
Strachan is once again conclusively proven by Shakespeare’s historical play Richard III:
Richard's linguistic not only reflects his own intelligence, but also reveals his ability to
manipulate others. Through language, he can alter the fortunes of characters by wooing the
women he desires, confronting the enemies that he despises, and ultimately, obtaining the
throne of England.
First of all, Richard is capable of utilizing his cunning wordplays to pursue the women
that he aspires. At the early stage of the play, Richard, having realized the opportunity of
achieving the upmost power, immediately decides to court Lady Anne in order to gain
reputation from the public. In this wooing scene, in spite of the curses that Lady Anne lays on
Zhang 2
him, he could constantly defend himself with witty logic by claiming "Sweet saint, for charity,
be not so curst" (1.2.49), "Lady, you know no rules of charity / Which renders good for bad,
blessings for curses" (1.2.68-69), "He that bereft thee, lady, of thy husband / Did it to help
thee to a better husband." His extraordinary language skills not only help relieve himself from
foul curses, but also successfully shift his responsibility of murdering Anne's father and
husband to her irresistible beauty : "Nay, now dispatch; 'twas I that stabbed young Edward /
But 'twas thy heavenly face that set me on / Take up the sword again, or take up me' (1.2.186-
188). Ironically, his hypocritical pleadings for death effectively touch Lady Anne, for he
clearly recognizes the basic nature of women: they are tenderhearted creatures (Chinese
proverb). Anne not only refuses to be his executioner, but also, later on in the scene, accepts
his marriage. Likewise, in the subsequent part of the play when Richard strives to move
Queen Elizabeth to persuade her daughter into marriage with him, even though her consent
sees more perfunctory than compromising, at least from the surface her vexation at Richard is
suppressed by his promising words "Ay, if the devil tempt you to do good." (4.4.424),
“Madam, with all my heart." (4.4.273). According to the play, Richard hasn't got a handsome
appearance or any affable personality; this is confirmed by himself: "Deformed, unfinished,
sent before my time" (1.1.20). Once again, this importance evidence bolsters up the fact that
Richard's sweet words are as touching as tear bombs.
Moreover, his adversaries' fates are reshaped by Richard's crafty linguistic ability. He first
starts off sending his nemesis into chaos and disorder. Having been ready to sweep the
Woodvilles, Richard outcompetes during his first official conflict with them in this play by
remarking "I cannot tell. The world is grown so bad / That wrens make prey where eagles
Zhang 3
dare not perch. “Although he seems to be discontent about Queen Elizabeth and her family
members' ascent, his very true intention is to stir up a seemingly righteous quarrel with her.
His lines employ a mixed metaphor to dramatize the huge difference between the Plantagenet
and the Woodvilles, a commoner clan. Already the Queen is at a significant disadvantage
because afterwards she is forced to defend herself openly, whilst Richard's acerbic message is
mainly implication. Thereupon his adjusts to a more effectual strategy: calling fabricated
crimes on his adversaries. After mentioning Duke of Clarence's death, which is upon his
order, he cleverly reveals : "This is the fruits of rashness. Marked you not / How that the
guilty kindred of the queen / Looked pale when they did hear of Clarence' death" (2.1.137-
139). This maneuver fastens the gradual destruction of the Woodvilles, while galvanizing
pathos from his colleagues. In addition, as he becomes closer to the supreme seat, his
articulation occurs to be more concise and, meanwhile, aggressive. As Lord of Buckingham
suggests the potential betrayal from Lord Hastings, Richard's words are extremely terse :
"Chop off his head. / Something we will determine" (3.2.196-197). When he is finally
cognizant of Hastings's stance, he announces his destiny by uttering only a few words:
"Talk'st thou to me of ifs? Thou art a traitor. / Off with his head! Now by Saint Paul I swear, /
I will not dine until I see the same." (3.4.74-76). Interestingly, the succinct and
straightforward Richard is the scariest. Without any deviousness or guile, his powerful words
not only help him conquer and capture, but also create an feeling of true dictatorship around
him. "Words are loaded pistols" (J.-P. S. Sarte) This renowned saying, once again,
emphasizes the mightiness of Richard's language.
Last but not least, by baffling and controlling other characters that are in his way to
Zhang 4
kingship, he is also able to alter his own fate by implementing his "deliberative, forensic, and
epideictic" (Burton, 55) wordplays. He can always conjure up plausible excuses to avoid
awkward circumstances. For instance, when Richard makes his entrance when Hastings and
his colleagues, he tries to rationalize his absence "I have been long a sleeper, but I trust / My
absence doth neglect no great design". (3.4.23-24). In fact, considering his sly personality, he
is never a procrastinator and he should have been pondering over how to deal with Hastings
while hiding. Furthermore, his language makes him "a wolf in sheep's clothing" (Gospel of
Matthew, 7:15): His true tyranny is barely manifested to his enemies in his words. When
Lord Hastings's head is brought up to him, he commences his hypocritical lamentation "So
dear I loved the man that I must weep. / I took him for the plainest harmless creature “(3.5.24-
25). Also as Katherine Schaap Williams suggested in her analysis, "Richard foregrounds his
deformed figure in ways that advance his political power, appealing to bodily deformity and
the impotence he claims it entails to obscure his shrewd political maneuvers.", he has utilized
his physical deformity as a great advantage facing his nemesis. As Richard makes his entrance
while Queen Elizabeth attempts to debase him from hating her family, he claims "Because I
cannot flatter and look fair, / Smile in men's faces, smooth, deceive, and cog, / Duck with
French nods and apish courtesy" (1.3.47-50). He suggests that his physical deformity causes
the Woodvilles to differentiate him, but in fact his true intention is to stir up chaos between
the two clans so that he can legitimately eliminate the Woodvilles.
In conclusion, despite the fact that Richard of Gloucester is widely contemplated as a
despicable villain, we can't deny that his linguistic skills are truly magnificent. His language
of courtship effortlessly seduces Lady Anne into alliance with him. Aforementioned evidences
Zhang 5
have shown that his epideictic wordplays are the only weapon that protects him from the
thistles and thorns on the journey towards the upmost power. Nonetheless, his dedication on
oratorical skills are all inspired by his primary motive: the usurpation of the throne, and
indeed he succeeds eventually. As a "villainous but charismatic 'bottled spider'"(McCue) in
the play as well as an infamous figure in British history, Richard has demonstrated us one of
the most crucial element in excelling in politics: flowery language. As time elapses, the daily
usage of language has become more and more significant. In order to sustain one's status in
the society, it is requisite to master his or her linguistic skills.
Zhang 6
Work Cited
Burton, Dolores M. “Discourse and Decorum in the First Act of Richard III.” Shakespeare
Studies; 1981, Vol. 14, p55, 30p. Literary Reference Center. EBSCO. Web. 28 Oct.
2010.
Maher, By Paula. "The Power of the Spoken Word | Then Disocver The Secrets OfHigher Self
Esteem and More... | Official Site | Nicholas Finnegan |Free Self Esteem Newsletters,
Ebooks and Audios Downloads." Your Self Esteem, Your Super Confidence, Your
Great Success ToChange Your Life Right Now! | Official Site | Nicholas Finnegan.
Web. 31 Oct. 2010. <http://www.nicholasfinnegan.com/the_power_of.html>.
McCue, Jim. "Richard III: Villain or Victim of a Bad Press?" Times, The (United Kingdom) 25
June 2003. Canadian Reference Centre. Web. 26 Oct. 2010.
Williams, Katherine Schaap. "Enabling Richard: The Rhetoric of Disability in Richard III."
Disability Studies Quarterly 29.4 (2009): 26. EBSCO. Web. 31 Oct. 2010.
"Jean-Paul Sartre Quotes." Famous Quotes and Quotations at BrainyQuote. Web. 31 Oct.
2010. <http://www.brainyquote.com/quotes/quotes/j/jeanpauls155420.html>.
The English Standard Version Bible: Containing the Old and New Testaments with
Apocrypha. Oxford: Oxford UP, 2009. Print.
top related