Lines 148–165: Richard fears that Edward will die before Clarence has been executed. He plans to see that Clarence is “packed with post-horse up to heaven” by stirring up Edward’s hatred. Once Clarence and Edward are dead, he will “bustle in.” He reveals his plan to marry Lady Anne Neville. Although the specific reasons for this remain a “secret close intent,” it is clearly a political move. Despite acknowledging that he killed both Anne’s husband and Henry VI (her father-in-law), Richard seems confident that he will achieve this, suggesting a confidence with the opposite sex that his earlier speech denied and illustrating the complexities of his characterization.
ACT 1 SCENE 2
Lines 1–233: The guarded coffin of Henry VI is brought on, attended by Anne. She laments the fall of the House of Lancaster and the death of Henry, and curses Richard. She wishes him a worse fate than “spiders” and “toads,” reinforcing the animal imagery introduced in the previous scene. She instructs the men carrying Henry’s coffin to carry him to Chertsey Monastery. Richard enters and commands the men to put the coffin down. Anne compares his entrance to that of a “fiend” conjured up by a “black magician,” introducing a series of images associating Richard with hell. She uncovers Henry’s body and invites everyone look at “dead Henry’s wounds,” calling on God to revenge his death. Richard appeals to be allowed to explain. He describes Anne as an angel and “divine perfec tion,” which aims at flattery but also contrasts with the hellish images she uses for him, establishing them as opposing representatives of good and evil. The balance of imagery is reflected in the stichomythic structure of their argument. Initially, Anne seems to be a worthy opponent in what Richard calls their “keen encounter of … wits.” Richard’s mastery over language and ability to manipulate become evident, however, as he overcomes Anne’s anger. He claims that he killed Anne’s husband because he loves her. He praises her beauty and offers her his sword, saying that if her “vengeful heart cannot forgive” she must kill him. She cannot, and, despite fearing that both Richard’s tongue and heart are false, she softens. He places a ring on her finger, claiming his heart is hers, and begs to be allowed to take Henry’s body to Chertsey so that he may “wet his grave” with “repentant tears.” Pleased that he has “become so penitent,” she agrees.
Lines 234–272: Richard instructs the men to take Henry to White-friars, not Chertsey. Any vicarious belief the audience may have had in his sincerity is destroyed as he marvels at his ability to manipulate Anne (and, perhaps, us) and comments that he has her, but “will not keep her long.” He appears surprised that Anne finds him “a marv’llous proper man,” despite his physical appearance, and resolves to employ “a score or two of tailors / To study fashions to adorn my body.” The clothing imagery reinforces the obsession with appearance and identity, as do repeated references to looking glasses.
ACT 1 SCENE 3
Lines 1–109: Lord Rivers and Lord Grey try to reassure Queen Elizabeth, who worries about what will “betide” her after Edward’s death. They remind her that her son, Prince Edward, will be her “comforter,” but she is concerned that his youth means that he will be under the protection of Richard. Derby and Buckingham report that the king wishes to make peace between Richard and the queen’s brothers, and between the queen’s brothers and Hastings, and has summoned them all. Richard arrives with Hastings and Dorset, complaining that people have been telling the king “dissentious rumours” about him. He argues, ironically, that he “cannot flatter and look fair” and asks the assembled company to tell him how he has “injured” them and caused them to trouble the king “with lewd complaints.” The queen retorts that it is his own behavior that has caused the king to send for him. Richard accuses the queen of using her power to achieve status and positions in court for her family, and complains that his brother Clarence is imprisoned by Elizabeth’s “means.” She denies this and their argument escalates, with Elizabeth declaring that she has “Small joy” in being queen and being constantly “bated, scorned and stormed at.” Queen Margaret, the widow of Henry VI, enters unnoticed.
Lines 110–324: Elizabeth and Richard argue as Margaret watches, making comments aside. Her presence as an “audience” reinforces our sense of Richard as an actor. Margaret’s observations show her hatred of Richard and Elizabeth: she wishes Elizabeth that even her “Small joy” be lessened and observes that Richard is a “cacodemon” (evil spirit) whose kingdom is hell, reinforcing Anne’s previous imagery. She steps forward and accuses them of being “wrangling pirates” who argue over what has been “pilled” from her. The following exchange, which centers on past struggles for the kingdom, reminds us that the events of the play are part of wider history, and of the violent nature of the struggle for power. Margaret invokes a series of prophetic curses, as Richard calls her “witch” and “withered hag.” Margaret hopes that Elizabeth’s son, Edward, will “Die in his youth” by “untimely violence,” as her own son did, and that Elizabeth will “Die neither mother, wife, nor England’s queen.” Elizabeth remains silent during Margaret’s outburst, but Richard argues. Margaret warns that Richard will soon suspect his friends “for traitors” and “take deep traitors” for his “dearest friends.” She abuses Richard’s appearance, invoking the images of animals and hell that have previously been associated with him. Her comparison of Richard to a “bottled spider” with a “deadly web” shows her awareness of his manipulative nature. Buckingham urges Margaret to “have done” and she warns him against Richard and his “venom tooth” before leaving, saying that they will remember her words and think of her as a “prophetess.” Richard assumes an air of forgiveness and says that Margaret “hath had too much wrong” and that he repents of any part he has had in this. He adds that he hopes God will pardon those who have wronged Clarence. Rivers comments that this is “virtuous and … Christian-like.” Catesby summons them to the king’s presence.
Lines 325–357: Richard stays and considers how he has convinced Derby, Hastings, and Buckingham that the queen and her family are plotting against himself and Clarence. He is pleased with the effectiveness of his “piece of scripture,” saying that he uses “old ends stol’n forth of holy writ” to “clothe” his villainy, so that he can “seem a saint” when in reality he “play[s] the devil.” Once again we see opposing images of heaven and hell, and of clothing, suggesting Richard’s ability to disguise his true self. Two murderers enter and Richard gives them a warrant to be admitted to Clarence. Richard warns them to be “sudden in the execution” and not to let Clarence plead with them, as he is “well-spoken,” showing the play’s concern with the power of language.
ACT 1 SCENE 4
Lines 1–97: Clarence describes a dream to his keeper in vivid and poetic language, demonstrating that Richard was right: he is “well-spoken.” Clarence recounts how, in his dream, he had escaped and was sailing to Burgundy with Richard. As they stood on deck, looking back at England, Richard stumbled and knocked Clarence overboard. He describes the sights and sounds as he drowned, including “gold,” “pearls,” and “jewels” all “scattered in the bottom of the sea” “in dead men’s skulls,” a reminder of the link between death and the desire for wealth and power. He goes on to describe nightmarish visions of the afterlife and acknowledges his own guilt for past deeds before asking the keeper to sit by him “awhile” as he goes to sleep. As Clarence sleeps, Brackenbury, the Lieutenant of the Tower, arrives. He watches Clarence and considers how all men are the same, regardless of rank. The Murderers bring Brackenbury the warrant, ordering him to leave them. Brackenbury does so, observing that he will not “reason what is meant hereby, / Because I will be guiltless from the meaning,” lines symptomatic of a recurrent exploration of guilt and innocence.
Lines 98–280: In a darkly humorous exchange, the Murderers contemplate what they are about to do, weighing spiritual consequences against monetary reward. Clarence wakes and stalls them with powerful speeches, but they insist that they have been commanded to kill him by the
king. Clarence asks them to go to Richard, but they reveal that Richard actually sent them. Clarence refuses to believe this, describing how Richard loves him and how he “hugged [him] in his arms, and swore, with sobs” to gain his “delivery,” a testament to Richard’s acting skills and ambiguity in language. Clarence shows his own powers of persuasion as the Second Murderer decides that he cannot go through with the deed. The First Murderer, however, stabs Clarence and takes his body to be drowned in a butt of malmsey wine. He returns and threatens to tell Richard how “slack” his companion was, but the Second Murderer says he can tell Richard and take the entire fee, as he repents.
ACT 2 SCENE 1
The king expresses satisfaction that, although he is very ill, he has achieved peace among the quarreling factions and so his soul “shall part to heaven” in peace. Hastings and Rivers shake hands and Edward warns that they must mean it or God will “Confound” their “hidden falsehood,” emphasizing the recurring deceptions of the play but also suggesting a justice beyond the human court. Richard arrives and praises Edward for his “blessed labor” and begs to be reconciled in “friendly peace” with everyone. The queen asks her husband to pardon Clarence, but Richard accuses her of mocking him, saying, “Who knows not that the gentle duke is dead?” Edward, shocked, claims that he reversed the order to execute Clarence. Richard explains that the “countermand” was not delivered in time. Derby enters and kneels before Edward, asking that Edward will spare the life of his servant. Edward grows angry, bitter that he can “give pardon to a slave,” but could not do so for his own brother. He blames the assembled company for not pleading hard enough on Clarence’s behalf and has to be helped away. Richard takes the opportunity to provoke dissent, observing to the remaining courtiers that “the guilty kindred of the queen” had obviously urged Edward to execute Clarence.
ACT 2 SCENE 2
Lines 1–33: Clarence’s children question the Duchess of York about the death of their father. Despite her denials, Clarence’s son tells her that “good uncle Gloucester” has told them that King Edward was responsible for their father’s death, “provoked to it by the queen.” He describes how Richard wept as he told him the news and asked the boy “to rely on him.” The duchess observes that Richard hides his “deep vice” “with a virtuous visor,” another image of clothing and concealment. Once more, it is a woman who appears to have insight into Richard’s true character: so far only Anne, Elizabeth, and the duchess have directly expressed their distrust.
Lines 34–100: The queen arrives, clearly distressed, and announces that King Edward has died. The duchess sympathizes: she too has lost a husband. Sustaining the association between images of mirrors and the theme of identity, she adds that until now she had comfort in two of her sons, “two mirrors” of their father’s “princely semblance.” Now, however, she claims that she only has “but one false glass,” Richard. Clarence’s children declare that they cannot share in their aunt’s grief, as she “wept not” for their father, another example of events of the past reinforcing divisions in the present. Both of the women and the children then exclaim in grief over their losses. In contrast to these personal emotions, Rivers and Dorset focus on the political circumstances, urging Elizabeth to send for the young Prince Edward and “Let him be crowned.”
Lines 101–153: Richard arrives, offering comfort to the queen and asking his mother’s blessing, although his brief aside reminds us of the disparity between his words and true feelings/intentions. Buckingham smoothly suggests that Prince Edward be brought to London, accompanied “with some little train” in case “the new-healed wound of malice should break out.” Rivers and Hastings agree and Richard asks his mother and Elizabeth to go and give their “censures in the business.” He remains behind with Buckingham and they plot to “part the queen’s proud kindred from the prince.”
ACT 2 SCENE 3
In a contrast to the court-based action so far, and demonstrating the important link between king and kingdom, three citizens discuss the current circumstances. While one remains optimistic, the others express their fears about a “land that’s governed by a child.” They show distrust of Richard and worry what the struggles between Richard and the queen’s relatives will do to the kingdom.
ACT 2 SCENE 4
The archbishop, the queen, the duchess, and young York wait for the prince’s arrival. The intimate and domestic discussion between mother and grandmother concerning the comparative heights of Edward and York contrasts with the political arguments that have dominated so far. York reports that his “uncle Gloucester” said that “Small herbs have grace, great weeds do grow apace,” an image that evokes the destructive nature of Richard’s speedy rise to power. The family exchange is gently humorous, although once again the duchess expresses doubt over Richard’s character, until a messenger brings the news that Rivers, Grey, and Vaughan have been imprisoned on the command of Richard and Buckingham. Elizabeth sees that Richard has begun the “ruin” of her family, comparing him to a hunting “tiger,” and foresees “as in a map, the end of all.” She decides to take York into sanctuary, and the duchess offers to go with them. The archbishop gives them the king’s seal of authority that he carries and takes them to safety.
ACT 3 SCENE 1
Lines 1–94: Prince Edward enters London, accompanied by Richard, Buckingham, and the Lord Cardinal. Edward asks why none of his “uncles” on his mother’s side are there to greet him and asks where his mother and brother are. As he does so, Hastings arrives with the news that the queen and York have “taken sanctuary” and that Elizabeth prevented York from coming to greet his brother. Buckingham, annoyed, sends the Lord Cardinal to “persuade” Elizabeth to send York to Prince Edward, and orders Hastings that if she will not give in to “pluck him perforce” from his mother’s arms. When the Cardinal objects, Buckingham cleverly argues that York is too young to “have the wit” to claim sanctuary and therefore to take him is to “break no privilege nor charter.” It is interesting that here, as in the rest of this scene, it is Buckingham, not Richard, who is making decisions and giving orders, demonstrating his increasing power. The Cardinal and Hastings depart and the prince asks where he is to stay until his coronation. Richard suggests the royal residence at the Tower, but Edward is not keen. We see that Edward has a similar control over language to Richard’s and that he is not fooled by his uncle’s clever arguments.
Lines 95–201: York is brought in and the brothers show that they are a match for Richard verbally, but they are still powerless to prevent him, as “Lord Protector,” from sending them to stay in the Tower. When the brothers have gone, Richard, Buckingham, and Catesby discuss their plans to place Richard on the throne. Buckingham argues that they will find it difficult to convince Hastings and sends Catesby to “summon him tomorrow to the Tower” under the pretext of discussing the coronation, so that they can test his loyalty. Richard adds that Catesby should tell Hastings that the queen’s relatives are to be executed the next day, as this will please him. Buckingham asks Richard what they will do if Hastings will not join their conspiracy and Richard answers simply “Chop off his head.” He promises Buckingham “the earldom of Hereford” once he is king.
ACT 3 SCENE 2
Lines 1–34: Hastings is woken in the early hours by a messenger from the Earl of Derby. He reports that Derby has had a prophetic dream in which a boar (Richard’s heraldic emblem) “razed off his helm.” Derby is worried about the “two councils” that Richard intends to hold, a technique clearly intended to create political division. He asks if Hastings will join him in escaping north to “shun the danger that his soul divines.” Demonstrating his own lack of perception, Hastings replies that there is nothing to fear from the “separated council.”
Lines 35–123: Catesby arrives and Hastings asks for news of the “tott’ring state,” evoking the country’s turmoil. Catesby comments that he thinks the world will not “stand upright” again until Richard is king. Shocked, Hastings asks if this is Richard’s
intention and learns that it is, and that Richard hopes for his backing. Catesby adds that Hastings’ enemies, “the kindred of the queen,” “must die at Pomfret.” Apparently oblivious to the danger he is placing himself in, Hastings declares that he is glad of this, but that he will not help Richard to the throne. Derby arrives in person and Hastings jokingly asks where his “boar-spear” is. Derby insists that the “several councils” bode ill, but Hastings is unmoved. As Derby and Catesby head to the Tower, Hastings jokes with a Pursuivant and shows his pleasure that his enemies are to be executed. Buckingham arrives to escort Hastings to the Tower.
ACT 3 SCENE 3
Ratcliffe escorts Rivers, Grey, and Vaughan to their executions. They proclaim their loyalty to the prince and remember Margaret’s earlier curses upon them. Rivers reminds them that she also cursed Richard and Buckingham.
ACT 3 SCENE 4
Richard III Page 16
