ACT 1 SCENE 3
Lines 1–137: The ceremony and formal language emphasize the protocols of the court that conceal the personal emotions beneath. Richard commands the Lord Marshal to ask “yonder champion / The cause of his arrival.” Mowbray declares his identity and cause: to defend his “loyalty and truth.” Bullingbrook in turn declares that he is there “To prove, by heaven’s grace,” that Mowbray is a traitor. Bullingbrook and Mowbray are given lances, but, as the charge is sounded, Richard stops proceedings. His motives are not entirely clear, although he argues that he does not wish blood to soil the “kingdom’s earth.” He announces that Bullingbrook is to be banished for a period of ten years while Mowbray is banished forever.
Lines 138–201: Bullingbrook seems to accept his fate, taking comfort from the fact that the same sun that shines on England will “gild” his banishment. The sun, a recurring image in the play, is usually associated with kingship and juxtaposed with images of night/darkness. Mowbray complains at being sent where he may not use his “native English,” claiming that Richard has “enjailed” his tongue, implying that he has been banished to ensure his silence. Bullingbrook urges Mowbray to confess his “treasons” before he goes, but Mowbray continues to proclaim his innocence and warns that what Bullingbrook is, “heaven, thou and I do know,” and that “all too soon” the king will “rue.”
Lines 202–273: Seeing Gaunt’s “sad aspect,” Richard shortens Bullingbrook’s banishment to six years, but Gaunt knows he will die before then. He tries to encourage his son to look upon his banishment as “a travel” that he takes “for pleasure,” but Bullingbrook, sad and angry, refuses to be comforted. He bids “farewell” to England’s “sweet soil,” establishing the sentimental, nationalistic representations of the country, apparent in Bullingbrook’s reference to England as his “mother” and “nurse.”
ACT 1 SCENE 4
Aumerle describes Bullingbrook’s emotional departure to Richard, adding that he himself was unmoved. Richard complains about Bullingbrook’s popularity with “the common people,” describing how he showed the English people “humble and familiar courtesy.” Richard shows his own attitude to his people and the contrasts between the cousins when he describes this as a “reverence … throw[n] away on slaves.” Green reassures Richard that Bullingbrook “is gone” and urges him to think about the Irish rebels instead. Richard decides to go “in person” to war in Ireland, but realizes that he will need more money as the excesses of his court mean his coffers “are grown somewhat light.” He intends to “farm [his] royal realm” to raise the money, or to demand it through enforced loans. Both this and his departure to Ireland emphasize Richard’s greed and neglect as a king. Bushy brings news that Gaunt is “very sick.” Callously, Richard hopes that Gaunt will die so that he can appropriate his wealth “for these Irish wars.”
ACT 2 SCENE 1
Lines 1–68: York warns Gaunt that it is useless to “counsel” Richard, arguing that he is deaf to anything but the “flatt’ring sounds” that are poured like “venom” into his ears, one of many images of poison and decay. Gaunt, however, regards himself as a “prophet” who will “foretell” that Richard’s “rash fierce blaze of riot cannot last,” setting out a series of prophecies and forebodings. In a well-known speech that epitomizes images of England throughout the play, Gaunt laments the effects of Richard’s kingship. Using a series of strong but often opposing images that evoke both pride and defensiveness, he describes England’s power and majesty, “this seat of Mars,” “This fortress” and “This precious stone,” but balances them with a simultaneous series of more intimate, domestic images of a “little world,” comparable to “a house” or a “plot.” This last image of a “plot” evokes the natural imagery associated with England, perceived as an idyllic, pastoral space: “This other Eden,” as Gaunt calls it. Gaunt places his description in a strongly Christian context, seeing the kingdom as synonymous with the people: “This happy breed of men.” England is also gendered as female: like Bullingbrook at the end of Act 1 Scene 3, he refers to England as a mother and a nurse and concludes by lamenting the fact that England is “now leased out” by Richard, “Like to a tenement or pelting farm,” echoing the king’s own words in the previous scene.
Lines 69–138: York warns Gaunt to “Deal mildly” with Richard, but Gaunt accuses him of being England’s “landlord” rather than its king. Reminding us of the play’s place in history, he claims that if Richard’s “grandsire” (Edward III) could have seen what he would do to the country, he would depose him. With a final, direct accusation against Richard concerning Gloucester’s death, Gaunt is carried away.
Lines 139–225: Northumberland brings news of Gaunt’s death, but Richard shows no emotion, merely commenting, “So much for that,” and seizing Gaunt’s estate to finance his Irish wars. York, whose “tender duty” to Richard has so far prevented him from commenting on his wrongs, is finally moved to speak out. He reminds Richard of Bullingbrook’s claims, arguing that if Richard denies this fundamental right of lineage and inheritance then he is challenging divinely ordained order and potentially denying his own right to be king: “For how art thou a king / But by fair sequence and succession?” He warns Richard that his actions will make him unpopular, and leaves. Richard announces his intention to go to Ireland the next day, leaving York as “Governor of England.”
Lines 226–301: Northumberland, Ross, and Willoughby discuss Richard, commenting that he is “basely led / By flatterers.” They are cautious, aware that Richard’s spies will inform on them, but they agree that Bullingbrook is wronged and that Richard has lost the hearts of the commoners through taxation and the nobles through enforced loans. Northumberland reveals that Bullingbrook and several other noblemen have gathered an army and mean to land in the north once Richard has left for Ireland. They agree to join him.
ACT 2 SCENE 2
Lines 1–74: Bushy attempts to comfort the queen, but she refuses to be reassured, disturbed by a vague sense of foreboding: “Some unborn sorrow, ripe in fortune’s womb.” Bushy argues that her grief at the king’s departure is influencing her perspective, that sorrow “Divides one thing entire into many objects,” and his references to sight, “perspectives,” and “shadows” reinforce the theme of fragmentation (personal and national). Green brings news of Bullingbrook’s arrival at Ravenspurgh and reports that Northumberland “and the rest” have been declared traitors, which has prompted Worcester to join them. The queen tells Green he is “the midwife” of her woe, reinforcing her earlier metaphor.
Lines 75–151: York arrives, distressed and uncertain. He has been left to “underprop” Richard in his absence, but is “weak with age.” His unhappiness is compounded by news of the Duchess of Gloucester’s death. He knows that the current situation is Richard’s fault: “the sick hour that his surfeit made,” and he is torn between loyalty to his two nephews, the king and Bullingbrook. Despite the fact that his “oath / And duty” mean that he must defend Richard, his “conscience” favors Bullingbrook. His declaration that “All is uneven” emphasizes the literal and metaphorical disorder in the kingdom. Bushy, Bagot, and Green, followers and favorites of Richard, agree that they are in danger and leave; Bushy and Green to Bristol Castle, and Bagot to join Richard.
ACT 2 SCENE 3
Lines 1–81: Bullingbrook and Northumberland head for Berkeley Castle, where they are met by Harry Percy, Northumberland’s son. Percy explains that Worcester has defected from Richard, and Northumberland introduces Percy to Bullingbrook. This formal presentation of the two Henries again introduces the themes of opposition and mirroring, reinforced by their shared name. Additionally, it compounds awareness of the play as part of a wider series of events: although Percy swears allegiance to Bullingbrook now, he is to become the opposition to his kingship in the future, playing the role that Bullingbrook currently plays to Richard (see Henry IV, Part I and Part II). Ross and Willoughby arrive.
Lines 82–171: York berates Bullingbr
ook for daring to return from his banishment, and for marching upon England’s “peaceful bosom” in Richard’s absence. He points out that he is Richard’s representative, but acknowledges that he is too old to fight as he once did. York is again divided between duty to Richard and sympathy for Bullingbrook, who reminds York of the wrongs Richard has done him. Bullingbrook shows his command over language as he skillfully uses rhetorical devices, claiming that he sees Gaunt “alive” in York, and addressing him as “my father.” Torn, York decides that he will remain neutral, but his sympathy with Bullingbrook is evident as he offers him shelter for the night. Bullingbrook announces that they are going to Bristol Castle to capture Bushy and other “caterpillars of the commonwealth,” reinforcing the image of England as an Eden threatened by decay.
ACT 2 SCENE 4
Richard’s Welsh army disperses, convinced he is dead. Salisbury comments that Richard’s glory, “like a shooting star,” has fallen “to base earth.”
ACT 3 SCENE 1
Bullingbrook sentences Bushy and Green to death for misleading Richard, causing a rift between Richard and the queen, and his own banishment by making Richard “misinterpret” him. Bushy and Green remain defiant. Bullingbrook sends York with a gentle message to the queen and leads his followers to fight Glendower.
ACT 3 SCENE 2
Lines 1–85: Richard lands and “salutes” his kingdom, comparing himself to “a long-parted mother with her child,” an inversion of Bullingbrook’s image at the end of Act 1 Scene 3. Richard invokes the poisonous elements of his land—“spiders,” “toads,” and “adders”—against Bullingbrook, emphasizing the link between himself and the land as its “native king.” Carlisle reinforces this with his reference to Richard’s divine right to the throne, the “power that made you king.” Richard takes this theme and develops it in a speech that shows a poetic eloquence equal to Bullingbrook’s. Returning to the motif of the sun, Richard describes how, “rising in our throne, the east,” he will shed light on Bullingbrook’s treasons “in the night” and cause him to “tremble at his sin.” Salisbury brings Richard the news that his Welsh armies have defected. Aumerle comforts him, but Richard’s demand, “Am I not king?,” seems more uncertain than defiant.
Lines 86–215: Scroop brings news that Richard’s subjects, from old men to “distaff-women,” have joined Bullingbrook. Richard inquires after his loyal followers and, misunderstanding Scroop’s euphemistic reply that they have “made peace with Bullingbrook,” believes that they have betrayed him. Scroop hastens to explain that they have, in fact, been executed. Richard is plunged into despair, his temporary defiance over, and muses on his own mortality and the fragility of kingship, the “hollow” nature of his crown. Aumerle and Carlisle try to rally him, and he returns to a temporary defiance, before being told by Scroop that “York is joined with Bullingbrook.” Richard bitterly refuses any more comfort and gives instructions for his followers to be discharged “From Richard’s night, to Bullingbrook’s fair day,” inverting the images of light and dark from his earlier speech.
ACT 3 SCENE 3
Lines 1–72: Outside Flint Castle, Bullingbrook and Northumberland discuss events. Percy confirms that Richard is inside, and Bullingbrook sends a message that he will “kiss King Richard’s hand” and lay his “arms and power” at his feet if Richard will repeal his banishment and restore his inheritance. If not, he threatens to “lay the summer’s dust with showers of blood.” He offers to meet Richard, but before the message can be delivered, Richard appears on the castle walls. At this point, Bullingbrook is careful to emphasize that Richard is king, implying that he has no aspirations beyond his restored inheritance.
Lines 73–212: Richard demands to know why they have not knelt before their “lawful” king. He invokes his divine right, claiming that “the hand of God” has not dismissed him, and that “no hand of blood and bone / Can grip the sacred handle of our sceptre, / Unless he do profane, steal, or usurp.” Northumberland reiterates Bullingbrook’s claim that he merely wants his lawful inheritance, and assures him of Bullingbrook’s loyalty. Richard agrees, remaining formal and regal, but his aside to Aumerle reveals that he feels that he has no choice and that he is debasing himself. He bitterly regrets that he cannot “forget” what he has been, again showing his confusion over his identity, which is intrinsically bound up with being king. Kingship is more than the title and trappings that attend it, it is a fundamental part of him: if he is not king, he is not himself. He knows that Bullingbrook will not let him remain king and, seeing Aumerle weeping, says they will “fret” themselves two graves with their tears. He agrees to come down, aware of the way in which this literal descent reflects his metaphorical one. Bullingbrook kneels before him, but Richard is unconvinced by his show of loyalty.
ACT 3 SCENE 4
Walking in the Duke of York’s garden, the queen and her ladies overhear the gardener and his servants discussing the state of the country and Richard’s poor management. Using the image of the garden as a metaphor, they emphasize the pastoral representation of England, describing how the “sea-wallèd garden” is “full of weeds,” “unpruned” and “swarming with caterpillars,” an image that echoes Bullingbrook’s words in Act 2 Scene 3. The gardener comments that “Bullingbrook / Hath seized the wasteful king.” Unable to bear it, the queen rushes forward and demands to know if this is true. He apologetically confirms it, revealing the view of the common people in his description of Richard’s “vanities that make him light” and Bullingbrook “great.”
ACT 4 SCENE 1
A long scene that forms the whole of the fourth act, emphasizing the swift and irreversible nature of events. Once again, ceremony is important, establishing the court setting and reinforcing the official nature of Bullingbrook’s new power, but also echoing Act 1 Scene 3, forcing parallels and comparisons between Bullingbrook and Richard.
Lines 1–156: Bullingbrook summons Bagot for questioning about the Duke of Gloucester’s death. Bagot accuses Aumerle of involvement, but he denies it and throws down his gage. Bullingbrook refuses to allow Bagot to accept the challenge, but Fitzwaters and Percy also accuse Aumerle and throw their gages down. Aumerle damns Fitzwaters, but takes up Percy’s gage. Surrey then steps in, accusing Fitzwaters of complicity with Aumerle, and challenges him. Fitzwaters throws down a gage in return, claiming that the banished Mowbray implicated Aumerle in the plot. Aumerle is forced to borrow a gage to throw down in response to this. This sequence reflects the complicated nature of the court’s politics. Bullingbrook commands that Mowbray be returned from banishment, but learns that he is dead.
York arrives from “plume-plucked” Richard with the message that he is yielding his throne to Bullingbrook, who accepts, but Carlisle intervenes, insisting that Richard is king by divine right, and that if Bullingbrook accepts the crown, there will be civil war, and that the “blood of English shall manure the ground / And future ages groan for his foul act,” echoing Gaunt’s prophecies against Richard in Act 2 Scene 1. Northumberland arrests Carlisle for treason and Bullingbrook summons Richard to come and surrender publicly. Bullingbrook’s desire to “proceed / Without suspicion” contrasts with the secrecy that surrounded Richard’s court.
Lines 157–330: Richard arrives, comparing himself to Christ betrayed by Judas. His declaration, “God save the king, although I be not he. / And yet, amen, if heaven do think him me,” emphasizes the confusion over the nature of kingship: whether “king” is merely a title, or an innate, God-given identity. This question of what denotes a “king” is emphasized as Richard offers his crown (the external symbol of his role) to Bullingbrook. As he does so, he uses the image of a mirror, saying: “on this side my hand, on that side thine.” Bullingbrook asks if Richard is “contented” to “resign the crown.” Richard’s uncertainty is clear, but he eventually formally relinquishes the crown and scepter as well as all “pomp and majesty” together with his “manors, rents” and “revenues,” in a reverse ceremony of coronation. Richard present
s a pitiful figure, but when Northumberland demands that he read a confession of his “grievous crimes” against his country, and thus acknowledge that he is “worthily deposed,” he refuses, arguing that none of them are innocent. He asks for a mirror and, when it is brought, examines his own face. He claims that the glass “flatters” him like his followers, and throws it to the ground, where it is “cracked in an hundred shivers,” symbolizing the fragmentation of his identity. He asks to be allowed to leave, and Bullingbrook has him “conveyed” to the Tower, before designating the following Wednesday for his own coronation. The Abbot, Carlisle, and Aumerle begin to plot against Bullingbrook.
ACT 5 SCENE 1
The queen waits on the route to the Tower, so that she may see Richard. Resigned to “grim Necessity,” he urges her to join a convent in France. The queen hates to see him “Transformed and weakened” and reminds him that even “the lion dying … wounds the earth,” an ironic echo of Richard’s own image of himself in Act 1 Scene 1. Northumberland brings news that Bullingbrook has changed his mind: Richard is to go to Pomfret Castle. The queen is to be sent to France. Richard warns Northumberland that he and Bullingbrook will eventually turn against each other. His says goodbye to the queen in a tender, personal exchange that reveals a different, more sympathetic, side to his character.
ACT 5 SCENE 2
Distressed, York tells his duchess about the contrast between the arrival in London of Richard and Bullingbrook. He describes how the crowds “Threw dust and rubbish” on Richard’s head. Bullingbrook, however, rode on a “fiery steed” while crowds cheered him. In a moment of meta-theater, York compares the two men to actors, one leaving the stage while the audience are “idly bent on him that enters next.” Aumerle arrives and York reminds the duchess that their son is now called “Rutland,” having been stripped of his title for loyalty to Richard, although York himself has pledged Aumerle’s “fealty to the new-made king.” However, he finds a letter concealed by his son that shows he is involved in a conspiracy to kill Bullingbrook. He prepares to ride to tell the new king, despite his wife’s pleas that Aumerle is their only son. York leaves, and the duchess tells Aumerle that he must reach the king first and beg for pardon.
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