Реферат на тему Richard III 2
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Richard III – Tragedy In Isolation Essay, Research Paper
“The tragedy of Richard III lies in the
progressive isolation of its protagonist”. Discuss.
From the very opening of the play when
Richard III enters “solus”, the protagonist’s isolation is made clear.
Richard’s isolation progresses as he separates himself from the other characters
and breaks the natural bonds between Man and nature through his efforts
to gain power.
The first scene of the play begins with
a soliloquy, which emphasizes Richard’s physical isolation as he appears
alone as he speaks to the audience. This idea of physical isolation is
heightened by his references to his deformity, such as “rudely stamp’d…Cheated
of feature by Dissembling Nature, deformed, unfinished. This deformity
would be an outward indication to the audience of the disharmony from Nature
and viciousness of his spirit. As he hates “the idle pleasures of these
days” and speaks of his plots to set one brother against another, Richard
seems socially apart from the figures around him, and perhaps regarded
as an outsider or ostracized because of his deformity. His separation from
is family is emphasized when he says “Dive, thought’s down to my soul”
when he sees his brother approaching. He is unable to share his thought
with his own family as he is plotting against them. Thus, we are given
hints of his physical, social and spiritual isolation which is developed
throughout the play. But despite these hints, he still refers to himself
as part of the House of York, shown in the repeated use of “Our”.
The concept of Richard’s physical isolation
is reinforced in his dealings with Anne in Act I scene ii. She calls him
“thou lump of foul deformity” and “fouler toad” during their exchange.
Despite these insults, she still makes time to talk to Richard, and by
the end of their exchange, she has taken his ring and been “woo’d” by him.
After Richard has successfully gained the throne, he isolates himself when
he asks the crowd to “stand all apart” in Act IV scene ii. And later, when
Richard dreams, he is completely alone. Physical isolation in Richard’s
deformity wins sympathy from the audience as we pity his condition. But
Richard uses his deformity as a tool against the other characters, to portray
them as victimizing Richard. Thus the sense of tragedy is lessened by his
own actions, even though his isolation may become greater as the play progresses.
Richard’s psychological isolation is conveyed
through his lack of conscience in his murderous acts. Nowhere does he feel
remorse for his murders, until Act V scene iii when he exclaims “Have mercy
Jesu!” and “O coward conscience, how dost thou afflict me!”. In this turning
point, Richard’s division from his own self is made clear from “I and I”,
and “Is there a murderer here? No. Yes, I am!” He has conflicting views
of himself and realizes that “no creature” loves him, not even himself.
We also never the “real” mind of Richard, for he is always playing a role,
of a loving brother to Clarence, a lover to Anne or a victim to the others.
We feel sympathy for Richard as he awakes in a vulnerable position and
for the first time acknowledges the evil that he has done. But as he only
reveals his feelings of guilt in the last act of the play, we do not see
him in internal turmoil and thus the sense of psychological tragedy cannot
be built upon.
Socially, Richard is isolated from both
the upper and lower classes of society. In Act I scene iii, Richard sarcastically
calls Elizabeth “sister”, and she contemptuously calls him “Brother of
Gloucester” making a mockery of familial bonds. Margaret calls him “cacodemon”
and “devil”, and any unity that the characters have on stage is temporary
and superficial. In act III, the citizens are said to be “mum” and “deadly
pale”, which gives a sense of quiet opposition to Richard’s activities.
Richard is thus separated from all around him. Temporarily, we see Richard
and Buckingham share a kind of bond, as Richard calls him “My other self”,
“My Oracle” and “My prophet”. But they part when Buckingham hesitates to
kill the young princes when Richard says “I wish the bastards dead”. This
is the only time the audience sees Richard act with any other man, but
we realize that it is for purely political purposes and that the union
exists only while Buckingham remains useful to him. Our sympathy for Richard
is limited as we see that he has no true friendships, and does not genuinely
care for his family or friends. Thus even in his increasing isolation the
sense of tragedy upon his death is not really saddening to the audience
as there is no real sense of waste at his loss.
Richard isolates himself from God, as he
claims to be above God’s law and only uses religion as a tool to appear
holy before he is King. But ironically, although he breaks the bonds between
man and Nature, he is a tool of Divine Justice as he kill those who were
sinners, for example Clarence who recalls his horrible dream and realizes
his guilt early in the play. As the murders accumulate so does his separation
from God, and the need for his death increases. But being closer to his
death brings him closer and closer to being with God. Thus although Richard
may not realize it, he is never too far from God.
But Richard does not increasingly isolate
himself from the audience. From our omniscient position, we share in Richard’s
wit, sarcasm, and the dramatic irony brought about when other characters
are not fully aware of the implication of his words. Richard also shares
his feelings with us, although he is not always truthful. But the fact
that he enjoys his villainy to such a great extent, and feels no remorse
for his murders reduces him to a figure of Vice, and is not really seen
to be a tragic figure of great proportions.
In his killing, we see the guilt of Clarence,
King Edward, Rivers, Hastings Buckingham and Lady Anne exposed before their
deaths, along with all those who die. Thus their deaths are necessary and
the audience remembers that. Also, the deaths appear off-stage, which lessens
the impact of their deaths.
The most poignant part of the play occurs
in seeing the young princes talk happily and innocently to their uncle
and “Lord Protector”. York says “I shall not sleep quiet in the Tower”,
and we pity them, as they are young and afraid, and are forced to go there
because, as the Prince says, “My Lord Protector needs will have it so”.
The children had appeared happy , and the Prince had shown wit and intelligence
in his conversation with his uncle. This appears to be the greatest tragic
loss in the play, which is heightened because of their youth and innocence.
The tragedy of the protagonist is felt because of his attractiveness as
a villain and as someone who is not constrained by the rules of society.
However, the audience never forgets that he is wicked and therefore we
cannot feel a sense of great loss of potential or waste in his death.