Richard III
Act 1, Scene 1
Introductory speech
Pages 7-9
Original Text
Enter RICHARD, Duke of Gloucester, solus
RICHARD
Now is the winter of our discontent
Made glorious summer by this son of York,
And all the clouds that loured upon our house
In the deep bosom of the ocean buried.
5 Now are our brows bound with victorious wreaths,
Our bruisèd arms hung up for monuments,
Our stern alarums changed to merry meetings,
Our dreadful marches to delightful measures.
Grim-visaged war hath smoothed his wrinkled front;
10 And now, instead of mounting barbèd steeds
To fright the souls of fearful adversaries,
He capers nimbly in a lady’s chamber
To the lascivious pleasing of a lute.
But I, that am not shaped for sportive tricks,
15 Nor made to court an amorous looking glass;
I, that am rudely stamped and want love’s majesty
To strut before a wanton ambling nymph;
I, that am curtailed of this fair proportion,
Cheated of feature by dissembling nature,
20 Deformed, unfinished, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them—
Why, I, in this weak piping time of peace,
25 Have no delight to pass away the time,
Unless to see my shadow in the sun
And descant on mine own deformity.
And therefore, since I cannot prove a lover
To entertain these fair well-spoken days,
30 I am determinèd to prove a villain
And hate the idle pleasures of these days.
Plots have I laid, inductions dangerous,
By drunken prophecies, libels and dreams,
To set my brother Clarence and the king
35 In deadly hate, the one against the other;
And if King Edward be as true and just
As I am subtle, false, and treacherous,
This day should Clarence closely be mewed up
About a prophecy which says that “G”
40 Of Edward’s heirs the murderer shall be.
Dive, thoughts, down to my soul. Here Clarence comes.
Richard`s appearance: Even before the soliloquy is given, without pronouncing a word (non-verbal
language), and just by the appearance of Richard the audience becomes aware that Richard is a
Modern Text
RICHARD, Duke of Gloucester, enters alone.
RICHARD
Now all of my family’s troubles have come to a glorious
end, thanks to my brother, King Edward IV. All the
clouds that threatened the York family have vanished and
turned to sunshine. Now we wear the wreaths of victory
on our heads. We’ve taken off our armor and weapons
and hung them up as decorations. Instead of hearing
trumpets call us to battle, we dance at parties. We get to
wear easy smiles on our faces rather than the grim
expressions of war. Instead of charging toward our
enemies on armored horses, we dance for our ladies in
their chambers, accompanied by sexy songs on the lute.
But I’m not made to be a seducer, or to make faces at
myself in the mirror. I was badly made and don’t have
the looks to strut my stuff in front of pretty sluts. I’ve
been cheated of a nice body and face, or even normal
proportions. I am deformed, spit out from my mother’s
womb prematurely and so badly formed that dogs bark at
me as I limp by them. I’m left with nothing to do in this
weak, idle peacetime, unless I want to look at my lumpy
shadow in the sun and sing about that.
Since I can’t amuse myself by being a lover, I’ve
decided to become a villain. I’ve set dangerous
plans in motion, using lies, drunken prophecies, and
stories about dreams to set my brother Clarence
and the king against each other. If King Edward is
as honest and fair-minded as I am deceitful and
cruel, then Clarence is going to be locked away in
prison today because of a prophecy that “G” will
murder Edward’s children. Oh, time to hide what I’m
thinking—here comes Clarence.
villain. Why? Because in Elizabethan age it was believed that the looks of a person determined his
hearth. The Neoplatonic idea that ugly appearance signifies ugliness in soul and beauty signifies
goodness in soul was worshipped during the Elizabethan time. Since Edward was certainly not good
looking (deformed) he must be a villain. However many historians criticize Shakespeare`s portrait of
Richard the 3 because they claim that he was not that ugly but because of Shakespeare he is
remembered as such.

Audience of the play (digression): The audience of the plays was both aristocrats and lower classes
(even prostitutes could watch the plays). There are 2 paradoxes: 1. People who killed other people
enjoyed the plays. 2. Even the illiterate crowd understood what was going on in the play (ugliness in
soul- cruelty in character) and they learnt this by talking about it and thus spreading it.

Dramatic convention: Dramatic conventions are unwritten agreement between the audience and
the actor that something is which is not. E.g. young boys will play girls and women. All are aware
that the actor is a boy but they accept him as a woman. Another accepted dramatic convention is
the blank verse which is accepted as a normal type of conversation. By convention in soliloquies the
actors share the truth with the audience. (villains reveal their true identity).

Analyses:
Son of York- stands for king Edward. It is believed that before the battle he saw three suns in the
horizon. Edward`s sign- sun. Richard-s sign- boar.
Personification: In line 9 the war is personified because of the reference to the god of war Mars
(his). The God of war is no longer angry, his forehead is not wrinkled but smoothed. And now he is
doing something else instead of climbing on horses for war he is making love with women while
listening to the lute.
Richard gives the description of the atmosphere at court. Everyone is relaxed. But suddenly we have
a shift in attention. Richard focuses on his deformity and he uses it for his own advantage. He is not
shaped for sportive trick and he cannot even court (да му се додоворува) the amorous looking glass
(на љубовџиското огледало). Why do we look in mirrors- because we like to be loved and the
image we see in the mirror (ourselves) feeds our ego. He is born prematurely. However we can see
that Richard lies even in the first speech. He says that he cannot prove a lover and we will see later
that he does that perfectly when he courts Anne. He tells exactly what methodology he will use to
prove a villain (prophecies, lies, dreams)From this we can see that people were superstitious during
Elizabethan age. However Richard and Edward (King Lear) show contempt towards superstition.
People who were not superstitious were perceived as heretics and those who openly express
contempt will be blamed for atheists. Richard by saying that he will use dreams he shows himself to
be an atheist in Renaissance sense.
Irony (line 39): Richard says that `g` will be the murder of Edward`s children and G as we will see
won`t stand for George Clarence but for Richard- Duke of Glocester. The prophesy is true he will
mislead all to believe that Clarence will be the murderer.
From the soliloquy we can see that Richard is very blunt- straight forward. We cannot but admire
Richard’s intelligence. The idea of feeling of inferiority is present in the speech. Some people just
suffer quietly but in the case of Richard he turns his inferiority into a feeling of superiority. Such
people do not only want to be stars of the show but they want to steal the show. They hide the
feeling of inferiority into a feeling of superiority.
Structure: meticulously structured
Act 1, Scene 2
Original Text
Enter the corse of Henry the Sixth, on a bier, with halberds to
guard it, Lady ANNE being the mourner, accompanied by
gentlemen
ANNE
Set down, set down your honorable load,
If honor may be shrouded in a hearse,
Whilst I awhile obsequiously lament
Th' untimely fall of virtuous Lancaster.
They set down the bier
5 Poor key-cold figure of a holy king,
Pale ashes of the house of Lancaster,
Thou bloodless remnant of that royal blood,
Be it lawful that I invocate thy ghost
To hear the lamentations of poor Anne,
10 Wife to thy Edward, to thy slaughtered son,
Stabbed by the selfsame hand that made these wounds.
Lo, in these windows that let forth thy life
I pour the helpless balm of my poor eyes.
O, cursèd be the hand that made these holes;
15 Cursèd the heart that had the heart to do it;
Cursèd the blood that let this blood from hence.
More direful hap betide that hated wretch
That makes us wretched by the death of thee
Than I can wish to wolves, to spiders, toads,
20 Or any creeping venomed thing that lives.
If ever he have child, abortive be it,
Prodigious, and untimely brought to light,
Whose ugly and unnatural aspect
May fright the hopeful mother at the view,
25 And that be heir to his unhappiness.
If ever he have wife, let her be made
More miserable by the death of him
Than I am made by my poor lord and thee.—
Come now towards Chertsey with your holy load,
30 Taken from Paul’s to be interrèd there.
They take up the bier
And still, as you are weary of this weight,
Rest you, whiles I lament King Henry’s corse.
Enter RICHARD, Duke of Gloucester
RICHARD
Stay, you that bear the corse, and set it down.
ANNE
What black magician conjures up this fiend
35 To stop devoted charitable deeds?
RICHARD
Villains, set down the corse or, by Saint Paul,
I’ll make a corse of him that disobeys.
GENTLEMAN
My lord, stand back and let the coffin pass.
RICHARD
Unmannered dog, stand thou when I command!—
40 Advance thy halberd higher than my breast,
Or by Saint Paul I’ll strike thee to my foot
Modern Text
The corpse of KING HENRY VI is carried in on abier,
followed by Lady ANNE, dressed in mourning clothes,
and armed guards.
ANNE
Set down your honorable load, men, if there is ever any
honor in being dead. I want to mourn the cruel death of
this good man. Look at the noble king’s poor cold body
—the measly remains of the Lancaster family.
They put down the bier.
His royal blood has drained right out of him. I hope I can
talk to your ghost, Henry, without breaking church laws.
I want you to hear my sorrow. Myhusband was murdered
by the same man who stabbed you. My tears now fall
into the holes where your life leaked out. I curse the man
who made these holes. I curse the man’s heart who had
the heart to stab you. And I curse the man’s blood who
shed your blood. I want the man who made me suffer by
killing you to face a more terrible end than I could wish
on spiders, toads, and all the poisonous, venomous things
things alive. If he ever has a child, let it be born
prematurely, and let it look like a monster—so ugly and
unnatural that the sight of it frightens its own mother.
And if he ever has a wife, let her be more miserable
when he dies than I am now. Guards, let’s continue on to
Chertsey monastery, carrying this holy burden you
picked up at St. Paul’s monastery.
They pick up the bier.
When it gets too heavy, rest, and I’ll lament over King
Henry’s corpse some more.
RICHARD enters.
RICHARD
Halt, corpse bearers, and put down your load.
ANNE
What wicked magician has conjured up this devil to
interrupt this sacred burial rite?
RICHARD
Villains, set down the corpse, or I’ll make a corpse
of you.
GENTLEMAN
My lord, stand back and let the coffin pass.
RICHARD
Rude dog! Stop when I command you to! And put up
your weapon so it’s not pointing at my chest, or I’ll strike
you to the ground and trample on you, you beggar, for
 And spurn upon thee, beggar, for thy boldness.
They set down the bier
ANNE
(to gentlemen and halberds)
What, do you tremble? Are you all afraid?
45 Alas, I blame you not, for you are mortal,
And mortal eyes cannot endure the devil.—
Avaunt, thou dreadful minister of hell.
Thou hadst but power over his mortal body;
His soul thou canst not have. Therefore begone.
RICHARD
50 Sweet saint, for charity, be not so curst.
ANNE
Foul devil, for God’s sake, hence, and trouble us not,
For thou hast made the happy earth thy hell,
Filled it with cursing cries and deep exclaims.
If thou delight to view thy heinous deeds,
55 Behold this pattern of thy butcheries.
She points to the corse
O, gentlemen, see, see dead Henry’s wounds
Open their congealed mouths and bleed afresh!—
Blush, blush, thou lump of foul deformity,
For ’tis thy presence that exhales this blood
60 From cold and empty veins where no blood dwells.
Thy deeds, inhuman and unnatural,
Provokes this deluge most unnatural.—
O God, which this blood mad’st, revenge his death!
O earth, which this blood drink’st revenge his death!
65 Either heaven with lightning strike the murderer dead,
Or earth gape open wide and eat him quick,
As thou dost swallow up this good king’s blood,
Which his hell-governed arm hath butcherèd!
being so bold.
They put down the bier.
ANNE
(to the gentlemen and guards) What, are you trembling?
You’re all afraid of him? Well, I can’t blame you. You’re
only human, after all, and mortals can’t stand to look at
the devil. (toRICHARD) Begone, you dreadful servant of
hell. You only had power over my father-in-law’s body;
you can’t have his soul. So get out.
RICHARD
Sweet saint, for goodness’s sake, don’t be so angry.
ANNE
Ugly devil, for God’s sake, get out of here and leave us
alone. You have made the happy world into your hell,
filling it with cursing cries and lamentations. If you enjoy
looking at your awful deeds, take a look at this
noteworthy example of your butcheries.
She points to the corpse.
Oh, gentlemen, look, look! Dead Henry’s wounds have
opened up and are bleeding again! —Shame on you, you
deformed lump. It’s your presence that draws out this
blood from his empty veins. Your inhuman and unnatural
actions have provoked this unnatural flood of blood. Oh
God, who made this blood, revenge his death! Oh earth,
which soaks up this blood, revenge his death! Either let
heaven send lightning to strike the murderer dead or let
the earth open wide and devour him, as it does this good
king’s blood.

RICHARD RICHARD
Lady, you know no rules of charity, Dear woman, you don’t know the
70 Which renders good for bad, blessings for curses. rules of charity. When faced with
bad, you’re supposed to turn it into
good, and when subject to curses,
you’re supposed to convert them
into blessings.

ANNE ANNE
Villain, thou know’st not law of God nor man. Villain, you don’t know the laws of
No beast so fierce but knows some touch of pity. God or of man. Even the fiercest
wild animal has some touch of pity.

RICHARD RICHARD
But I know none, and therefore am no beast. If I know nothing about pity, that
must mean I’m not an animal.

ANNE ANNE
O, wonderful, when devils tell the truth! It’s amazing to hear a devil speak
the truth!

RICHARD RICHARD
75 More wonderful, when angels are so angry. It’s even stranger when an angel is
Vouchsafe, divine perfection of a woman, so angry. Divine, perfect woman,
Of these supposèd crimes to give me leave give me a chance to prove in detail
 By circumstance but to acquit myself.
ANNE
Vouchsafe, defused infection of a man,
80 Of these known evils but to give me leave
By circumstance to curse thy cursèd self.
RICHARD
Fairer than tongue can name thee, let me have
Some patient leisure to excuse myself.
ANNE
Fouler than heart can think thee, thou canst make
85 No excuse current but to hang thyself.
RICHARD
By such despair I should accuse myself.
ANNE
And by despairing shalt thou stand excused
For doing worthy vengeance on thyself
That didst unworthy slaughter upon others.
RICHARD
90 Say that I slew them not.
ANNE
Then say they were not slain.
But dead they are, and devilish slave, by thee.
RICHARD
I did not kill your husband.
ANNE
Why then, he is alive.
RICHARD
95 Nay, he is dead, and slain by Edward’s hands.
ANNE
In thy foul throat thou liest. Queen Margaret saw
Thy murd'rous falchion smoking in his blood,
The which thou once didst bend against her breast,
But that thy brothers beat aside the point.
RICHARD
100 I was provokèd by her sland'rous tongue,
that I’m innocent of the evils you
accuse me of.
ANNE
Contagious infection of humanity,
give me a chance to condemn you
for the evils I know you’ve
committed.
RICHARD
You who are beautiful beyond
words, calm down and let me
explain myself.
ANNE
You who are wicked beyond belief,
the only “explanation” I’ll accept
from you is for you to hang
yourself.
RICHARD
Such an expression of despair
would only prove that I was guilty.
ANNE
Maybe, but if you killed yourself, it
would also show that you felt some
guilt for killing others.
RICHARD
Let’s say I didn’t kill them.
ANNE
Then you might as well say they’re
not dead. But they are dead, and
you killed them, you slave of the
devil.
RICHARD
I did not kill your husband.
ANNE
Well, then he must be alive.
RICHARD
No, he is dead. Edward killed him.
ANNE
You’re lying. Queen Margaret saw
your sword steaming with his
blood. It was the same sword you
almost killed her with—and you
would have killed her if my
brothers hadn’t fought you off.
RICHARD
She provoked me with her lying
 That laid their guilt upon my guiltless shoulders. mouth, accusing me of crimes I
didn’t commit.

ANNE ANNE
Thou wast provokèd by thy bloody mind, No, what provoked you was your
That never dream’st on aught but butcheries. own bloody mind, which never
Didst thou not kill this king? thinks about anything but
butchering. You killed this king,
didn’t you?

RICHARD RICHARD
105 I grant you. Yes, I’ll grant you that.

ANNE
Dost grant me, hedgehog? Then, God grant me too
Thou mayst be damnèd for that wicked deed.
O, he was gentle, mild, and virtuous.
ANNE
You’ll grant me, you hedgehog?
Then let God grant me that you’ll
be damned for that wicked deed.
Oh, he was gentle, mild, and
virtuous.

RICHARD RICHARD
The better for the King of heaven that hath him. That will please God, who has him
now.

ANNE ANNE
110 He is in heaven, where thou shalt never come. He is in heaven, where you will
never go.

RICHARD RICHARD
Let him thank me, that holp to send him thither, Let him thank me, who helped him
For he was fitter for that place than earth. get there. He’s better suited to be
there than here.

ANNE ANNE
And thou unfit for any place but hell. And you’re not suited for any place
except hell.

RICHARD RICHARD
Yes, one place else, if you will hear me name it. Yes, and one other place, if you’ll
only let me name it.

ANNE ANNE
115 Some dungeon. Some dungeon.

RICHARD RICHARD
Your bedchamber. Your bedroom.

ANNE ANNE
Ill rest betide the chamber where thou liest! There is no rest to be had in any
bedroom where you are!

RICHARD RICHARD
So will it, madam till I lie with you. Exactly, madam, until I sleep with
you.

ANNE ANNE
I hope so. I hope you’re right.
 RICHARD
   I know so. But, gentle Lady Anne,
120 To leave this keen encounter of our wits
And fall something into a slower method—
Is not the causer of the timeless deaths
Of these Plantagenets, Henry and Edward,
As blameful as the executioner?
ANNE
125 Thou wast the cause and most accursed effect.
RICHARD
Your beauty was the cause of that effect—
Your beauty, that did haunt me in my sleep
To undertake the death of all the world,
So I might live one hour in your sweet bosom.
ANNE
130 If I thought that, I tell thee, homicide,
These nails should rend that beauty from my cheeks.
RICHARD
These eyes could never endure that beauty’s wrack.
You should not blemish it, if I stood by.
As all the world is cheerèd by the sun,
135 So I by that. It is my day, my life.
ANNE
Black night o'ershade thy day, and death thy life.
RICHARD
Curse not thyself, fair creature; thou art both.
ANNE
I would I were, to be revenged on thee.
RICHARD
It is a quarrel most unnatural
140 To be revenged on him that loveth thee.
ANNE
It is a quarrel just and reasonable
RICHARD
I know I am. But, gentle Lady Anne,
let’s stop this rapid-fire argument
and move more slowly. Isn’t the
person who caused the untimely
deaths of these two Plantagenets,
Henry and Edward, as much to
blame as the person who actually
executed the murders?
ANNE
You’re both those people—
responsible for both cause and
effect.
RICHARD
Your beauty caused what I did. It
haunted me in my sleep. I would
have killed the whole world just to
be able spend one hour next to
you.
ANNE
If I believed you, murderer, I would
take my nails and scratch that
beauty right off my cheeks.
RICHARD
I couldn’t stand to see you destroy
your beauty; you won’t touch it as
long as I’m standing next to you.
Just as everyone becomes
cheerful from the sun, I’m cheered
up by your looks. They are my
daylight, my life.
ANNE
Then I hope night shadows your
day, and death takes your life!
RICHARD
Don’t damn yourself. You, fair lady,
are both my day and my life.
ANNE
I wish I were, so I could deprive
you of both day and life.
RICHARD
It’s strange that you want to take
revenge on the person who loves
you.
ANNE
It’s just and reasonable that I want
 To be revenged on him that killed my husband. to take revenge on the person who
killed my husband.

RICHARD RICHARD
He that bereft thee, lady, of thy husband The man who killed your husband,
Did it to help thee to a better husband. dear lady, only did it to help you
get a better husband.

ANNE ANNE
145 His better doth not breathe upon the earth. There is no better one on earth.
RICHARD RICHARD
He lives that loves thee better than he could. Wrong. There is a man who loves you better than your
husband could.
ANNE ANNE
Name him. Name him.
RICHARD RICHARD
   Plantagenet. Plantagenet.
ANNE ANNE
     Why, that was he. Yes, that’s my husband’s name.
RICHARD RICHARD
The selfsame name, but one of better nature. Someone else has the same name, but he’s a better man.
ANNE ANNE
Where is he? Where is this man?
RICHARD RICHARD
   Here. Here.
She spitteth at him ANNE spits at him.
   Why dost thou spit at me? Why do you spit at me?
ANNE ANNE
150 Would it were mortal poison for thy sake. If only I could spit poison.
RICHARD RICHARD
Never came poison from so sweet a place. Poison never came from such a sweet place.
ANNE ANNE
Never hung poison on a fouler toad. Poison never landed on such an ugly toad. Get out of my
Out of my sight! Thou dost infect mine eyes. sight! You’re poisoning my eyes.
RICHARD RICHARD
Thine eyes, sweet lady, have infected mine. Your beautiful eyes, sweet lady, have infected mine with
love.
ANNE ANNE
155 Would they were basilisks to strike thee dead. I wish my eyes were basilisks, so they could strike you
dead!

RICHARD RICHARD
I would they were, that I might die at once, I wish they were, so that I could die
For now they kill me with a living death. right now, because, at this point, I
Those eyes of thine from mine have drawn salt tears, live a living death. Your eyes have
Shamed their aspect with store of childish drops. made me cry, shamefully, like a
160 These eyes, which never shed remorseful tear— child. I never cried before this. I
No, when my father York and Edward wept didn’t cry when my father, York,
To hear the piteous moan that Rutland made and my brother Edward both wept
When black-faced Clifford shook his sword at him; at the death of my brother Rutland,
Nor when thy warlike father, like a child, whom Clifford slaughtered. And
165 Told the sad story of my father’s death when your warrior-father recounted
 And twenty times made pause to sob and weep, the sad story of my father’s death,
That all the standers-by had wet their cheeks pausing to sob twenty times in the
Like trees bedashed with rain—in that sad time, course of the story so that all the
My manly eyes did scorn an humble tear; bystanders ended up dripping tears
170 And what these sorrows could not thence exhale like trees in a rainstorm—even
Thy beauty hath, and made them blind with weeping. then, I refused to cry. But your
I never sued to friend, nor enemy; beauty has made me cry until I
My tongue could never learn sweet smoothing word. couldn’t see. I never tried to win
But now thy beauty is proposed my fee, over a friend or enemy with sweet
175 My proud heart sues, and prompts my tongue to speak. words. I’m too proud for that. But if
your beauty is the reward for sweet
talk, I’ll talk.

She looks scornfully at him ANNE  looks at him with disgust.

Teach not thy lip such scorn, for it were made Don’t curl your lips in scorn. They
For kissing, lady, not for such contempt. were made for kissing, not for
If thy revengeful heart cannot forgive, contempt. If your vengeful heart
Lo, here I lend thee this sharp-pointed sword, can’t forgive me, here—take my
180 Which if thou please to hide in this true breast sword and bury it in my heart so
And let the soul forth that adoreth thee, that my soul, which adores you,
I lay it naked to the deadly stroke can be free. I open myself to being
And humbly beg the death upon my knee. stabbed. In fact, I beg for death on
my knees.

He kneels and lays his breast open; she offers at it with his sword He opens his shirt to expose his
chest, and she points the sword
toward it.

Nay, do not pause; for I did kill King Henry— No, don’t pause, because I did kill
185 But ’twas thy beauty that provokèd me. King Henry, though it was your
Nay, now dispatch; ’twas I that stabbed young Edward— beauty that made me do it. Go
But ’twas thy heavenly face that set me on. ahead. And it was me who stabbed
young Edward, though it was your
heavenly face that set me to work.

She falls the sword ANNE  lets the sword drop.

Take up the sword again, or take up Take up the sword again, or take
me. me up.

ANNE ANNE
Arise, dissembler. Though I wish thy Get up, liar. Though I wish you
190 death, were dead, I’m not going to be the
I will not be the executioner. one to kill you.

RICHARD RICHARD
(rising) Then bid me kill myself, and I (rising) Then tell me to kill myself,
will do it. and I will.

ANNE ANNE
I have already. I have already.

RICHARD RICHARD
     That was in thy rage. You said it when you were furious.
Speak it again and, even with the Say it again—just one word, and
 word, my hand, which killed your lover
195 This hand, which for thy love did kill out of love, will kill your far truer
thy love, lover. You will be an accessory to
Shall for thy love kill a far truer love. both crimes.
To both their deaths shalt thou be
accessory.

ANNE ANNE
I would I knew thy heart. I wish I knew what was in your
heart.

RICHARD RICHARD
'Tis figured in my tongue. I’ve told you.

ANNE ANNE
I fear me both are false. I fear that your words and your
heart are both false.

RICHARD RICHARD
200 Then never man was man true. Then no man has ever been
honest.

ANNE ANNE
Well, well, put up your sword. Well, then, put your sword away.

RICHARD RICHARD
Say then my peace is made. Tell me that you’ll accept my love.

ANNE ANNE
That shall you know hereafter. You’ll know about that later.
Summary
Lady Anne, the widow of King Henry VI’s son, Edward, enters the royal castle with a group of men bearing the
coffin of Henry VI. She curses Richard for having killed Henry. Both Henry VI and Edward, who were of the
House of Lancaster, have recently been killed by members of the House of York, the family of the current king,
Edward IV, and Richard. Anne says that Richard is to blame for both deaths. She refers spitefully to her
husband’s killer as she mourns for the dead king and prince, praying that any child Richard might have be
deformed and sick, and that he make any woman he might marry be as miserable as Anne herself is.
Suddenly, Richard himself enters the room. Anne reacts with horror and spite, but Richard orders the
attendants to stop the procession so that he can speak with her. He addresses Anne gently, but she curses him
as the murderer of her husband and father-in-law. Anne points to the bloody wounds on the corpse of the
dead Henry VI, saying that they have started to bleed. (According to Renaissance tradition, the wounds of a
murdered person begin to bleed again if the killer comes close to the corpse.)
Praising Anne’s gentleness and beauty, Richard begins to court her romantically. Anne naturally reacts with
anger and horror and reminds Richard repeatedly that she knows he killed her husband and King Henry. He
tells Anne that she ought to forgive him his crime out of Christian charity, then denies that he killed her
husband at all. Anne remains angry, but her fierceness seems to dwindle gradually in the face of Richard’s
eloquence and apparent sincerity. Finally, in a highly theatrical gesture, Richard kneels before her and hands
her his sword, telling her to kill him if she will not forgive him, indicating that he doesn’t want to live if she
hates him. Anne begins to stab toward his chest, but Richard keeps speaking, saying that he killed Henry IV and
Edward out of passion for Anne herself—Anne’s beauty drove him to it. Anne lowers the sword.
Richard slips his ring onto her finger, telling her that she can make him happy only by forgiving him and
becoming his wife. Anne says that she may take the ring but that she will not give him her hand. Richard
persists, and Anne agrees to meet him later at a place he names.
Analysis

Act I, scene ii is psychologically complicated, and is without doubt one of the most difficult scenes in
the entire play. It is hard for many readers to accept that Anne, who mourns the dead Henry and
curses Richard at the beginning of the scene, could possibly wear his ring and let him court her by
the scene’s end. This scene demonstrates Richard’s brilliance as a manipulator of people. We receive
a taste of this brilliance in Act I, scene i, but the wooing of Anne shows Richard’s persuasive abilities
at a whole new level. Richard’s ability to persuade the grieving, bitter Anne to accept him as a suitor
is surely proof of his ominous skill in playing upon people’s emotions and in convincing them that he
is sincere when in fact he is lying through his teeth.

Richard manipulates Anne by feigning gentleness and persistently praising her beauty, a technique
that he subtly twists later in the scene in order to play upon Anne’s sense of guilt and obligation.
Richard implies that he killed Anne’s husband, Edward, because Anne’s beauty had caused Richard
to love her—and that, therefore, Edward’s death is partially Anne’s fault. This tactic culminates in
the highly manipulative, and risky, gesture of Richard’s offering her his sword and presenting his
chest to her, saying she may kill him if she can. But, interrupted by Richard’s speeches, Anne finds
herself unable to kill him. “Though I wish thy death, / I will not be thy executioner,” she says—just
what Richard is counting on (I.i.172–173). In proving that Anne lacks the will to kill him, Richard
himself establishes a kind of power over Anne. He demonstrates that she cannot back up her words
with action, while he backs every claim he makes with swift and violent deeds.

In a broad sense, this scene is a demonstration of Richard’s powerful way with words, which may be
the most important aspect of his character. He wins Anne, a seemingly impossible feat. She herself,
knowing that she cannot trust him, is nonetheless unable to resist his apparent sincerity and skillfully
manipulative gestures. He engineers the entire scene to bring about the result he desires.

As the gleeful Richard says after Anne has left—in a gruesome spectacle of rejoicing that tends to
reinforce the audience’s loathing of him, “[w]as ever woman in this humour wooed? / Was ever
woman in this humour won?” (I.ii.215–216). Richard then goes on to gloat over his murder of her
husband, Edward, to which he now openly admits. Last, Richard seems to take pleasure in
comparing his own ugliness to Edward’s nobility—appreciating the accompanying irony that the
beautiful Anne will now belong to the hideous Richard. It is difficult to read this scene without
concluding that Richard is twisted in mind and emotion as well as body. His intelligence, his skill with
words, and his apparently motiveless hatred of the world at large combine with these twisted
emotions to make Richard very dangerous indeed.
Act 1 Scene 2 lines 230-264
Page 29-31
Exeunt all but RICHARD
Was ever woman in this humor wooed?
235 Was ever woman in this humor won?
I’ll have her, but I will not keep her long.
What, I that killed her husband and his father,
To take her in her heart’s extremest hate,
With curses in her mouth, tears in her eyes,
240 The bleeding witness of my hatred by,
Having God, her conscience, and these bars against me,
And I no friends to back my suit at all
But the plain devil and dissembling looks?
And yet to win her, all the world to nothing!
245 Ha!
Hath she forgot already that brave prince,
Edward, her lord, whom I some three months since
Stabbed in my angry mood at Tewkesbury?
A sweeter and a Lovellier gentleman,
250 Framed in the prodigality of nature,
Young, valiant, wise, and, no doubt, right royal,
The spacious world cannot again afford.
And will she yet abase her eyes on me,
That cropped the golden prime of this sweet prince
255 And made her widow to a woeful bed?
On me, whose all not equals Edward’s moiety?
On me, that halts and am misshapen thus?
My dukedom to a beggarly denier,
I do mistake my person all this while!
260 Upon my life, she finds, although I cannot,
Myself to be a marv'lous proper man.
I’ll be at charges for a looking glass
And entertain a score or two of tailors
To study fashions to adorn my body.
265 Since I am crept in favor with myself,
I will maintain it with some little cost.
But first I’ll turn yon fellow in his grave
And then return lamenting to my love.
Shine out, fair sun, till I have bought a glass,
270 That I may see my shadow as I pass.
Everyone exits except RICHARD.
Has anyone ever courted a woman in this state
of mind? And has anyone ever won her, as I’ve
done? I’ll get her, but I won’t keep her long.
What! I, who killed her husband and his father,
managed to win her over when her hatred for
me was strongest, while she’s swearing her
head off, sobbing her eyes out, and the bloody
corpse, proof of why she should hate me, right
in front of her? She has God, her conscience,
and my own acts against me, and I have
nothing on my side but the ugly devil and my
false looks. And yet, against all odds, I win her
over! Ha! Has she already forgotten her brave
husband, Prince Edward, whom I stabbed on
the battlefield three months ago in my anger?
The world will never again produce such a
sweet, lovely gentleman. He was graced with
lots of natural gifts, he was young, valiant,
wise, and no doubt meant to be king.
And yet she cheapens herself by
turning her gaze on me, who cut
her sweet prince’s life short and
made her a widow? On me, though
I am barely half the man that
Edward was? On me, though I am
limping and deformed? I bet I’ve
been wrong about myself all this
time. Even though I don’t see it,
this lady thinks I’m a marvelously
good-looking man. Time to buy
myself a mirror and employ a few
dozen tailors to dress me up in the
current fashions. Since I’m
suddenly all the rage, it will be
worth the cost. But first, I’ll dump
this fellow in his grave, then return
to my love weeping with grief.
Come out, beautiful sun—until I’ve
bought a mirror to admire my
reflection in, I’ll watch my shadow
as I stroll along.
Since this is soliloquy and Richard is alone on stage, by convention he tells the truth. Everything is
written in blank verse except for the last rhyming couplet which signifies either the end of scene or
another role to come.

His tone of voice is very cynical. He mocks all womankind. He enjoys his triumph. Line 232 `oh my
God how stupid women are`. He says that he had wrong impression for himself because Anne sees
him as handsome. He is aware of the fact that he is ugly and deformed however he mocks himself by
saying that since he wooed Anne he must be handsome and that`s why he will buy himself a mirror
and will hire 20-40 tailors to look better (exaggerates).

He makes a comparison between himself and Edward the husband of Anne whom he killed.

The connection between the introductory speech and this one: In the introductory speech Richard
doesn`t want to see himself in the mirror, he says that he is so alone and only his shadow makes him
company. Now he can see himself in the mirror, he knows that lady Anne does not see him as
attractive as Prince Edward (he gives a description of him) and he really means it. He courted her
although he is deformed and he is the devil.

Dissembling looks- in the 1st speech dissembling nature- he blames on nature for the dissembling
looks.

Anne gets entangled in Richard`s web. Why? Is she afraid for survival? Is she naïve? She is not
stupid?

PAY ATTENTION TO: DISCUSS AT LEAST 6 ROLES OF RICHARD

Act 1 Scene 3 pages 41-43 lines 188-233
QUEEN MARGARET
What, were you snarling all before I came,
Ready to catch each other by the throat,
And turn you all your hatred now on me?
Did York’s dread curse prevail so much with heaven
That Henry’s death, my Lovelly Edward’s death,
Their kingdom’s loss, my woeful banishment,
Could all but answer for that peevish brat?
Can curses pierce the clouds and enter heaven?
Why then, give way, dull clouds, to my quick curses!
Though not by war, by surfeit die your king,
As ours by murder to make him a king.
QUEEN MARGARET
(to QUEEN ELIZABETH)
Edward thy son, that now is Prince of Wales,
For Edward our son, that was Prince of Wales,
Die in his youth by like untimely violence.
Thyself a queen, for me that was a queen,
Outlive thy glory, like my wretched self.
Long mayst thou live to wail thy children’s death
And see another, as I see thee now,
Decked in thy rights, as thou art stalled in mine.
Long die thy happy days before thy death,
And, after many lengthened hours of grief,
Die neither mother, wife, nor England’s queen.—
Rivers and Dorset, you were standers-by,
And so wast thou, Lord Hastings, when my son
Was stabbed with bloody daggers. God I pray Him
That none of you may live his natural age,
But by some unlooked accident cut off.
RICHARD
Have done thy charm, thou hateful, withered hag.
QUEEN MARGARET
And leave out thee? Stay, dog, for thou shalt hear
me.
220 If heaven have any grievous plague in store
Exceeding those that I can wish upon thee,
O, let them keep it till thy sins be ripe
And then hurl down their indignation
On thee, the troubler of the poor world’s peace.
225 The worm of conscience still begnaw thy soul.
Thy friends suspect for traitors while thou liv’st,
QUEEN MARGARET
What, were you all snarling before I arrived, ready to
catch each other by the throat like dogs, but now that I’m
here, you turn your hatred toward me? Did the duke of
York’s terrible curse have so much weight with God that
God repaid him not only with Henry’s death and my
lovely Edward’s death but with the loss of their kingdom
and with my banishment, too? All because of what
happened to that brat Rutland? If curses can pierce the
clouds and enter heaven that easily, then open up, thick
clouds, and listen to my curses!
QUEEN MARGARET
(to QUEEN ELIZABETH) Though your king did not die in
battle, let him die from overindulging his appetites, as my
husband was murdered to make your husband king. May
your son Edward, who is currently the prince of Wales,
die young and violently, as payback for the death of my
son Edward, the former prince of Wales. And may you
outlive your glory just as miserably as I have, to make up
for taking my position as queen. May you live long
enough to mourn your children’s deaths and watch
another woman enjoy the throne, as I now watch you.
Let your happy days die long before you do. After many
extended hours of grief, may you die neither a mother, a
wife, nor England’s queen. Rivers, Dorset, and Lord
Hastings, you all stood by as my son was stabbed. For
his sake, I pray to God that none of you die a natural
death but have your lives cut short by some unforeseen
accident.
RICHARD
Enough of your magic spells, you hateful, withered hag.
QUEEN MARGARET
And leave you out? Don’t move, dog. It’s your turn now. If
heaven has any plagues beyond what I can drum up, let
it wait until your sins are piled high and then hurl them
down on you, you destroyer of a whole world of peace!
May conscience eat away at your soul constantly. May
you suspect your true friends of being traitors and take
the worst traitors as your closest friends. May you never
sleep a wink except to dream of a hell full of ugly devils.
 And take deep traitors for thy dearest friends.
No sleep close up that deadly eye of thine,
Unless it be while some tormenting dream
Affrights thee with a hell of ugly devils.

This speech is given by Queen Margaret and is known as the Queen Margaret`s curses. Her husband
and son died because of the York family (Edward participated in their murders). As we will see
through the play all her curses come true and all characters before their deaths repeat her words.
From this speech we can see that although this is one of the early plays by Shakespeare he
structured it before writing. Margaret curses several characters one by one:

1. the king will die due to overindulgence- it is implied that the king will die not because of
sickness but because of too much enjoyment
2. The queen`s son Edward will die ruthlessly in his youth
3. The queen is cursed not to live happy days and to die alone, nor as a mother, nor as a queen
but only as a life of the king i.e. as if she did not exist
4. Rivers, Dorset and Hastings will also die in some unlooked accident because they watched
and helped while her son was killed
The Margaret`s cursing scene is a very powerful one. She is not afraid of Richard. Why? Because she
has nothing to lose, she is alone, she witnessed the dead of her son and husband.
Margaret is a symbolic character because she has a special prophetic power since her curses come
true. She does not only give a prophetic account of the future but also knows the past. At the
present point she is the only one who sees through Richard. At the scene she has the function of the
Ancient Greek CHORUS- the voice of the truth. *** In Shakespearean time the clowns have the
function of chorus.
In terms of dramatic technique Richard interrupts the speech of Margaret and asks why she did not
mention him. (Стара вештерко зашто мене не ме спомна?)
Why Margaret did not mention Richard first? (Richard is again referred to as the wild boar). She says
that she had not done anything yet (till sins be ripe) but she sees what he is going to do. It is still
early. He addresses him as elvish marked- deformed; Why? marked as such by elvs- evil creatures (it
is a widespread tradition that when a baby is born evil creatures come and mark the baby); abortive-
born prematurely; She curses him his conscience to gnaw his soul and to suspect his friends as
traitors.
Lines 229: you slander of your mother`s womb`- `клевета на утробата на мајка ти`. Тој е таков
изрод што не личи да е роден од мајка му, нема допирна точка со мајка му и татко му. Арно
ама мајките неможеле да имаат афери само татковците и чим тој толку не личи на татко му
мора да има друг татко, значи мајка му го изневерувала својот маж – adulterous mother-
however his mother was nothing like that and because of it Shakespeare says `slander of your
mother`s womb`.
Act 1 Scene 3 page 49 lines 324-338
RICHARD
I do the wrong, and first begin to brawl.
The secret mischiefs that I set abroach
I lay unto the grievous charge of others.
Clarence, whom I indeed have cast in darkness,
I do beweep to many simple gulls,
Namely, to Derby, Hastings, Buckingham,
And tell them ’tis the queen and her allies
That stir the king against the duke my brother.
Now they believe it and withal whet me
To be revenged on Rivers, Dorset, Grey;
But then I sigh and, with a piece of scripture,
Tell them that God bids us do good for evil;
And thus I clothe my naked villainy
With odd old ends stolen out of Holy Writ,
And seem a saint when most I play the devil.
RICHARD
Incredible. I do the wrong and am
the first to start quarrels. What I did
in secret I blame on others. I cry
about Clarence, whom I had
imprisoned, in front of these simple
fools—namely, Hastings, Derby
and Buckingham—and tell them
that the queen and her allies
roused the king against my brother
Clarence. They believe me and
urge me to take revenge on Rivers,
Vaughan, and Grey. But then I sigh
and quote a chunk of the Bible—
how God says do good in return for
evil. Ha! Dressing my out-and-out
wickedness in scraps of Scripture, I
look like a saint exactly when I’m
most like the devil.
Enter two  MURDERERS Two  MURDERERS enter
.
Act 1 Scene 4 pages 51-54 lines 9-33 43-63
CLARENCE
Methoughts that I had broken from the Tower
And was embarked to cross to Burgundy,
And in my company my brother Gloucester,
Who from my cabin tempted me to walk
Upon the hatches. Thence we looked toward England
And cited up a thousand fearful times,
During the wars of York and Lancaster
That had befall'n us. As we paced along
Upon the giddy footing of the hatches,
Methought that Gloucester stumbled, and in falling
Struck me, that thought to stay him, overboard
Into the tumbling billows of the main.
O Lord, methought what pain it was to drown,
What dreadful noise of waters in my ears,
What sights of ugly death within my eyes.
Methoughts I saw a thousand fearful wracks,
A thousand men that fishes gnawed upon,
Wedges of gold, great anchors, heaps of pearl,
Inestimable stones, unvalued jewels,
All scattered in the bottom of the sea.
CLARENCE
Some lay in dead men’s skulls, and in the holes
30 Where eyes did once inhabit, there were crept—
As ’twere in scorn of eyes—reflecting gems,
That wooed the slimy bottom of the deep
And mocked the dead bones that lay scattered by.
KEEPER
Had you such leisure in the time of death
To gaze upon the secrets of the deep?
35
CLARENCE
CLARENCE
I thought I had escaped from the Tower and was on a
ship to France with my brother Richard, who
persuaded me to leave my cabin and walk on deck
with him. Looking toward England, we reminisced
about the countless frightening experiences we’d had
in the wars between the Yorks and the Lancasters. As
we were pacing the deck, which was tipping heavily,
Richard seemed to stumble, and as I tried to grab hold
of him and keep him from falling, he knocked me
overboard into the crashing waves. Lord, how painful
it was to drown. The sound of the rushing water was
terrible, and so were the sights. I saw a thousand
shipwrecks, a thousand men whom fish had gnawed
to the bone, huge anchors, chunks of gold, heaps of
pearls, and precious jewels—all scattered on the
bottom of the sea.
CLARENCE
Some of the gems had wedged
themselves like imitation eyes into
the dead men’s skulls. The fake eyes
gazed dully at the bones scattered
around.
KEEPER
So you had time as you were dying
to look around?
CLARENCE
 Methought I had, and often did I strive
To yield the ghost, but still the envious flood
Stopped in my soul and would not let it forth
To find the empty, vast, and wand'ring air,
40 But smothered it within my panting bulk,
Who almost burst to belch it in the sea.
I thought I did, and I often tried to
die. But the terrible water always
held me back. It wouldn’t let my soul
find its way to air but smothered it
inside my gasping body. My body
wanted so badly to vomit up my spirit
that it almost burst.

KEEPER KEEPER
Awaked you not in this sore agony? And didn’t you wake up during this
terrible agony?

CLARENCE
No, no, my dream was lengthened after life.
O, then began the tempest to my soul.
45 I passed, methought, the melancholy flood,
With that sour ferryman which poets write of,
Unto the kingdom of perpetual night.
The first that there did greet my stranger-soul
Was my great father-in-law, renownèd Warwick,
50 Who spake aloud, “What scourge for perjury
Can this dark monarchy afford false Clarence?”
And so he vanished. Then came wand'ring by
A shadow like an angel, with bright hair
Dabbled in blood, and he shrieked out aloud
CLARENCE
Oh, no, my dream went on even
after I died. In fact, the real
nightmare had only just begun. With
the help of the grim ferryman that
poets like to write about, my soul
crossed the river into the kingdom of
endless night.
The first to greet me there was my
great father-in-law, the famous earl
of Warwick. He cried aloud, “What
terrible punishment can this dark
realm devise for the oath-breaker
Clarence?” And he vanished. Then a
ghost like an angel with its hair
spattered in blood wandered by, and
shrieked,

CLARENCE CLARENCE
55 “Clarence is come—false, fleeting, perjured Clarence, “Clarence has arrived—lying,
That stabbed me in the field by Tewkesbury. cowardly Clarence, who stabbed me
Seize on him, furies. Take him unto torment.” at Tewksbury. Grab him, avenging
With that, methoughts, a legion of foul fiends spirits, and torment him.” With that, a
Environed me and howlèd in mine ears legion of ugly demons surrounded
60 Such hideous cries that with the very noise me and howled so loudly in my ears
I trembling waked, and for a season after that I woke up trembling and for a
Could not believe but that I was in hell, long time thought I was still in hell.
Such terrible impression made my dream.
Clarence`s dream: defined as poetry. What makes the speech poetry is the imagery. We can visualize
every single idea Shakespeare presents like a film sequence, like a slow motion, Clarence is drowning
slowly at the bottom of the sea and he tells what he sees: Skulls of men with precious diamonds as
eyes; the diamonds were used by men to woo women however hear the diamonds are used to woo
the slimy bottom as if mocking the bones around. Why mockery? Shakespeare mocks the people`s
weakness of want for material wealth- diamonds here stand for human greed. Material wealth is
transient we should strive for spiritual.

Elizabethan metaphors:
1. all the world is a stage
2. Memento mori- remember that you are mortal( live a virtuous life- strive for spiritual).
Other message that the speech sends is `SIC TRANSIT GLORIA MUNDI` `И ТАКА ПОМИНУВА
СЛАВАТА НА СВЕТОТ` Even the illiterate people would have known the messages on stage, they
were part of their everyday life, not of ours.

The speech serves as a kind of premonition in a dream and shows Clarence to be suspicious of his
brother: Richard so cleverly pushed him (tempted me to walk and he stumbled, I tried to help him
and then he in a way pushed me in the water).
Act 2 Scene 1 page 75 lines 102-133

KING EDWARD IV KING EDWARD IV

Have I a tongue to doom my brother’s death, I was willing to condemn my brother to death,
And shall the tongue give pardon to a slave? but you want me to pardon a peasant? My
My brother killed no man; his fault was thought, brother didn’t kill anyone. He was only to
110 And yet his punishment was bitter death. blame for some thoughts he had. But his
Who sued to me for him? Who, in my wrath, punishment was bitter death. Who pleaded
Kneeled at my feet, and bade me be advised? with me to pardon his life? Who, when I was in
Who spoke of brotherhood? Who spoke of love? a rage, kneeled at my feet and told me to
Who told me how the poor soul did forsake reconsider? Who talked about brotherhood?
115 The mighty Warwick and did fight for me? Who talked about love? Who told me how the
Who told me, in the field by Tewkesbury, poor man abandoned the mighty earl of
When Oxford had me down, he rescued me, Warwick to fight for me? Who told me how he
And said “Dear brother, live, and be a king”? rescued me in the field at Tewksbury, when
Who told me, when we both lay in the field Oxford had me down, saying, “Dear brother,
120 Frozen almost to death, how he did lap me live and be a king”? Who told me how, when
Even in his garments and did give himself, we both lay in the field freezing to death, he
All thin and naked, to the numb-cold night? wrapped me in his own clothes and spent a
All this from my remembrance brutish wrath numbingly cold night naked? I forgot all of this
Sinfully plucked, and not a man of you in my brutish anger, and not one of you had
125 Had so much grace to put it in my mind. the grace to remind me. But when your
But when your carters or your waiting vassals servants get drunk and kill someone, you go
Have done a drunken slaughter and defaced right down on your knees for “pardon, pardon.”
The precious image of our dear Redeemer, And, though he doesn’t deserve it, I have to
You straight are on your knees for pardon, pardon, grant your request. But not one of you would
130 And I, unjustly too, must grant it you. speak up for my brother. And I didn’t speak to
Stanley rises myself on his behalf, either. The best of you
But for my brother, not a man would speak, owed something to him in his lifetime, but none
Nor I, ungracious, speak unto myself of you would plead for his life. Oh God, I fear
For him, poor soul. The proudest of you all your justice will destroy me and all of these
135 Have been beholding to him in his life, men, and their families and mine, because of
Yet none of you would once beg for his life. this! Come, Hastings, help me to my room. Oh,
O God, I fear Thy justice will take hold poor Clarence.
On me and you, and mine and yours for this!—
Come, Hastings, help me to my closet.—
140 Ah, poor Clarence.
Stanley, the earl of Derby, suddenly rushes in to beg the king to spare the life of a servant condemned to
death. Edward angrily blasts his noblemen for not having interceded to save Clarence when the king himself let
his anger run away with him. The already sick Edward suddenly seems to grow sicker, suffering from grief and
guilt. He has to be helped to his bed.
Edward’s long, angry speech at the end of Act II, scene i is his only major speech, and his last before he dies. It
is unusually touching and powerful, and it appeals to the importance of loyalty and love over the maneuvering
and flattery that prevails in the court. Edward asks why no member of his court reminded him in his rage of
how much he owed his brother Clarence; he then asks why no one advised him to refrain from issuing a death
sentence. He puts these questions succinctly: “Who spoke of brotherhood? Who spoke of love?” (II.i.109).
Instead, the death sentence was issued, and, according to the story Richard tells, the letter of reversal that
Edward sent out did not arrive at the tower in time. Of course, Richard deliberately intercepted the reversal
and sent the death sentence, along with his murderers, to the tower. Richard is too evil to be affected by
Edward’s eloquent words.
Act 3 Scene 5 page 129 lines 72-94

RICHARD
Go, after, after, cousin Buckingham.
The mayor towards Guildhall hies him in all post.
There, at your meetest vantage of the time,
Infer the bastardy of Edward’s children.
Tell them how Edward put to death a citizen
Only for saying he would make his son
Heir to the Crown—meaning indeed his house,
Which, by the sign thereof, was termèd so.
Moreover, urge his hateful luxury
And bestial appetite in change of lust,
Which stretched to their servants, daughters, wives,
Even where his raging eye or savage heart,
Without control, lusted to make his prey.
Nay, for a need, thus far come near my person:
Tell them when that my mother went with child
Of that insatiate Edward, noble York
My princely father then had wars in France,
And, by true computation of the time,
Found that the issue was not his begot,
Which well appearèd in his lineaments,
Being nothing like the noble duke my father.
Yet touch this sparingly, as ’twere far off,
Because, my lord, you know my mother lives.
RICHARD
Follow him, Buckingham. He’s traveling at a gallop to
the London meeting hall. There, as soon as you have
a chance, drop the hint that Edward’s children are
bastards. Tell the citizens how Edward put to death a
citizen just because the citizen said he was going to
make his own son “heir to the crown”—when all the
citizen meant was that he owned a tavern called “the
Crown” and was going to leave it to his son. And then
point out what a lech Edward was and what a bestial
appetite he had for women, which touched even the
citizens' own servants, daughters, and wives. There
was no limit to what his lustful eye and savage heart
would prey on. And, if you need to, approach the
subject of me: tell them that when my mother became
pregnant with the insatiable Edward, my noble father
was fighting in France. With a little calculating, it’s
obvious that Edward is not in fact my father’s child—
not a surprising revelation if you consider how my
father the noble duke looked nothing like this man. But
only hint at this vaguely, because, as you know, my
mother’s still alive

Richard`s slanders

Richard asks Buckingham to go to the Guildhall by following the mayor (Градското собрание).
Richard wants to convince the citizens that Edward is a liar and to point to the illegitimacy of
Edward`s children since he wants to get rid of the children. ``infer the bastardy of Edward`s
children`- don’t say it openly; how his children are illegitimate? If you are engaged to a woman and
you broke your engagement and marry someone else- bigamy- before Edward IV married Elizabeth
he was engaged to someone else, so theoretically speaking this would be the second marriage of
Edward- Richard uses this as to say that his children were illegitimate.

Richard`s slanders:
1. Children`s illegitimacy
2. The king is ruthless; he kills a citizen when he says that he will make his son heir to the
Crown; the Crown was a Tavern and the citizen said that he will leave his belongings to his
son; this was misinterpreted by Edward and thus the citizen was killed
3. Lecherous, lustful heart (Margaret says that he will die of overindulgence)
4. Seduce all the women
5. When my mothe3r got pregnant our father was in France and if we carefully compute the
time we will see that when he was made (Зачнат) my father was in France- his brother is
 illegitimate too thus his mother committed an adultery; prove: Edward does not look as our
father
It seems that he gives so strong arguments (in fact they are not strong but if you tell a lie so many
times it will sound as if true).
When the citizens hear this are mum why? because they are common people but not fools plus a
rumor has been spread that something bad is happening in the court. They are distrustful plus they
are terrified by Richard (ugly means bad). They refuse to be manipulated.
Act 3 Scene 5 page 129 lines 72-94

RICHARD
Go, after, after, cousin Buckingham.
The mayor towards Guildhall hies him in all post.
There, at your meetest vantage of the time,
Infer the bastardy of Edward’s children.
Tell them how Edward put to death a citizen
Only for saying he would make his son
Heir to the Crown—meaning indeed his house,
Which, by the sign thereof, was termèd so.
Moreover, urge his hateful luxury
And bestial appetite in change of lust,
Which stretched to their servants, daughters, wives,
Even where his raging eye or savage heart,
Without control, lusted to make his prey.
Nay, for a need, thus far come near my person:
Tell them when that my mother went with child
Of that insatiate Edward, noble York
My princely father then had wars in France,
And, by true computation of the time,
Found that the issue was not his begot,
Which well appearèd in his lineaments,
Being nothing like the noble duke my father.
Yet touch this sparingly, as ’twere far off,
Because, my lord, you know my mother lives.
RICHARD
Follow him, Buckingham. He’s traveling at a gallop to
the London meeting hall. There, as soon as you have
a chance, drop the hint that Edward’s children are
bastards. Tell the citizens how Edward put to death a
citizen just because the citizen said he was going to
make his own son “heir to the crown”—when all the
citizen meant was that he owned a tavern called “the
Crown” and was going to leave it to his son. And then
point out what a lech Edward was and what a bestial
appetite he had for women, which touched even the
citizens' own servants, daughters, and wives. There
was no limit to what his lustful eye and savage heart
would prey on. And, if you need to, approach the
subject of me: tell them that when my mother became
pregnant with the insatiable Edward, my noble father
was fighting in France. With a little calculating, it’s
obvious that Edward is not in fact my father’s child—
not a surprising revelation if you consider how my
father the noble duke looked nothing like this man. But
only hint at this vaguely, because, as you know, my
mother’s still alive

Richard`s slanders

Richard asks Buckingham to go to the Guildhall by following the mayor (Градското собрание).
Richard wants to convince the citizens that Edward is a liar and to point to the illegitimacy of
Edward`s children since he wants to get rid of the children. ``infer the bastardy of Edward`s
children`- don’t say it openly; how his children are illegitimate? If you are engaged to a woman and
you broke your engagement and marry someone else- bigamy- before Edward IV married Elizabeth
he was engaged to someone else, so theoretically speaking this would be the second marriage of
Edward- Richard uses this as to say that his children were illegitimate.

Richard`s slanders:
1. Children`s illegitimacy
2. The king is ruthless; he kills a citizen when he says that he will make his son heir to the
Crown; the Crown was a Tavern and the citizen said that he will leave his belongings to his
son; this was misinterpreted by Edward and thus the citizen was killed
3. Lecherous, lustful heart (Margaret says that he will die of overindulgence)
4. Seduce all the women
5. When my mothe3r got pregnant our father was in France and if we carefully compute the
time we will see that when he was made (Зачнат) my father was in France- his brother is
illegitimate too thus his mother committed an adultery; prove: Edward does not look as our
father
It seems that he gives so strong arguments (in fact they are not strong but if you tell a lie so many
times it will sound as if true).
When the citizens hear this are mum why? because they are common people but not fools plus a
rumor has been spread that something bad is happening in the court. They are distrustful plus they
are terrified by Richard (ugly means bad). They refuse to be manipulated.
Act 3 Scene 7 pages 131-135 lines 1-47
Enter RICHARD  and  BUCKINGHAM, at several
doors
RICHARD
How now, how now? What say the citizens?
BUCKINGHAM
Now, by the holy mother of our Lord,
The citizens are mum, say not a word.
RICHARD
Touched you the bastardy of Edward’s children?
BUCKINGHAM
5 I did; with his contract with Lady Lucy
And his contract by deputy in France;
Th' unsatiate greediness of his desire
And his enforcement of the city wives;
His tyranny for trifles; his own bastardy,
10 As being got, your father then in France,
His resemblance being not like the duke.
Withal, I did infer your lineaments,
Being the right idea of your father,
Both in your form and nobleness of mind;
15 Laid open all your victories in Scotland,
Your discipline in war, wisdom in peace,
Your bounty, virtue, fair humility;
Indeed, left nothing fitting for your purpose
Untouched or slightly handled in discourse.
20 And when mine oratory grew toward end,
I bid them that did love their country’s good
Cry “God save Richard, England’s royal king!”
RICHARD
And did they so?
BUCKINGHAM
No. So God help me, they spake not a word
25 But, like dumb statues or breathing stones,
Stared each on other and looked deadly pale;
Which when I saw, I reprehended them
And asked the mayor what meant this willful silence.
His answer was, the people were not used
30 To be spoke to but by the recorder.
Then he was urged to tell my tale again:
“Thus saith the duke. Thus hath the duke inferred”—
RICHARD  and  BUCKINGHAM, enter through
different doors.
RICHARD
So what did the citizens say?
BUCKINGHAM
It’s incredible—they didn’t say a word.
RICHARD
Did you mention that Edward’s children are
bastards?
BUCKINGHAM
I did. I talked about how he was engaged
to Lady Lucy, and how he was engaged to Lady
Bonathrough the help of the earl of Warwick. I
spoke of the unquenchable greediness of
Edward’s desires and the way he forced himself
on the wives of Londoners. I mentioned the way
he punished people harshly for minor offenses. I
said he was not the son of the noble duke of
York, because your father was in France when
he was conceived, which explains why he
doesn’t have anything in common with his father.
And then I suggested that you were the spitting
image of your father, both in the way you look
and in the nobleness of your character. I went
into all your victories in Scotland, your skill as a
warrior, your wisdom in peacetime, your
generosity, your goodness, and your exceptional
modesty. Indeed, I left nothing out. And when my
oration came to a close, I asked those who loved
their country to cry, “God save Richard,
England’s royal king!”
RICHARD
And did they?
BUCKINGHAM
No, God help me, they didn’t say a word. Like
silent statues or stones that breathed, they just
gazed at each other and turned as pale as the
dead. When I saw this, I scolded them and
asked the mayor what this stubborn silence
meant. He said that the people weren’t used to
being spoken to except by the Recorder. So I
urged the Recorder to repeat my tale—you
know, “The duke of Buckingham said this,
 But nothing spoke in warrant from himself.
When he had done, some followers of mine own,
35 At the lower end of the hall, hurled up their caps,
And some ten voices cried “God save King Richard!”
And thus I took the vantage of those few.
“Thanks, gentle citizens and friends,” quoth I.
"This general applause and cheerful shout
40 Argues your wisdoms and your love to Richard"—
And even here brake off, and came away.
Buckingham meant that,” but nothing on his own
authority. When he was done, a few followers of
my own at the far end of the hall hurled their
caps in the air. Some ten voices cried, “God
save King Richard!” I jumped on this slender
opportunity and said, “Thank you, noble citizens
and friends. This widespread applause and
enthusiastic shouts make clear you stand behind
Richard.” And then I broke off and quickly came
away.

RICHARD RICHARD
What tongueless blocks were they! Would not they What blocks of wood! They wouldn’t say
speak? anything? Aren’t the mayor and his fellow
Will not the mayor then and his brethren come? citizens coming?

BUCKINGHAM
The mayor is here at hand. Intend some fear;
45 Be not you spoke with but by mighty suit.
And look you get a prayer book in your hand
And stand between two churchmen, good my lord,
For on that ground I’ll make a holy descant.
And be not easily won to our requests.
50 Play the maid’s part: still answer “nay,” and take it.
Summary: Act III, scene vii
BUCKINGHAM
The mayor is here at hand. Pretend you’re
afraid, my lord, and don’t speak until you’re
pleaded with. And make sure to carry a prayer
book in your hand and to stand between two
priests, okay? Then I’ll have the grounds to build
a holy sermon about why you should be king.
But don’t be easily won over. Act like a virgin,
always answering “No,” but taking it in the end.

Buckingham returns to Richard, and reports that his speech to the Londoners was received very
badly. Buckingham says that he tried to stir up bad feelings about King Edward and his sons and then
proposed that Richard should be king instead. But, instead of cheering, the crowd just stared at him
in terrified silence. Only a few of Buckingham’s own men, at the back of the crowd, threw their hats
into the air and cheered for the idea of King Richard, and Buckingham had to end his speech quickly
and leave.
Act 4 Scene 4 Pages 169-170 lines 82-115

QUEEN MARGARET QUEEN MARGARET

85 I called thee then “vain flourish of my fortune.” Back then, I called you “a poor, imitation queen,” a
I called thee then poor shadow, “painted queen,” badly reproduced copy of what I was, a pretty
The presentation of but what I was, prologue for the tragedy that was about to follow, a
The flattering index of a direful pageant, woman who was lifted high only to be hurled down
One heaved a-high, to be hurled down below, to hell, a mother only teased with two beautiful
90 A mother only mocked with two fair babes, children, who would soon die. I said you were a
A dream of what thou wast, a garish flag mere shadow of what a queen once was, a garish
To be the aim of every dangerous shot, target to be aimed at again and again, an empty
A sign of dignity, a breath, a bubble, symbol of dignity without any substance, a
A queen in jest, only to fill the scene. mockery of a queen only there to fill in a role. And I
95 Where is thy husband now? Where be thy brothers? was right, because where’s your husband now?
Where are thy two sons? Wherein dost thou joy? Your brothers? Your two sons? Your source of joy?
Who sues and kneels and says “God save the queen?” Who kneels at your feet now and says, “God save
Where be the bending peers that flattered thee? the Queen?” What noblemen are bowing and
Where be the thronging troops that followed thee? scraping to flatter you now? And where is your
10 Decline all this, and see what now thou art: throng of followers? Once you’ve laid out all of
0 For happy wife, a most distressèd widow; these losses, it’s clear what’s left. In place of a
For joyful mother, one that wails the name; happy wife, there’s a miserable widow. Instead of a
For queen, a very caitiff crowned with care; joyful mother, here’s a woman who cries at the
For she that scorned at me, now scorned of me; mention of her children. For one who bestows
For she being feared of all, now fearing one; favors on others, here’s one who has to beg for
10 For she commanding all, obeyed of none. favors. Instead of a queen, we have a poor woman
5 Thus hath the course of justice whirled about with a crown of worries. She who mocked me now
And left thee but a very prey to time, is mocked by me. She who once ordered everyone
Having no more but thought of what thou wast about is now obeyed by no one. Your fortune has
To torture thee the more, being what thou art. fallen. Now you have only the memory of what you
Thou didst usurp my place, and dost thou not were, which tortures you when you consider what
11 Usurp the just proportion of my sorrow? you’ve become.
0 Now thy proud neck bears half my burdened yoke, You once stole my position; now you get to have
From which even here I slip my weary head the grief that goes with it. Now like an ox, you carry
And leave the burthen of it all on thee. half my heavy burden of grief—here, I’ll give you
Farewell, York’s wife, and queen of sad mischance. the rest. Farewell, York’s wife. Goodbye, queen of
These English woes will make me smile in France. tragic misfortune. Your English sorrows will make
11 me smile in France.
5
Elizabeth and the duchess of York lament the deaths of the young princes. Suddenly, old Queen
Margaret enters, and tells the duchess that the duchess is the mother of a monster. Richard, she
says, will not stop his campaign of terror until they are all dead. Margaret rejoices in this fact
because she is very glad to see her curses against the York and Woodeville families come true. She is
still as bitter as she has been throughout the play about the deaths of her husband, Henry VI, and
her son, Prince Edward, and she says that the York deaths are fair payment.

The grief-weary Elizabeth asks Margaret to teach her how to curse

Act IV, scene iv presents the fulfillment of predictions made in Act I, scene iii. The main female
characters of the play—Elizabeth, the duchess, and Margaret—are together again. This time, though,
they are all in the same situation. All of the women have suffered loss, defeat, and the death of their
children and husbands. The gleeful Margaret seems to feel that a kind of cosmic justice has been
attained. To her, the death of Elizabeth’s children seems a fair return for the murder of her own
husband, Henry, and son,

The idea of divine justice comes to the forefront in this scene, as Margaret’s curses have come true.
Elizabeth, whom Margaret views as a usurper and an accomplice to murder, is now just as miserable
as Margaret earlier hoped she would be (“Die, neither mother, wife, nor England’s queen” [I.iii.206]).
In Act IV, scene iv, Margaret announces the fulfillment of her curse, and her accuracy as a
prophetess: “Thus hath the course of justice whirled about / And left thee [Elizabeth] but a very prey
to time” (IV.iv.105–106). Justice has caused Margaret’s curses to come true, and now Margaret can
metaphorically lift off her “burdened yoke” of sorrows, slipping it onto Elizabeth’s neck even as
Margaret herself departs (IV.iv.111–113).
Act 5 Scene 3 page 215 lines 177-206

RICHARD
Give me another horse! Bind up my wounds!
Have mercy, Jesu!—Soft, I did but dream.
O coward conscience, how dost thou afflict me!
The lights burn blue. It is now dead midnight.
Cold fearful drops stand on my trembling flesh.
What do I fear? Myself? There’s none else by.
Richard loves Richard; that is, I and I.
Is there a murderer here? No. Yes, I am.
Then fly! What, from myself? Great reason why:
Lest I revenge. What, myself upon myself?
Alack, I love myself. Wherefore? For any good
That I myself have done unto myself?
O, no! Alas, I rather hate myself
For hateful deeds committed by myself.
I am a villain. Yet I lie. I am not.
Fool, of thyself speak well. Fool, do not flatter.
RICHARD
Give me another horse! Bandage my wounds! Have
mercy, Jesus!—Wait, I was only dreaming. Oh
cowardly conscience, how you’re torturing me! The
candles burn blue—that means it’s the dead of night.
I’m sweating and trembling with fear. But what am I
afraid of? Myself? There’s no one else here. Richard
loves Richard, that is, there’s just me and myself here.
Is there a murderer here? No. Yes, I am. Then run
away. What, from myself? Yes, to avoid taking
revenge on myself. Unfortunately, I love myself. Why?
Did I do anything good to myself? Oh, no. Alas, I hate
myself instead, because of the hateful deeds I’ve
committed. I am a villain. But I’m lying; I’m not a villain.
Fool, speak well of yourself. Fool, do not flatter
yourself.

My conscience hath a thousand several tongues,

And every tongue brings in a several tale,
And every tale condemns me for a villain.
Perjury, perjury, in the highest degree;
Murder, stern murder, in the direst degree;
All several sins, all used in each degree,
Throng to the bar, crying all, “Guilty! guilty!”
I shall despair. There is no creature loves me,
And if I die no soul will pity me.
And wherefore should they, since that I myself
Find in myself no pity to myself?
Methought the souls of all that I had murdered
Came to my tent, and every one did threat
Tomorrow’s vengeance on the head of Richard.