Richard III: Power of Language and Own Villainy

Deformed in body and twisted in mind, Richard is in every way the dominant character of the play, to the extent that he is both the play’s protagonist and major villain. He is selfish, evil, corrupt, sadistic, and manipulative. His intelligence, political brilliance, and dazzling use of language keeps the audience fascinated and his subjects and rivals under his control. At the beginning of the play, it is made clear to the audience that Richard has no justification for seizing the throne. This is because England is obviously not oppressed or subject to tyranny as the lengthy civil war has just ended, and Richard’s oldest brother, King Edward IV, now sits on the throne. Richard himself, states that ‘All the clouds that loured upon our house’ (1. 1, 3), the house of York, has been dispelled by the ‘son of York’ (1. 1, 2), King Edward IV. However, Richard intends to upset the kingdom by seizing power for himself. He says that ‘since I cannot prove a lover to entertain these fair well-spoken days, I am determined to prove a villain’ (1. , 28). This simply means that since Richard was not made to be a lover, he has no use for peace, and will happily destroy peace with his crimes. This shows Richard’s unabashed enjoyment of his own villainy as he can so blithely toss aside all of the things that the rest of humanity cherishes. Richard III is an intense exploration of the psychology of evil, and that exploration is centred on the workings of Richard’s mind and the methods he uses to manipulate, control, and injure others for his own gain. Perhaps more than any other play by Shakespeare, the audience of Richard III experiences a complex, indefinite, and highly erratic relationship with the main character. Richard is clearly a villain as he declares outright in his very first speech that he intends to stop at nothing to achieve his ultimate goal of becoming king. However, despite his open allegiance to evil, he has such a charismatic and fascinating personality that, for much of the play, we are likely to sympathize with him, or are at least impressed by him. In this way, our relationship with Richard reflects the other characters’ relationships with him, conveying a powerful sense of the force of his personality. Even characters such as Lady Anne, who have an explicit knowledge of his wickedness, overlook his dishonesty and violent behaviour and allow themselves to be seduced by his brilliant wordplay, his skilful argumentation, and his relentless pursuit of his selfish desires. Richard’s long, fascinating soliloquys, in which he outlines his plans and gleefully confesses all his evil thoughts, are central to the audience’s experience of Richard. Shakespeare uses these soliloquys brilliantly to control the audience’s impression of Richard, enabling this manipulative protagonist to work his charm on the audience. In Act I, scene i, for example, Richard offers a pretext for his villainy towards others by pointing out that he is unloved, and that he is unloved because of his physical deformity. Richard himself is brutally honest about his appearance. He admits to being imperfectly shaped and blames premature birth for his condition. He knows that he is ‘not shaped for sportive tricks’ (1. 1, 14) and while others delight in ‘an amorous looking glass’ (1. , 14), his misshapen body creates a ‘shadow in the sun’ (1. 1, 26) that alienates him from others. Hence, Lady Anne calls Richard a ‘lump of foul deformity’ (1. 2, 57) in Act I, scene ii. This proves that Richard’s claim not only makes the other characters of the play seem like the villains for punishing him for his appearance, but also makes it easy for the audience to sympathize with Richard during the first scenes of the play and even hope that he will succeed despite his obvious villainy. It quickly becomes apparent, however, that Richard simply uses his deformity as a tool to gain the sympathy of others, including the audience. This is already noticeable in his very first speech as Richard seems to take a deliberate perverse delight in his outward shape. He chooses words such as, ‘cheated’, ‘deformed’, ‘unfinished’, ‘half made up’, ‘dogs bark’ at him as he passes by because of his ‘deformity’ to describe himself. Richard’s unabashed villainy is a much more natural part of his character than simple bitterness about his ugly body. Nevertheless, he still manages to use speech to win our trust, and he repeats this throughout his struggle to be crowned king. An interesting secondary theme of Richard III is the power of language, or the importance of language in achieving political power. Language may not always be a necessary instrument of power, but for Richard, it is a crucial weapon. As we have seen, it is with his extraordinary skills with words that allows him to ridicule, insult, taunt and deceive all who stand in his way to power. Richard’s skill with language and argument is what enables him to woo Lady Anne, have Clarence thrown in prison and blame the king for Clarence’s death, all at very little risk to himself. In conclusion, I feel Richard III’s unabashed enjoyment of both the power of language and his own villainy makes him a character worthy of both respect and admiration, and therefore I completely agree with this statement. This is because Richard’s unabashed power of language shows off the ingenious wit and intellectual cleverness of the character, actor and playwright, while his own villainy makes the play all the more fascinating and entertaining as his heinous acts become more chilling.