"richard 3" - читать интересную книгу автора (Cliff Notes)

(lines 69-72)

NOTE: Historical records indicate that when she married Edward IV, Elizabeth brought many relatives into the court and used her position to help them obtain property and titles through royal appointments and favorable marriages. Richard's speech reflects the grumbling that commonly took place by those who were shunted aside to make room for these "newly-arrived" court favorites.

No way will that slight go unanswered. The queen insists that envy is at work. Well, then, if his subtle rhetoric won't work, Richard will be blunt. He needs the queen, so he claims, to help free his brother Clarence from the prison to which he has been condemned as a result of her backbiting.

Elizabeth's quick denial and support from Rivers provides an opportunity for Richard to demonstrate his lightning quick shrewdness. He seizes upon the single word "may" and twists the whole discussion to his advantage. As he and the queen continue to accuse one another, old Queen Margaret, the widow of Henry VI (whose corpse was seen only moments ago) enters the stage unnoticed.

Shakespeare's condensation of history is compounded by Margaret's presence here. Not only is this historically inaccurate, but it is chronologically impossible. To break so blatantly with fact, the playwright must have seen a genuine need for her presence on stage. Notice the careful steps that are taken to bring her forward, gradually but powerfully. At first she appears to be merely a chorus, commenting on the action although not participating in it. But she soon becomes a visible force in her own right.

^^^^^^^^^^RICHARD III: LINES 109-318

As Margaret enters, the present queen, Elizabeth, makes a prophetic statement as a virtual cue.

Small joy have I in being England's queen.
(line 109)

From here on, as a contrast to the conversation between Elizabeth and Richard, Margaret continues her bitter side comments. Richard thunders forth his defense of poor Clarence, his scorn for the queen's turnabout from the Lancastrian side and for the royal patronage she has extended to her family and friends. It's enough to draw a searing curse from Margaret, who has been privately telling the audience about the wickedness of both Richard and Queen Elizabeth in the past:

Hie thee to hell for shame, and leave this world.
Thou cacodemon! There thy kingdom is.
(lines 142-143)

Right on the heels of this prophetic wish comes the first hint that others are aware of Richard's intentions. As Lord Rivers defends loyalty to the throne, Richard snaps at his words. If he should be king?

Far be it from my heart, the thought thereof!
(line 147)

Queen Elizabeth continues to harp on her misery. The repetition serves notice that this is not to be forgotten. Is it mere self-examination? Or is prophecy at work? Whatever the case, it is too much for Margaret, who now steps forward and draws attention by the force of her presence.

NOTE: MARGARET OF ANJOU While the audience might be moved by the sight of this pitiful old woman, the Yorkists would have less sympathy. They might well remember, as Richard will point out, her vicious campaign to keep the crown for her husband and son. Margaret had been a powerful political force in her own right and had never shied from bloodying her own hands. According to tradition, the Duke of Rutland, the younger brother of Edward IV, Richard, and Clarence, was slain by her forces at the Battle of Wakefield. Margaret then took a handkerchief dipped in his blood and flourished it gleefully in Richard's father's face. She later had the Duke of York's head displayed on the city gates to broadcast her Lancastrian victory. This was no timid old lady, but a toughened veteran of combat.

She is the visible reminder of what can happen to the crown as the Wheel of Fortune changes direction. She directs her curses toward the newest contender for its possession, and reminds them somewhat jealously of the price of usurpation:

This sorrow that I have, by right is yours,
And all the pleasures you usurp are mine.
(lines 171-172)

Aren't they all usurpers, guilty of meddling with the rightful political order? In the end, who will win? What do you think will be the effect of Queen Margaret's prophecies? Of the curses leveled at Elizabeth, Rivers, Dorset, and even Hastings? And, most of all, at Richard? Notice what she wishes for him--that he have no friends he can trust, no sleep without nightmares, no peace at all. She offers a checklist for the audience as she curses him by the foulest names, striking even at his crippled form.

As this duel of words accelerates, it may remind you of another duel recently performed. In his match with Lady Anne, Richard had the clear advantage. Is there a difference with Margaret? In your opinion, which character gains the upper hand? Can you find lines to support your decision?

Even though he scorns them as mere pawns or enemies, the women Richard encounters are never at a loss for words. In his courtship scenes and face-offs with the women in this play, Richard must push his intelligence and energy to the limit to keep up with them verbally.

As Margaret's ranting mounts, Dorset tries to pass her off as a lunatic. But she has a few words for this upstart, and for once Richard can echo her sentiments.

He quickly turns the focus back to his own nobility. In doing so, he picks up his original disdain for the sun, and, as it were, the king. Margaret makes an appropriate response, only now she represents the shade, the opposing side. Even the intervention of Richard's future henchman, Buckingham, cannot stop her. He is not a target for her curses, but she warns him, too, to beware of Richard. As Buckingham sneers at her warning, she repeats it, now emphatically. Buckingham has just earned his place in her prophecy of doom at Richard's hands.

When Margaret leaves, Richard states that he cannot blame her for what she has become. Has he been deaf to the greatest cry for revenge that will be heard on that stage? Or is this a real expression of a human emotion coming from this apparent fiend? Is it just a "curve" he throws at the audience and those on stage? As the play progresses, Richard will frequently come up with the unexpected.