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

The duality of his character surfaces soon enough when Rivers praises him for his "virtuous... and Christianlike conclusion." Richard agrees, but in an aside he quickly shares his diabolical motivation with the audience.

^^^^^^^^^^RICHARD III: LINES 319-354

Catesby, whom you will soon recognize as Richard's close ally, announces that King Edward has called for them to join him in his chambers. All leave, except Richard. Rejoicing in his devilish behavior, he announces his intention to be revenged on Rivers, Dorset, and Grey--the queen's family--for their affronts. Even this villain seeks revenge for petty offenses. How will he accomplish all this? By playing the role of virtuous soul while practicing villainy. Is there any reason to doubt his ability to act that part?

He has summoned two murderers who now arrive. They need a warrant to gain admission to the Tower where they will assassinate Clarence. Appearances must be maintained. As he hands over the warrant, Richard warns them to do the job swiftly and not to listen to Clarence:

For Clarence is well-spoken, and perhaps
May move your hearts to pity if you mark him.
(lines 347-348)

Richard fears the power of the spoken word, especially in an enemy. But the First Murderer is plainspoken and offers his opinion that "talkers are no good doers," providing the audience with food for thought.

^^^^^^^^^^RICHARD III: LINES 1-73

Any question about Clarence's gifts for speaking is soon cleared up. As the scene begins, he is given the perfect straight line by his jailer: "What was your dream, my lord? I pray you tell me." And he does, in an impassioned poetic passage. Notice the contrast between Clarence's lyric speech and the abrupt dialogue or soliloquies we've been hearing up to now. This is the story of a dream, but it weaves a spell of its own with its vivid images and lush metaphors that appeal to all the senses. With their profound belief in the supernatural, imagine how this must have moved the Elizabethan audience.

Clarence relates how he had escaped from prison and had embarked on a journey by ship, accompanied by his brother Richard. Tempted to walk along the slippery deck, Clarence was knocked overboard by the stumbling Richard, whom he tried to save from falling. As Clarence began to drown, incredible images appeared--rotting ships, great treasures, corpses, etc. Eventually he was conveyed to the "kingdom of perpetual night" where he saw the ghosts of those he had wronged and murdered.

NOTE: In this symbolic journey of political crimes and death, Clarence's role in several murders also claimed by Richard is revealed. Is the guilt for these crimes shared by the entire York dynasty?

The terror of his dream has triggered remorse as Clarence openly acknowledges his guilt. Praying that his wife and children be spared from his punishment, Clarence then lies down to sleep.

^^^^^^^^^^RICHARD III: LINES 74-286

Brakenbury, the jailer, enters and reflects on the nature of royalty. As he looks at this great prince asleep on the prison floor, he observes how little a difference there is in human beings, with the exception of outward titles. Shakespeare will often put the words for such an important statement into the mouth of a relatively minor character in order to call attention to them. Keep that in mind and see if it happens again in later scenes.

Since there has not yet been any humor in the play, the discussion which takes place as the two murderers arrive presents an opportunity for broad comic interpretation. Here is an opportunity for the groundlings to identify with what happens on stage. Shakespeare understood the need to provide relief from the dark mood. But in those comic lines, is there perhaps more than a grain of wisdom?

As they discuss how they will murder Clarence, notice the difference in their personalities. The Second Murderer has scruples, despite his profession. He has a conscience which troubles him.

Clarence asks why they have come, but can't believe his brother, the king, is the agent of his doom. He recounts the many past services he has rendered King Edward. But the two men, surprisingly well informed, deflect his every thrust. Eventually, they reveal that it is the Duke of Gloucester, Richard, who has arranged for Clarence's execution.

Clarence is astonished. By calling Richard "kind," he displays the depth of his gullibility and the extent of Richard's success as a schemer.

NOTE: The First Murderer answers Clarence's claim that Richard is "kind" with a flippant, "Right as [just like] snow in harvest." Shakespeare sprinkled everyday expressions such as this throughout the play, and usually placed them in the mouths of common people. In doing so, he gave the average Elizabethan viewers touches of familiarity and comforting connections between their ordinary world and the world of kings on stage.

In desperation, Clarence looks to religion for help. He reminds them that they will have to answer to God for what they are about to do. Moreover, those who commissioned the deed will desert them and even blame them. But these threats of vengeance do no good. His last plea reaches from the highest to the lowest--"A begging prince what beggar pities not?" (I, iv, 265)--but to no avail. He is stabbed and, to insure that he is dead, his body is taken off to be drowned in a "malmsey butt," a cask of wine.

Unable to bear the burden of his conscience, the Second Murderer declares that he rejects the fee. He is genuinely contrite in contrast to the First Murderer, who shares no such feeling. As the First Murderer leaves to collect his reward, he acknowledges, however, that he must then flee for his own safety after word of this deed gets out.

^^^^^^^^^^RICHARD III: LINES 1-46

Following this scene of blood and death, there comes a sharp contrast. We witness our first royal procession as Edward IV enters, trailed in order of rank by Queen Elizabeth and members of the court. This includes her brother (Rivers), her sons (Dorset and Grey), the Lord Chamberlain, Hastings, the Duke of Buckingham and Sir Thomas Catesby.

NOTE: ROYAL PROCESSIONS This is the second King of England to appear on stage and the differences are striking. When the corpse of Henry VI was brought on stage, there would have been a mournful sound of muffled drums. The tone would be dark and somber. Now, the presence of this live king is heralded by trumpets, banners and great ceremony. His courtiers would be dressed in rich finery, bright and gaily colored. What does this tell you about kingship? Each procession would have been strictly formal, of course, with participants ranked in order of nobility or service. Such processions were a graphic reminder of the importance of order in this world and the beyond. This tradition was still a fact of life in Elizabethan times.

Aware that he doesn't have long to live, the frail king tries to make peace in his court before he dies, to perform his kingly function by re-establishing order. He has arranged a truce between Hastings and Rivers, who had been bitter enemies. He then makes peace between Dorset and Buckingham and the queen herself. Swearing his loyalty to the queen, Buckingham vows to be true to his oath, calling on God to punish him if he is ever false.