Point In The Play As Richard example essay topic

Shakespeare Close Reading Exercise Richard Act V, Scene lines 178-237 Richard's Dream This extract is taken from one of the most revealing scenes in the play, as Shakespeare encourages us to compare Richard's character with that of Richmond, as a straightforward set of binary oppositions - good and evil, strength and weakness, morality and immorality. This device is exaggerated in the scene as a whole by the dramatist's ability to move swiftly between the two armies, enabling the audience to consider the startling differences between the two men. Throughout the scene, Shakespeare interweaves reality with the dream world, juxtaposing the realism of the armies with the surrealism and supernatural quality of the ghostly apparitions. In this short extract, one of the most exciting points in the play, Richard wakes from his dream with thoughts of death and vengeance. His final words in the play will be "A horse, a horse, my kingdom for a horse", so his first words in this extract serve to foreshadow his tragic end. The overwhelming impression that this speech gives is that Richard's mind is in turmoil, which is further emphasised by the fractured syntax of his sentences.

In fact, we cannot even be sure if Richard is fully conscious of the words he speaks. Shakespeare seems to be suggesting that Richard is only half awake as he speaks the lines "Soft, I did but dream" (line 179). His mental agitation and semi-consciousness is further emphasised by the somewhat delirious delivery of his soliloquy and the foreboding essence of the language he uses as he describes the blue light, dark night and the sweat on his flesh. Shakespeare uses the power of the subconscious mind to show how the figure of Richard has been reduced to a confused and broken shell.

His confusion and deep sense of uncertainty is emphasised most strongly through his repeated use of rhetorical questions: "What do I fear?" , "Is there a murderer here?" , "Wherefore should they?" As the soliloquy progresses, Richard appears to be engaged in a debate with his own conscience. In many ways, he is finally able to accept himself for what he really is - a cold-blooded, heartless murderer. But it is also apparent that Shakespeare is anxious to portray a character that is unstable and divided by his own conscience; indeed Richard appears to be defending himself against an invisible inquisition. The power of his words suggest that he is starting to think of himself in a more negative light, a view shared by all other characters in the play who have had the misfortune of coming into contact with the Machiavellian megalomaniac.

However, it is important that we understand the full impact of Richard's seemingly repentant outpourings. It is vital that we see them for what they are - feverish, sub-conscious appeals to God, that are not sustained in reality when he is fully conscious. What they really point to is the divided, schizophrenic quality of his mental faculties. He is a mentally broken man, even before he ventures into battle. Throughout the dream itself, it becomes clear to us that the prophecies made by Margaret and some of Richard's many other victims will be fulfilled. There is some sense of justice for the audience at this point in the play, as Richard finally has to be held accountable for the sins he has committed.

The audience is also able to see how the figure of Richard has been built up for the purpose of being knocked down. The dream sequence serves as a mental defeat, foreshadowing the physical defeat during battle. During the opening scenes of the play, Richard's isolation is his strength - it is what enables him to gain power without concerning himself with the plight of his victims. By the end of the play, this isolation has become a negative trait - the loveless character must die alone, on foot, in battle. Further on in the extract, Shakespeare makes very effective use of Ratcliffe's entrance to make the audience jump with the explosive exclamation, "My Lord!" . Richard's exchanges with Ratcliffe at this point are interesting because they illuminate Richard's fragile state of mind.

He is most revealing when he asks Ratcliffe, "Will our friends prove all true?" , suggesting that he now requires the reassurances of his subordinates, because he has lost his sense of security and his self-belief has greatly diminished. There is some irony in this, as Richard often boasted of his friendless isolation earlier in the play. Now, at his weakest point, he seems to have discovered the value of friendship, albeit in vain Perhaps the most interesting aspect of Richard's dream sequence is the contrast it presents to the tranquil slumbers of Richmond, his arch rival. Richmond has slept soundly, experiencing only "fair-boding" dreams, suggesting that he has a clear conscience. He also speaks of having a "jocund" soul, which jars discordantly with Richard's lack of soul. Even at his lowest point, Richard does not speak of his soul, convincing the audience that he does not possess one - instead, he speaks of the souls of those who died by his hand, and the souls who will not mourn at the event of his death.

The audience is made aware of Shakespeare's affirmation of Christian faith. Richmond is a good man, he prays to God for his Victory, and his prayers are answered. As a contrast, Richard's life has been diametrically opposed to all Christian values and he has, in fact, spent his life playing God - taking lives at whim and aspiring only to power and self-aggrandizement. Richmond's parting words in this extract emphasise his belief that he is acting according to his pre-ordained destiny, and will be victorious. Richard, on the other hand, is finally doomed to death and purgatory.

In many ways, particularly in this revealing passage, he shows that he is fully aware of his fate. The dream sequence is conducive to a close analysis because it explores so many of the major preoccupations that make up the play as a whole. Most importantly, it presents two very different characters, and presents them as figures in a traditional morality play. This means that Richard's end (as the figure of The Vice) is pre-ordained from the very beginning. An Elizabethan audience would come to the play expecting the wicked, ungodly figure of Richard to be damned in Hell, and the morally virtuous figure of Richmond to take the crown. This does, however, beg and interesting question as to why Shakespeare has made Richard such an appealing and fascinating character, while reducing Richmond to something of a cardboard cut-out.

After reading, or watching, the dream sequence, we are left to question why we are still more attracted to Richard's character, and to wonder why Shakespeare would be so obviously subversive.