The seductive play of power in Richard III Essay

The seductive play of former in Richard III - Essay manikinThe Middle Ages in England was characterized by power politics.Buckingham is as seduced by power as Richard is. In particular even before Richard explicitly reveals his intention of seizing the crown, Buckingham is seen hatching plots so cunningly, that Richard is delightfully tempted to say My different self, my counsels consistory,/My oracle, my prophet My dear cousin,/I, like a child, will go by thy direction./ Towards Ludlow then, for well not stay behind. It is arouse to note that the women characters are not fleshed out in the play and are only allowed declamations. This is reasoned by Miner and Irene G. Dash who refers to the women in the play as ciphers or nonpersons because they are widows and their sole source of power and of social identity-their husbands-is gone.However, it is Richards play. No other role matters much. He is a grand parodist - of himself, of stage conventions and of other characters. That is the secret of his outrageous charm. His great power over the audience and the other figures in his drama is a compound of terror and charm. Richards zest, his antic glee in his own diabolism, is infectious. The sadomasochistic seduction of Lady Anne by Richard is by far the most fascinating episode in the play. She is seduced by the power of his rhetoric and his emphasized emotional argument when he bares his chest and hands her his sword asking her to either kill him or take him up for I did kill King Henry-/But twas thy beauty that provoked me./ Nay, now lading twas I that stabbd young Edward-/But twas thy heavenly face that set me on. (Act I video ii) Harold F. Brooks accosts this Richards inanimate impudence. Another instance where Richard seduces through the power of his language is in Act IV, scene iv. In order to consolidate his power, he falsely swears to Queen Elizabeth that he is in love with her daughter, and to gain credibility he wishes upon himself a curse that should take effect if his vow proves false God and fortune, bar me quick hours/ Day, yield me not thy light, nor, night, thy rest His most triumphant parody occurs in Act III scene vii when he dupes the citizens of London into petitioning him to be their king. By imitating a holy man and appearing indisposed to accept the crown, Richard succeeds in getting the power he craves Would you enforce me to a world of care/ Well, call them again. I am not made of stone,/ But penetrable to your. kind entreats,/ Albeit against my conscience and my soul.Shakespeares greatest originality in Richard III which redeems what some critics call an otherwise cumbersome and overwritten drama, is the hero-villains startlingly intimate relationship with the audience. From the first canal of the play, Richard woos the audience through the seductive power of his soliloquy Now is the winter of our discontent/ Made brilliant summer by this sun of York Enthralled, the audience is on unnervingly confidenti al terms with him. They are unable to disagree Richards outrageous charm, making Machiavels out of them all. They are entertained by the suffering of others. Richard co-opts them as fellow-torturers, making them role guilty pleasures with the added frisson