Richard III's Villainy

Every hero needs a first-rate, old-fashion villain. In fact, the greater or more powerful the hero, the more despicable must be the villain, for the sweetness of victory lies in its difficulty. The question must then be asked: Can villainous victories taste as sweet? Could an audience of normal, decent human beings really find it in themselves to take joy in the victory of, say, a manipulative, power-hungry murderer? In his play Richard III, Shakespeare puts this idea to the test, not only by creating a villain so despicably brilliant that even the audience gets swept along in the mastery of his evil-doing, but also in giving him the voice closest to that of “Narrator” within his tale. While there are many scenes in which Richard’s villainy—most …show more content…
Indeed, it is as Anne weeps over the body of her father in-law, that Richard boldly enters with the intent to win her affections. Specifically, the scene is summarized as, “Richard woos Lady Anne over the corps of King Henry VI, Anne’s father-in-law, whom Richard murdered.” (20) The word “over” implies a very physical closeness between the characters and the body itself, indicating a certain intimacy within the scene between all characters—alive and dead—involved. The summary also informs the reader of Anne’s knowledge of Richard’s involvement in the murder. Anne’s curses towards Richard, littered all throughout the scene, verify this information ten times over. The corps also sets the macabre theme of much of their dialogue, which plays off of both religious and physical ideas concerning the consequences of death. This becomes particularly poignant at the moment Richard hands over his sword to the Lady, challenging her in stating, “If thy revengeful heart cannot forgive, / Lo, here I lend thee this sharp-pointed sword…” (I.ii.190-191). Anne curtly responds, “Though I wish thy death, / I will not be thy executioner.” (I.ii.202-203) This, certainly, is the exact moment in which the power of the exchange transfers entirely to Richard. More than being stared in the face by both her lose loved one and the man responsible for her loss, the body’s presence …show more content…
Even before Richard enters into the scene, as she bemoans the death of the King, Anne curses “the hand that made these holes” (I.ii.15). Upon Richard’s entrance, however, her curses increase in both number and intensity. More than having a mastery over his own verbosity, Richard’s quick wit enables his to twist the retorts of his adversaries back onto themselves. Anne’s over religiosity, and the subsequent bleeding of these themes into her speech, greatly facilitates this. In the wake of Anne’s insults, Richard asserts, “Lady, you know no rules of charity, / Which renders good for bad, blessings for curses.” (I.ii.72-73) Despite Anne’s quick retort of, “O, wonderful, when devils tell the truth!”, Richard is all to ready in responding, “More wonderful, when angels are so angry. / Vouchsafe, divine perfection of a woman, / Of these supposed crimes to give me leave / By circumstance but to acquit myself.” (I.ii.77-81) Here begins Richard’s flirtation in the midst of their repartee. Following his subtle accusations of Anne’s charitablity, he introduces the idea of his love to Anne, flattering her with repetitious reference to her beauty. Eventually, he combines these two methods in pleading, “Is not the causer of the timeless deaths…As blameful as the executioner?” (I.ii.26-28). Never denying his guilt, Richard instead redirects the malfeasance