The Tragedy of King Richard II
Images of Richard II
The Wilton Diptych
A parody of Shakespearean history writing
by “Beyond the Fringe,” a British comedy
group who wrote in the 1960s. (“Beyond
the Fringe” was the ancestor and
inspiration for Monty Python.)
• Shakespeare’s two sets of English history
plays
• Henry VI, parts 1, 2, and 3, and Richard
III, dealing with the later portion of the
“Wars of the Roses.” Written in early
1590s.
• Richard II, and Henry IV, parts 1 and 2,
and Henry V, dealing with the usurpation
of 1399 that would lead to the Wars of the
Roses. Written 1595-1600.
Wars of the Roses a dynastic struggle that
brought in the Tudor dynasty (Henry VII,
Henry VIII, Edward VI, Mary, Elizabeth I)
Five successive seizures of the
English crown in 15th century
• Henry VI comes to throne as a nine-month-old child in
1422.
• Deposed by Edward Duke of York in 1460, who becomes
Edward IV. (Henry imprisoned in Scotland and in Tower
of London).
• Edward IV deposed by forces of Henry VI in 1570; Henry
VI restored briefly.
• Henry VI deposed, then murdered. Edward IV restored.
• Edward dies, Richard Duke of Gloucester initially regent
for Edward’s young son, who is Edward V.
• But Richard seizes the throne, becomes Richard III,
1474.
• In 1484 HenryTudor defeats Richard III in battle
(Bosworth) and becomes Henry VII.
Second “tetralogy”
• Second written, but goes back behind “Wars of
Roses” to tell the beginning.
• The “moral” antecedent of the Wars.
• Begins with Richard II’s reign at end of the 14th
century (Richard deposed in 1399).
• Ends with Henry V and battle of Agincourt, which
seems a glorious conclusion, but leads to reign
of Henry VI.
Richard II and Queen Elizabeth
• In 1599 followers of Earl of Essex pay
Lord Chamberlain’s Men to perform
Richard II just before Essex’s attempted
coup d’etat against Elizabeth.
• Elizabeth, around this time: “Know you not
that I am Richard II?”
The first scene of the play
• A “big” scene, filling the stage with actors,
heralded no doubt by trumpets.
• Much formality of language, presumably of
action and gesture.
• Speeches sometimes conclude with
rhyme.
• The enmity of Bolingbroke (Henry
Hereford) and Mowbray (Duke of Norfolk)
is clear.
Bolingbroke’s accusation
• Mowbray has misappropriated funds (the
8,000 nobles to pay troops).
• All treasons of the past 18 years were
plotted by Mowbray!
• Plotted Duke of Gloucester’s death
(Gloucester, also called “Woodstock” was
king’s uncle and Bolingbroke’s uncle) – a
kind of “original sin” in the play.
Mowbray’s defense
• Three quarters of the money was
disbursed to soldiers, one fourth to pay the
debt the king owed him.
• Didn’t kill Gloucester.
• But mysteriously: “to my own disgrace,/
Neglected my sworn duty in that case.”
• And tried to ambush Gaunt (Duke of
Lancaster), Bolingbroke’s father, but has
confessed the fault and received Gaunt’s
pardon.
The sense of mystery in it all
• Why does the king want to make peace
between them?
• Why does he not want to know who killed
Gloucester, his uncle?
• Why does Gaunt also want to make
peace?
• Who did kill Gloucester?
The contrast of I, 2
• “Small” scene, just Gaunt and Duchess of
Gloucester.
• Meaning of Gaunt’s first three lines.
• In Duchess’s sense: Gaunt’s sacred duty
to avenge Gloucester’s death.
• Gaunt’s response: I can’t avenge, because
of who the murderer is. A competing
sacred duty not to avenge.
The Lists at Coventry, I, 3
• Another “big” scene.
• Much formality, much chivalrous language,
high poetry.
• Much swearing of loyalty to God, king,
self.
• Much sounding of trumpets . . .
• . . . and the battle is called off.
• Why?
•
•
•
•
The rationale of banishment for Richard
Mowbray’s continued loyalty.
His riff on “native English,” 1.3, 160.
His “silence” on Richard becomes literal in
banishment.
• Partiality of revocation of part of
Bolingbroke’s banishment. Why?
Richard in private, I.4
• Change of tone in language, irony.
• Another set of characters: Aumerle, Bushy,
Bagot, Green.
• Richard’s response to news of Gaunt’s
sickness: 59-60ff.
• “Pray God we may make haste, and come
too late.”
“This sceptered isle” II, i
• Prophetic Gaunt: his tongue the opposite
of Mowbray’s.
• His poetic construction of England: ll. 4058 . . .
• . . . is cancelled by the lines that follow, 5960.
• The pattern repeated in ll. 61-66.
• His mockery of his name.
• His final truth-speaking to Richard, 93ff.
• And his tongue, now “a stringless
instrument,” like Mowbray’s.