Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
Module A: Comparative Study of Texts &
Contexts Elective 1: Exploring Connections
Richard III & Looking for Richard
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
Concept: Contextualisation and Connections - Exploring Connections through Texts and Contexts
Key Question: How does the exploration of the nature of connections of two texts and their contexts connected by the enigmatic Richard III
enable you to have greater understanding of both texts?
Key Learning Ideas:
1. Context:
How and why does Richard III and Looking for Richard reflect their social, cultural and historical context?
 The effects of social, cultural and historical context and questions of value on aspects of texts
 How changes in context lead to changed values being reflected in texts
2. Connections:
What do we learn about Richard III and Looking for Richard by exploring the connections between them?
 How meanings of a pair of texts can be shaped and reshaped by considering the nature of the connections between them
 Connections through direct or indirect references, contexts, values, ideas, and the use of language forms and features
3. Perspectives:
How can we account for the continuing resonance of Shakespeare’s Richard III?
 The language of texts, the purposes and audiences, and the content, values and attitudes conveyed through a range of readings
4. Responding:
How do you respond to the exploration of these two texts and their contexts and what meanings have you gleaned from the study of the connections?
 How to compose a range of imaginative, interpretive and analytical compositions that relate to the comparative study of texts and context
Outcomes:
Assessment Task: 1, 2, 2A, 10, 12A Texts & Resources:
Outcome 1. A student explains and
‘Pacino states in Looking for Richard Looking for Richard & Richard III
evaluates the effects of different contexts
‘What's this thing that gets between us Kott, J. (1974). Shakespeare Our Contemporary. New York: Norton Books
of responders and composers on texts.
and Shakespeare?’ How and why
Richard III,
does Pacino attempt to connect a
http://www.shakespearetheatre.org/_pdf/first_folio/folio_richardIII_about.pdf Outcome 2. A student explains
relationships among texts.
modern audience with King Richard
Richard III Society, (Lesson plans and notes),
Outcome 2A. A student recognises
III?’
http://www.r3.org/pacino/lesson3.html
different ways in which particular texts
American Richard III Society, (Annotations with historical and contextual
are valued.
explanations and notes), http://www.r3.org/bookcase/shaksper/index.html
Your task is to present your
Outcome 10. A student analyses and
Richard III, The making of a Legend, (Historical notes on Richard) Oh, Tey
synthesises information and ideas into
perspective of Pacino’s question and
sustained and logical argument for a
Can You See, (War of the Roses – a brief overview),
the task question through a
range of purposes, audiences and
http://www.r3.org/bookcase/murph1.htmlRichard III, A Study in
conversation between Shakespeare
contexts.
Historiographical
Controversy,
(History
of
Richard),
and Pacino. This conversation can be
Outcome 12A. A student explains and
http://www.r3.org/bookcase/shaksper/kosir.html
Van
Elk,
M.
(2007).
recorded as a podcast or a written
evaluates different ways of responding to
"Determined to prove a villain": criticism, pedagogy, and Richard III.’
transcript. You can include one or
and composing text.
more speakers who are from the texts
or are commenting on the texts.
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
Rationale
‘Shakespeare is like the world, or life itself. Every historical period finds in him what it is looking for and what it wants to see’ (Kott, J.
Shakespeare Our Contemporary, 1974, p.5).
You will find the comparative study of King Richard III and Looking for Richard engaging and stimulating. The representation of the much
maligned Richard by Shakespeare and Pacino is contentious and the artistry of both texts is evident.
Module A is a comparative study of two texts through an exploration of their different contexts and values. You are expected to investigate and
consider the effects of social, historical and cultural context and questions of value. Remember, that the rubric provides the framework for the
HSC examination so you need to understand the key concepts of this module and the elective. The concepts are:
Contextualisation
In Module A you are directed to explore the effects of social, historical and cultural context. Thus, you are considering the society and its
culture and values at the time the text was composed, and the historical events that influenced the text. Once you have ascertained the context of
the two texts you need to examine the ways in which changes in context lead to changed values being reflected in texts. Values are the beliefs
and attitudes of the composer and may shift to reflect those of the society at the time. They are conveyed directly and indirectly through the
world of the text and the characters’ words and actions.
Another aspect of this module that you must consider is a range of readings. An effective and meaningful way to do this is to examine how
context shapes the different ways that Pacino, others and you have responded to the play and the different readings by Shakespeare, Pacino,
others and you of Richard III.
Connections
This is the main focus of the module and Elective 1 that is entitled pointedly ‘Exploring Connections’. From the beginning of your study of the
texts you must be examining the relationship between the texts in terms of context, and how the meanings of a pair of texts can be shaped and
reshaped by considering the nature of the connections between them. The comparison could be the similarities and/or differences. You will make
these implicit and/or explicit connections initially through your thesis and then through the contexts, values, ideas and the language features.
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
SYLLABUS
CONTENT
TEACHING AND LEARNING STRATEGIES AND ACTIVITIES
QUALITY
TEACHING
Week 1
1.1
1.2
1.3
1.4
2.2
2.3
2A.1
2A.2
Introduction to Module A, the key concepts and ideas and the texts
Module A is a comparative study of two texts through an exploration of their different contexts and
values. You are expected to investigate and consider the effects of social, historical and cultural
context and questions of value. Remember, that the rubric provides the framework for the HSC
examination so you need to understand the key concepts and key ideas of this module and the elective.
The two main concepts are:
Contextualisation


The effects of social, historical and cultural context. Thus, you are considering the society and
its culture and values at the time the text was composed, and the historical events that
influenced the text.
You need to examine the ways in which changes in context lead to changed values being
reflected in texts. Values are the beliefs and attitudes of the composer and may shift to reflect
those of the society at the time. They are conveyed directly and indirectly through the world of
the text and the characters’ words and actions.
Connections

The relationship between the texts in terms of context, and how the meanings of a pair of
texts can be shaped and reshaped by considering the nature of the connections between them.
The comparison could be the similarities and/or differences. You will make these implicit
and/or explicit connections initially through your thesis and then through the contexts, values,
ideas, the language features and characterisation.
Key Ideas
Prior knowledge:
Revisit background
knowledge of context
and values
Deep knowledge:
Focus on the key
concepts and key
learning ideas of
Module A
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
The key ideas and the overarching question you will need to be able to respond to by the end of your
exploration of the module and the two texts are:
Context
How and why does Richard III and Looking for Richard reflect their social, cultural and historical
context?
 The effects of social, cultural and historical context and questions of value on aspects of texts
 How changes in context lead to changed values being reflected in texts
Connections
What do we learn about Richard III and Looking for Richard by exploring the connections between
them?
 How meanings of a pair of texts can be shaped and reshaped by considering the nature of the
connections between them
 Connections through direct or indirect references, contexts, values, ideas, and the use of
language forms and features
Perspectives
How can we account for the continuing resonance of Shakespeare’s Richard III?
 The language of texts, the purposes and audiences, and the content, values and attitudes
conveyed through a range of readings.
 How context shapes the different ways that Pacino, others and you have responded to the play
and the different readings by Shakespeare, Pacino, others and you of Richard.
Responding
How do you respond to the exploration of these two texts and their contexts and what meanings
have you gleaned from the study of the connections?
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director

How to compose a range of imaginative, interpretive and analytical compositions that relate to
the comparative study of texts and context
Activities
1. View the trailer (DVD or YouTube) of Looking for Richard and discuss your response to
Pacino’s mission and what is conveyed about Shakespeare and the character of Richard.
2. Discuss as a class what context and values mean. Individually reflect on how your context and
experiences have shaped your values and attitudes.
3. You must have a sound understanding of the context of the play and the documentary. Use the
internet to research the texts and record relevant information in the table that you will generate
for Activity 1 - See Activity Sheet 1. The American Richard III Society’s site
http://www.r3.org/bookcase/shaksper/index.html has excellent information on both texts and
links to other good sites.
4. Begin reading Shakespeare’s play Richard III and keep a reflective record of your response to
the ideas in the play, its values and the character of Richard. Use extracts from a range of films
such as McKellan’s version and Looking for Richard (the scenes where the actors are
performing) to arrive at a clear understanding of the characters and ideas rather than read
around the class.
5. As the relationship between the texts is the major focus for Module A, create a comparison
table that you add to as you learn more about the texts and their contexts. Ensure that you
include relevant and precise key quotes. See Activity Sheet 1.
Week 2
1.1
1.2
1.3
1.4
1.5
2.1
2.2
2.3
Contextualisation
This week we continue our exploration of the contexts of the texts and its influence on meaning. As
you read about the social, historical and cultural contexts of the composers, consider how your own
context is impacting on the way you are responding to the two texts and how the examination of the
connections between the texts may be altering your response.
Shakespeare’s context and values
Knowledge
integration: Links to
History
Substantive
communication:
Analysis and
discussion of key
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
2A.1
2A.2
6.1
10.1
12A.1
12A.2
King Richard III performed around 1591 explores the consequences of the individual’s relentless
pursuit of power reflecting the central focus of most of Shakespeare’s tragedies and history plays, and
as art imitates life it is the continuing story of humanity’s history. As Jan Kott observes in Shakespeare
Our Contemporary:
‘history is like a great staircase on which there treads a constant procession of kings...every step
upwards is marked by murder, perfidy and treachery...every step brings the throne nearer...another
step and the Crown must fall...from the highest step...there is only a leap into the abyss...’
In the 21st century the pursuit of power is still evident; thus, providing one explanation for the
continuing resonance of King Richard III.
Shakespeare’s main source for King Richard III was Holinshed’s The Chronicles of England, Scotland
and Ireland published in 1587. Holinshed based much of his information on Polydore Vergil’s history
of the English monarchy commissioned by King Henry VII in 1485. Sir Thomas More’s The History of
King Richard III published in 1543 that demonised Richard became the major source for Shakespeare’s
representation of Richard as a villain. More grew up in the household of the Bishop of Ely, John
Morton, who had been imprisoned by Richard III:
Richard, the third son, of whom we now entreat, was … little of stature, ill-featured of limbs,
crook-backed, his left shoulder much higher than his right, hard-favoured of visage … He was
malicious, wrathful, envious and from afore his birth ever forward.
By casting Richard as a villain Shakespeare is affirming to his Elizabethan audience of the emergent
middle class and the nobility the Tudor’s legitimate right to the throne. Richmond who defeats Richard
at the Battle of Bosworth and becomes king of a united England was Henry Tudor, the greatgrandfather of Elizabeth 1, the ruling monarch when this play was performed. However, no
Shakespearian play is so simple. The play reflects the tension between providentalism and the
growing secular interest in free will. The triumph of Richmond at the end of the play and his accession
to the throne of England when considered in the light of the tetralogy of the history plays that reflect
the cycle of the struggle to acquire power, the succession to the throne and then the defeat of the king,
does not signify a triumph for providentialism. Richmond ironically gets away with seizing the crown
rather than going through the more legitimate channels:
aspects and concepts
of the two texts and
the elective and a
class debate on the
key issues
Narrative: Engaging
with the story of
Richard and his times
Higher-order
thinking: Analysis of
key concepts of
context and
representation
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
While on the face of it, Richmond seems to fulfill God's plan with a heroic masculinity to match,
combining contradictory Christian and warrior mentalities, few critics are now content to read
him as a positive replacement for Richard (Van Elk, M. ‘Determined to prove a villain’:
criticism, pedagogy, and Richard III’, 2007, p.4).
Aspects

Political unrest and the persecution of Catholics: These are very cruel, turbulent and tense
times when those in power were aware of their vulnerability. Thus, anyone who threatened their
power was imprisoned, banished or beheaded. King Richard III was written during the
Elizabethan period when Elizabeth 1 had survived numerous threats to her reign. As well as
being politically correct in its support of the reigning Tudors, the play would have captured the
imagination of an audience aware of the ongoing political intrigue and power struggle.

The role of the theatre: In 1558 Queen Elizabeth issued a decree controlling the performance
of plays; all scripts were subject to censorship. Sir Francis Walsingham, the Queen’s spymaster,
founded The Queen’s Men in 1583 as a political mouthpiece. Their role was to spread
Protestantism and royalist propaganda through a divided realm. Shakespeare was a young actor
in company. The cultural and political role of theatre in this period further reflects the intent of
King Richard III that advocates the political rights of the Tudors and maligns Richard III and
the House of York.

Machiavellian politics: Niccolo Machiavelli who lived in Italy from 1469 to 1527 asserted in
his work The Prince (1513) that an effective ruler should abandon the traditional notions of
virtue and morality and maximise power to ensure his own survival at any cost. ‘Politics have no
relation to morals.’ According to Machiavelli who was writing to secure the favour of the ruling
Medici family, a charismatic leader with strong skills, intuition and an eloquent command of
language could easily have absolute power. ‘A wise ruler ought never to keep faith when by doing so it
would be against his interests.’ Machiavelli’s view of politics and power represents a humanist move
towards a new, secular notion of leadership. Richard III is partially a Machiavel who seemingly
rejects traditional Christian virtues and morality to pursue at any cost personal power and who
uses language as a persuasive and seductive weapon. Shakespeare does not deplore the
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
Machiavel rather he explores the personal and social costs of the pursuit of individual power.

Morality plays and the Vice: The earlier Christian Morality plays served to illustrate the
central moral struggle of the Christian soul to remain true to the teachings of the Church. One
of the most popular and influential figures in these plays was the Vice (the devil) whose role
was to tempt Everyman to succumb to temptations. The Vice established a close rapport with
the audience through jokes, tricks and asides representing the seductive power of the devil.
Although the character of Richard III has its origins in the Vice as he reminds the audience –
‘Thus like the formal Vice, Iniquity, / I moralise two meanings in one word’ - he is more subtle
and human. His actions rather than his nature are evil. An academic in Looking for Richard
states ‘Already in this play he is thinking about human beings as actors and about the stage.’

Secularism and free will (Humanity having control over destiny)vs. providentialism (God’s
will and what is ordained to happen in life): Shakespeare’s times reflect a shift from humanity’s
unquestioned relationship with God to a more secular exploration and fascination of what it is
to be an individual with free will. As Hamlet wisely observes ‘What piece of work is a man?’
The play conveys clearly this tension as the character of Richard is a blend of the secular
Machiavel and the providential Vice character.
Values
Richard III
The representation of Richard by Shakespeare as an unscrupulous, ruthless villain who pursues power
relentlessly and only momentarily regrets his actions reinforces core values that have been evident in
Shakespeare’s other plays:




Integrity
Honesty
Loyalty
Moderation
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
Activities
1. Discuss what is significant about Shakespeare’s context in terms of his representation of
Richard and his values.
2. Discuss whether the values that are evident in this play are still important to a modern audience
and to young people.
3. Discuss the significance of the emergence of free will and an interest in humanism as opposed
to providentialism during Shakespeare’s time, and what the reality is today and why.
4. Continue your reading of the play and making notes in your comparison table.
Pacino’s connection to Richard III and the context
‘How do communicate to an American audience?’
From the opening of the documentary the audience is aware of Pacino’s intent: ‘It has always been a
dream of mine to communicate how I feel about Shakespeare to others.’ Pacino’s purpose and quest is
to connect Shakespeare’s universal themes and his powerful language with the everyday public; thus,
his journey is to discover how people regard Shakespeare and why an enigmatic character like Richard
III could still be appealing and relevant to a modern audience. ‘We're peddling him on the streets.’
Pacino encounters people who find Shakespeare ‘boring’ and ‘no kind of connection is made. His
claim is that Shakespeare the writer and actor should be enjoyed by all, ‘Our main goal with this
project is to reach an audience that would not normally participate in this kind of language and
world.’
The contextual focus of the documentary is essentially social and cultural with Pacino exploring why
and how a modern audience could and should connect with Shakespeare. Looking for Richard released
originally in 1996 was produced for an American audience that had experienced Shakespeare on stage
and the screen but who according to Pacino and his actors, and reinforced by the impromptu interviews
on the streets, were sceptical about the relevance of his plays and resistant to the complexity of the
language. Kevin Kline in the documentary states:
An English teacher brought us to a local production of ‘King Lear’ and after ten minutes of
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
people doing "Shakespearean acting"; I tuned out and started making out with my girlfriend in
the back row. We left at intermission.
Everyday people on the street criticise Shakespeare’s plays or plead ignorance and disinterest. But an
African American on the street whose responses are used strategically throughout the documentary
counters the negative responses celebrating the artistry of Shakespeare’s language and the significant
moral values in his plays that he believes have been lost in our modern world:
When we speak without feeling, we get nothing from our society. We should speak like
Shakespeare. We should introduce Shakespeare into our academics. You know why? 'Cause
then the kids would have feelings. We have no feelings. That's why it's easy for us to get a gun
and shoot each other. We don't feel for each other. If we were taught to feel, we wouldn't be so
violent.
Values
Pacino’s purpose is to bring Shakespeare to the American public so that it is not confined to academics
and dry texts. Kimball, his assistant states ‘Actors truly are the possessors, the proud inheritors of the
understanding of Shakespeare!’ Pacino pursued this project for four years. He was determined to
achieve his goal of producing a documentary that would make Shakespeare accessible to everyone. The
African American interviewed on the street apart from praising the artistry of Shakespeare’s language
speaks of the value of teaching Shakespeare to young people so that they learn about the significance
of empathy and feeling for others, ‘We have no feelings.’
As Pacino’s reading of the play reinforces the dominant reading the same core values are conveyed.
However, there are the added values of:



Empathy
Egalitarianism
Perseverance
Activities
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
1. Polarised class debate: ‘Why study a dead person! Shakespeare is no longer relevant to modern
audiences!’
2. What are your core values? Discuss whether Pacino’s values have relevance to young people.
3. Discuss what is significant about Pacino’s context that would influence him to repeat
Shakespeare’s representation of Richard as a villain.
4. Class discussion on how the contextual information provided shaped your understanding of the
play and the documentary.
Week 3
1.1
1.5
2.1
2.2
2.3
2A.1
2A.2
6.1
12A.1
12A.2
Textual Form and Structure
To explore the connections between the texts you need to consider the textual forms and structures.
Richard III
The play classified in the First Folio as a historical tragedy continued the story of the power struggle in
England from Henry VI Part III and concluded the historical tetralogy that began with King Richard II.
Each of the history plays dealt with the struggle for the English crown detailing the long and bloody
civil wars of the fifteenth century.
Shakespeare adopts a providential view of history as an organising framework and draws on the Vice
character of the Christian Morality play (a medieval allegory that represents the transition from
traditional miracle plays to renaissance drama) to create a play that is beginning to reflect the modern
fascination with the central character. However, Richard moves beyond the Vice figure and a
Machiavel (see notes earlier on Machiavelli) as he is very human and even heroic in places.
The play’s rising action builds to the moment when Richard is crowned king and then rapidly falls with
Richard descending into darker deeds and others deserting him until the final battle scene where he is
killed and Richmond triumphs. As Pacino observes wisely ‘As soon as he gets what he wants…the
emptiness.’
Activities
Prior knowledge:
revisiting dramatic
structure of a play
Deep understanding:
Creation of a
comparative table
based on analysis and
exploration of the
two texts
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
1. To broaden your understanding of the Christian morality play and the Vice figure, and
Machiavellian politics search the internet such as Wikipedia http://en.wikipedia.org/wiki/Morality_play - and the New World Encyclopedia http://www.newworldencyclopedia.org/entry/Morality_play - for relevant information. You do
not need to have a deep understanding of both but it will at least provide a framework for
Richard III.
2. Plot visually the movement of the play – visit http://en.wikipedia.org/wiki/Dramatic_structure
for a clear explanation of dramatic structure:
 exposition – background information and setting for Richard
 rising action – conflict building with Richard pursuing his goal of power
 climax or turning point – Richard achieves his purpose and then the events turn suddenly
(occurs very early in the play)
 falling action – Richard’s plans unravel
 denouement or catastrophe – Richard is defeated
Looking for Richard
The documentary is a stream-of-consciousness drama documentary that took four years to make. The
use of the hand-held camera and the random interviews on the street reinforce Pacino’s purpose to
bring Shakespeare to the general public. The importance of the reaction of the person on the street is
represented in the beginning of the documentary by the close ups and tilted up camera angles on their
faces as they respond to Pacino’s questions.
The documentary’s structure sequentially follows the narrative of King Richard III so that the viewer is
reminded of the importance of the play and the continued fascination with the character of Richard III,
and guided through the plot. The documentary opens and ends with Prospero’s famous lines from The
Tempest reminding the viewer that the play and the documentary are merely constructs and that ‘we
are such stuff that dreams are made on, / And our little life is rounded with a sleep’.
The documentary is a deliberate pastiche of cuts from interviews with actors and scholars juxtaposed
with impromptu vox pops with people on the streets of New York City to demonstrate the wide appeal
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
of Shakespeare. This is exemplified in the opening scenes that begin with Penelope Allen performing
Elizabeth’s lines. Then there is a jump cut to the actors discussing their interpretation of the play’s
characters layered with the non-diegetic voiceover of Redgrave pondering the complexity of
Shakespeare’s words. This is followed by an interview with an African American who passionately
remonstrates that as Shakespeare’s plays are about morality and convey significant values everyone
should have to study them.
Critics have accused Pacino of making a documentary that is more about Pacino than looking for
Richard. James Bowman of The American Spectator states:
It is a film based on the by-now old-fashioned notion that Shakespeare can be made "relevant"
to the happening youth of the nineties…But I doubt the efficacy of slicing and dicing
Shakespeare and serving him up in quick cuts to pander to a bunch of no-mind slackers.
Activities
1. Continue reading the play and making notes in the Activity 1 comparison table. Note how
Looking for Richard follows the narrative structure of the play so as you read and discuss the
play in class view the relevant sections of the documentary.
Week 4
1.1
1.3
1.4
1.5
2.1
2.2
2.3
2A.1
2A.2
6.1
10.1
Textual features and details
You are asked to make connections between the texts through textual features and details such as the
ideas and the language features. This week we will be exploring the main ideas in Richard III and how
Looking for Richard reflects those ideas. As you record notes on the ideas in your Activity 1
comparative column ensure that you are considering and recording the language features and the
characters’ actions and relationships that convey these ideas.
Substantive
communication:
Class debates and
discussions exploring
the key ideas of the
texts; composing a
transcript that
explores significant
aspects of the texts
and the elective
Ideas
The consequences of the pursuit of power
Higher-order
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
10.2
12A.1
12A.2
The pursuit of power is paramount in King Richard III. Richard is not the only character who betrays,
manipulates, kills and lies his way to obtain power and control. The actors in Looking for Richard are
fascinated by the battle for power and the hatred that is palpable, ‘They are clawing at each other for
the throne!’ They compare the play to the film The Godfather – ‘The gathering of the Dons in this
room.’ Thus, Looking for Richard makes the connection between Elizabethan times and modern times
stressing that there will always be individuals who will betray others for power. As Redgrave states in
the film,
The truth is that those in power have total contempt for everything they promise, everything
they pledge, and this is really what Shakespeare’s great play is really about.
thinking:
Synthesising what
has been learnt about
the texts and the
elective in a
transcript
Deep understanding:
Evidence of
understanding of the
Shakespeare illustrates the terrible consequences of suppressing your humanity for power. His villains texts in an extended
die alone without respect or love. Pacino observes that Richard ‘has no friends’ and the academic states response
that Richard ‘knows that he does not even have his own humanity. He has lost it!’ Richard himself
concludes honestly, ‘There is no creature loves me, / And if I die no soul shall pity me.’ (Av, siii)
Activity
1. Match the key quotes from the play and the documentary that refer to the pursuit of power and
analyse what is being said and how it is said.
2. Discuss whether the pursuit of power and its consequences is still relevant. Explore why and
how?
Conscience - How far are we prepared to go?
Even at the end when Richard has been confronted by the ghosts of those he killed and betrayed he
exclaims, ‘O coward conscience, how dost thou afflict me?’ (Av, siii) not seek salvation. The play is an
exploration of how individuals can ignore their conscience and commit evil such as the murderers of
Clarence who hesitate only for a moment before taking his life or Buckingham who supports Richard
until he makes the mistake of having to consider whether he supports the murder of the two young
princes, ‘He did all the dirty work and propped up the king.’ Like Pacino, we are fascinated by the
compelling, unscrupulous Richard III who seduces us through his soliloquies and asides to be coconspirators, and shocks us with his lack of conscience:
Karen Yager Northern Sydney Region Professional Learning & Leadership Coordinator & ETA Director
This guy Richard...make up your mind...what is he? First you say he’s a kind of devil, then you
say he’s a kind of mad court jester. Then, he’s a dead ringer for a kind of medieval Vice.
Whatever that is? And then he’s described as some sort of scourge of god or Machiavelli, and
somehow at the end we’re meant to feel some pity for him...weird?
Activity
1. Class debate: ‘The end justifies the means.’ Two speakers for and against and the class divided
in half supporting the two opposing teams.
Free will vs. providentialism
Richard III is determined as are many of Shakespeare’s villains to orchestrate his own destiny. Richard
states that he is ‘determined to prove a villain’; however, this is a pun referring to the conflict between
his free will and his destiny to be a villain. Queen Margaret continually reminds him of God’s will and
providence. Although the defeat of Richard supports providentialism, Shakespeare’s representation of
Richard as a seductive and charming villain provokes thought about the tension between free will and
determinism, and represents the renaissance struggle between secularism and providentialism.
As Looking for Richard reflects a secular world there is minimal reference to providentialism, but the
documentary does dwell on Richard’s determination to construct his own destiny. Pacino considers
through Richard what it is to be human: our motives, needs, ambitions and flaws:
Let’s get this right, this guy Gloucester, has killed Anne’s husband and father-in-law and
the father-in-law’s body starts to bleed when he comes by and he still manages to win the
girl? And then he says he doesn’t even want her. Come on...
Human frailty and mortality
‘What, do you tremble? Are you all afraid? /Alas, I blame you not, for you are mortal…’ (A1, s.ii)
Richard’s acquisition of power cannot be attributed solely to his manipulative skills; the moral
weakness of the other characters facilitates his success. As Machiavelli states in The Prince ‘It is
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double pleasure to deceive the deceiver.’ Lady Anne is fully aware of what Richard has done yet she is
seduced by his flattery and agrees to marry him. Richard judges her weakness accurately. Clarence
fears death because he has killed others to increase his power ‘I have done those things, /That now give
evidence against my soul…’ (A1, siv). When the murderers come to kill him, Brackenbury’s inaction is
attributed to the desire to protect his reputation, ‘I will not reason what is meant hereby, / Because I
will be guiltless of the meaning’ (A1, siv). Even the anonymous murderers argue about morality before
killing Clarence. The Archbishop is persuaded by Richard to hand the young princes over to him
removing the protection of the church.
Even Richard is vulnerable. He is represented physically and psychologically as an outsider rendering
him very human. He explains from the opening of the play that he is deformed, crippled and incapable
of love:
Cheated of feature by dissembling nature,
Deformed, unfinish’d, sent before my time
Into this breathing world, scarce half made up,
And that so lamely and unfashionable
That dogs bark at me as I halt by them’ (AI, si).
Duplicity
Richard III is never what he seems. He is only honest with the audience informing them of his plans
and celebrating his success. He uses irony skillfully to hide his ruthlessness and lack of conscience.
Even after all of the bloody deeds he is able to convince the people, albeit for a brief time, to support
him. As Pacino sings gleefully ‘He’s got the whole world in his hands!’
Activity
1. To build on your understanding of the importance of making connections through the texts
compose a 750-word transcript of a meeting between Shakespeare, Pacino, Richard III and coproducer of Looking for Richard Michael Hadge who are discussing the ideas and values of the
play, the representation of Richard and their different contexts. This activity could be made
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richer and more enjoyable by involving the whole class and getting them to represent other
characters from the play and actors and/or academics and people on the street. Instead of
composing a transcript record the discussion and keep it as a podcast that can be used for future
revision.
Week 5
1.1
1.4
1.5
2.1
2.2
2.3
2A.1
2A.2
6.1
10.2
12A.1
12A.2
Textual features and details
Language
The power of Shakespeare’s language: the nuances, lyricism, the delicious irony and dramatic
techniques have ensured that his plays have been canonized. In Looking for Richard, when the actors
discuss the ambiguity and complexity of the lines in the play and how they should interpret these lines
they convey to the viewer the duality of both the magnetism and refutation of Shakespeare’s artistry.
When the actors present with passion their lines or the key lines of the play are repeated in the
documentary, the artistry of Shakespeare’s language is evident. The language in King Richard III is
rich and colourful, and used effectively by Richard to manipulate others and cement his power. Richard
frequently employs irony, powerful rhetoric and clever word play to seduce others and the audience.
He moves beyond the formal structure of traditional rhetoric to the compelling use of imagery. Imagery
and striking metaphors flourish in King Richard III and are used to symbolically represent Richard’s
villainy:
The wretched, bloody, and usurping boar,
That spoiled your summer fields and fruitful vines,
Swills your warm blood like wash, and makes his trough
In your embowelled bosoms… (Richmond, AV, scii)
The use of antithesis throughout the play forcefully expresses the tension and conflict in the play, and
even our own ambivalent attitude towards Richard.
Vanessa Redgrave speaks lyrically in Looking for Richard of the power and emotion of Shakespeare’s
use of language - ‘the beauty, depth, passion, music of his words.’ The African American who is
Deep understanding:
Focus on key aspect
of language of the
texts
Deep knowledge:
Creation of a
comparative table and
activities that require
demonstration of an
appreciation and
comparison of the
texts
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interviewed on the street speaks eloquently about how words today have lost their meaning and
emotions, ‘If we felt what we said, and say less we’d mean more.’
Despite the gravity of the play, Shakespeare cleverly reflects the bitter sweetness and irony of life
through humour. The humour in King Richard III predominately comes from the character of Richard
and his wicked use of irony and puns. An academic in Looking for Richard refers to the power of irony
in the play defining it as ‘Irony is really only hypocrisy with style.’ He uses humour to seduce the
audience and lighten the seriousness of his crimes. Whereas the humour in King Richard III is
sardonic the humour in Looking for Richard is light-hearted, satirical and almost Monty Pythonish!
The documentary ends with childish humour whereas in the play Richard loses his humour.
Activities
1. Redgrave refers to the artistry of Shakespeare’s language. Form a team of two or more and find
an extract in the play that your team believes is the most effective. Perform the extract and then
explain why this extract was selected. Refer to the use of language and the meaning that is
conveyed.
2. In Looking for Richard the key scenes of the play are presented. One of these key scenes is the
wooing of Ann. Firstly analyse the language of the scene in the play Richard III where Richard
woos Anne and the meaning that is conveyed about the characters and the key ideas. Secondly,
discuss why Pacino chose to feature this scene and analyse how Wynona Ryder and Pacino
deliver (voice, gesture, body language and movements) these lines in the documentary.
3. If you were the director of Looking for Richard what is one scene that you would have
featured? Justify your choice.
4. Continue to add to the Activity 1 comparative column.
Week 6
1.1
2.2
2.3
2A.1
2A.2
A range of readings – The Representation of Richard
‘And every tale condemns me for a villain.
There is no creature loves me;
Problematic
knowledge:
Consideration of a
range of readings of
the play and Richard
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6.1
6.4
10.1
10.2
10.3
12A.1
12A.2
12A.3
And if I die, no soul shall pity me…’ (AV, sciii).
All productions of King Richard III from the British productions featuring Garrick, Kean or Olivier to
the modern productions casting Richard as a fascist such as those featuring Sher or McKellen,
unquestionably accept Shakespeare’s representation of Richard as a villain. Jan Kott whose reading of
Richard III has influenced many modern productions such as Hall’s 1963 production where Richard’s
soldiers resembled Nazis wearing jackboots reaffirms Shakespeare’s representation asserting that ‘We
must find in it the night of Nazi occupation, concentration camps, mass murders’ (1974, Shakespeare
our Contemporary). Pacino has continued this reading of Richard’s character in Looking for Richard.
The representation by Shakespeare of Richard as a manipulative villain has provoked a range of
extreme readings and given birth to international Richard III Societies that fight to clear his name.
During Shakespeare’s time Sir Thomas Moore’s accounts of Richard had gained hold of the public’s
imagination – ‘Friend and foe were indifferent; where his advantage grew, he spared no man’s death
whose life stood in his purpose…’; ‘He was malicious, wrathful, envious…’ His suspected execution of
the young princes cemented his place in history as a villain. Shakespeare’s misrepresentation
perpetuated this perception. Richard is accused by Shakespeare of:






Being deformed and ugly: In the Elizabethan period an imperfection such as a hunchback was
indicative of a defect of the soul. Richard’s deformity would have been seen as retribution for
the wrongs of his ancestors and motivation for Richard’s pursuit of evil.
Wooing Anne Neville alongside the corpse of her father-in-law Henry VI – murdered by
Richard in the Tower of London.
Murdering Prince Edward – aged 17 - son of Henry VI at the Battle of Tewksbury (1471) and
Anne’s husband.
Ordering the death of his brother Clarence.
Ordering the murder of the young princes Edward and Richard in the Tower.
Poisoning his wife Anne Neville in 1485 so he could marry his niece Elizabeth of York and
sister of the two princes.
The real Richard Plantagenet was born into a violent age. To put Richard into context of his own
violent age is not to make him morally a better man, but at least it makes him more understandable. In
the climate of high politics of his own day, his mistakes may then be seen as errors of judgment rather
Deep understanding:
Demonstration of
appreciation of
others’ perspectives
in representation and
performance
Substantive
communication:
Discussing and
writing at length on a
key consideration of
the elective
Higher-order
thinking:
Consideration of a
range of readings and
own reading of
Richard
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than moral failures (http://www.r3.org/bookcase/shaksper/rossnote.html#5).




At the age of eight, he was to learn that his father, Duke Richard of York, had been killed in
battle, and that his elder brother, Edmund of Rutland, then aged seventeen, had been brutally
murdered afterwards.
Twice he suffered exile as a consequence of the civil war.
Most of the men he had known in youth were either killed in battle or judicially murdered for
their alleged treason, among them his mentor, Richard Neville, earl of Warwick, himself no
mean practitioner in the arts of political ruthlessness, and another brother, George duke of
Clarence, killed in the Tower in 1478.
Warwick taught Richard lessons in the killing without trial of his political opponents, especially
in his illegal dispatch of William Herbert, earl of Pembroke, in 1469. Both the executions of
Rivers, Grey and Vaughan at Pontefract without trial in 1483 and Richard's various illegal
actions in regard to property committed both during the Protectorate and after the failure of the
1483 rebellion, are a direct legacy of this instruction.
Historical records inform us that Richard III was a deeply religious man who provided for:


The First legal aid system and bail for offenders
Reform of oppressive land tenure laws. Francis Bacon referred to him as ‘a good lawmaker
who legislated for the ease and solace of the common people.’ His support of the common
people led to opposition by the nobility.
 Archibold Whitelaw, Scottish envoy, September 1484 states ‘There is the excellent and
outstanding humanity of your innate benevolence, your clemency, your liberality, your good
faith, your supreme justice, and your incredible greatness of heart.’
 Croyland reported on hearing of Richard’s death at the Battle of Bosworth, ‘King Richard was
pierced with many mortal wounds and fell in the field like a brave and most valiant prince.’
The productions, including Looking for Richard, have firmly focused on the universality of the themes
and ideas of King Richard III and explored the actions and motives of Richard reflecting a liberal
humanist reading. Pacino represents Richard as deformed with a hump, a deformed arm and a limp and
he dwells on his thirst for power and the bloody deeds.
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Activities
1. There have been a range of readings of Looking for Richard. Find two conflicting reviews on
the internet and record the positive and negative opinions. Compare them with your own
response to the documentary. Share your perspective with another student.
2. Discuss what is significant about Shakespeare and Pacino’s context in terms of their
representation of Richard as a villain.
3. How do you read Richard? Imagine that you have been asked to direct a modern version of the
play. How would you represent Richard? Consider his appearance, dress, movements, the
delivery of his lines and his relationship with others.
4. Analyse the soliloquy where Richard reflects on his deeds and how others view him. At the end
of this soliloquy he ceases the castigation and resolves to face what will come. As a class
discuss how this soliloquy could be read and performed. The class is to experiment with a range
of ways to deliver the lines.
5. Create a visual representation of Richard using ICT that features quotes from the play and
Looking for Richard as well as images from a range of productions and films.
Weeks 7 - 8
1.1
1.2
1.3
1.4
1.5
2.1
2.2
2.3
2A.1
2A.2
6.1
6.2
6.3
6.4
10.1
10.2
Preparing for the HSC and the Assessment Task
Ensure that you read over the syllabus and prescriptions rubrics and go to the Board of Studies site to
read the Notes from the Marking Centre. These notes provide excellent feedback on the features of
better scripts. E.g.



Candidates who clearly understood the purpose of their texts were able to demonstrate
conceptual understanding and respond personally.
High-range responses used key terms particular to their focus area to create their own thesis,
and displayed an ability to evaluate and analyse.
Better responses developed a thesis which demonstrated a strong conceptual understanding of
the module and the elective.
Note that you are expected to have a deep conceptual understanding of the nature of a comparative
study and the texts you are exploring in this elective.
Substantive
communication:
Responding at length
to the texts through
the framework of the
elective
Deep understanding:
Demonstrating
through extended
responses insight into
the texts through a
comparison
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10.3
12A.1
12A.2
12A.3
12A.4
Activities
Successive feedback from the HSC marking centres has stressed the importance of developing a thesis
that demonstrates a strong conceptual understanding of the module and the elective. Thus, you are
expected to be able to present a clear thesis that is judiciously supported by strong textual analysis
connected through context. To prepare you for this challenging task complete the following activities:
1. Develop a series of mind maps connecting King Richard III and Looking for Richard through
some of the aspects covered in this chapter such as the ideas, language and a range of readings.
Some possible theses are:
- ‘Looking for Richard connects the audience to Shakespeare through the exploration of the
enigmatic Richard III.’
- ‘While the context, language and form have changed, Shakespeare and Pacino are fascinated by
Richard and represent him as a villain.’
- ‘Both King Richard III and Looking for Richard are products of different times yet they are
connected through their exploration of what it is to be human.’
- ‘Looking for Richard reconnects us with Shakespeare's characters and themes reminding us that
they are timeless. We can look for Richard, and find him, in the world around us.’
2. Using the extract below as a starting point, analyse the ways in which a comparative study of
The Tragedy of Richard III and Looking for Richard invites reflection on what motivates and
shapes our actions in life.
‘And every tale condemns me for a villain.
There is no creature loves me;
And if I die, no soul shall pity me…’ The Tragedy of Richard III
Compose an extended response to this question.
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Module A: Comparative Study of Texts & Contexts Elective 1: Exploring
Connections
Outcomes to be assessed:
Outcome 1. A student explains and evaluates the effects of different contexts of responders and
composers on texts.
Outcome 2. A student explains relationships among texts.
Outcome 2A. A student recognises different ways in which particular texts are valued.
Outcome 10. A student analyses and synthesises information and ideas into sustained and logical
argument for a range of purposes, audiences and contexts.
Outcome 12A. A student explains and evaluates different ways of responding to and composing
text.
Language modes to be assessed:
 Reading and writing
Key learning ideas:




-
Context:
The effects of social, cultural and historical context and questions of value on aspects of
texts
How changes in context lead to changed values being reflected in texts
Connections:
How meanings of a pair of texts can be shaped and reshaped by considering the nature of
the connections between them
Connections through direct or indirect references, contexts, values, ideas, and the use of
language forms and features
Perspectives:
The language of texts, the purposes and audiences, and the content, values and attitudes
conveyed through a range of readings
Responding:
How to compose a range of imaginative, interpretive and analytical compositions that
relate to the comparative study of texts and context
Nature of task:
‘Pacino states in Looking for Richard ‘What's this thing that gets between us and Shakespeare?’
How and why does Pacino attempt to connect a modern audience with King Richard III?’
Your task is to present your perspective of Pacino’s question and the task question through a
conversation between Shakespeare and Pacino. This conversation can be recorded as a podcast, a
blog, a wiki or a written transcript. You must include at least one other speaker from the texts or
who are commenting on the texts. The conversation should be approximately 1000 words. You
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are not marked on your ICT skills but whether the way you use language is appropriate for your
audience, purpose and form.
The conversation must focus on:
 The composers’ intended meaning conveyed in the texts.
 How the social, cultural and historical context and questions of value have shaped the
texts and their meaning.
 Different ways that the composers and others have responded to and composed texts such
as the interpretation and representation of Richard III or the interpretation of
Shakespeare’s play.
 The connections between the texts such as the continued fascination with Richard III and
the universality of the ideas in Shakespeare’s play.
Remember that the quality of your response will be enhanced by an overarching thesis or line of
argument such as: ‘Looking for Richard reconnects us with Shakespeare's Richard III reminding
us that his ideas, craft and his enigmatic Richard are timeless. We can look for Richard, and find
him in the world around us.’
You will be assessed on how well you:
 Demonstrate understanding of how values and context shape meaning
 Explains and evaluates different ways of responding to and composing texts
 Evaluate the relationships between texts and contexts using detailed and relevant textual
references
 Compose a conversation using language appropriate to audience, purpose and form
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MODULE C: Elective 1: MARKING GUIDELINES
Criteria
Marks
 Demonstrates an insightful understanding of how values and
context shape meaning
 Evaluates skilfully the relationships between texts and contexts
using detailed textual references
 Explains and evaluates insightfully different ways of responding
to and composing texts
 Composes a skilful conversation using language appropriate to
audience, purpose and form
 Demonstrates a thoughtful understanding of how values and
context shape meaning
 Evaluates effectively the relationships between texts and
contexts using relevant textual references
 Explains and evaluates thoughtfully different ways of responding
to and composing texts
 Composes an effective conversation using language appropriate
to audience, purpose and form
 Demonstrates a sound understanding of how values and context
shape meaning
 Evaluates soundly the relationships between texts and contexts
using some relevant textual references
 Explains with some evaluation different ways of responding to
and composing texts
 Composes a sound conversation using language appropriate to
audience, purpose and form
 Demonstrates a limited understanding of how values and context
shape meaning
 Makes connections between texts and contexts with limited
textual references
 Describes in a limited way different ways of responding to and
composing texts
 Composes a limited conversation using some aspects of language
appropriate to audience, purpose and form
 Attempts to show an understanding of how values and context
shape meaning
 Elementary reference to different ways of responding to and
composing texts
 Attempts to make connections between texts and contexts with
elementary or no textual references
 Attempt to composes a conversation
A
13 - 15
B
10 - 12
C
7-9
D
4-6
E
0-3
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Activity Sheet 1 Comparison Table
King Richard
Connections
III
Context: social,
historical and
cultural
Audience and
purpose
Key Quotes &
Meaning
through
analysis of
language
features &
Form
Looking for
Richard
Key Quotes
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Values and
attitudes
A range of
readings of the
play and the
character of
Richard
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Form
Content
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Coordinator & ETA Director
Ideas
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Language
features
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Date
Event and Play Reference
October 2, 1452
Richard born at Fotheringhay (7th son; 4th to survive)
1456
Anne Neville born
1459
Duke of York in exile in Ireland
November 1459
Duke of York's estates are confiscated
June 1460
Edward of March invades from Calais
July 10, 1460
Edward captures Henry VI at Northampton
September 1460
Duke of York returns to Wales, claims the throne and is named Henry VI's
heir
December 30,
1460
Queen Margaret's Lancastrian army defeats the Yorkists at the battle of
Wakefield. Duke of York and Earl of Rutland killed.
February 2-3,
1461
Edward of March defeats the Lancastrian army at the battle of Mortimer's
Cross
February 17,
1461
Queen Margaret's Lancastrian army defeats Warwick at second battle of
St. Albans
Spring 1461
Duchess Cecily of York sends George and Richard to the Duke of
Burgundy for safety
March 4, 1461
Edward of March declared King Edward IV
March 29, 1461
Edward IV defeats the Lancastrians at the battle of Towton
June 1461
George and Richard return from Calais
June 26, 1461
George and Richard made Knights of the Bath
June 28, 1461
Edward IV crowned (at 18 years old)
November 1,
1461
Richard made Duke of Gloucester
Late 1461
Richard enters household of the Earl of Warwick at Middleham Castle
August 12, 1462
Richard granted lands and titles (but little income or power)
October 2, 1462
Richard appointed Admiral of England, Ireland & Aquitane (another
empty title)
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May 1464
Edward IV marries Elizabeth Woodville
May 1465
Elizabeth Woodville crowned Queen
Late 1465 to late
1468 or early
1469
Richard placed in the custody of the Earl of Warwick
1466
Princess Elizabeth born
1468
Richard's sister Margaret marries the Duke of Burgundy
June 18, 1469
Edward IV learns of Warwick and Clarence's rebellion
July 4, 1469
Clarence marries Isobel Neville
July 26, 1469
Edward IV loses to rebels at battle of Edgecote. King emprisoned at
Warwick and Middleham Castles
September 10,
1469
Edward IV free in York
October 1469
Edward IV and Richard are back in London
October 17, 1469
Richard created Constable of England
November 7,
1469
Richard replaces Lord Hastings as Chief Justice of North Wales
February 7, 1470
Richard replaces Warwick as Chief Steward and Chamberlain of South
Wales
February 1470
Warwick and Clarence rebel again
March 1470
Clarence is promised Warwick's lands
March 12, 1470
Edward IV disperses rebels at 'Lose-Cote' Field
May 1470
Warwick and Clarence flee to France
July 25, 1470
Anne Neville betrothed to Edward of Lancaster as part of deal between
Warwick and Queen Margaret
August 26, 1470
Richard leaves Wales and becomes Warden of the West Marches toward
Scotland
September 1470
Warwick's army sails for England
October 2, 1470
Edward IV and Richard flee for Low Countries
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November 2,
1470
Edward, Prince of Wales born
March 11, 1471
Edward IV and Richard return to England
April 14, 1471
Edward IV defeats Warwick (and kills him) at the battle of Barnet
May 4, 1471
Edward IV defeats Queen Margaret and the remaining Lancastrians at the
battle of Tewkesbury. Richard leads the vanguard. Prince Edward of
Lancaster is killed and Queen Margaret is taken prisoner.
May 18, 1471
Richard named Great Chamberlain and Constable & Admiral of England
(and other titles and grants)
May 21, 1471
Edward IV returns to London & Henry VI dies. (Act I, sc. 1)
May 20, 1472
Clarence given Richard's title of Great Chamberlain
February 17,
1472
Anne Neville and Richard agree to marry. Richard begins battle with
Clarence over Anne's share of Warwick's lands (Act I, sc. 2)
March 25, 1472
Clarence created Earl of Warwick and Salisbury
Easter 1472
Anne Neville and Richard marry
November 1473
Edward IV takes back the land he granted to Clarence
May 1474
Warwick's lands split between Anne and her older sister Isobel
disinheriting their mother.
1475
Richard accompanies Edward IV on invasion of France
1478
Clarence accused of treason by act of parliament (Act I, sc. 3)
February 15,
1478
Richard's son created Earl of Salisbury (one of Clarence's titles)
February 18,
1478
Clarence executed in the Tower Act I, sc. 4
February 21,
1478
Richard regains title of Great Chamberlain and Clarence's share of
Warwick lands (Act II, sc. 1)
1481-1483
Scottish Wars
1482
Queen Margaret dies in France
April 9, 1483
Edward IV dies (at 40 years old) (Act II, sc. 2-3)
April 14, 1483
News of Edward's death reaches the Prince of Wales at Ludlow
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April 17-20, 1483 Funeral rites for Edward IV
April 20, 1483
Richard travelling slowly towards Northampton
April 24, 1483
Prince leaves Ludlow for London
April 27, 1483
Council (excluding Richard & Buckingham) decides coronation date of
May 4 and other administrative matters
April 29, 1483
Prince seized from Earl Rivers at Stony Stratford by Richard
&Buckingham
April 30, 1483
News of seizure of Prince and arrest of Rivers reaches London (Act II, sc.
4)
May 4, 1483
Prince arrives in London with Richard and Buckingham and 500 men (Act
III, sc. 1)
May 10, 1483
Council meets and sets new coronation date of June 24th (later changed
again to June 22nd). Richard named as Protector and other changes in
great offices made. Buckingham receives spectacular list of new
powers/titles/lands.
June 9, 1483
Negotiations with Queen Elizabeth to leave sanctuary break down
June 10-11, 1483
Richard sends letters to the north asking for aid against the Queen and the
Woodvilles
June 13, 1483
Lord Hastings arrested and executed. Lord Stanley arrested. (Act III, sc. 2
& 4)
June 16, 1483
Cardinal of Canterbury sent to sanctuary to persuade the Queen to release
the Duke of York.
June 17, 1483
The Duke of York is released into Richard's custody. Preparations for
coronation stopped. Parliament scheduled for June 25 cancelled. (Act III,
sc. 1)
June 20, 1483
Prince and Duke of York's attendants withdrawn (approx). Clarence's son
brought to London and placed in the custody of his aunt, Anne Duchess of
Gloucester
June 22, 1483
Richard claims the throne through Ralph Shaw's sermon at St. Paul's Cross
June 24-25, 1483
Buckingham advances Richard's claim in a speech at the Guildhall and to
an assembly of lords and gentry. The assembly draws up a bill petitioning
Richard to take the throne. (Act III, sc. 5)
June 25, 1483
Rivers, Grey, Vaughan and Haute beheaded at Pontefract (Act III, sc. 3)
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June 26, 1483
Buckingham, the assembly, the mayor and aldermen of London presented
the petition to Richard at Baynard's Castle. Richard agrees and assumed
the throne. Coronation date fixed for July 6 (Act III, sc. 6-7)
July 6, 1483
Richard III crowned (Act IV, sc. 1)
Summer 1483
Edward V and Duke of York probably killed
July 13, 1483
Richard III promises Earldom of Hereford to Buckingham (Buckingham is
richest landowner in England) (Act IV, sc. 2)
July 21 to
September, 1483
Richard III makes first "progress"
September 8,
1483
Richard III and Anne's son invested at Prince of Wales
October 11, 1483
Duke of Norfolk responds to Buckingham's rebellion with orders to
muster troops
October 12, 1483
Richard III aware of Buckingham's rebellion. He is surprised and shocked.
(Act IV, sc. 3-5)
October 15, 1483
Unusually severe storm floods rivers and cuts off Buckingham; also
scatters Henry Tudor's fleet
November 2,
1483
Buckingham, betrayed by a servant, is executed (Act V, sc. 1)
November 8,
1483
Richard III at Exeter, Henry Tudor and rebels flee to France
November 25,
1483
Richard III back in London
December 25,
1483
Henry Tudor pledges to marry Elizabeth of York if he gains the throne,
rebels give homage.
January 1484
Rebels attainted for treason, their offices filled by northerners, as were
following openings
January 23, 1484
Richard III holds his only parliament; Richard III's bastard daughter
Katherine married to William Herbert, earl of Huntingdon
March 1, 1484
Dowager Queen Elizabeth and her daughters leave sanctuary
early April 1484
Richard III and Anne's son, Edward Prince of Wales, dies
May 1, 1484
Richard III issues general order of array against possible invasion
Karen Yager Northern Sydney Region Professional Learning & Leadership
Coordinator & ETA Director
Summer 1484
War with Scotland continued
September 1484
Three year truce with Scotland signed; Henry Tudor leaves Brittany for
France
November 1484
France grants Henry Tudor funds for an army
December 3,
1484
Henry Tudor and the rebels denounced in a general proclamation
December 8,
1484
Richard III again issues general order of array against possible invasion
early 1485
Queen Anne falls ill
January 1485
Richard III issues warrant to knights, esquires, etc. in Chester to obey
Lords Stanley, Strange and Sir William Stanley
March 11, 1485
Richard III's bastard son John appointed captain of Calais
March 16, 1485
Queen Anne dies and Richard declares to the Council that he does not
intend to marry Princess Elizabeth
June 22, 1485
Richard III issues next set of commissions of array
June 23, 1485
Henry Tudor and allies are proclaimed to be "murderers, adulterers and
extortioners"
July 31 - August
1, 1485
Henry Tudor sails from Harfleur
August 7, 1485
Henry Tudor lands at Mill Bay
August 9, 1485
Henry Tudor lands at Milford Haven. Richard III at Nottingham
August 11, 1485
Richard learns of Henry's landing and sends out letters demanding instant
support from supporters
August 14, 1485
Duke of Norfolk receives Richard's summons at Framlingham Castle in
Suffolk
August 15, 1485
Henry Tudor at Shrewsbury (News reaches York)
August 21, 1485
Henry Tudor at Atherstone in Warwickshire
August 22, 1485
Henry Tudor defeats Richard III at Bosworth and is proclaimed King
Henry VII (Act V, sc. 2-5)