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    Study Guide to Richard III by William Shakespeare
    Study Guide to Richard III by William Shakespeare
    Study Guide to Richard III by William Shakespeare
    Ebook151 pages2 hours

    Study Guide to Richard III by William Shakespeare

    By Intelligent Education

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    About this ebook

    A comprehensive study guide offering in-depth explanation, essay, and test prep for William Shakespeare’s Richard III, which explores fate and freedom as it plays out in the life of a monarch.

    As a historical play of the late sixteenth century, Richard III plays with humor and the dichotomy between how King Richard presented h

    LanguageEnglish
    PublisherInfluence Publishers
    Release dateMar 22, 2020
    ISBN9781645425816
    Study Guide to Richard III by William Shakespeare
    Author

    Intelligent Education

    Intelligent Education is a learning company with a mission to publish accessible resources and digital tools to educate the world. Their mission drives every project, from publishing books to designing software and online courses, film projects, mobile apps, VR/AR learning tools and more. IE builds tools to empower people who love to learn. Intelligent Education offers courses in science, mathematics, the arts, humanities, history and language arts taught by leading university professors from Wake Forest University, Indiana University, Texas A&M University, and other great schools. The learning platform features 3D models and 360 media paired with instructional videos for on-screen and Mixed Reality interaction that increases student engagement and improves retention. The IE team is geographically located across the United States and is a division of Academic Influence. Learn more at http://intelligent.education.

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      Study Guide to Richard III by William Shakespeare - Intelligent Education

      INTRODUCTION TO WILLIAM SHAKESPEARE

      On April 26, 1564, William Shakespeare, son of John Shakespeare and Mary Arden, was christened in Holy Trinity Church, Stratford-on-Avon. His birthday is traditionally placed three days before. He was the eldest of four boys and two girls born to his father, a well-to-do glover and trader, who also held some minor offices in the town government. He probably attended the local free school, where he picked up the small Latin and less Greek that Ben Jonson credits him with. (Small Latin to that knowledgeable classicist meant considerably more than it does today.) As far as is known, this was the extent of Shakespeare’s formal education. In November of 1582, when he was eighteen, a license was issued for his marriage to Ann Hathaway, a Stratford neighbor eight years older than himself. The following May their child Susanna was christened in the same church as her father. While it may be inferred from this that his marriage was a forced one, such an inference is not necessary; engagement at that time was a legally binding contract and was sometimes construed as allowing conjugal rights. Their union produced two more children, twins Judith and Hamnet, christened in February, 1585. Shortly thereafter Shakespeare left Stratford for a career in London. What he did during these years - until we pick him up, an established playwright, in 1592 - we do not know, as no records exist. It is presumed that he served an apprenticeship in the theatre, perhaps as a provincial trouper, and eventually won himself a place as an actor. By 1594 he was a successful dramatist with the Lord Chamberlain’s company (acting groups had noble protection and patronage), having produced the Comedy of Errors and the Henry VI trilogy, probably in collaboration with older, better established dramatists. When the plague closed the London theatres for many months of 1593-94, he found himself without a livelihood. He promptly turned his hand to poetry (although written in verse, plays were not considered as dignified as poetry), writing two long narrative poems, Venus and Adonis and The Rape of Lucrece. He dedicated them to the Earl of Southampton, undoubtedly receiving some recompense. The early nineties also saw the first of Shakespeare’s sonnets circulating in manuscript, and later finding their way into print. In his early plays - mostly chronicle histories glorifying England’s past, and light comedies - Shakespeare sought for popular success and achieved it. In 1599 he was able to buy a share in the Globe Theatre, where he acted and where his plays were performed. His ever-increasing financial success enabled him to buy a good deal of real estate in his native Stratford, and by 1605 he was able to retire from acting. Shortly thereafter he began to spend most of his time in Stratford, to which he retired around 1610. Very little is known of his life after he left London. He died on April 23, 1616, in Stratford, and was buried there. In 1623 the First Folio edition of his complete works was published by a group of his friends as a testimonial to his memory. This was a very rare tribute, because at the time plays were generally considered to be inferior literature, not really worthy of publication. These scanty facts, together with some information about the dates of his plays, are all that is definitely known about the greatest writer in the history of English literature. The age in which Shakespeare lived was not as concerned with keeping accurate records as we are, and any further details about Shakespeare’s life have been derived from educated guesses based on knowledge of his time. Shakespeare’s plays fall into three major groups according to the periods in his development when he wrote them:

      EARLY COMEDIES AND HISTORIES

      The first group consists of romantic comedies such as A Midsummer Night’s Dream (1593-5), and of strongly patriotic histories such as Henry V (1599). The early comedies are full of farce and slapstick, as well as exuberant poetry. Their plots are complicated and generally revolve around a young love relationship. The histories are typical of the robust, adventurous English patriotism of the Elizabethan era, when England had achieved a position of world dominance and power.

      THE GREAT TRAGEDIES

      The second period, beginning with Hamlet and ending with Antony and Cleopatra, is the period of the great tragedies: Hamlet (1602); Othello (1604); King Lear (1605); Macbeth (1606); and Antony and Cleopatra (1607-8). Shakespeare seems to have gone through a mental crisis at this time. His vision of the world darkens, and he sees life as an epic battle between the forces of good and evil, between order and chaos within man and in the whole universe. The forces for good win out in the end over evil, which is self-defeating. But the victory of the good is at great cost and often comes at the point of death. It is a moral victory, not a material one. These tragedies center on a great man who, because of some flaw in his makeup, or some error he commits, brings death and destruction down upon himself and those around him. They are generally considered the greatest of Shakespeare’s plays.

      THE LATE ROMANCES

      In the third period Shakespeare returns to romantic comedy. But such plays as Cymbeline (1609-10), The Winter’s Tale (1610-11), and The Tempest (1611) are very different in point of view and structure from such earlier comedies as Much Ado About Nothing (1599) and Twelfth Night (1600). Each of these late romances has a situation potentially tragic, and there is much bitterness in them. Thus the destructive force of insane jealousy serves as the theme both of the tragedy, Othello, and the comedy, The Winter’s Tale. They are serious comedies, replacing farce and slapstick with rich symbolism and supernatural events. They deal with such themes as sin and redemption, death and rebirth, and the conflict between nature and society, rather than with simple romantic love. In a sense they are deeply religious, although unconnected with any church dogma. In his last play, The Tempest, Shakespeare achieved a more or less serene outlook upon the world after the storm and stress of his great tragedies and the so-called dark comedies.

      SHAKESPEARE’S THEATRE

      Shakespeare’s plays were written for a stage very different from our own. Women, for instance, were not allowed to act; so female parts, even that of Cleopatra, were played by boy actors whose voices had not yet changed. The plays were performed on a long platform surrounded by a circular, unroofed theatre, and were dependent on natural daylight for lighting. There was no curtain separating the stage from the audience, nor were there act divisions. These were added to the plays by later editors. Because the stage jutted right into the audience, Shakespeare was able to achieve a greater intimacy with his spectators than modern playwrights can. The audience in the pit, immediately surrounding the stage, had to stand crowded together throughout the play. Its members tended to be lower class Londoners who would frequently comment aloud on the action of the play and break into fights. Anyone who attended the plays in the pit did so at the risk of having his pockets picked, of catching a disease, or, at best, of being jostled about by the crude groundlings. The aristocratic and merchant classes, who watched the plays from seats in the galleries, were spared most of the physical discomforts of the pit.

      ITS ADVANTAGES

      There were certain advantages, however, to such a theatre. Because complicated scenic, lighting and sound effects were impossible, the playwright had to rely on the power of his words to create scenes in the audience’s imagination. The rapid changes of scene and vast distances involved in Antony and Cleopatra, for instance, although they create a problem for modern producers, did not for Shakespeare. Shakespeare did not rely - as the modern realistic theatre does - on elaborate stage scenery to create atmosphere and locale. For these, as for battle scenes involving large numbers of people, Shakespeare relied on the suggestive power of his poetry to quicken the imagination of his audience. Elizabethan audiences were very lively anyway, and quick to catch any kind of word play. Puns, jokes, and subtle poetic effects made a greater impression on them than on modern audiences, who are less alert to language.

      INTRODUCTION TO RICHARD III

      SHAKESPEARE

      King Richard The Third was probably written in 1592, ten years after Shakespeare had come up to London from Stratford-on-Avon. The playwright was born in that Warwickshire town on April 23, 1564. There is a record that his parents, John Shakespeare and Mary Arden, had him baptized on April 26. It is probable that he attended the town’s free grammar school where he used the famous Lily Grammar to which he refers in several of his plays. His attendance at this school was his only formal education. But the grammar schools of his day had a highly developed curriculum so that the boys came out of them with a good smattering of the best ancient and modern Latin authors. In Shakespeare’s plays there is evidence that he had read, together with the works of Caesar, Livy, and Sallust, also the plays of Plautus. Terence, and the Mantuan poems. Most likely he had used translations, as he did for Ovid. This would bear out Ben Jonson’s comment that Shakespeare knew little Latin and less Greek. Could Ovid’s line, rudis indigestaque moles, have prompted Lady Anne’s description of Richard as a foul indigested lump?

      KING RICHARD THE THIRD

      This early play is perhaps Shakespeare’s greatest tribute to Christopher Marlowe. There are the same Marlovian forces at work: a heroic figure meeting his fate after long and violent struggle with opposing forces. In Richard III, the use of blank verse gives promise of equalling that of Marlowe, though Shakespeare actually surpasses him in the poetry of Hamlet and his other great tragic plays.

      SOURCES OF KING RICHARD THE THIRD

      Controversy has surrounded the exact historical sources which Shakespeare used for this

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