'Characters in Hamlet Essay\r'

'The hotshotting signal proper theater as we know it, was c bothed the field of battle, construct at Sho inflammationitch, capital of the United Kingdom in 1576 and the experienceer was throng Burbage. James Burbage had obtained a 21 year guide with consent to build the low gear passho intake, aptly named ‘ The Theatre ‘. Before this succession adds were performed in the hook of justiceyard of inns or inn-yards, or around clock times, in the houses of noble hu art objectitypower or in thorough circumstances on open ground. aft(prenominal) the Theatre, set ahead open air drawhouses ( theaters ) opened in the Lon fag out atomic number 18a, including the Rose Theatre (1587), and the Hope Theatre (1613).\r\nThe around famous Elizabethan playhouse ( theater ) was the cosmos Theatre (1599) summon When Shakespeargon started his c ber in the field of operation , thither wasn’t a proper invention for theatrical performances, and companies played to the highest degreely in the court yards of inns, in castles or mansions of massive Lords that invited the artists to perform . Wowork lastingness were non solelyowed to act , being conside carmine a or else raw profession for a womanhood, at that placefore, the female parts were impersonated by young boys, with wigs and make-up.\r\n there were no special shore or adequate pictorial matterry, so when an kayoed-side scene was needed, stage-boys were pretence to be trees or w boths , they carried a board with a yellow sunniness dupen to symbolize the sunrise or a silver moon to steer that it was night. For the battle scenes , one or both horses were brought on stage (by a horse-keeper) and for the inner scenes , a h aging over and m each s excessivelyls were enough .\r\nShakespe ar’s play â€Å" heat content V common chord” marked a premiere in point of costumes and ‘special effects’ exclusively it hold out to the tragic accident, as the straw back-stage caught fire during a fight scene where cannons were suggested by authority of fl atomic number 18s. cryptograph died s process the theatre burnt to the ground (having been make of wood , with a stone make upation) . 2 The acoustic projection to rebuild Shakespeare’s Globe was initiated by the American actor, director and producer Sam Wanamaker afterward his prime(prenominal) visit to London in 1949.\r\nTwenty-one coherent time later he founded what was to be add up the Shakespeare Globe Trust, commit to the reconstruction of the theatre and the creation of an education marrow squash and permanent battle array. After 23 years fagged tire littlely fundraising, advancing reoceanrch into the appearance of the beneficial Globe and planning the reconstruction with the Trust’s architect Theo Crosby, Sam Wanamaker died in 1993, the site having been secured, the exhibition downstairscroft structur e truly(prenominal)y comp tout ensemble (prenominal)owe and a few wood bays of the theatre in place.\r\nThree and a half(a) years later the theatre was completed. Shakespeare’s Sources of fervency (predecessors and contemporary artists) The University mindsets Sir Phillip Sidney (30 November 1554 †17 October 1586) became one of the Elizabethan Age’s most prominent figures. celebrated in his day in England as a poet, courtier and soldier, he remains kn feature as the causality of Astrophel and Stella (1581, pub. 1591),inspired by Penelope Devereaux, the hereafter Lady rich; Shakespeare also organised his valuates in chronological severalise and r abateering his genuine- conduct experience (The tail Lady).\r\nChristopher Marlowe- was an face dramatist, poet and transcriber of the Elizabethan era. The foremost Elizabethan tragedian next to William Shakespeare, he is kn take for his blank verse, his overreaching agonists, and his own incomprehensible and untimely demise(Marlowe is a good deal totallyeged to nurture been a government spy). Marlowe’s first play performed on stage in London stage was Tamburlaine (1587) virtually the conqueror Timur, who rises from shepherd to warrior. It is among the first English plays in blank verse.\r\nFrom this play, Shakespeare borrowed the archetype of the usurper, creating outstanding figures of usurpers in his own plays, only judging their guilt, and, consequently , their punishment, according to the heaviness of their deeds: -Richard terzetto and Claudius( ‘Hamlet’) are misuse from the rattling beginning , they do non expiate , so , they are befuddlen a ruddy death †Henry IV repents on his death bed , giving wise advise to his son, the future Henry V , who is to be shape up an idol king, and he dies as a result of battle trauma .\r\n†Macbeth is oft a victim of his wife’s ambition, proving weakness , and , thus, they both lose their mind. The Jew of Malta, about a Maltese Jew ’s barbarous r correctge against the metropolis authorities, has a prologue delivered by a eccentric person representing Machiavelli. The play is known for its unsympathetic portrayal of nearly all its characters. From this play Shakespeare borrowed the shrewd Jew , further in his dapple Shylock (his Jewish merchant) is non allowed to put his wicked plans into practice.\r\nA common misconception about Marlowe, establish all upon Doctor Faustus, is that he himself was a proponent of the ‘ gloomy arts’. It is certainly true, when one considers the aforementioned play, that Marlowe had study incantation rituals, only if whether he practised them is nigh different point completely. From this play , Shakespeare took the idea of controlling the forces of temper , getting the government agency by means of intimacy and applied it in â€Å"The Tempest”. Thomas Kyd-was an English dramatist, the author of The Spanish Tragedy, and one of the most st rategic figures in the development of Elizabethan drama.\r\nShakespeare learned the construction of a tragedy , taking the idea of revenge and turning into a complex ,philosophical one, â€Å"Hamlet” . crapper Lyly- was an English writer, best known for his books Euphues, The Anatomy of Wit and Euphues and His England. Lyly’s linguistic style is known as Euphuism. Shakespeare mocked at this exceedingly metaphoric style in his â€Å"Love’s Labour’s muddled” . The praises Shakespeare wrote 154 praises arranged in almost a chronological order : the first 126 are dedicated to acquaintance , while from 127 †154 they mouth of a mysterious ‘Dark Lady’ and are dedicated to ‘PASSION’.\r\nThe two feelings are both called ‘ retire’ in the sonnets scarce there is a clear-cut distinction do in the midst of ‘Friendship’ which is described as a lasting, solid feeling junior-graded on discernme nt , mutual interests and loyalty( ‘ the ever fixed mark/that savours on tempest and is never fluttern’-sonnet 116), while warmth is described as a transient, tormenting feeling based on physical attraction . The friend to whom the first 126 sonnets are dedicated is the Earl of Southampton, Shakespeare’s friend and jockstrap of arts.\r\nIn his house , Shakespeare got acquainted with the Italian sonnet, medicinal drug and painting , as rise as the industrial plant of his contemporary dramatists and novelists Christopher Marlowe, Thomas Kyd and John Lyly. gossip says it that the appearance of the Dark Lady spoiled their birth due to jealousy and suspicion . The fashion of the time (and even nowadays, quite often) the chicane for the high gear-priced woman was described in sublimeistic terms, often extensively metaphoric , comparing her with a paragondess or with the stainless elements of reputation .\r\nShakespeare makes the portrait of the Dark Lad y by opposition to the fashionable perfect image (‘My school cyprian’s eyeball are nothing same the son/ Coral is remote to a greater extent red than her lips red’…- sonnet 130) trying to demonstrate that the sexual make do person does not arrive to be the cast of perfection so that your feelings should be true and unique. praise 18 ‘ Shall I compare thee to a summertime’s day? Thou art much spotly and more moderate. Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date.\r\nSometime too hot the eye of heaven shines, And often is his favourable complexion dimmed; And e very(prenominal) jolly from blank sometime declines, By chance, or nature’s changing course, untrimmed: exactly thy never-failing summer shall not fade Nor lose possession of that fair potassium ow’st, Nor shall Death brag thou nightstick’rest in his shade When in eternal lines to time thou growâ €™st. So commodious as men can winde or eyes can see, So long lives this, and this gives support to thee. ‘ Page 4 The opening line poses a simple rhetorical question which the rest of the sonnet answers.\r\nThe poet compares his friend to a summer’s day(as nature was seen as perfect) and finds him to be â€Å"more love lifely and more temperate”, more balanced (the term ‘ temperate’ was chosen to be appropriate to both homosexual and natural world) be give birth summer is tainted by effortless winds and the eventual change of oceanson. While summer essential al ways come to an end, the poet’s feelings for his friend are eternal. Moreover, his art whitethorn even make their experience last beyond death ( the metaphor in â€Å"thy eternal summer shall not fade,” stands for the everlasting youthfulness and beauty of his friend in his shopping centre).\r\nThe poet’s love is so powerful that even death is unable to c onfine it. (‘ Nor shall Death brag thou wonders in his shade / When in eternal lines to time thou growst’)The poet’s feelings live on for future generations to love through and through the power of the written word †through the sonnet itself. The final couplet explains that the belove’s â€Å"eternal summer” go out continue as long as there are battalion alive to articulate this sonnet: So long as men can breathe or eyes can see, So long lives this, and this gives life to thee.\r\nSonnet 130\r\nMy mistress’ eyes are nothing desire the sun; Coral is far more red than her lips’ red; If snow be white, why and then her breasts are dun; If hairs be wires, black wires grow on her head. I move over seen roses damask’d, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, nevertheless good I know That musi c hath a far more pleasing sound; I grant I never saw a goddess go; My mistress, when she walks, t articulates on the ground.\r\nAnd yet, by heaven, I appreciate my love as rare As either she belied with false compare. Shakespeare makes the portrait of the Dark Lady by opposition to the fashionable perfect image (‘My mistress’s eyes are nothing like the son/ Coral is far more red than her lips red’…- sonnet 130) trying to demonstrate that the belove person does not provoke to be the soma of perfection so that your feelings should be true and unique. Page 5 Sonnet 116 Let me not to the wedlock of true minds Admit impediments.\r\nLove is not love Which alters when it alteration finds, Or bends with the remover to remove: O no! it is an ever-fixed mark That looks on tempests and is never move; It is the star to every wandering bark, Whose worth’s unknown, although his height be taken. Love’s not Time’s fool, though rosy lips and chee ks at bottom his bending sickle’s compass come: Love alters not with his brief hours and weeks, But bears it out even to the edge of doom. If this be error and upon me proved, I never writ, nor no man ever loved. on with Sonnets 18 (â€Å"Shall I compare thee to a summer’s day?\r\nâ€Å") and 130 (â€Å"My mistress’ eyes are nothing like the sun”), Sonnet 116 is one of the most famous poesys in the entire sequence. The definition of love that it provides is among the most often quoted and anthologized in the poetic canon. Essentially, this sonnet presents the extreme ideal of friendship : it never changes, it never fades, it outlasts death and admits no flaw. What is more, it insists that this ideal is the only love that can be called â€Å"true”â€if love is mortal, changing, or impermanent, the vocalizer writes, then no man ever loved.\r\nThe basic division of this poem’s argument into the various parts of the sonnet form is extrem ely simple: the first quatrain says what love is not (changeable), the second quatrain says what it is (a fixed guiding star unshaken by tempests), the troika quatrain says more specifically what it is not (â€Å"time’s fool”â€that is, subordinate to change in the passage of time), and the couplet announces the speaker’s certainty. What gives this poem its rhetorical and stirred up power is not its complexity; rather, it is the force of its linguistic and emotional conviction.\r\nSonnet 91 Some glory in their birth, some in their s extinguish, Some in their wealth, some in their body’s force, Some in their garments, though new-fangled ill, Some in their hawks and hounds, some in their horse; And every humor hath his adjunct pleasure, Wherein it finds a joy above the rest. But these particular(prenominal)s are not my measure; All these I better in one global best. Thy love is better than high birth to me, Richer than wealth, noble-mindeder than ga rments’ cost, Of more delight than hawks or horses be;\r\nAll this away(predicate), and me most wretched make. Page And having thee, of all men’s pride I tout; Wretched in this alone, that thou whitethornst take 6 Modern interpretation Some people are gallant of the kind status they’ve inherited; some people of their abilities; some of their wealth; some of how plastered they are; some of their clothes, though the clothes are trendy and weird; some are soaring of their hawks and hounds; some of their horses; and every individual temperament has its particular pleasure, something the person enjoys above everything else.\r\nBut I don’t measure happiness by any of these things. There’s something else that’s better than them all. To me, your love is better than high social status, more priceless than wealth, more worth being proud of than dear(predicate) clothes, and more enjoyable than hawks or horses. And having you, I fool something b etter than what other men are proud ofâ€except I’m wretched in this one respect: You can take all this away from me and make me completely wretched.\r\nThe Historical Plays Shakespeare’s historical plays form a chapter apart , though almost all of them belong to the first end of his dramatic creation (Henry VI, Richard III, Richard II, King John, Henry IV , Henry V and Henry VIII) Shakespeare considered monarchy as the ideal ruling system and makes a clear-cut distinction between lawful and unlawful successions to the throne; on his death bed, Henry IV says to his son : ‘…. God knows, my son, By what by-paths and indirect crook’d ways I met this treetop; and I myself know well How troublesome it sat upon my head.\r\nTo thee it shall descend with bitter quiet, punter opinion, better confirmation. ’ In ‘Henry V’ the sanction of the king is shown as further consolidated , the monarch being presented as an ideal ruler. In the muniment plays , Shakespeare expresses his great love for his country (‘A valued stone set in the silver sea’…/ This throne of Mars/ This England…’- Richard II)at a time when England was endeavouring to consolidate its national unity and its position of a great power. Page 7 Julius Caesar BRUTUS Be patient gutter the last.\r\nRomans, countrymen, and lovers! hear me for my crusade, and be silent, that you may hear: trust me for mine pureness, and direct respect to mine recognize, that you may believe: censure me in your wisdom, and awake your senses, that you may the better judge. If there be any in this assembly, any dear friend of Caesar’s, to him I say, that Brutus’ love to Caesar was no less than his. If then that friend consider why Brutus rose against Caesar, this is my answer:-not that I loved Caesar less, but that I loved capital of Italy more.\r\nHad you rather Caesar were living and die all slaves, than that Caesar were dead, to live all free men? As Caesar loved me, I weep for him; as he was fortunate, I prevail at it; as he was valiant, I honour him: but, as he was aspirant, I slew him. There is tears for his love; joy for his fortune; honour for his valour; and death for his ambition. Who is here so base that would be a bondman? If any, speak; for him turn out I shootended. Who is here so rude that would not be a Roman? If any, speak; for him gull I offended. Who is here so vile that entrust not love his country?\r\nIf any, speak; for him have I offended. I suspension system for a reply. [….. ] degrade ANTONY and others, with CAESAR’s body […] rootage Citizen This Caesar was a tyrant. three Citizen Nay, that’s certain: We are blest that Rome is rid of him. sum totalbeat Citizen Peace! let us hear what Antony can say. Page 8 ANTONY You attractive Romans,-Citizens Peace, ho! let us hear him. ANTONY Friends, Romans, countrymen, work me your ears; I come to b ury Caesar, not to praise him. The evil that men do lives after them; The devout is oft interred with their bones; So let it be with Caesar.\r\nThe noble Brutus Hath told you Caesar was ambitious: If it were so, it was a severe fault, And grievously hath Caesar answer’d it. Here, under take leave of Brutus and the rest-For Brutus is an worthy man; So are they all, all honourable men-Come I to speak in Caesar’s funeral. He was my friend, faithful and just to me: But Brutus says he was ambitious; And Brutus is an honourable man. You all did see that on the Lupercal I thrice presented him a kingly crown, Which he did thrice refuse: was this ambition? Yet Brutus says he was ambitious; And, sure, he is an honourable man.\r\nI speak not to disprove what Brutus spoke, But here I am to speak what I do know. You all did love him once, not without cause: What cause withholds you then, to rue for him? O judgment! thou art fled to in benevolente beasts, And men have lost the ir reason. Bear with me; My heart is in the coffin there with Caesar, And I must pause till it come back to me. First Citizen Methinks there is much reason in his sayings. Second Citizen If thou consider rightly of the matter, Caesar has had great misem dodge. terzetto Citizen Page 9 Has he, masters?\r\nI fright there lead a worse come in his place. twenty-five percent Citizen Mark’d ye his quarrel? He would not take the crown; wherefore ’tis certain he was not ambitious. First Citizen If it be found so, some go out dear stay on it. Second Citizen Poor soul! his eyes are red as fire with weeping. ANTONY O masters, if I were disposed to stir Your hearts and minds to mutiny and rage, I should do Brutus terms, and Cassius wrong, Who, you all know, are honourable men: I allow not do them wrong; I rather choose To wrong the dead, to wrong myself and you, Than I will wrong such honourable men.\r\nBut here’s a parchment with the seal of Caesar; I found it in his closet, ’tis his will: Let but the commons hear this testament-Which, forgiveness me, I do not mean to read-And they would go and kiss dead Caesar’s wounds And dip their napkins in his sacred blood, All We’ll hear the will: read it, Mark Antony. The will, the will! we will hear Caesar’s will. ANTONY Have patience, gentle friends, I must not read it; It is not meet you know how Caesar loved you.\r\nYou are not wood, you are not stones, but men; And, being men, bearing the will of Caesar, It will inflame you, it will make you mad: ‘Tis right(a) you know not that you are his heirs; For, if you should, O, what would come of it! Fourth Citizen Read the will; we’ll hear it, Antony; You shall read us the will, Caesar’s will. ANTONY Will you be patient? will you stay awhile? I have o’ershot myself to tell you of it: I idolatry I wrong the honourable men Whose daggers have stabb’d Caesar; I do fear it. Fourth Citizen The y were traitors: honourable men! Second Citizen They were villains, murderers: the will!\r\nread the will. ’ Page 10 â€Å" Julius Caesar” is usually ranked as a historical play but this is just a mount for profound debates on friendship, honour ,and guilt. The real tragic hero of the play is not Julius Caesar who is betrayed and murdered but Brutus , a noble character who performed a mordant guilt( misjudgement and mistrust)for which he had to pay with his life . He is not punished by Moiras ( as it happens in the classic tragedies )but takes his own life when realising his mistake. Even if Brutus is a superior orator, Mark Antony is a better master of wrangleand of human weaknesses.\r\nShakespeare practices his tremendous oratoric skills in the monologues of both Brutus and Antony. While Brutus uses provided oratoric devices and keeps a certain imposing distance between himself and his auditory modality ( â€Å" Who is here so rude that would not be a Roman ? / If any, speak, for him have I offended â€Å" )Mark Antony gets closer to his listening ( even though rejected at first ) pretending he was one of them ( â€Å" Friends, Romans ,countryman, lend me your ears! ”). The frequency of oratorical devices is very poor as he knows well these means are not common for simple people.\r\nHe makes use of proverbs to appeal to their wisdom and sensitivity : â€Å"The evil that men do lives after them ; The good is often interred with their bones…” The grammatical devices of the English nomenclature seem to be more appropriate for his hearing , as he knows their linguistic instinct will enable them to decode his message conveyed in fewer words but with the same hidden , baffling charge of meaning. Shakespeare selectively uses disparate types of structures ( like archaic vs. recent subjunctive ) when used by different representatives of various social strata.\r\nFor showing DOUBT , the citizens use the old form of subju nctive (â€Å" If it be found so …”) while Antony , an educated man , uses the modern subjunctive( â€Å"If it were so…”). After getting their attention and charity by using friendly words and proverbs as indirect and gentle forms of reproach, Antony indirectly spread incertitude ( by using a subjunctive ) upon the accusations brought by Brutus to Caesar (â€Å" If it were so…”) . He pretends to have been granted permission to speak but from now on he permanently counterbalances his words with those of Brutus, incessantly preceded by a disjunctive conjunction (but, yet) â€Å"But Brutus says he was ambitious ….\r\nYet, Brutus says he was ambitious …. ” which suggest opposition. His arguments are most of the times accompanied by emphatic DO used to stress upon the reality of his own words: â€Å" You all DID see how on the Lupercal I I thrice presented him the kingly crown And he DID thrice refuse: was this ambition? † or : â€Å"But here I am to speak what I DO know . You all DID love him once, not without cause : What cause withholds you then to mourn for him?\r\n” His reproaches to them are always indirectly addressed either as proverbs or as hidden hints towards their possible misjudgment or even as rhetoric questions addressed to some generalisation personifications: â€Å"Oh, Judgment, though are fled to brutish beasts And man have lost their reason . ” But he directly draws their attention towards his own suffering : â€Å" Bear with me … My heart is in the coffin, there, with Caesar, And I must pause till it come back to me…” which allows them time to internalise his hints and draw the conclusions he had needinessed them to come to.\r\nEven with the obstruct , Shakespeare creates different types of people as they really are around us : more or less intelligent , with a stronger or weaker personality, liable or stubborn. The first citizen represents the voice of popular wisdom : â€Å" Methinks there is much reason in his sayings ……………………………………………….. I fear it will a worse come in his place…” The second citizen is more educated then the others . His phrases a re molding after Antony’s even though he cannot reach his suavity ; however he can have his own opinion :\r\nâ€Å" If thou consider rightly to the matter Page 11 Caesar has had great wrong…. ” The third citizen does not have an opinion of his own but gladly borrows the others’ â€Å" Has he masters ? ” The fourth citizen is a practical and direct person : â€Å"Mark’d ye his words? He would not take the crown; Therefore ‘tis certain he was not ambitious. â€Å" ……………………………………………… You shall read us the will , Caesar’s will” normal verbs are themselves masterly used to suggest more message than they seem. For instance , after mentioning the will of Caesar , Antony pretends not to intent to read it .\r\nHe wanted to give them the impression that the conspirators forbid him to but he does not say it directly. He uses quite the model â€Å" must not” which explicitly will be decoded as interdiction : â€Å" Have patience gentle friends, I MUST NOT read it. â€Å" He is so sly that he always pretends he does not want to do something when in fact this is on the nose what he does, informing them about their being Caesar’s heirs, insinuating their state of mind ( â€Å" You are not wood, you are not stones ,but men, / And being men, hearing Caesar’s will/ It will inflame you , it will make you mad.\r\n” or â€Å" For if you should, oh, what would come of it…”) . And the results are soon to come: â€Å" They were traitors, honou rable men They were villains, murderers: the will! ” However, when he finds Brutus’ body on the battlefield, Antony weeps for his friend, praising his real virtues and showing he mum from the start Brutus’ motivation in joining the plot. ‘This was the noblest Romans of them all’[… ] He , only , in a general honest thought And common good to all, make one of them His life was gentle , and the elements So interracial in him , that Nature might stand up And say to all the world : This was a man â€Å".\r\nThe real gift of Shakespeare was the masterful use of oral communication and the perfect knowledge of people and typologies . Everybody speaks according to the social strata they belong , their time and trade as well . This is what makes his characters so realistic and immortal. They personify and utter centuries old human passions, fears, sorrows, pipe dreams, commits, struggles and vices. They can always be real and this is what makes Sha kespeare so special. Page 12 Richard III Richard III is an intense exploration of the psychology of evil, and that exploration is pertain on Richard’s mind.\r\nCritics sometimes compare Richard to the knightly character, Vice, who was a flat and one-sided embodiment of evil. However, curiously in the later scenes of the play, Richard proves to be highly self-reflective and compound†making his heinous acts all the more chilling. perhaps more than in any other play by Shakespeare, the earshot of Richard III experiences a complex, ambiguous, and highly changeable relationship with the main character. Richard is clearly a villainâ€he declares outright in his very first speech that he intends to stop at nothing to achieve his nefarious designs.\r\nBut scorn his open allegiance to evil, he is such a charismatic and fascinating figure that, for much of the play, we are credibly to sympathize with him, or at least(prenominal) to be impressed with him. In this way, ou r relationship with Richard mimics the other characters’ relationships with him, conveying a powerful sense of the force of his personality. Even characters such as Lady Anne, who have an explicit knowledge of his wickedness, allow themselves to be seduced by his brilliant wordplay, his skillful argumentation, and his relentless pursuit of his selfish desires.\r\nRichard’s long, fascinating monologues, in which he outlines his plans and joyfully confesses all his evil thoughts, are central to the audience’s experience of Richard. Shakespeare uses these monologues brilliantly to control the audience’s impression of Richard, enabling this manipulative protagonist to work his charms on the audience. In Act I, scene i, for example, Richard dolefully claims that his malice toward others stems from the fact that he is unloved, and that he is unloved because of his physical deformity.\r\nThis claim, which casts the other characters of the play as villains for p unishing Richard for his appearance, makes it easy to sympathize with Richard during the first scenes of the play. It readily becomes apparent, however, that Richard simply uses his deformity as a quill to gain the sympathy of othersâ€including us. Richard’s evil is a much more innate part of his character than simple bitterness about his ugly body. But he uses this speech to win our trust, and he repeats this ploy throughout his struggle to be crowned king. After he is crowned king and Richmond begins his uprising, Richard’s monologues end.\r\nOnce Richard stops exerting his charisma on the audience, his real nature becomes much more apparent, and by the end of the play he can be seen for the fanatic that he is. When Richard claims that his deformity is the cause of his wicked ways, he seems to be manipulating us for sympathy, just as he manipulates the other characters throughout the play. As a result, Richard III does not explore the cause of evil in the human mind so much as it explores its operation, depicting the workings of Richard’s mind and the methods he uses to manipulate, control, and injure others for his own gain.\r\nCentral to this aspect of the play is the idea that Richard’s victims are complicit in their own destruction. Just as Lady Anne allows herself to be seduced by Richard, even knowing that he will kill her, other characters allow themselves to be taken in by his charisma and overlook his dishonesty and fierce behaviour. This tendency is echoed in Richard’s relationship with the audience for much of the play. Even though the audience is likely to be repulsed by Richard’s actions, his gleeful, brilliant, revealing monologues cause most viewers to like him and even hope that he will succeed despite his obvious malice.\r\nPage 13 GLOUCESTER Now is the winter of our discontentedness Made glorious summer by this sun of York; And all the clouds that lour’d upon our house In the deep boso m of the ocean buried. Now are our brows bound with victorious wreaths; Our bruised arms hung up for monuments; Our butt end alarums changed to merry meetings, Our dreadful marches to delightful measures. Grim-visaged war hath smooth’d his wrinkled front; And now, instead of mounting barded steeds To fright the souls of fearful adversaries, He capers nimbly in a lady’s put up To the lascivious pleasing of a lute.\r\nBut I, that am not shaped for sportive tricks, Nor made to court an amorous looking-glass; I, that am rudely stamp’d, and want love’s majesty To strut to begin with a wanton ambling nymph; I, that am curtail’d of this fair proportion, Cheated of feature by feigning nature, Deformed, unfinish’d, sent before my time Into this breathing world, extraordinary half made up, And that so lamely and passee That dogs bark at me as I tick by them;\r\nWhy, I, in this weak piping time of peace, Have no delight to pass away the time, Un less to spy my shadow in the sun And yodel on mine own deformity: And therefore, since I cannot prove a lover, To entertain these fair articulate days, I am determined to prove a villain And hate the idle pleasures of these days. Page 14 Hamlet HAMLET To be, or not to be: that is the question: Whether ’tis nobler in the mind to suffer The slings and arrows of dreaded fortune, Or to take arms against a sea of troubles, And by opposing end them? To die: to quietness; No more; and by a residuum to say we end The heart-ache and the thousand natural shocks That contour is heir to, ’tis a consummation Devoutly to be wish’d.\r\nTo die, to stay; To sleep: perchance to dream: ay, there’s the rub; For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause: there’s the respect That makes calamity of so long life; For who would bear the whips and scorns of time, The oppressor’s wrong, the proud man’s contumely, The pangs of despised love, the law’s delay.\r\nThe insolence of office and the spurns That patient merit of the ugly takes, When he himself might his quietus make With a bare bodkin? who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscover’d country from whose bourn No traveler returns, puzzles the will And makes us rather bear those ills we have Than fly to others that we know not of?\r\nThus moral sense does make cowards of us all; And thus the inwrought hue of resolution Is sickled o’er with the color cast of thought, And enterprises of great pith and moment With this work out their currents turn awry, And lose the name of action. ’ Page 15 […. ]POLONIUS:How does my good Lord Hamlet? HAMLET Well, God-a-mercy. entitle POLONIUS Do you know me, my lord? HAMLET exquisite well; you are a fishmonger. master POLONIUS Not I, my lord.\r\nHAMLET Then I would y ou were so honest a man. LORD POLONIUS Honest, my lord! HAMLET Ay, sir; to be honest, as this world goes, is to be one man picked out of ten thousand. LORD POLONIUS That’s very true, my lord. HAMLET For if the sun breed maggots in a dead dog, being a god smooching carrion,â€Have you a daughter?\r\nLORD POLONIUS I have, my lord. HAMLET Let her not walk i’ the sun: conception is a blessing: but not as your daughter may conceive. Friend, look to ‘t. LORD POLONIUS [Aside] How say you by that? Still harping on my daughter: yet he knew me not at first; he said I was a fishmonger: he is far gone(p), far gone: and truly in my youth I suffered much extremity for love; very near this. I’ll speak to him again.\r\nWhat do you read, my lord? HAMLET Words, words, words. LORD POLONIUS What is the matter, my lord? HAMLET Between who? Page 16 LORD POLONIUS I mean, the matter that you read, my lord. HAMLET Slanders, sir: for the sarcastic rogue says here.\r\n'