The Tragedy of King Richard II

1. The Tragedy of King Richard II

2. Images of Richard II

3. The Wilton Diptych

4. A parody of Shakespearean history writing by “Beyond the Fringe,” a British comedy group who wrote in the 1960s. (“Beyond the Fringe” was the ancestor and inspiration for Monty Python.)

5. Shakespeare’s two sets of English history plays • Henry VI, parts 1, 2, and 3, and Richard III, dealing with the later portion of the “Wars of the Roses.” Written in early 1590s. • Richard II, and Henry IV, parts 1 and 2, and Henry V, dealing with the usurpation of 1399 that would lead to the Wars of the Roses. Written 1595-1600. Wars of the Roses a dynastic struggle that brought in the Tudor dynasty (Henry VII, Henry VIII, Edward VI, Mary, Elizabeth I)

6. Five successive seizures of the English crown in 15th century • Henry VI comes to throne as a nine-month-old child in 1422. • Deposed by Edward Duke of York in 1460, who becomes Edward IV. (Henry imprisoned in Scotland and in Tower of London). • Edward IV deposed by forces of Henry VI in 1570; Henry VI restored briefly. • Henry VI deposed, then murdered. Edward IV restored. • Edward dies, Richard Duke of Gloucester initially regent for Edward’s young son, who is Edward V. • But Richard seizes the throne, becomes Richard III, 1474. • In 1484 HenryTudor defeats Richard III in battle (Bosworth) and becomes Henry VII.

7. Second “tetralogy” • Second written, but goes back behind “Wars of Roses” to tell the beginning. • The “moral” antecedent of the Wars. • Begins with Richard II’s reign at end of the 14th century (Richard deposed in 1399). • Ends with Henry V and battle of Agincourt, which seems a glorious conclusion, but leads to reign of Henry VI.

8. Richard II and Queen Elizabeth • In 1599 followers of Earl of Essex pay Lord Chamberlain’s Men to perform Richard II just before Essex’s attempted coup d’etat against Elizabeth. • Elizabeth, around this time: “Know you not that I am Richard II?”

9. The first scene of the play • A “big” scene, filling the stage with actors, heralded no doubt by trumpets. • Much formality of language, presumably of action and gesture. • Speeches sometimes conclude with rhyme. • The enmity of Bolingbroke (Henry Hereford) and Mowbray (Duke of Norfolk) is clear.

10. Bolingbroke’s accusation • Mowbray has misappropriated funds (the 8,000 nobles to pay troops). • All treasons of the past 18 years were plotted by Mowbray! • Plotted Duke of Gloucester’s death (Gloucester, also called “Woodstock” was king’s uncle and Bolingbroke’s uncle) – a kind of “original sin” in the play.

11. Mowbray’s defense • Three quarters of the money was disbursed to soldiers, one fourth to pay the debt the king owed him. • Didn’t kill Gloucester. • But mysteriously: “to my own disgrace,/ Neglected my sworn duty in that case.” • And tried to ambush Gaunt (Duke of Lancaster), Bolingbroke’s father, but has confessed the fault and received Gaunt’s pardon.

12. The sense of mystery in it all • Why does the king want to make peace between them? • Why does he not want to know who killed Gloucester, his uncle? • Why does Gaunt also want to make peace? • Who did kill Gloucester?

13. The contrast of I, 2 • “Small” scene, just Gaunt and Duchess of Gloucester. • Meaning of Gaunt’s first three lines. • In Duchess’s sense: Gaunt’s sacred duty to avenge Gloucester’s death. • Gaunt’s response: I can’t avenge, because of who the murderer is. A competing sacred duty not to avenge.

14. The Lists at Coventry, I, 3 • Another “big” scene. • Much formality, much chivalrous language, high poetry. • Much swearing of loyalty to God, king, self. • Much sounding of trumpets . . . • . . . and the battle is called off. • Why?

15. The rationale of banishment for Richard • Mowbray’s continued loyalty. • His riff on “native English,” 1.3, 160. • His “silence” on Richard becomes literal in banishment. • Partiality of revocation of part of Bolingbroke’s banishment. Why?

16. Richard in private, I.4 • Change of tone in language, irony. • Another set of characters: Aumerle, Bushy, Bagot, Green. • Richard’s response to news of Gaunt’s sickness: 59-60ff. • “Pray God we may make haste, and come too late.”

17. “This sceptered isle” II, i • Prophetic Gaunt: his tongue the opposite of Mowbray’s. • His poetic construction of England: ll. 40-58 . . . • . . . is cancelled by the lines that follow, 59-60. • The pattern repeated in ll. 61-66. • His mockery of his name. • His final truth-speaking to Richard, 93ff. • And his tongue, now “a stringless instrument,” like Mowbray’s.