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He lived at a time when religious persecution was still rife and he may have feared that disclosure about his personal beliefs or habits may have hindered his reputation in the future. Because of the thorough lack of specific historical information about him, theories abound about what Shakespeare may have been like, or even who he might "really" have been.

These speculations are often backed up by elaborate interpretations and arguments. Nevertheless, almost nothing is known for certain about him, except that his was a literary genius, and arguably the greatest writer in the history of the English language. Within the play, he makes use of his unfair lot in birth to validate an affront to God and virtue, but this only enhances the catharsis of his eventual losing of that war.

He does inspire those around him to look inward and evaluate their sins, but not by any guilt brought on by their turning away from his terror.

Shakespeare's "Henry VI" and "Richard III"

He does commit suicide, in effect, sacrificing himself to the forces of good, but this is not a conscious repentance on his part. His suicide is a desperate final attempt to wipe out the force of good in Richmond. While ironically surrounded by the dragon standards of Henry Tudor, Richard fights the blindly enraged fight of a dying dragon, and he, the monster, is vanquished.

The speak both to Richard and the visage of Richmond, luridly recalling to Richard the nature of their deaths, bitterly wishing his failure while showering encouragement upon Richmond, their elected agent of Justice.

Stories from Shakespeare - The Plantagenets - Audiobook -

Tomorrow in the battle think on me, And fall thy edgeless sword. Despair, and die! Live and flourish 5. He responds to his confrontation to his demons with a conflicted, paradoxical, schizophrenic soliloquy: Give me another horse! Bind up my wounds! Have mercy, Jesu! O coward conscience, how dost thou afflict me! The lights burn blue. It is now dead midnight. Cold fearful drops stand on my trembling flesh.

  • 1. How did you connect with the character?.
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What do I fear? Richard loves Richard; that is, I and I.

1. How did you connect with the character?

Is there a murderer here? Yes, I am. Then fly! What, from myself? Great reason why: Lest I revenge. What, myself upon myself? Alack, I love myself. For any good That I myself have done unto myself? Poff 13 O, no! Alas, I rather hate myself For hateful deeds committed by myself. I am a villain. Yet I lie. I am not. Fool, of thyself speak well.

Henry VI Part 1

Fool, do not flatter. Stoll writes Finally, Richard discounts his confrontation with his sins within hours. But he's back to his old self: "Conscience is but a word that cowards use" V. The formerly imperturbable Richard thereupon falls into a veritable panic. He dispatches messengers without telling them what to say or do, rebukes one for not departing with no orders, and forgets what he has told another a moment before.

He is utterly rattled. Goddard, I 38 Like all but one of the kings in these History Plays, Richard has failed to come to terms with the nocturnal world -- the other side of life -- the unconscious. Of that unconscious world Consciousness must guide it or it will run away with consciousness.

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  5. Bevington writes of the latter three plays in the tetralogy: In Henry VI plays, Shakespeare puts considerable distance between himself and the Tudor orthodox reading of history, allowing grim realities of civil war to speak for themselves. Download PDF booklet. Currently, restrictions on the delivery of files to mobile devices mean our download titles must be downloaded to a desktop computer and then transferred to the mobile device. Download links are also delivered to you via e-mail: see Download Shop — How It Works for more details.

    The story of William Shakespeare

    Stories from Shakespeare. Stories from Shakespeare 2. Stories from Shakespeare 3. From Shakespeare — with love. Elizabethan period music sets the dramatic scenes and provides a bridge between stories. In a mellow British accent and dignified pace, Lesser reads detailed prose versions of the plays. At strategic points, the ensemble actors create a sense of theater by declaiming the speeches word for word.

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    Many of these interludes are famous monologues, but frequent dialogues add interest and variety. This production, like four earlier Shakespeare recordings from Naxos, works both as a graceful pre-theater listening experience and a classroom resource. An accompanying booklet contains information about each play as well as a track-by-track guide most helpful, as the back cover erroneously divides Henry V into three parts.

    Junior versions of the classics are so much clearer.

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    The Plantagenet family. It was originally spelled Plante Genest or Plantegenest or Plantaginet. It is most commonly claimed that the name arose because he wore a sprig of it in his bonnet; or perhaps because he planted broom to improve his hunting covers. It is thought that its wildness and its vivid golden flower is a symbol of the character of the Plantagenets.

    Shakespeare only concentrates on the last turbulent hundred years of the family, when they were fighting amongst themselves. The Spanish King Philip II sent a huge navy to invade England and convert it back to the Roman Catholic faith, but a small English navy, led by adventurous men like Sir Francis Drake, successfully fought off the invaders against all odds.

    People were in the mood then for swashbuckling stories from history with plots and battles, murders and mayhem — and often Shakespeare got so carried away that he even re-wrote history. It is not a good idea to think that everything that happens in the History plays is true — with Shakespeare a good drama was what mattered. It describes England, and was regularly broadcast on the radio in World War II to inspire people at a difficult time.

    This play nearly got Shakespeare and his fellow actors put into prison.