Other editions of book RICHARD III

The play begins with Richard (called "Gloucester" in the text) standing in "a street", describing the re-accession to the throne of his brother, King Edward IV of England, eldest son of the late Richard, Duke of York, implying the year is 1471. Now is the winter of our discontent Made glorious summer by this sun of York; And all the clouds that lour'd upon our house In the deep bosom of the ocean buried.("Sun of York" is a punning reference to the badge of the "blazing sun", which Edward IV adopted, and "son of York", i.e. the son of the Duke of York.)Richard is an ugly hunchback who is "rudely stamp'd", "deformed, unfinish'd", and cannot "strut before a wanton ambling nymph." He responds to the anguish of his condition with an outcast's credo: "I am determined to prove a villain / And hate the idle pleasures of these days." Richard plots to have his brother Clarence, who stands before him in the line of succession, conducted to the Tower of London over a prophecy he bribed a soothsayer to finagle the suspicious King with; that "G of Edward's heirs the murderer shall be", which the king interprets as referring to George of Clarence (without realising it actually refers to Gloucester).

An account of the brutal and bloody rise of King Richard III to the throne, Shakespeare’s play depicts the short-lived monarch’s ruthless campaign for power, which resulted in the deaths of two of his brothers. Disfigured, hunchbacked, and cruel, King Richard’s unpopularity with the nobility crippled his reign, resulting in his ultimate demise.Known as “The Bard of Avon,” William Shakespeare is arguably the greatest English-language writer known. Enormously popular during his life, Shakespeare’s works continue to resonate more than three centuries after his death, as has his influence on theatre and literature. Shakespeare’s innovative use of character, language, and experimentation with romance as tragedy served as a foundation for later playwrights and dramatists, and some of his most famous lines of dialogue have become part of everyday speech.

The final play in Shakespeare's masterly dramatization of the strife between the Houses of York and Lancaster, Richard III offers a stunning portrait of an archvillain — a man of cunning and ruthless ambition who seduces, betrays and murders his way to the throne. In the process, Richard delivers great speeches and engages in formidable confrontations with a large cast of characters, almost all of them caught up in the terrible struggle for power that dominates the play. It is a tribute to Shakespeare's dramatic genius and knowledge of human psychology that by the end of the drama the detestable Richard begins to elicit some sympathy for the awful plight in which he finds himself.

Richard III is a history play by William Shakespeare, believed to have been written in approximately 1591. The play is an unflattering depiction of the short reign of Richard III of England. While generally classified as a history, as grouped in the First Folio, the play is sometimes called a tragedy (as in the first quarto). It picks up the story from Henry VI, Part 3 and concludes the historical series that stretches back to Richard II.

Richard III is a history play by William Shakespeare, believed to have been written in approximately 1591. The play is an unflattering depiction of the short reign of Richard III of England. While generally classified as a history, as grouped in the First Folio, the play is sometimes called a tragedy (as in the first quarto). It picks up the story from Henry VI, Part 3 and concludes the historical series that stretches back to Richard II.

An account of the brutal and bloody rise of King Richard III to the throne, Shakespeare’s play depicts the short-lived monarch’s ruthless campaign for power, which resulted in the deaths of two of his brothers. Disfigured, hunchbacked, and cruel, King Richard’s unpopularity with the nobility crippled his reign, resulting in his ultimate demise.Why, this it is, when men are ruled by women: 'Tis not the king that sends you to the Tower: My Lady Grey his wife, Clarence, 'tis she That tempers him to this extremity. Was it not she and that good man of worship, Anthony Woodville, her brother there, That made him send Lord Hastings to the Tower, From whence this present day he is deliver'd? We are not safe, Clarence; we are not safe.Humbly complaining to her deity Got my lord chamberlain his liberty. I'll tell you what; I think it is our way, If we will keep in favour with the king, To be her men and wear her livery: The jealous o'erworn widow and herself, Since that our brother dubb'd them gentlewomen. Are mighty gossips in this monarchy.

Richard III is a history play by William Shakespeare, believed to have been written in approximately 1591. The play is an unflattering depiction of the short reign of Richard III of England. While generally classified as a history, as grouped in the First Folio, the play is sometimes called a tragedy (as in the first quarto). It picks up the story from Henry VI, Part 3 and concludes the historical series that stretches back to Richard II.

Richard III is a history play by William Shakespeare, believed to have been written in approximately 1591. The play is an unflattering depiction of the short reign of Richard III of England. While generally classified as a history, as grouped in the First Folio, the play is sometimes called a tragedy (as in the first quarto). It picks up the story from Henry VI, Part 3 and concludes the historical series that stretches back to Richard II.

Richard III is a history play by William Shakespeare, believed to have been written in approximately 1591. The play is an unflattering depiction of the short reign of Richard III of England. While generally classified as a history, as grouped in the First Folio, the play is sometimes called a tragedy (as in the first quarto). It picks up the story from Henry VI, Part 3 and concludes the historical series that stretches back to Richard II.

The play begins with Richard (called "Gloucester" in the text) standing in "a street", describing the re-accession to the throne of his brother, King Edward IV of England, eldest son of the late Richard, Duke of York, implying the year is 1471.Now is the winter of our discontentMade glorious summer by this sun of York;And all the clouds that lour'd upon our houseIn the deep bosom of the ocean buried.("Sun of York" is a punning reference to the badge of the "blazing sun", which Edward IV adopted, and "son of York", i.e. the son of the Duke of York.)Richard is an ugly hunchback who is "rudely stamp'd", "deformed, unfinish'd", and cannot "strut before a wanton ambling nymph." He responds to the anguish of his condition with an outcast's credo: "I am determined to prove a villain / And hate the idle pleasures of these days." Richard plots to have his brother Clarence, who stands before him in the line of succession, conducted to the Tower of London over a prophecy he bribed a soothsayer to finagle the suspicious King with; that "G of Edward's heirs the murderer shall be", which the king interprets as referring to George of Clarence (without realising it actually refers to Gloucester).

Richard III is one of Shakespeare's most popular plays on the stage and has been adapted successfully for film. This new and innovative edition recognizes the play's pre-eminence as a performance work: a perspective that informs every aspect of the editing. Challenging traditional practice, the text is based on the 1597 Quarto which, brings us closest to the play as it would have been staged in Shakespeare's theater. The introduction, which is illustrated, explores the long performance history from Shakespeare's time to the present. The commentary gives detailed explanation of matters of language, staging, text, and historical and cultural contexts, providing coverage that is both carefully balanced and alert to nuance of meaning.Documentation of the extensive textual variants is organized for maximum clarity: the readings of the Folio and the Quarto are presented in separate sections, and more specific information is given at the back of the book. Appendices also include selected passages from the main source and a special index of actors and other theatrical personnel