Embodiment and Disability in 3 Henry VI and Richard III

2021 ◽  
Vol 61 (1) ◽  
pp. 23-43
Author(s):  
Matt Carter
Keyword(s):  
Richard Iii ◽  
Henry Vi

Care

2018 ◽  
pp. 280-294
Author(s):  
Neema Parvini
Keyword(s):  
Human Nature ◽  
King Lear ◽  
Moral Order ◽  
Richard Iii ◽  
Titus Andronicus ◽  
State Of Nature ◽  
Henry Vi

This chapter assesses the extent to which harm is caused in Shakespeare’s plays when the moral order breaks down by focusing on plays in which the dramatis personae revert to the Hobbesian state of nature and unspeakable cruelty: Titus Andronicus, 3 Henry VI, Richard III, and King Lear. In such moments Shakespeare seems to invoke the image of the tiger, which he only uses fifteen times in all his works. In the constrained or tragic vison (Thomas Sowell), when there are no institutions with which to reinforce the morals that bind people together (authority, loyalty, fairness, sanctity), the worst aspects of humanity – as embodied in the tiger – are granted their fullest expression. However, in Shakespeare’s version of this vision, human nature provides the seeds of its own rebirth.

Telling the Story: Shakespeare's Histories in Performance

1990 ◽  
Vol 6 (23) ◽  
pp. 207-214
Author(s):  
Andrew Jarvis
Keyword(s):  
Large Scale ◽  
History Plays ◽  
English History ◽  
Richard Ii ◽  
Richard Iii ◽  
Henry V ◽  
Royal Shakespeare Company ◽  
Wars Of The Roses ◽  
Henry Iv ◽  
Henry Vi

The English Shakespeare Company was founded in 1986 by Michael Bogdanov and Michael Pennington with a commitment to take large-scale productions to regional venues. Henry IV, Parts One and Two and Henry V opened at the Plymouth Theatre Royal in November 1986 under the title The Henrys: they were then staged at the Old Vic and toured extensively. In December 1987 Richard II, with a two-part adaptation of the three parts of Henry VI (House of Lancaster and House of York) and Richard III, were added to the previous trilogy to create a complete cycle of history plays – The Wars of the Roses. The cycle was toured in England and abroad before playing at the Old Vic in the spring of 1989. It has since been filmed for television by Portman Productions. The only comparable treatment of the histories in the theatre took place at Stratford in 1964. when Peter Hall and John Barton staged seven plays as a sequence spanning English history from the reign of Richard II to the downfall of Richard III. Andrew Jarvis has been with the English Shakespeare Company since 1986 when he played Gadshill, Douglas, Harcourt, and the Dauphin. He has since played Exton, Hotspur, and Richard III. In 1988 he won the Manchester Evening News Award for Best Actor in a Visiting Production for his portrayal of Richard III. Prior to joining the ESC he had played many roles for the Royal Shakespeare Company. Here, he is interviewed by Stephen Phillips, lecturer in drama at the College of St Mark and St John, Plymouth, who is currently preparing a study of Shakespeare's history cycles in performance in the twentieth century.

scholarly journals «La Historia de Inglaterra de Rodrigo de Cuero: fuentes y elaboración»

2018 ◽  
Vol 30 ◽  
pp. 121-152
Author(s):  
Antonio Contreras Martín ◽  
Lourdes Soriano Robles
Keyword(s):  
Henry Viii ◽  
Richard Iii ◽  
Palabras Clave ◽  
Henry Vi ◽  
Henry Vii

Resumen: La Crónica de Inglaterra de Rodrigo de Cuero es una traducción de la Cronycle of Englonde with the Fruyte of Tymes realizada a instancias de Catalina de Aragón, reina de Inglaterra, en 1509. Mandada completar por ésta hasta su llegada a Inglaterra, el traductor tuvo que echar mano de las fuentes más diversas. El trabajo analiza, en primer lugar, qué fuentes empleó Rodrigo de Cuero para la elaboración de su obra; en segundo lugar, se ocupa de cómo organizó el material y confeccionó las dos versiones conservadas (manuscritos Escorial y Salamanca); y, en tercer y último lugar, se centra en el tratamiento de los reyes ingleses anteriores a Enrique VIII y Catalina de Aragón (Enrique VI, Eduardo IV, Eduardo V, Ricardo III y Enrique VII).Palabras clave: Historia de Inglaterra, Rodrigo de Cuero, Cronycle of Englonde, Catalina de Aragón, 1509, Traducciones, Historiografía.Abstract: Rodrigo de Cuero’s Historia de Inglaterra is a translation into Castilian of the Cronycle of Englonde with the Fruyte of Tymes made at the request of Catherine of Aragon, Queen of England, in 1509. Asked with the responsibility of completing the chronicle until her arrival at England, the translator had to draw on the most diverse sources. The paper analyses, firstly, what sources Rodrigo de Cuero used for the elaboration of his work; secondly, it deals with how he organized the material and made the two preserved versions (Escorial and Salamanca manuscripts); and, thirdly and last, it focuses on the treatment of the English kings before Henry VIII and Catherine of Aragon (Henry VI, Edward IV, Edward V, Richard III and Henry VII).Keywords: Historia de Inglaterra, Rodrigo de Cuero, Cronycle of Englonde, Catherine of Aragon, 1509, Translations, Historiography.

Edward IV, King of England

2020 ◽  
Author(s):  
Stella Fletcher
Keyword(s):  
Foreign Relations ◽  
Primary Sources ◽  
Power Bases ◽  
Low Countries ◽  
Richard Iii ◽  
Number Of Children ◽  
15Th Century ◽  
Henry Vi ◽  
The Government ◽  
Natal Family

Richard, duke of York, made a serious challenge for the throne of England during the reign of the ineffectual Lancastrian Henry VI but was killed at the battle of Wakefield in December 1460. His cause was taken up by his eldest surviving son Edward, earl of March (b. 1442–d. 1483). Thereafter, Edward made gains against the Lancastrian forces and secured the throne in March 1461, with Richard Neville, earl of Warwick (known as “Warwick the Kingmaker”) as his right-hand man. In 1464 he defied Warwick’s plan for a French dynastic marriage by taking as his bride the widowed mother of two who is generally known by her maiden name, Elizabeth Woodville. She produced a large number of children for her second husband, but they were still young at the time of Edward’s death. Her natal family, on the other hand, took full advantage of her illustrious position, causing much resentment among the men who regarded themselves as the king’s natural counselors. His brother George, duke of Clarence, married Warwick’s daughter Isabel in 1469; together Warwick and Clarence rebelled against Edward’s rule, forcing him to flee to the Low Countries and bringing back Henry VI as their puppet monarch in 1470–1471, the period known as the “readeption.” Edward returned and defeated the rebels at the battles of Barnet and Tewkesbury, Warwick dying at the former. The temporary loss of his kingdom effectively taught Edward how to be a king, and his second reign was characterized by assertions of his power, both at home and against neighboring realms. Edward’s story has been told many times and in various genres, some of which appear here as Reference Works and Overviews. So many relevant Primary Sources exist that it is useful to consult Collections and Guides to them before delving into modern editions, which are here categorized as the Government (and Its Critics) and Letters and Chronicles. The biographical format (Lives and Times) is also popular for telling the story of 15th-century England, necessitating another artificial division, this time between the King himself, Yorkists, and Lancastrians. With regard to the King and His Subjects, the division is between Government, the English Regions, and Wales and Ireland, though in all cases Edward was obliged to rule through magnates and their power bases. Edward’s foreign relations are accounted for in the section on Popes and Princes. Culture is self-explanatory. Studies of all these areas can be found in Collections of Papers and Journals. The final section, Afterlives, is shorter than it would be for Edward’s youngest brother, Richard III, but demonstrates that he has not been immune to the attentions of poets and playwrights.

‘Make My Image but an Alehouse Sign’

2013 ◽  
Author(s):  
Alison Findlay
Keyword(s):  
Corpus Linguistics ◽  
Female Voice ◽  
Female Characters ◽  
Richard Iii ◽  
Henry V ◽  
Poetic Discourse ◽  
Henry Vi ◽  
Lady Macbeth

Queen Margaret’s words ‘Make my image but an alehouse sign’ in 2 Henry VI (III. ii. 81) offer an appropriate metaphor for the female voice in Shakespeare’s texts because they advertise the ways female characters strive to speak out within a discursive environment that silences them as images. The chapter explores how women in Shakespeare’s plays negotiate a space to speak within a poetic discourse that repeatedly objectifies them as signs, focusing on Catherine’s role in Henry V and the blason, and the Jailer’s Daughter’s self-inscription into a ballad tradition in Two Noble Kinsmen. A second section uses the analytic tools provided by corpus-linguistics to explore the poetic voices of tragic female characters: Lady Macbeth, Cleopatra, and the women of Richard III. The essay concludes by tracing the growth of an independent, poetic female voice in the role of Queen Margaret who offers an ironic commentary on Shakespeare's growing sense of his own identity as national bard.

Hark what discord follows

1980 ◽  
Vol 1 (1) ◽  
pp. 111
Author(s):  
Ian Linklater
Keyword(s):  
Richard Ii ◽  
Richard Iii ◽  
Henry V ◽  
Wars Of The Roses ◽  
Henry Iv ◽  
Henry Vi ◽  
History Of ◽  
Second Tetralogy

"Richard II" is the first play in the second Tetralogy or group of plays broadly about the history of England from 1399 to 1415. It is followed by the two parts of Henry IV and climaxes in the so-called English Epic play Henry V. The first Tetralogy, obviously written before, comprises the three parts of Henry VI and culminates in "Richard III" and deals with the period of the Wars of the Roses from 1420 to the accession of Henry Tudor in 1485, which final date marks the beginning of the Tudor Dynasty.

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