what is shakespeare’s message? what does he want us to learn from this play?

Play by Shakespeare

The Entry of Richard and Bolingbroke into London (from William Shakespeare's 'Richard II', Deed V, Scene ii), James Northcote (1793)

The Life and Decease of King Richard the Second , ordinarily called Richard II , is a history play by William Shakespeare believed to take been written around 1595. It is based on the life of Male monarch Richard Ii of England (ruled 1377–1399) and chronicles his downfall and the machinations of his nobles. It is the first part of a tetralogy, referred to by some scholars as the Henriad, followed by 3 plays about Richard's successors: Henry Four, Part 1; Henry IV, Function 2; and Henry V.

Although the Outset Folio (1623) includes the play amidst the histories, the before Quarto edition of 1597 calls it The tragedie of Male monarch Richard the second.

Characters [edit]

• King Richard Two
• John of Gaunt, Duke of Lancaster – Richard'south uncle
• Duke of York – Richard'south uncle
• Duke of Aumerle – York'due south son
• Thomas Mowbray, Duke of Norfolk
• Queen – Richard's wife (an unnamed composite of his outset wife, Anne of Bohemia, and his second, Isabella of Valois, who was nevertheless a kid at the fourth dimension of his expiry)
• Duchess of York – York's wife (an unnamed composite of York's first married woman, Infanta Isabella of Castile, and his second, Joan The netherlands)
• Duchess of Gloucester – widow of Thomas of Woodstock, Duke of Gloucester, uncle to the king

Rebels

• Henry Bolingbroke – Knuckles of Hereford, son of John of Gaunt, later Henry 4
• Earl of Northumberland
• Henry 'Hotspur' Percy – Northumberland'southward son
• Lord Ross
• Lord Willoughby
• Lord Fitzwater
• Sir Piers Exton

Richard's allies

• Duke of Surrey
• Earl of Salisbury
• Lord Berkeley
• Bushy – favourite of Richard
• Bagot^[1] – favourite of Richard
• Green – favourite of Richard
• Bishop of Carlisle
• Abbot of Westminster
• Sir Stephen Scroop

William le Scrope, 1st Earl of Wiltshire, featured in Thomas of Woodstock (as Sir Thomas Scroop), is an off-stage graphic symbol referred to as "The Earl of Wiltshire."

Others

• Lord Marshal (postal service held in 1399 by Duke of Surrey, though this is non recognised in the play)
• Welsh captain
• Two heralds
• Gardener
• Gardener'due south man
• Queen's ladies
• Keeper – jailer at Pomfret prison
• Groom
• Attendants, lords, soldiers, messengers, etc.

Synopsis [edit]

The play spans just the last two years of Richard'southward life, from 1398 to 1400. It begins with King Richard sitting majestically on his throne in full state, having been requested to arbitrate a dispute between Thomas Mowbray and Richard'southward cousin, Henry Bolingbroke, afterwards Henry Iv, who has accused Mowbray of squandering money given to him by Richard for the male monarch's soldiers and of murdering Bolingbroke's uncle, the Knuckles of Gloucester. Bolingbroke's begetter, John of Gaunt, 1st Duke of Lancaster, meanwhile, believes it was Richard himself who was responsible for his brother's murder. After several attempts to calm both men, Richard acquiesces and it is determined that the affair exist resolved in the established method of trial past battle betwixt Bolingbroke and Mowbray, despite the objections of Gaunt.

Richard Two Resigning the Crown to Bolingbroke, John Gilbert (1875-76)

The tournament scene is very formal with a long, ceremonial introduction, but every bit the combatants are nearly to fight, Richard interrupts and sentences both to banishment from England. Bolingbroke is originally sentenced to x years' adjournment, but Richard reduces this to six years upon seeing John of Gaunt'south grieving face, while Mowbray is banished permanently. The king'south decision can be seen as the first error in a series leading somewhen to his overthrow and death, since it is an error which highlights many of his character flaws, displaying every bit information technology does indecisiveness (in terms of whether to allow the duel to go ahead), abruptness (Richard waits until the concluding possible moment to cancel the duel), and arbitrariness (there is no credible reason why Bolingbroke should be allowed to return and Mowbray not). In add-on, the decision fails to dispel the suspicions surrounding Richard'southward involvement in the expiry of the Duke of Gloucester – in fact, by handling the situation so high-handedly and offering no coherent explanation for his reasoning, Richard only manages to appear more than guilty. Mowbray predicts that the rex will sooner or later autumn at the easily of Bolingbroke.

Later on an impassioned invective against the visiting king from his sick-bed, John of Gaunt dies and Richard seizes all of his land and money. This angers the nobility, who accuse Richard of wasting England's money, of taking Gaunt's coin (belonging by rights to his son, Bolingbroke) to fund state of war in Republic of ireland, of taxing the commoners, and of fining the nobles for crimes committed by their ancestors. They and then help Bolingbroke to return secretly to England, with a plan to overthrow Richard. There remain, still, subjects who proceed to be true-blue to the rex, among them Bushy, Bagot, Green and the Duke of Aumerle (son of the Knuckles of York), cousin of both Richard and Bolingbroke. When Male monarch Richard leaves England to nourish to the state of war in Republic of ireland, Bolingbroke seizes the opportunity to assemble an army and invades the north coast of England. Executing both Bushy and Green, Bolingbroke wins over the Duke of York, whom Richard has left in charge of his regime in his absence.

Upon Richard'southward return, Bolingbroke non but reclaims his lands merely lays claim to the very throne. Subsequently a dramatic public ceremony where he has the captive king publicly renounce his crown, he crowns himself King Henry Iv, and has Richard taken prisoner to the castle of Pomfret. Aumerle and others plan a rebellion confronting the new king, simply York discovers his son's treachery and reveals it to Henry, who spares Aumerle equally a upshot of the intercession of the Duchess of York while executing the other conspirators. Later on interpreting King Henry's "living fear" as a reference to the yet-living Richard, an ambitious nobleman (Exton) goes to the prison and murders him. Male monarch Henry repudiates the murderer and vows to journey to Jerusalem to cleanse himself of his part in Richard's death.

Sources [edit]

Shakespeare's primary source for Richard II, equally for most of his relate histories, was Raphael Holinshed'south Chronicles of England, Scotlande, and Irelande; the publication of the 2nd edition in 1587 provides a terminus post quem for the play.^[2] Edward Hall's The Wedlock of the Two Illustrious Families of Lancaster and York appears besides to take been consulted,^[3] and scholars have also supposed Shakespeare familiar with Samuel Daniel'south poem on the civil wars.^[iv]

A somewhat more complicated case is presented by the bearding play sometimes known every bit The First Function of Richard Two. This play, which exists in one incomplete manuscript copy (at the British Museum) is subtitled Thomas of Woodstock, and it is by this name that scholars since F. South. Boas take usually called it. This play treats the events leading up to the start of Shakespeare's play (though the 2 texts do non take identical characters). This closeness, along with the anonymity of the manuscript, has led sure scholars to attribute all or part of the play to Shakespeare, though many critics view this play equally a secondary influence on Shakespeare, not every bit his work.^[five]

Date and text [edit]

The title folio from the 1608 quarto

The primeval recorded functioning of Richard Two was a individual one, in Canon Row, the business firm of Edward Hoby, on ix December 1595.^[6] The play was entered into the Register of the Stationers Company on 29 August 1597 by the bookseller Andrew Wise; the first quarto was published past him later on that twelvemonth, printed past Valentine Simmes. The second and tertiary quartos followed in 1598 – the merely fourth dimension a Shakespeare play was printed in iii editions in two years. Q4 followed in 1608, and Q5 in 1615. The play was side by side published in the First Folio in 1623.

Richard Two exists in a number of variations. The quartos vary to some degree from i another, and the folio presents further differences. The first three quartos (printed in 1597 and 1598, commonly assumed to have been prepared from Shakespeare's holograph) lack the deposition scene. The quaternary quarto, published in 1608, includes a version of the deposition scene shorter than the i later on printed, presumably from a prompt-volume, in the 1623 First Folio. The scant evidence makes explaining these differences largely conjectural. Traditionally, information technology has been supposed that the quartos lack the degradation scene because of censorship, either from the playhouse or by the Master of the Revels Edmund Tylney and that the Page version may better reflect Shakespeare's original intentions. There is no external prove for this hypothesis, however, and the championship page of the 1608 quarto refers to a "lately acted" degradation scene (although, once again, this could be due to earlier censorship which was later relaxed).

Analysis and criticism [edit]

Structure and language [edit]

The play is divided into v acts and its construction is every bit formal as its linguistic communication. It has a double complementary plot describing the fall of Richard Two and the rise of Bolingbroke, later known as Henry Iv.^[7] Critic John R. Elliott Jr. notes that this particular history play can be distinguished from the other history plays considering it contains an ulterior political purpose. The normal structure of Shakespearean tragedy is modified to portray a cardinal political theme: the rising of Bolingbroke to the throne and the conflict betwixt Richard and Bolingbroke over the kingship. In Acts IV and V, Shakespeare includes incidents irrelevant to the fate of Richard that are later resolved in the future plays of the Richard II–Henry V tetralogy.^[viii]

The literary critic Hugh M. Richmond notes that Richard'due south beliefs most the Divine Right of Kings tend to fall more in line with the medieval view of the throne. Bolingbroke, on the other hand, represents a more modern view of the throne by arguing that not only bloodline but also intellect and political savvy contribute to the makings of a good king.^[9] Richard believes that as king he is called and guided past God, he is non subject to man frailty and the English people are his to practise with as he pleases. Elliott argues that mistaken notion of his role as king is what ultimately leads to Richard'southward failure. Elliott goes on farther and points out that it is Bolingbroke's ability to relate and speak with those of the middle and lower classes that allows him to take the throne.^[10]

Unusually for Shakespeare, Richard II is written entirely in verse, and one of only four of his plays that are, the others being King John and the showtime and third parts of Henry Vi. Information technology thus contains no prose. There are also great differences in the use of linguistic communication amongst the characters. Traditionally, Shakespeare uses prose to distinguish social classes: the upper classes generally speak in poetry while the lower classes speak in prose. In Richard II, there is no prose, but Richard uses flowery, metaphorical language in his speeches, whereas Bolingbroke, who is also of the noble class, uses a more plain and directly language. In Richard Ii, besides the usual blank poesy (unrhymed pentameters), there are long stretches of heroic couplets (pairs of rhymed pentameters). The play contains a number of memorable metaphors, including the extended comparison of England with a garden in Act III, Scene 4 and of its reigning king to a lion or to the lord's day in Act Iv.

The language of Richard II is more eloquent than that of the before history plays, and serves to set the tone and themes of the play. Shakespeare uses lengthy verses, metaphors, similes and soliloquies to reflect Richard'southward grapheme as a homo who likes to analyse situations rather than human action upon them. He always speaks in tropes using analogies such as the sun as a symbol of his kingly condition. Richard places great accent on symbols which govern his behaviour. His crown serves as a symbol of his regal ability and is of more concern to him than his actual kingly duties.^[7]

Historical context [edit]

The play was performed and published late in the reign of Elizabeth I of England, at a fourth dimension when the queen's avant-garde historic period made the succession an important political concern. The historical parallels in the succession of Richard Two may non accept been intended as political annotate on the contemporary state of affairs,^[11] with the weak Richard Ii coordinating to Queen Elizabeth and an implicit argument in favour of her replacement by a monarch capable of creating a stable dynasty, just lawyers investigating John Hayward's historical work, The Offset Part of the Life and Raigne of King Henrie IV, a book previously believed to have taken from Shakespeare'southward Richard II, chose to make this connexion. Samuel Schoenbaum contests that Hayward had written his piece of work prior to Richard Ii, joking that "there is nothing like a hypothetical manuscript to resolve an awkwardness of chronology", as Hayward noted he had written the work several years earlier its publication.^[12] Hayward had dedicated his version to Robert Devereux, second Earl of Essex and when Essex was arrested for rebellion in February 1601 Hayward had already been imprisoned, to strengthen the case confronting the earl for "incitement to the deposing of the Queen". That Hayward had made his dedication was fortunate for Shakespeare, otherwise he too might have lost his liberty over the affair.^[xi]

Shakespeare'due south play appears to accept played a minor role in the events surrounding the final downfall of Essex. On 7 Feb 1601, just before the uprising, supporters of the Earl of Essex, amidst them Charles and Joscelyn Percy (younger brothers of the Earl of Northumberland), paid for a performance at the Globe Theatre on the eve of their armed rebellion. By this agreement, reported at the trial of Essex past the Chamberlain'due south Men actor Augustine Phillips, the conspirators paid the company forty shillings "to a higher place the ordinary" (i.e., higher up their usual charge per unit) to stage this play, which the players felt was too old and "out of use" to concenter a large audition.^[xi] Eleven of Essex'southward supporters attended the Sabbatum operation.

Elizabeth was enlightened of the political ramifications of the story of Richard II: according to a well-known but dubious chestnut, in Baronial 1601 she was reviewing historical documents relating to the reign of Richard Ii when she supposedly remarked to her archivist William Lambarde, "I am Richard Ii, know ye not that?" In the same historical report the Queen is said to have complained that the play was performed forty times in "open streets and houses" but at that place is no extant prove to corroborate this tale. At any rate, the Chamberlain's Men do not appear to have suffered for their association with the Essex group; just they were commanded to perform information technology for the Queen on Shrove Tuesday in 1601, the day earlier Essex's execution.^[xi]

Themes and motifs [edit]

The King's Two Bodies [edit]

In his analysis of medieval political theology, The King'south Two Bodies, Ernst Kantorowicz describes medieval kings as containing two bodies: a body natural, and a body politic. The theme of the king'due south two bodies is pertinent throughout Richard Two, from the exile of Bolingbroke to the deposition of King Richard Two. The body natural is a mortal torso, subject to all the weaknesses of mortal human beings. On the other hand, the body politic is a spiritual body which cannot be afflicted by mortal infirmities such as disease and sometime age. These ii bodies class one indivisible unit, with the body politic superior to the body natural.^[13]

Many critics concord that in Richard II, this central theme of the king'due south two bodies unfolds in three principal scenes: the scenes at the Coast of Wales, at Flintstone Castle, and at Westminster. At the coast of Wales, Richard has simply returned from a trip to Ireland and kisses the soil of England, demonstrating his kingly attachment to his kingdom. This image of kingship gradually fades as Bolingbroke's rebellion continues. Richard starts to forget his kingly nature as his listen becomes occupied by the rebellion. This change is portrayed in the scene at Flintstone Castle during which the unity of the 2 bodies disintegrates and the king starts to use more poetic and symbolic language. Richard's body politic has been shaken as his followers take joined Bolingbroke's army, diminishing Richard'south military capacity. He has been forced to give up his jewels, losing his kingly appearance. He loses his temper at Bolingbroke, but then regains his composure every bit he starts to remember his divine side. At Flint Castle, Richard is adamant to hang onto his kingship even though the title no longer fits his appearance. Still at Westminster the paradigm of the divine kingship is supported past the Bishop of Carlisle rather than Richard, who at this point is becoming mentally unstable as his authority slips abroad. Biblical references are used to liken the humbled king to the humbled Christ. The names of Judas and Pilate are used to further extend this comparing. Before Richard is sent to his death, he "un-kings" himself by giving away his crown, sceptre, and the balm that is used to anoint a rex to the throne. The mirror scene is the final end to the dual personality. After examining his plain physical appearance, Richard shatters the mirror on the ground and thus relinquishes his past and present as king. Stripped of his former glory, Richard finally releases his torso politic and retires to his body natural and his own inner thoughts and griefs.^[13] Critic J. Dover Wilson notes that Richard's double nature equally man and martyr is the dilemma that runs through the play eventually leading to Richard'south decease. Richard acts the office of a royal martyr, and due to the spilling of his claret, England continually undergoes civil war for the next two generations.^[14]

The rise of a Machiavellian king [edit]

The play ends with the rise of Bolingbroke to the throne, mark the start of a new era in England. According to historical enquiry, an English language translation of Machiavelli's The Prince might take existed as early as 1585, influencing the reigns of the kings of England. Critic Irving Ribner notes that a manifestation of Machiavellian philosophy may be seen in Bolingbroke. Machiavelli wrote The Prince during a time of political chaos in Italy, and writes down a formula past which a leader can lead the country out of turmoil and return it to prosperity. Bolingbroke seems to exist a leader coming into ability at a time England is in turmoil, and follows closely the formula stated by Machiavelli. At the outset of Richard 2 Bolingbroke accuses Mowbray and ulteriorly attacks the regime of Male monarch Richard. He keeps Northumberland by his side every bit a tool to command certain constituents. From the minute Bolingbroke comes into power, he destroys the faithful supporters of Richard such every bit Bushy, Green and the Earl of Wiltshire. Likewise, Bolingbroke is highly concerned with the maintenance of legality to the kingdom, an of import principle of Machiavellian philosophy, and therefore makes Richard surrender his crown and physical accessories to erase any dubiety every bit to the existent heir to the throne. Yet, Irving Ribner still notes a few incidents where Bolingbroke does not follow true Machiavellian philosophy, such as his failure to destroy Aumerle, only such incidents are minuscule compared to the bigger events of the play. Even Bolingbroke's last statement follows Machiavellian philosophy as he alludes to making a voyage to the Holy Land, since Machiavellian philosophy states rulers must announced pious.^[xv] Therefore, this particular play can exist viewed every bit a turning point in the history of England as the throne is taken over by a more than commanding king in comparison to King Richard II.

Performance history [edit]

On 9 December 1595, Sir Robert Cecil enjoyed "K. Richard" at Sir Edward Hoby's house in Catechism Row, and it might have been Shakespeare's Richard II, although some suspected that information technology was a different play, a painting, or a historical document.^[16]

Some other commissioned performance of a different type occurred at the Globe Theatre on vii Feb. 1601. This was the performance paid for by supporters of the Earl of Essex'due south planned revolt (come across Historical Context in a higher place).^[17]

It is said that on 30 September 1607, the crew of Capt. William Keeling acted Richard Ii aboard the British East Republic of india Company ship The Red Dragon, off Sierra Leone, but the authenticity of this tape is doubted.^[18]

The play was performed at the Globe on 12 June 1631.^[19]

The play retained its political accuse in the Restoration: a 1680 accommodation at Drury Lane by Nahum Tate was suppressed for its perceived political implications. Tate attempted to mask his version, called The Sicilian Usurper, with a strange setting; he attempted to blunt his criticism of the Stuart courtroom by highlighting Richard's noble qualities and downplaying his weaknesses. Neither expedient prevented the play from being "silenc'd on the third 24-hour interval," as Tate wrote in his preface. Lewis Theobald staged a successful and less troubled adaptation in 1719 at Lincoln'southward Inn Fields; Shakespeare's original version was revived at Covent Garden in 1738.^[xx]

The play had limited popularity in the early twentieth century, merely John Gielgud exploded onto the world'due south theatrical consciousness, through his performance as Richard at the Erstwhile Vic Theatre in 1929, returning to the graphic symbol in 1937 and 1953 in what ultimately was considered equally the definitive operation of the part.^{[ citation needed ]} Another legendary Richard was Maurice Evans, who first played the role at the Sometime Vic in 1934 so created a sensation in his 1937 Broadway performance, revived it in New York in 1940 and then immortalised it on telly for the Authentication Hall of Fame in 1954. In England, Paul Scofield, who played it at the Quondam Vic in 1952, was considered the definitive Richard of more modern times.^[21] In the 1968–1970 seasons of the Prospect Theatre Company, Ian McKellen made a breakthrough performance as Richard, reverse Timothy West as Bolingbroke. The product, directed by Richard Cottrell, toured Britain and Europe, featuring in the Edinburgh Festival in 1969 and on BBC TV in 1970.^{[22] [23] [24]} In 1974, Ian Richardson and Richard Pasco alternated the roles of Richard and Bolingbroke in a production from John Barton at the Royal Shakespeare Theatre: 30 years later this was all the same a standard by which performances were being judged.^[25] One of the most attainable versions was the 1978 television production by the BBC of the play, shown equally function of "The Shakespeare Plays" (a several years-long projection to put all of Shakespeare'south plays on record). This version, still available on DVD, starred Derek Jacobi as Richard, with John Gielgud making an appearance every bit John of Gaunt. In 1997, Fiona Shaw played the part every bit a man.^[26] More recently, the play was staged past Trevor Nunn in modern costume at the Old Vic in 2005, with Kevin Spacey in the championship role, and by Michael Grandage at the Donmar Warehouse in 2011–12 with Eddie Redmayne in the title role.

Additionally the role was played by Mark Rylance at the Globe Theatre in 2003. An often overlooked product, the pb actor handles the character in, as The Guardian noted, perhaps the most vulnerable way ever seen.^[27] The play returned to the Globe in 2015 with Charles Edwards in the title role.^[28]

In summertime 2012, BBC Ii broadcast a filmed adaptation together with other plays in the Henriad under the serial championship The Hollow Crown with Ben Whishaw as Richard 2.^[29]

No flick version for cinema release has always been made; nevertheless, the 1949 film Train of Events includes a sub-plot featuring an amateur dramatics social club performing the last scenes of Richard Two.

The Royal Shakespeare Company produced the play with David Tennant in the atomic number 82 office in 2013.^[30] It has been released every bit a Cineplex Odeon special worldwide moving-picture show event.^[31] Tennant reprised the role for his U.Southward. stage debut, at BAM, in April 2016.

The Almeida Theatre, Islington, London, produced the play with Simon Russell Beale in the pb office in 2019.^[32]

Run into also [edit]

• List of screen adaptations of Richard II

References [edit]

1. ^ Forker, Charles (1 January 1998). Forker page 507 notation 24. ISBN9780485810028 . Retrieved 12 December 2013.
2. ^ Gurr (1990: 55)
3. ^ Forker 2002, pp. 136–138. sfn fault: no target: CITEREFForker2002 (help)
4. ^ Forker 2002, pp. 112–114. sfn error: no target: CITEREFForker2002 (help)
5. ^ Shapiro, I. A. "Richard 2 or Richard 3 or..." Shakespeare Quarterly 9 (1958): 206
6. ^ Richard II, John Dover Wilson, Cambridge University Press, 1951
7. ^ ^{a b} The Riverside Shakespeare: 2nd Edition. Boston: Houghton Mifflin Company, 1997, 845.
8. ^ Elliott, John R., Jr. (Spring 1968). "History and Tragedy in Richard II". SEL: Studies in English Literature 1500–1900. eight (ii): 253–271.
9. ^ Richmond, Hugh M. (March 1975). "Personal Identity and Literary Personae: A Written report in Historical Psychology". PMLA. 90 (ii): 214–217.
10. ^ Elliott 253–267.
11. ^ ^{a b c d} Bate, Jonathan (2008). Soul of the Age. London: Penguin. pp. 256–286. ISBN978-0-670-91482-one.
12. ^ Schoenbaum, Samuel (2004). Richard II and the realities of Power. Cambridge: Cambridge. pp. 101–102. ISBN0-521-83623-9.
13. ^ ^{a b} Kantorowicz, H. Ernst. The King's 2 Bodies: A Study in Medieval Political Theology. New Jersey: Princeton University Press, 1957, 24–31.
14. ^ Thompson, Karl F. "Richard Ii, Martyr." Shakespeare Quarterly viii.two (Spring 1957), 159–166. JSTOR 2866958
15. ^ Newlin, T. Jeanne. Richard II: Disquisitional Essays. New York: Garland Publishing Inc, 1984, 95–103.
16. ^ Charles Forker, "Introduction", William Shakespeare, Richard II, Arden Shakspeare Third Serial, ed. past Charles R. Forker (Bloomsbury, 2009), 1–169, pp. 114–115.
17. ^ Charles Forker, "Introduction", William Shakespeare, Richard II, Arden Shakspeare Third Series, ed. by Charles R. Forker (Bloomsbury, 2009), 1–169, p. 10.
18. ^ Kliman, Bernice Westward. (2011). "At Sea about Hamlet at Sea: A Detective Story". Shakespeare Quarterly. 62 (2): 180–204. doi:10.1353/shq.2011.0025. ISSN 0037-3222. JSTOR 23025627. S2CID 192187966.
19. ^ Charles Forker, "Introduction", William Shakespeare, Richard 2, Arden Shakspeare 3rd Serial, ed. by Charles R. Forker (Bloomsbury, 2009), i–169, p. 121.
20. ^ F. E. Halliday, A Shakespeare Companion 1564–1964, Baltimore, Penguin, 1964; pp. 262, 412–413.
21. ^ "Paul Scofield: Oscar-winning actor whose astounding range was unmatched in his generation". The Contained. London. 21 March 2008. Archived from the original on 25 September 2015.
22. ^ "Prospect Theatre Company". Ian McKellen Stage. Archived from the original on 10 August 2014. Retrieved 26 Apr 2016.
23. ^ Coveney, Michael (26 Apr 2016). "Toby Robertson obituary". The Guardian. Archived from the original on iii February 2014. Retrieved 16 September 2013.
24. ^ "Richard II archive of Ian McKellen". Archived from the original on 2 June 2016. Retrieved 26 Apr 2016.
25. ^ Coveney, Michael (6 Oct 2005). "A king with a PM'southward issues". The Independent. UK. Archived from the original on 10 July 2009. Retrieved 1 June 2009. the greatest RSC productions...the all-time ever was John Barton'south with Ian Richardson and Richard Pasco
26. ^ "Richard II". ane January 2000. Archived from the original on vii March 2011 – via IMDb.
27. ^ Gardner, Lyn (24 Jan 2013). "Shakespeare'due south Richard Two: which role player wears the crown all-time?". The Guardian. Archived from the original on ii Feb 2017.
28. ^ "Richard II / Shakespeare's Globe". Archived from the original on 7 September 2015.
29. ^ "The Hollow Crown: Richard Ii". BBC Media Centre. Archived from the original on xviii June 2012. Retrieved 15 June 2012.
30. ^ "David Tennant to play Richard Ii in RSC's wintertime season". BBC News. 23 January 2013. Archived from the original on 24 January 2013.
31. ^ "Archived re-create". Archived from the original on 22 July 2014. Retrieved nineteen July 2014. {{cite web}}: CS1 maint: archived re-create as title (link)
32. ^ Cavendish, Dominic (19 December 2018). "The Tragedy of King Richard the 2d, Almeida, review: a Simon Russell Beale masterclass, but an irksome product". The Daily Telegraph. Archived from the original on 12 January 2022. Retrieved half-dozen January 2019.

Bibliography [edit]

Editions of Richard II [edit]

• Bate, Jonathan and Rasmussen, Eric (eds.), Richard Two (The RSC Shakespeare; London: Macmillan, 2010)
• Black, Matthew W. (ed.) The Tragedy of King Richard the 2nd (The Pelican Shakespeare; London, Penguin, 1957; revised edition 1970)
• Dawson, Anthony B. and Yachnin, Paul (eds.) Richard II (The Oxford Shakespeare; Oxford: Oxford University Printing, 2012)
• Dolan, Frances East. (ed.) Richard II (The Pelican Shakespeare, 2nd edition; London, Penguin, 2000)
• Dover Wilson, John (ed.) Richard II (The New Shakespeare; Cambridge: Cambridge University Press, 1939; 2nd edition, 1951)
• Edmondson, Paul (ed.) Richard II (The New Penguin Shakespeare 2d edition; London: Penguin, 2008)
• Evans, Thousand. Blakemore (ed.) The Riverside Shakespeare (Boston: Houghton Mifflin, 1974; second edn., 1997)
• Forker, Charles R. (ed.) King Richard 2 (The Arden Shakespeare, 3rd Series; London: Arden, 2002)
• Greenblatt, Stephen; Cohen, Walter; Howard, Jean E. and Maus, Katharine Eisaman (eds.) The Norton Shakespeare: Based on the Oxford Shakespeare (London: Norton, 1997)
• Gurr, Andrew (ed.) King Richard 2 (The Cambridge Shakespeare; Cambridge: Cambridge University Press, 1984; 2nd edition 2003)
• Muir, Kenneth (ed.) Richard II (Signet Classic Shakespeare; New York: Signet, 1963; revised edition, 1988; 2nd revised edition 1999)
• Powell, Ivor B. (ed.) King Richard II (The Arden Shakespeare, 1st Series; London: Arden, 1912)
• Ure, Peter (ed.) Rex Richard II (The Arden Shakespeare, second Serial; London: Arden, 1956)
• Wells, Stanley (ed.) Richard II (The New Penguin Shakespeare; London: Penguin, 1969; revised edition 1997)
• Wells, Stanley; Taylor, Gary; Jowett, John and Montgomery, William (eds.) The Oxford Shakespeare: The Complete Works (Oxford: Oxford University Press, 1986; 2d edn., 2005)
• Werstine, Paul and Mowat, Barbara A. (eds.) Richard II (Folger Shakespeare Library; Washington: Simon & Schuster, 1996)

Secondary sources [edit]

• Barroll, Leeds. "A New History for Shakespeare and His Time." Shakespeare Quarterly 39 (1988), 441–444.
• Bergeron, David. "The Degradation Scene in Richard Ii." Renaissance Papers 1974, 31–37.
• Bullough, Geoffrey. "Narrative and Dramatic Sources of Shakespeare". Early on English language History Plays: Henry VI Richard Iii Richard Two, volume III, Routledge: London, New York, 1960.
• Huke, Ivan and Perkins, Derek. Richard Two: Literature Revision Notes and Examples. Celtic Revision Aids. 1981. ISBN 0-17-751304-7.
• Chambers, East. K. William Shakespeare: A Study of Facts and Problems. 2 Volumes. Oxford: Clarendon Printing, 1930.
• Rose, Alexander. Kings in the N – The House of Percy in British History. Phoenix/Orion Books Ltd, 2002, ISBN 1-84212-485-iv
• Smitd, Kristian. Unconformities in Shakespeare's History Plays, St. Martin's Press: New York, 1993.
• Tillyard, E. M. W. Shakespeare's History Plays, Chatto & Windus: London, 1944.

External links [edit]

• Richard II at Standard Ebooks
• Richard 2 at Project Gutenberg
• Richard Two public domain audiobook at LibriVox
• King Richard the 2nd – Modernistic version of the play

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Source: https://en.wikipedia.org/wiki/Richard_II_(play)

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