Richard II (play)
The Life and Death of King Richard the Second, commonly called Richard II, is a history play by William Shakespeare believed to have been written around 1595. Based on the life of King Richard II of England (ruled 1377–1399), it 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 three plays about Richard's successors: Henry IV, Part 1; Henry IV, Part 2; and Henry V.
Although the First Folio (1623) includes the play among the histories, the earlier Quarto edition of 1597 calls it The Tragedie of King Richard the second.
Analysis and criticism[edit]
Structure and language[edit]
The play is divided into five acts and its structure is as formal as its language. It has a double complementary plot describing Richard II's fall and the rise of Bolingbroke, later known as Henry IV.[7] Critic John R. Elliott Jr. notes that this play can be distinguished from the other history plays because it has an ulterior political purpose. Shakespearean tragedy's normal structure is modified to portray a central political theme: the rise of Bolingbroke to the throne and the conflict between Richard and Bolingbroke over the kingship. In Acts IV and V, Shakespeare includes incidents irrelevant to Richard's fate that are resolved in the future plays of the Richard II–Henry V tetralogy.[8]
The literary critic Hugh M. Richmond notes that Richard's beliefs about 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, 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 chosen and guided by God. Therefore, in his eyes, he is not subject to human frailty and may exert total control over his subjects. Elliott argues that mistaken notion of his role as king is what ultimately leads to Richard's failure, adding that Bolingbroke's ability to relate and speak with those of the middle and lower classes allows him to take the throne.[10]
Although it is largely historically accurate, Richard II is a tragedy.[11] Most of Shakespeare's tragedies follow a similar arc: a series of catastrophes lead to a death, which resolves in forgiveness. Richard II follows this pattern. A long line of mistakes, mostly on the part of Richard himself, lead to his incarceration and murder. But when his body is presented to Henry IV, the now-king declares, "although I did wish him dead, I hate the murderer, love the murderèd."[12] This line affords Richard absolution and cements this play's place among Shakespeare's tragedies.
Unusually for Shakespeare, Richard II is written entirely in verse, one of only four of his plays that are, the others being King John and the first and third parts of Henry VI. It thus contains no prose. There are also great differences in the characters' use of language. 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, also of the noble class, uses a more plain and direct language. In Richard II, besides the usual blank verse (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 iv and of its reigning king to a lion or to the sun in Act IV.
The language of Richard II is more eloquent than that of the earlier history plays, and serves to set the tone and themes of the play. Shakespeare uses lengthy verses, metaphors, similes and soliloquies to reflect Richard's character as a man who likes to analyse situations rather than act upon them. He always speaks in tropes, using analogies such as the sun as a symbol of his kingly status. Richard places great emphasis on symbols that govern his behaviour. His crown serves as a symbol of his royal power and is of more concern to him than his actual kingly duties.[7]
Performance history[edit]
On 9 December 1595, Sir Robert Cecil enjoyed "K. Richard" at Sir Edward Hoby's house in Canon Row, and it might have been Shakespeare's Richard II, although some suspected that it was a different play, a painting, or a historical document.[19]
Another commissioned performance of a different type occurred at the Globe Theatre on 7 Feb. 1601. This was the performance paid for by supporters of the Earl of Essex's planned revolt (see Historical Context above).[20]
It is said that on 30 September 1607, the crew of Capt. William Keeling acted Richard II aboard the British East India Company ship The Red Dragon, off Sierra Leone, but the authenticity of this record is doubted.[21]
The play was performed at the Globe on 12 June 1631.[22]
The play retained its political charge in the Restoration: a 1680 adaptation 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 foreign setting; he attempted to blunt his criticism of the Stuart court by highlighting Richard's noble qualities and downplaying his weaknesses. Neither expedient prevented the play from being "silenc'd on the third day," as Tate wrote in his preface. Lewis Theobald staged a successful and less troubled adaptation in 1719 at Lincoln's Inn Fields; Shakespeare's original version was revived at Covent Garden in 1738.[23]
The play had limited popularity in the early twentieth century, but John Gielgud exploded onto the world's theatrical consciousness, through his performance as Richard at the Old Vic Theatre in 1929, returning to the character in 1937 and 1953 in what ultimately was considered as the definitive performance of the role.[24] Another legendary Richard was Maurice Evans, who first played the role at the Old Vic in 1934 and then created a sensation in his 1937 Broadway performance, revived it in New York in 1940 and then immortalised it on television for the Hallmark Hall of Fame in 1954. In England, Paul Scofield, who played it at the Old Vic in 1952, was considered the definitive Richard of more modern times.[25] In the 1968–1970 seasons of the Prospect Theatre Company, Ian McKellen made a breakthrough performance as Richard, opposite Timothy West as Bolingbroke. The production, directed by Richard Cottrell, toured Britain and Europe, featuring in the Edinburgh Festival in 1969 and on BBC TV in 1970.[26][27][28] 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: nearly fifty years later this was still a standard by which performances were being judged.[29] One of the most accessible versions was the 1978 television production by the BBC of the play, shown as part of "The Shakespeare Plays" (a several years-long project to put all of Shakespeare's plays on tape). This version, still available on DVD, starred Derek Jacobi as Richard, with John Gielgud making an appearance as John of Gaunt. In 1997, Fiona Shaw played the role as a man.[30] More recently, the play was staged by Trevor Nunn in modern costume at the Old Vic in 2005, with Kevin Spacey in the title 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 production, the lead actor handles the character in, as The Guardian noted, perhaps the most vulnerable way ever seen.[31] The play returned to the Globe in 2015 with Charles Edwards in the title role.[32]
In summer 2012, BBC Two broadcast a filmed adaptation together with other plays in the Henriad under the series title The Hollow Crown with Ben Whishaw as Richard II.[33]
No film version for cinema release has ever been made; however, the 1949 film Train of Events includes a sub-plot featuring an amateur dramatics society performing the last scenes of Richard II.
The Royal Shakespeare Company produced the play with David Tennant in the lead role in 2013.[34] It has been released as a Cineplex Odeon special worldwide movie event.[35] Tennant reprised the role for his U.S. stage debut, at BAM, in April 2016.
The Almeida Theatre, Islington, London, produced the play with Simon Russell Beale in the lead role in 2019.[36]
