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King Richard III (annotated), by William Shakespeare
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After a long civil war between the royal family of York and the royal family of Lancaster, England enjoys a period of peace under King Edward IV and the victorious Yorks. But Edward’s younger brother, Richard, resents Edward’s power and the happiness of those around him. Malicious, power-hungry, and bitter about his physical deformity, Richard begins to aspire secretly to the throne—and decides to kill anyone he has to in order to become king.
Using his intelligence and his skills of deception and political manipulation, Richard begins his campaign for the throne. He manipulates a noblewoman, Lady Anne, into marrying him—even though she knows that he murdered her first husband. He has his own older brother, Clarence, executed, and shifts the burden of guilt onto his sick older brother King Edward in order to accelerate Edward’s illness and death. After King Edward dies, Richard becomes lord protector of England—the figure in charge until the elder of Edward’s two sons grows up.
Next Richard kills the court noblemen who are loyal to the princes, most notably Lord Hastings, the lord chamberlain of England. He then has the boys’ relatives on their mother’s side—the powerful kinsmen of Edward’s wife, Queen Elizabeth—arrested and executed. With Elizabeth and the princes now unprotected, Richard has his political allies, particularly his right-hand man, Lord Buckingham, campaign to have Richard crowned king. Richard then imprisons the young princes in the Tower and, in his bloodiest move yet, sends hired murderers to kill both children.
By this time, Richard’s reign of terror has caused the common people of England to fear and loathe him, and he has alienated nearly all the noblemen of the court—even the power-hungry Buckingham. When rumors begin to circulate about a challenger to the throne who is gathering forces in France, noblemen defect in droves to join his forces. The challenger is the earl of Richmond, a descendant of a secondary arm of the Lancaster family, and England is ready to welcome him.
Richard, in the meantime, tries to consolidate his power. He has his wife, Queen Anne, murdered, so that he can marry young Elizabeth, the daughter of the former Queen Elizabeth and the dead King Edward. Though young Elizabeth is his niece, the alliance would secure his claim to the throne. Nevertheless, Richard has begun to lose control of events, and Queen Elizabeth manages to forestall him. Meanwhile, she secretly promises to marry young Elizabeth to Richmond.
Richmond finally invades England. The night before the battle that will decide everything, Richard has a terrible dream in which the ghosts of all the people he has murdered appear and curse him, telling him that he will die the next day. In the battle on the following morning, Richard is killed, and Richmond is crowned King Henry VII. Promising a new era of peace for England, the new king is betrothed to young Elizabeth in order to unite the warring houses of Lancaster and York.
- Sales Rank: #2359185 in eBooks
- Published on: 2015-04-20
- Released on: 2015-04-20
- Format: Kindle eBook
About the Author
William Shakespeare was born in April 1564 in the town of Stratford-upon-Avon, on England s Avon River. When he was eighteen, he married Anne Hathaway. The couple had three children an older daughter Susanna and twins, Judith and Hamnet. Hamnet, Shakespeare s only son, died in childhood. The bulk of Shakespeare s working life was spent in the theater world of London, where he established himself professionally by the early 1590s. He enjoyed success not only as a playwright and poet, but also as an actor and shareholder in an acting company. Although some think that sometime between 1610 and 1613 Shakespeare retired from the theater and returned home to Stratford, where he died in 1616, others believe that he may have continued to work in London until close to his death.
Most helpful customer reviews
17 of 18 people found the following review helpful.
Cambridge (Lull) edition one of the best intros.
By Dr. Richard D. Feinman
This edition has one of the best introductions I've read: informative, well-written and with photos from productions of R III. Just the section on Macbeth and Richard makes this top-notch. Even the Folio/Quarto stuff is interesting -- short and not pedantic. This is my choice for Richard III edition.
12 of 13 people found the following review helpful.
THE FIRST RESOURCE TO TURN TO ALWAYS FOR ENGLISH LITERATURE IS NORTON CRITICAL EDITIONS, AND THIS FOR RICHARD III
By Love Thy Enemy
Norton Critical Editions has long been the first resource to tap for English language Literature. For interpretation cum primary sources we might prefer the recent The Oxford Shakespeare: The Tragedy of King Richard III (Oxford World's Classics: the Oxford Shakespeare), referenced here in the Norton, in fact, and we might also find further along the shelf the King Richard III (Arden Shakespeare: Second Series), but we always know the Norton will be quite comprehensive and the highest quality of the academic as opposed to the polemic.
And in this very recent release from Norton we find no variation from this reputation. The primary sources in themselves are worthwhile to have between one cover in order to avoid disturbing your academic librarian while clodding across the oak floors.
From the section here on primary sources and analogues we discover of course an extensive excerpt (over thirty large pages) from Saint Thomas More's The History Of King Richard The Third, with the interesting story of how More came to record this gruesome history. From More we receive the deformed figure of Richard as well.
Let us note in passing that the cover of this edition does not bear the usual painting from the past we have come to expect, but a photo of Al Pacino in full regalia from his Looking for Richard, and we realize, as with Richard III, these actors are far too old. Such a one could never seduce the fair queen over the very corpse of her husband! Even Olivier in Richard III with Laurence Olivier (Import Edition) may be a bit too far gone, and stiff. Nevertheless the Pacino of Dog Day Afternoon just might have worked!
Forgive that digression, please. Under sources of course we also find Fabyan's New Chronicles of 1516, and Edward Hall's 1548 Union, as well of course as more direct source material for Mr. Shakespeare such as the Mirror for Magistrates from 1559 and the True Tragedie of 1594
The 1700 adaptation by Cibber which misrepresented the play for hundreds of years is also presented for comparison's sake. The history of stage critics take on various actor's presentation of King Richard follows, including George Bernard Shaw on Henry Irving's Richard. Several other articles in this section examine the history of interpreting Richard III fomr the earliest stagings through the latest film, including Olivier and Ian MacLellan.
The history of criticism of the play in itself is also presented, beginning with William Richardson and Edward Dowden through Wilbur Sanders. E. Pearlman discusses the Invention of Richard of Gloucester and Linda Charnes adds an excerpt from her Belaboring the Obvious: Reading the Monstrous Body of King Richard III. Katherine Maus handles Myself Alone: Richard III as Stage Machiavel; Ian Moulton, drawing from 'A Monster Great Deformed' discusses the Unruly Masculinity of Richard III, while Harry Berger, Jr. writes a piece original to this edition entitled Conscience and Complicity in Richard III.
As you can see this is a very comprehensive book, closing with a four page bibliography in print as tiny as legal notices in the newspaper. The text of the play itself takes about 105 pages, with textual variants held for the end. Each page of the play includes a few explanations of unfamiliar terms, etc.
The seven page preface by the editor Thomas Cartelli traces the sources of the text, the history through several editors since Shakespeare, and places it within the context of the other Historical plays of Henries and the War of the Roses.
Cartelli alters past practice in choosing to rely upon the first Quarto version, and explains well this decision, with occasional reference to the first (and only) Folio when the Quarto's terms are unclear, misprinted or omitted. Richard III was so popular a play in the time of Shakespeare that its Quarto editions run through eight versions altogether. Cartelli returns with good reason herein expressed to the original Quarto version.
Thus you may discover here everything you wish to know about this disturbing play which has given us lines as famous as anything from Shakespeare's Sonnets (Arden Shakespeare: Third Series) or even Hamlet (Norton Critical Editions), in a format designed for the immediate playing of it without further adaptation (an event which could and has run well over four hours!).
For further ideas from recent staging please see the well-illustrated and examined Richard III (Arden Shakespeare: Shakespeare at Stratford Series) which carries photographs and explanations of the history of staging Richard in Stratford up to our time.
This is a play we need to see again now as we strive to recover from decades of Machiavellian politics and a long War of the Red and Blue Roses, as we come together as one people and one nation.
10 of 11 people found the following review helpful.
Classic Shakespeare (i.e., sheer genius)
By Laszlo Matyas
It may not be Hamlet, but Richard III is still one of the finest works of literature ever created, in any medium. It's a classic piece of Shakespearian (and therefore, literary) character development, full of irony, wordplay, nuance, tension, imagery, and jaw-dropping poetic virtuosity. Shakespeare's Richard III is simply one of the most hypnotic and effectively portrayed characters of all time- he's a calculating, ruthless, cooly charismatic megalomaniac with bitter past and a knack for heroic feats of rhetoric. He's the quintessential antihero, a thoroughly despicable human being who is nonetheless incredibly fun to root for. Witnessing his swift, ruthless rise to power is a sheer visceral rush, and his monologues are deftly conceived works that drip with side poetry, cutting humor, and an almost charming sort of egotism. Reading or watching the play, one feels like they're the wicked king's confidante and co-conspirator, being allowed the unique privilege of peering into the amoral genius' twisted soul. The experience is exciting and cathartic. Of course, there's more to this play than one great character- the plot (which offers a seething glimpse of a chaotic post civil war England) is complex and engrossing, and sees Shakespeare hurling satirical darts at the corruption and pretensions of the nation's leaders. By allowing Richard to succeed by appealing to the greed, lust, and folly of those around him, Shakespeare sends a powerful warning about the cyclical nature and bottomless pitfalls of political villainy and oppression. At the same time, he paints a grim portrait of the ultimate outcomes of greed, egotism, selfishness, vengeance, and megalomania that still rings true to this day (and will probably do so until our species is extinct). Classic.
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