King Richard the Third

KING RICHARD THE THIRD. which in date of composition cannot long have fol lowed it. II> is marked by reflective grace, by force. Neither yet shows much variety of interest or any humor ous power. It happens that each play belongs to a tetralogy. The material of the play under discussion comes for the most part from Holinshed's chronicle, but the influence of three earlier dramas on the same subject is probably trace able: (1) Dr. Thomas Legge's Latin play, 'Richardus Tertius' (acted at Cambridge 15S0) (2) 'The True Tragedy of Richard III'(pub-: 1594), (3) 'The True Tragedy of Richard Duke of York' (published 1595). The last work, which Shakespeare rewrote as the Third Part of 'Henry VI,' evidently suggested 'Richard as its natural sequel. Through (1) and (2) doubtless came, at least in part, the marked reminiscence of Senecan melodrama. This shows itself in 'Richard III' in the special emphasis laid upon soliloquy, the power of the curse (cf. Queen Margaret in I, in and

IV, iv), and ill omen. Like Seneca, Shake speare here makes much of evil dreams. Three of the most notable in centre about night mares: Clarence's n I, iv, Stanley's in III, ii, and Richard's in V, iii. More than 'Hamlet,' 'Richard IIP is a one-man drama. The entire unrolls around the single figure of the villain-hero, and — by means of devices which Shakespeare was to employ more subtly in later works — Richard is made far more significant and interesting than he is in <3 Henry VI.' His hypocritical, sardonic assumption of guileless ness, the attractive power which he owes solely to his t?lazing intellectual fire, the frankness with which he confesses his villainy to himself, and the casuistical wit with which he seeks to explain it, are all traits hardly to be found in the Gloucester of 'Henry VI,' and all mark him as the first real precursor of Iago. This play is crude and immature; some critics, among them Lowell, have wished to deny that Shakespeare wrote it. It lacks moderation and true wisdom and even life-likeness; but it has power beyond measure, it bears the indubitable stamp of genius and the promise of higher things. Very few of Shakespeare's plays en joyed a wider popular success. In the Eliz abethan Age it passed through as many editions as the first part of 'Henry IV,' more than any other Shakespearean play. Richard was one of Burbage's greatest roles, and two centuries later became one of the greatest of Edmund Kean's. There have been various adaptations, one of which by Cibber still holds the stage in per formances of Mr. Mantell. .