Eric Gorizzan
ENG331H1S
Prof. M. Sergi
February 17, 2014
Religion and Conscience for Divine Right in Richard III
Religion and holiness are subtly implemented by the characters in
Shakespeare’s Richard III, rather
than outward examples of treason and villainy displayed by Richard, Duke of
Gloucester. Richard subtly
subverts religion and divine right, which, I would argue, sparks his demise. Religion is represented strongly by the
quality of one’s soul, and to disobey God creates a dissent between man and his
conscience (Long 4). Other
characters of Richard III expose
their opposition toward Richard and what he represents as a man: man
representing Richard’s flesh and blood as a mortal man, and his pursuits as a
mortal being. Richard remains
fixed in human ambition, which turns away from godly practices. Religion, in Richard III, influences one’s soul’s fate, and it is God that
determines His worldly king by divine right. Richard undermines religion and divine right through human
ambitions and dissent from God, which determines his fate. I will argue that Richard III favours the idea of divine right, which is only
initiated by those individual’s actions and language, more specifically,
Richmond and Richard’s contest towards the throne.
The
characters of Richard III reveal
their personal qualities through their speech. Lady Anne curses Richard for the death of her son and
husband, “Foul devil, for God’s sake, hence and trouble us not, / For thou hast
made the happy earth thy hell,” (I.ii.50-51). Here, Lady Anne describes Richard’s evil world, or his own
“kingdom.” This representation of
Lady Anne’s perception of Richard reveals Richard’s evil intent, and actions
against religion through language.
But “happy earth” is not a godly earth, instead, it is a mortal earth
tainted by Richard’s ambition towards mortal desires – the throne. Richard mocks godly things like the
king’s sovereignty, “With whom my soul is any jot at odds / more than the
infant that is born tonight. / I thank my God for my humility.” (II.i.71-73). Richard sardonically asks for the
king’s reconciliation, and thanks God for his “humility,” claiming to have a
clean soul at odds with no one.
Richard makes a jape of King Edward’s charity and divinity through this
satire, thereby revealing his soul’s lack of humility and religion.
Zackariah
Long’s article, “Conscience in ‘Richard III’,” argues the importance of a clean
conscience and its relationship with God.
Long explains connotations of “trauma,” and “conscience,” concerning the
individual and the state of their soul (Long 3). Outside the realm of the immortal soul, is the mortal body,
which shares the world with other beasts: the immortal soul is meant to
separate humans from animals and attach in it the presence of God (Long 3). By this understanding of early concepts
of the soul, Shakespeare deliberately sets Richard against religion. To not become the “Richard” in Richard III, one was to take sides with
God, especially royalty, who were thought to have divine right to govern in the
mortal realm.
Most characters are aware and cautious of the notion of divinity,
but Richard remains ignorant to this, “With curses in her mouth, tears in her
eyes, / The bleeding witness of my hatred by, / Having God, her conscience, and
these bars against me,” (I.ii.32-34).
This passage depicts Richard’s distaste of things holy as he mocks Lady
Anne behind her back for her relationship with God. Here, “God” and “conscience” are both mentioned,
illustrating their ties to one another when maintaining an individual’s
immortal being. Long argues the
importance of conscience, and Shakespeare speaks against piety and conscience
through Richard’s character.
Shakespeare’s representation of Richard is not a depiction of the
flaws of divine right, but instead, that monarchs must earn and maintain divine
right. King Edward IV, and
Richmond both represent qualities of humility and piety through their behaviour
and language. Before his death,
King Edward attempts to mend unsteady relationships between lords, and in doing
so reveals these characteristics:
Why, so, now have I done a good day’s work.
You peers, continue this united league.
I every day expect an embassage
From my Redeemer to redeem me hence;
And more in peace my soul shall part to heaven,
Since I have made my friends at peace on earth.
Hastings and Rivers, take each other’s hand.
Dissemble not your hatred, swear your love.
(II.i.1-8)
King Edward shows his knowledge of God and what He expects of him as
king. Edward continues to make
peace, and says his soul may rest easier if these individuals amend their
issues. This passage demonstrates
what is expected of a king, set in his throne by true divine right – holiness
by example. Edward later
pronounces God’s will for peace and warning, should “the King of Kings”
discover conflict (II.i.13).
Richmond
also exhibits godly fervour. In
Act V, prior to the final battle, Richmond prays, “Once more, good night, kind
lords and gentlemen. / O Thou, whose captain I account myself, / […] To thee I
do commend my watchful soul” (V.iii.108-109, 116). Richmond is praying to God, and asking for his will and
protection. Richmond also refers
to himself as God’s “captain,” or king, to do His will, and offers up his own
soul through God’s purpose on earth.
“Good night” carries etymological connotation meaning, God give you rest
(OED Online). The use and
repetition of “good” or “good night,” by Richmond and his men prove his devout piety
and awareness of conscience. However,
Richard does not speak so kindly to his followers, and does not pray. Both individuals’ choices in behaviour affect
the battle’s outcome and determine one’s divine right to the throne.
The scene continues into the characters’ sleep. Richard’s unclean conscience begins to
catch up with him, and the spirits of God’s realm influence those in the mortal
realm. The spirits say, “[To Richard] Bloody and guilty, guiltily
awake […] / To Richmond Quiet
untroubled soul, awake, awake!” (V.iii.147, 150). The mention of “bloody,” and “guilty” represent Richard’s
faults exhibited through his mortal being which tainted his conscience. Richard’s past sins and his lack of
religion do not allow him divine support.
However, Richmond is continually wished “good” rest and to wake in joy
(OED Online); his soul has been kept clean, and practiced in God’s prayer. Unrest is a common notion paired with
the quality of one’s conscience within Richard
III; hence Richard’s unrest and Richmond’s “good night” (Long 7).
Richard’s reign as king is short and tainted because of
his lack of religion. The end of
Richard’s reign is followed by the battle with Richmond. During their orations to their armies,
Richard and Richmond proclaim their divinity, or lack thereof. “God and our good cause fight upon our
side; / The prayers of holy saints and wronged souls, / Like high-reared
bulwarks, stand before our faces” (V.iii. 241-243). Here, Richmond reminds his soldiers of their holy cause with
God on their side in battle. Conversely,
Richard’s words do not carry similar holy praise, which reflects Richard’s
illegitimate reign, and foreshadowed loss in battle. “If not to heaven, then hand in hand to hell. / […] You
sleeping safe, they bring you unrest;” (V.iii. 312, 321). Hand in hand to hell, Richard declares
his position regarding divinity.
Richard also mentions sleep alluding to his unrest, and the restless
souls that still haunt him. In
this passage there is little to show regarding God and Richard’s outlook
towards religion. This passage marks
one of the final times Richard speaks before his death in battle. In judging the language of Richard and
Richmond, Richard’s short reign as king was ill gotten and illegitimate by
God’s will, and this is foreshadowed in each characters’ speech.
Language
and its uses, with connotations and reference in religion, determine the
outcome of God’s divine will in Richard
III. Richard’s poor choice of
“good” words, and his mockery of religion and sovereignty decided his
illegitimate place upon the throne.
Shakespeare’s depiction of divine right does not undermine its
legitimacy, but rather enforces its dominion over the mortal realm. Richmond, for example, behaves with
virtue and humility, which instates his divine right, properly earning the
throne over Richard’s tainted mortal ambitions. Richard III
functions as an exemplary play through Richard’s character, offering a manner
which not to act; the conscience is to be maintained as well with the body. These characters are represented by
their holy – or unholy – language, which influence their conscience being. In
Shakespeare’s realm, it is best to maintain a clear conscience in order to
survive on the throne in Richard III.
Works Cited
"good night, n.". OED Online.
December 2013. Oxford University Press. 17 February 2014
<http://www.oed.com/view/Entry/79974?rskey=wPekXj&result=1&isAdvanced=false>.
Long, Zackariah C.
"Toward an Early Modern Theory of Trauma: Conscience in Richard III."
Journal of
Literature and Trauma Studies. 1.1 (Spring 2012): 49-72. Print.
Shakespeare, William. Richard III.
New York: Penguin Books, 2000. Print.
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