Richard III’s Disability: Limitations and Impotence

ENG331H1S - Drama to 1603

Critical Analysis - Richard III’s Disability: Limitations and Impotence

Professor Matthew Sergi

Submitted by Mithila Rajavel

February 13th, 2014

Richard III’s Disability: Limitations and Impotence

In the world of Richard III, King Richard’s disability stands testament to his detestable, villainous character, emblematic of the Tudor era notions of disability. In the article, “Enabling Richard: The Rhetoric of Disability in Richard III”, author Katherine Williams states, “Although Richard's body appears singularly deficient among the other characters in the play, he relies upon the multiple significations of his deformities as a technology of performance to aid his bid for power, not impede it.” [1] This idea of Richard using his disability to his advantage is flawed. His ‘deformities’ do not ‘aid his bid’ in any way, but rather remain a constant obstacle on his journey to ultimate power and respect, continuously hindering his political goals, stunting growth of character and never allowing him to experience the notion of being ‘normal’. This is particularly evident in the final act of the play, after a visit from the three ghosts,  Richard contemplates his actions and reflects on what he has become. Williams suggests that Richard perceives his hatred as his fuel for passionate revenge, but it is the anxious yearning for acceptance which he instead misinterprets. In the opening scene, Richard is “determined to play villain” [2], his decision to claim the throne, that he again places himself a victim to course of nature, which he blames for being “cheated of feature” [3], be his unnatural guide to his reign. Imperfectly shaped, he is noticeably attracted to objects that are as equally flawed as he is, which deters him from ever escaping his constraints and truly obtaining the so called ‘normal’ lifestyle that his surrounding others have refused him. 

The play opens immediately chastising Richard’s contorted body, emphasizing his impotence. William’s states, “Richard seems here to believe that his role is pre-determined”. [4] Richard does not even try to even consider that he can overcome his lack of natural form, because he cannot simply accept that there is no solution to ‘straighten’ per say his “rudely stamped” [5] body and hence his attitude. We see him many times describe his deficiencies, that he is “not shaped for sportive tricks” [6] and is “deformed, unfinished” [7].  We are given an insight into his distinct awareness of this features and how he carries these thoughts with him; his view of himself only stops him from contemplating a future he would not forcefully have to attain the affections and attention from the people surrounding him. Though he is aware of his suffering he is oblivious to the fact that he inhibits any chance of letting himself grow out of his misery and find a more righteous path. 

 To really understand Richard’s need to aspire to belong to the norm, we can draw attention to many of his outbursts and outpourings throughout the play. Richard calls on his past mistreatment to indicate the immensity of the pain he underwent allowing us to empathize with him for his loss. Williams stands with the notion that “Richard's employment of his deformed body to distract from political maneuvers and project imaginary social behavior culminates in the bid for power.” [8] Richard commits murder and treason and continues act in haste, all in name of revenge and does attain the title of monarch. However, by committing these deeds, Richard only emphasizes his deformity, by becoming an example that those who are not of natural form do not act naturally, unconsciously constructing himself to become what he despises. 

Diving deeper into the mind of Richard, we can understand that he is seeking the attention that he had never received as child. In doing so, he punishes those who had downtrodden on his spirit and cast him away. He still remains the lost, insecure child within his mutilated body, despite his outward role of king. We see these feelings surface after his visitation with the ghosts in act 5, Richard is clear in confessing his self-doubts and troubled conscience. He is seized with horror when he realizes that he is most frightened of himself. He rhetorically asks himself ‘is there a murderer here?’ [9] and realizes that he himself is a mass murderer. His emotional self hinders him from ever really feeling whole. Richard is no more than an emotionally abused child, who will forever suffer the unchangeable consequence of his impairment. In the end he claims himself to have become what he had wanted, “I am a villain” [10]. In this moment Richard realizes that he does not feel triumph but rather moral loathing and self-doubt, which most likely psychologically undermined his death during battle.

Moreover many of Richard’s acquaintances further degrade his self esteem, setting him apart from others, he is constantly faced with comments and unkind words about his appearance. It is these acts of bullying which pressure him into allowing his disability to isolate himself. In particular, Richard’s mother, the Duchess of York, sullenly describes Richard as a tormentful child.

She claims him to be irascible from a child. He was “techy and wayward” [11] as she describes, already setting him apart from those around him. A young Richard, slowly being shaped by his deformity, unconsciously giving in to creating a front, one that is “bloody and treacherous” [12], a likely defense against hateful words. From her words, we can conclude that from early on Richard’s future has been pre-determined. He has not taken the time to understand his pain and resolve his feelings of separation and therefore he remains broken and continues ruling with a hollow heart and vengeful mind. 

Furthermore, it is his lack of body that distinctively emphasizes his political disability. Williams claims “It is this show, manipulation, and rhetorical embellishment of his distinctive body that enables his bid for the throne.” [13] Richard’s body does not ‘enable his bid for the throne’ but rather exemplifies his ultimate defeat. Richard consistently focuses upon his body and its unsuitability to pursue norms. showing how aware he was of his aesthetics. This extreme mindfulness shows his constant awareness of his disability, hence letting himself believe his actions are pre-determined. Richard III’s twisted body keenly directs attention to his impotence and the notion that he will never beget the need to be ‘normal’.

Bibliography

1. Schaaps Williams, Katherine. “Enabling Richard: The Rhetoric of Disability in Richard III.” Disability Studies Quarterly. Ohio State University Library. 2009. 

2. Shakespeare, William. Ed. Peter Holland. Richard III. New York: Penguin Books, 2000.

1.  Schaaps Williams, Katherine. “Enabling Richard: The Rhetoric of Disability in Richard III.” Disability Studies Quarterly. Ohio State University Library. 2009. 

2. Shakespeare, William. Ed. Peter Holland. Richard III. New York: Penguin Books, 2000. p.6

3. Shakespeare, William. Ed. Peter Holland. Richard III. New York: Penguin Books, 2000. p.6

4.  Schaaps Williams, Katherine. “Enabling Richard: The Rhetoric of Disability in Richard III.” Disability Studies Quarterly. Ohio State University Library. 2009. 

5. Shakespeare, William. Ed. Peter Holland. Richard III. New York: Penguin Books, 2000. p.5

6. Shakespeare, William. Ed. Peter Holland. Richard III. New York: Penguin Books, 2000. p.5

7. Shakespeare, William. Ed. Peter Holland. Richard III. New York: Penguin Books, 2000. p. 6

8.  Schaaps Williams, Katherine. “Enabling Richard: The Rhetoric of Disability in Richard III.” Disability Studies Quarterly. Ohio State University Library. 2009. 

9. Shakespeare, William. Ed. Peter Holland. Richard III. New York: Penguin Books, 2000. p.149

10. Shakespeare, William. Ed. Peter Holland. Richard III. New York: Penguin Books, 2000. p.149

11. Shakespeare, William. Ed. Peter Holland. Richard III. New York: Penguin Books, 2000. p.121

12. Shakespeare, William. Ed. Peter Holland. Richard III. New York: Penguin Books, 2000. p.121

13.  Schaaps Williams, Katherine. “Enabling Richard: The Rhetoric of Disability in Richard III.” Disability Studies Quarterly. Ohio State University Library. 2009.