Ричард III: История о власти и судьбе

Shakespearean history play

Richard III is a play by William Shakespeare. It was probably written c. 1592–1594. It is labelled a history in the First Folio, and is usually considered one, but it is sometimes called a tragedy, as in the quarto edition. Richard III concludes Shakespeare's first tetralogy (also containing Henry VI, Part 1, Henry VI, Part 2, and Henry VI, Part 3) and depicts the Machiavellian rise to power and subsequent short reign of King Richard III of England. It is the second longest play in the Shakespearean canon and is the longest of the First Folio, whose version of Hamlet, otherwise the longest, is shorter than its quarto counterpart. The play is often abridged for brevity, and peripheral characters removed. In such cases, extra lines are often invented or added from elsewhere to establish the nature of the characters' relationships. A further reason for abridgment is that Shakespeare assumed his audiences' familiarity with his Henry VI plays, frequently referring to these plays.

Although they do not appear in the text of the play, many productions include as on stage characters Jane Shore (Edward IV's mistress), Elizabeth of York (Edward IV's daughter, later queen consort to Richmond [Henry VII]), and George Stanley (Lord Stanley's son, who is held hostage by Richard prior to the Battle of Bosworth Field).

Richard III is believed to be one of Shakespeare's earlier plays, preceded only by the three parts of Henry VI and perhaps Titus Andronicus and a handful of comedies. It is believed to have been written c. 1592–1594. Although Richard III was entered into the Register of the Stationers' Company on 20 October 1597 by the bookseller Andrew Wise, who published the first Quarto (Q1) later that year (with printing done by Valentine Simmes), Christopher Marlowe's Edward II, which cannot have been written much later than 1592 (Marlowe died in 1593), is thought to have been influenced by it. A second Quarto (Q2) followed in 1598, printed by Thomas Creede for Andrew Wise, containing an attribution to Shakespeare on its title page. Q3 appeared in 1602, Q4 in 1605, Q5 in 1612, and Q6 in 1622, the frequency attesting to its popularity. The First Folio version followed in 1623. The Folio is longer than the Quarto and contains some fifty additional passages amounting to more than two hundred lines. However, the Quarto contains some twenty seven passages amounting to about thirty seven lines that are absent from the Folio.]] One of the central themes of Richard III is the idea of fate, especially as it is seen through the tension between free will and fatalism in Richard's actions and speech, as well as the reactions to him by other characters. There is no doubt that Shakespeare drew heavily on Sir Thomas More's account of Richard III as a criminal and tyrant as inspiration for his own rendering. This influence, especially as it relates to the role of divine punishment in Richard's rule of England, reaches its height in the voice of Margaret. Janis Lull suggests that "Margaret gives voice to the belief, encouraged by the growing Calvinism of the Elizabethan era, that individual historical events are determined by God, who often punishes evil with (apparent) evil". while being appalled by his actions. Richard shows off his wit in Act I, as seen in the interchanges with Lady Anne (Act I, Scene II) and his brother Clarence (Act I, Scene I). In his dialogues in Act I, Richard knowingly refers to thoughts he has only previously shared with the audience to keep the audience attuned to him and his objectives. In 1.1, Richard tells the audience in a soliloquy how he plans to claw his way to the throne—killing his brother Clarence as a necessary step to get there. However, Richard pretends to be Clarence's friend, falsely reassuring him by saying, "I will deliver you, or else lie for you" (1.1.115); which the audience knows—and Richard tells the audience after Clarence's exit—is the exact opposite of what he plans to do. In addition, the character of Richmond enters into the play in Act V to overthrow Richard and save the state from his tyranny, effectively being the instantaneous new protagonist. Richmond is a clear contrast to Richard's evil character, which makes the audience see him as such.]] The earliest certain performance occurred on 16 or 17 November 1633, when Charles I and Queen Henrietta Maria watched it on the Queen's birthday. In 2017, Italian director Roberta Torre realized a musical drama film, inspired by Shakespeare's play, named Bloody Richard.

The BBC Television Shakespeare version, first broadcast in 1983, starred Ron Cook as Richard. BBC Two aired a new adaptation of Richard III in 2016 as part of The Hollow Crown series, with Benedict Cumberbatch playing the king. Executive producer Pippa Harris commented, "By filming the Henry VI plays as well as Richard III, we will allow viewers to fully appreciate how such a monstrous tyrant could find his way to power, bringing even more weight and depth to this iconic character."

The 2010 film, The King's Speech, features a scene where the king's speech therapist Lionel Logue, as played by Geoffrey Rush, auditions for the role by reciting the lines, "Now is the winter of our discontent / Made glorious summer by this sun [or son] of York". Shakespeare critic Keith Jones believes that the film in general sets up its main character as a kind of antithesis to Richard III. The same antithesis was noted by conservative commentator Noah Millman. In the Red Dwarf episode "Marooned", Rimmer objects to Lister's burning of the Complete Works of Shakespeare in an attempt to maintain enough heat to keep him alive. When challenged, Rimmer claims he can quote from it and embarks upon the soliloquy: "Now! That's all I can remember. You know! That famous speech from Richard III – 'now, something something something something'." In the 1967 film Billion Dollar Brain, Harry Palmer is told to use the verse as a code phrase. John Steinbeck used the opening line for the title of his novel The Winter of Our Discontent. The phrase "Winter of Discontent" is an expression, popularised by the British media, referring to the winter of 1978–79 in the United Kingdom, during which there were widespread strikes by local authority trade unions demanding larger pay rises for their members.

The film Being John Malkovich has many Shakespeare allusions, including a scene in which Malkovich is shown rehearsing Richard III lines "Was ever woman in this humour woo'd? / Was ever woman in this humour won?" where Richard is boasting about using power, lies, and crime to seduce Lady Anne. As Visual Cultures professor Lynn Turner notes, this scene anticipates a parallel scene in which Craig uses deceit to seduce Maxine through Malkovich. Mariangela Tempera has noted that the subservience of Lady Anne in the scene contrasts with the self assertiveness of the actress playing Lady Anne as she seduces Malkovich offstage. In Adam Sandler's 2011 film Jack and Jill, Al Pacino reprises his role as Richard III, although the scenes are modified as Pacino interacts with the audience in a heavily comedic way. In V for Vendetta when V confronts Father Lilliman, he quotes the line "And thus I clothe my naked villany in old odd ends stol'n forth of holy writ, and seem a saint when most I play the devil." In Freaked, an arrogant movie star who has been transformed into a "hideous mutant freak" makes use of his deformity by performing the opening soliloquy, condensed by a local professor in subtitles for the "culturally illiterate" to the more succinct "I'm ugly. I never get laid." One reviewer mentioned this as the best example of how the film seamlessly moves between highbrow and lowbrow culture. In The Goodbye Girl, an ambitious actor played by Richard Dreyfuss is forced by his off Broadway producer to play Richard III as a caricature of a homosexual. In the 1975 film L'important c'est d'aimer, directed by Andrzej Żuławski, a production of Richard III in French is a mise en abyme for the drama enveloping the characters in the film. The manga Requiem of the Rose King by Aya Kanno, which began in 2013, is a loose adaptation of the first Shakespearean historical tetralogy. It depicts Richard III as intersex instead of hunchbacked. The title of the Alistair MacLean film Where Eagles Dare is inspired by Richard's complaint that the "world is grown so bad, that wrens make prey where eagles dare not perch." (Quoted in Act I, Scene III)

Shakespeare, and the Tudor chroniclers who influenced him, had an interest in portraying the defeat of the Plantagenet House of York by the House of Tudor as good conquering evil. Loyalty to the new regime required that the last Plantagenet king, Richard III, be depicted as a villain. The historical inaccuracies in the play can be attributed partly to Shakespeare's sources, such as Holinshed's Chronicles, the writings of John Rous, Polydore Vergil and Thomas More, and partly to artistic licence. Some of these inaccuracies are listed below in the order in which they either appear or are referred to in the play. There is no evidence to suggest that Richard was personally responsible for the death of his wife's first husband, Edward of Westminster (the son of Henry VI), nor that of her father, the Earl of Warwick (and in Henry VI, Part 3 Richard is not portrayed as being responsible for Warwick's death). Richard, then eighteen, took part in the battles in which Edward and Warwick were killed. Shakespeare's sources do not identify Richard as being involved in the death of Henry VI, who was probably murdered on the orders of Edward IV. Richard and his wife, Anne Neville, had known each other for a long time before they married, having spent much of their childhood in the same household. Richard's elder brother, Clarence (George, Duke of Clarence), was not on good terms with Richard, but was imprisoned by Edward IV and was executed for treason in 1478, when Richard was in the North of England, where he continued to live until Edward IV died five years later. It was the Plantagenet tradition that a future king (in this case Edward V, the elder of the "princes in the tower") would stay in the royal apartments at the Tower of London while awaiting his coronation. No one knows why the "princes in the tower" disappeared or what happened to them. Richard took the throne by an Act of Parliament, on the basis of testimony claiming that Edward IV's marriage to Queen Elizabeth (Elizabeth Woodville) had been bigamous. Contemporary rumours that Richard had murdered his own wife appear baseless; At the time he was also negotiating a marriage for Elizabeth with a Portuguese prince, Manuel, Duke of Beja (later Manuel I of Portugal). At the Battle of Bosworth there was no single combat between Richard and Richmond (Henry Tudor). Richard spotted Richmond in his rearguard surrounded by French pikemen and led a cavalry charge against him. The Stanleys (Thomas, Lord Stanley, and his younger brother, Sir William Stanley) entered the fray in support of Richmond when they saw that Richard was vulnerable; when he saw this, Richard cried "Treason".

Bate, Jonathan and Rasmussen, Eric (eds.) Richard III (The RSC Shakespeare; London: Macmillan, 2008)
Davison, Peter (ed.) The First Quarto of King Richard III (The New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1996)
de Somogyi, Nick (ed.) Richard III: The Tragedy of Richard the Third (The Shakespeare Folios; London: Nick Hern Books, 2002)
Dover Wilson, John (ed.) Richard III (The New Shakespeare; Cambridge: Cambridge University Press, 1954; revised edition 1961)
Eccles, Mark (ed.) The Tragedy of King Richard III (Signet Classic Shakespeare; New York: Signet, 1964; revised edition, 1988; 2nd revised edition 1998)
Evans, G. Blakemore (ed.) Richard III (The Pelican Shakespeare; London: Penguin, 1959; revised edition 1969)
———. The Riverside Shakespeare (Boston: Houghton Mifflin, 1974; 2nd edn., 1997)
Greenblatt, Stephen; Cohen, Walter; Howard, Jean E. and Maus, Katharine Eisaman (eds.) The Norton Shakespeare: Based on the Oxford Shakespeare (London: Norton, 1997)
Greg, W. W. (ed.) Richard III, 1597 (Oxford: Oxford University Press, 1959)
Hammond, Anthony (ed.) King Richard III (The Arden Shakespeare, 2nd Series; London: Arden, 1981)
Holland, Peter (ed.) Richard III (The Pelican Shakespeare, 2nd edition; London: Penguin, 2000)
Honigmann, E. A. J. (ed.) Richard III (The New Penguin Shakespeare; London: Penguin, 1968; revised edition, 1995)
Jowett, John (ed.) Richard III (The Oxford Shakespeare; Oxford: Oxford University Press, 2000)
Lull, Janis (ed.) King Richard III (The New Cambridge Shakespeare; Cambridge: Cambridge University Press, 1999; 2nd edition 2009)
Siemon, James R. (ed.) King Richard III (The Arden Shakespeare, 3rd Series; London: Arden, 2009)
Taylor, Michael (ed.) Richard III (The New Penguin Shakespeare, 2nd edition; London: Penguin, 2005)
Thompson, A. Hamilton (ed.) The Tragedy of King Richard the Third (The Arden Shakespeare, 1st Series; London: Arden, 1907)
Wells, Stanley; Taylor, Gary; Jowett, John and Montgomery, William (eds.) The Oxford Shakespeare: The Complete Works (Oxford: Oxford University Press, 1986; 2nd edn., 2005)
Werstine, Paul and Mowat, Barbara A. (eds.) Richard III (Folger Shakespeare Library; Washington: Simon & Schuster, 2004)