Richard III - Form, structure and language - CCEA

The form of Richard III is that of a history play. However, Shakespeare blends elements of tragedy and morality drama to create a powerful exploration of ambition, villainy and the collapse of political order. While history plays retell real events, Shakespeare uses real life events but adapts them for dramatic purposes. This is to give the play maximum entertainment value for his audience – but also ensures he does not offend his patron, Queen Elizabeth. As a result, aspects of the play could be considered more a tragedy than historically accurate.

Like classical tragedy, Richard III is based on a protagonist of noble birth – Richard, Duke of Gloucester. Although he is a member of the royal family, Shakespeare presents him as having a fatal flaw (this flaw is also known as hamartia) – his ruthless ambition and manipulation without conscience. Richard is not a good man who goes wrong; he chooses to be a villain. Through the dramatic technique of soliloquy (where the audience learns a character’s true feelings), Richard states "I am determined to prove a villain", so Shakespeare allows the audience to see this from the outset. His flaw drives the action forward as he lies, murders and schemes his way to the crown.

The play also follows the tragedy pattern of a rise followed by a catastrophic fall. Richard initially succeeds through cunning and charisma, but his crimes accumulate until he becomes isolated, paranoid and spiritually tormented. Just before the final battle at Bosworth, Richard is tormented by the ghosts of his victims. This is the start of the turning point where the audience see the consequences of his hamartia catching up with him.

Shakespeare also draws on the tradition of morality plays, where a central figure is tempted by evil and ultimately punished. Richard is theatrical, witty and directly addresses the audience, drawing them into his schemes.

Although Richard III ends with Richmond bringing about the restoration of order, the play’s form ensures that Richard’s downfall feels both inevitable and morally necessary – an outcome which would have been satisfactory to the Elizabethan audience.

Richard III organises events to show Richard’s rise and fall. The structure (like many of Shakespeare’s plays) is chronological. The audience is taken through Richard’s schemes step-by-step, witnessing the consequences of his actions and finally his defeat and death.

While many events happen onstage, some others happen offstage, including the murder of the princes. This was customary in the theatrical world at the time. In Richard III it creates a sense of secrecy and political darkness.

Although the play is now divided into five acts, interestingly this division was added later by editors. It is important to consider how Shakespeare creates and shapes the narrative. The first half of the play focuses on Richard’s rise to power, each scene revealing another betrayal, manipulation or act of villainy. Richard’s control is reflected in the tight and fast-moving structure. However, the structure shifts once Richard becomes king. Scenes are shorter and more fragmented, showing (ironically) a loss of control and his growing paranoid state of mind.

The night before the Battle of Bosworth is a structural turning point. The play moves from realism to a scene where ghosts torment Richard. This contrasts with the order and control of the first part of the play, signalling that Richard’s downfall is inevitable. At the very end of the play, Richmond’s calm order is distinct from the chaos created by Richard. Structurally, this shows the play’s movement from tyranny to a restoration of order, which would have been pleasing to the audience.

When studying a play and in preparation for your controlled assessment you must consider both language features and dramatic techniques. It is important that you consider the effect of these – don’t just identify or name them. Below are some language (or linguistic) features and dramatic techniques that you will come across in Richard III.

Imagery

Imagery is language that creates pictures in the audience’s mind. It appeals to the senses (sight, sound, touch, taste, smell). Shakespeare uses several types of imagery in Richard III, some of which are considered below along with their effects.

Animal imagery

Richard is often referred to in animal terms. He calls himself a “bottled spider” and Queen Margaret refers to him as a “poisonous bunch‑back’d toad”. Richard’s emblem is the boar, which is a symbol of aggression and predatory violence.

The effect of the animal imagery is to dehumanise Richard, suggesting he is a creature of instinct, danger, and corruption. It contributes to the theme of unnatural disorder, as it seems England is overrun by predators.

Imagery of disease and decay

The play contains imagery of sickness, rot, and infection. Margaret’s curse conjures images of festering wounds and rotting bodies. The kingdom is described as infected by Richard’s rise to power.

The effect of this imagery is to show a society at dis‑ease or out of balance. It suggests Richard is infecting the state and his corruption spreads invisibly (like an illness).

Imagery of violence and blood

Although most of the violence happens off‑stage, Shakespeare conveys a sense of violence through his language. For example, Clarence’s dream of “ghastly corpses”, Margaret’s description of her son’s death “stabbed with bloody daggers” and Tyrrell’s description of the murder of the young princes speaks of their “innocent blood”.

The effects of these are to make the violence seem more disturbing as the audience has to imagine it and to reinforce Richard’s tyranny.

Religious language

In Richard III, characters frequently use religious vocabulary such as prayers, curses and oaths to highlight the moral significance of the events. Richard (ab)uses religious language to manipulate and pretend to be morally good and humble, “God forgive them that have done this deed.”

The effect of this is to highlight his hypocrisy. Shakespeare was writing for a Christian society, and they would be familiar with the language. It creates dramatic irony as the audience were aware of Richard’s true motivations and character.

Rhetorical language

Richard is a character who is skilled in manipulation. This is best demonstrated in his use of language and rhetoric. He uses rhetorical question to unsettle others (such as “Would you enforce me to a world of cares?” (Act 3, Scene 7) and flattery to win trust, such as when he is wooing Lady Anne “divine perfection of a woman” (Act 1, Scene 2).

The effect of this is to show how he gains power through words rather than brutal force (he gets others to do the latter for him!)

Word play and puns

Richard uses words to manipulate. In the play when Rivers tries to defend Elizabeth, Richard twists his words to belittle his argument.

The double meaning is on the word ‘marry’ which in Shakespeare’s day was also used to mean 'indeed’. Richard is twisting Rivers’ meaning – indeed – to play on the fact that by marrying the King, Queen Elizabeth gains favours for her friends and family.

The effect of this is to show how intelligent Richard is, and in doing so, he shows how much slower Rivers is. Here Richard uses a pun.

Prose and verse

Shakespeare wrote his plays in both prose and verse, using each form for a particular reason. Most of Shakespeare’s plays are written in verse and prose is used strategically.

Use of verse

Iambic pentameter is unrhymed blank verse. There are ten syllables (or beats) in each line following a pattern of unstressed and stressed syllables (da‑DUM) repeated five times. Iambic pentameter was used as it reflects natural speech but it also gave a sense of authority and elevation to the words.

The effect of iambic pentameter in Richard III gives the play a formal, political tone appropriate to represent a royal court. It also allows Richard to sound controlled and intelligent “Now is the winter of our discontent”.

Rhyming couplets

Rhyming couplets are two lines of rhyming iambic pentameter. They are often used by Shakespeare to indicate the end of a speech or scene giving it a sense of completion. For example, the Duchess’ final words to her son Richard:

Use of prose

Shakespeare used prose to indicate a lower class character, to demonstrate emotional unstability and for letters. In Richard III, Shakespeare also uses prose for manipulation – Richard strategically switches to prose when he wants to appear friendly for example in Act 1, Scene 1 when he is sympathising with his brother Clarence who is being taken to the Tower.

The effect of this is to show how Richard can use language to manipulate the situation and others into trusting him. The effect of prose at other points in the play is to show lower‑class characters in contrast to the court.

Remember that plays are written to be performed; therefore you should use the term ‘audience’ and not ‘reader’.

Soliloquy

A soliloquy is a speech delivered by a character alone on stage. It reveals their true thoughts, motives, and feelings directly to the audience. As no other character can hear these words, this creates dramatic irony – the audience are privy to information which the other characters are not.

Richard frequently speaks in soliloquy, such as at the beginning when he declares “I am determined to prove a villain” and discusses “plots have I laid”. These reveal his intentions to the audience and set the tone for his action and the rest of the play.

The effect of soliloquies is to engage the audience by providing them with insight, create suspense and show Richard’s true motivations.

Asides

An aside is a short remark spoken by a character directly to the audience. They are shorter than a soliloquy and may be said when other characters are onstage – however, the other characters cannot hear (we must employ suspension of disbelief for this). An example of using an aside is when Richard is wooing Lady Anne and tells the audience how easily she is persuaded, “Was ever woman in this humour wooed?”.

The effect of the asides is to reveal Richard’s duplicitous nature and consolidate his Machiavellian character.

Dramatic irony

Dramatic irony is a technique where the audience knows something important that the characters on stage do not. This creates tension, humour, or a sense of inevitability, because the audience can see the truth while the characters remain unaware.

For example, when Richard pretends to be pious or loyal, the audience knows he is being duplicitous and not genuine.

The effect of dramatic irony is to build tension as the audience is aware of additional information. It also emphasises the gap between appearance and reality.

Breaking the fourth wall

This dramatic technique describes when a character directly addresses the audience. Richard frequently speaks directly to the audience, such as in Act 1, Scene 1 when he says:

To set my brother Clarence and the King
In deadly hate, the one against the other;
And if King Edward be as true and just
As I am subtle, false, and treacherous

The effect of breaking the fourth wall and directly addressing the audience is to make the audience complicit, to arm them with knowledge and to create a sense of unease.

Violence happening off-stage

In Elizabethan theatre most of the violence happened off-stage. This was both for practical purposes but also to create a sense of tension and for dramatic effect. An example of this is the murder of Clarence in Act 1, Scene 4.

The effect of this happening off-stage was to show the secrecy and political corruption, as well as creating a sense of dread and heightening the emotional intensity of the play.