“The nature of morality and the pursuit of power are ideas that connect King Richard III and Looking for Richard. How are these ideas shaped and reshaped in these texts from different contexts?”
The pursuit of power is an inherently humane trait ever-present in society, understood more deeply after close analysis of the nature of morality.
Brilliant!
You've blended the two parts of the question together perfectly Texts form a way of understanding both concepts, and how their relevance, produced through linkage with universal themes, remains timeless. Despite significant differences in context, Shakespeare’s King Richard III and Al Pacino’s Looking for Richard discuss the ideas of morality and power which convey meaning to their audiences. The far-reaching effect of power, definition of morality and ambition in regards to religion and determinism are commonalities in both texts and provide a strong platform for the evaluation of our and others’ actions.
Stellar introduction. I studied these two texts for Mod A as well and I think you've very clearly got a great grasp!The concern of the pursuit of power is evident in both texts in relation to their contexts. Assertion and distribution emanates during the texts to discuss the effect which power can have. In King Richard III, Shakespeare characterises Richard as the classical Machiavellian and Vice, demonstrating his ruthless, unforgiving journey to the throne but also acting as a catalyst for social and physical chaos. “Should I be plain? I wish the bastards dead” (A4S2) illustrates how Richard acknowledges his role as the villain with no redeeming features. As audience members, we do not feel empathy because of his horrible, seemingly irrational actions and Shakespeare thereby legitimises the Tudor reign. The far-reaching nature of this power is viewed in the short interlude of Act 2 Scene 3 where a citizen says “Truly, the hearts of men are full of fear” further exemplifying the fright instilled in commoners when power has been misplaced.
You're writing really well and you've got a good understanding of the text's purpose. But, we aren't linking with techniques and I think you should. So, there's a rhetorical question in the first quote there, as well as vulgar language. You can talk about the effect of both of these in creating a character that is ruthless. Everything about this section is working, but there's no technique to tie it all down and put the cherry on top, and we need that!In stark contrast, Pacino’s Looking for Richard reshapes
the character of Richard so we feel somewhat empathetic towards this psychologically flawed other. Pacino chooses to omit various scenes such as the discussion between citizens, Richard’s desperation to marry his niece and his persuasion of the mayor to support his cause. This omission disguises Richard’s further manipulation and hence leads the audience to think more deeply about the “villain” of the story. As an alternative to the political system, Pacino explores the individual – ultimately leading up to the Battle of Bosworth where Pacino states “the rest is silence” after Richard has fallen, effectively emphasising his defenceless and utter isolation. Richard’s vulnerability is obvious with the low angle shots, showing his lack of power,
great use of technique and the panning shots of how he is surrounded by enemies, nobody present to help him; nobody who loves him. The Shakespearean roles originally placed upon Richard are restructured so the contemporary audience are enraptured with this multi-layered character who has “let the pursuit of power totally corrupt him . . . alienated from his own body and his own self.” Differing contexts have ensured the reshaping of the pursuit of power but similarly emphasise its significant impact on members of society.
Nice! Nice and neat. I think the wording needs some help in some spots, which I've pointed out! But you've approached techniques in a far more confident way in this paragraph!The nature of morality is often assessed on appearance, actions and mannerisms.
I don't grasp this sentence completely. The nature of morality is assessed...I don't really understand it. I could gloss over it and understand that you are saying that appearance, actions, and mannerisms have something to do with morality, but I want to pick up on it so we can make it really clear. Do you mean, Morality is assessed on the way one's actions, presentation, and mannerisms appear? Christianity, and beliefs of the divine right of kings and chain of being, dominated the Elizabethan era and ultimately determined the individual’s role in society. Richard is “cheated of feature by dissembling nature, / Deformed, unfinish’d, sent before my time . . . scarce half made up” (A1S1) and hence immediately deemed insignificant in the hierarchy, his form reflecting the evil nature which God has thrust upon him. The audience members, then, are immediately aware that this character is not made for the throne and in the act of usurping he has broken the chain of being, eventually needing to pay the ultimate price. Richard’s primitive nature and lack of human qualities are reinstated through animalistic and knavish descriptions such as “bloody . . . usurping boar”, “foul . . . toad” and “devil”.
Great!Through this use of imagery, Shakespeare addresses the contextual shift towards providentialism to humanism and reflects on the irrevocable consequences for human actions.
I don't feel like this paragraph responds to the topic sentence that you've got at the start. When we talk about appearance and mannerisms and what not at the beginning, I think the only time I get a strong sense of the appearance is when you discuss the imagery, which is really great. But we need to make sure the topic sentence is providing lots of clarity for what is yet to be explored in the paragraph to come, but at the moment we lose that and the thesis statement at the beginning loses its purpose. I hope this makes sense! Basically, we need clarity in the topic sentence to be explored throughout the paragraph, and at the moment,
only one section of your opening sentence of the paragraph relates to that. Looking for Richard’s context is rather dissimilar regarding currently subjugated secularism and a smaller tendency to judge another based on their appearance. The morally relative society is addressed when Pacino questions “What’s this thing that gets between us and Shakespeare?” Consequently, Pacino chooses not to emphasise Richard’s physical deformity but instead uses dark clothing and chiaroscuro lighting to highlight the shadow expanding over his morality, in stark contrast to other characters such as the silenced Anne and Clarence who wear pure white. The costuming choice exemplifies Richard’s malevolence and how
are others are innocent victims entangled within his corruptive nature. This assessment of morality connects with the current context, as shown in the vox-pop where an African-American states “If we felt what we said, and say less we’d mean more”, rising further questions of our own actions and the nature of morality.
Great link! Exploring these connections between texts allows the audience to gain a deeper understanding of what it is to be human and why it is always necessary to consider our actions and the implications.
The extent to which an individual will travel to gain power is discussed widely in King Richard III. Humans often withhold a fundamental decency with which their actions are based upon, however Richard appears to exceed this limit with his long list of evil deeds, “so far in blood that sin will pluck on sin”. He portrays the accumulation of wrongdoings by using repetition and makes the audience recognise that he is past the point of remorse and return. However, when Tyrell says “With conscience and remorse / They could not speak” and Richard questions “O coward conscience, how dost thou afflict me?” Shakespeare indicates that this emotion cannot be completely convicted from body and soul and every action does have a consequence. The personification, paired with constant characters whom act towards their own personal profit, ensures readers more deeply understand the pursuit of power through the means of basic human emotions which connect us all.
Looking for Richard similarly discusses the inherent lust for power and why many of the characters did not act against Richard’s actions. In Looking for Richard, Pacino looks down on the academics, proving his and Richard’s rejection of authoritative figures, yet a female scholar correctly discusses “the action of the play, the sense of exciting movement is Richard’s finding out the point beyond which people won’t go”. This interconnects with the pursuit of power as well as satisfaction of basic human curiosity which Richard beholds. Pacino chooses to portray the characters in a way which they are all moving towards self-goals and hence play no strong role in Richard’s endeavours. This filming decision has placed further demands on the character of Richard himself, and hence Pacino, to the limit with which their mannerisms, treatment of others and words become a blend of Elizabethan and modern day. This redesign makes the audience more aware of Richard’s movement towards power and is strengthened through linkage to current politics when Vanessa Redgrave states “The truth is that those in power have total contempt for everything they promise, everything they pledge. And that’s what Shakespeare’s great play is about.” The obvious connection between the texts engages the contemporary audience, helping with comprehension of the nature of power.
Exploration of connections between Shakespeare’s King Richard III and Al Pacino’s Looking for Richard rewards the audience with a more refined understanding of the nature of morality and pursuit of power. Both major concepts are shaped and reshaped with consideration of the definition of morality, ambition and extensive nature of power. Similarities and marked differences appeal to the varying contexts, exemplifying Shakespeare’s timeless themes, depth of language and hence the ongoing relevance. Power and morality are connected not only in the texts, but interweave themselves within viewers’ lives and the way they perceive themselves and the world around them. Close analysis of the concepts, then, is integral in the advancement of viewing our multi-layered universe and understanding the inner workings of how a society like ours functions.