HSC Advanced English, Module A: Richard III and Looking For Richard, Essay

Connections of commonality and dissimilarity may be drawn between a multiplicity of

texts through an appreciation of the values and attitudes with which they were
composed. Accordingly, the values and attitudes of the individual being may be
defined as an acute blend of externally induced, or contextual and internally triggered,
or inherent factors. Cultural, historical, political, religious and social influences,
dictated by the nature of ones surroundings, imprint a variable pattern of values and
attitudes upon the individual. Thus any deviation in any such factor may instigate an
alteration of the contextual component of ones perspective. By contrast, the
psychological fundamentals of humanity are sturdy and whilst they partake in the
definition of the values and attitudes of the individual, they are unwavering.
Shakespeares historical play Richard III and Pacinos docudrama Looking for
Richard confirm such theory through an exploration of the contextual and inherent. A
scrutiny of the contradictory forces of humanism and determinism and the function of
women as demonstrated by both texts imparts an incongruity of context. Difference is
thus conveyed. Conversely, an acknowledgement of the strength of conscience
common to both texts suggests an inherent influence. Thus it is through inspection of
the prescribed texts that one may distinguish the degree to which the texts converge
on inherent matters and diverge on contextual matters.
The function of women defined by the prescribed texts yields a dissimilar connection
and this derives from altered historical and cultural contexts. Fostered by a society
denoted by patriarchy and a traditional appreciation for determinism, the role of
women within Shakespeares text is twofold; assistance in the representation of
Richard as intrinsically evil and an endorsement of Richard as a predetermined villain
fated to fall. This function, however, is not in balance; patriarchy weakens the former
and a customary appreciation of determinism strengthens the latter. Therefore women
as the mouthpiece of determinism may be perceived in a common lamentation
colloquially regarded as the scene of the wailing queens. A pattern of anaphora and
epistrophe initiated by Margaret I had an Edward, till a Richard killed him; I had a
husband, till a Richard killed him is evidence of this. Repetition of clause acts as a
persistent reminder of the severity of Richards crimes and strengthens invocations to
follow. Conversely, Pacino fortifies the first of the aforementioned functions. A social,
political and economic empowerment of women, coupled with growing secularism
allows Pacino to exploit Richards misogynistic treatment of women as confirmation of
his innately evil nature. This role is achieved through an effective filmic representation
of Richards pursuit of Anne. A pastiche of slowed film and non-diegetic music serves
as effective; consecutive close-ups of Richards contorted face are juxtaposed with
long shots of a small and vulnerable Anne and a crescendo of discordant operatic
music coupled with a repetitive voice-over selecting appropriate quotes such as Ill
have her but I will not keep her long serves to reduce Richard to lowly predator.
Pacino furthermore selects a young actress and omits the stichomythic discourse
between Richard and Anne prior to this in an effort to validate Annes willingness to
marry in such circumstances.
An acknowledgement of the strength of conscience common to Shakespeares
Richard III and Pacinos Looking for Richard grants a connection. This therefore
pertains to an inherent constituent of the values and attitudes of the individual and is
time enduring. A point of conflict, however, exists in its source; the Elizabethan
context alleges a religious duty whilst the dominant modern American audience
attributes a secular moral responsibility. Driven by a protestant pre-occupation with

morality and conscience, Shakespeares text defines Richard as an amoral character;

one without morals and thus without conscience. Richard is therefore aligned with the
antichrist; the gravity of his crimes elevated to an unprecedented high. Nevertheless,
conscience as a supreme power is examined in the discourse between the first and
second murderers of Clarence. The second murderer disregards his conscience to
commit the crime despite extensive interior debate. Having executed Clarence
expresses his regret; How fain, like Pilate, would I wash my hands of this most
grievous murder. This biblical allusion, uttered with a tone of despair, serves to align
the murderer with Pilate, the immoral and therefore, having conscience, inherently
good, Clarence with Christ, the sacrificial Lamb of God and Richard with Judas, the
amoral and innately evil. Pacinos representation of this scene suggests a common
acknowledgement of the strength of conscience. Juxtaposed with the Kings attempt
to unite the feuding families, the scene offers a direct contrast between the
consequences of yielding to ones conscience, implied by ample lighting and nondiegetic music of a major key, and ignoring ones conscience, suggested by limited
lighting and non-diegetic music of a minor key. Therefore, the action of ignoring ones
conscience is perceived to be perilous, with negative implications for the individual
and society as a whole. This aligns with a timeless recognition of the strength of the
human conscience common to both texts.