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Richard III (play)
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Title page of the First Quarto of The Tragedy of King Richard the third
Richard III is a historical play by William Shakespeare believed to have been written around 1593. It depicts the Machiavellian rise to power and subsequent short reign of King Richard III of England.[1] The play is grouped among the histories in the First Folio and is most often classified as such. Occasionally, however, as in the quarto edition, it is termed a tragedy. Richard III concludes Shakespeare's first tetralogy (also containing Henry VI parts 1–3).
It is the second longest play in the canon after Hamlet and is the longest of the First Folio, whose version of Hamlet is shorter than its Quarto counterpart. The play is often abridged; for example, certain peripheral characters are removed entirely. In such instances, extra lines are often invented or added from elsewhere in the sequence to establish the nature of characters' relationships. A further reason for abridgment is that Shakespeare assumed that his audiences would be familiar with his Henry VI plays and frequently made indirect references to events in them, such as Richard's murder of Henry VI or the defeat of Henry's queen, Margaret.
Contents
[hide]
1 Characters
2 Synopsis
3 Date and text
4 Themes
4.1 Comedic elements
4.2 Free will and fatalism
4.3 Richard as anti-hero
5 Performance
5.1 Notable stage performers of Richard III
6 Adaptations and cultural references
6.1 Film
6.2 Television
6.3 References in popular culture
6.3.1 Lincoln's assassination
6.3.2 "Winter of our discontent" quote
6.3.3 "My kingdom for a horse" quote
6.3.4 Other
7 Historical inaccuracy
8 Notes
9 Citations
9.1 Editions of Richard III
10 External links
Characters[edit]
House of York
King Edward IV – King of England
Richard, Duke of Gloucester – brother to Edward IV; later King Richard III
George, Duke of Clarence – Edward IV's brother
Duchess of York – Edward, Richard and George's mother
Edward, Prince of Wales – Edward IV's eldest son; later King Edward V (never crowned)
Richard, Duke of York – Edward IV's younger son
Boy – George's son
Girl – George's daughter
House of Lancaster
Queen Margaret – widow of King Henry VI
Ghost of King Henry VI
Ghost of Edward of Westminster, Prince of Wales – Henry VI's son
Lady Anne Neville – widow of Edward of Westminster; later Queen to King Richard III
Tressel and Berkeley – Lady Anne's attendants (non-speaking roles)
Woodville family
Queen Elizabeth – Queen to King Edward IV
Earl Rivers – Elizabeth's brother
Marquis of Dorset – Elizabeth's son (from a previous marriage)
Lord Richard Grey – Elizabeth's son (from a previous marriage)
Sir Thomas Vaughan – ally of Rivers and Grey
Richard III's group
Duke of Buckingham
Sir William Catesby
Duke of Norfolk
Earl of Surrey[a] – Norfolk's son
Sir Richard Ratcliffe
Sir James Tyrrell – assassin
Lord Lovel[b]
Two Murderers
Richard's page
Earl of Richmond's group
Henry Tudor, Earl of Richmond – Henry VI's nephew; later King Henry VII
Lord Stanley, Earl of Derby – Richmond's stepfather
Earl of Oxford[c]
Sir Walter Herbert[d]
Sir James Blunt[e]
Sir William Brandon – Richmond's standard-bearer (non-speaking role)
Clergy
Archbishop of Canterbury[f]
Archbishop of York[g]
Bishop of Ely
Sir Christopher – chaplain of Stanley's household
John – priest
Other Characters
Lord Hastings – Lord Chamberlain under Edward IV
Sir Robert Brackenbury – Lieutenant of the Tower
Lord Mayor of London
Scrivener
Keeper of the Tower[h]
Three Citizens
Hastings – pursuivant[i]
Sheriff of Wiltshire[j]
Ghosts of Clarence, Rivers, Grey, Vaughan, Edward (Prince of Wales), Richard (Duke of York), Hastings, Lady Anne and Buckingham
Lords, Messengers, Soldiers etc.
Other
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)
Synopsis[edit]
Richard III terrified by nightmarish visions. Shakespeare, Act 5, Scene 9, painting by Nicolai Abildgaard. Nivaagaard Collection.[2]
The play begins with Richard (called "Gloucester" in the text) standing in "a street", describing the re-accession to the throne of his brother, King Edward IV of England, eldest son of the late Richard, Duke of York, implying the year is 1471.
Now is the winter of our discontent
Made glorious summer by this sun of York;
And all the clouds that lour'd upon our house
In the deep bosom of the ocean buried.
("sun of York" is a punning reference to the badge of the "blazing sun," which Edward IV adopted, and "son of York", i.e. the son of the Duke of York.)
Richard is an ugly hunchback who is "rudely stamp'd", "deformed, unfinish'd", and cannot "strut before a wanton ambling nymph." He responds to the anguish of his condition with an outcast's credo: "I am determined to prove a villain / And hate the idle pleasures of these days." Richard plots to have his brother Clarence, who stands before him in the line of succession, conducted to the Tower of London over a prophecy he bribed a soothsayer to finagle the suspicious King with; that "G of Edward's heirs the murderer shall be", which the king interprets as referring to George of Clarence (without realising it actually refers to Gloucester).
Richard now schemes to woo "the Lady Anne" – Anne Neville, widow of the Lancastrian Edward of Westminster, Prince of Wales. He confides to the audience:
I'll marry Warwick's youngest daughter.
What, though I kill'd her husband and her father?
The scene then changes to reveal Lady Anne accompanying the corpse of the late king Henry VI, along with Trestle and Berkeley, on its way to be interred at St Paul's cathedral. She asks them to set down the "honourable load – if honour may be shrouded in a hearse," and then laments the fate of the house of Lancaster. Richard suddenly appears and demands that the "unmannerd dog" carrying the hearse set it down, at which point a brief verbal wrangling takes place.
Despite initially hating him, Anne is won over by his pleas of love and repentance and agrees to marry him. When she leaves, Richard exults in having won her over despite all he has done to her, and tells the audience that he will discard her once she has served her purpose.
The atmosphere at court is poisonous: The established nobles are at odds with the upwardly mobile relatives of Queen Elizabeth, a hostility fueled by Richard's machinations. Queen Margaret, Henry VI's widow, returns in defiance of her banishment and warns the squabbling nobles about Richard. Queen Margaret curses Richard and the rest who were present. The nobles, all Yorkists, reflexively unite against this last Lancastrian, and the warning falls on deaf ears.
Richard orders two murderers to kill Clarence in the tower. Clarence, meanwhile, relates a dream to his keeper. The dream includes vivid language describing Clarence falling from an imaginary ship as a result of Gloucester, who had fallen from the hatches, striking him. Under the water Clarence sees the skeletons of thousands of men "that fishes gnawed upon." He also sees "wedges of gold, great anchors, heaps of pearl, inestimable stones, unvalued jewels." All of these are "scatterd in the bottom of the sea." Clarence adds that some of the jewels were in the skulls of the dead. He then imagines dying and being tormented by the ghosts of Warwick (Anne's father), and Edward of Westminster (Anne's deceased husband).
After Clarence falls asleep, Brakenbury, Lieutenant of the Tower of London, enters and observes that between the titles of princes and the low names of commoners, there is nothing different but the "outward fame", meaning that they both have "inward toil" whether rich or poor. When the murderers arrive, he reads their warrant (issued in the name of the King), and exits with the Keeper, who disobeys Clarence's request to stand by him, and leaves the two murderers the keys.
Clarence wakes and pleads with the murderers, saying that men have no right to obey other men's requests for murder, because all men are under the rule of God not to commit murder. The murderers imply Clarence is a hypocrite because, as one says, "thou ... unripped'st the bowels of thy sovereign's son [Edward] whom thou wast sworn to cherish and defend." Trying to win them over by tactics, he tells them to go to his brother Gloucester, who will reward them better for his life than Edward will for his death. One murderer insists Gloucester himself sent them to perform the bloody act, but Clarence does not believe him. He recalls the unity of Richard Duke of York blessing his three sons with his victorious arm, bidding his brother Gloucester to "think on this and he will weep." Sardonically, a murderer says Gloucester weeps millstones – echoing Richard's earlier comment about the murderers' own eyes weeping millstones rather than "foolish tears" (Act I, Sc. 3).
Next, one of the murderers explains that his brother Gloucester hates him, and sent them to the Tower to kill him. Eventually, one murderer gives in to his conscience and does not participate, but the other killer stabs Clarence and drowns him in "the Malmsey butt within". The first act closes with the perpetrator needing to find a hole to bury Clarence.
Richard uses the news of Clarence's unexpected death to send Edward IV, already ill, into his deathbed, all the while insinuating that the Queen is behind the execution of Clarence. Edward IV soon dies, leaving as Protector his brother Richard, who sets about removing the final obstacles to his accession. He has Lord Rivers murdered to further isolate the Queen and to put down any attempts to have the Prince crowned right away. He meets his nephew, the young Edward V, who is en route to London for his coronation accompanied by relatives of Edward's widow (Lord Hastings, Lord Grey, and Sir Thomas Vaughan). These Richard arrests, and eventually beheads, and then has a conversation with the Prince and his younger brother, the Duke of York. The two princes outsmart Richard and match his wordplay and use of language easily. Richard is nervous about them, and the potential threat they are. The young prince and his brother are coaxed (by Richard) into an extended stay at the Tower of London. The prince and his brother the Duke of York prove themselves to be extremely intelligent and charismatic characters, boldly defying and outsmarting Richard and openly mocking him.
Assisted by his cousin Buckingham, Richard mounts a campaign to present himself as the true heir to the throne, pretending to be a modest, devout man with no pretensions to greatness. Lord Hastings, who objects to Richard's accession, is arrested and executed on a trumped-up charge of treason. Together, Richard and Buckingham spread the rumour that Edward's two sons are illegitimate, and therefore have no rightful claim to the throne; they are assisted by Catesby, Ratcliffe, and Lovell. The other lords are cajoled into accepting Richard as king, in spite of the continued survival of his nephews (the Princes in the Tower).
English actor David Garrick as Richard III just before the battle of Bosworth Field. His sleep having been haunted by the ghosts of those he has murdered, he wakes to the realisation that he is alone in the world and death is imminent. The painting, David Garrick as Richard III (1745), by William Hogarth.
Richard asks Buckingham to secure the death of the princes, but Buckingham hesitates. Richard then recruits Sir James Tyrrell, who kills both children. When Richard denies Buckingham a promised land grant, Buckingham turns against Richard and defects to the side of Henry, Earl of Richmond, who is currently in exile. Richard has his eye on his niece, Elizabeth of York, Edward IV's next remaining heir, and poisons Lady Anne so he can be free to woo the princess. The Duchess of York and Queen Elizabeth mourn the princes' deaths, when Queen Margaret arrives. Queen Elizabeth, as predicted, asks Queen Margaret's help in cursing. Later, the Duchess applies this lesson and curses her only surviving son before leaving. Richard asks Queen Elizabeth to help him win her daughter's hand in marriage, but she is not taken in by his eloquence, and eventually manages to trick and stall him by saying she will let him know her daughter's answer in due course.
The increasingly paranoid Richard loses what popularity he had. He soon faces rebellions led first by Buckingham and subsequently by the invading Richmond. Buckingham is captured and executed. Both sides arrive for a final battle at Bosworth Field. Prior to the battle, Richard is visited by the ghosts of his victims, all of whom tell him to "Despair and die!" after which they wish victory upon Richmond. He awakes screaming for "Jesus" to help him, slowly realising that he is all alone in the world, and cannot even pity himself.
At the Battle of Bosworth Field, Lord Stanley (who is also Richmond's stepfather) and his followers desert Richard's side, whereupon Richard calls for the execution of George Stanley, Lord Stanley's son. This does not happen, as the battle is in full swing, and Richard is left at a disadvantage. Richard is soon unhorsed on the field at the climax of the battle, and cries out, "A horse, a horse, my kingdom for a horse!" Richmond kills Richard in the final duel. Subsequently, Richmond succeeds to the throne as Henry VII, and marries Princess Elizabeth from the House of York.
Date and text[edit]
The first page of Richard III, printed in the Second Folio of 1632
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),[3] 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.[4] 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.[5]:p.2 The two texts also contain hundreds of other differences, including the transposition of words within speeches, the movement of words from one speech to another, the replacement of words with near-synonyms, and many changes in grammar and spelling.[5]:p.2
At one time, it was thought that the Quarto represented a separate revision of the play by Shakespeare. However, since the Quarto contains many changes that can only be regarded as mistakes, it is now widely believed that the Quarto was produced by memorial reconstruction.[5]:p.3–10 It is thought likely that the Quarto was collectively produced by a company of actors remembering their lines. It is unknown why the actors did this, but it may have been to replace a missing prompt book.[5]:p.19–21 The Folio is regarded as having much higher authority than the Quarto, but because the Folio edition was collated by the printers against a Quarto (probably Q3), some errors from the Quarto found their way into the Folio.[5]:p.2 Some parts of the Folio (the beginning of Act III and much of Act V) are clearly copied, with little change, direct from the Quarto.[5]:p.33 The Folio also has its own corruptions and omissions, and corrections have to be supplied, where possible, from the Quarto.[5]:p.50
Themes[edit]
Comedic elements[edit]
Unlike his previous tragedy Titus Andronicus, the play avoids graphic demonstrations of physical violence; only Richard and Clarence are shown being stabbed on-stage, while the rest (the two princes, Hastings, Brackenbury, Grey, Vaughan, Rivers, Anne, Buckingham, and King Edward) all meet their ends off-stage. Despite the villainous nature of the title character and the grim storyline, Shakespeare infuses the action with comic material, as he does with most of his tragedies. Much of the humour rises from the dichotomy between how Richard's character is known and how Richard tries to appear.
A scene from Richard III, directed by Keith Fowler for the Virginia Shakespeare Festival in Williamsburg, site of the first Shakespearean performances in America. (Here Richard is stabbed with a boar spear by the Earl of Richmond.)
Richard himself also provides some dry remarks in evaluating the situation, as when he plans to marry Queen Elizabeth's daughter: "Murder her brothers, then marry her; Uncertain way of gain ..." Other examples of humour in this play include Clarence's reluctant murderers, and the Duke of Buckingham's report on his attempt to persuade the Londoners to accept Richard ("... I bid them that did love their country's good cry, God save Richard, England's royal king!" Richard: "And did they so?" Buckingham: "No, so God help me, they spake not a word ...") Puns, a Shakespearean staple, are especially well represented in the scene where Richard tries to persuade Queen Elizabeth to woo her daughter on his behalf.
Free will and fatalism[edit]
Queen Margaret: "Thou elvish-mark'd, abortive, rooting hog!" Act 1, Scene III. The boar was Richard's personal symbol: Bronze boar mount thought to have been worn by a supporter of Richard III.[6]
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".[7]:p.6–8
Thus it seems possible that Shakespeare, in conforming to the growing "Tudor Myth" of the day, as well as taking into account new theologies of divine action and human will becoming popular in the wake of the Protestant Reformation, sought to paint Richard as the final curse of God on England in punishment for the deposition of Richard II in 1399.[7]:p.6–8 Irving Ribner argued that "the evil path of Richard is a cleansing operation which roots evil out of society and restores the world at last to the God-ordained goodness embodied in the new rule of Henry VII".[8]:p.62
Scholar Victor Kiernan writes that this interpretation is a perfect fit with the English social perspective of Shakespeare's day: "An extension is in progress of a privileged class's assurance of preferential treatment in the next world as in this, to a favoured nation's conviction of having God on its side, of Englishmen being ... the new Chosen People".[9]:p.111–112 As Elizabethan England was slowly colonising the world, the populace embraced the view of its own Divine Right and Appointment to do so, much as Richard does in Shakespeare's play.
However, historical fatalism is merely one side of the argument of fate versus free will. It is also possible that Shakespeare intended to portray Richard as "... a personification of the Machiavellian view of history as power politics".[7]:p.6–8 In this view, Richard is acting entirely out of his own free will in brutally taking hold of the English throne. Kiernan also presents this side of the coin, noting that Richard "boasts to us of his finesse in dissembling and deception with bits of Scripture to cloak his 'naked villainy' (I.iii.334–8)...Machiavelli, as Shakespeare may want us to realise, is not a safe guide to practical politics".[9]:p.111–112
Kiernan suggests that Richard is merely acting as if God is determining his every step in a sort of Machiavellian manipulation of religion as an attempt to circumvent the moral conscience of those around him. Therefore, historical determinism is merely an illusion perpetrated by Richard's assertion of his own free will. The Machiavellian reading of the play finds evidence in Richard's interactions with the audience, as when he mentions that he is "determinèd to prove a villain" (I.i.30). However, though it seems Richard views himself as completely in control, Lull suggests that Shakespeare is using Richard to state "the tragic conception of the play in a joke. His primary meaning is that he controls his own destiny. His pun also has a second, contradictory meaning—that his villainy is predestined—and the strong providentialism of the play ultimately endorses this meaning".[7]:p.6–8
Literary critic Paul Haeffner writes that Shakespeare had a great understanding of language and the potential of every word he used.[10]:p.56–60 One word that Shakespeare gave potential to was "joy". This is employed in Act I, Scene III, where it is used to show "deliberate emotional effect".[10]:p.56–60 Another word that Haeffner points out is "kind", which he suggests is used with two different definitions.
The first definition is used to express a "gentle and loving" man, which Clarence uses to describe his brother Richard to the murderers that were sent to kill him. This definition is not true, as Richard uses a gentle façade to seize the throne. The second definition concerns "the person's true nature ... Richard will indeed use Hastings kindly—that is, just as he is in the habit of using people—brutally".[10]:p.56–60
Haeffner also writes about how speech is written. He compares the speeches of Richmond and Richard to their soldiers. He describes Richmond's speech as "dignified" and formal, while Richard's speech is explained as "slangy and impetuous".[10]:p.56–60 Richard's casualness in speech is also noted by another writer. However, Lull does not make the comparison between Richmond and Richard as Haeffner does, but between Richard and the women in his life. However, it is important to the women share the formal language that Richmond uses. She makes the argument that the difference in speech "reinforces the thematic division between the women's identification with the social group and Richard's individualism".[7]:p.22–23 Haeffner agrees that Richard is "an individualist, hating dignity and formality".[10]:p.56–60
Janis Lull also takes special notice of the mourning women. She suggests that they are associated with "figures of repetition as anaphora—beginning each clause in a sequence with the same word—and epistrophe—repeating the same word at the end of each clause".[7]:p.22–23 One example of the epistrophe can be found in Margaret's speech in Act I, Scene III. Haeffner refers to these as few of many "devices and tricks of style" that occur in the play, showcasing Shakespeare's ability to bring out the potential of every word.[10]:p.56–60
Richard as anti-hero[edit]
Throughout the play, Richard's character constantly changes and shifts and, in doing so, alters the dramatic structure of the story.
Richard immediately establishes a connection with the audience with his opening monologue. In the soliloquy he admits his amorality to the audience but at the same time treats them as if they were co-conspirators in his plotting; one may well be enamored of his rhetoric[11] 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 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 reassures 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.[12]:p.37 Scholar Michael E. Mooney describes Richard as occupying a "figural position"; he is able to move in and out of it by talking with the audience on one level, and interacting with other characters on another.[12]:p.33
Each scene in Act I is book-ended by Richard directly addressing the audience. This action on Richard's part not only keeps him in control of the dramatic action of the play, but also of how the audience sees him: in a somewhat positive light, or as the protagonist.[12]:p.32–33 Richard actually embodies the dramatic character of "Vice" from medieval morality plays – with which Shakespeare was very familiar from his time – with his "impish-to-fiendish humour". Like Vice, Richard is able to render what is ugly and evil – his thoughts and aims, his view of other characters – into what is charming and amusing for the audience.[12]:p.38
In the earlier acts of the play, too, the role of the antagonist is filled by that of the old Lancastrian queen, Margaret, who is reviled by the Yorkists and whom Richard manipulates and condemns in Act I, Scene III.
However, after Act I, the number and quality of Richard's asides to the audience decrease significantly, as well as multiple scenes are interspersed that do not include Richard at all,[12]:p.44 but average Citizens (Act II, Scene III), or the Duchess of York and Clarence's children (Act II, Scene II), who are as moral as Richard is evil. Without Richard guiding the audience through the dramatic action, the audience is left to evaluate for itself what is going on. In Act IV, Scene IV, after the murder of the two young princes and the ruthless murder of Lady Anne, the women of the play – Queen Elizabeth, the Duchess of York, and even Margaret – gather to mourn their state and to curse Richard; and it is difficult as the audience not to sympathise with them. When Richard enters to bargain with Queen Elizabeth for her daughter's hand – a scene whose form echoes the same rhythmically quick dialogue as the Lady Anne scene in Act I – he has lost his vivacity and playfulness for communication; it is obvious he is not the same man.[12]:p.32–33
By the end of Act IV everyone else in the play, including Richard's own mother, the Duchess, has turned against him. He does not interact with the audience nearly as much, and the inspiring quality of his speech has declined into merely giving and requiring information. As Richard gets closer to seizing the crown, he encloses himself within the world of the play; no longer embodying his facile movement in and out of the dramatic action, he is now stuck firmly within it.[12]:p.47 It is from Act IV that Richard really begins his rapid decline into truly being the antagonist. Shakespeare scholar Stephen Greenblatt notes how Richard even refers to himself as "the formal Vice, Iniquity" (3.1.82), which informs the audience that he knows what his function is; but also like Vice in the morality plays, the fates will turn and get Richard in the end, which Elizabethan audiences would have recognised.[13]
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.[12]:p.32
Performance[edit]
C. 1884 poster advertising an American production of the play, showing many key scenes
African-American James Hewlett as Richard III in a c. 1821 production. Below him is quoted the line "Off with his head; so much for Buckingham", a line not from the original play but from adaptations.[14]
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.[15]:p.81–82
Colley Cibber produced the most successful of the Restoration adaptations of Shakespeare with his version of Richard III, at Drury Lane starting in 1700. Cibber himself played the role till 1739, and his version was on stage for the next century and a half. It contained the lines "Off with his head; so much for Buckingham" – possibly the most famous Shakespearean line that Shakespeare did not write – and "Richard's himself again!". The original Shakespearean version returned in a production at Sadler's Wells Theatre in 1845.[16]:p.102 & 414
Most film versions of Richard III feature actors who had previously played Richard on stage. The two best-known film versions are those with Laurence Olivier and Ian McKellen. McKellen's film is directly based on an earlier stage production set in a Nazified England of the 1930s, which toured Europe for six years to sell-out crowds prior to being shortly thereafter adapted to film. McKellen wrote the screenplay for his film version, although he did not direct it. Olivier played Richard on stage for quite a few years in the 1940s before making a film of it in 1955. His film performance, if not the production as a whole, is heavily based on his earlier stage rendition. The Al Pacino film Looking for Richard is a documentary of rehearsals of specific scenes from the play, and a meditation on the play's significance. Pacino had played the role on stage 15 years earlier. In 2011, well-known film actor Kevin Spacey starred in an Old Vic production which subsequently toured the United States, directed by well-known stage and film director Sam Mendes. No plans for a film version have been announced. Spacey had played the role of Richard's henchman, the Duke of Buckingham, in the Pacino film.
Notable stage performers of Richard III[edit]
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Print of Charles Kean playing Richard III, from a mid 19th century performance of the play
F. Murray Abraham
Aneurin Barnard
John Barrymore
Simon Russell Beale
Edwin Booth
Junius Brutus Booth
John Wilkes Booth
Kenneth Branagh
Richard Burbage
Ramaz Chkhikvadze
Ron Cook
Benedict Cumberbatch
Peter Dinklage
Ralph Fiennes
Martin Freeman
David Garrick
Henry Goodman
Alec Guinness
Ciarán Hinds
Alan Howard
Ian Holm
Kathryn Hunter
Henry Irving
Charles Kean
Edmund Kean
Anton Lesser
Robert Lindsay[17]
Lionel Logue
Aidan McArdle
Ian McKellen
Seana McKenna
Ron Moody
Michael Moriarty
Kate Mulvany[18]
Laurence Olivier
Al Pacino
Vincent Price
Pamela Rabe[19]
Basil Rathbone
Ian Richardson
Mark Rylance
George C. Scott
Antony Sher
Jonathan Slinger
Kevin Spacey
Barry Sullivan
Frederick Warde
Donald Wolfit
Adaptations and cultural references[edit]
Film[edit]
Basil Rathbone, played Richard III in the 1939 Universal horror film, Tower of London, which was directed by Rowland V. Lee. The film was later remade by Roger Corman in 1962 with Vincent Price in the lead role.
The most famous player of the part in recent times was Laurence Olivier in his 1955 film version. Olivier's film incorporates a few scenes and speeches from Shakespeare's Henry VI, Part 3 and Cibber's rewrite of Shakespeare's play, but cuts entirely the characters of Queen Margaret and the Duchess of York, and Richard's soliloquy after seeing the ghosts of his victims. Olivier has Richard seduce Lady Anne while mourning over the corpse of her husband rather than her father-in-law as in the play. Olivier's rendition has been parodied by many comedians, including Peter Cook and Peter Sellers. Sellers, who had aspirations to do the role straight, appeared in a 1965 TV special on The Beatles' music by reciting "A Hard Day's Night" in the style of Olivier's Richard III. The first episode of the BBC television comedy Blackadder in part parodies the Olivier film, visually (as in the crown motif), Peter Cook's performance as a benevolent Richard, and by mangling Shakespearean text ("Now is the summer of our sweet content made o'ercast winter by these Tudor clouds ...")
Richard Loncraine's 1995 film, starring Ian McKellen, is set in a fictional fascist England in the 1930s, and based on an earlier highly successful stage production. Only about half the text of the play is used. The first part of his Now is the winter of our discontent... soliloquy is a public speech, while the second part is a private monologue. The famous final line of Richard's A horse, my kingdom for a horse is spoken when his jeep becomes trapped after backing up into a large pile of rubble.
In 1996, Al Pacino made his directoral debut and played the title role in Looking for Richard, analysing the plot of the play and playing out several scenes from it, as well as conducting a broader examination of Shakespeare's continuing role and relevance in popular culture. Also in 1996, a pristine print of Richard III (1912), starring Frederick Warde in the title role, was discovered by a private collector and donated to the American Film Institute. The 55-minute film is considered to be the earliest surviving American feature film.
In 2002 the story of Richard III was re-told in a movie about gang culture called King Rikki (also known as The Street King).[20]
Television[edit]
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."[21]
References in popular culture[edit]
Lincoln's assassination[edit]
Abraham Lincoln was renowned for his love of Shakespeare, and of Richard III in particular.[22] This fed Confederate propaganda, especially in Virginia, where residents of Richmond saw Lincoln as a Richard-like tyrant and identified their capital city with the Earl of Richmond, the hero of Shakespeare's play. (See photo of Richmond slaying Richard, above.) Some interpreted Richard's Act IV speech as an omen favorable to the South:
a bard of Ireland told me once
I should not live long after I saw Richmond.[23]
The connection between Lincoln and the play was indelibly printed on history when on April 14, 1865, within a fortnight of the president's visit to the defeated city, he was assassinated by John Wilkes Booth, a Shakespearean actor known for playing both Richard and Richmond. Booth's notorious, final words from the stage were "Sic semper tyrannis".[24]
"Winter of our discontent" quote[edit]
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.[25] The same antithesis was noted by conservative commentator Noah Millman.[26]
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.'"
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.
"My kingdom for a horse" quote[edit]
In the 1949 Looney Tunes cartoon A Ham in a Role, the dog actor says the Catesby and Richard III's lines, "Rescue, fair lord, or else the day is lost! A horse, A horse, My kingdom for a horse!" before being kicked out of the window by a Goofy Gophers-hauled horse.
In the 1993 Mel Brooks film Robin Hood: Men in Tights, the character Robin of Locksley, played by Cary Elwes, says "A horse, my kingdom for a horse!" as he arrives in England in the opening scene.
This quote is found in many translations of Anton Chekhov's Three Sisters. Vershinin, a cultured and philosophical character, makes reference to this famous quote when he says "Half my kingdom for a glass of tea!".
In CSI: Crime Scene Investigation, Season 3, Episode 21, Forever, When a horse trainer gets killed in the scene of the crime, Grissom quotes this particular line.
Other[edit]
The film Being John Malkovich has many Shakespeare allusions, including a scene in which Malkovich is shown rehearsing Richard III's 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.[27] 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.[28]
Adam Sandler's 2011 film Jack and Jill features Al Pacino reprising his role of Richard III, although the movie scenes are modified as Pacino interacts with the audience in a heavily comedic way. Multiple reviewers who panned the film regarded Pacino as the best element of the film.[29]
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.[30]
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. Elliot Garfield (Dreyfuss) describes his performance as "putrid".
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.[31]
Historical inaccuracy[edit]
Shakespeare, and the Tudor chroniclers who influenced him, were obliged to portray the downfall of the Plantagenet House of York and the victory of the House of Tudor as good conquering evil. This is usually attributed to bias as a result of a new regime being in place, requiring that the last Plantagenet king, Richard III, be depicted as a villain.[32] There are many historical inaccuracies in the play, which can be attributed partly to Shakespeare's sources, such as Holinshed's Chronicles.[33] Some of these inaccuracies are listed below in the order in which they either appear or are referred to in the play.
Richard was not personally responsible for the death of his wife's first husband, Edward of Westminster (the son of Henry VI), nor that of her father, Richard Neville (the Earl of Warwick). They were killed in the battles of Tewkesbury and Barnet, respectively, which restored Edward IV to the throne.[34][35] Although only eighteen years old, Richard took part in both battles, but no contemporary records indicate him as being involved directly in either death. Richard was also not responsible for the death of Henry VI, who was probably murdered on the orders of Edward IV.[36] 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.[34] Henry VI's widow, Queen Margaret, would not have been seen at court since the much earlier Battle of Towton, which won the throne for Edward IV for the first time; she became Edward IV's prisoner until she returned to France.[37] Richard was not responsible for the death of his elder brother, George (Duke of Clarence), who was executed by Edward IV for treason after he had rebelled against him.[34] Richard was in the North of England when Edward IV died; this was five years after the execution of Clarence – and after a long period of peace.[34]
Richard had to come down from the North, where he had lived very happily for many years, to fulfil Edward IV's wish that he rule as Lord Protector of the Realm.[38] It was the Plantagenet tradition that a future king would stay in the royal apartments of the Tower of London while awaiting his coronation.[39] It only became the "Bloody Tower" during the Tudor era. No one knows why the "princes in the tower" disappeared or what happened to them. Richard took the throne by an Act of Parliament[40] and with relatively little bloodshed for the times, new evidence having been presented to him claiming that Edward IV's marriage to Queen Elizabeth (Elizabeth Woodville) had been bigamous.[41] Richard did not murder his own wife; she is thought to have died of tuberculosis. There is no surviving evidence to suggest that he planned to marry his niece, Elizabeth of York; he was negotiating a marriage for Elizabeth with a Portuguese prince, Manuel, Duke of Beja (later Manuel I of Portugal).[42]
At the Battle of Bosworth, there was no single combat between Richard and Richmond (Henry Tudor), although it has been suggested that Richard had hoped for one.[43] Richard spotted Richmond in his rearguard surrounded by French pikemen and led a cavalry charge against him.[43] Richard was steered away from Richmond by Sir Rhys ap Thomas.[44] The Stanleys (Thomas, Lord Stanley and his younger brother, Sir William Stanley) only entered the fray in support of Richmond when they saw that Richard was vulnerable;[45][46] when he saw the Stanleys, Richard cried "Treason".[39] Richard fell from his horse after it lost its footing in a marshy area; he was offered a new horse but declined.[43] Now on foot, Richard was hacked to death.[43]
The only contemporary reference to Richard having any deformities was the observation that his right shoulder was slightly higher than his left, which is now known to have been caused by his scoliosis of the spine. It has been suggested that this scoliosis was discovered by his enemies only after his death.[43] After the discovery of Richard's remains in 2012, it became clear that he had no deformities other than this scoliosis; the degree and direction of the curvature was not as serious as that of a spinal kyphosis (or "hunchback").[47][48]
Notes[edit]
Jump up ^ Surrey appears only in the Folio text; his lines in 5.3 are assigned to Catesby in the quartos.
Jump up ^ Lovell appears only in the Folio text; in the quartos, his line in 3.4 is absent and his line in 3.5 is spoken by Catesby.
Jump up ^ Oxford is identified by name only in the Folio text. In the quartos, he is simply "First Lord".
Jump up ^ Herbert is identified by name only in the Folio text. In the quartos, he is simply "Second Lord".
Jump up ^ Although Blunt is identified by name in 5.4 of both the Folio text and the quartos, he is also referred to as "Third Lord" in 5.2 of the quartos.
Jump up ^ Identified only in the Folio text; in the quartos, he is simply "Cardinal", and is amalgamated with the Archbishop of York.
Jump up ^ Identified only in the Folio text; in the quartos, he is simply "Cardinal", and is amalgamated with the Archbishop of Canterbury.
Jump up ^ Appears only in the Folio text; in the quartos, his lines in 1.4 are spoken by Sir Robert Brackenbury.
Jump up ^ The pursuivant is identified as Hastings only in the quartos; in the Folio text he is referred to as "sirrah".
Jump up ^ Wiltshire appears only in the Folio text; his lines in 5.1 are assigned to Ratcliffe in the quartos.
Citations[edit]
Jump up ^ Baldwin, Pat; Baldwin, Tom, eds. (2000). Cambridge School Shakespeare: King Richard III. Cambridge University Press. pp. 1–2.
Jump up ^ "Nicolai Abildgaard, Richard III terrified by nightmarish visions. Shakespeare, Act 5, Scene 9". Nivaagaard Collection.
Jump up ^ [1] See title page of facsimile of the original 1st edition (1597)
Jump up ^ British Library
^ Jump up to: a b c d e f g Hammond, Anthony. 1981 (ed.). The Arden Shakespeare: King Richard III, Routledge.
Jump up ^ "Boar mount belonging to Richard III detected". The Daily Telegraph. 3 December 2012. Retrieved 2012-12-03.
^ Jump up to: a b c d e f Lull, Janis. 1999 (ed.). The New Cambridge Shakespeare: Richard III Cambridge: Cambridge University Press.
Jump up ^ Ribner, Irving. 1999. "Richard III as an English History Play" Critical Essays on Shakespeare's Richard III Ed. Hugh Macrae Richmond. New York.
^ Jump up to: a b Kiernan, Victor. 1993. Shakespeare: Poet and Citizen London: Verso.
^ Jump up to: a b c d e f Haeffner, Paul. 1966. Shakespeare: Richard III London: Macmillan.
Jump up ^ Sila Senlen. "Chapter 3:Rhetoric in the Hands of the Machiavellian Villain: William Shakespeare's Richard III". In Words as Swords: Verbal Violence as a Construction of Authority in Renaissance and Contemporary English Drama. Stuttgart: ibidem verlag, 2009.60-95.
^ Jump up to: a b c d e f g h Mooney, Michael E. 1990. "Shakespeare's Dramatic Transactions". Duke University press.
Jump up ^ Greenblatt, Stephen (2005). Will In The World: How Shakespeare Became Shakespeare. Pimlico. pp. 33–6. ISBN 0712600981.
Jump up ^ Peter Cochran (16 October 2014). Small-Screen Shakespeare. Cambridge Scholars Publishing. pp. 37–9. ISBN 978-1-4438-6969-0.
Jump up ^ Shakespeare, William (2008). Jowett, John, ed. Richard III (reprint ed.). Oxford University Press. ISBN 978-0-19-953588-0.
Jump up ^ Halliday, F.E. 1964. A Shakespeare Companion 1564–1964, Baltimore, Penguin.
Jump up ^ "Richard III: 15 actors who have played the hunchback king" – Robert Lindsay (RSC 1998), The Daily Telegraph
Jump up ^ Monique Schafter (20 February 2017). "Richard III given new perspective". ABC. Retrieved 2 April 2017.
Jump up ^ http://www.smh.com.au/news/entertainment/arts/richard-iii-thy-name-is-woman/2009/01/04/1231003844095.html
Jump up ^ "King Rikki · British Universities Film & Video Council". Bufvc.ac.uk. Retrieved 3 May 2016.
Jump up ^ Benedict Cumberbatch to Play Richard III in Neal Street's Film for BBC | Variety
Jump up ^ See Carter, Stephen L, "What Abraham Lincoln Liked about Richard III"
Jump up ^ Richard III, IV, 2
Jump up ^ http://www.biography.com/people/john-wilkes-booth-9219681
Jump up ^ Shakespeare in King's Speech
Jump up ^ "Weekly Double Feature: Richard III and The King's Speech" in The American Conservative
Jump up ^ "Translating John Malkovich" by Lynn Turner originally published in Translations – Performance Research 2002 – Volume 7, No. 2, June
Jump up ^ Hatchuel, Sarah (2005). Shakespeare on Screen. Publication Univ Rouen Havre. p. 78. ISBN 9782877753890. Essay: "Winter and Horses: References to Richard III on film and television"
Jump up ^ Just How Good Is Al Pacino In Jack and Jill
Jump up ^ WTF:Freaked
Jump up ^ "Viz Media Adds JoJo's Bizarre Adventures: Battle Tendency, Requiem of the Rose King Manga". Anime News Network. 2014-07-04. Retrieved 2015-03-12.
Jump up ^ Smart, Alastair (20 January 2013). "Richard III: Visions of a villain?". The Telegraph. Retrieved 16 May 2016.
Jump up ^ Jones, Dan (25 June 2013). "Shakespeare: did he get his history right?". The Telegraph. Retrieved 16 May 2016.
^ Jump up to: a b c d Ross, Charles (1974). Edward IV. Berkeley: University of California Press.
Jump up ^ Kendall, Paul Murray (1957). Warwick the Kingmaker. London. ISBN 0-351-17096-0.
Jump up ^ Wolffe, Bertram (1981). Henry VI.
Jump up ^ Hartley, Cathy (2003). A Historical Dictionary of British Women.
Jump up ^ Carson, Annette (2015). Richard Duke of Gloucester as Lord Protector and High Constable of England. UK: Imprimis Imprimatur. ISBN 978-0-9576840-4-1.
^ Jump up to: a b Kendall, Paul Murray (1956). Richard the Third. W. W. Norton.
Jump up ^ Brand, Paul; Phillips, Seymour; Ormrod, Mark; Martin, Geoffrey; Curry, Anne; Horrox, Rosemary (24 November 2014). Given-Wilson, Chris, ed. Richard III: January 1484. Parliament Rolls of Medieval England. Institute of Historical Research.
Jump up ^ de Commines, Philipe (1855). H. G. Bohn, ed. The memoirs of Philip de Commines, lord of Argenton, Volume 1.
Jump up ^ Williams, Barrie (March 1983). "The Portuguese Connection and the Significance of the 'Holy Princess'". The Ricardian. 6 (90). .
^ Jump up to: a b c d e Jones, Michael (2003). Bosworth 1485: Psychology of a Battle. London: John Murray. ISBN 978-1-84854-909-8.
Jump up ^ Griffith, Ralph (1993). Sir Rhys ap Thomas and his family: a study in the Wars of the Roses and early Tudor politics. University of Wales Press. ISBN 0-708-3121-87.
Jump up ^ Chrimes, Stanley Bertram (1972). Henry VII. London: Eyre Methuen.
Jump up ^ Gillingham, John (1981). The Wars of the Roses: peace and conflict in fifteenth-century England. Weidenfeld and Nicolson.
Jump up ^ Langley, Philippa; Jones, Michael (2013). The Search for Richard III, The King's Grave. John Marray. ISBN 978-1-8485-48-930.
Jump up ^ Appleby, Jo; Mitchell, Piers D.; Robinson, Claire; Brough, Alison; Rutty, Guy; Harris, Russell A; Thompson, David; Morgan, Bruno. "The scoliosis of Richard III, last Plantagenet King of England: diagnosis and clinical significance". The Lancet. 383 (9932): 1944. doi:10.1016/s0140-6736(14)60762-5. PMID 24881996.
Editions of Richard III[edit]
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)
External links[edit]
Wikisource has original text related to this article:
The Tragedy of Richard the Third
Wikiquote has quotations related to: Richard III (play)
Wikimedia Commons has media related to Richard III (play).
Richard the Third on Project Gutenberg
Richard III at the British Library
William Shakespeare, The Tragedy of King Richard the third (London: Andrew Wise, 1597) – HTML version of the first edition.
Richard III public domain audiobook at LibriVox
"Now is the winter of our discontent" Soliloquy translated into modern English
Lesson plans for Richard III at Web English Teacher
An interactive interview with Sir Ian McKellen. He discusses the opening speech, Richard III and Shakespeare.
BBC Two confirmed that Benedict Cumberbatch will be playing Richard III in the second part of Mini-Series The Hollow Crown on its Twitter account, saying "We're delighted to be able to confirm that Benedict Cumberbatch will play Richard III in our second series of Shakespeare's History plays"
[show]
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Richard III
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Henry VI
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1 Henry VI
An Age of Kings (1960; TV)
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An Age of Kings (1960; TV)
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Richard III
The Life and Death of King Richard III (1912)
Richard III (1955)
An Age of Kings (1960; TV)
The Wars of the Roses (1965; TV)
The Tragedy of Richard III (1983; TV)
"The Foretelling" (1983; TV)
"King Richard III" (1994; TV)
Richard III (1995)
Looking for Richard (1996)
Richard III (2008)
The Hollow Crown: Richard III (2016; TV)
Related
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Battle of Tewkesbury
Princes in the Tower
Battle of Bosworth Field
"Even a worm will turn"
Richardus Tertius (1580)
The True Tragedy of Richard III (c.1590)
The Tragical History of King Richard the Third (1699)
David Garrick as Richard III (1745)
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Jackson family
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the family of musicians. For the fictional family in the soap opera EastEnders, see Jackson family (EastEnders).
This article's tone or style may not reflect the encyclopedic tone used on Wikipedia. See Wikipedia's guide to writing better articles for suggestions. (September 2013) (Learn how and when to remove this template message)
Jackson Family
Place of origin
Gary, Indiana, U.S.
Members
Joe Jackson
(father; b. 1928)
Katherine Jackson
(mother; b. 1930)
Rebbie (b. 1950)
Jackie (b. 1951)
Tito (b. 1953)
Jermaine (b. 1954)
La Toya (b. 1956)
Marlon (b. 1957)
Brandon (b. 1957; d. 1957)
Michael (b. 1958; d. 2009)
Randy (b. 1961)
Janet (b. 1966)
The Jackson family is an American family of singers who originated in Gary, Indiana. Performing as members of The Jackson 5 and as solo artists, the children of Joseph Walter and Katherine Esther Jackson were very successful in the field of popular music from the late 1960s onwards. As a group, the eldest sons Jackie, Tito, Jermaine, Marlon, Randy and Michael, made the family's reputation, facilitating the subsequent success of siblings Rebbie, La Toya, and Janet. The Jackson 5 became known as the "First Family of Soul"[1][2] (a title first held by the Five Stairsteps).[2] The continued success of Michael and Janet's careers as solo artists led the Jacksons to become known as the "Royal Family of Pop".[3] All nine of the Jackson siblings have gold records to their credits with La Toya holding the distinction of being the first Jackson sister to attain one (awarded by France's SNEP for "Reggae Night", a song she co-wrote for Jimmy Cliff).[4]
In recent years, certain members of the family have been honored for their work; in 1997 The Jackson 5 was inducted to the Rock and Roll Hall of Fame.[5] Michael would follow the group to the hall in 2001. The Jacksons, Michael and Janet all received stars on the Hollywood Walk of Fame in 1980, 1984 and 1990 respectively. In 2009 a new series from A&E entitled The Jacksons: A Family Dynasty premiered documenting the Jackson brothers dealing with the sudden loss of Michael and preparing for a Jackson 5 Reunion tour.[6]
Contents
[hide]
1 First generation
2 Second generation
3 Third generation
4 Genealogy
5 References
6 Further reading
7 External links
First generation[edit]
Main articles: Joe Jackson (manager) and Katherine Jackson
Joseph Walter Jackson was born on July 26, 1928 in Arkansas but he grew up in Oakland, California with his father Samuel Jackson, a school teacher. At age 18 he moved to East Chicago, Indiana to be with his mother Crystal Lee King and to pursue his dreams of becoming a professional boxer. At age 21, Joseph married Katherine Scruse, 19, immediately starting a family. Even though he wanted to be a success in boxing it wasn’t a job for a family man, so he obtained a job as an overhead crane operator with East Chicago's Inland Steel Company. His family continued to grow steadily and over the course of sixteen years he and Katherine had a house full of nine children. Joe Jackson always wanted to make it big and although he couldn’t in boxing or in his own short musical stint in the 1950s with the band The Falcons, he saw the talent in his children, starting with Tito and Tito's ability to play the guitar.[7]
Soon enough Joe Jackson formed a band of his sons Tito, Jermaine, and Jackie called The Jackson Brothers in 1964 and became their manager. After several years of doing local talent shows, Joseph enlarged the band to include Marlon and Michael, two of his younger sons, and then changed the name of the band to The Jackson Five by 1966, remaining the group's manager. As their father he was a very strict disciplinarian and had an abusive nature[citation needed] and as their manager he enforced long practice sessions of singing and dancing in hopes of preparing them to make it big one day. In August 1967, the group made a debut at the Apollo Theater in Harlem, New York where they won the Amateur Night contest. Gordon Keith the owner and producer at Steeltown Records in Gary, Indiana, discovered the Jackson Five and signed them to their first contract in November 1967. Big Boy, the boys' first record which was produced by Keith, was released on January 30, 1968. It became a local hit. In March 1969, they signed a Motown record contract and became known as the Jackson 5. The group enjoyed the fame Joseph Jackson had been longing for in his life. He continued to manage The Jackson 5 into stardom and after the band they had many No. 1 hits on the Billboard hot singles charts; Joseph moved them to a mansion in Encino, California with his own hefty salary he had obtained as their full-time manager. After many years as a band and with Michael as lead singer, the group continued to churn out even more hits and wealth, but tensions grew and in 1979, Michael severed ties with his father/manager and went on to pursue a solo musical entertainment career. Four years later, in 1983, Michael's siblings fired Joseph Jackson as their manager. In 1993, Michael Jackson accused his father of physical and mental abuse; a few of the other siblings confirmed this claim, but others denied it.[7]
Katherine Jackson (née Kattie B. Scruse) was born on May 4, 1930 in Barbour County, Alabama, the child of Prince Albert Scruse (1907–1997) and Martha Mattie Upshaw (1907–1990). She was left with a permanent limp after acquiring polio syndrome in her childhood. She later recovered from her illness after moving with her family to East Chicago, Indiana, where she would remain until meeting her husband Joseph Jackson. The couple moved and bought a small home in Gary, Indiana, where they birthed and raised nine children and she was a stay-at-home mother.[8] Throughout her life, Katherine remained a devoted Jehovah's Witness and raised her children strictly under the same spiritual teachings she received. Also, as a talented pianist and vocalist who shared her talents with her children, she was later credited for being the foundation of her children's success. After her sons' rise to fame as The Jackson 5, she strongly supported her children and became the costume designer for their shows and performances. Some of the memorable moments of her unconditional support were seen when her son Michael was tried for molestation charges in 1993 and 2005. Katherine now lives in Calabasas, California where she cares for the children of her late son, Michael.[8]
Second generation[edit]
Together, Joseph and Katherine Jackson had ten children. Their son Brandon (Marlon's twin) died at birth. The other nine grew up to become professional musicians.[9]
Maureen Reillette "Rebbie" Jackson (born May 29, 1950)[9]
Sigmund Esco "Jackie" Jackson (born May 4, 1951)[9]
Toriano Adaryll "Tito" Jackson (born October 15, 1953)[9]
Jermaine La Jaune Jackson (born December 11, 1954)[9]
LaToya Yvonne Jackson (born May 29, 1956)[9]
Marlon David Jackson (born March 12, 1957)[9]
Brandon Jackson (born and died March 12, 1957)[10]
Michael Joseph Jackson (born August 29, 1958 – died June 25, 2009)
Steven Randall "Randy" Jackson (born October 18, 1961)[9]
Janet Damita Jo Jackson (born May 16, 1966)[9]
Joh'Vonnie Jackson (born August 30, 1974, to Cheryl Terrell during her 25-year long affair with Joseph Jackson).[11]
Third generation[edit]
There are 26 children that make up the third generation of the Jackson family along with several great-grandchildren. Among them, some have followed in the family's footsteps into the entertainment industry. Perhaps the most well known of the third generation are the three children of Michael Jackson. Michael Joseph Jackson Jr. (b. February 13, 1997), also known as "Prince", Paris Jackson (b. April 3, 1998), and Prince Michael Jackson II also known as "Blanket" now called "Bigi" (b. February 21, 2002), have been discussed in the press numerous times throughout their lives, particularly since their father's death in 2009. Austin Brown (b. 1985), the only son of Rebbie Jackson, is a singer and songwriter who has released several successful singles in the pop/R&B genre. Tito Jackson's three sons, Toriano Adaryll "Taj" Jackson, Jr. (b. 1973), Taryll Adren Jackson (b. 1975), and Tito Joe "TJ" Jackson (b.1978) make up the R&B/pop music group 3T. 3T has released three studio albums and has gone on to have moderate success in the industry, primarily outside of the United States. Sigmund "Siggy" Jackson Jr. (b. 1977), the eldest son to Jackie Jackson, is a hip-hop artist who goes under the name "Dealz". Siggy has been a ghostwriter for a number of independent artists and has obtained mild success as a solo artist. Jermaine La Jaune "Jay" Jackson Jr. (b. 1977), the eldest son to Jermaine Jackson, portrayed his father in the 1992 miniseries, The Jacksons: An American Dream, a biopic about the Jackson family. On January 3, 2017, at the age of 50, Janet gave birth to Eissa Al Mana, the newest member to the Jackson Family. Brandi. Jackson daughter to Jackie Jackson. Randy Jackson Jr son to Randy Jackson.
Genealogy[edit]
[show]Jackson family tree
Prince Albert Scruse (1907–1997) Martha Bridges (1907–1990) Samuel Jackson (1893–1993) Crystal Lee King (1907–1992)
Unknown Hattie Mae Whitehead Katherine Esther
Jackson (née Kattie B. Scruse)
(b. 1930) Joseph Walter Jackson (b. 1928) Cheryl Terrell Lawrence Jackson Luther Jackson Lula Mae
Jackson Verna Mae
Joh'Vonnie Jackson (b. 1974) Nathaniel Brown Maureen Reillette "Rebbie" Jackson (b. 1950) Delores "Dee Dee" Martes Toriano Adaryll "Tito" Jackson, Sr. (b. 1953) La Toya Yvonne Jackson (b. 1956) Deborah Jeanne "Debbie" Rowe (b. 1958) Michael Joseph Jackson, Sr. (1958–2009) Unknown Janet Damita Jo Jackson (b. 1966) Wissam Al Mana
Stacee Brown Yashi Brown Nathaniel Austin Brown Prince Michael Joseph Jackson, Jr. Paris-Michael Katherine Jackson Prince Michael "Blanket" Jackson II Eissa Al Mana
London Blue Salas Toriano Adaryll "Taj" Jackson, Jr. Taryll Adren Jackson Tito Joe "TJ" Jackson Brandon Jackson (b. 1957; d. 1957) Marlon David Jackson, Sr. Carol Ann Parker
Enid Spann Sigmund Esco "Jackie" Jackson, Sr. Emily Besselink 2 sons 4 children Valencia Jackson Brittany Shauntee Jackson Marlon David Jackson, Jr.
Sigmund Esco "Siggy" Jackson, Jr. Brandy Jackson River Jackson Jaylen Jackson Noah Sophia Phoenix Savannah
Hazel Gordy Jermaine La Jaune Jackson, Sr. Margaret Maldonado Alejandra Genevieve Oaziaza Steven Randall "Randy" Jackson, Sr. Eliza Shaffel
Jermaine La Jaune Jackson, Jr. Autumn Joy Jackson Jamie Jackson Jeremy Jackson Jamerny Jackson Jaafar Jackson Jermajesty Jackson Genevieve Katherine Jackson Steven Randall Jackson, Jr. Stevanna Jackson
Dan Jackson Donte Jackson
References[edit]
Jump up ^ Moreover, as a unit, they were one of the few black groups to achieve "teen idol" status among music fans of all races, with hits such as I Want You Back, ABC, I'll Be There, Dancing Machine, Blame It on the Boogie, Heartbreak Hotel, and Can You Feel It. Takiff, Johnathan (1984-08-31). "Victory at Hand". Philadelphia Daily News. p. 49.
^ Jump up to: a b Pruter, Robert (1992). Chicago Soul. University of Illinois Press. p. 143. ISBN 0-252-06259-0.
Jump up ^ When a brother and sister want to spend some time together it rarely requires a journey to a galaxy far, far away, but if they're reigning members of the royal family of pop, and the meeting is a music video, it's got to be out of this world. The siblings in question are Michael and Janet Jackson, and their first video collaboration, "Scream," is the space odyssey that earned a record 11 nominations at this year's MTV Video Music Awards, winning for Best Dance Video, Best Choreography, and Best Art Direction, the latter a nod to the talents of production designer Tom Foden. Boepple, Leanne (November 1995). "Video/production design: Scream". Theatre Crafts International. 29 (9). p. 52. ISSN 1063-9497.
Jump up ^ "InfoDisc : Les Certifications (Singles) du SNEP (les Disques d'Or)". Infodisc.fr. Retrieved 2015-06-21.
Jump up ^ George, Nelson (2004). Michael Jackson: The Ultimate Collection booklet. Sony BMG. pp 51.
Jump up ^ de Moraes, Lisa (August 26, 2009). "Jackson Series Prolongs A&E's 'Family' Affair". The Washington Post. Retrieved December 29, 2009.
^ Jump up to: a b "Joseph Jackson Biography". Joseph Jackson Biography. Biography.com. Retrieved 24 July 2012.
^ Jump up to: a b "Katherine Jackson Biography". Katherine Jackson Biography. Biography.com. Retrieved 24 July 2012.
^ Jump up to: a b c d e f g h i Jackson, Katherine; Rich Wiseman (1990). My Family, the Jacksons. St. Martin's Paperbacks. ISBN 0-312-92350-3.
Jump up ^ Smith, Jessie Carney (1996). Notable Black American Women: book II. VNR AG. p. 323. ISBN 9780810391772.
Jump up ^ "Cheryl Ann Terrell".
Further reading[edit]
Giambusso, David (June 25, 2009). "Michael Jackson memorabilia owner recalls turbulent past with musical family". The Star-Ledger. New Jersey.
External links[edit]
Media related to Jackson family at Wikimedia Commons
[show]
v
t
e
Jackson family
Parents
Joseph Walter Jackson: 1928
Katherine Esther Jackson (neé Scruse): 1930
Children
Maureen Reillette (Rebbie): 1950
Sigmund Esco (Jackie): 1951
Toriano Adaryll (Tito): 1953
Jermaine La Jaune: 1954
La Toya Yvonne: 1956
Marlon David: 1957
Michael Joseph: 1958–2009
Steven Randall (Randy): 1961
Janet Damita Jo: 1966
Grandchildren
TJ Jackson: 1978
Austin Brown: 1985
Paris Jackson: 1998
Musical groups
The Jackson 5/The Jacksons
3T
Television
The Jacksons
The Jacksons: An American Dream
The Jacksons: A Family Dynasty
The Jacksons: Next Generation
The Jackson Family portal
Retrieved from "https://en.wikipedia.org/w/index.php?title=Jackson_family&oldid=800096164"
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