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Facsimile of the first page of Richard II from the First Folio, published in 1623

King Richard the Second is a history play by William Shakespeare believed to be written in approximately 1595. It is based on the life of King Richard II of England (ruled 1377-1399) and is the first part of a tetralogy, referred to by some scholars as the Henriad, followed by three plays concerning Richard's successors: Henry IV, part 1, Henry IV, part 2, and Henry V. It may not have been written as a stand-alone work.

Although the First Folio (1623) edition of Shakespeare's works lists the play as a history play, the earlier Quarto edition of 1597 calls itself The tragedie of King Richard the second.



  • Lord Willoughby (William Willoughby, 5th Baron Willoughby de Eresby)
  • Lord Fitzwalter (Walter Fitzwalter, 5th Baron Fitzwalter)
  • Bishop of Carlisle (Thomas Merke)
  • Abbot of Westminster (William de Colchester)
  • Lord Marshal (post held in 1399 by Duke of Surrey, though this is not recognised in the play)
  • Sir Stephen Scroop
  • Sir Piers Exton
  • Welsh captain
  • attendants, lords, soldiers, messengers, etc.


Richard II is the main character of the play. The first Act begins with King Richard sitting majestically on his throne in full state. We learn that Henry Bolingbroke, Richard's cousin, is having a dispute with Thomas Mowbray, and they both want the king to act as judge. The subject of the quarrel is Bolingbroke's accusation that Mowbray had squandered monies given to him by Richard for the King's soldiers. Bolingbroke also accuses Mowbray of the recent murder of Duke of Gloucester, although John of Gaunt—Gloucester's brother and Bolingbroke's father—believes that Richard himself was responsible for the murder. After several attempts to calm both men, Richard acquiesces and Bolingbroke and Mowbray challenge each other to a duel, over the objections of both Richard and Gaunt.

The tournament scene is very formal with a long, ceremonial introduction. But Richard interrupts the duel at the very beginning and sentences both men to banishment from England. Bolingbroke has to leave for six years, whereas Mowbray is banished forever. The king's decision can be seen as the first mistake in a series that will lead eventually to his overthrow and death. Indeed, Mowbray predicts that the king will fall sooner or later.

John of Gaunt dies and Richard II seizes all of his land and money. This angers the nobility, who accuse Richard of wasting England's money, of taking Gaunt's money to fund a war with Ireland, of taxing the commoners, and of fining the nobles for crimes their ancestors committed. Next, they help Bolingbroke secretly to return to England and plan to overthrow Richard II. However, there remain some subjects faithful to Richard, among them Bushy, Bagot, Green and the Duke of Aumerle, cousin to both Richard and Bolingbroke. King Richard leaves England to administer the war in Ireland, and Bolingbroke takes the opportunity to assemble an army and invade the north coast of England. When Richard returns, Bolingbroke first claims his land back but then additionally claims the throne. He crowns himself King Henry IV and Richard is taken into prison to the castle of Pomfret. After interpreting King Henry's "living fear" as a reference to the still-living Richard, an ambitious nobleman (Exton) goes to the prison and murders the former king. King Henry repudiates the murderer and vows to journey to Jerusalem to cleanse himself of his part in Richard's death.


Shakespeare's primary source for Richard II, as for most of his chronicle histories, was Raphael Holinshed's Chronicles; the publication of the second edition in 1589 provides a terminus post quem for the play. Edward Hall's The Union of the Two Illustrious Families of Lancaster and York appears also to have been consulted, and scholars have also supposed Shakespeare familiar with Samuel Daniel's poem on the civil wars.

A somewhat more complicated case is presented by the anonymous play sometimes known as The First Part of Richard II. This play, which exists in one incomplete manuscript copy (at the British Museum) is subtitled Thomas of Woodstock, and it is by this name that scholars since F. S. Boas have usually called it. This play treats the events leading up to the start of Shakespeare's play (though the two texts do not have identical characters). This closeness, along with the anonymity of the manuscript, has led certain scholars to attribute all or part of the play to Shakespeare, though, many critics view this play as a secondary influence on Shakespeare, and not as his work.[3]

Date and text

Title page of Richard II, from the fifth quarto, published in 1615.

The play was entered into the Register of the Stationers Company on August 29, 1597 by the bookseller Andrew Wise; the first quarto was published by him later that year, printed by Valentine Simmes. The second and third quartos followed in 1598 — the only time a Shakespearean play was printed in three editions in two years. Q4 followed in 1608, and Q5 in 1615. The play was next published in the First Folio in 1623.

Richard II exists in a number of variations. The quartos vary to some degree from one another, and the folio presents further differences. The first three quartos (printed in 1597 and 1598, commonly assumed to have been prepared from Shakespeare's holograph) lack the deposition scene. The fourth quarto, published in 1608, includes a version of the deposition scene shorter than the one later printed, presumably from a prompt-book, in the 1623 First Folio. The scanty evidence makes explaining these differences largely conjectural. Traditionally, it has been supposed that the quartos lack the deposition scene because of censorship, either from the playhouse or by the Master of the Revels Edmund Tylney and that the Folio version may better reflect Shakespeare's original intentions. There is no external evidence for this hypothesis, however, and the title page of the 1608 quarto refers to a "lately acted" deposition scene (although again, this could be due to earlier censorship).

Analysis and criticism


Structure and language

The play is divided into five acts and its structure is as formal as its language. It has a double complementary plot describing the fall of Richard II and the rise of Bolingbroke, later known as Henry IV.[4] Critic John R. Elliott Jr. notes that this particular history play can be distinguished from the other history plays because it contains an ulterior political purpose. The normal structure of Shakespearean tragedy is modified to portray a central political theme: the rise of Bolingbroke to the throne and the conflict between Richard and Bolingbroke over the kingship. In acts IV and V, Shakespeare includes incidents irrelevant to the fate of Richard, which are later resolved in the future plays of the Richard II-Henry V tetralogy.[5]

Literary critic Hugh M. Richmond notes that Richard's beliefs about the Divine Right of Kings tend to fall more in line with the medieval view of the throne. Bolingbroke on the other hand represents a more modern view of the throne, arguing that not only bloodline but also intellect and political savvy contribute to the makings of a good king.[6] Richard believes that as king he is chosen and guided by God, that he is not subject to human frailty, and that the English people are his to do with as he pleases. Elliott argues that this mistaken notion of his role as king ultimately leads to Richard's failure. Elliot goes on further to point out that it is Bolingbroke's ability to relate and speak with those of the middle and lower classes that allows him to take the throne.[7]

Unusual for Shakespeare, Richard II is written almost entirely in verse. The play contains a number of memorable metaphors, including the extended comparison of England with a garden in Act III, Scene iv and of its reigning king to a lion or to the sun in Act IV.

The language of Richard II is more eloquent than the earlier history plays, and serves to set the tone and themes of the play. Shakespeare uses lengthy verses, metaphors, similes, and soliloquies to reflect Richard's character as a man who likes to analyze situations rather than act upon them. He always speaks in tropes using analogies such as the sun as a symbol of his kingly status. Richard places great emphasis on symbols which govern his behavior. His crown serves as a symbol of his royal power and is of more concern to him than his actual kingly duties.[8]

Unlike Shakespeare's other history plays, Richard II contains very little prose. There are also great differences in the use of language amongst the characters. Traditionally, Shakespeare uses prose to distinguish social classes- the upper class generally speaks in poetry while the lower classes speak in prose. However, in Richard II, Richard uses flowery, metaphorical language in his speeches whereas Bolingbroke, who is also of the noble class, uses a more plain and direct language.

Historical context

The play was performed and published late in the reign of the childless Elizabeth I of England, at a time when the queen's age made the succession an important political concern. The historical parallels in the succession of Richard II were not intended as political comment on the contemporary situation,[9] with the weak Richard II analogous to Queen Elizabeth and an implicit argument in favour of her replacement by a monarch capable of creating a stable dynasty, but lawyers investigating John Hayward's history of Henry IV, a book partly based on Richard II, chose to make this connection. It was fortunate for Shakespeare that Hayward had dedicated his version to Robert Devereux, 2nd Earl of Essex: when Essex was arrested for rebellion in February 1601 Hayward had already been imprisoned, solely to strengthen the case being assembled against the earl, for "incitement to the deposing of the Queen", otherwise Shakespeare too may have lost his liberty over the affair.[9]

Shakespeare's play appears to have played a minor role in the events surrounding the final downfall of Essex. On 7 February 1601, just before the uprising, supporters of the Earl of Essex, among them Charles and Joscelyn Percy (younger brothers of the Earl of Northumberland), paid for a performance at the Globe Theatre on the eve of their armed rebellion. By this agreement, reported at the trial of Essex by the Chamberlain's Men actor Augustine Phillips, the conspirators paid the company forty shillings "above the ordinary" (i. e., above their usual rate) to stage this play, which the players felt was too old and "out of use" to attract a large audience.[9] Eleven of Essex's supporters attended the Saturday performance.

Elizabeth was aware of the political ramifications of the story of Richard II: according to a well-known but dubious anecdote, in August 1601 she was reviewing historical documents relating to the reign of Richard II when she supposedly remarked to her archivist William Lambarde, "I am Richard II, know ye not that?" In the same historical report the Queen is said to have complained that the play was performed forty times in "open streets and houses" but there is no extant evidence to corroborate this tale. At any rate, the Chamberlain's Men do not appear to have suffered at all for their association with the Essex group; they performed for the Queen on Shrove Tuesday in 1601, the day before Essex's execution.[9]

Themes and motifs

The King's Two Bodies

In his analysis of medieval political theology, The King’s Two Bodies, Ernst H. Kantorowicz describes medieval Kings as containing two bodies: a body natural, and a body politic. The theme of the King's two bodies is pertinent throughout Richard II, from the exile of Bolingbroke to the deposition of King Richard II. The body natural is a mortal body, subject to all the weaknesses of mortal human beings. On the other hand, the body politic is a spiritual body which cannot be affected by mortal infirmities such as disease and old age. These two bodies form one indivisible unit, with the body politic superior to the body natural.[10]

Many critics agree that in Richard II, this central theme of the king's two bodies unfolds in three main scenes: the scenes at the Coast of Wales, at Flint Castle, and at Westminster. At the coast of Wales, Richard has just returned from a trip to Ireland and kisses the soil of England, demonstrating his kingly attachment to his Kingdom. This image of kingship gradually fades as Bolingbroke's rebellion continues. Richard starts to forget his kingly nature as his mind becomes occupied by the rebellion. This change is portrayed in the scene at Flint Castle during which the unity of the two bodies disintegrates and the king starts to use more poetic and symbolic language. Richard's body politic has been shaken as his followers have joined Bolingbroke's army, diminishing Richard's military capacity. He has been forced to give up his jewels, losing his kingly appearance. He loses his temper at Bolingbroke, but then regains his composure as he starts to remember his divine side. At Flint castle, Richard is determined to hang onto his kingship even though the title no longer fits his appearance. However at Westminster the image of the divine kingship is supported by the Bishop of Carlisle rather than Richard, who at this point is becoming mentally unstable as his authority slips away. Biblical references are used to liken the humbled king to the humbled Christ. The names of Judas and Pilate are used to further extend this comparison. Before Richard is sent to his death, he "un-kings" himself by giving away his crown, sceptre, and the balm that is used to anoint a king to the throne. The mirror scene is the final end to the dual personality. After examining his plain physical appearance, Richard shatters the mirror on the ground and thus relinquishes of his past and present as king. Stripped of his former glory, Richard finally releases his body politic and retires to his body natural and his own inner thoughts and griefs.[11] Even Critic J.D. Wilson notes that Richard's double nature as man and martyr is the dilemma that runs the play eventually leading to Richard's death. Richard acts the part of a royal martyr, and due to the spilling of his blood, England continually undergoes civil war for the next two generations.[12]

The rise of a Machiavellian king

The play ends with the rise of Bolingbroke to the throne, marking the start of a new era in England. According to historical research, an English translation of Machiavelli's The Prince might have existed as early as 1585, influencing the reign of the kings of England. Critic Irving Ribner notes that a manifestation of Machiavellian philosophy may be seen in Bolingbroke. Machiavelli wrote The Prince during a time of political chaos in Italy, and writes down a formula by which a leader can lead the country out of turmoil and return it to prosperity. Bolingbroke seems to be a leader coming into power at a time England is in turmoil, and follows closely the formula stated by Machiavelli. At the start of Richard II Bolingbroke accuses Mowbray and ulteriorly attacks the government of King Richard. He keeps Northumberland by his side as a tool to control certain constituents. From the minute Bolingbroke comes into power, he destroys the faithful supporters of Richard such as Bushy, Green and the Earl of Wiltshire. Also, Bolingbroke is highly concerned with the maintenance of legality to the kingdom, an important principle of Machiavellian philosophy, and therefore makes Richard surrender his crown and physical accessories to erase any doubt as to the real heir to the throne. Machiavelli also states that the deposed king must be killed, and Bolingbroke therefore kills Richard, showing his extreme cruelty to secure his kingly title. Since Bolingbroke is a disciple of the Machiavellian philosophy he cannot do the killing himself and employs Pierce of Exton for the killing of the deposed king and his ex-friend whose use is no longer needed. Yet, Irving Ribner still notes a few incidents where Bolingbroke does not follow true Machiavellian philosophy, such as his failure to destroy Aumerle, but such incidents are minuscule compared to the bigger events of the play. Even Bolingbroke's last statement follows Machiavellian philosophy as he alludes to making a voyage to the Holy Land, since Machiavellian philosophy states rulers must appear pious.[13] Therefore, this particular play can be viewed as a turning point in the history of England as the throne is taken over by a more commanding king in comparison to King Richard II.


Richard II has one of the most detailed and unusual performance histories of all the plays of the Shakespearean canon.

  • The earliest recorded performance was on December 9, 1595, when Sir Robert Cecil watched it at Sir Edward Hoby's house in Canon Row. Such specially-commissioned private performances were not unusual for Shakespeare's company.
  • Another commissioned performance of a different type occurred at the Globe Theatre on Feb. 7, 1601. This was the performance paid for by supporters of the Earl of Essex's planned revolt (see Historical Context above).
  • On September 30, 1607, among the oddest of all early performances: the crew of Capt. William Keeling acted Richard II aboard the British East India Company ship The Red Dragon, off Sierra Leone.
  • The play was performed two days in a row at the Globe on June 11 and 12, 1631.

The play retained its political charge in the Restoration: a 1680 adaptation at Drury Lane by Nahum Tate was suppressed for its perceived political implications. Tate attempted to mask his version, called The Sicilian Usurper, with a foreign setting; he attempted to blunt his criticism of the Stuart court by highlighting Richard's noble qualities and downplaying his weaknesses. Neither expedient prevented the play from being "silenc'd on the third day," as Tate wrote in his preface. Lewis Theobald staged a successful and less troubled adaptation in 1719 at Lincoln's Inn Fields; Shakespeare's original version was revived at Covent Garden in 1738.[14]

The play had limited popularity in the twentieth century, but John Gielgud exploded onto the world theatrical consciousness through his performance as Richard at the Old Vic Theatre in 1929, returning to the character in 1937 and 1953 in what ultimately was considered as the definitive performance of the rôle. Another legendary Richard was Maurice Evans, who first played the rôle at the Old Vic in 1934 and then created a sensation in his 1937 Broadway performance, revived it in New York in 1940 and then immortalized it on television for the Hallmark Hall of Fame in 1954. In 1974 Ian Richardson and Richard Pasco alternated the rôles of Richard and Bolingbroke in a production from John Barton at the Royal Shakespeare Theatre: thirty years later this was still a standard by which performances were being judged.[15] One of the most accessible versions was the 1978 production by the BBC of "the Shakespeare Plays" (a several years-long production to put all of Shakespeare's plays on tape). This version, still available on DVD, starred Derek Jacobi as Richard, with John Gielgud making an appearance as John of Gaunt.


  1. ^ Forker page 507 note 24
  2. ^ son of Henry Green (justice)
  3. ^ Shapiro, I. A. "Richard II or Richard III or..." Shakespeare Quarterly 9 )1958): 206
  4. ^ The Riverside Shakespeare: Second Edition. Boston: Houghton Mifflin Company, 1997, 845.
  5. ^ Elliott, John R. "History and Tragedy in Richard II"Studies in English Literature, 1500-1900, Vol. 8, No. 2, Elizabethan and Jacobean Drama (Spring, 1968), 253-271.
  6. ^ Richmond, Hugh M. "Personal Identity and Literary Personae: A Study in Historical Psychology,"PMLA 90.2 (Mar. 1975), 214-217.
  7. ^ Elliott 253-267.
  8. ^ Riverside 845.
  9. ^ a b c d Bate, Jonathan (2008). Soul of the Age. London: Penguin. pp. 256–286. ISBN 978-0-670-91482-1.  
  10. ^ Kantorowicz, H. Ernst. The King's Two Bodies: A Study in Medieval Political Theology. New Jersey: Princeton University Press, 1957, 24-31.
  11. ^ Kantorowicz 24-31.
  12. ^ Thompson, Karl F. "Richard II, Martyr." Shakespeare Quarterly 8.2 (Spring 1957), 159-166.[1]
  13. ^ Newlin, T. Jeanne. Richard II: Critical Essays. New York: Garland Publishing Inc, 1984, 95-103.
  14. ^ F. E. Halliday, A Shakespeare Companion 1564-1964, Baltimore, Penguin, 1964; pp. 262 and 412-13.
  15. ^ Coveney, Michael (6 October 2005). "A king with a PM's problems". The Independent. Retrieved 2009-06-01. "the greatest RSC productions...the best ever was John Barton's with Ian Richardson and Richard Pasco"  


  • Barroll, Leeds. "A New History for Shakespeare and His Time." Shakespeare Quarterly 39 (1988), 441-4.
  • Bergeron, David. "The Deposition Scene in Richard II." Renaissance Papers 1974, 31-7.
  • Bullough, Geoffrey. "Narrative and Dramatic Sources of Shakespeare". Early English History Plays: Henry VI Richard III Richard II, volume III, Routledge: London, New York, 1960.
  • Forker, Charles R. (ed.) Richard II, London:The Athlone Press, 1998.
  • Huke, Ivan and Perkins, Derek. Richard II: Literature Revision Notes and Examples. Celtic Revision Aids. 1981. ISBN 017 751304 7.
  • Chambers, E. K. William Shakespeare: A Study of Facts and Problems. 2 Volumes. Oxford: Clarendon Press, 1930.
  • Rose, Alexander. Kings in the North - The House of Percy in British History. Phoenix/Orion Books Ltd, 2002, ISBN 1-84212-485-4
  • Shakespeare, William. Richard II, ed. by Andrew Gurr, Cambridge University Press: Cambridge, 1990.
  • Smitd, Kristian. Unconformities in Shakespeare's History Plays, St. Martin's Press: New York, 1993.
  • Tillyard, E. M. W. Shakespeare's History Plays, Chatto&Windus: London,1944.of Virginia

See also

External links


Up to date as of January 14, 2010

From Wikiquote

The Tragedy of King Richard the Second is a play written by William Shakespeare around 1595 and based on the life of King Richard II of England. It is the first part of a tetralogy referred to by scholars as the Henriad, followed by three plays concerning Richard's successors: Henry IV, Part I; Henry IV, Part II; and Henry V.


Act I

  • Old John of Gaunt, time-honour'd Lancaster.
    • King Richard, scene i
  • In rage, deaf as the sea, hasty as fire.
    • King Richard, scene i
  • That which in mean men we entitle patience,
    Is pale cold cowardice in noble breasts.
    • Duchess of Gloucester, scene ii
  • The daintiest last, to make the end most sweet.
    • Bolingbroke, scene iii
  • Truth hath a quiet breast.
    • Norfolk, scene iii
  • King Richard: For thee remains a heavier doom,
    Which I with some unwillingness pronounce:
    The fly-slow hours shall not determinate
    The dateless limit of thy dear exile; —
    The hopeless word of — Never to return,
    Breathe I against thee, upon pain of life.
    Norfolk: A heavy sentence, my most sovereign liege,
    And all unlook'd for from your highness' mouth:
    A dearer merit, not so deep a maim
    As to be cast forth in the common air
    Have I deserved at your at your highness' hands.
    The language I have learn'd these forty years,
    My native English, now I must forego:
    And now my tongue's use is to me no more
    Than an unstringed viol, or a harp;
    Or like a cunning instrument cas'd up,
    Or, being open, put into his hands
    That knows no touch to tune the harmony.
    Within my mouth you have engaol'd my tongue,
    Doubly porcullis'd with my teeth and lips;
    And dull, unfeeling, barren ignorance
    Is made my gaoler to attend on me.
    I am too old to fawn upon a nurse,
    Too far in years to be a pupil now;
    What is thy sentence then but speechless death
    Which robs my tongue from breathing native breath?
    • Scene iii
  • John of Gaunt: What is six winters? they are quickly gone.
    Bolingbroke: To men in joy; but grief makes one hour ten.
    • Scene iii
  • All places that the eye of heaven visits,
    Are to a wise man ports and happy havens.
    Teach thy necessity to reason thus;
    There is no virtue like necessity.
    • John of Gaunt, scene iii
  • O, who can hold a fire in his hand,
    By thinking on the frosty Caucasus?
    Or cloy the hungry edge of appetite,
    By bare imagination of a feast?
    Or wallow naked in December snow,
    By thinking on fantastic summer’s heat?
    O, no! the apprehension of the good
    Gives but the greater feeling to the worse:
    Fell sorrow's tooth doth never rankle more,
    Than when it bites, but lanceth not the sore.
    • Bolingbroke, scene iii

Act II

  • They say, the tongues of dying men,
    Enforce attention, like deep harmony:
    Where words are scarce, they are seldom spent in vain.
    • John of Gaunt, scene i
  • The setting sun, and music at the close,
    As the last taste of sweets, is sweetest last,
    Writ in remembrance, more than things long past.
    • John of Gaunt, scene i
  • This royal throne of kings, this scepter'd isle,
    This earth of Majesty, this seat of Mars,
    This other Eden, demi-paradise;
    This fortress built by Nature for herself,
    Against infection and the hand of war,
    This happy breed of men, this little world,
    This precious stone set in the silver sea,
    Which serves it in the office of a wall,
    Or as a moat defensive to a house,
    Against the envy of less happier lands;
    This blessed plot, this earth, this realm, this England,
    This nurse, this teeming womb of royal kings,
    Fear'd by their breed, and famous by their birth.
    • John of Gaunt, scene i
  • The ripest fruit first falls.
    • King Richard, scene i
  • Evermore thanks, the exchequer of the poor.
    • Bolingbroke, scene iii


  • Eating the bitter bread of banishment.
    • Bolingbroke, scene i
  • He fires the proud tops of the eastern pines.
    • King Richard, scene ii
  • Not all the water in the rough rude sea
    Can wash the balm from an anointed king;
    The breath of worldly men cannot depose
    The deputy elected by the Lord.
    • King Richard, scene ii
  • O, call back yesterday, bid time return.
    • Salisbury, scene ii
  • No matter where. Of comfort no man speak:
    Let's talk of graves, of worms, and epitaphs;
    Make dust our paper, and with rainy eyes
    Write sorrow on the bosom of the earth;
    Let's choose executors, and talk of wills:
    And yet not so — for what can we bequeath
    Save our deposed bodies to the ground?
    Our lands, our lives, and all, are Bolingbroke's,
    And nothing can we call our own but death;
    And that small model of the barren earth
    Which serves as paste and cover to our bones.
    For God's sake, let us sit upon the ground,
    And tell sad stories of the death of kings:
    How some have been depos'd, some slain in war,
    Some haunted by the ghosts they have depos'd;
    Some poison'd by their wives, some sleeping kill'd;
    All murder'd — for within the hollow crown
    That rounds the mortal temples of a king,
    Keeps Death his court: and there the antic sits,
    Scoffing his state, and grinning at his pomp;
    Allowing him a breath, a little scene
    To monarchize, be fear'd, and kill with looks;
    Infusing him with self and vain conceit —
    As if this flesh, which walls about our life,
    Were brass impregnable — and, humour'd thus,
    Comes at the last, and with a little pin
    Bores through his castle wall, and — farewell king!
    • King Richard, scene ii
  • He is come to ope
    The purple testament of bleeding war.
    • King Richard, scene iii
  • And my large kingdom, for a little grave,
    A little, little grave, an obscure grave.
    • King Richard, scene iii

Act IV

  • And there, at Venice, gave
    His body to that pleasant country’s earth,
    And his pure soul unto his captain Christ,
    Under whose colours he had fought so long.
    • Bishop of Carlisle, scene i
  • You may my glories and my state depose,
    But not my griefs; still am I king of those.
    • King Richard, scene i
  • O, that I were a mockery king of snow.
    • King Richard, scene i
  • I am greater than a king:
    For when I was a king, my flatterers
    Were then but subjects; being now a subject,
    I have a king here to my flatterer.
    Being so great, I have no need to beg.
    • King Richard, scene i

Act V

  • But soft, but see, or rather do not see,
    My fair rose wither: yet look up, behold,
    That you in pity may dissolve to dew,
    And wash him fresh again with true-love tears.
    • Queen, scene i
  • As in a theatre, the eyes of men,
    After a well-grac'd actor leaves the stage,
    Are idly bent on him that enters next,
    Thinking his prattle to be tedious.
    • Duke of York, scene ii
  • It is as hard to come, as for a camel
    To thread the postern of a needle’s eye.
    • King Richard, scene v
  • Thoughts tending to content, flatter themselves
    That they are not the first of fortune's slaves,
    Nor shall not be the last.
    • King Richard, scene v
  • I wasted time, and now doth time waste me.
    • King Richard, scene v

External links

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