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"Now is the winter of our discontent," intones Richard, Duke of Gloucester at the beginning of Shakespeare's Richard III, one of his most abidingly popular plays, and one of the most chilling portrayals of political tyranny ever seen on stage. Richar
d emerges from the chaos which surrounds the reign of Henry VI, already dramatised by Shakespeare earlier in his career, determined to become king by removing his elder brother Edward IV by convincing him that their brother Clarence is plotting again
st the crown. The deaths of both Clarence and Edward take Richard inexorably towards the crown, and the series of murders and conspiracies that Richard masterminds confirms his claim that "I am determined to prove a villain". Richard's political and
sexual charisma are truly chilling, and his seduction of Lady Anne, over her husband's corpse is one of the most disturbing scenes in Shakespeare. At another level, the play is also a strongly anti-Yorkist play, which has a vested interest in portray
ing Richard as such as vicious tyrant before seeing him toppled, ushering in a period of rule which prefigured the Tudor dynasty of which Elizabeth I was herself a part. The play has had a deep and lasting influence on audiences and writers; Brecht r
ewrote the play as The Resistible Rise of Arturo Ui, while both Laurance Olivier and Ian Mckellen have produced memorable film versions of Richard III, the latter updating the play into a 1930s fascist state ruled over by a Richard akin to Oswald Mos
ley. --Jerry Brotton--This text refers to an out of print or unavailable edition of this title.