tramples upon every scruple. And all the other characteristics (for example, the hypocrisy, which in the Chronicle holds the foremost place) he uses as mere instruments in the service of ambition.
Note how he has succeeded in individualising this passion. It is hereditary. In the Second Part of Henry VI. (iii. I) Richard's father, the Duke of York, says—
"Let pale-fac'd fear keep with the mean-born man,
And find no harbour in a royal heart.
Faster than spring-time showers comes thought on thought,
And not a thought but thinks on dignity.
. . . . . . . .
Well, nobles, well; 't is politicly done,
To send me packing with an host of men:
I fear me, you but warm the starved snake,
Who, cherish'd in your breasts, will sting your hearts."
In the Third Part of Henry VI., Richard shows himself the true son of his father. His brother runs after the smiles of women; he dreams only of might and sovereignty. If there was no crown to be attained, the world would have no joy to offer him. He says himself (iii. 2)—
"Why, love forswore me in my mother's womb:
And, for I should not deal in her soft laws,
She did corrupt frail nature with some bribe,
To shrink mine arm up like a wither'd shrub;
To make an envious mountain on my back.
. . . . . . . .
To disproportion me in every part;
Like to a chaos, or an unlick'd bear-whelp,
That carries no impression like the dam.
And am I then a man to be belov'd?
O monstrous fault, to harbour such a thought!
Then, since this earth affords no joy to me
But to command, to check, to o'erbear such
As are of better person than myself,
I'll make my heaven to dream upon the crown."
The lust of power is an inward agony to him. He compares himself to a man "lost in a thorny wood, That rends the thorns and is rent by the thorns;" and he sees no way of deliverance except to "hew his way out with a bloody axe." Thus is he tormented by his desire for the crown of England; and to achieve it he will "drown more sailors than the mermaid shall; ... Deceive more slyly than Ulysses could; ... add colours to the chameleon; ... And send the murd'rous Machiavel to school." (The last touch is an anachronism, for Richard died fifty years before The Prince was published.)
If this is to be a villain, then a villain he is. And for the sake of the artistic effect, Shakespeare has piled upon Richard's head far more crimes than the real Richard can be historically proved to have committed. This he did, because he had no doubt of the existence of such characters as rose before his imagination while he read in Holinshed of Richard's misdeeds. He believed in the existence of villains—a belief largely undermined in our days by a scepticism which greatly facilitates the villains' operations. He has drawn more villains than one: Edmund in Lear, who is influenced by his illegitimacy as Richard is by his deformity, and the grand master of all evil, Iago in Othello.
But let us get rid of the empty by-word villain, which Richard applies to himself. Shakespeare no doubt believed theoretically in the free-will which can choose any course it pleases, and villainy among the rest; but none the less does he in practice assign a cause to every effect.
On three scenes in this play Shakespeare evidently expended particular care—the three which imprint themselves on the memory after even a single attentive reading.
The first of these scenes is that in which Richard wins over the Lady Anne, widow of one of his victims, Prince Edward, and daughter-in-law of another, Henry VI. Shakespeare has here carried the situation to its utmost extremity. It is while Anne is accompanying the bier of the murdered Henry VI. that the murderer confronts her, stops the funeral procession with drawn sword, calmly endures all the outbursts of hatred, loathing, and contempt with which Anne overwhelms him, and, having shaken off her invectives like water from a duck's back, advances his suit, plays his comedy of love, and there and then so turns the current of her will that she allows him to hope, and even accepts his ring.
The scene is historically impossible, since Queen Margaret took Anne with her in her flight after the battle of Tewkesbury, and Clarence kept her in concealment until two years after the death of Henry VI., when Richard discovered her in London. It has, moreover, something astonishing, or rather bewildering, about it at the first reading, appearing as though written for a wager or to outdo some predecessor. Nevertheless it is by no means unnatural. What may with justice be objected to it is that it is unprepared. The mistake is, that we are first introduced to Anne in the scene itself, and can consequently form no judgment as to whether her action does or does not accord with her character. The art of dramatic writing consists almost entirely in preparing for what is to come, and then, in spite of, nay, in virtue of the preparation, taking the audience by surprise. Surprise without preparation loses half its effect.
But this is only a technical flaw which so great a master would in riper years have remedied with ease. The essential feature of the scene is its tremendous daring and strength, or, psychologically speaking, the depth of early-developed contempt for womankind into which it affords us a glimpse. For the very reason that the poet has not given any individual characteristics to this woman, it seems as though he would say: Such is feminine human nature. It is quite evident that in his younger years he, was not so much alive to the beauties of the womanly character as he became at a later period of his life. He is fond of drawing unamiable women like Adriana in The Comedy of Errors, violent and corrupt women like Tamora in Titus Andronicus, and Margaret in Henry VI., or scolding women like Katherine in The Taming of the Shrew. Here he gives us a picture of peculiarly feminine weakness, and personifies in Richard his own contempt for it.
Exasperate a woman against you (he seems to say), do her all the evil you can think of, kill her husband, deprive her thereby of the succession to a crown, fill her to overflowing with hatred and execration—then if you can only cajole her into believing that in all you have done, crimes and everything, you have been actuated simply and solely by burning passion for her, by the hope of approaching her and winning her hand—why, then the game is yours, and sooner or later she will give in. Her vanity cannot hold out. If it is proof against ten measures of flattery, it will succumb to a hundred; and if even that is not enough, then pile on more. Every woman has a price at which her vanity is for sale; you have only to dare greatly and bid high enough. So Shakespeare makes this crook-backed assassin accept Anne's insults without winking and retort upon them his declaration of love—he at once seems less hideous in her eyes from the fact that his crimes were committed for her sake. Shakespeare makes him hand her his drawn sword, to pierce him to the heart if she will; he is sure enough that she will do nothing of the sort. She cannot withstand the intense volition in his glance; he hypnotises her hatred; the exaltation with which his lust of power inspires him bewilders and overpowers her, and he becomes almost beautiful in her eyes when he bares his breast to her revenge. She yields to him under the influence of an attraction in which are mingled dizziness, terror, and perverted sensuality. His very hideousness becomes a stimulus the more. There is a sort of fearful billing-and-cooing in the stichomythy in the style of the antique tragedy, which begins:—
"Anne. I would I knew thy heart. Gloucester. 'Tis figured in my tongue. Anne. I fear me both are false. Gloucester. Then never man was true."
But triumph seethes in his veins—
"Was ever woman in this humour wooed?
Was ever woman in this humour won?"
—triumph that he, the hunchback, the monster, has needed but to show himself and use his polished tongue in order to stay the curses on her lips, dry the tears in her eyes, and awaken desire in her soul. This courtship has procured him the