While trapped in the throes of dramatic suspense, the self-reflexive concept of metatheatre reminds the audience of its current relationship with the actors. Shakespeare often implements metatheatre; exemplified by the concept of "play within the play" which occurs in both Hamlet (Shakespeare, 1603) and A Midsummer Night's Dream (Shakespeare, 1596). In these and other examples, Shakespeare uses the stage as analogous to the world, and vice versa. In As You Like It (Shakespeare, 1600) Jaques demonstrates this analogy succinctly, saying "All the world's a stage, / And all the men and women are merely players" (II:vii:139). Metatheatre is particularly prevalent in Henryad, with kings Richard II, Henry IV, Henry V, and Richard III, respectively, serving as performers before their court and as literal performers on stage. Anne Righter in her study Shakespeare and the Idea of ​​the Play describes it as "the image of the Player-King", in which Shakespeare illustrates the "contrast between the individual and the part he assumed at coronation" (Righter 121). However, since Richard in King Richard II (Shakespeare, 1593) is the first king of the Henriad, he is never portrayed as an individual before the label of king. The crown is Richard II's only source of identity, and his identity reflects the court's perception of his performance. Richard no longer has an identity when Bolingbroke usurps his crown. The title quote of this essay indicates Richard's realization of his role as an actor, without a real man behind the figurative mask. These lines take on a double meaning, as the actor delivering the lines literally "plays in one person many people" while the character of King Richard II also plays "in one person many people"; essentially, an actor playing an actor (V:v:31). This concept of metatheatre is woven throughout the play on various threads and is particularly evident in the identity, or lack thereof, of King Richard II. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayA performance of court spectacles kicks off the beginning of King Richard II, with a mutual accusation of treason between Thomas Mowbray and Henry Bolingbroke. The situation, however, is not as it appears; judicial formality masks the reality of the situation. For all the flattery, professions of truth, and loyalty to the king, Bolingbroke's accusation of Mowbray is actually a sublimated implication of King Richard for the death of the Duke of Gloucester. It's a politically correct way for Bolingbroke to threaten the king. Under the guise of defending himself, Mowbray also defends King Richard. Every word in this scene is a misrepresentation, and although all three men are aware of this, they play their roles accordingly. Richard's talent as a performer is showcased in his ability to portray the unwavering monarch. His behavior is absolutely professional with impeccable use of real language. Speaking of Bolingbroke, Richard says, "He is our subject, Mowbray, and so are you; / I allow you free speech and intrepidity" (I:i:122-123). In this stroke of irony Richard generously offers to be impartial towards his kinsman Bolingbroke; in fact the king should be impartial towards Bolingbroke since Bolingbroke is condemning him! When you consider the reality of this situation, effusive flattery also becomes a farce. The words of Bolingbroke, in the devotion of a subject's love, caring for my prince's precious safety, and free from further iniquitous hatred, I present myself to this princely presence. (I:I:31-34) They are the exact opposite of hisintentions. Bolingbroke cares not for the “precious safety” of his “prince” and is by no means “free from other ignoble hatred.” It is Bolingbroke's “ill-begotten hatred” that brings all three men into their current situation. The reality of the circumstances is exactly the opposite of his physical appearance and the function of the court members as actors is made evident in this scene. Aware of the precarious situation he finds himself in, Richard uses this opportunity to free himself from his enemy Bolingbroke. Contrary to his intentions, his actions indicate that he prefers Bolingbroke to Mowbray, sentencing Mowbray to exile for life, but only six years for Bolingbroke. An act of political prudence, he does it to appear supportive towards his relative. Richard utters these lines in an impassioned speech, stating that “the land of our kingdom should not be soiled/With that dear blood he had bred” (I:iii:125-126). At the end of the act, however, Richard indicates to Aumerle that he intends to keep Bolingbroke out of England longer, stating: "but it is a doubt, / When time shall call him home from exile" (V:iv:20 -21). The irony of this statement is realized when Bolingbroke returns from exile much sooner than Richard intended. However, this moment shows King Richards' skill as an actor; indicating that all his previous emotions and passionate words were fake. When this situation establishes Richard's keen ability to perform, all subsequent actions and speeches become blindingly melodramatic. The language with which he expresses his emotions is so ostentatious as to seem absolutely false. His actual way of speaking does not allow the basic function of communication; in The Player King James Winny describes it as “speaking statements rather than conversing” (Winny 48). The trend in the conversation is for Richard to speak in the royal "we" and for his subjects to respond with effusive adulation. When Richard is engaged in dialogue, it is hardly dialogue; the dynamic is one between performer and audience rather than parties speaking to each other. The conversation involves a dramatic soliloquy from Richard and then a reaction from whoever his audience is. The result is an awkward dynamic that leaves no room for natural impulsive emotions and creates a metatheatrical atmosphere for the entire duration of the show. Richard's soliloquies are so dramatic that it is impossible to discern his true emotions. In scene ii of Act III, when he returns from Ireland, he experiences a violently rapid change of expression several times. When he returns to England, he expresses confidence in his government, saying: This land will have a feeling, and these stones will prove armed soldiers before its native king falters under the horrible rebel arms. (III:ii:24) Upon learning of Bolingbroke's return to England, Richard's selfishness swells even further, proclaiming that Bolingbroke "He will not be able to bear the sight of the day,/ But he will tremble in fear for his sin" (III:ii:52-53) because «The breath of worldly men cannot depose,/ The Lord's chosen deputy» (III:ii:56-57). When Richard discovers that his Welsh troops have scattered, leaving him vulnerable, he panics, only to quickly regain his composure when Aumerle reminds him. An instant later, however, he again panics in blinding rage, cursing the Counts as "Three Judas, each three times worse than Judas!" (III:ii:132). The comparison with Christ is indicative of his hateful egotism. Richard's speech then reaches the pillar of melodrama, wallowing in its melancholy: We speak of graves, of worms and epitaphs, Make dust our paper, and with rainy eyes Write sorrow on the bosom of the earth. (III:ii:145-147)Thisrange of emotions in two hundred lines approaches the ridiculous. It seems like a farce; a comical jab at overacting. Regardless of whether or not this was Shakespeare's intention, the point is that Richard is an artist. Richard's ability to perform stems from the unbalanced amount of power he has over others, derived from his title as King. As his subjects, others are obligated to listen to his grandiose orations and respond with affirmations of his greatness. Despite his occasional protests against flattery, Richard needs it more than anything. He is an artist and his identity and value lie in the reaction he receives from his audience, the court. In this situation, a dichotomy exists between real life and the play, because the actor playing Richard derives his current value from the audience's reaction to his portrayal of Richard. This is true for any historical period, since an actor's value lies in his ability to evoke the right response from his audience. Richard becomes an increasingly pitiful character as the plot develops, and as his subjects turn against him, the audience will also begin to favor the charming Bolingbroke. Although it was rarely shown in Shakespeare's time due to its anarchic plot, a common Elizabethan audience would have favored Bolingbroke despite his usurpation, because he is kind to the common man. Richard describes, Ourselves and Bushy observed his courtship of the common people, how he seemed to dive into their hearts with humble, familiar courtesy. (I:iv:23-26) As Richard loses his credibility before his audience, the English court, the actor playing Richard loses status before the audience. Richard's speeches take on a double meaning, not only representing Richard's losses, but also those of the actor. In the climactic scene in which Richard gives the crown to Bolingbroke, the actor playing Richard gives up the lead role to the actor playing the newly named King Henry IV. Commanding a mirror, Richard looks at it and asks, "Is this the face that faced so many follies, / That was defeated at last by Bolingbroke?", once again representing both Richard and the actor who plays him (IV: i:285-286). To be sure, the role of Richard has been overtaken by Bolingbroke, as the character of King Henry IV continues to fill the title role in two other Shakespeare plays. When Riccardo violently smashes the mirror it indicates a complete loss of identity, both for the character and for the actor. The metatheatrical element present in Richard's role as king remains after the abdication scene. The Duke of York recounts Richard's plight; As in a theater the eyes of men, after a good actor leaves the stage, are lazily bent upon the one who enters next, thinking that his chatter is boring; Even so, or with much more contempt, the men's eyes frowned at Richard. (V:ii:23-27) And Bolingbroke later comments: "Our scene is now changed from a serious thing,/ And now changed to that of the beggar and the king" (V:iii:77-78). Because the idea of ​​usurping a throne was so anarchic in the eyes of Shakespeare's contemporaries, he uses these metatheatrical elements not only as a literary technique but also as a means of constantly reminding the audience that this is just a play. Although based on historical events, Shakespeare constantly infuses elements of metatheatre to vindicate himself. Richard's value as a character comes completely from his response to others. Devoid of all other qualities, his crown was the only thing that created a positive reflection of himself. Even in the most personal relationships, Richard, for example with, 1968.