In the early 1590s a theatrical legend was born. He had enjoyed a strong and increasingly intriguing supporting role in two earlier plays depicting the unhappy reign of King Henry VI and then, finally, was given his own star vehicle. In this new play, when he first limped on he needed no introduction. Perhaps the audience recognized the actor and his costume from the prequels; perhaps the uneven gait and misshapen body left no doubt as to his demonic persona. Throughout his long opening speech he felt no need to remind the spectators of his identity, and indeed, it was only in the 52nd line of the play, uttered by his brother Clarence, that they heard his name for the first time: Richard.
Swipe to navigate through the chapters of this book
Please log in to get access to this content
To get access to this content you need the following product:
- The Texts and Early Performances
- Macmillan Education UK
- Sequence number
- Chapter number