Quatre ans après la première saison, The Hollow Crown est de retour sur BBC2.

The Hollow Crown saison 2 photo

Cette seconde saison est sous-titrée “The Wars of the Roses” (les Guerres des Roses) en référence à la période de l’histoire qui correspond aux événements des épisodes.

Cette saison se base sur la première tétralogie de Shakespeare : Henry VI, Part I; Henry VI, Part II et Henry VI, Part III sont condensés en seul film; et Richard III, dont le personnage est joué par Benedict Cumberbatch.

Les nobles anglais se querellent au sujet des guerres avec la France. Les nouvelles de la défaite des Anglais à Orléans parvient jusqu’au Duc de Gloucester et des autres nobles. Après les funérailles d’Henry V, c’est son fils, le dauphin Henry VI, qui est proclamé roi.

Dix-sept ans plus tard, Henry est sur le trône alors que les rivalités à la cour continuent et la défaite des Anglais à Rouen par Jeanne d’Arc met le feu aux poudres entre les deux maisons : les York et les Lancaster, qui se retrouvent en opposition.

Des archéologues affirment que les restes du corps qui ont été excavés en dessous d’un parking à Leicester le 4 février 2013 appartiennent au roi anglais Richard III.


Le squelette, retrouvé en septembre 2012, présente au niveau de la colonne vertébrale des signes de scoliose, que Richard III avait certainement, et des blessures de guerre qui correspondent aux récits de la mort de Richard III au cours de la Guerre des Deux-Roses. C’est ce qui a poussé les archéologues à demander des tests plus poussés afin de vérifier son identité.

Les chercheurs de l’Université de Leicester ont donc conduit une série de tests, dont un test de l’ADN extrait d’une dent et d’un os de Michael Ibsen, un descendant actuel de la soeur de Richard III, Anne of York. Ce test a confirmé la relation génétique entre l’ADN d’Ibsen et celui du squelette. Ces restes sont donc bien ceux de Richard III.

Richard III et la Guerre des Deux-Roses

Richard III est né en 1452 et a gouverné l’Angleterre de 1483 à 1485. Son règne se termina par sa mort à la bataille de Bosworth Field, la bataille finale dans la guerre civile anglaise que l’on connait sous le nom de Guerre des Deux-Roses, opposant la maison royale de Lancastre à la maison royale d’York.

La guerre prend fin en 1485, quand le dernier des rois Plantagenêt Richard III d’Angleterre meurt au champ d’honneur, et qu’Henri VII devient roi. La maison de Lancastre descendait de Jean de Gand, duc de Lancastre et 3e fils du roi Édouard III. Celle d’York descendait de son frère Edmond de Langley (1341-1402), 4e fils du roi Édouard III, devenu duc d’York en 1385.

L’emblème de la maison de Lancastre était la rose rouge, tandis que celui des York était la rose blanche, ce qui est à l’origine du nom donné a posteriori à ce conflit.


Lord Jim by Joseph Conrad

Macbeth by Shakespeare

A Midsummer Night’s Dream by Shakespeare

Richard III by Shakespeare

World War One Poetry

Regeneration by Pat Barker

It is very often an issue in Shakespeare’s plays. It deals with order and degree: each thing in the Universe has a place in a scale of things. It is more than a political doctrine: it implies a metaphysical organization of the Universe, which is also linked with theology. We can”t find an exponent of this doctrine, it is everywhere at the back of people’s minds. It is a world picture in the collective unconscious consciousness.

Disorder is the equivalent of the original chaos (as opposed to cosmos). God sustains the world as ordered, holding everything into place: he did not create it once and for all.

Order is the means by which you can judge disorder. The notion of sin also intervenes, at several levels (in the Bible…) :

  1. Revolt of the Bad Angels with Satan
  2. Fall of Man from the Garden of Eden
  3. Murder of Abel by Cain

It constitutes frames of references for the Elizabethan. Sin is the reason for chaos and disorder. The ordering of the world is very complex and means a very specific organization. Every thing has a place, even the slightest one. They conceived the world as a scale, an infinite ladder with infinite degrees: each thing is both superior and inferior to something else. It is a hierarchical order of things, known as “The Great Chain of Beings”. One can notice that only Hell escapes this ladder.

Great Chain of Beings

Man has all the possibilities of the earthly existences (he forms a microcosm in the macrocosm of the Universe). The inanimate class nourishes the vegetative class that nourishes… and so on. Man aspires to the spiritual class. It is very closely linked: the bottom of one class is connected with the top of another class. It is a system of infinite diversity and unity of the Universe.

There is a primate in each class :

  • Birds: eagle
  • Trees: oak
  • Elements: fire
  • Man: King
  • Stars: sun
  • Values: justice
  • Body: head

Man is close to animals in sensuality and to angels in understanding: he is a nodal. For the Elizabethan, man was really himself when he was social. That is why morals and politics were far more important at that time than science. Man is between Matter and Nature. It is a source of internal conflict because he is always trying to bridge the cosmic gap (to reconcile) the angel and the beast within him.

Macbeth is representative of the human condition but Richard is definitely evil. This brings us to make the difference between being amoral and being immoral. Someone who is amoral does not have a moral because he does not know what moral is. On the contrary, someone immoral knows exactly what is moral but chooses to turn his back to it. Richard is definitely immoral.

For the Elizabethans, Nature and Creation had done things for the best. That is why Richard accuses Nature and puts the blame on the Creation for being deformed. If he had accepted his rank in the order of things, he would have been Ok. The order of things -the Cosmos- is also based on a series of correspondences between the several levels of beings.

  • heavenly order: God
  • macrocosm: World, Nature (“sub-lunar level”)
  • the state: body politic
  • the body: body natural

Each element at a certain level has another correspondence in another level. In Richard III, Richard the Tyrant (state) is a cripple (body) and at the beginning, the King is sick because the State is sick. In Macbeth, there is an eclipse after Duncan’s death.

The main problem is the question of Evil. How can Evil be possible in a perfect world ? Man yielded to the temptation of Evil and sinned. God allowed havoc as a punishment for man’s sins. Man is the only creature who was given freedom of will and the choice of his own actions. He chose transgression and brought about Evil. Havoc happened because of man but it was also part of God’s plans. Everything is determined by God for the Elizabethans. In the end, we realize that transgressors are always punished by God, whereas they were successful in the beginning.

In fact, this was not the Elizabethans” picture but the Middle Ages” one. In the 16th and 17th century, this world vision has already been questioned by several thinkers and especially by Machiavel, who believed neither in law and order nor in man’s basic goodness. One one hand, man was capable of understanding what was good (Erected Wit) but on the other hand, there was evil temptation (Infected Will).

For Machiavel, man is basically prone to Evil and disorder is the natural state of man, not the exception. Man is not idealistic but completely cynical. Machiavel said that through will and determination, man could reach power. The success story of Richard is the mere illustration of The Prince.

Richard’s role is that of the Scourge of God. From the start he is determined by God but does not realize it. In the end, a machiavellian success is always part of God’s success. See the Wheel of Fortune, ruled by Providence and therefore by God.

I. The Vice

Was the favourite character in medieval morality plays. He is both an intriguer and a deceiver. He
creates laughter and engages the audience’s sympathy in a conspirational relationship. Richard generates a special relation between word and deed. He tells the audience what he is going to do, then does it and finally recalls what he did: his soliloquies and asides create a feeling of conspiracy.

The Vice was also a figure of carnival, who fights the established authority and embodies the audience’s anti-authoritarian impulses. He is an outlet for the people’s frustration.

II. A Monster

Shakespeare has added a physical deformity to the character of Richard because Richard was not a hunchback. In fact, at that time, deformed people were said to be willing to take revenge against Nature: because they cannot change their lot, they want to bring people down. Another reason is that showing fairground attractions on stage was a trick often used by Shakespeare to incite people to see his plays. A both deformed and mobile character was a very scary monster.

III. The Machiavel

In the Elizabethan times, the Machiavel became a character but its initial status was absolute evil. In Christopher Marlowe’s Jew of Malta, there is a prologue entitled “The Prologue: Machiavel”. Richard is also considered as a reincarnation of Machiavel. In Henry VI, Richard already says:

“I have sent Machiavel to school”.

Machiavel’s vice is characterized by ambition and power. Vice’s vice is lust. Machiavel is morally deprived, at the point of boasting his own depravity. He is also more severe than Vice, very gifted with words and rhetorics and efficient in convincing people. He is very good at reaching his aims: he divides and then conquer (by opposing one side to the other).

For the Elizabethans, Machiavel was utter evil. In the Renaissance, he was more considered as an individualist. Individualism was strongly opposed to Augustine and Aquinas, for who history was providential and ruled by God. For Machiavel, on the contrary, everyone should play his own part in life.

In the play, the victory of the Machiavel is present from the beginning till the middle. The second part shows history as still providential: Richmond the God-Sent becomes King. Richard is an hypocrite too: as to become king, you must be religious, Richard appears between two bishops, “two props of virtue”.

The War of the Roses and the usurpation of the The War of the Roses and the York’s usurpation was still fresh in people’s minds. It had been a was still fresh in people’s minds. It had been a period of disorder and chaos: people still remembered the civil and the divisions within the State: there was a need for exorcism. Shakespeare’s plays had a cathartic function.

According to Aristotle, the function of tragedy is catharsis: the audience will go through very powerful emotions but they will be protected by their status of audience. There is a play between participation (sympathy) and non-participation. The catharsis will allow an internal problem to be solved or externalized.

Always a ritual quality in Shakespeare’s historical plays: the lamentation scenes (like in Act IV, scene 4 with Margaret). These scenes are very rhetorical but in a conventional manner (by use of anaphors), as opposed to Richard’s puns and inventive style.

IV. The Scourge of God

The evil ruler is sent by God to punish a sinful people, like Nero for the Romans. It is part of the retributive justice: we get what we deserve. In Richard III, it is very cruel for it introduces the notion of collective responsibility for England. The citizens (III, 2) and the crowd (III,7) are the representatives of the English people.

This guilt of England must be purged by a series of crimes, culminating in the scourge of Richard III. Richard is a sacrifice to redeem England from all her sins. He kills them all and then die: purgative and cleaning act for the whole nation. There are no innocents in Richard III, all are guilty.

  • Clarence : for killing the Young Prince Lancaster.
  • Edward : for killing the Young Lancaster too.
  • Buckingham : for helping Richard.
  • Anne : for letting Richard woo her.
  • Elizabeth : for letting Richard woo her daughter.

War brought about treason and corruption. Margaret seems to be a victim but she killed Rutland: she is also a child-murderer (this will later be used by Richard against her). She’s the only character that feel satisfied with the children’s death :

  • she is as bitter as Richard.
  • she wants the same evils inflicted on others as she has been inflicted, especially towards Elizabeth.
  • logic of retaliation (an eye for an eye).

She is a prophetess but her main goal is guided by revenge. Shakespeare makes her leave the play as soon as she has her revenge. She leaves and Richmond appears, bringing some more positive notes.

Richmond is sent by God: he is the savior figure who brings the Golden Age. On the contrary, Richard is the anti-Christ figure who inverts all Christian values. Richard is utterly evil. He is a figure of exorcism because he is so evil that he absorbs all the sins. His sins are not contagious: all the people influenced by him (Buckingham – Anne) will come to regret. Richard wants to personify evil on his own: he is a satanic figure and he is very proud of it : ” I am determined to be a villain” (I,1). Richard is a parodist and a role-player :

  • 1st role: with Clarence: the sympathizing brother
  • 2nd role: with Anne: the passionate lover asking for charity
  • 3rd role: with the two bishops: the devout
  • 4th role: with the two princes: the devoted uncle
  • 5th role: with Hastings: the victim

NB: “hypocrite” in Greek means actor. Richard can pretend to be everything to get what he wants. He does not have the value of truth. He has a gift with rhetorics and is at his best when wooing Anne: he replaces her lamentations with Courtly Love. [Stichomythia: in a dialogue, re-use of something said by the other protagonist]. He manages to upset the linguistic foundations of her discourse. Language is an efficient tool but also a shaper of reality. At the end, we do not know where reality is for Richard also manages to woo the audience: it is disturbing. The character of Richard makes the success of the play, because of :

  • skills
  • resources
  • wit and “alacrity of spirit”
  • discernment
  • courage
  • thinking on his feet

Richard is not likeable but the audience enjoys seeing him on stage. The spectator is ambivalent.

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