Many of Shakespeare's plays, including historical and tragic ones, involve political intrigue that leads to the killing of a king. While the action surrounding this event may involve many more obvious themes, it is interesting to note the common idea that Shakespeare invariably includes when his play deals with the killing of a king. Any character who kills, or instigates the murder of, a king and takes his place faces the consequences of their actions. Shakespeare often makes these consequences more or less serious depending on how involved the character is in the murder and how “pure” his motivations may have been. However, in these dramas regicide is never taken lightly no matter how good the motive. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay There are three notable plays involving the slaying of kings in which the assassin takes command. In Richard II, Henry Bolingbroke first deposes King Richard II and then implies that it would have been easier if he had died. He is the least involved in the killing of the former king and his punishment is the least severe, as seen in Henry IV Part One and Henry IV Part Two. In Macbeth, King Duncan of Scotland is murdered by Macbeth. Macbeth doesn't even have the excuse of deposing an evil king, only the promise of three witches that he will rule. His triumph is extremely short. Finally, the tragedy of Hamlet Prince of Denmark begins after the death of Hamlet's royal father and only later does his unhappy ghost make it clear that King Claudius, the dead king's brother and Hamlet's uncle, is the murderer. Ironically, this play also ends with the killing of a king, although Hamlet dies immediately and is unable to take his rightful throne. Claudio's murder is closer to revenge than anything else. Shakespeare takes a very serious view of the role of kings in all these plays. It is a station not to be abused, but it works on both sides of royalty. A king must not abuse his power, but those who serve under him should defend him even if they do not fully appreciate his decisions. What becomes less clear is whether or not you approve of replacing an evil or dangerous king. When Macduff speaks to Malcolm, Duncan's rightful heir, about being king, Malcolm tests Macduff's loyalty by pretending to be unimaginably vicious and evil. When Malcolm asks whether “such a person is fit to rule” (Macbeth 4.3.101), he approves of Macduff's response: “Fit to rule? / No, not to live!” (4.3.103-104). However, Macduff does not go so far as to wish for the death of Scotland's rightful heir. He simply states, “These evils you repeat to yourself / have banished me from Scotland” (4.3.111-112). He would rather leave than stay in a country so corrupted by an evil king, but he doesn't go so far as to wish for the king to be removed or killed. This is not the case with Henry Bolingbroke, the future Henry IV. Bolingbroke has just reason to be angry with the king. King Richard exiled him from his home and then proceeds to steal his rightful inheritance after his father's death. Bolingbroke returns, however, breaking his vow to remain in exile, but still planning to restore his own honor which has been tarnished by the reckless king. He tries to justify his return: "As I was banished, I was banished from Hereford, / But as I came, I come for Lancaster" (R2 2.3.113-114), but the defense rings hollow. He is clearly ignoring his vow to seek punishment for an unconscionable wrong. Perhaps it is a fair exchange and, as he passes through England, he is hailed as the conquering hero while Richardhe is the embittered, tragic and failed king. However, it is worth noting when august figures such as the Duke of York complain about the situation. York is not happy with King Richard's actions, but does not believe he should be deposed: “Alas the heavy day / When so sacred a king should hide his head!” (R2 3.3.8-9). It's the young, ambitious crowd that flocks behind Bolingbroke. He allows himself to dream of royalty. Closely related as he is to the king, he is not Richard's heir. But this doesn't discourage him. King Richard II has lost almost all of his former arrogance. He bows before superior forces, despite his earlier declarations that “Not all the water in the troubled and troubled sea / Can wash away the balm from an anointed king” (R2 3.2.54 – 55). Richard is not so arrogant in the face of Bolingbroke's army, but tells Henry: "No hand of blood and bone / Can grasp the sacred hilt of our scepter, / Unless he profane, steal or usurp" (R2 3.3. 79-81). Bolingbroke carries on despite this implication of vulgarity on his part. When Richard is deposed, he goes into exile and Exton, acting on a perceived word from Bolingbroke, now King Henry IV, kills him. It is somewhat questionable whether Bolingbroke wanted Richard to be completely murdered. We see that he wants him dead: “I hate the murderer, I love him murdered” (R2 5.6.40), but he doesn't play an active enough role in Richard's death to call him a murderer. Many years later, Bolingbroke makes it clear that he feels entirely responsible for Richard's death and is remorseful: “As I have obtained the crown, O God, forgive” (2H4 4.5 218). He paid his dues for his crime. He spends almost his entire reign fighting for his crown and passes it on to his son so he can enjoy the fruits of his hard work. Shakespeare seems to think that this was a fair enough punishment for supplanting a king. Richard is, it must be admitted, a terrible king in many ways and Henry has no direct role in his murder. But the fact remains that warnings and omens are constantly given throughout Richard II, implying the dangers of taking the throne, and the life, of the God-ordained king, however wicked he may be: “But before the crown he seeks live in peace / Ten thousand bloody crowns of mothers' sons / Shall become the flower of England's face” (R2 3.3.95-97). These are prophetic words. Shakespeare makes it painfully clear what the price will be. Bolingbroke seems willing to pay it, and pays it. Macbeth's murder of King Duncan is a much clearer picture of the betrayal against a just king and the penalty paid by the murderer. Macbeth is an ambitious character from the beginning, but he has nothing to complain about under King Duncan's rule. He is just given the title of Cawdor at the beginning of the play for his valiant deeds, speaking to Duncan's faith in him as a worthy subject. However, Macbeth has loftier goals than gaining more titles under Duncan's rule. The three strange sisters indicate that Macbeth "shall be king henceforth" (Macbeth 1.3.50), and he is "snatched together" (1.3.57). The idea catches on instantly. But Macbeth needs more than the witches' words to move him to action: “If chance will me king, that chance may crown me / Without my stir” (1.3.143-144). He is fascinated by the idea, but only when his wife pushes him to act on the perfect opportunity given to him, the arrival of the king at his home, does he finally commit the king's murder. Macbeth is unique in that he doesn't even try to justify his actions. Maybe it's because there's no justification. Duncan is, in every way, a good king. Shakespeare provides a number of indications of the clear evil of this regicide. The fact that Macbeth's prophecy was given to him by three witches should have beenwarning enough. Banquo sees the danger: “Often, to lure us to our harm, / The instruments of darkness tell us truth” (1.3.123-124). Macbeth completely ignores this warning. After speaking with his noble and trusting king, Macbeth quickly admits that he has nefarious plans: “Stars, hide your fires; / May the light not see my black and deep desires” (1.4.50-51). Before the king is murdered, Macbeth sees a ghostly dagger and when the deed is done, Lady Macbeth hears the ominous cry of an owl. Everything done here is dark and there is the sense of black magic surrounding the act: “evil dreams abuse / The veiled sleep. Witchcraft celebrates the offerings of Pale Hecate (2.1.50-52), which recall the three witches whose hands are involved in this act. There is a clear difference between this and the killing of Richard II. Henry Bolingbroke is still guilty of killing a king and suffers for it, but he does it all openly with an army of supporters behind him. He proudly declares his right to depose the king. He believes he is doing what is good for himself, but also what is right for England: “necessity so bent the state / That greatness and I were forced to kiss” (2H4 73-74). There is little shame and no compelling need to hide everything in the dark. Macbeth obtains the crown when both of Duncan's sons flee in fear for their lives. However, unlike Bolingbroke, he fails to keep it, suggesting to Shakespeare that Macbeth has no right to it. His support rapidly declines as forces rally around Malcolm, the rightful heir. While Bolingbroke's opponent, heir presumptive Mortimer, is defeated and can cede the throne to his son and continue his line, Macbeth has no heirs. His entire brief reign is, in fact, sterile. It ends with a battle in which he loses his life against Macduff. Ironically, both his rise to the throne and his death are inspired by the prophecies of the mischievous Strange Sisters. Their last words tell him to fear no man born of woman. Macbeth does not remember Banquo's words and trusts the manipulative witches. Macduff, who was “torn prematurely from his mother's womb” (Macbeth 5.7.15-16), defeats the unworthy king. Macbeth is dead and Malcolm takes the throne. Macbeth is remembered as nothing more than a “usurper” (5.8.55). In this case, the assassination of the king ends with the supplanter being killed and the rightful heir taking his place as king. This is the ending that can be created. In the case of Hamlet, the situation changes once again. The murdered king does not appear alive during the show. His only words are given as a ghost after his death. Hamlet mourns not only his father's death, but also his mother's unnaturally quick marriage to his uncle and his uncle's ascension to king. Shakespeare presents a situation where the act of murder is already done and the usurper is in his place on the throne. Furthermore, in this case, the murderer and supplanter, King Claudius, is not the main character of the story. Hamlet takes on that role. He discovers the murder through the dead king who cannot rest because his death remains unsolved: "Murder is very foul, as at the best, / But this is very foul, strange and unnatural" (Hamlet 1.5.25- 26). . Hamlet, the legitimate heir to the throne, now has the duty to avenge his father's murder. In many ways, this feels similar to Macbeth. The son of the murdered king must fight with the murderer, who now sits on the throne: “The serpent that stung your father's life / Now wears his crown” (1.5.39-40). However, Hamlet does not prove to be a character worthy of Malcolm. He does more planning and scheming than action: “Oh, henceforth, / Let my thoughts be bloody, or worth nothing!” (4.4.65-66). Hamlet deserves it, 1969. 707-740.