‘In the beginnings of tragic texts, the tragic protagonists are always admirable and
splendid.’ To what extent do you agree?
Throughout the early scenes of the play, while it can be argued that Shakespeare’s
portrayal of Richard II's language and royal authority convey a tragic protagonist who
embodies a certain tragic magnificence, it becomes clear that this characterisation is
largely a facade. Richard’s self-indulgence and flawed leadership means that rather
than an admirable and splendid figure, Richard emerges as a tragic protagonist whose
perceived magnificence is at odds with his actions and moral weaknesses.
It could be argued that Shakespeare’s use of elaborate language and heroic couplet
form, as well as the trumpet fanfare when Richard enters onstage, elevates Richard and
creates an air of grandeur surrounding him. Indeed, his handling of the dispute between
Bolingroke and Mowbray in Act 1, Scene 1, where Richard presents himself as the
ultimate arbiter of justice, wielding absolute authority as he states ‘we were not born to
sue but to command’, underscores his belief in his divine right to rule, which aligns with
traditional notions of tragic magnificence. Richard’s royal self-assurance appears
admirable, and his forceful, commandeering language to an extent reinforces his status
as a splendid figure. Yet, Bolingbroke and Mowbray’s refusal to heed Richard’s request
to ‘forget, forgive, conclude and be agreed’ in front of the other nobles and attendants
who are present onstage highlights how Richard’s authority is easily undermined, and
an early indication in the play that far from being splendid, Richard is an inept, foolish
and arrogant monarch. Furthermore, Richard’s fickle decision to ‘[pluck] four away’ from
the ‘number of his [Bolingbroke’s] banish’d years’ exemplifies Richard’s failure to enact
justice, foreshadowing how Richard is unable to maintain control over England, which
has been turned into a ‘pelting farm’, of which he is merely the ‘landlord.’ This suggests
a superficial splendour rather than a true monarchical power; Richard’s role as an
incompetent ruler thus begins to unravel any notions of his tragic magnificence, implying
that his tragic flaws are present from the beginning of the play.
Another key moment in the play which demonstrates Richard’s lack of admirability and
splendour occurs in Act 1, Scene 4, where Richard callously seizes his uncle Gaunt’s
‘plate, coin, revenues and moveables’ upon his death, which in fact is Bolingbroke’s
rightful inheritance. Shakespeare’s use of language here reveals Richard’s disregard for
justice, as he foolishly believes he is secure in his position as ‘God’s substitute’,
describing England as ‘our country’s cradle’ - a place he believes solely exists for his
use and exploitation. This sense of entitlement underscores Richard’s view of kingship
as a personal possession rather than a sacred duty, and by ignoring the sanctity of
inheritance laws and taking Bolingbroke’s lands, Richard alienates the ‘thousand
well-disposed hearts’ (such as the Duke of York) who might have otherwise respected
© Humanities Unlocked. | AQA A-Level English Literature 2025 | For personal use only. Redistribution is
prohibited.
splendid.’ To what extent do you agree?
Throughout the early scenes of the play, while it can be argued that Shakespeare’s
portrayal of Richard II's language and royal authority convey a tragic protagonist who
embodies a certain tragic magnificence, it becomes clear that this characterisation is
largely a facade. Richard’s self-indulgence and flawed leadership means that rather
than an admirable and splendid figure, Richard emerges as a tragic protagonist whose
perceived magnificence is at odds with his actions and moral weaknesses.
It could be argued that Shakespeare’s use of elaborate language and heroic couplet
form, as well as the trumpet fanfare when Richard enters onstage, elevates Richard and
creates an air of grandeur surrounding him. Indeed, his handling of the dispute between
Bolingroke and Mowbray in Act 1, Scene 1, where Richard presents himself as the
ultimate arbiter of justice, wielding absolute authority as he states ‘we were not born to
sue but to command’, underscores his belief in his divine right to rule, which aligns with
traditional notions of tragic magnificence. Richard’s royal self-assurance appears
admirable, and his forceful, commandeering language to an extent reinforces his status
as a splendid figure. Yet, Bolingbroke and Mowbray’s refusal to heed Richard’s request
to ‘forget, forgive, conclude and be agreed’ in front of the other nobles and attendants
who are present onstage highlights how Richard’s authority is easily undermined, and
an early indication in the play that far from being splendid, Richard is an inept, foolish
and arrogant monarch. Furthermore, Richard’s fickle decision to ‘[pluck] four away’ from
the ‘number of his [Bolingbroke’s] banish’d years’ exemplifies Richard’s failure to enact
justice, foreshadowing how Richard is unable to maintain control over England, which
has been turned into a ‘pelting farm’, of which he is merely the ‘landlord.’ This suggests
a superficial splendour rather than a true monarchical power; Richard’s role as an
incompetent ruler thus begins to unravel any notions of his tragic magnificence, implying
that his tragic flaws are present from the beginning of the play.
Another key moment in the play which demonstrates Richard’s lack of admirability and
splendour occurs in Act 1, Scene 4, where Richard callously seizes his uncle Gaunt’s
‘plate, coin, revenues and moveables’ upon his death, which in fact is Bolingbroke’s
rightful inheritance. Shakespeare’s use of language here reveals Richard’s disregard for
justice, as he foolishly believes he is secure in his position as ‘God’s substitute’,
describing England as ‘our country’s cradle’ - a place he believes solely exists for his
use and exploitation. This sense of entitlement underscores Richard’s view of kingship
as a personal possession rather than a sacred duty, and by ignoring the sanctity of
inheritance laws and taking Bolingbroke’s lands, Richard alienates the ‘thousand
well-disposed hearts’ (such as the Duke of York) who might have otherwise respected
© Humanities Unlocked. | AQA A-Level English Literature 2025 | For personal use only. Redistribution is
prohibited.
