Barber, C. L., and Richard P. Wheeler. "Savage Play and the Web of Curses in Richard III." In The Whole Journey: Shakespeare's Power of Development, pp. 86-124. Berkeley: University of California Press, 1986.

Discusses Shakespeare's presentation of theatrical aggression in the role of Richard III.

Berry, Ralph. "Richard III: Player and King." In The Shakespearean Metaphor: Studies in Language and Form, pp. 9-25. London: Macmillan, 1978.

Examines the play's structure in terms of Richard's role-playing and of his confrontation with reality.

Brooke, Nicholas. "Richard III." In Shakespeare's Early Tragedies, pp. 48-79. London: Methuen & Co. Ltd., 1968.

Presents an analysis of the play's thematic structure and represents Richard as a tragic figure of human will set against the impersonal force of history.

Brownlow, F. W. "The Tragedy of Richard III" In Two Shakespearean Sequences: "Henry VI" to "Richard III" and "Pericles" to "Timon of Athens" pp.63-77. Pittsburgh: University of Pittsburgh Press, 1977.

Explores how Shakespeare circumvented historical fact in Richard's role to show the need for redemption in the soul rather than through human political figures.

Carroll, William C. "'The Form of Law': Ritual and Succession in Richard III." In True Rites and Maimed Rites: Ritual and Anti-Ritual in Shakespeare and His Age, edited by Linda Woodbridge and Edward Berry, pp. 203-219. Urbana, Ill.: University of Illinois Press, 1992.

Argues that Richard's adherence to the principle of succession despite his violation of every other form and law reveals him to be a monster.

Frisch, Morton J. "Shakespeare's Richard III and the Soul of the Tyrant." Interpretation 20, No. 3 (Spring 1993): 275-84.

Discusses the character of Richard in terms of classical definitions of tyranny and in terms of Shakespeare's understanding of the psychological motivations of a tyrant.

Garber, Marjorie B. "Apparent Prodigies: Dream and Plot: Richard III." In Dream in Shakespeare: From Metaphor to Metamorphosis, pp. 15-26. New Haven: Yale University Press, 1974.

Contends that Shakespeare's dream sequences show the workings of characters' minds and serve as metaphors of the action of the play.

Gurr, Andrew. "Richard III and the Democratic Process." Essays in Criticism 24, No. 1 (January 1974): 39-47.

Argues that Richard's defeat at Bosworth was not due to Richard's conscience but to the defection of Stanley, who symbolized the free choice of the people in choosing the better man (Richmond) over the worse.

Hammond, Antony. Introduction to The Arden Edition of the Works of William Shakespeare: King Richard III, edited by Antony Hammond, pp. 1-119. London: Methuen, 1981.

Includes a general critical discussion of ideas relevant to an understanding of the play.

Hassel, R. Chris, Jr. "Military Oratory in Richard III" Shakespeare Quarterly 35, No. 1 (Spring 1984): 53-61.

Argues that, according to the military manuals of the time, the military speeches of Richard III are inferior to those of Richmond.

Homan, Sidney. "Richard III: 'And Descant on My Own Deformity.'" In Shakespeare's Theater of Presence: Language, Spectacle, and the Audience, pp. 121-37. Lewisburg, W.Va.: Bucknell University Press, 1986.

Discusses Richard's sense of linguistic play and his skilful use of language, which he employs to manipulate others.

Kahn, Coppélia. "'The Shadow of the Male': Masculine Identity in the History Plays." In Man 's Estate: Masculine Identity in Shakespeare, pp. 47-81. Berkeley: University of California Press, 1981.

Examines Shakespeare's testing of the principle of patrilineal descent and of the definition of the male through the father in both tetralogies of history plays, showing Richard III as bringing destruction to the family and to the paternally-defined masculine identity.

Kelly, Henry Ansgar. "Shakespeare's Double Tetralogy: Richard III." In Divine Providence in the England of Shakespeare's Histories, pp. 276-95. Cambridge, Mass.: Harvard University Press, 1970.

Suggests that Richard III was not the evil agent of divine retribution but the recipient of divine justice in the person of Richmond in accordance with Tudor propaganda.

Knights, L. C. "Richard III." In William Shakespeare: The Histories, pp. 16-26. London: Longman, 1962.

Discusses Shakespeare's dynamic moral insight as the source of energy for the ingenious patterning of action and language.

Mindle, Grant B. "Shakespeare's Demonic Prince." Interpretation 20, No. 2 (Winter 1992-93): 259-74.

Demonstrates the extent to which Richard III, out of all of Shakespeare's kings, qualifies as Machiavellian.

Neill, Michael. "Shakespeare's Halle of Mirrors: Play, Politics, and Psychology in Richard III." In Shakespeare Studies: An Annual Gathering of Research, Criticism, and Reviews. Vol. 8, edited by J. Leeds Barroll III, pp. 99-129. New York: Burt Franklin & Co., 1975.

Contends that Richard, in the absence of a real inner self, creates a public self to conceal this inner void through his actions to obtain the crown, but discovers that this public self collapses into chaos when the selfdefining action of gaining the crown is finished.

Pierce, Robert B. "Richard III." In Shakespeare's History Plays: The Family and the State, pp. 89-124. N.p.: Ohio State University Press, 1971.

Shows that the morality of the family together with order and justice defeat the villain-king Richard, who is the ultimate result and expression of the forces of evil at work in civil war.

Rackin, Phyllis. "Engendering the Tragic Audience: The Case of Richard III." Imagination 26, No. 1 (Spring 1993): 47-65.

Analyzes the effect of reconstructing history as tragedy on Shakespeare's representation of women and of the gender relationships between the actor and the audience.

Reese, M. M. "Shakespeare's England: Richard III" In The Cease of Majesty: A Study of Shakespeare's History Plays, pp. 207-25. London: Edward Arnold (Publishers) Ltd., 1961.

Interprets Richard III as a comic character acting in the midst of a tragic state of affairs.

Richmond, H. M. "The First Tetralogy: Richard III." In Shakespeare's Political Plays, pp. 75-96. New York: Random House, 1967.

Suggests that the chartacter of Richard III ultimately derives his dramatic power from mythic qualities found in the medieval morality play.

Rossiter, A. P. "Angel with Horns: The Unity of Richard III." In Shakespeare: The Histories: A Collection of Critical Essays, edited by Eugene M. Waith, pp. 66-84. Englewood Cliffs, N.J.: Prentice-Hall, 1965.

Discusses the unity of the play in terms of the use of the myth of Richard the monster-king to invert the meaning of the Tudor myth of providential history into a paradox of evil justice.

Sanders, Wilbur. "Providence and Policy in Richard III" In The Dramatist and the Received Idea: Studies in the Plays of Marlowe & Shakespeare, pp. 72-109. Cambridge: Cambridge University Press, 1968.

Argues that the picture of Christian Providential design in Richard's defeat reveals Shakespeare's not-yetmatured ability to express his true moral picture of pessimistic pagan naturalism.

Sen Gupta, S. C. "The First Tetralogy." In Shakespeare's Historical Plays, pp. 55-97. Oxford: Oxford University Press, 1964.

Discusses Richard III, within the context of Shakespeare's development in the handling of historical plays, as an attempt to treat a chronicle theme as a tragedy.

Smith, Irwin. "Dramatic Time versus Clock Time in Shakespeare." Shakespeare Quarterly 20, No. 1 (Winter 1969): 65-9.

Discusses the relationship of the time taken to act the scene and the time needed in real life to do the actions suggested by the drama.

Waller, Marguerite. "Usurpation, Seduction, and the Problematics of the Proper: A 'Deeonstruetive,' 'Feminist' Rereading of the Seductions of Richard and Anne in Shakespeare's Richard III " In Rewriting the Renaissance: The Discourses of Sexual Difference in Early Modern Europe, edited by Margaret W. Ferguson, Maureen Quilligan, and Nancy J. Vickers, pp. 159-74. Chicago: University of Chicago Press, 1986.

Discusses from a feminist perspective the sexual and rhetorical assumptions involved in the deceptions that Richard and Anne suffer.

Weiss, Theodore. "The Anarch Supreme: Richard III." In The Breath of Clowns and Kings: Shakespeare 's Early Comedies and Histories, pp. 158-200. New York: Atheneum, 1971.

Traces the expressions of Richard's vigorous spirit as examples of a Renaissance probing of the idea of superman.