Deformity as Clarification

                This past Friday, we in Literature and Philosophy discussed how deformity and monstrosity play a part in Richard III. We approached this discussion through the lens of several other works we’ve read over the past week, including pieces such as WEB Dubois’ “The Souls of Black Folks” and Linda Charnes’ “On Reading the Monstrous Body in Richard III,” as well as the general ideology of Aristotle.

We next considered another view on deformity during Shakespeare’s time, as well as his society’s view on villainy. In “On Reading the Monstrous Body in Richard III,” Linda Charnes states that during this time, outward deformity was considered a sign of inward moral deformity. Any sort of deformity signified vileness and malignance in the heart and soul of a person.

We set aside that definition for a moment to consider the society’s view on villainy. In our society, we can immediately see the Richard is villainous, evil. Killing on any scale is, in general, not socially acceptable at all. We consider it a flagrant sign of immorality. However, during Shakespeare’s time, this may not have the case. Shakespeare lived in an era where men dueled to the death for their honor, where executions were public entertainment, where the Black Plague raged. For those who were watching Shakespeare’s plays, death was simply a part of life. Killing may not have had the same moral significance for them as it does for us.
Furthermore, there is a great deal of killing that goes on in the play, many of which originates from different characters. How, then, could the audience know who was the most evil. The villain. 

In light of both perspectives on Shakespearean life, we discussed that perhaps Richard’s deformity was not solely metaphorical. Perhaps it was meant to clarify to the audience that Richard is, in fact, the villain. While scheming to kill might not have alerted the audience to Richard’s malignant nature, his deformity certainly would have.

To read more on deformity, see "Deformity and Feminization" and "Deformity and Social Pressures"

By: Jessica C., Hockaday School 

Deformity and Feminization

This past Friday, we in Literature and Philosophy discussed how deformity and monstrosity play a part in Richard III. We approached this discussion through the lens of several other works we’ve read over the past week, including pieces such as WEB Dubois’ “The Souls of Black Folks” and Linda Charnes’ “On Reading the Monstrous Body in Richard III,” as well as the general ideology of Aristotle.

                We first considered the fact that, during the time of Shakespeare and Richard III, deformity was thought to be very feminine. In fact, women were the epitome of deformity, as the ideal person was not just white, not just free, but also, and primarily, a man. Furthermore, women’s deformed bodies reflected their inherently deformed souls. According to Aristotle, women were, by their very nature, unable to reach the higher Truth and reason that was so valued.

Because women represented the epitome of deformity, we considered the idea that any other deformed person was thereby associated with femininity, feminized by their deformity. We took this idea from something that we commonly see in our society: when someone appears to be weak or acting ‘cowardly,’ we tend to taunt him for acting “girly” or “like a girl.”

And we found that this idea carries over to Richard III as well. We see Richard’s deformity and weakness prominently in the play through his mangled hand. Due to his hand, Richard cannot do many things that men are traditionally meant to do in his society. It is likely that he cannot fight adequately and, as Richard admits, he cannot prove a lover either. Because of this weakness, Richard is, in a sense, feminized. He is simply not as masculine as his brothers and the other members of the court. And from the perspective of his opening monologue, when he says that because he cannot prove a lover he will prove a villain, this deficit and feminization of Richard may very well have been the driving force behind his descent into villainy.

To read more on deformity, see "Deformity as Clarification" and "Deformity and Social Pressures"

By: Jessica C., Hockaday School