Module A: Justice/Retribution Flashcards

1
Q

Shakespeare’s theocratic, Elizabethan audience would

A

expect justice in play and that R would pay the ultimate price for his sins by going to hell.

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2
Q

why did S have to get justice/Retribution for R?

A

to reaffirm Tudor myth, as R had usurped the Lancasters, killing King Henry VI and son Prince of Wales

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3
Q

Why else did S have to get justice for R (religious)?

A

to show that God will seek vengeance for anyone that goes against his will and disrupts moral order

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4
Q

“Hie thee to hell for shame… Thou cacodemon! there thy kingdom is.”

A

Margaret

declarative statement, emotive language

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5
Q

Margaret provides a

A

constant reminder of the current regime’s past deeds and appeals for divine retribution

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6
Q

The women in the play

A

call for justice, even though they too are guilty

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7
Q

“Cancel his bond of life, dear God, I plead

/That I may live to say ‘The dog is dead’”

A

Margaret

prayer

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8
Q

“Cancel his bond of life, dear God, I plead

/That I may live to say ‘The dog is dead’” effect

A

Margaret’s prayer appeals to God to deliver divine retribution for R’s sins, representing the voice of justice.

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9
Q

Effect :”Hie thee to hell for shame… Thou cacodemon! there thy kingdom is.”

A

Appeals to the expectations of his theocratic Elizabethan audience. Shakespeare demonstrates through Margaret’s curse that R will pay the ultimate price for his sins by going to hell, alluding to the vengeance that God will seek to restore the divine order that R has disrupted.

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10
Q

ANOTHER Effect of declarative statement with emotive language: “Hie thee to hell for shame… Thou cacodemon! there thy kingdom is.”

A

reiterates Tudor myth as well as R’s death and demise, providing the audience with the retribution they wanted.

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11
Q

Clarence also introduces

A

notion of paying for his sins, having betrayed the Lancasters for the Yorks.

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12
Q

Through the retribution Clarence and R receive what does S allude to?

A

philosophic fatalism, the inescapability of the consequences of our actions.

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13
Q

“I have done those things which now give evidence against my soul”

A

Clarence

personification of sins

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14
Q

Clarence

personification of sins

A

“I have done those things which now give evidence against my soul”

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15
Q

Effect: “I have done those things which now give evidence against my soul”

A

S introduces notion of paying for your sins through Clarence’s fear of death. Clarence’s betrayal of the Lancaster’s for the Yorks was understood by the audience and thus S delivered them with the justice they expected.

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16
Q

Having Richmond crowned would

A

please Elizabethan audience and provide them with a sense of justice, as R continues to pay for his sins in the afterlife.

17
Q

Ghost scene in Act V a

A

physical reminder that R must pay for his sins.

18
Q

“God and good angels fight on Richmond’s side

And Richard falls in height of all his pride”

A

rhyming couplet with juxtaposed imagery

19
Q

rhyming couplet with juxtaposed imagery

A

“God and good angels fight on Richmond’s side

And Richard falls in height of all his pride”

20
Q

“God and good angels fight on Richmond’s side

And Richard falls in height of all his pride”

A

evidences R’s fear of death ‘for hateful deeds committed’ by him as he believes he will face an eternity in hell.
S conveys notion of philosophic fatalism- even in afterlife you can’t escape consequences of your actions

21
Q

evidences R’s fear of death ‘for hateful deeds committed’ by him as he believes he will face an eternity in hell.
S conveys notion of philosophic fatalism- even in afterlife you can’t escape consequences of your actions

A

“God and good angels fight on Richmond’s side

And Richard falls in height of all his pride”

22
Q

P avoids many concepts of divine justice represented in the play, as well as the notion of retribution in the after life to

A

simplify the theme for his audience, maintaining accessibility.

23
Q

Instead, Pacino only presents a straight forward depiction of

A

good versus evil, conveying a basic notion of retribution and justice.

24
Q

This recognised his secular society and that

A

a modern US audience would not recognise the significance of divine retribution.

25
Q

In ignoring many concepts of divine justice represented in the play, as well as the notion of retribution in the after life,

A

Pacino reduces the significance of certain parts of the play:
The Ghost’s warnings are less significant, as are the curses.

26
Q

The omission of Clarence’s and Margaret’s sinful past (as well as her diminished role) means

A

they are not represented as figures of justice. This means the film loses some of the play’s meaning.

27
Q

In looking at S and Pacino’s portrayals of justice and retribution we

A

realise the effects of their respective morally absolute and morally relative society’s on their artistry and their construction of their texts.

28
Q

voice over of Pacino, with colloquial, informal language

A

“This guy, Richmond, his family were the losers in the war… (to get justice he will) get the throne back for the house of Lancaster.”

29
Q

Effect “This guy, Richmond, his family were the losers in the war… (to get justice he will) get the throne back for the house of Lancaster.”

A

conveys Pacino’s basic portrayal of the theme.

30
Q

chiaroscuro lighting, symbolism

A

Richmond’s face in light praying in the Church

31
Q

chiaroscuro lighting, symbolism Richmond’s face in light praying in the Church EFFECT

A

reiterates Richmond as a good/hero, appealing to the religious values of his theocratic audience.

32
Q

Low angle shot

A

Richmond’s violent execution of Richard

33
Q

EFFECT: Low angle shot of Richmond’s violent execution of Richard

A

effectively conveys the retribution and justice for Richard who appears vulnerable. This also appeases a modern audience’s desire for graphic scenes in film in which they would likely advocate for such violence as a way of achieving justice.