Shakespeare's adaptation of Richard III is a case study in the depravity of man. An unwanted brother to all, and an unwanted confidante to some, Richard embodies all the characteristics that society traditionally shuns: a marked proclivity for manipulation, an underdeveloped and perhaps nonexistent conscience, and an attraction to treachery. Some will always argue that Shakespeare is a boring means of brushing up on antiquated language and prose. But others who try, those who dedicate themselves to the text and its many implications, will find that Shakespeare's universal message is undeniably clear: the human condition is frail and vulnerable when coupled with the prospect of power.
             Generally speaking, Richard tries to avoid direct contact with the majority of the Court because his strength is also of an indirect nature. When Richard proclaims near the beginning of the play that he is "determined to prove a villain, and hate the idle pleasures of these days," we get a sense of his true character: Richard does not feel in control. His moral degradation is so acute that he cannot think in terms of anyone but himself. And because he is virtually last in line for the crown, suffers from intense physical deformity, and is practically relegated the duty of court clown, he feels cheated, teased, powerless. And like a kid who covets anything and everything he doesn't have, Richard is no real exception. He longs for power expressly because he cannot wield it. But one senses that he is apprehensive about using his power directly (i.e. not employing Buckingham and Catesby as chief do'ers) because his own insecurities dominate whatever is left of his conscience. Sigmund Freud posited that all insecurities stem from different expressions of hostility and sexual repression. Freud must have studied Richard pretty extensively.
             Richard's cunning association with Lady Anne in Act one highlights his symbolic associ...