Act 5, Scene 1 — Richard II — Study Shakespeare

The argument The Queen waits on the street to intercept Richard as he is escorted to the Tower. They have a final exchange; Northumberland arrives to redirect Richard to Pomfret instead. Richard prophesies that Northumberland will eventually betray Bolingbroke. They exchange kisses and separate — she to France, he to a northern prison.

Enter the Queen and ladies.

QUEEN ≋ verse QUEEN

This way the King will come. This is the way

To Julius Caesar’s ill-erected tower,

To whose flint bosom my condemned lord

Is doomed a prisoner by proud Bolingbroke.

Here let us rest, if this rebellious earth

Have any resting for her true king’s queen.

This way the King will come. This is the way

To Julius Caesar’s ill-erected tower,

To whose flint bosom my condemned lord

Is doomed a prisoner by proud Bolingbroke.

Here let us rest, if this rebellious earth

Have any resting for her true king’s queen.

this way the king will come. this is the way

to julius caesar’s ill-erected tower,

to whose flint bosom my condemned lord

is doomed a prisoner by proud bolingbroke.

here let us rest, if this rebellious earth

have any resting for her true king’s queen.

This way the King will come. This is the way To Ju

Enter King Richard and Guard.

But soft, but see, or rather do not see

My fair rose wither; yet look up, behold,

That you in pity may dissolve to dew

And wash him fresh again with true-love tears.

Ah, thou, the model where old Troy did stand,

Thou map of honour, thou King Richard’s tomb,

And not King Richard! Thou most beauteous inn,

Why should hard-favoured grief be lodged in thee,

When triumph is become an alehouse guest?

KING RICHARD ≋ verse KING RICHARD

Join not with grief, fair woman, do not so,

To make my end too sudden. Learn, good soul,

To think our former state a happy dream,

From which awaked, the truth of what we are

Shows us but this. I am sworn brother, sweet,

To grim Necessity, and he and I

Will keep a league till death. Hie thee to France,

And cloister thee in some religious house.

Our holy lives must win a new world’s crown,

Which our profane hours here have thrown down.

Join not with grief, fair woman, do not so,

To make my end too sudden. Learn, good soul,

To think our former state a happy dream,

From which awaked, the truth of what we are

Shows us but this. I am sworn brother, sweet,

To grim Necessity, and he and I

Will keep a league till death. Hie thee to France,

And cloister thee in some religious house.

Our holy lives must win a new world’s crown,

Which our profane hours here have thrown down.

join not with grief, fair woman, do not so,

to make my end too sudden. learn, good soul,

to think our former state a happy dream,

from which awaked, the truth of what we are

shows us but this. i am sworn brother, sweet,

to grim necessity, and he and i

will keep a league till death. hie thee to france,

and cloister thee in some religious house.

our holy lives must win a new world’s crown,

which our profane hours here have thrown down.

Join not with grief, fair woman, do not so, To mak

Why it matters Richard's instruction to the Queen — 'go to France, and cloister thee in some religious house' — is his only practical act in Act 5. He's protecting her from whatever comes next for him. The calm is new, and it comes from having nothing left to protect.

QUEEN ≋ verse QUEEN

What, is my Richard both in shape and mind

Transformed and weakened! Hath Bolingbroke

Deposed thine intellect? Hath he been in thy heart?

The lion dying thrusteth forth his paw

And wounds the earth, if nothing else, with rage

To be o’erpowered; and wilt thou, pupil-like,

Take the correction mildly, kiss the rod,

And fawn on rage with base humility,

Which art a lion and the king of beasts?

What, is my Richard both in shape and mind

Transformed and weakened! Hath Bolingbroke

Deposed thine intellect? Hath he been in thy heart?

The lion dying thrusteth forth his paw

And wounds the earth, if nothing else, with rage

To be o’erpowered; and wilt thou, pupil-like,

Take the correction mildly, kiss the rod,

And fawn on rage with base humility,

Which art a lion and the king of beasts?

what, is my richard both in shape and mind

transformed and weakened! hath bolingbroke

deposed thine intellect? hath he been in thy heart?

the lion dying thrusteth forth his paw

and wounds the earth, if nothing else, with rage

to be o’erpowered; and wilt thou, pupil-like,

take the correction mildly, kiss the rod,

and fawn on rage with base humility,

which art a lion and the king of beasts?

What, is my Richard both in shape and mind Transfo

Why it matters The Queen's challenge — 'the lion dying thrusteth forth his paw' — is the only moment in the play where Richard is asked to be defiant rather than poetic. And he refuses it.

KING RICHARD ≋ verse KING RICHARD

A king of beasts, indeed! If aught but beasts,

I had been still a happy king of men.

Good sometimes queen, prepare thee hence for France.

Think I am dead, and that even here thou tak’st,

As from my death-bed, thy last living leave.

In winter’s tedious nights sit by the fire

With good old folks, and let them tell thee tales

Of woeful ages long ago betid;

And ere thou bid good night, to quit their griefs,

Tell thou the lamentable tale of me,

And send the hearers weeping to their beds.

For why, the senseless brands will sympathize

The heavy accent of thy moving tongue,

And in compassion weep the fire out;

And some will mourn in ashes, some coal-black,

For the deposing of a rightful king.

A king of beasts, indeed! If aught but beasts,

I had been still a happy king of men.

Good sometimes queen, prepare thee hence for France.

Think I am dead, and that even here thou tak’st,

As from my death-bed, thy last living leave.

In winter’s tedious nights sit by the fire

With good old folks, and let them tell thee tales

Of woeful ages long ago betid;

And ere thou bid good night, to quit their griefs,

Tell thou the lamentable tale of me,

And send the hearers weeping to their beds.

For why, the senseless brands will sympathize

The heavy accent of thy moving tongue,

And in compassion weep the fire out;

And some will mourn in ashes, some coal-black,

For the deposing of a rightful king.

a king of beasts, indeed! if aught but beasts,

i had been still a happy king of men.

good sometimes queen, prepare thee hence for france.

think i am dead, and that even here thou tak’st,

as from my death-bed, thy last living leave.

in winter’s tedious nights sit by the fire

with good old folks, and let them tell thee tales

of woeful ages long ago betid;

and ere thou bid good night, to quit their griefs,

tell thou the lamentable tale of me,

and send the hearers weeping to their beds.

for why, the senseless brands will sympathize

the heavy accent of thy moving tongue,

and in compassion weep the fire out;

and some will mourn in ashes, some coal-black,

for the deposing of a rightful king.

A king of beasts, indeed! If aught but beasts, I h

Why it matters Richard's instruction to the Queen to tell 'the lamentable tale of me' is self-aware to an almost unbearable degree: he is writing his own legend and delivering it to his audience — his wife — in real time. He knows exactly what kind of story his life has been.

Enter Northumberland, attended.

NORTHUMBERLAND ≋ verse NORTHUMBERLAND

My lord, the mind of Bolingbroke is changed.

You must to Pomfret, not unto the Tower.

And, madam, there is order ta’en for you:

With all swift speed you must away to France.

My lord, the mind of Bolingbroke is changed.

You must to Pomfret, not unto the Tower.

And, madam, there is order ta’en for you:

With all swift speed you must away to France.

my lord, the mind of bolingbroke is changed.

you must to pomfret, not unto the tower.

and, madam, there is order ta’en for you:

with all swift speed you must away to france.

My lord, the mind of Bolingbroke is changed. You m

Why it matters The change from Tower to Pomfret is the death sentence, delivered obliquely. Richard knows it.

🎭 Dramatic irony The change from Tower to Pomfret Castle is presented as a 'changed plan.' The audience knows, from the later scene structure, that Pomfret is where Richard will die. The Queen doesn't know this.

KING RICHARD ≋ verse KING RICHARD

Northumberland, thou ladder wherewithal

The mounting Bolingbroke ascends my throne,

The time shall not be many hours of age

More than it is ere foul sin, gathering head,

Shall break into corruption. Thou shalt think,

Though he divide the realm and give thee half

It is too little, helping him to all.

And he shall think that thou, which knowst the way

To plant unrightful kings, wilt know again,

Being ne’er so little urged, another way

To pluck him headlong from the usurped throne.

The love of wicked men converts to fear,

That fear to hate, and hate turns one or both

To worthy danger and deserved death.

Northumberland, thou ladder wherewithal

The mounting Bolingbroke ascends my throne,

The time shall not be many hours of age

More than it is ere foul sin, gathering head,

Shall break into corruption. Thou shalt think,

Though he divide the realm and give thee half

It is too little, helping him to all.

And he shall think that thou, which knowst the way

To plant unrightful kings, wilt know again,

Being ne’er so little urged, another way

To pluck him headlong from the usurped throne.

The love of wicked men converts to fear,

That fear to hate, and hate turns one or both

To worthy danger and deserved death.

northumberland, thou ladder wherewithal

the mounting bolingbroke ascends my throne,

the time shall not be many hours of age

more than it is ere foul sin, gathering head,

shall break into corruption. thou shalt think,

though he divide the realm and give thee half

it is too little, helping him to all.

and he shall think that thou, which knowst the way

to plant unrightful kings, wilt know again,

being ne’er so little urged, another way

to pluck him headlong from the usurped throne.

the love of wicked men converts to fear,

that fear to hate, and hate turns one or both

to worthy danger and deserved death.

Northumberland, thou ladder wherewithal The mounti

"Northumberland, thou ladder wherewithal / The mounting Bolingbroke ascends my throne" Richard's prophecy is fulfilled in the Henry IV plays: Northumberland does eventually turn against Henry IV, and his betrayal of Hotspur at Shrewsbury is one of the defining acts of those plays. Shakespeare wrote Richard II knowing the audience could check the prophecy against history they had already watched.

Why it matters Richard's prophecy about Northumberland and Bolingbroke is his most accurate political statement in the play — and it is delivered to Northumberland's face, with Northumberland standing there. He can't respond to it, which makes it more devastating.

NORTHUMBERLAND ≋ verse NORTHUMBERLAND

My guilt be on my head, and there an end.

Take leave and part, for you must part forthwith.

My guilt be on my head, and there an end.

Take leave and part, for you must part forthwith.

my guilt be on my head, and there an end.

take leave and part, for you must part forthwith.

My guilt be on my head, and there an end. Take lea

KING RICHARD ≋ verse KING RICHARD

Doubly divorced! Bad men, you violate

A twofold marriage, ’twixt my crown and me,

And then betwixt me and my married wife.

Let me unkiss the oath ’twixt thee and me;

And yet not so, for with a kiss ’twas made.

Part us, Northumberland: I towards the north,

Where shivering cold and sickness pines the clime;

My wife to France, from whence set forth in pomp,

She came adorned hither like sweet May,

Sent back like Hallowmas or short’st of day.

Doubly divorced! Bad men, you violate

A twofold marriage, ’twixt my crown and me,

And then betwixt me and my married wife.

Let me unkiss the oath ’twixt thee and me;

And yet not so, for with a kiss ’twas made.

Part us, Northumberland: I towards the north,

Where shivering cold and sickness pines the clime;

My wife to France, from whence set forth in pomp,

She came adorned hither like sweet May,

Sent back like Hallowmas or short’st of day.

doubly divorced! bad men, you violate

a twofold marriage, ’twixt my crown and me,

and then betwixt me and my married wife.

let me unkiss the oath ’twixt thee and me;

and yet not so, for with a kiss ’twas made.

part us, northumberland: i towards the north,

where shivering cold and sickness pines the clime;

my wife to france, from whence set forth in pomp,

she came adorned hither like sweet may,

sent back like hallowmas or short’st of day.

Doubly divorced! Bad men, you violate A twofold ma

Why it matters Richard's 'doubly divorced' — from crown and from wife — is the most compressed version of what has been done to him. And the seasonal image that closes it — she came like May, is sent back like the shortest day — is one of the most beautiful sad lines in the play.

QUEEN QUEEN

And must we be divided? Must we part?

and must we be divided? must we part?

And must we be divided? Must we part?

KING RICHARD KING RICHARD

Ay, hand from hand, my love, and heart from heart.

ay, hand from hand, my love, and heart from heart.

Ay, hand from hand, my love, and heart from heart.

QUEEN QUEEN

Banish us both, and send the King with me.

banish us both, and send the king with me.

Banish us both, and send the King with me.

NORTHUMBERLAND NORTHUMBERLAND

That were some love, but little policy.

that were some love, but little policy.

That were some love, but little policy.

QUEEN QUEEN

Then whither he goes, thither let me go.

then whither he goes, thither let me go.

Then whither he goes, thither let me go.

KING RICHARD ≋ verse KING RICHARD

So two, together weeping, make one woe.

Weep thou for me in France, I for thee here;

Better far off than near, be ne’er the near.

Go, count thy way with sighs, I mine with groans.

So two, together weeping, make one woe.

Weep thou for me in France, I for thee here;

Better far off than near, be ne’er the near.

Go, count thy way with sighs, I mine with groans.

so two, together weeping, make one woe.

weep thou for me in france, i for thee here;

better far off than near, be ne’er the near.

go, count thy way with sighs, i mine with groans.

So two, together weeping, make one woe. Weep thou

QUEEN QUEEN

So longest way shall have the longest moans.

so longest way shall have the longest moans.

So longest way shall have the longest moans.

KING RICHARD ≋ verse KING RICHARD

Twice for one step I’ll groan, the way being short,

And piece the way out with a heavy heart.

Come, come, in wooing sorrow let’s be brief,

Since, wedding it, there is such length in grief.

One kiss shall stop our mouths, and dumbly part;

Thus give I mine, and thus take I thy heart.

Twice for one step I’ll groan, the way being short,

And piece the way out with a heavy heart.

Come, come, in wooing sorrow let’s be brief,

Since, wedding it, there is such length in grief.

One kiss shall stop our mouths, and dumbly part;

Thus give I mine, and thus take I thy heart.

twice for one step i’ll groan, the way being short,

and piece the way out with a heavy heart.

come, come, in wooing sorrow let’s be brief,

since, wedding it, there is such length in grief.

one kiss shall stop our mouths, and dumbly part;

thus give i mine, and thus take i thy heart.

Twice for one step I’ll groan, the way being short

[_They kiss._]

QUEEN ≋ verse QUEEN

Give me mine own again; ’twere no good part

To take on me to keep and kill thy heart.

Give me mine own again; ’twere no good part

To take on me to keep and kill thy heart.

give me mine own again; ’twere no good part

to take on me to keep and kill thy heart.

Give me mine own again; ’twere no good part To tak

[_They kiss again._]

So, now I have mine own again, be gone,

That I may strive to kill it with a groan.

KING RICHARD ≋ verse KING RICHARD

We make woe wanton with this fond delay:

Once more, adieu. The rest let sorrow say.

We make woe wanton with this fond delay:

Once more, adieu. The rest let sorrow say.

we make woe wanton with this fond delay:

once more, adieu. the rest let sorrow say.

We make woe wanton with this fond delay: Once more

Why it matters Richard's final words to the Queen — 'the rest let sorrow say' — are perhaps the most perfectly Richard line in the play: he stops before the end because the end is too much, and he appoints sorrow itself as the speaker of whatever remains.

[_Exeunt._]

The Reckoning

Thirty-five chunks, the play's most intimate scene. After the spectacle of 4-1 — the deposition, the mirror, the packed court — Shakespeare strips everything away: two people on a street, saying goodbye without being allowed to. The Queen has not been seen since 3-4 (the garden); Richard has not spoken privately since his abdication. Their goodbye is cut short by Northumberland. Richard's prophecy about Northumberland is precise and cold, delivered to the man who is standing there. And the farewell itself — two kisses, a separation enforced by guards — is one of the most restrained, devastating partings in Shakespeare.

If this happened today…

The ousted CEO is being escorted to his car by security when his wife intercepts the convoy. She waited on the sidewalk to see him. They have maybe five minutes. He tells her: go to Paris, think of this as waking up from a dream. She says: fight back, you're still a lion. He says: I was a king of beasts, and men turned out to be the beasts. The head of security arrives: change of plan — he's not going home, he's going to a facility in the north. The CEO looks at the head of security and says, quietly: you built your career by helping him take me down. He will never trust you. She says: let me come. Security says: that's love talking, not policy. One last kiss. Two last kisses. He goes north. She goes to the airport.

Continue to 5.2 →