Richard II characters

King Richard II  

  The King of England when the play begins, Richard is a young man who has not matured much since his adolescence. Stately and poetic, he enjoys the trappings of kingship and has an extraordinary flair for poetic language. However, he is disconnected from his land and its people. He is overthrown by his cousin, Henry Bolingbroke, and eventually assassinated in the remote castle of Pomfret.

Henry Bolingbroke Duke of Herford  

  In some texts, thanks to the vagaries of Renaissance spelling, Bolingbroke is called "Bullingbrook," and Herford is "Hereford." He is also occasionally referred to by his nickname, "Harry." Bolingbroke is King Richard's cousin and the son of Richard's uncle, John of Gaunt. He is less poetic but far more pragmatic and capable than his cousin. He returns from his banishment abroad, sways the loyalties of both the English nobility and the common people to his side, and stages a revolution against Richard II. He is eventually crowned King Henry IV.

John of Gaunt, Duke of Lancaster

Here's what you need to know about John of Gaunt: he's Henry Bolingbroke's dad, he's really old-school, he's close pals with King Richard (at the play's beginning anyway), and his death is a major turning point in the play. Don't worry – we'll explain why all of this matters so much.
The best way to talk about Gaunt is to trace his development as a character. When Richard II opens, Gaunt seems like just another one the king's brown-nosers. Case in point: Gaunt knows that Richard is responsible for his brother's (Thomas of Woodstock's) death, but he and the other members of the nobility let Richard get away with it. When the Duchess of Gloucester asks Gaunt to avenge the murder, he basically says, "Sorry sweetie. God's the only one who can do anything, so go talk to him about it." Actually, Gaunt's speech is a lot more elegant and a lot loss smart-alecky. Check it out:
God's is the quarrel; for God's substitute,
His deputy anointed in His sight,
Hath caused his death: the which if wrongfully,
Let heaven revenge; for I may never lift
An angry arm against His minister.
This is an important passage because it shows how Gaunt, like a lot of characters in the play, believes that Richard has basically been appointed by God to rule England, which means that he doesn't have to answer to anyone but God... even if he commits murder.
At the beginning of the play, Gaunt is so loyal to the king that he even suggests that his own son be banished for reporting Mowbray as a traitor. But then, when Richard accepts Gaunt's suggestion and exiles Henry Bolingbroke, Gaunt is completely devastated. To Richard he says, "You urged me as a judge but I had rather / You would have bid me argue like a father" (1.3.4). In a play that's chock full of situations that force characters to choose between political and family ties, Gaunt finally gets it: he realizes that being a good dad is more important than being loyal to the king, especially since the current one is so darn corrupt.
Unfortunately, Gaunt's big "aha" moment comes a little too late. Deprived of his banished son, sick and dying, he decides the time has come to offer the king real guidance. He reasons that "Though Richard my life's counsel would not hear, / My death's sad tale may yet undeaf his ear" (2.1.2). As a dying man, Gaunt tries to get Richard to listen to reason and advises him frankly on his deathbed (2.1). He tells Richard he's a bad king and he's making huge mistakes by mismanaging the kingdom. This is a pretty big deal, because Richard is all too willing to punish advisors who tell him stuff he doesn't want to hear. Gaunt's honesty shows us that he's brave, a trait he shares in common with his son. This is important, because ultimately, Richard's inability to listen to Gaunt's wise advice results in Gaunt's son taking the throne.

Gaunt's Death

A lot of literary critics see Gaunt's death as a major turning point in the play. As Marjorie Garber points out, once Gaunt dies, "there is no going back" because it sets so many important events in motion. (Sort of the way Mercutio's death is a turning point in Romeo and Juliet.) After Gaunt dies, Richard seizes his land, which prompts Henry Bolingbroke to return to England in order to claim his birthright. In the process of demanding his dead father's land, Henry grabs the throne and changes England forever.
Aside from that, Gaunt's death seems symbolic because Gaunt was one of the last old-school members of the nobility who believed that Richard had a God-given right to rule. Go to "Themes: Power" if you want to think about this some more.

The Patriot, or Gaunt's Big Speech

It just so happens that Gaunt delivers the play's most famous and stunning speech. Seems like we ought to take a look at it, don't you think? (If you're planning on reading this speech out loud, you'll want to take a very deep breath before you start.)
This royal throne of kings, this scepter'd isle,
This earth of majesty, this seat of Mars,
This other Eden, demi-paradise,
This fortress built by Nature for herself
Against infection and the hand of war,
This happy breed of men, this little world,
This precious stone set in the silver sea,
Which serves it in the office of a wall,
Or as a moat defensive to a house,
Against the envy of less happier lands,
This blessed plot, this earth, this realm, this England,
This nurse, this teeming womb of royal kings,
[... ]
This land of such dear souls, this dear dear land,
Dear for her reputation through the world,
Is now leased out, I die pronouncing it,
Like to a tenement or pelting farm:
Okay, let's break this down. The subject of this speech, of course, is England, which Gaunt refers to in a dizzying string of metaphors – "this royal throne of kings," "this scepter'd isle," "this earth of majesty," "this seat of Mars," "this other Eden," "this fortress," "this precious stone set in the silver sea," "this nurse," and so on. Did you notice that this description of England (21 lines long!) is basically just one long sentence?
We also want to point out that the speech is very, very patriotic, praising England as a kind of "other Eden," a "demi-paradise," and a "blessed plot" of earth that's protected by God and the sea that surrounds it like a "precious stone." Yet, despite Gaunt's praise, the speech gives way to something darker and less pleasant. By the time we near the end of the passage, Gaunt decides to come out and tell us, "Hey, guess what? That was the old England. Today, under Richard II's reign, England is "bound in with shame" because Richard has "leased out" royal lands.
Why does it matter what an old dying man has to say? Well, Gaunt gives voice to the play's sense that Richard has turned England into a fallen paradise. This is a big deal, because Shakespeare takes the idea and runs with it throughout the rest of this four-play history cycle. (We talk more about this is "Symbolism.")

Duke of York

The Duke of York is King Richard's uncle and one of his most trusted advisors (sort of like Tom Hagen, the "consigliere" to the Godfather). But when Richard is tossed off the throne and replaced by King Henry IV, he switches sides and joins "Team Henry." He even rats out his own son, Aumerle, when he finds out that he is plotting against the new king. What gives? Is York the biggest traitor ever?

There are a few different ways to read the Duke of York, so let's break them down.

• Option 1: He's a scumbag politician whose loyalties change depending on who's winning.
• Option 2: He's an affectionate uncle torn between allegiance to two of his nephews.
• Option 3: He's crazy and should spend more time listening to his wife. Let's discuss:

If you're leaning toward Option 1, your best evidence is the fact that when a new king takes the throne, York switches sides faster than you can say "Benedict Arnold." On the surface, York does seem pretty two-faced, but we should warn you that things are always more complicated than they seem.

This leads us to Option 2. The thing about York is that he really does try to be loyal to the office of the king, even if it means betraying individual people. His switch over to Henry Bolingbroke's side seems reluctant, as if he's only doing it because he thinks it's the right thing to do. In other words, it doesn't seem like his heart is in it.

But then something crazy happens, which brings us to Option 3. When it turns out that his son, Aumerle, is a co-conspirator in a plot to overthrow the new king (Henry), York savagely turns on him and begs the king to kill Aumerle for being a traitor. His wife thinks York is out of his mind for wanting to betray his own flesh and blood, but York insists that being loyal to the king is more important. Obviously, York isn't going to be winning any "Father of the Year" awards, and his loyalty to the king seems pretty crazy. What is Shakespeare trying to tell us about York's sense of loyalty?

P.S. If you're still undecided, check out what we have to say in "Themes: Loyalty," or read "Characters: The Duchess of York."

The Queen

The queen is married to Richard. Technically and historically she has a name (Isabella), but Shakespeare never mentions it in this play. (Technically and historically she was also a child of about ten when Henry took the crown from her husband, but Shakespeare makes her an adult.) In fact, in the "dramatis personae" (the list of characters), Shakespeare lists her under "King Richard II" and refers to her as "The Queen, his wife." What's that all about?

We've got a few ideas, Shmoopsters. Think about it: the queen's role in this play is pretty much limited to the domestic world (as opposed to the political world), which means that her main function in the play is to be a wife – nothing more and nothing less.

In fact, the queen is totally clueless when it comes to political matters. This is especially clear when she says goodbye to Richard as he's being led away to prison. Check out this passage, where she begs Northumberland to banish Richard to France with her instead of locking him up, so they can be together:

QUEEN
Banish us both and send the king with me.
NORTHUMBERLAND
That were some love but little policy

As Northumberland points out, it wouldn't be very smart for King Henry to send Richard to France with his wife. He could come back with an army and challenge Henry. Or worse, he could father a child with his wife, and the kid could grow up and decide to make a legal claim to the crown. But the poor queen just doesn't get it, which is pretty heartbreaking if you ask us. Shakespeare's not making fun of the queen for being ignorant of politics; he's showing us an incredibly sad and loving moment between a wife and her husband.

At the same time, the queen is also pretty intuitive. In Act 2, Scene 2, she has some kind of psychic premonition about all the troubles Richard is going to face. She says, "methinks / Some unborn sorrow, ripe in fortune's womb, / Is coming towards me" In a way, the queen is an interesting foil for Richard: what he fails to see until the crown is practically taken away from him, she guesses at from a distance.

 

prince Hal

Prince Hal (the star of Henry IV Part 1 and Part 2) doesn't make an appearance onstage in Richard II, but Shakespeare gives him an important shout-out toward the end of this play. Check out this passage, where King Henry IV wonders where his good-for-nothing son has been for the last three months:

Can no man tell me of my unthrifty son?
'Tis full three months since I did see him last;
If any plague hang over us, 'tis he.
I would to God, my lords, he might be found:
Inquire at London, 'mongst the taverns there,
For there, they say, he daily doth frequent,
With unrestrained loose companions,
Even such, they say, as stand in narrow lanes,
And beat our watch, and rob our passengers;

Uh oh, looks like King Henry IV is already worried about what could happen when his wild-child inherits the English throne and gets his grubby little hands on the crown. Instead of hanging out at the palace and learning the ropes, Prince Hal is out running around with his hoodlum friends, which doesn't exactly instill confidence in Hal's future leadership abilities. This passage is also important because it gives us a little sneak peek into what we can expect from Prince Hal in the sequel, Henry IV Part 1.

Lord Berkeley

The ruler of Berkeley Castle in Gloucestershire, where York's army meets Bolingbroke's army in Act II, scene iii. He is loyal to King Richard.

Lord Salisbury 

A lord loyal to King Richard. After trying unsuccessfully to manage Richard's troops in Wales, he joins Richard in Wales after Richard returns from Ireland. He is later beheaded for his part in the conspiracy against the life of the newly crowned King Henry IV.

Bishop of

A clergyman loyal to Richard. He speaks out against Bolingbroke's usurpation of the throne in Act IV, scene i, for which he is arrested. He is later indicted in the conspiracy against King Henry's life, but the King pardons him and sends him away from the court.

Sir Stephen Scroope 

  A nobleman loyal to Richard. He brings Richard the bad news of Bolingbroke's invasion when Richard returns from Ireland.

Abbot of Westminster

A clergyman loyal to Richard. He is beheaded for his participation in the conspiracy against King Henry's life.

Sir Piers Exton 

  A nobleman who assassinates the former King Richard in Pomfret Castle in Act V, scene v, believing he is acting under King Henry's orders

Lord Fitzwater 

  A minor lord who throws down a gage sometime during Act IV, scene i, and also throws his weight around in Act V, scene vi

Bushy, Bagot, and Green

Bushy, Bagot, and Green are King Richard's more or less interchangeable yes-men. Throughout the play, they brown-nose the king and, unlike John of Gaunt, they only tell him what he wants to hear. They also benefit from Richard's corrupt policies. For example, at one point, Henry Bolingbroke refers to them as the "caterpillars of the commonwealth" which means they're a bunch of parasites who are devouring or destroying England. (We also want to point out that this "caterpillars of the commonwealth" comment picks up on the play's idea that England is like a lovely garden that's being trashed by Richard and his cronies. Go to "Symbolism" for more on this idea.)

At times it can pretty hard to distinguish between these three guys. Here's some info to help you keep them straight. Bushy tries to comfort the queen in Act 2, Scene 2 but ends up getting executed by Bolingbroke. Green delivers the news to the queen that Henry has invaded Britain with a giant army (He's eventually executed by Henry too. Bagot is the only one who doesn't get executed, because he runs away to Ireland as soon as he hears that Henry has invaded England

The Gardener

The Gardener is a sassy, politics-loving, poetry speaking landscaper. His main role in the play is to deliver a big speech in which gardening becomes a metaphor for the proper rule and management of a kingdom. Psst – go to "Symbolism," and we'll tell you all about this.

Exton

Exton only appears in a couple of scenes at the end of the play, so it can be hard to remember who this guy is and why he matters (especially when you're expected to remember all the other players in Richard II). Here's a tip: Exton is the guy who 1) executes Richard II and then 2) gets exiled for his actions. That's easy enough to remember, right?

We know why Exton murders Richard at Pomfret Castle (King Henry hinted to him that he should do it), so let's talk about why it's so unfair (and ironic) that Henry banishes the guy from England. First of all, Exton was just following the king's orders. We're not justifying the murder, but we do think it's pretty lame that Henry never actually admits that he ordered the hit. Instead he says the following:

[...] though I did wish him [Richard] dead,
I hate the murderer, love him murdered.
The guilt of conscience take thou for thy labour,
But neither my good word nor princely favour:
With Cain go wander through shades of night,
And never show thy head by day nor light

What's so weird about this is how Henry refuses to acknowledge that he is the one who caused his cousin Richard's death. When Henry has the nerve to compare Exton to Cain (the guy who kills his brother Abel in the Book of Genesis), we're sort of speechless. If anything, it's Henry who's like Cain, so it seems unjust that Exton should be banished.

This scene also reminds us of how and why Richard banished Henry and Mowbray back in Act 1, Scene 3. Remember, when Henry publicly accused Mowbray of murdering Gloucester, he was really accusing Richard without coming out and saying so. Richard responded by throwing Henry and Mowbray out of the country. Is Henry's banishment of Exton really any different than Richard's banishment of Henry and Mowbray? Maybe Henry has more in common with Richard than he thinks.

Duke of Aumerle

Aumerle is the Duke of York's son and a bit of a puzzle in the play. He's one of the only characters who refuses to fall in neatly with Henry Bolingbroke's plans, even though he's also the only man to accompany Henry "to the next highway," where he'll take off for his banishment. This seems like a gesture of friendship, but it becomes clear later, when he plots against Henry (now king) that his feelings for his cousin are more complex than we'd thought. One reason is loyalty: he's Richard's man. Still, once York discovers his plot against Henry, he begs for forgiveness and ends up being King Henry's man too.

Aumerle's relationship with his father provides a foil to Gaunt's relationship with Henry. Just as Henry inherited and intensified Gaunt's bravery and bluntness, Aumerle inherited his father's philosophical obsession with loyalty. But where York pays lip service to loyalty and flips when Henry assumes power, Aumerle refuses to accept the new king. Instead, he participates in a plot against Henry.

York's rejection of Aumerle on the grounds of his disloyalty is surprising, coming from someone as wishy-washy as him. When York begs King Henry to kill his son, it's clear that something is deeply wrong, because Henry's new reign as king has pitted fathers and sons against each other, which hints at the civil wars that are going to break out in Henry IV Part 1. On the other hand, we can't necessarily blame Henry for all the domestic drama, because family members have been going at it (and even killing each other off) since long before this play started.

Henry Percy, Earl of Northumberland

Northumberland (a.k.a. Percy) is pretty bitter under Richard's government. He's unhappy with the king's decisions and eventually becomes Henry Bolingbroke's right-hand man. In fact, he's pretty instrumental in helping Henry overthrow Richard. At one point, Richard calls Northumberland a "ladder wherewithal / the mounting Bolingbroke ascends [the] throne"   In other words, without Northumberland's help, Henry wouldn't be king.

In the play, Northumberland also plays the role of "bad cop," especially after Henry becomes king. (Guys like Northumberland are a dime a dozen in contemporary politics, because political leaders like to have other people do their dirty work for them.) It's really important that Henry look good while he's taking power, especially during the difficult scene where Richard hands over the crown  

Luckily for Henry, Northumberland is more than happy to do the unpleasant stuff that would make the new king look bad, like asking Richard to read over and sign documents while the former king is sitting there, crying and heartbroken. At one point, Richard tries to stall, and Northumberland says "My lord, dispatch. Read o'er these articles"   . Translation: "Quit your boo-hooing, Richard. Hurry up and sign these papers already." Northumberland is so mean to Richard that, before he can cram the documents down Richard's throat, Henry has to tell him to ease up and leave the poor guy alone: "Urge it no more, my lord Northumberland"  

P.S. Northumberland plays an even bigger role in the next play, Henry IV Part 1, where he becomes disgruntled with the new leadership and leads a rebellion against King Henry. Hmm, is it just us, or are you detecting a behavioral pattern here?

Thomas Mowbray, Duke of Norfolk

Loyalty is an important theme in this play. Mowbray (a.k.a. Norfolk) is one of the few characters who actually remains loyal to Richard, even when he's accused (rightly!) by Henry Bolingbroke of having played a role in Gloucester's murder. The faceoff in Act 1 is embarrassing for Richard, who seems to have asked Mowbray to do his dirty work. This is sort of an open secret at court, and Bolingbroke knows that even though he's technically accusing Mowbray, he's really accusing Richard of the murder. Still, Mowbray never betrays the king. How does Richard repay the guy for his loyalty? By coldly banishing him from the kingdom... forever.

Mowbray's banishment says more about Richard's character than anything else. His inability to recognize or reward real loyalty, and his tendency to favor people who kiss up to him, are largely responsible for his downfall. In contrast, at the end of the play, King Henry tries to reverse Mowbray's banishment (and even give the guy his former titles and land back), showing that even though he and Mowbray were enemies, he recognizes Mowbray's "good" qualities namely, his loyalty. Unfortunately, Mowbray has died by then.

We learn from the Bishop of Carlisle that Mowbray spent his time in exile fighting in some holy wars before retiring to Venice, where he "gave / His body to that pleasant country's earth, / And his pure soul unto his captain, Christ" Wow. By using the word "gave," Shakespeare even makes Mowbray's death sound like an act of generosity and loyalty, don't you think? He doesn't exactly sound like a murderer.

The Duchess of Gloucester

The Duchess of Gloucester is the widow of Thomas of Woodstock, the Duke of Gloucester. The first and only time we see her on stage, the Duchess tries to convince her brother-in-law, John of Gaunt, to avenge her husband's death But Gaunt refuses, because King Richard is responsible, and Gaunt thinks it's more important for him to be loyal to the king than his own flesh and blood. Shakespeare uses the Duchess' request as a way to show the difference between the way the men and women of the play view family matters. For the women, family ties seem to always come first. But for many of the men, politics takes precedence over everything else.

The Duchess' grief over her husband's death, along with her insistence that Gaunt find some way to get justice, really captures the mood of the kingdom. If the king (the person you go to when you want justice done) has become unjust, what the heck are you supposed to do? Gaunt tells the Duchess that she can't do anything except wait for God to punish Richard Feeling hopeless and grief-stricken, the Duchess says, "Farewell, Old Gaunt. Thy sometimes [former] brother's wife/ With her companion grief must end her life" Later, we learn from a Servingman that the Duchess has died