Richard III

y lords, at once: the cause why we are met
Is to determine of the coronation.
In God's name, speak: when is the royal day?

BUCKINGHAM.
Are all things ready for the royal time?

STANLEY.
They are, my lord, and time expects all things.

RICHARD.
I know the duke of Buckingham is noble,
And that he will not break his word with me;
But yet I would be glad to know the reason
Why he departed hence in such a post.

HASTINGS.
My lord, I know not what the reason is,
But I am sure he is not come.

RICHARD.
Come, come, you mock me; this is not the way
To win your daughter-in-law. Nay, you mock me.

HASTINGS.
My lord, I do not mock you.

RICHARD.
Well, well, you mock me; but I'll be even with you.
My lords, a sudden thought strikes me,
And I must tell you of it. Here's a paper,
Found in the pocket of the dead Hastings,
That doth import the death of me and mine.

With Hastings's blood still wet, Richard's propaganda machine launches at full force. He instructs Buckingham on the lies to spread at Guildhall: claim Prince Edward and his siblings are bastards because Edward had previous marriage contracts; paint Edward as lustful, forcing himself on citizens' wives and daughters; even suggest—carefully—that Edward himself was illegitimate, born while their father was in France (making Richard the true heir). 'Touch this sparingly,' Richard warns, 'because my mother lives.' A Scrivener appears with devastating evidence: he spent eleven hours writing Hastings's indictment, which was sent to him the night before. 'Yet within these five hours Hastings lived, untainted, unexamined, free, at liberty.' The execution was pre-planned—the 'trial' pure theater. 'Who is so gross that cannot see this palpable device? Yet who so bold but says he sees it not? Bad is the world... when such ill dealing must be seen in thought.' People see the manipulation but dare not speak. Buckingham returns from Guildhall: the citizens were silent as 'dumb statues,' refusing to cheer for Richard. Only a few of Buckingham's own plants shouted 'God save King Richard,' which Buckingham spun as 'general applause.' Now comes Richard's masterstroke of theater. Buckingham coaches him: 'Get a prayer book in your hand, and stand between two churchmen... be not easily won to our requests, play the maid's part, still answer nay.' When the Mayor arrives, Richard appears aloft between two bishops, prayer book in hand, the picture of piety. He pretends reluctance, feigns humility, performs deep religiosity—making the crown seem thrust upon him rather than seized by him. Every element is calculated theater designed to create the appearance of legitimate, reluctant succession while concealing the murders, lies, and manipulation that created this moment.