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Each age creates its own monsters, and each vision of monstrosity is a reflection of the anxieties of the age. Write on Shakespeare's play Richard III, and one set film from the text (Starship Troopers), and one other set work from the unit (Film-A Clockwork Orange).There are character elements that can be found in most villains in literature, such as malicious intent and anti-social behaviour, but the distinguishing traits derive from the contexts in which they were created. The visions of monstrosity that arise from the ages are a reflection on the fears and anxieties of the time. William Shakespeare's Richard III is a prime example of this. The main protagonist and villain, Richard of Gloucester is a man driven by ambition who will stop at nothing to secure the throne of England for himself. Written at a time when England had only recently emerged from civil war, a character who would see civil war for a century more if it achieved him the crown would certainly be a vessel for the anxieties of the age. Stanley Kubrick's A Clockwork Orange and Paul Verhovan's Starship Troopers are modern texts that present visions of monstrosity in the form of governing bodies. Created at a time where politics are extremely prominent and controversial, the texts raise questions of morality and ethics in politics.In Shakespeare's Richard III, the main protagonist and villain, Richard of Glouchester, is portrayed as a "brutally comic and terrifyingly diabolical evil," "the essence of unstoppable ambition" . While there is no certain way to determine whether this depiction is justified in history or not, we can try to understand the age that produced such a vision of monstrosity. In assessing Shakespeare's vision of monstrosity, we will look at not only the play, Richard III, but also the context in which it was written.
Richard III is the fourth in a genre of Shakespeare's plays known as the histories, which deal with the events in England's history after the Norman conquest in 1066. Although these events have been 'spiced up' somewhat in Shakespeare's plays for dramatic purposes, they are largely historically accurate because they were based on actual histories, particularly the works of Sir Thomas More.Most academics agree that that Mores' history is "purposive propaganda" that followed the official party line of the Elizabethan era (descendants of Henry VII, who vanquished Richard III), and while we are not assessing whether or not Richard was evil, this does suggest that Shakespeare's play, like Mores' history, was a product of the views and conventions of the age. To suggest Richard was anything but a monster would have been extremely dangerous. To many, the character of Richard in Richard III is a thoroughly compelling "exploration into the psychology of evil", a character that proves to be "highly self-reflective and complicated-making his heinous acts all the more chilling." There are many examples of Richard's monstrosity that can give us an indication of what some of the anxieties of the Elizabethan era were. Richard's crimes and murders are fearsome enough, but it is his intelligence and his charm that make these acts all the more frightening. In Henry VI, where Richard first appears, he states, "Why, I can smile, and murder whiles I smile" , and indeed this proves correct in Richard III, as his powers of manipulation and deceit play a large part in his murders. Even the Lady Anne, who has an explicit knowledge of Richard's wickedness, allows herself to be seduced by his brilliant wordplay and unstoppable ambition. In the same monologue from Henry VI, he goes on to describe his skills of deceit and manipulation through the metaphor of a "chameleon" and a "Proteus". One of the most interesting aspects of Richard III is the highly complicated relationship the protagonist and villain, Richard, has with the audience. Right from the outset, Richard admits his villainy; "I am determined to prove a villain." Despite this admission, the audience is inclined to sympathise with Richard, because we are led to believe that his yearning for the crown is compensation "for the exclusion from love consequent on deformity," Shakespeare makes clever use of Richard's many monologues, and uses them to shape the protagonist's relationship with the audience, and is able to undermine the audience's disapproval of his evil. In this way, the audience's relationship with Richard mimics the other character's relationships with him, conveying a powerful sense of the force of his personality . It is only near the end of the play when Richard has been crowned King, that the monologues stop, and we are able to see Richard for the monster he is. At this point, we realise the power of such a character, who has, like many of the characters in the play, played us from the start.Richard is the embodiment of many of the anxieties of the Elizabethan period, especially when one looks at the context of the play's writing. At the time of writing Richard III, England had only recently emerged from centuries of bloody civil wars, and arguably the most fearful thing to a common Englishman of the time was a man like Richard in Shakespeare's play, a man who would see centuries more of civil war if it got him on the throne. Indeed, in the play itself there are references to public opinion of Richard, who see him as "full of danger" . Furthermore, Richard possesses traits that are fearful not only for Shakespearian contemporaries, but also for audiences today. As stated earlier, it is not so much that Richard is a murderer of family and children, but rather that he is these things and also clearly intelligent and charismatic. The monster in Stanley Kubrick's A Clockwork Orange is, at first, not hard to pinpoint. Alex Delarge, the "humble " narrator, is a young man who rapes and murders innocent people, and does so joyfully. In a series of brilliantly directed scenes we see the protagonist engage in a series of "lashing of the ultraviolence" . One of the most shocking scenes in the film, and one of the most controversial ever at the time, was the rape scene where Alex happily sings, Singin in the Rain while assaulting a woman. Similar to Richard III, one of the main reasons characters such as Richard and Alex scare us is that they are so complacent with their actions. Another similarity that these two characters share is that they both have a unique relationship with the audience. Like in Richard III, Alex does attract our sympathy towards the end of the film, when we see the 'cure' that the government has in mind for him, even though we are repelled by his violent actions. Alex always addresses his audience as "My brothers", and tells us that we are his "only friend", adding to the feeling of sympathy. In an interview from 17, Kubrick states"In the same way that Richard III gradually undermines your disapproval of his evil ways, Alex does the same thing and draws the audience into his own vision of life." However, the real monster becomes harder to pinpoint when one tries to decipher the true meaning of the film. The title is based on a colloquial British expression, 'as queer as a clockwork orange' meaning a mechanical piece of fruit. In the film, Alex is the clockwork orange. His juices have been replaced by the cold, mechanical pieces of the "Ludovico technique " so that he will conform to society, and the message Kubrick seems to be promoting is found in the wisdom of the church minister from the film, who says "If a man cannot choose, he ceases to be a man" . In the scope of the film's greater meaning, the emphasis on Alex's monstrosity is less, and our focus now turns to the government who has promoted a form of treatment that dehumanises people. A Clockwork Orange is a film that is confronting and in many respects frightening, but it is also a reflection of the anxieties of modern times. It raises many questions, such as the right of governments to impede on free will, even if it seems to be for the greater good. What sacrifices are we willing to make to live in a secure society?Unlike Richard III, Paul Verhovan's "Starship Troopers" involves a number of characters that could be described as monsters. The most obvious example to a casual observer is the 'bugs', an alien race pitted against the human race in the 1st century. But a closer look reveals that it is the humans, and not the aliens that are monstrous in our eyes, and what will be looked at further is how the satirical portrayal of the humans in the film reflects the anxieties of the time Verhovan made the film.Originally based on a novel by Robert Heinlein, Starship Troopers is both a war film and a science fiction film. Interpretations of the film are often mixed, as on the surface it appears to be a poorly acted action film, but under the surface, one begins to see an elaborate satire of the human condition, and perhaps also an expression of concern in regards to current political situations.The world of Starship Troopers is a dystopia . What may at first appear to be quite a pleasant place to live, with advanced technology and gender/race equality, we begin to realise that it is quite the opposite. For instance, one notices that the world of Starship Troopers is quite militaristic and authoritarian, with floggings in the public square, live executions shown on TV, and military experience made a requirement for any aspiring politician. Even at school, traditionally a place of shelter from the outside world, is a breeding ground for military idealism. When Johnny Rico's classmates enlist in the military as soon as they finish school, one can't help but be reminded of a similar scene from Erich Maria Remarque's All Quiet on the Western Front, where the doomed classmates all join the army together.The vision of humanity in Starship Troopers is a vision of monstrosity for many reasons. The humans, united under the fascist, militaristic government known as the 'Federation', are represented to us as warmongers, who initiated conflict with the 'bugs'. The propaganda machine, which is represented through the use of news presentations, tells us that humans won't stop until all the bugs are dead and their planet is in human control. A common footsoldier puts it more eloquently; "The only good bug is a dead bug." There are even references to the Nazi era of WW Germany, as the brainwashing power of the Federation's propaganda machine is reminiscent to the success of Hitler's. Underlying themes of racism and segregation can be detected in scenes such as the news presentation of small children killing Earth bugs (cockroaches), and through the promotion of fear of "Infestation" by the bugs. These scenes, once again, are a reference to Nazi Germany, whose treatment and portrayal of the Jews is in some respects very similar to the treatment of the bugs in Starship Troopers. Other Nazi symbols can also be found throughout the film, such as the Gestapo-like costuming of Carl Harris, the costuming of the Starship Troopers themselves, who are dressed in the colours of Nazi storm-troopers, and the use of the Eagle on the Federation's flag; a common Nazi symbol. Starship Troopers is a reflection of the anxieties of the 10's because of the sharp satire of the Federation and its subjects, and its implications for audiences. On examination, it is easy to see that the Federation is not a good government, and indeed this portrayal was deliberate, so audiences can read the political undertones of the film. As world events seem to continually spiral out of the people's control, a growing anxiety amongst modern societies is the fear of an authoritarian government like that of Starship Troopers. A government that not only promotes the brainwashing of its subjects through the use of a propaganda machine, but also a government that promotes war. But the undertones do not end there. Verhovan seems to make a statement on the human condition itself - that essentially, man loves war, and that this trait will ensure that continued conflicts are inevitable. Under the microscope, Starship Troopers is meant to scare us, because the film is a representation of our anxieties.The visions of monstrosity in Shakespeare, Kubrick, and Verhovan are indeed creations of their own age, and this can be seen throughout their works. Whereas Shakespeare's vision was of a single man, driven by pure ambition to achieve the throne of England, Kubrick's and Verhovan's films present the government as the monster, rather than a single individual. What one comes to realise when examining the great monsters of literature is that they always reflect the anxieties of the age they were created. To some extent, the saying, 'One man's monster is another man's hero' can be applied here. For instance, Richard of Gloucester would have been a far more fearful character during the Elizabethan period of England than he is today, because of the fear of continued civil war in the 15th century. Naturally, there are universal traits that will always separate the villains from the heroes, no matter the age. These are the traits that, arguably, will always be anxieties of society. Bibliography1.Shakespeare, William. The Tragedy of Richard III (edited by Peter Holland).Sparknotes Richard IIIhttp//www.sparknotes.com/shakespeare/richardiii/canalysis.html.Shakespeare, William. Henry VI4.Kubrick, Stanley. A Clockwork Orange, England, 171.5.Weinraub, Bernard. "Kubrick tells what make Clockwork Orange tick", New York Times, 17.6.Moore, Nicole. Lecture on Starship Troopers, Macquarie University, /10/0.7.Verhovan, Paul. Starship Troopers, USA, 17. 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