Check Mate: The Female Pawns of Richard III and House of Cards
The character of Richard III, the title character of William Shakespeare’s time honored tragedy, has long been regarded as one of history’s classic examples of a villain of all-encompassing evil and literature’s most admired anti-hero. Recently, however, this character has been garnering comparisons in contemporary works of film and television, namely, the character of Frank Underwood in the Netflix original series, House of Cards. After being denied the U.S. Secretary of State position by the recently elected President Garret Walker, Frank Underwood utilizes his position as the Whip Congressman to dismantle the lives and careers of a variety of notable Congressmen and governmental heads — eventually attaining the Vice President position for himself after manipulating his predecessor into resigning his seat. It’s interesting to note that, while both Richard and Frank share deep similarities in their thirst for power and eagerness to tackle any and all opposition in their pursuits, both men also share similar attitudes when confronted by women of status and power. Both men exhibit cunning manipulatory skills and a diminished consciousness when their pursuits are being threatened, they undertake these procedures with secretive, behind the curtain techniques that, in a sense, leave their victims blindsided by their endeavors. While both men as well as women fall victim to both men’s plots it is the nature by which they approach the two genders that varies. The supporting cast of men in both works are regarded as worthy adversaries to both Richard and Frank; women however are treated as throwaways and pawns, dispensable and non-threatening despite the power they hold. While one may attribute this prejudice towards women in Richard III, simply as a conformation to the societal norms of the medieval era, it can be argued that Richard, as well as Frank’s, attitudes towards women in power stem from their own sexual rejections and insecurities.
The first example of Richard’s interaction with women comes during Act I, Scene 2 when he approaches Lady Anne with a proposal of marriage in order to legitimate and strengthen his pursuit to the throne. Though critics argue whether Anne’s submission to Richard was based on her own naivety, distorted lust, or even her political ambitions, the manner by which Richard courted her was indifferent to any of her feelings. As she exits the scene, Richard exclaims, “Was ever woman in this humor wooed? / Was ever woman in this humor won? / I’ll have her, but I will not keep her long” (Shakespeare 26), as if it was her privilege to have been “wooed” by the very man who killed her husband. It’s evident through his initial meeting with a woman in this scene that Richard would go on to regard them as detached entities, objects used solely as cogs in his political machinations. The backlash of this approach is visible for in Act IV, Scene 1 Lady Anne admits that “When thou wed’st, let sorrow haunt thy bed, / And be thy wife, if any be so mad, / More miserable by the life of thee / Than thou hast made me by my dear lord’s death” (Shakespeare 131). The lamentations of Anne emphasize the destructive force Richard has asserted himself as, delivering only further despair to a woman who has already lost everything. Anne eventually recognizes in the same scene that Richard’s “honey words” (Shakespeare 131) were nothing more than calculated and empty promises delivered only as necessary steps that Richard had to take to propel himself to the throne. For as his coronation neared, Anne profoundly reflects that Richard will now “no doubt shortly be rid of me” (Shakespeare 131). It should come as no surprise that Anne was used as a political stepping stone rather than a legitimate romantic interest for, throughout the play, Richard was totally enveloped in his quest for ascendancy, the sheer cruelty he approached Anne is distinct. For though Richard was equally willing to use men of power in order to fulfill his goals, he treated them as equals, never revealing any indication that they were being used. For example, his ally Buckingham lacked the high birth necessary to warrant the esteem he received from Richard however he was still treated as a genuine friend of Richard’s for the skills of espionage and diplomacy he was able to provide. Though Buckingham eventually was killed by Richard for accusations of treachery, the treatment he received from Richard while he was still of use is wholly distinct from the treatment Anne and other women received.
Similarly, Frank Underwood also approached women as objects of use rather than people of legitimate status and power. Since House of Cards takes place in contemporary America however, it was necessary for Frank to be less blatant in his prejudice and was forced to contend with woman who potentially bore equal or greater power than him in the workplace. In regards to his male colleagues, Frank explained his strategies to “latch on to [them] early and make [himself] vital” (Chapter 1 House of Cards) in order to put himself in a position of profitable gain. On paper, Frank’s position of Whip Congressman isn’t exactly impressive with little distinguishing him from a regular Congressman. When confronted with women in positions of power however, he often displays a rather arrogant and misogynist persona to compensate for his inferiority. Frank often found himself in frequent collaboration with the President’s Chief of Staff Linda Vazquez who he frequently reminds “I got you your job” (Chapter 1 House of Cards), as if to compensate for their marginal differences in rank despite her being a women. He even goes on to assert that he deliberately chose her based solely on her minority status rather than her professional acumen when during one of his many Ricardian-like soliloquies he recounts that Vazquez is “A woman, check. A Latina, check… [she’s] of great use to me” (Chapter 1, House of Cards). When Linda makes moves towards amnesty to compensate for her administration’s change of heart regarding Frank’s promised Secretary of State position, she offers him tickets to the opera which he graciously accepts. Breaking the fourth wall again however and speaking directly towards the audience, Frank bitterly exclaims that he is no “whore in post war Berlin salivating over free stockings and chocolates,” instead he insists that “what she’s asking will cost far more than that” (Chapter 1, House of Cards) — implying that she should be grateful to even work with him despite her higher position. His prejudice extends beyond the workplace however for, when his own wife’s foundation advocating for clean water technology in impoverished regions of Africa conflicted with his own political goals, he was quick to prioritize his own initiatives and halt hers for he insisted “Your work is a hobby…what is it’s worth?” (Chapter 7, House of Cards).
The misogyny exhibited by both men should not be attributed solely to pure prejudice. In the examples of Richard and Frank, one can assert that a distorted sexual identity has catalyzed their mistreatment of women as a means to cope with their experiences of rejection and repression of sexual desires. In his opening soliloquy, Richard explains that he entered “Into this breathing world, scarce half made up / (And that so lamely and unfashionable / That dogs bark at me as I halt by them)” (Shakespeare 5), revealing a profound insecurity that Richard has in his appearance. With the persistence of this insecurity throughout his life however, he has accepted that he “cannot prove a lover” (Shakespeare 5) and thus has no choice but “to prove a villain” (Shakespeare 5). Therefore, to distance himself from confronting his failure in romantic pursuits, Richard chooses to regard women as minimalist pawns with his quest for power replacing ones traditional search for love. Furthermore, Richard views one who takes the advice of women to be as weak as a woman herself. When speaking of his brother, Edward IV, Richard says, “Why, this it is when men are rul’d by women” (Shakespeare 7) — implying one who takes guidance from a woman is utterly weak. Richard has clear animosity towards women, a possible motivation to become king in order to transcend their rejection.
In contrast, Frank’s mistreatment of women may in fact stem from his own repressed homosexuality. Though throughout the show Frank and his wife Claire seem to have the ideal marriage working as a dream team of sorts on Capitol Hill, it soon becomes clear when Frank begins an affair with journalist Zoe Barnes with Claire’s knowledge that elements of their marriage are far from traditional. In the episode entitled, “Chapter 8,” it’s revealed that, while in college at the prestigious military academy, The Sentinel, Frank had a relationship with one of his fellow male cadets. During an event honoring Frank where he spends the night with his old partner, Frank recalls that “I was drawn to you, I wanted you, and I took you” (Chapter 8, House of Cards). Due to his career in politics in which homosexuality is frowned upon, Frank was forced to suppress his feelings however his statement that he “took” his partner reveals a shred of his narcissism that prevails throughout his political career and allows him to be so steadfast and successful. By being forced to restrain his true sexual preference however, one may conclude that his discount of the successful women he’s confronted with stems from his own bitterness of being forced to settle with a female spouse despite his inherent attraction towards men.
The hostility both Richard and Frank share towards women can also be attributed to the fragmented relationships each of them share with their mothers. During the course of Richard’s schemes, his own mother, the Duchess of York, fervently condemns him insisting that, “Thou camest on earth to make the earth my hell” (Shakespeare 150) and making no secret of her complete disdain for her own son. Frank, however, was abandoned by his mother and grew up with his father — an incident in itself that may have led him to question his own worth, especially in the eyes of women. To lack the traditional mother’s love that one normally depends upon assuredly must have instilled in the two a profound bitterness for women of any sort early on. Thus, their consistent lashing out of women in their careers can be interpreted as outlets to release their concealed pain towards the women who abandoned them from early on.
It is evident that both Richard and Frank have failed to establish healthy, traditional relationships with women exhibited by their respective feelings of rejection and suppression. To fill the void that these failures have left, both characters have attempted to fulfill themselves through their narcissistic pursuits of power. Both characters can accurately be described as Machiavels, taking any means necessary in order to secure and maintain their power. They serve in contrast to their rivals Richmond and President Walker who have been able to achieve these successful political careers while also maintaining healthy relationships with not only women, but also their advisors who they regard as genuine friends rather than transitory allies.
Richard himself finds “no delight to pass away the time” and “hate the idle pleasures of these days” (Shakespeare 5) for his only delight has become proving those in opposition towards him wrong and becoming king. Similarly, Frank “has no patience for useless things” and, in fact, claims to have been granted a favor by being wronged for he is “no longer bound by allegiances” and “serves no one” (Chapter 1, House of Cards). The sense of abandonment and singularity each man feels has warped them into shying away from the minute pleasures of life and has completely diverted their attentions towards achieving total power in retribution for those that have wronged them.
The connections between Richard and Frank Underwood may in fact be more pronounced since the actor who portrays Frank, Kevin Spacey, spent time with the Bridge Project theatre company starring in a production of Richard III immediately before beginning work on House of Cards. Theatre critic Ben Brantley discussed the scene in which Richard courted Lady Anne in particular and remarked that Spacey delivered his signature lines of “Was ever woman in this humor wooed,” “as much in disgust as in delight,” (Brantley, New York Times) — indicating Richard’s own displeasure in having to feign actual affection towards a woman and mimicking Frank Underwood’s frequent refusal to sleep with his wife and somewhat indifference when she begins an affair with a former flame. Spacey, who’s battled gay rumors himself, delivers the portrayal of both characters with a cold and mechanized fashion that never leaves his audience forgetting that both Richard and Frank derive their pleasure from the power they maintain with little deference to any romantic feelings they may have once held.
While both Richard III and Frank Underwood can be regarded as pure representations of evil hellbent only on their own journeys for ascendancy, it can not be ignored that some of the people who payed most dearly for their rise were women. With masterful charm and a profound talent for manipulation, both men viewed women only as objects to be played with, never being treated with the respect their male counterparts received. However these attitudes can not be regarded as simple evil for they bear roots in the prior experiences of both men that has created this negative image of women for them stemming from profound rejection and bitter repression. Furthermore, while Richard and Frank both harbor these feelings, little is done by women in either work to win the favor of their gender. With virtually every woman in Richard III, including his own mother, praying for the death of Richard and the continued affairs of Frank’s wife, both men have little opportunity to be won over by the women of their lives for they feel no hesitance in the rebuke of the two men. While these condemnations may be justified for both Richard and Frank can be accurately described as true embodiments of evil, the woman in the lives of both men can be interpreted as legitimate causes for their ravenous courses towards power.
Works Cited
Shakespeare, William. Richard III. New Haven: Yale University Press, 2008. Print.
House of Cards. Dir. David Fincher. Perf. Kevin Spacey, Robin Wright, Sakina Jaffrey, Michael Gill. 2012. Television.
Brantley, Ben. “It’s a Dehumanizing Business, Becoming Top Dog.” New York Times 18 January 2012. Print.
The character of Richard III, the title character of William Shakespeare’s time honored tragedy, has long been regarded as one of history’s classic examples of a villain of all-encompassing evil and literature’s most admired anti-hero. Recently, however, this character has been garnering comparisons in contemporary works of film and television, namely, the character of Frank Underwood in the Netflix original series, House of Cards. After being denied the U.S. Secretary of State position by the recently elected President Garret Walker, Frank Underwood utilizes his position as the Whip Congressman to dismantle the lives and careers of a variety of notable Congressmen and governmental heads — eventually attaining the Vice President position for himself after manipulating his predecessor into resigning his seat. It’s interesting to note that, while both Richard and Frank share deep similarities in their thirst for power and eagerness to tackle any and all opposition in their pursuits, both men also share similar attitudes when confronted by women of status and power. Both men exhibit cunning manipulatory skills and a diminished consciousness when their pursuits are being threatened, they undertake these procedures with secretive, behind the curtain techniques that, in a sense, leave their victims blindsided by their endeavors. While both men as well as women fall victim to both men’s plots it is the nature by which they approach the two genders that varies. The supporting cast of men in both works are regarded as worthy adversaries to both Richard and Frank; women however are treated as throwaways and pawns, dispensable and non-threatening despite the power they hold. While one may attribute this prejudice towards women in Richard III, simply as a conformation to the societal norms of the medieval era, it can be argued that Richard, as well as Frank’s, attitudes towards women in power stem from their own sexual rejections and insecurities.
The first example of Richard’s interaction with women comes during Act I, Scene 2 when he approaches Lady Anne with a proposal of marriage in order to legitimate and strengthen his pursuit to the throne. Though critics argue whether Anne’s submission to Richard was based on her own naivety, distorted lust, or even her political ambitions, the manner by which Richard courted her was indifferent to any of her feelings. As she exits the scene, Richard exclaims, “Was ever woman in this humor wooed? / Was ever woman in this humor won? / I’ll have her, but I will not keep her long” (Shakespeare 26), as if it was her privilege to have been “wooed” by the very man who killed her husband. It’s evident through his initial meeting with a woman in this scene that Richard would go on to regard them as detached entities, objects used solely as cogs in his political machinations. The backlash of this approach is visible for in Act IV, Scene 1 Lady Anne admits that “When thou wed’st, let sorrow haunt thy bed, / And be thy wife, if any be so mad, / More miserable by the life of thee / Than thou hast made me by my dear lord’s death” (Shakespeare 131). The lamentations of Anne emphasize the destructive force Richard has asserted himself as, delivering only further despair to a woman who has already lost everything. Anne eventually recognizes in the same scene that Richard’s “honey words” (Shakespeare 131) were nothing more than calculated and empty promises delivered only as necessary steps that Richard had to take to propel himself to the throne. For as his coronation neared, Anne profoundly reflects that Richard will now “no doubt shortly be rid of me” (Shakespeare 131). It should come as no surprise that Anne was used as a political stepping stone rather than a legitimate romantic interest for, throughout the play, Richard was totally enveloped in his quest for ascendancy, the sheer cruelty he approached Anne is distinct. For though Richard was equally willing to use men of power in order to fulfill his goals, he treated them as equals, never revealing any indication that they were being used. For example, his ally Buckingham lacked the high birth necessary to warrant the esteem he received from Richard however he was still treated as a genuine friend of Richard’s for the skills of espionage and diplomacy he was able to provide. Though Buckingham eventually was killed by Richard for accusations of treachery, the treatment he received from Richard while he was still of use is wholly distinct from the treatment Anne and other women received.
Similarly, Frank Underwood also approached women as objects of use rather than people of legitimate status and power. Since House of Cards takes place in contemporary America however, it was necessary for Frank to be less blatant in his prejudice and was forced to contend with woman who potentially bore equal or greater power than him in the workplace. In regards to his male colleagues, Frank explained his strategies to “latch on to [them] early and make [himself] vital” (Chapter 1 House of Cards) in order to put himself in a position of profitable gain. On paper, Frank’s position of Whip Congressman isn’t exactly impressive with little distinguishing him from a regular Congressman. When confronted with women in positions of power however, he often displays a rather arrogant and misogynist persona to compensate for his inferiority. Frank often found himself in frequent collaboration with the President’s Chief of Staff Linda Vazquez who he frequently reminds “I got you your job” (Chapter 1 House of Cards), as if to compensate for their marginal differences in rank despite her being a women. He even goes on to assert that he deliberately chose her based solely on her minority status rather than her professional acumen when during one of his many Ricardian-like soliloquies he recounts that Vazquez is “A woman, check. A Latina, check… [she’s] of great use to me” (Chapter 1, House of Cards). When Linda makes moves towards amnesty to compensate for her administration’s change of heart regarding Frank’s promised Secretary of State position, she offers him tickets to the opera which he graciously accepts. Breaking the fourth wall again however and speaking directly towards the audience, Frank bitterly exclaims that he is no “whore in post war Berlin salivating over free stockings and chocolates,” instead he insists that “what she’s asking will cost far more than that” (Chapter 1, House of Cards) — implying that she should be grateful to even work with him despite her higher position. His prejudice extends beyond the workplace however for, when his own wife’s foundation advocating for clean water technology in impoverished regions of Africa conflicted with his own political goals, he was quick to prioritize his own initiatives and halt hers for he insisted “Your work is a hobby…what is it’s worth?” (Chapter 7, House of Cards).
The misogyny exhibited by both men should not be attributed solely to pure prejudice. In the examples of Richard and Frank, one can assert that a distorted sexual identity has catalyzed their mistreatment of women as a means to cope with their experiences of rejection and repression of sexual desires. In his opening soliloquy, Richard explains that he entered “Into this breathing world, scarce half made up / (And that so lamely and unfashionable / That dogs bark at me as I halt by them)” (Shakespeare 5), revealing a profound insecurity that Richard has in his appearance. With the persistence of this insecurity throughout his life however, he has accepted that he “cannot prove a lover” (Shakespeare 5) and thus has no choice but “to prove a villain” (Shakespeare 5). Therefore, to distance himself from confronting his failure in romantic pursuits, Richard chooses to regard women as minimalist pawns with his quest for power replacing ones traditional search for love. Furthermore, Richard views one who takes the advice of women to be as weak as a woman herself. When speaking of his brother, Edward IV, Richard says, “Why, this it is when men are rul’d by women” (Shakespeare 7) — implying one who takes guidance from a woman is utterly weak. Richard has clear animosity towards women, a possible motivation to become king in order to transcend their rejection.
In contrast, Frank’s mistreatment of women may in fact stem from his own repressed homosexuality. Though throughout the show Frank and his wife Claire seem to have the ideal marriage working as a dream team of sorts on Capitol Hill, it soon becomes clear when Frank begins an affair with journalist Zoe Barnes with Claire’s knowledge that elements of their marriage are far from traditional. In the episode entitled, “Chapter 8,” it’s revealed that, while in college at the prestigious military academy, The Sentinel, Frank had a relationship with one of his fellow male cadets. During an event honoring Frank where he spends the night with his old partner, Frank recalls that “I was drawn to you, I wanted you, and I took you” (Chapter 8, House of Cards). Due to his career in politics in which homosexuality is frowned upon, Frank was forced to suppress his feelings however his statement that he “took” his partner reveals a shred of his narcissism that prevails throughout his political career and allows him to be so steadfast and successful. By being forced to restrain his true sexual preference however, one may conclude that his discount of the successful women he’s confronted with stems from his own bitterness of being forced to settle with a female spouse despite his inherent attraction towards men.
The hostility both Richard and Frank share towards women can also be attributed to the fragmented relationships each of them share with their mothers. During the course of Richard’s schemes, his own mother, the Duchess of York, fervently condemns him insisting that, “Thou camest on earth to make the earth my hell” (Shakespeare 150) and making no secret of her complete disdain for her own son. Frank, however, was abandoned by his mother and grew up with his father — an incident in itself that may have led him to question his own worth, especially in the eyes of women. To lack the traditional mother’s love that one normally depends upon assuredly must have instilled in the two a profound bitterness for women of any sort early on. Thus, their consistent lashing out of women in their careers can be interpreted as outlets to release their concealed pain towards the women who abandoned them from early on.
It is evident that both Richard and Frank have failed to establish healthy, traditional relationships with women exhibited by their respective feelings of rejection and suppression. To fill the void that these failures have left, both characters have attempted to fulfill themselves through their narcissistic pursuits of power. Both characters can accurately be described as Machiavels, taking any means necessary in order to secure and maintain their power. They serve in contrast to their rivals Richmond and President Walker who have been able to achieve these successful political careers while also maintaining healthy relationships with not only women, but also their advisors who they regard as genuine friends rather than transitory allies.
Richard himself finds “no delight to pass away the time” and “hate the idle pleasures of these days” (Shakespeare 5) for his only delight has become proving those in opposition towards him wrong and becoming king. Similarly, Frank “has no patience for useless things” and, in fact, claims to have been granted a favor by being wronged for he is “no longer bound by allegiances” and “serves no one” (Chapter 1, House of Cards). The sense of abandonment and singularity each man feels has warped them into shying away from the minute pleasures of life and has completely diverted their attentions towards achieving total power in retribution for those that have wronged them.
The connections between Richard and Frank Underwood may in fact be more pronounced since the actor who portrays Frank, Kevin Spacey, spent time with the Bridge Project theatre company starring in a production of Richard III immediately before beginning work on House of Cards. Theatre critic Ben Brantley discussed the scene in which Richard courted Lady Anne in particular and remarked that Spacey delivered his signature lines of “Was ever woman in this humor wooed,” “as much in disgust as in delight,” (Brantley, New York Times) — indicating Richard’s own displeasure in having to feign actual affection towards a woman and mimicking Frank Underwood’s frequent refusal to sleep with his wife and somewhat indifference when she begins an affair with a former flame. Spacey, who’s battled gay rumors himself, delivers the portrayal of both characters with a cold and mechanized fashion that never leaves his audience forgetting that both Richard and Frank derive their pleasure from the power they maintain with little deference to any romantic feelings they may have once held.
While both Richard III and Frank Underwood can be regarded as pure representations of evil hellbent only on their own journeys for ascendancy, it can not be ignored that some of the people who payed most dearly for their rise were women. With masterful charm and a profound talent for manipulation, both men viewed women only as objects to be played with, never being treated with the respect their male counterparts received. However these attitudes can not be regarded as simple evil for they bear roots in the prior experiences of both men that has created this negative image of women for them stemming from profound rejection and bitter repression. Furthermore, while Richard and Frank both harbor these feelings, little is done by women in either work to win the favor of their gender. With virtually every woman in Richard III, including his own mother, praying for the death of Richard and the continued affairs of Frank’s wife, both men have little opportunity to be won over by the women of their lives for they feel no hesitance in the rebuke of the two men. While these condemnations may be justified for both Richard and Frank can be accurately described as true embodiments of evil, the woman in the lives of both men can be interpreted as legitimate causes for their ravenous courses towards power.
Works Cited
Shakespeare, William. Richard III. New Haven: Yale University Press, 2008. Print.
House of Cards. Dir. David Fincher. Perf. Kevin Spacey, Robin Wright, Sakina Jaffrey, Michael Gill. 2012. Television.
Brantley, Ben. “It’s a Dehumanizing Business, Becoming Top Dog.” New York Times 18 January 2012. Print.
