But further to mourning the death of his erstwhile supporters, Richard begins, for the first time, to reflect upon himself and his role as a king. He grows aware that he has failed to distinguish himself insofar as he has nothing more to bequeath than any of his subjects. It dawns upon him that he has been divested of all his kingly privileges, and that his subjects" gestures of holy respect and "solemn reverence"4 are mere formulae glossing over the fact that, as a human being, he lives "with bread like you"5. Richard's realisation becomes manifest when he asks his courtiers to "throw away respect"6 - a remarkable imperative that leaves no doubt that, as distinct from previous scenes, Richard does not merely think, but externalises what he thinks. His hitherto pent-up feelings are now accessible to the spectator, especially since he accompanies his eloquent words with yet more eloquent actions: his eyes become "rainy"7 and some editors even suggest that he takes off his crown to bid his courtiers "farewell"8 - the ultimate humiliation. Thus mortified, Richard drives himself into isolation. He disconnects from his land and its people and his .
following speeches anticipate how he gradually, and perhaps happily, withdraws from his duties as a king, eventually ceding his title to Bullingbrook.A.
4. ibid.: 3.2.172.
5. ibid.: 3.2.175.
6. ibid.: 3.2.172.
7. ibid.: 3.2.146.
8. ibid.: 3.2.170.
A. It is towards the end of Act 3, scene 3, that Richard refers to his adversary as "King Bullingbrook". Despite his sarcastic intention, Richard here commits a clumsy solecism that forebodes his downfall, especially since he comes "down" immediately afterwards.
Holderness sees Richard envisaging the "consoling obscurity of a pilgrim's life, an existence of innocuous vagabond piety"9. The speech in hand is a turning point in the play, but also a point of no return for Richard, in that his descent is slowly becoming inevitable.
