Richard III: Dramatic Irony 5 key examples

The audience is privy to the fact that it’s Richard himself who is actually responsible for the murders of Henry VI and Edward. Anne believes this to be the case but can’t be absolutely sure, and Richard does his best to convince her otherwise. When this isn’t productive, he shifts tacks to trying to convince her that it’s actually her fault they’re dead. The audience is aware of all of Richard's machinations and his true character, but Lady Anne can't prove the exact extent of his crimes. This dramatic irony is another moment where the audience sees the disparity between Richard's pleasant public demeanor and his sinister intentions. 

Furthermore, this scene highlights Richard's skill at manipulation and deceit. He skillfully deflects Lady Anne's accusations by blaming her beauty for the "effect" of both men dying. She’s so beautiful, he argues, that it's actually her fault. He argues that as she “did haunt him,” she’s “as blameful as the executioner.” This not only flatters Lady Anne but also disorients her, causing her to question her understanding of the situation. 

Shakespeare alludes to "wingèd Mercury." Mercury, or Hermes in Greek mythology, was the messenger of the gods and was often depicted with wings on his heels, symbolizing speed and swiftness. By referring to Mercury, Richard is using a mythological reference to explain how swiftly the initial order for Clarence's execution was carried out. It couldn’t have been prevented, he smoothly implies, because it was delivered almost supernaturally fast.

In contrast, Richard describes the carrier of the “countermand” (the order to spare Clarence's life) as being brought by a "tardy cripple," or a slow and impaired person. This visual imagery sharply contrasts with the swift and efficient image of "wingèd Mercury." It also refers to Richard’s own self-perception in comparison to his brothers. He is subtly gloating, as Clarence is dead and he’s still alive.

In essence, Richard is blaming the inefficiency and slowness of the messenger for Clarence's unfortunate and untimely death, even though it was Richard himself who orchestrated these events. This adds a layer of dramatic irony to the passage. Although Edward IV is oblivious, the audience knows Richard was the real cause of the rapid execution.

This statement is a clear example of dramatic irony. The audience knows all about Richard’s plotting and ability to fool people, thanks to his soliloquies. Hastings, however, has no idea of his king's true nature as a master manipulator who can hide his intentions behind a mask of being pleasant and modest. He thinks Richard is just happy because there's a "conceit" or plan that the monarch likes. He has no idea what's actually happening in Richard's mind. 

Hastings's belief in Richard’s transparency is emphasized by the hyperbole in this passage. He tells his assembled company that “never a man in Christendom can lesser hide his love or hate” than Richard. The phrase “in Christendom” here means “in the entire world.” This exaggerated praise shows that Hastings is naïve, and blinds him to the impending danger posed by the youngest Plantagenet brother. Hastings asserts that it’s possible to know Richard’s “heart,” or how he truly feels, by his “face.” Hastings's inability to see through Richard’s deceit ultimately leads to his downfall, as he fails to recognize the sinister intentions lurking behind Richard’s affable exterior. As almost no one is able to see through Richard’s pretense of goodness, this blustering explanation seems almost painfully ironic to an audience by this late point in the play. 

This is a clear instance of dramatic irony, as the audience has been witness for the entire play to Richard’s ruthless ambition for the crown. His fake reluctance is also a manifestation of verbal irony, as he says one thing and means another. At this point in the play, there's a large number of people around Richard who believe he's the best choice to rule the country. The audience can only watch in horror as his manipulations come to fruition.

Richard's false humility is masterful in its execution. In this passage, he portrays himself as the dutiful servant burdened with a responsibility he does not seek. He uses hyperbole to describe himself as "unfit" for the things he's been training his entire life for, and to make kingship seem like a weight that would be "heaped" on him. He begs the Lord Mayor not to be offended or "take it amiss" that he is refusing. He even treats the repeated requests and demands to become king he's being given as if they are annoying impositions, saying he won't "yield" to them. This is also a reference to his "reluctance" to be physically crowned, where he'd kneel or sit, "yielding" to the responsibility. Of course, this false modesty only serves to build his reputation for humility and self-effacement in the eyes of his subjects. 

In this passage, Richard makes it seem as if he is taking on a great burden for the sake of the people. This is dramatically ironic because he has been telling the audience he's plotting to obtain the crown throughout the play. Here, he pretends to be burdened by the crown. Saying that the responsibility of statehood is a heavy, unappealing burden implies that he is accepting it as a duty rather than out of ambition.

 However, the audience knows that Richard has been manipulating everyone to obtain the crown for himself. By personifying "fortune" here, he puts himself at an even further remove from responsibility. If a powerful entity like "fortune" is forcing this "burden" on him, he is powerless to say no and must somehow find the "patience" to be king.