Editing Richard II (play) (section)

====''The King's Two Bodies''====
In his analysis of medieval [[political theology]], ''[[The King's Two Bodies|The King’s Two Bodies]]'', [[Ernst Kantorowicz]] describes medieval kings as containing two bodies: a body natural, and a [[Body politic#In statehood|body politic]]. The theme of the king's two bodies is pertinent throughout ''Richard II'', from the exile of Bolingbroke to the deposition of King Richard II. The body natural is a mortal body, subject to all the weaknesses of mortal human beings. On the other hand, the body politic is a spiritual body which cannot be affected by mortal infirmities such as disease and old age. These two bodies form one indivisible unit, with the body politic superior to the body natural.<ref name = kantorowicz>Kantorowicz, H. Ernst. ''The King's Two Bodies: A Study in Medieval Political Theology''. New Jersey: Princeton University Press, 1957, 24–31.</ref>

Many critics agree that in ''Richard II'', this central theme of the king's two bodies unfolds in three main scenes: the scenes at the Coast of Wales, at Flint Castle, and at Westminster. At the coast of Wales, Richard has just returned from a trip to Ireland and kisses the soil of England, demonstrating his kingly attachment to his kingdom. This image of kingship gradually fades as Bolingbroke's rebellion continues. Richard starts to forget his kingly nature as his mind becomes occupied by the rebellion. This change is portrayed in the scene at Flint Castle during which the unity of the two bodies disintegrates and the king starts to use more poetic and symbolic language. Richard's body politic has been shaken as his followers have joined Bolingbroke's army, diminishing Richard's military capacity. He has been forced to give up his jewels, losing his kingly appearance. He loses his temper at Bolingbroke, but then regains his composure as he starts to remember his divine side. At Flint Castle, Richard is determined to hang onto his kingship even though the title no longer fits his appearance. However, at Westminster the image of the divine kingship is supported by the Bishop of Carlisle rather than Richard, who at this point is becoming mentally unstable as his authority slips away. Biblical references are used to liken the humbled king to the humbled Christ. The names of Judas and Pilate are used to further extend this comparison. Before Richard is sent to his death, he "un-kings" himself by giving away his crown, sceptre, and the balm that is used to anoint a king to the throne. The mirror scene is the final end to the dual personality. After examining his plain physical appearance, Richard shatters the mirror on the ground and thus relinquishes his past and present as king. Stripped of his former glory, Richard finally releases his body politic and retires to his body natural and his own inner thoughts and griefs.<ref name = kantorowicz/> Critic [[J. Dover Wilson]] notes that Richard's double nature as man and martyr is the dilemma that runs through the play eventually leading to Richard's death. Richard acts the part of a royal martyr, and due to the spilling of his blood, England continually undergoes civil war for the next two generations.<ref>Thompson, Karl F. "Richard II, Martyr." ''Shakespeare Quarterly'' 8.2 (Spring 1957), 159–166. {{JSTOR |2866958}}</ref>