There is in the whole utterance a straightforwardness, as of a programme, that takes us aback. Richard comes forward naïvely in the character of Prologue, and foreshadows the matter of the tragedy. It seems almost as though Shakespeare had determined to guard himself at the outset against the accusation of obscurity which had possibly been brought against his _Richard II_. But we must remember that ambitious men in his day were less composite than in our times, and, moreover, that he was not here depicting even one of his own contemporaries, but a character which appeared to his imagination in the light of a historical monster, from whom his own age was separated by more than a century. His Richard is like an old portrait, dating from the time when the physiognomy of dangerous, no less than of noble, characters was simpler, and when even intellectual eminence was still accompanied by a bull-necked vigour of physique such as in later times we find only in the savage chieftains of distant corners of the world. It is against such figures as this of Richard that the critics who contest Shakespeare's rank as a psychologist are fondest of directing their attacks. But Shakespeare was no miniature-painter. Minutely detailed psychological painting, such as in our days Dostoyevsky has given us, was not his affair; though, as he proved in _Hamlet_, he could on occasion grapple with complex characters. Even here, however, he gets his effect of complexity, not by unravelling a tangle of motives, but by producing the impression of an inward infinity in the character. It is clear that, in his age, he had not often the chance of observing how circumstances, experience, and changing conditions cut and polish a personality into shimmering facets. With the exception of Hamlet, who in some respects stands alone, his characters have sides indeed, but not facets. Take, for instance, this Richard. Shakespeare builds him up from a few simple characteristics: deformity, the potent consciousness of intellectual superiority, and the lust for power. His whole personality can be traced back to these simple elements. He is courageous out of self-esteem; he plays the lover out of ambition; he is cunning and false, a comedian and a blood-hound, as cruel as he is hypocritical--and all in order to attain to that despotism on which he has set his heart. Shakespeare found in Holinshed's Chronicle certain fundamental traits: Richard was born with teeth, and could bite before he could smile; he was ugly; he had one shoulder higher than another; he was malicious and witty; he was a daring and open-handed general; he loved secrecy; he was false and hypocritical out of ambition, cruel out of policy. All this Shakespeare simplifies and exaggerates, as every artist must. Delacroix has finely said, "_L'art, c'est l'exagération à propos."_ The Richard of the tragedy is deformed; he is undersized and crooked, has a hump on his back and a withered arm.