The true tragedy of Richard III lies in the progressive isolation of its protagonist. From the beginning of the play, when Richard III enters "solus", the protagonist's isolation is clear. Richard's isolation progresses as he separates himself from the other characters and breaks the natural bonds between man and nature through his efforts to gain power. The first scene of the play begins with a soliloquy, which emphasizes Richard's physical isolation as he appears alone speaking to the audience. This idea of ​​physical isolation is accentuated by his references to his deformity, such as "sharply impressed... robbed of characteristics by nature's dissimulating, deformed, unfinished. This deformity would be an outward indication to the audience of disharmony from nature and wickedness. of his spirit. Because he hates "the idle pleasures of these days" and speaks of his plots to turn one brother against another, Richard seems socially separated from the figures around him, and perhaps considered an outsider or ostracized because of his behavior. deformity. His separation from his family is emphasized when he says "Immerse yourself, the thought is in my soul" when he sees his brother approaching hints at his physical, social and spiritual isolation that develops over the course of the play, but despite these hints, he still refers to himself as part of the House of York, shown in the repeated use of "Our". Richard's concept of the physique. isolation is reinforced in his dealings with Anne in scene ii of Act I. She calls him "you piece of loathsome deformity" and "filthy toad" during their exchange. Despite these insults, he still finds time to talk to Richar... middle of paper... about their deaths. The most touching part of the work occurs in seeing the young princes talking cheerfully and innocently with their children. uncle and "Lord Protector". York says “I will not sleep easy in the Tower,” and we pity them, for they are young and frightened, and are forced to go there because, as the Prince says, “My Lord Protector needs it so.” The children had appeared happy and the prince had shown wit and intelligence in his conversation with his uncle. This seems to be the play's greatest tragic loss, accentuated by their youth and innocence. The tragedy of the protagonist is felt because of his appeal as a villain and as someone who is not bound by the rules of society. However, the audience never forgets that he is evil and so we cannot feel a sense of great loss of potential or waste in his death..