Mischance and sorrow go along with you! Heart’s discontent and sour affliction Be playfellows to keep you company! There’s two of you; the devil make a third! And threefold vengeance tend upon your steps!
Bad luck and sorrow go with you! Heartache and bitterness be your companions! There’s two of you; may the devil join you! And may threefold revenge follow you wherever you go!
Queen Margaret of Anjou · Act 3, Scene 2
Margaret curses Suffolk as he is being dragged away to exile and death, invoking the devil himself to punish him and his companion. The curse matters because it is uttered by the one person Suffolk loves, turning her love into a weapon against him—and the curse comes true, as all the curses in this play do. It shows that words have power in this kingdom, and that love and hate are sometimes the same thing.
See how the blood is settled in his face. Oft have I seen a timely-parted ghost, Of ashy semblance, meagre, pale and bloodless, Being all descended to the labouring heart; Who, in the conflict that it holds with death, Attracts the same for aidance 'gainst the enemy; Which with the heart there cools and ne'er returneth To blush and beautify the cheek again. But see, his face is black and full of blood, His eye-balls further out than when he lived, Staring full ghastly like a strangled man; His hair uprear'd, his nostrils stretched with struggling; His hands abroad display'd, as one that grasp'd And tugg'd for life and was by strength subdued: Look, on the sheets his hair you see, is sticking; His well-proportion'd beard made rough and rugged, Like to the summer's corn by tempest lodged. It cannot be but he was murder'd here; The least of all these signs were probable.
Look at how the blood has settled on his face. I've often seen a spirit that left its body too soon, Pale, weak, and lifeless, Its blood all flowing down to the struggling heart; Who, in the battle it fights with death, Takes the blood to fight the enemy; But once it cools in the heart, it never returns To make the face blush with life again. But look, his face is black and full of blood, His eyes pushed out further than when he was alive, Staring horribly, like a man who's been strangled; His hair standing up, his nostrils wide from his struggle; His hands spread out, as if he fought for life and was overwhelmed: See, his hair is stuck to the sheets; His well-groomed beard now rough and tangled, Like the summer's corn knocked down by a storm. It can't be anything but murder here; Even the smallest of these signs proves it.
Earl of Warwick · Act 3, Scene 2
Warwick reads Gloucester's dead body as a text, describing each sign of murder with forensic precision. The speech transforms a corpse into evidence and teaches the audience how to see what others wish to hide. Language and observation become tools of justice, and the body becomes a page that writes the truth of conspiracy.
That good Duke Humphrey traitorously is murder'd By Suffolk and the Cardinal Beaufort's means
That good Duke Humphrey was traitorously murdered By Suffolk and Cardinal Beaufort
Earl of Warwick · Act 3, Scene 2
Warwick accuses the King's inner circle of murder, and in doing so, becomes the voice of the commons and the conscience of the play. He transforms Gloucester's corpse into evidence and forces the King to confront a conspiracy that has been silent until now. This moment marks the point where the court's hidden plots become public knowledge.
