Here is the line-by-line modern paraphrase of Richard’s monologue from Henry VI, Part 3 (Act 5, Scene 6):

Original: I, that have neither pity, love, nor fear.
Modern: I am someone who feels no pity, no love, and no fear.

Original: Indeed, ‘tis true that Henry told me of;
Modern: And it’s true — everything that Henry just told me about myself is accurate.

Original: For I have often heard my mother say
Modern: Because I’ve heard my own mother say many times

Original: I came into the world with my legs forward:
Modern: That I was born feet-first into the world.

Original: Had I not reason, think ye, to make haste,
Modern: Doesn’t it make sense that I was in a hurry to get here,

Original: And seek their ruin that usurp’d our right?
Modern: So I could destroy the people who stole what rightfully belongs to our family?

Original: The midwife wonder’d and the women cried
Modern: The midwife was shocked, and the women in the room cried out,

Original: ‘O, Jesus bless us, he is born with teeth!’
Modern: “Oh God, save us — this baby was born with teeth already!”

Original: And so I was; which plainly signified
Modern: And it’s true, I was — and that was clearly a sign

Original: That I should snarl and bite and play the dog.
Modern: That I was meant to growl, bite, and act like a vicious animal.

Original: Then, since the heavens have shaped my body so,
Modern: So if heaven decided to twist and deform my body this way,

Original: Let hell make crook’d my mind to answer it.
Modern: Then let hell warp and corrupt my mind to match it.

Original: I have no brother, I am like no brother;
Modern: I have no true brother — I’m nothing like any of them.

Original: And this word ‘love,’ which graybeards call divine,
Modern: And this thing called “love” that old men say is sacred and holy —

Original: Be resident in men like one another
Modern: Let it live in people who actually care for one another,

Original: And not in me: I am myself alone.
Modern: But not in me. I belong only to myself.

Original: Clarence, beware; thou keep’st me from the light:
Modern: Watch out, Clarence — you’re standing between me and power.

Original: But I will sort a pitchy day for thee;
Modern: But I’ll make sure your day comes — and it’ll be pitch black and grim.

Original: For I will buz abroad such prophecies
Modern: I’ll spread rumors and false prophecies everywhere

Original: That Edward shall be fearful of his life,
Modern: That will make King Edward terrified for his own safety,

Original: And then, to purge his fear, I’ll be thy death.
Modern: And then, to get rid of that fear, I’ll arrange your murder, Clarence.

Original: King Henry and the prince his son are gone:
Modern: King Henry and his son are both dead now.

Original: Clarence, thy turn is next, and then the rest,
Modern: Clarence, you’re next, and after that, everyone else in my way.

Original: Counting myself but bad till I be best.
Modern: I’ll keep considering myself just a villain until I become the greatest — the king.

Original: I’ll throw thy body in another room
Modern: I’ll toss your corpse aside without a second thought, Henry,

Original: And triumph, Henry, in thy day of doom.
Modern: And celebrate over you on this, the day of your death.

In Act V, Scene vi of Henry VI, Part III, King Henry VI sits alone in the Tower of London when Richard, Duke of Gloucester arrives. Richard immediately begins a lengthy soliloquy revealing his murderous intentions toward the king, declaring that Henry’s presence threatens the security of his brother Edward’s reign. Henry, recognizing the danger he faces, attempts to reason with Richard and prophesies about Richard’s future evil deeds, predicting that he will cause great suffering and bloodshed. The king speaks of omens surrounding Richard’s birth, including his premature arrival and unusual physical characteristics, suggesting these signs foretold his villainous nature.

Richard dismisses Henry’s words and proceeds to stab him to death, showing no remorse for the regicide. After killing Henry, Richard delivers another soliloquy in which he reveals his ambitious plans to eliminate anyone who stands between him and the throne, including his own brothers if necessary. He speaks of his physical deformity and how it has shaped his villainous character, declaring that since nature has made him unsuited for love, he will pursue power instead. The scene concludes with Richard’s chilling promise to continue his bloody path toward the crown, setting the stage for his future actions as the future Richard III.

Henry VI, Part 3 opens with the aftermath of the Battle of St. Albans, where the Yorkists have achieved victory over the Lancastrians. The Duke of York enters Parliament and claims the throne, leading to a confrontation with King Henry VI. A compromise is reached whereby Henry remains king for his lifetime but agrees to disinherit his son Prince Edward in favor of York and his heirs. When Queen Margaret learns of this arrangement, she is furious and raises an army to defend her son’s birthright.

The conflict escalates into full civil war. Margaret’s forces defeat and kill the Duke of York at the Battle of Wakefield, but York’s sons—Edward, George, and Richard—continue the fight. They achieve victory at the Battle of Towton, where King Henry is captured and Edward of York is proclaimed King Edward IV. Henry escapes and flees to Scotland with Margaret and Prince Edward, while Edward IV consolidates his power and marries Elizabeth Woodville, causing tension with his supporter the Earl of Warwick.

Warwick, feeling betrayed by Edward’s marriage, switches sides and allies with Margaret and the exiled Henry VI. With French support, they invade England and briefly restore Henry to the throne while Edward flees to Burgundy. However, Edward returns with an army and reclaims his crown. The final act culminates in the Battle of Tewkesbury, where the Yorkists achieve decisive victory. Prince Edward is killed in battle, Queen Margaret is captured, and Henry VI is murdered in the Tower of London by Richard of Gloucester. The play concludes with Edward IV seemingly secure on the throne, though Richard’s final soliloquy hints at his own future ambitions for the crown.