William Shakespeare often examines the personal transformation of characters in his plays. His frequent illustrations of changing players most likely suggest that he firmly believes in the idea that people are capable of emotional growth. Furthermore, the author essentially supports the idea of ​​developing humanity as a living being. Paralleling King Richard in Richard II, he illustrates many characters in his works who undergo similar personal growth. Often these personal changes occur when a character suffers a major loss in life. In this particular work these changes give readers a chance to develop some affection for the once ignorant king. Most readers would normally accept positive changes in the minds and souls of the characters. In Richard II, Shakespeare describes the personal phases of King Richard. Ultimately, Richard is illustrated as someone who finally embraces humanity and, in turn, positively influences readers' eventual response to the ever-evolving king. At the beginning of the play, Richard is an arrogant leader who simply wants the title of king and ignores the civil duties he is supposed to regulate. The reader's response is collectively negative during the opening acts because he is inconsiderate of others and does nothing to help the well-being of his country. He believes that his God-given right to rule puts him above all others. With this mindset he rationalizes acts of unsavory behavior and the lack of true monarchical control. While Henry Bolingbroke and Thomas Mowbray argue and hope to resolve their differences in battle, Richard initially approves of the idea. However, at the actual time and place, he cancels the operation after selfishly discovering that if either man is killed, it will happen... halfway through the document... n, but insinuates seven years of bad luck according to most of superstitious culture. In turn, this misfortune represents his foreseeable death. The king has finally evolved into a normal, sensitive man. During these different phases experienced by Richard, the reader's reactions also change. Although there is negative feedback throughout the first half, it seems that Richard's character should slowly elicit sympathy from the reader. In a newspaper article Paula Blank states: "Richard seems, for some readers, to emerge as the victim rather than the perpetrator of a crime." (Empty, 328). By skillfully assuming the position of victim at the end, the King captures the emotions and feelings of many readers; thus, William Shakespeare orchestrates compelling transformations for King Richard in Richard II, and in return creates evolving reactions from the reader.