This paper intends to explore the significance of the female characters in Shakespeare’s Richard III. It argues that the main dramatic tension in Richard III is not generated by a power contention between ale rivals， but by a discursive war between Richard III and various female characters. This discursive war is climaxed by Richard calling from alarums to strike when he finds himself surrounded by accusing women whom he labels “tell-tale women.” In fact， Richmond， who does not appear until near the end of the play， becomes a historical necessity. His dramatic importance is displaced by these “tell-tale women.” In view of the psychological tension created by Richard， who harps on his deformity and pronounces to the audience his villainous schemes， only the female characters can vie with him. They command equally frightening energy. Since discursive space is rendered extremely important in the play by Richard’s own manipulation of rumors and talks， women’s discourses are also empowered. 本文試圖探討莎翁作品《李察三世》中女性角色所具有之重要性，強調劇中之主要戲劇張力並非由男性的權力鬥爭所構成，而是源自於李察三世與女性之間的論戰。當李察三世被辱馬他的女人所包圍時，他下令敲響各式的警鐘戰鼓，企圖以雄壯而威武的聲音來淹沒那些女人──那些被他視為「搬弄是非的女人」──所發出的嘈雜而喧鬧的聲音。這幕眾聲喧嘩的精彩場景將李察三世與女性之冒的論戰帶到了高潮。相較之下奇蒙(Richmond)反而變成了劇中的歷史要素(historical necessity)，直到本劇已近尾聲時才現身，其戲劇的重要性已被那些「搬弄是非的有女人」所取代。 李察三世經常抱怨自己肢體的畸形並向觀眾吐露自己不軌的意圖，於是這就形成一股高度的心理張力；而戲中卻只有女性角色可在這一方面與他相互衡，因為她們不是令觀眾感到毛骨悚然就是令李察三世感到不安。由於李察三世不斷製造謠言、操縱言論以打擊敵人，這使得處中的論述空間具有無比的重要性；相形之下，也使得女性角色的言論變得極具份量。
