His grace looks cheerfully and smooth to-day; There’s some conceit or other likes him well, When he doth bid good morrow with such a spirit. I think there’s never a man in Christendom That can less hide his love or hate than he; For by his face straight shall you know his heart.
His grace looks happy and calm today; There’s something about him that seems pleased, When he greets us with such a cheerful spirit. I think there’s no man in the world Who can hide his love or hate better than he; For by his face, you can immediately tell his feelings.
Lord Hastings · Act 3, Scene 4
Hastings observes that Richard looks happy and seems incapable of hiding his emotions, believing this proves Richard's sincerity. The line resonates because it is Hastings' fatal misreading—he mistakes Richard's performance for transparency, his mask for the man. It shows how perfectly Richard has constructed his deception, fooling even those closest to him into thinking they see his true heart.
But I shall laugh at this a twelve-month hence, That they who brought me in my master’s hate I live to look upon their tragedy. I tell thee, Catesby--
But I’ll laugh at this a year from now, When the very people who brought me to hate my master End up facing their own downfall. I tell you, Catesby--
Lord Hastings · Act 3, Scene 2
Hastings predicts that within a year he will laugh to see the queen's relatives brought low, confident in his own survival. The line endures because Hastings is confident at the exact moment his doom is sealed—he boasts to Catesby, who is even now laying the trap. It demonstrates the play's cruel logic: those who feel most secure fall first.
Upon my life, she finds, although I cannot, Myself to be a marvellous proper man.
I swear, she'll find, even though I can't, That I think I'm quite the handsome man.
Lord Hastings · Act 1, Scene 2
Having seduced Lady Anne, Richard marvels that she was charmed by a man he himself despises for his deformity. The line reveals the paradox at the heart of Richard's character—he cannot love himself, yet he can make others love him through sheer force of will. It shows that seduction in this play is not mutual desire but the conquest of another's perception of reality.