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Tessa macFindlaech meets three witches on a Scottish hillside as she leaves her home to join the household of her uncle, Thane Macbeth. The weird women make predictions for her future, but Tessa sees no likelihood of truth in them. After all, the first crone claims Tessa is on her way to England, which is in the opposite direction. Surprises await that make her reconsider the prophecies. When Tessa discovers that Jeffrey Brixton, a guest in her uncle's castle, is a spy, he captures her and takes her to his home in England. There she must face the fact that her only asset is her beauty, her only friend the woman she believes to be Jeffrey's mistress. After a year in England, Tessa is married but not a wife, which the witches predicted. When Jeffrey is reported dead, she returns to Scotland. Her uncle's life has taken several ironic turns: he gained the throne he wanted so badly but lost everything he loves. Tessa does what she can for him, but by now Macbeth is his own worst enemy. Chased by murderous outlaws, trapped in a loveless marriage with a man who will not give her up, and alone except for an elderly but faithful servant, Tessa meets the witches once more and this time finds hope in their message. Now her quest is to find love, but love is not always wise. Does the man she loves return her affection, or will he plunge her into danger again, as he has done before? Set against the backdrop of Macbeth's rise and fall from power in Scotland, this historical novel provides both romance and adventure. Like her famous uncle, Macbeth's niece Tessa refuses to settle for an ordinary life, no matter how difficult the extraordinary becomes.
Raised by three strange sisters, Albia has never known the secrets of her parentage. But when Macbeth seeks out the weird sisters to foretell his fate, his life is entangled with his unknown daughter's. When Albia foresees the terrible future, she becomes determined to save Macbeth's rival-and the man she loves-from her murderous father. Klein's seamlessly drawn tale makes it seem impossible that Albia was not part of Shakespeare's original play.
In this study, William C. Carroll analyses a wide range of adaptations and appropriations of Macbeth across different media to consider what it is about the play that compels our desire to reshape it. Arguing that many of these adaptations attempt to 'improve' or 'correct' the play's perceived political or aesthetic flaws, Carroll traces how Macbeth's popularity and adaptability stems from several of its formal features: its openly political nature; its inclusion of supernatural elements; its parable of the dangers of ambition; its violence; its brevity; and its domestic focus on a husband and wife. The study ranges across elite and popular culture divides: from Sir William Davenant's adaptation for the Restoration stage (1663–4), an early 18th-century novel, The Secret History of Mackbeth and Verdi's Macbeth, through to 20th- and 21st-century adaptations for stage and screen, as well as contemporary novelizations, young adult literature and commercial appropriations that testify to the play's absorption into contemporary culture.
An ornery old woman, Miss E, lives full time on cruise ships, making life miserable for the crew and ignoring everyone else. Two girls, Elvera and Cathy, meet on Michigan's Mackinac Island in 1965. The friendship that grows over four summers will last a lifetime as they support each other through joy and tragedy, love and loss. As Miss E's story emerges, cabin steward Michael realizes the old woman isn't what she seems. That leaves him with a question. What is he going to do about it?
From towering crags to misted moors and formidable fortresses, Lady Macbeth transports readers to the heart of eleventh-century Scotland, painting a bold, vivid portrait of a woman much maligned by history. Lady Gruadh—Rue—is the last female descendant of Scotland’s most royal line. Married to a powerful northern lord, she is widowed while still carrying his child and forced to marry her husband’s murderer: a rising warlord named Macbeth. As she encounters danger from Vikings, Saxons, and treacherous Scottish lords, Rue begins to respect the man she once despised. When she learns that Macbeth’s complex ambitions extend beyond the borders of the vast northern region, she realizes that only Macbeth can unite Scotland. But his wife’s royal blood is the key to his ultimate success. Determined to protect her son and a proud legacy of warrior kings and strong women, Rue invokes the ancient wisdom and secret practices of her female ancestors as she strives to hold her own in a warrior society. Finally, side by side as the last Celtic king and queen of Scotland, she and Macbeth must face the gathering storm brought on by their combined destiny. This is Lady Macbeth as you’ve never seen her.
After ten years, a successful painter returns to Paris and the son she left behind on her ex-lover’s doorstep, in Margery Sharp’s sparkling novel that features the artistic heroine of Martha in Paris After studying with le maître in Paris for a year, Martha returned to England to pursue her artistic destiny. Ten years later, she is an enormous success. But when she returns to Paris to attend an exhibition of her work, she must face some unfinished business she left behind: her ten-year-old son, George. Raised by his doting grandmother and his disinterested father, Eric, George attends his mother’s exhibition and Martha realizes she may well have met her match—a member of the opposite sex who will not let her go through life unencumbered. Martha, Eric, and George is a witty and poignant novel about the indelible bond between mother and child, and the creative spark that can light up a life.
This is a detailed account of the theatre history of Shakespeare's Macbeth from 1607 to the present day. The shortest of the tragedies, Macbeth is compressed, complex and ambiguous and has been variously interpreted. The Introduction describes major productions and performers including David Garrick, Sarah Siddons, Henry Irving, Ellen Terry and Laurence Olivier. Sarah Siddons, the greatest Lady Macbeth, portrayed her as a ruthlessly ambitious woman who dominated her husband. Irving, on the other hand, saw Macbeth as 'a bloody-minded villain', unlike his wife, played by Ellen Terry, who was gentle and devoted. Ian McKellen and Judi Dench, in the most successful production of the last century, were united in their ambition and pursuit of evil. A detailed commentary alongside the New Cambridge Shakespeare text of the play describes how specific episodes and passages have been interpreted in the theatre.
Lady Macbeth has haunted American history since the conflicts of Shakespeare s England spilled over into New England s real witch hunts. To reveal how Lady Macbeth entered American politics as an icon for the First Lady, this investigation focuses on the prominent actresses in the role, how they performed, and their effect on audiences anxious about the country s First Lady and her influence over the President - especially at times of war. Smith ably shows how the various Lady Macbeths have both reflected and shaped the image their contemporaries have of the ambitious political wife, producing parallels that converge dramatically in twentieth-century "witch hunts."