Tag Archives: Shakespeare

Arts, Books, History, Literature, Scotland

Scottish author says Shakespeare got Macbeth wrong

SHAKESPEARIAN TRAGEGY

AS generations of pupils learned in English classes, Lady Macbeth, the cold-hearted, scheming villain who casts her dark shadow over one of literature’s most famous plays, and driven by a lust for power, persuaded her weak-willed husband to commit murder most foul.

Yet, according to one of Scotland’s illustrious top crime writers, Shakespeare got the tragedy of Macbeth all wrong.

Novelist Val McDermid – with a helping hand from former First Minister Nicola Sturgeon – has written a book exploring the real story of the woman who became Queen Macbeth, first Queen of Scotland.

And part of her aim, she says, is “setting Shakespeare straight”.

According to the Bard of Avon, the Macbeths are motivated by merciless ambition which ultimately leads to their downfall. Their tragedy stems from their decision to seize the throne by killing King Duncan while he is asleep.

But McDermid, whose novels have sold more than 19 million copies and been translated into more than 40 languages, recasts the tale in a feminist light – as a historical romance seen from the perspective of a strong and determined woman fighting for life and love.

As befits a crime writer, the book contains a major plot twist. But in a departure from the gritty “tartan noir” genre for which she is highly acclaimed, McDermid also ventures into the realm of erotic fiction.

In the author’s notes at the start of the book, she claims the Macbeths were “not the power-hungry bloody tyrants that Shakespeare wrote of in his Scottish play”.

And in highlighting other inaccuracies, she says: “For a start, Macbeth wasn’t even his name – it was Macbethad. His wife wasn’t Lady Macbeth – she was Gruoch. If he couldn’t get their names right, how can we trust anything else he tells us?”

She also claims the Elizabethan playwright made an error about the death of King Duncan. “Yes, Macbeth did kill Duncan, but it was on the field of battle, not in the dead of night when Duncan was a guest in his castle.”

Queen Macbeth, to be released shortly, tells the fictionalised life-story of Gruoch Ingen Boite, who is forced into a loveless arranged marriage, but finds true love with a nobleman called Macbeth. In the acknowledgements, the author thanks her friend and fellow book lover Ms Sturgeon, “whose animated dinner conversation resolved an awkward plot point for me”. She added: “It’s amazing how a few glasses of red wine release the imagination…”

The novel contains echoes of Shakespeare but imagined from a feminist perspective. The witches who prophesy Macbeth’s doom are replaced by three women – a healer, weaver, and a seer – whose powers make the men of mediaeval Scotland deeply suspicious.

The tale starts with Gruoch and her companions fleeing from plotters who believe she stands in the way of their ambition for power.

As the narrative develops, Gruoch recalls the stirrings of her love for Macbeth, including a racy description of their first moment of intimacy, saying: “Where our bodies touched it was like a lick of flame running through me.”

Shakespeare’s Lady Macbeth encourages her husband to commit murder, but McDermid’s version urges caution when Macbeth considers revenge against a rival, saying: “Better to be slow than to shed innocent blood, surely?”

The book is part of Polygon’s Darkland Tales – dramatic retellings of key moments from Scottish history, myth, and legend.

Pre-publication publicity promises McDermid will reveal “a new Lady Macbeth, bringing a schemer in the shadows out into the light and exposing the patriarchal prejudices of history.”

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Arts, Films, Literature

Film Review: All Is True (12A)

REVIEW

AT the Global Theatre in London on June 29, 1613, a stage cannon was fired during a performance of William Shakespeare’s play All Is True, which today we know as Henry VIII.

. See also Short Essay: Shakespeare’s Plays

Such a small and theatrical flourish would come to have devastating consequences, because the cannon set fire to the Globe’s thatched roof and within an hour one of the most famous playhouses, where most of Shakespeare’s plays had been unveiled, had burned to the ground.

The career of the country’s greatest playwright ended on the same night. He never wrote another significant play and died a couple of years later.

Those last two years are the focus of Kenneth Branagh’s All Is True. Heartbroken and bereft, Shakespeare returns to his home town of Stratford, and to the uneasy embrace of his wife Anne Hathaway and their two daughters, whom he has rarely visited over the previous two decades.

All Is True is heavyweight production, particularly in terms of those doing the acting. Branagh, who has done as much as anyone alive to bring Shakespeare’s plays to the silver screen, plays the great man himself.

Under a gleaming dome of a forehead, he is, though, barely recognisable. A knobbly prosthetic nose and a jutting bearded chin which, when added to a surprising lack of assertiveness, give him the air of a man who can’t decide whether he has entered a lookalike contest as Jimmy Hill.

Less compromised by the make-up department, Judi Dench plays Anne, and Ian McKellen has a highly enjoyable cameo as Shakespeare’s erstwhile patron, the Earl of Southampton. It is strongly hinted that the Earl was also the object of Shakespeare’s ardour. Or “Bardour”, if you prefer.

The script is by Ben Elton, who has tempered the jauntiness of his Shakespearean sitcom Upstart Crow to give us a barrage of sexual scandal and a whirl of emotions – grief, resentment, envy, lust – more suited to a modern soap opera like EastEnders. Or, maybe something else entirely different.

All Is True largely unfolds as an everyday tale of country folk, for which Dench unpacks her best rural vowels. Some might rather suggest it’s a ruff version of The Archers.

 

THE scandals concern both Shakespeare’s daughters. Susanna (Lydia Wilson) is unhappily married to a holier-than-thou Puritan doctor, to whom she is appearing unfaithful.

Judith (Kathryn Wilder) marries the more rakish Tom Quiney (Jack Colgrave Hirst), who has already impregnated another local woman, Margaret Wheeler (Eleanor de Rohan).

The grief is mostly Shakespeare’s, whose return to Stratford, without the distraction of writing and staging all those plays, re-ignites the pain of losing his only son, 11-year-old Hamnet, many years earlier.

“I’ve lived so long in imaginary worlds, I’ve lost sight of what is real,” he laments. At first, he gets precious little sympathy either from the stolidly undemonstrative Anne, or from miserable Judith, who was Hamnet’s twin, and feels certain that her father would prefer her to have perished instead.

Occasionally, Shakespeare loses his temper with these unappreciative womenfolk. “Through my genius I’ve brought fame and fortune to this house,” he bellows, and 400 years or so later there’s no real arguing with that, though Anne doesn’t look too convinced. But, gradually, the family learn to live with and even love each other again, despite Elton pulling out a rather startling late twist.

Branagh’s decision to cast Dench has raised eyebrows.

Anne was eight years older, whereas the actual gap between them is 26. Nevertheless, it’s a pleasure to see our greatest Shakespearean actress playing the Bard’s wife, and, All Is True contains many pleasures, not least the cinematography by Zac Nicholson.

Nicholson pounces like another 17th-century genius, Rembrandt, on the lighting opportunities afforded by all those candles, and all those sunbeams streaming through mullioned windows.

Outside, the panorama shots are ravishing. Warwickshire is a beautiful part of the country.

Verdict: An Intriguing tale.

★★★★

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