Scene 1

[Enter Lord MacBeth; Lady MacBeth]
Lady. You can’t be serious?
Lord. Can’t I?
Lady. How did you even come up with such a harebrained scheme?
Lord. Harebrained? I thought it was clever.
Lady. You can’t be serious?
Lord. Well.
Lady. You want to sneak into the King’s bedroom and kill him while he is a guest in our house? And, oh, yes, the best part—you want to kill his two servants after drugging them and leaving the daggers on their laps and smearing blood all over them?
Lord. Well, so then everybody will think…
Lady. ‘So everybody will think they did it!’ Yes, I heard you the first time. I mean, honestly, can you not think more than half a step ahead? Why on earth would two servants of the King kill him in cold blood, and then go sit back down on their stools and just go to sleep? How did this not cross your mind?”
Lord. Well, maybe if they were drunk?
Lady. How drunk do you have to be to murder someone—the King, no less—, be covered in blood, and then just lay down with your murder weapon right in front of the crime scene? How Juiced do you have to be to think that is a good plan? I mean, really, have you, O great Thane of Glamis, ever been that drunk in your life?
Lord. I—um, no. I don’t think so. I’ve certainly never done that, if that’s what you mean.
Lady. Yeah, I know. You know how I know that you’ve never done that? Because you would be hanging from the Tower in four quarters if you had ever done that. And nobody—absolutely no-bod-y—would ever in their right mind—or even the wrong one!—do such an idiotic thing. And when ‘everybody’—as you call them—sees these two sleeping bloody beauties next to the dead king, they are going to know that if anybody killed Duncan, it certainly was not one of them! Heaven’s sake, you’d be better lying down and going to sleep next to them with a gory dagger in your two little hands than doing what you just suggested!
Lord. Well, what do—
Lady. ‘Well—well—well,’ listen to yourself! You sound like a man crawling through a desert imbibed on dehydration. Luckily for you, I am your oasis. It is a good thing you married me, or else you’d never be Thane of your mother’s garden, much less Cawdor. Here’s the smart play—
Lord. I didn’t finish.
Lady. Don’t interrupt me, my Lord! But, please, do finish and tell me how this is going to get better.
Lord. I already killed them.
Lady. You what?
Lord. I already killed the guards.
Lady. You’re kidding.
Lord. No. That wine you brought to them, I dropped some poison in it. Then I went in and stabbed them both. I didn’t put the blood on them though. It’s too gross.
Lady. Well, I guess we are going with your plan then! Give me that dagger, schmuck, we’ve got blood to smear!
Lord. I can’t go, it’s too much. You have to do it. I’m feeling sick from this whole business already.
Lady.[aside]. I had an offer from the Thane of Fife when I was a maiden, and I turned him down for you. That’s what I get.

Scene 2.

[Enter MacBeth, as King; Lady MacBeth, as Queen].
Lord. How now, Lady?
[End].
***
Follow u/quillandtrowel at Medium & Twitter (links in bio) for more.

I'm looking into surnames as first name in Scotland in the 1700s, especially their use for girls. Thought this list might be interesting. (Women listed first, total number found in the marriage records in the 1700-1800 time period by sex)
Stewart Harker married Angus McNabb in Stirling, 1763 13 men and 8 women named Stewart
Ross Peebles married David Guthrie in Glasgow, 1782 8 men and 2 women named Ross
Henderson Burns married Robert Matthewson in Fife, 1784 4 men and 3 women named Henderson
Bruce Mann married James Williamson in South Yell, Shetland in 1777 13 men and 18 women named Bruce
Douglas Crawford married Robert Manderston in South Leith, 1763 15 men and 11 women named Douglas or Douglass
Keith Garden married George Fordyce in Huntly, 1783 10 men and 4 women named Keith
Hamilton Christie married James Elliote in Edinburgh, 1788
Hamilton Smith married Primrose Bryce in Renfrewshire, 1775 (His 3rd marriage, Primrose had previously married Anna Fisher and Jean Bell) 31 men and 31 women Hamilton
Elliot Paul married Laurence Scotland in Edinburgh, 1761 2 men and 8 women Elliot
Eliot Ker married James Young in Edinburgh, 1755 1 man and 3 women Eliot
Leslie Baillie married Robert Cumming in Stevenston, in 1799 (Robert Burns wrote a poem about her, "O saw Ye Bonie Lesley") 8 men and 2 women named Leslie
Ker Anderson married James Steven in Dundee, in 1773 1 man and 3 women named Ker
Blair Scott married William Thynne in Balfron, 1796 2 men and 2 women named Blair
Fraser Park married Andrew Milne in Old Machar, 1785 9 men and 1 woman named Fraser
Allison Dowglas married Thomas Majorybanks in Bunkle, 1709 195 women (The Alison spelling was over 2,000 women and 1 man)
Scott Henderson married Alexander Sutherland in Edinburgh, 1779 10 men and 4 women named Scott (two more women named Scotta)
Clydesdale Millar married William Gray in Kirknewton, 1785 There was only one.
Monro Menzies married John Grant in Canongate, 1791 1 man and 1 woman named Monro
Menzies Ormiston married John Alexander in Cranston, 1787 4 women named Menzies
Glen McLauchlan married Duncan Carmichael in Edinburgh, 1789 2 women named Glen (two more named Glencairn)
Gordon Baikie married James Inksater in Orphir, Orkney, 1771 28 men and 17 women named Gordon

Lady Macbeth is a female character who changed during the play. How far do you agree?
In William Shakespeare's play The Tragedy of Macbeth, imagery and characterization of Lady Macbeth are used to reveal how people who are overly ambitious and lose their sense of morality can meet their demise - no matter their willpower. I very much agree with this statement as you see her transformation from a powerful woman to a weak and delusional individual. It is portrayed as a tragic yet unimportant downfall. It is an example of how ambition and immorality can lead to destruction.
At the end of the play, Shakespeare is presenting Lady Macbeth as a diminished and Hysterical woman with no control over herself or her thoughts. I know this as she says in Act 5, Scene 1, “Out damned spot! Out i say!” Her use of both imperatives and exclamatives such as “Out i say!” are implying to us as an audience that she’s trying to command something, almost a force with no ability to do so. The use of the word “damned” carries heavy religious connotations that her soul has been “Damned” to hell due to her act of treason against the king. This is a rather degrading manner that Lady Macbeth is being portrayed in almost as if Shakespeare wants the audience to dismiss her as this unimportant mad woman who bears no relevance any longer. However this contrasts to her character in Act 2, Scene 2, when she says “ A little water clears us of this deed” . This contrasts with her characterisation later on as here she is assuring Macbeth that nothing bad will come from their act of regicide. She appears very cool and composed with her simple sentences intending to calm down her husband. Shakespeare wants at this point in the play for the audience to begin falling back onto gender norms and dismissing her as a hysterical woman that shouldn’t be listened to once again highlighting just how drastic her change has been. He may have perhaps also done this to warn against plotting regicide, as this play was made to appease the new King in a turbulent time of treason and regicide.
At the end of the play, Shakespeare is presenting Lady Macbeth as a treacherous character that is facing her just punishment for conspiring with the witches. During her sleepwalking she says, “ Thane of Fife had a wife, where is she now?” She is speaking in rhyming couplets with the words ‘Fife’ and ‘wife ‘. The only characters we see that talk consistently in rhyming couplets are the witches which indicates that now Lady Macbeth is completely under the influence of the witches - having lost all sense of reality and identity. Another interesting thing to take note of is her drastic change from a strong iambic parameter in verse in Act 1, Scene 5 to short, hasty and choppy prose at the end of the play. This reflects how the guilt of her sin is removing her ability to communicate, think and compose herself. Removing her identity piece by piece. This contrasts to her characterisation much earlier on in the play as in Act 1, Scene 5 when she says, “Come you spirits that tend on mortal thoughts, Unsex me here” This contrasts to her actions later on in the play as here she is willingly calling on the spirits but due to this mistake of hers they have taken control over her life and she has lost everything but most importantly her morality which she once did hold close to her, due to the influence of the witches power. Shakespeare wants to reinforce ideas to not conspire with the supernatural as it can only bring ruin to anyone who attempts. He may have also wanted to do this to please the King James I who had a deep fascination on the subject of witches ans their power, even going as far to write “Daemonologie” to prove the existence and influence of witchcraft on their society.
At the end of the play, Shakespeare takes to presenting Lady Macbeth as a weak and diminished character who is ultimately rendered powerless. Despite her attempts earlier on in the play to become engrossed in the world of Masculinity, Lady Macbeth at the end of the play attempts to be viewed as feminine and therefore not a threat. We can infer this as she says to herself, “ All the perfumes of Arabia will not sweeten this little hand.” The use of words such as ‘perfume’, ‘sweeten’ and ‘little’ which all have extremely feminine connotations illuminates the fact that she’s feminizing herself to try and appear weaker and more docile. However we cannot be sure if this is to try appear like this to Macbeth; Who she now fears due to his complete loss of humanity, Or herself; Trying to prove that she’s not a threat and hasn’t done anything wrong which is a method her attempting albeit unsuccessfully to deflect the guilt off of herself and attempting to appear less monstrous it seems. This greatly contrasts to her behaviour earlier on as here you realise that she is beginning to echo the words of Macbeth after the murder of Duncan. The line she is directly referencing is as follows, “ Will all great Neptune's ocean wash this blood from my hands?” It's quite evident to the audience that earlier on in the play, Macbeth felt extreme guilt and remorse regarding the act of regicide, even going as far to call on the god ‘Neptune’ To save him from his own consequences of committing regicide whereas Lady Macbeth is much more calm and collected than her husband. We can infer that due to the fact she is directly echoing Macbeth's words that her mental state currently is in the same state as Macbeths after the murder of King Duncan. She is almost reminiscing on herself, wishing to be able to distance herself from the act of regicide. Shakespeare wanted to show the punishment for breaking the Great Chain of Being and destroying the natural order of the world for selfish desires and gain. He may have also wanted to teach a lesson about the dangers of committing regicide by highlighting the resulting insanity of what was once a Strong-Willed and Ambitious character.
Overall i do think Shakespeare has presented Lady Macbeth as a female character who changes throughout the play as he has beautifully woven a story of the tragic decline of a powerful woman, who drives and empowers her husband to achieve his desires to an insane and insignificant side character who fades off being irrelevant to never be thought of again.

Link for top image for mobile readers

Countdown Champion

Richard Brittain is a British man living in Bedford outside of London. He first came to public attention on the 11th September 2006 when the then nineteen-year-old first appeared on the classic British word-and-math-puzzle game show, Countdown. He wins his first match against his opponent, the reigning champion Sarah Duncan, 116 – 67. As is tradition on Countdown, when you defeat the champion you are awarded the coveted Countdown teapot and invited to come back the next day and defend your title against the next contestant. Brittain successfully defeats his next seven opponents over the course of the next seven episodes and is congratulated for becoming an “Octochampion” having remained champion for a total of eight games. Having won the maximum number of games allowable, he must now step down to let new contestants compete, but he is invited to come back later in the year to compete in the series finals. He does so and on 15th December 2006, Brittain returns to defeat fellow Octochampions: Andrew Blades, Stu Horsey and Tony Warren. He is congratulated all round from the host, the lexicographer and assistant host Carol Vorderman (remember her, she’ll be mentioned later). As series 55 champion, he is awarded his prize of a set of twenty-volume leatherbound Oxford English Dictionaries worth £4,000 and presented with the Richard Whiteley Memorial Trophy. And as all series champions are, he is invited to return in a few years time for the Championship of Champions!
A little over two years later, on the 14th January 2009, Brittain returns to compete in the Championship of Champions XIII against series 54 winner Jon Corby and his performance was… interesting. If you would like to watch this game or just want to see how Brittain looks and sounds, you can do so by watching that episode in four parts linked here: [1] [2] [3] [4]
Brittain ultimately lost but he was satisfied with his series championship as he smugly displayed in a video he uploaded some time later. The original video has been deleted and I can only find a snippet of it (which I’ve linked as a source at the bottom of this post, as the link will give away spoilers for this story, feel free to check it out at the end), so I’m having to piece reports of the video together from other sources. But he begins the video as saying:

“If you’re a British viewer, you probably immediately recognise me as the winner of series 55.”

Well, no. Countdown is a beloved game show that has been on the air in the UK since 1982. But the winners aren’t exactly movie stars or Olympic athletes. Even if you are big Countdown fan and follow it religiously, there have been 54 other series winners before him. He continues in the video:

“I know you want me to talk about rumours of dressing room encounters I may or may not have had with Carol Vorderman. But I’m not going to go into that because that isn’t my style.”

What rumours? No one was talking about this. That’s a rather scandalous accusation to make about one of the co-presenters of the show who has been working on it since its inception and quite frankly is a national treasure. In response, Vorderman’s agent expressed to The Scottish Sun newspaper:

“I’ve looked after Carol for 30 years and have never heard of this man… Any suggestion of anything happening is completely untrue.”

While he may think his fame is attributed to his wins or these “rumours” that he definitely made up, he actually is a little bit famous amongst the Countdown fanbase, but not for these reasons. While he had played all of his original games quite seriously and defeated all his opponents by decent margins in the scores, when he returned for the championship he played rather differently. Remember I said his performance was interesting? His opponent, Jon Corby, was performing fairly well, but Brittain was attempting to score points from obviously made-up words including: ODONTAL, BIOPOT, OMMIT and SALONEEN. This was clearly an attempt to form longer words and hope that they were obscure actual words hidden away in the dictionary, thus winning him extra points and making him appear more intelligent for knowing them. They were all checked by the lexicographer Susie Dent and found to not be real words, earning Brittain no points. But the one word that scored him a tiny amount of fame in this community was during the final round of the game: The Countdown Conundrum. This is a final round in which contestants have 30 seconds to solve a nine-letter anagram, buzzing in when they think they’ve solved it. The conundrum displayed: ANDIESEGG. Brittain, aware he had already lost as winning this final round wouldn’t be enough to win the game, buzzed in after two seconds and offered the solution; “GAN… GANDI… GANDISEEG?” Which unsurprisingly was incorrect (The solution was DISENGAGE if you’re playing along at home). Charlie Reams, a contestant who went on the final of the same championship (and owner of all the Countdown fan websites and databases), found this amusing and in his last attempt on the conundrum round, with no hope of winning, also offered GANDISEEG, despite the required letters not being present. This sparked a bit of humour and became a meme on the Countdown fan forum C4Countdown and game website Apterous where players play simulated games of Countdown against each other. Even today, 14 years on, when one player is losing by a significant margin, with no hope of winning, they will play GANDISEEG, used today as a way of admitting defeat and saying “Good Game” to your opponent.
And thus, Richard Brittain’s Countdown career was over, but even though his bizarre tactic of creating new words in the hope they’re secretly real are still fondly remembered, his brief appearance in the spotlight was over.
Or was it?
You may have noticed that in the subject brackets of this post that, there are two subjects: Countdown and Self-Publishing. While he is remembered amongst the niche countdown community for his contribution, he is actually more widely known for something else…
Here, the story begins to take a dark turn.
Trigger warning: Stalking, violence

The Benevolent Stalker

Again, to prevent spoilers in the story, I have linked the sources used in this next part at the bottom of the post to read at the end.
In September 2012, Brittain, now 25 years old, had been accepted as a mature student at Greenwich University in London to study history. He was described as a bit of a loner, but would frequent the Student Union bar, where he met barmaid Ella Durant, also a student who was studying drama and politics. She served him drinks and was friendly towards him as she would be to any customer and described him as “a bit odd, but harmless.” A few weeks later, Durant and Brittain were teamed up together in a pub quiz and was surprised at how he would hug her whenever their team did well. Eventually he became a Facebook friend as she was with many of her regular customers. Off the success of their pub quiz, he had suggested that she joined a team he was forming to represent Greenwich University on BBC’s University Challenge, another TV game show but for university students. She agreed and filled in the application forms, but as he needed a photo of her to submit on the application, he began going through all of her photos on Facebook and messaging her frequently about many of them about how beautiful she was. At this point, Durant became a bit concerned about Brittain’s infatuation. Brittain had worked out Durant’s working hours at the Student Union bar and began visiting during those times where he would sit at the bar and stare at her. It unsettled Durant so much that she talked to her colleagues who agreed to get her work in the kitchen so she would be away from Brittain’s watchful eye. At this point, Durant had unfriended Brittain on Facebook and told him directly he was being too forward. She agreed to stay on the University Challenge team but only as a friend. Brittain decided to take this opportunity to tell her how he really felt and expressed that he was in love with her. She backed out of the team entirely and asked him to leave her alone. Brittain, upset by this turn of events began drinking wine heavily, getting thrown out of nightclubs and banned from the Student Union, preventing him from continuing to follow Durant.
In April 2013, Durant went to the university authorities to complain about Brittain’s behaviour. They made Brittain sign a contract promising to stop harassing Durant, but within a month of signing, he had begun sending love letters to her home address, having learned her address from the University Challenge application forms she had filled out. Brittain continued to send more letters, poetry and drawings of them together to her with no sign of relenting, so Durant contacted the police. They phoned Brittain and told him to stop and contacted the university to make them aware of the situation. Brittain alleges that he had stopped for six months after the police warning, but later that year Durant was returning to the university for her graduation:

“I abstained for six months, but I learned that she was returning to Greenwich for her graduation, and I went to see her. As chance would have it, she was positioned at the far end of one row, in front of where I was standing. She saw me and tried to swap with the person next to her, but it was too late; as the photo was taken, I was standing near her.”

After graduating, Durant moved to Exeter and had hoped to be finally rid of Brittain’s attention. However, in 2014, having located Durant’s address by tracing her mother on the electoral register, he had once again started sending more poetry and drawings of them together, one of which featured them holding hands with two children. In February, Brittain had sent her a Valentines Day card which card featured an elaborate wild drawing featuring a character named Ella Tundra, which would be the inspiration and start of his self-published work…

The World Rose

During this time of obsession, Brittain in his blog had begun justifying his behaviour, comparing his love to that of Romeo & Juliet or Tristan & Isolde (note that he doesn’t identify that both fictional romances end in tragedy), remarking that society “drools” over mutual obsessive love, but considers one-sided obsessive love (stalking) a terrible thing. He also quotes lyrics from the Beatles “I’ll Get You” as well Sting’s “Every Breath You Take" justifying that neither artist are creepy stalkers and therefore it is okay to be a stalker as long as your intentions are good:

“These songs are about obsessional love, which is both natural and beautiful. Benevolent stalking is different to malevolent stalking. The latter is intended to cause harm or induce fear, but the former is purely an expression of affection.”

Over the next seven months, after his failed attempts to impress Durant by taking a team to win University Challenge or winning her affection through countless letters, cards, poems, drawings and phone calls, Brittain decides to write a novel, one that would express all his feelings. He titles it: The World Rose. A story revolving around central character, Ella Tundra (the surname is an anagram of Durant, you may have noticed. At least he’s kept his Countdown skills sharp). The blurb reads:

“An epic fairytale romance set in a semi-fictional ancient world, containing elements of action, adventure, poetry and comedy. The title has a triple meaning: the central character is a renowned beauty - 'the rose of the world' - while the rose flower features heavily in the plot, and it also implies that the world rose up. When Ronwind Drake discovers treasures in a distant paradise, a new golden age seems set to begin, but Ella Tundra will find that all which glitters is not gold as she faces many obstacles in her quest for true love.”

Thanks for explaining the title to us in the blurb, Richard.
Brittain completes his manuscript, and submits it to Wattpad, a platform for authors and readers to collaborate and give feedback on their stories, with the potential to get picked up by big publishers or even Hollywood entertainment companies. Unfortunately, all the references to Brittain’s work on the platform has been deleted and I have been unable to find any record of it on Wayback Machine. However, I do have one report from a podcast episode I was listening to from around this time which is how I first heard about this story. (I can’t find the episode in question to link here, so you’ll just have to take my word on this part). According to the host in this podcast, after Brittain uploaded the story he began receiving feedback on his masterpiece and rather than taking on the advice and trying to improve his work, took the time to explain to his critics why they were wrong and he was right. Others claim, he even went as far to threaten other users on the site and went on to tell successfully published authors how they know nothing about the industry and how certain rules of creative writing don’t need to be followed. He was certain his work was perfect and ready for publishing. He immediately goes to Amazon and sets up his novel for sale, for either £1.90 on Kindle, or printed in paperback for £5.00 plus shipping.
With his magnum opus now complete, he needed his muse to read it. He hadn’t been in contact with Durant for seven months at this point while he was working on his romance novel and was surprised to find that she no longer lived in Exeter. He sent her a message on Twitter asking her to take a look at his book. Durant panicked, but decided not to contact the police as she felt the Greenwich police didn’t do enough and the Exeter police didn’t take her seriously. Besides, last August she had moved to Glasgow in Scotland, hundreds of miles away, if she can just ignore his messages online then eventually he will give up, it’s not like he knows where she is now…
One autumn evening after finishing her shift, Durant leaves the store in which she works and is immediately frozen with fear, unable to speak. For there Brittain was, waiting for her on a bench outside of the store. He had travelled all this way because he had a plan:

“… I decided to try to make my book known by getting into the national news. I found out that she worked in Glasgow, so I travelled there with a plan. I was going to tell her that if she came with me, and we faked a kidnapping, we would both become famous. We would go into the hills and camp out for a few days while the nation searched. I had brought the necessary supplies.”

Upon seeing Brittain wave at her and start walking forward, she had to snap herself out of her fear. She shouted “How?... How are you here!?” She managed to take a photo of him on her phone and hurried away down the street. She called 999 and the police arrived to meet her at Glasgow central trains station, took her statement and drove her home. She stayed in her flat for a week out of fear of seeing Brittain again. She went back to work and once again he was there. This time she screamed and called the police, but they were unable to find him. Brittain had admitted defeat, he never got the chance to ask her what she thought of his plan to kidnap her. He left Glasgow dejected:

“I left Glasgow, and I think our relationship is finished now. I gave it my best shot. I really thought that we would both become famous. We would have disappeared for a few days, people would have read my book, and she could have played the lead role when The World Rose is made into a movie. But alas; I’ll have to find another way.”

Brittain returns home to Bedford and on the 23rd September he updates his blog, detailing the whole story between himself and the object of his desire from his perspective. A little while later he returns to Goodreads, a book review site, to see how reviews of his epic tale of romance are coming along….
I will admit, I haven’t read the book myself as I have absolutely no intention of paying for it and giving this man any money, even if it is only £2.40 today on Kindle. However, you can read the first chapter-and-a-half on Amazon if you’re really curious.
Reviews start coming in and they’re not very positive. They all point out the same critiques: There are multiple inconstancies, needless details, punctuation errors, two-dimensional characters. The main character too is supposedly very two-dimensional, apparently lacking much personality, but regarded as very beautiful with large breasts, frail and dainty but is also great at hiking. Brittain is not very pleased at this criticism of his seminal work, but one review in particular catches his attention, a particularly long and scathing review from Paige Rolland, an eighteen-year-old nursing student from Fife, Scotland. Rolland goes into meticulous detail about what she dislikes about the book, ranging from the cover art to the blurb, characters and writing style. She is also a member of Wattpad and remembers Brittain’s aggressive defence of his work which she believed showed a total lack of respect to his readers and she was not afraid to make that point known.
You may recall earlier in this story that the first time Durant told Brittain to stay away, he took to a bottle of wine and began reacting erratically? Now he has returned home having been refused by Durant for the final time, he’s in a bad place and now he’s watching negative reviews come in on his masterpiece that he spent seven months developing. Something inside him snaps. At first, he beings to send Rolland anonymous messages through Wattpad, telling her how she is a terrible person and never going to amount to anything. Rolland contacts the admins for the site, who swiftly put a stop to it. But that wasn’t enough for Brittain. He got to work tracking down Rolland’s social media accounts and learned she worked part time stacking shelves in an Asda supermarket in Glenrothes, Scotland. Brittain knew where to find her and set out on his 400 mile journey to meet her.
On the 3rd of October 2014, Brittain arrives at Glenrothes Asda and begins walking the aisles looking for his target until he spots Rolland working on the cereal aisle, stocking the shelves. He turns away, heads to the alcohol aisle, picks up a bottle of wine and returns to the cereal aisle from the opposite direction. He walks directly behind Rolland and strikes her with the wine bottle creating a profusely bleeding gash across her head, drops the bottle and walks out of the store all without saying a word.
Rolland is immediately rushed to hospital where she receives multiple stitches for the wound in her head. The police arrive on the scene immediately although Brittain has already left. They acquire CCTV footage of the event and identify Brittain, use cell mast triangulation to track Brittain’s travel activity in the days leading to the attack and recover travel documents in a raid on his house to confirm he was the perpetrator of the attack. Brittain is arrested and charged for assault but is released on bail, pending his court appearance.
Between the day of the attack and before his court case, he returns to his blog and makes two new posts: A statement of remorse for what he did and A re-evaluation of romance, both sharing his perspective that he knows what he did was wrong. He posts a few more times in this period, some were poems, some about how he was receiving therapy about his behaviour and one post critiquing Julien Blanc’s teachings about how to pick up women, which is pretty hypocritical when you think about it.
Brittain plead guilty to attacking Rolland and also confessed to stalking Durant for three years before that. He was jailed for 2.5 years and that appeared to be the end of that…
But it wasn’t.
He was released after 13 months and despite a court issued non-harassment order, immediately contacted Rolland by sending a poem to her home address. How did he find her home address so quickly after being released, you ask? Well, it turned out his blog was being updated the whole time he was in prison, meaning he had access to the internet and was able to stalk and obsess over Rolland online for the duration of his sentence. Reports say the poem he sent referred to her as his “Scottish thistle” and “my love Paige” and signed off saying “This page is torn because we are torn without each other.” He later sent her an alarming Facebook message:

“I dreamed of you last night. Are you going to send me back to prison? Maybe I need it – I’m bored out of my mind. How is the nursing degree going? I was quite surprised they revealed such information about you in court. I was tempted to get a bus ticket to Dundee and come visit you but I thought that might look weird. Any chance we could just become friends actually? We could keep our communications secret like we did in last night’s dream.”

Both Rolland and Durant, traumatised from their experiences with Brittain, feared he would evade authorities and be back to his old habits again. Fortunately, by someone advising him, or whether he came to his senses, he messaged Rolland one last time, apologising for his message and begged her not to tell anyone. The last information available about Brittain is that he is in in a psychiatric ward in England and (at least to public knowledge) he hasn’t continued to harass or stalk anyone else.
At last it seems he has accepted defeat and given up on his game. Isn’t there a word for that? GANDISEEG?

Sources

(WARNING: Some of the news articles in these links show the bloody wound inflicted on Rolland, just a heads up if youre a bit squeamish)
His smug video about being a Countdown champion
Ella Durrant’s story
Brittain’s blog: The Benevolent Stalker (If you follow the links through his blog here you can find some other interesting/disturbing musings.)
A World Rose – Goodreads page
Paige Rolland’s review of The World Rose (This was originally on Goodreads, but has since been deleted. This is her review reuploaded to the Amazon page in 2014.)
Brittain’s page on the Countdown Wiki
Brittain bragging about the positive reviews of A World Rose

Comp: Major League Rugby
Venue: The Gold Mine
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Maciu Koroi	21	Ryan Rees
Damian Stevens	22	Kurt Coleman
Ross Depperschmidt	23	Harley Davidson

Matchup: Rugby ATL (3-4, 16pts, 4th in East) vs NOLA Gold (3-4, 16pts, 3rd in East)
Venue: The Gold Mine, Metairie, LA Weather: 73 F, 23 C, Cloudy with a chance for rain
Broadcast: Fox Sports 2, The Rugby Network (International Only)
Kickoff: 8:00pm ET, 5:00pm PT

Rugby ATL	Number	NOLA
Will Burke	1	Jarred Adams
Alex Maughan	2	Pat O’Toole
John-Roy Jenkinson	3	Sean Paranihi
Justin Basson	4	Billy Stewart
Johan Momsen (c)	5	Liam Hallam-Eames
Vili Helu	6	Cam Dolan (c)
Matt Heaton	7	Malcolm May
Ross Deacon	8	Tom Florence
Rowan Gouws	9	Luke Campbell
Duncan van Schalkwyk	10	Rodney Iona
Nolan Tuamoheloa	11	Cael Hodgson
Martini Talapusi	12	Jordan Jackson-Hope
Will Leonard	13	JP du Plessis
Te Rangatira Waitokia	14	Jack Webster
Rewita Biddle	15	Dougie Fife
Reserves		Reserves
Phil Thiel	16	Eric Howard
Lincoln Si’i	17	Matt Harmon
Wikus Groenewald	18	Dino Waldren
Nahuel Milán	19	William Waguespack
Daemon Torres	20	Moni Tonga’uiha
Ryan Rees	21	Maciu Koroi
Kurt Coleman	22	Damian Stevens
Harley Davidson	23	Ross Depperschmidt

Referee: Luke Rogan (USA)
Assistants: Allen Alongi (USA) & Brian Dusablon (USA)
TMO: Mike Lash (New Zealand)

Comp: Major League Rugby
Venue: The Gold Mine
View TV providers, weather info and previous results

London	Paris	Jo'burg	New York	Sydney	Auckland
20:00	21:00	21:00	15:00	05:00	07:00

NOLA	Pos	Seawolves
Dougie Fife	15	Duncan Matthews
Jack Webster	14	Conner Mooneyham
JP du Plessis	13	Dan Kriel
Jordan Jackson-Hope	12	David Busby
Cael Hodgson	11	Lauina Futi
Rodney Iona	10	AJ Alatimu
Damian Stevens	9	Juan-Philip (JP) Smith
Matt Harmon	1	Mzamo Majola
Pat O Toole	2	Peter Malcolm
Sean Paranihi	3	Sam Matenga
Billy Stewart	4	Ben Landry
Liam Hallam-Eames	5	Rhyno Herbst
Cameron Dolan	6	Charles Elton
Malcolm May	7	Nakai Penny
Tom Florence	8	Riekert Hattingh
Eric Howard	16	James Malcolm
Jarred Adams	17	Jake Turnbull
Dino Waldren	18	Mason Pedersen
William Waguespack	19	Taylor Krumrei
Tesimoni Tongauiha	20	Ben Mitchell
Maciu Koroi	21	Karl Keane
Luke Campbell.	22	Jordan Chait
Aaron Matthews	23	Tavite Lopeti

Matchup: Seattle Seawolves (5-0, 21pts, 1st in West) vs NOLA Gold (3-3, 14pts, 2nd in East)
Venue: The Gold Mine, Metairie, LA Weather: 80 F, 27 C, Partly Cloudy
Broadcast: The Rugby Network, YurView Louisiana, Fox13+
Kickoff: 3pm ET, 12pm PT

Seattle	Number	NOLA Gold
Mzamo Majola	1	Matt Harmon
Peter Malcolm	2	Pat O’Toole
Sam Matenga	3	Sean Paranihi
Ben Landry	4	Billy Stewart
Rhyno Herbst	5	Liam Hallam-Eames
Charles Elton	6	Cam Dolan (c)
Nakai Penny	7	Malcolm May
Riekert Hattingh (c)	8	Tom Florence
JP Smith	9	Damian Stevens
AJ Alatimu	10	Rodney Iona
Lauina Futi	11	Cael Hodgson
David Busby	12	Jordan Jackson-Hope
Dan Kriel	13	JP Du Plessis
Conner Mooneyham	14	Jack Webster
Duncan Matthews	15	Dougie Fife
Reserves		Reserves
James Malcolm	16	Alex Lopeti
Jake Turnbull	17	Jarred Adams
Mason Pedersen	18	Dino Waldren
Taylor Krumrei	19	William Waguespack
Ben Mitchell	20	Moni Tonga’uiha
Karl Keane	21	Maciu Koroi
Jordan Chait	22	Luke Campbell
Tavite Lopeti	23	Aaron Matthews

Referee: Cam Stone (New Zealand)
Assistants: Allen Alongi (USA) & Rob Halcomb (USA)
TMO: Austin Reed (USA)

Act 1
----------
​
ACT 2, SCENE 1: Court of Macbeth's castle
[BANQUO & FLEANCE enter with a torch]
BANQUO
What time is it, boy?
FLEANCE
The moon has set, but I haven’t heard the clock yet.
BANQUO
And the moon sets at twelve.
FLEANCE
I think it’s later than that, sir.
BANQUO
Wait here, and take my sword. [gives FLEANCE his sword] The heavens are keeping the stars dark… Here, take this, too. [gives FLEANCE his belt & dagger] My eyes are like lead, but I don’t want to sleep. Angels of mercy, please, help me restrain the evil thoughts filling my mind during rest!
[MACBETH & a servant enter with a torch]
Give me my sword. Who's there? [takes back sword]
MACBETH
A friend.
BANQUO
Aren’t you asleep yet, sir? The king is in bed. He’s been unusually happy and showering your servants with gifts. This diamond is for your wife being such an attractive hostess and keeping him so comfortable.
MACBETH
Our hosting duties were lacking due to the short notice of his visit, but— if we’d had proper time to prepare - everything would have been even better.
BANQUO
Everything’s fine. Last night, I dreamed that three witches showed you a prophecy.
MACBETH
I don’t think about them, but - if you wish - we can discuss when we have the time.
BANQUO
Sure, whenever you’d like.
MACBETH
If you’ll agree to follow me when the time comes, it will result in great honor for you.
BANQUO
I’ll listen to you as long as I retain my honor and my conscience stays clear.
MACBETH
Excellent; in the meantime, have a good rest.
BANQUO
Thanks, sir; you do the same!
[BANQUO & FLEANCE exit]
MACBETH
[to the servant] Go tell my wife that she should strike the bell when my drink is ready; then, get yourself to bed.
[exit servant]
Is this a dagger that I see in front of me— with the handle facing my hand? Come, dagger, let me hold you. [he reaches for the dagger, but his hand passes through it] I can’t touch you, yet there you are. Deadly apparition, is it impossible to touch you even though I can see you? Or are you just a hallucination created by my feverish brain? I still see you as clearly as the dagger I am now drawing. [draws dagger] You’re leading me in the same direction I was already going; I had already planned to use a dagger. My eyes are either playing me for a fool, or they’re making a fool out of my other senses. I still see you, and now blood has appeared on your blade and handle. This dagger doesn’t exist; it’s these thoughts of murder that are affecting my eyes. Half the world is asleep— being abused by wicked dreams. The witches offer sacrifices to their goddess, Hecate, and— awakened by his wolf’s howls— Old Man Murder walks like a ghost on his way to do the deed. Oh, firm, solid Earth— don’t listen to my steps or their direction; I fear the stone’s echoes will reveal my location and break the perfect silence that’s so suited to the situation. While I’m here plotting, the king is still alive, and talking about it curbs my willingness to act.
[a bell rings]
Now, I go, and it’s as good as done; the bell is my signal. Duncan, don’t listen to the bell, because it is your summons to either heaven or hell.
[MACBETH exits]
​
----------
​
ACT 2, SCENE 2: The same
[LADY MACBETH enters]
LADY MACBETH
The same wine that made the servants drunk has made me bold; it knocked them out and gave me fire. Listen! Quiet! That was an owl’s shriek— an omen of death– like when the night watchman strikes the midnight bell on the day of an execution. Macbeth is killing Duncan right now; his doors are open, and the drunk servants' snores make a mockery of their job as protectors. I gave them enough drugs to make them seem dead.
MACBETH
[offstage] Who's there? What’s that?
LADY MACBETH
Oh no, I fear the servants woke up, and the work isn’t done yet. If we’re caught, we’ll be ruined. [she hears a noise] Listen! I put the servants’ daggers where Macbeth couldn’t miss them. Had Duncan not looked so much like my father while he slept, I would’ve killed him myself.
[MACBETH enters]
My husband!
MACBETH
I’ve done it. Did you hear a noise?
LADY MACBETH
I heard an owl and some crickets. Did you say something?
MACBETH
When?
LADY MACBETH
Just now.
MACBETH
As I was coming down?
LADY MACBETH
Yes.
MACBETH
Listen! Who’s sleeping in the second bedroom?
LADY MACBETH
Donalbain.
MACBETH
[looking at his blood-covered hands] This is a sorry sight.
LADY MACBETH
It’s foolish to call it a “sorry sight.”
MACBETH
One servant laughed in his sleep while the other one cried out, “murder”, and they woke each other up. I stood there, listening, as they said their prayers and fell back to sleep.
LADY MACBETH
Malcolm and Donalbain are sleeping in the same room.
MACBETH
One cried, “God bless us,” and the other said “amen”— as if they’d seen my bloody hands. I heard the fear in their voices but couldn’t say “amen” to “God bless us.”
LADY MACBETH
Don’t dwell on it so much.
MACBETH
But why couldn’t I say “amen?” I was in profound need of God’s blessing, yet the word stuck in my throat.
LADY MACBETH
We can’t think about it that way, or it will drive us crazy.
MACBETH
I thought I heard a voice cry, “sleep no more! Macbeth murders sleep.” Innocent sleep— the sleep that soothes all of our worries and brings an end to each day; the kind that eases our ache’s after a hard day’s labor and relieves our troubled minds. It's the greatest and most nourishing course in the feast that is life.
LADY MACBETH
What do you mean?
MACBETH
The voice continued to cry, “sleep no more” to the entire house. “Glamis has murdered sleep, and therefore Cawdor will sleep no more; Macbeth will sleep no more.”
LADY MACBETH
Who was it that cried those words? My noble Thane, you weaken yourself by obsessing over such things. Go get some water, and wash this filthy blood from your hands. Why did you bring these daggers with you? They must remain at the murder scene. Go, take them back, and smear the sleeping servants with blood.
MACBETH
I'm not going back; I’m afraid to even think about what I’ve done. I don’t dare to look at it again.
LADY MACBETH
You weaking! Give me the daggers; the sleeping and the dead are as harmless as pictures. It’s childish to fear a scary painting. If Duncan is still bleeding, I'll cover the servants’ faces in blood; it’s vital that they look guilty.
[LADY MACBETH exits]
[a knock sounds offstage]
MACBETH
Where is that knocking coming from? How is it that every noise terrifies me? [looking at his hands] Whose hands are these? Ha! They are plucking out my eyes. Would all of the water in Neptune’s ocean wash this blood from my hand? No, this hand would turn the green seas red.
[LADY MACBETH re-enters]
LADY MACBETH
Now my hands are bloody like yours, but I would be ashamed to behave as cowardly about it as you are.
[a knock sounds offstage]
I hear knocking at the south gate; we must return to our bedroom. A little water will wash the blood from our hands. It will be so easy then! You’ve lost your determination.
[a knock sounds offstage]
Listen! More knocking. Put on your nightgown so it won’t seem as if we’ve been awake and watching the whole time— and don’t look so sad.
MACBETH
The only way I can acknowledge what I’ve done is by forgetting who I am.
[a knock sounds offstage]
Wake Duncan with your knocking. I wish you could.
[they exit]
​
----------
​
ACT 2, SCENE 3: The same
[a knock sounds offstage; a PORTER enters]
PORTER
What a lot of knocking! If a man were the gatekeeper of hell, he would grow old turning the key.
[a knock sounds offstage]
[pretending to be hell’s gatekeeper] Knock, knock, knock! In the name of Beelzebub, who’s there? Perhaps a farmer that hanged himself for hoarding grain with the expectation of charging high prices during a famine that never came. [speaking to an imaginary farmer] You’ve come at a good time. Make sure you have enough napkins; you’ll be sweating plenty, down here.
[a knock sounds offstage]
Knock, knock! Who in the other devil's name is there? It’s probably some slick schemer who swore allegiance to two opposing sides— someone who committed treason in the name of God— yet he couldn’t make it to heaven. Oh, come in, schemer.
[a knock sounds offstage]
Knock, knock, knock! Who's there? Perhaps, it’s a tailor who skimped on the fabric for some of those French, baggy pants. Come in, tailor; you can roast your goose in here.
[a knock sounds offstage]
Knock, knock! It never stops! Who are you? This place is too cold for hell; I’m done being its gatekeeper. I wanted to let in someone from each profession that had given into temptation.
[a knock sounds offstage]
Coming! Coming! I beg you, don’t forget to leave me a tip. [opens gate]
[MACDUFF & LENNOX enter]
MACDUFF
My friend, was it so late when you went to bed that you had to sleep in?
PORTER
That’s true, sir; we were singing and dancing until 3:00AM, and alcohol is great at provoking three things.
MACDUFF
What three things would that be?
PORTER
Indeed, sir, it provokes a red nose, sleep, and urine; it provokes desire, but it also hinders it. Drinking may arouse desire, but it inhibits performance; therefore, it could be said that alcohol is a traitor to sex. It makes a man feel good, but it also stifles him; it gets a man up, but then it lets him down. It eggs him on and then leaves him dismayed; it gives him an erection only to take it away. Finally, it gives him erotic dreams, but they disappear and leave only the need to pee.
MACDUFF
I believe alcohol did that to you all night.
PORTER
Yes it did, sir. The alcohol called me a liar to my face, but I took my revenge. It may have weakened my legs and knocked me off balance, but I was too strong for it; I defeated it by vomiting.
MACDUFF
Is your master waking up?
[MACBETH enters]
Our knocking woke him; here he comes.
LENNOX
Good morning, noble sir.
MACBETH
Good morning to you both.
MACDUFF
Is the king awake, noble Thane?
MACBETH
Not yet.
MACDUFF
He ordered me to come see him early this morning, but I’m almost late.
MACBETH
I'll take you to him.
MACDUFF
I know that hosting the king is joyful work, but it’s still work nonetheless.
MACBETH
It lessens the pain of labor when we enjoy the work. This is the door.
MACDUFF
I'll be the one to wake him— it’s my job, afterall
[MACDUFF exits]
LENNOX
Is the king leaving today?
MACBETH
Yes, he requested that we have everything ready for his departure.
LENNOX
It was a wild night; the wind blew down the chimneys where we slept, and people said they heard strange death screams and grievous cries in the air; terrifying voices prophesied fire and chaos that would bring about a new but awful time. The owl— an omen of destruction— hooted all night, and some say that the earth shook from a fever.
MACBETH
It was a rough night.
LENNOX
My young memory has nothing to compare it with.
[MACDUFF re-enters in a rush]
MACDUFF
O horror, horror, horror! I do not have the words nor the heart to believe it!
MACBETH & LENNOX
What's wrong?
MACDUFF
Chaos reigns! A sinful murder has broken open God’s temple and stolen the life from it.
MACBETH
What are you saying? The life?
LENNOX
Do you mean the king?
MACDUFF
Go to the bedroom, and let the monstrous sight destroy your vision. Don’t ask me to say it; go see it for yourselves, and then you say it.
[MACBETH & LENNOX exit]
Wake up, wake up! Sound the alarm; there has been a murder and treason! Banquo, Donalbain, Malcolm! Wake up! Shake off that fake death of sleep, and look upon the real thing! Get up, and see the very image of Doomsday! Malcolm! Banquo! Rise— as if from your graves— and walk like ghosts to see the true face of horror! Ring the bell.
[a bell rings; LADY MACBETH enters]
LADY MACBETH
What's happening? Why is that hideous trumpet calling everyone together while people are trying to sleep? Come on, tell me!
MACDUFF
Oh, dear lady, this news is not for you to hear; it would kill a woman instantly.
[BANQUO enters]
Oh, Banquo, Banquo, our royal king has been murdered!
LADY MACBETH
Oh no! It happened in our house?
BANQUO
It is too cruel no matter where it happened. Dear Macduff, I beg you— take it back; say it’s not true.
[MACBETH & LENNOX re-enter with ROSS]
MACBETH
If I had died an hour before this happened, I would have lived a blessed life, but - from this moment - there's no reason to continue living; everything is meaningless. All grace and distinction are dead. The wine of life has been poured out, and only the dregs remain.
[MALCOLM & DONALBAIN enter]
DONALBAIN
What’s wrong?
MACBETH
You are, but you don’t even know it yet; the very origin of your bloodline has been stopped.
MACDUFF
Your royal father has been murdered.
MALCOLM
Oh, by who?
LENNOX
It seems as if the servants tasked with watching over his sleep are the ones responsible. Their hands and faces were covered in blood— along with their daggers, which were found unwiped and lying on their pillows. They only stared at us in confusion; they shouldn’t have been trusted with any man's life.
MACBETH
Even so, I regret killing them in my fury.
MACDUFF
Why did you do that?
MACBETH
Who can be wise, shocked, calm, furious, loyal, and neutral all at once? No man can. I was so enraged that I lost all reason. There Duncan was— his white skin stained with his red blood— covered in gaping wounds and left to rot. Then, there were the murderers— soaked with his blood— their daggers covered in gore. Would anyone who loved Duncan— and had the courage to do it— have done otherwise?
LADY MACBETH
Hurry, take me away from here! [she faints]
MACDUFF
Help the lady.
MALCOLM
[whispers to DONALBAIN] Why aren’t we saying anything? We have the most reason to be outraged.
DONALBAIN
[whispers to MALCOLM] What should we say? We might also be in danger; it could strike from any hidden corner. Let’s run away; we can’t start crying yet.
MALCOLM
[whisper to DONALBAIN] Nor can we let sorrow dictate our actions.
BANQUO
Look after the lady.
[LADY MACBETH is carried out]
We’ll get dressed and have a meeting to discuss how this mess happened. Right now, we’re shaken by fear and doubt. I’m in God’s great hands, and, from there, I will fight against this malicious treason.
MACDUFF
I will too.
ALL
We all will.
MACBETH
Let's take a moment to regain our strength, and then we’ll meet in the hall.
ALL
Agreed.
[all except MALCOLM & DONALBAIN exit]
MALCOLM
We shouldn’t go to their meeting; liars feign grief too easily. I'm going to England.
DONALBAIN
I’ll go to Ireland; it’s safer to split up. Here, every smile could have a dagger hiding behind it, and the closer they are to the throne, the more dangerous they’re liable to be.
MALCOLM
This is just getting started; we’ll be safest by avoiding it entirely. Let’s get to our horses without wasting time on farewells. We’re justified in sneaking away; there’s no mercy left for us here.
[they exit]
​
----------
​
ACT 2, SCENE 4: Outside Macbeth's castle
[ROSS & an OLD MAN enter]
OLD MAN
I remember the last 70 years well. In that time, I’ve seen many strange and dreadful things, but they pale in comparison to what I saw last night.
ROSS
Yes, old man, the skies are troubled by the acts of men, and they threaten the bloody earth with storms. The clock says it’s daytime, yet darkness is still stifling the sun. Is the night overpowering the day because it’s so powerful, or is the sun too ashamed to show itself?
OLD MAN
It’s unnatural— just like the murder that was committed. Last Tuesday, a falcon was soaring in its rightful place when it was suddenly killed by an owl— which normally prey on mice.
ROSS
Strangest of all are Duncan’s fast, beautiful horses— they’re the best of their breed, yet they went wild and broke out of their stalls. They couldn’t be calmed and acted as if they were at war with mankind.
OLD MAN
It is said that the horses ate each other.
ROSS
To my amazement, they did; I saw the whole thing. Here comes the good Macduff.
[MACDUFF enters]
How are things going, sir?
MACDUFF
Can’t you see how they’re going?
ROSS
Do we know who committed this bloody murder?
MACDUFF
It was the servants that Macbeth killed.
ROSS
Oh, what a horrible day! What could they have hoped to gain?
MACDUFF
They were bribed; Malcolm and Donalbain— the king's two sons— have fled, which puts them under suspicion.
ROSS
That’s even more unnatural! It’s a wasteful ambition that causes sons to kill their own father! Then, it’s most likely that the crown will fall to Macbeth.
MACDUFF
He has already been named king and is on the way to Scone Palace for the coronation.
ROSS
Where is Duncan's body?
MACDUFF
It was taken to Colmekill - the sacred burial place for all Scottish kings - where it is said a guardian watches over their bones.
ROSS
Will you go to Scone?
MACDUFF
No, cousin, I'll go to Fife.
ROSS
Well, I’m going to Scone.
MACDUFF
May the coronation go well. Goodbye! Let’s hope that our new king will be as good as the last.
ROSS
Goodbye, old man.
OLD MAN
May God bless you and those who would make good things out of the bad and friends out of enemies!
[they all exit]
​
----------
Act 3

William Shakespeare; originally written as a tribute to King James I in 1606. Legend says a coven of witches cursed the play because they objected to Shakespeare’s use of real incantations. The first performance was supposedly riddled with disaster.
Translated into modern English, otherwise left exactly the same.
----------
ACT 1, SCENE 1: A desert
[thunder booms & lightning flashes; three WITCHES enter]
FIRST WITCH
When will the three of us meet again? In a thunderstorm, in a lightning storm, or when it rains?
SECOND WITCH
When the chaos is over; when one side loses the battle, and the other has won.
THIRD WITCH
It will happen before the sun sets.
FIRST WITCH
Where’s the place?
SECOND WITCH
It’s in the field.
THIRD WITCH
We will meet Macbeth there.
FIRST WITCH
[calling to her familiar] I’m coming, Graymalkin!
SECOND WITCH
Paddock is calling me.
THIRD WITCH
[calling to her familiar] I’ll be there soon.
ALL
Fair is foul, and foul is fair; hover through the fog and filthy air.
[they all exit]
​
----------
​
ACT 1, SCENE 2: A camp near Forres
[trumpets blare; a battle rages offstage; DUNCAN, MALCOLM, DONALBAIN, & LENNOX enter with numerous attendants to meet a wounded SERGEANT*]*
DUNCAN
Who is that bloody man? By the looks of him, he should have news of the rebellion.
MALCOLM
This is the Sergeant; he’s a strong, courageous soldier that saved me from capture.
[to SERGEANT] Greetings, brave friend! Tell the king what was happening when you left the battle.
SERGEANT
The outcome was uncertain. The armies were like two tired swimmers dragging each other down. Macdonwald is a villainous man— a natural rebel; his merciless armies were reinforced by foot-soldiers and warriors with Irish axes. Luck smiled on his damned rebellion like it was his whore… But that wasn’t enough. The brave Macbeth defied the odds with his sword as it carved a bloody path through Macdonwald’s army— straight to the man himself. Not stopping to shake hands or say goodbye, Macbeth cut Macdonwald from belly to jaw and placed his head on our castle walls!
DUNCAN
Oh, heroic cousin! You are a worthy gentleman!
SERGEANT
Just as the sun rose, a dreadful storm began and thunder boomed overhead. It seemed like the battle was won, but we soon faced new troubles. Listen, King of Scotland; please, listen! The moment we defeated the Irish soldiers, the Norwegian king took advantage of us and began a new assault with fresh soldiers and new weapons.
DUNCAN
Didn’t this distress our captains, Macbeth and Banquo?
SERGEANT
Yes… As much as a sparrow bothers an eagle or a hare worries a lion. Truly, they were like cannons loaded with double the powder charges; they fought with twice their earlier ferocity. Maybe they wanted to bathe in their enemy’s blood or make the battlefield as infamous as Golgotha… I can’t tell, but I feel faint; my wounds are begging for a doctor.
DUNCAN
Your words— as well as your wounds— speak to your honor. Take him to a doctor.
[attendants help the SERGEANT exit]
[ROSS enters]
DUNCAN
Who’s just arrived?
MALCOLM
That’s the worthy Thane of Ross.
LENNOX
He has a wild look in his eyes! He seems like he has an incredible story to tell.
ROSS
God save the king!
DUNCAN
Where have you come from, worthy Thane?
ROSS
Great king, I've come from Fife, where the Norwegians are in power; they mocks our land and terrify our people. The king of Norway started a battle with his huge army, and the traitorous Thane of Cawdor’s support. It looked as if we would lose until Macbeth entered the fight wearing armor that made him look like a god of war. He defeated Cawdor in a sword fight, and victory was ours.
DUNCAN
That’s great news!
ROSS
Now Sweno - Norways' king - is begging for a peace treaty, and we are refusing to let him bury his dead until he retreats to Saint Colme’s Inch and pays us $10,000
DUNCAN
The Thane of Cawdor will never fool me again. Go announce his execution, and tell Macbeth that he will receive the man’s title.
ROSS
I'll see to it.
DUNCAN
Noble Macbeth has won what the Thane of Cawdor has lost.
[they all exit]
​
----------
​
ACT 1, SCENE 3: A heath near Forres
[thunder booms; the three WITCHES enter]
FIRST WITCH
Where have you been, sister?
SECOND WITCH
Killing pigs.
THIRD WITCH
Sister, where were you?
FIRST WITCH
A sailor's wife had chestnuts in her lap, and she was munching, munching, muching. I said, “give me one,” and the fat-assed, scabby woman cried, “get out of here, witch!” Her husband is the captain of a ship called The Tiger, and he has gone to Aleppo; I’m going to sail there in a strainer, and— like a tailless rat— I’ll do this to him, and this, and that.
SECOND WITCH
I'll conjure some wind so you can sail there.
FIRST WITCH
You are very kind.
THIRD WITCH
And I’ll conjure some more wind.
FIRST WITCH
I already control the other winds— where they begin and which way they blow. I’ll drain that captain as dry as hay, and he will not be allowed to sleep during the night or day. He will live a cursed life. For 81 weary weeks, he will grow continuously sicker and waste away from grief. I may not be able to destroy his ship, but I can still hit it with storms; look what I have.
SECOND WITCH
Show me, show me!
FIRST WITCH
I have the thumb of a captain who was shipwrecked on his way home.
[a drum is heard offstage]
THIRD WITCH
A drum! A drum! Macbeth is coming.
ALL
[dancing together in a circle] Hand-in-hand— dancing round and round— the weird sisters swiftly travel over the sea and land. Go your way three times, then go mine three times— and going three more times, adds up to nine… Quiet! The spell is ready!
[MACBETH & BANQUO enter]
MACBETH
I have never experienced such terrible weather on such a wonderful day.
BANQUO
How far is it to King Duncan’s palace in Forres? [sees the WITCHES] What are these creatures? They’re so withered and their clothes are wild. They don’t look like they’re from this planet, yet here they are.
[to the WITCHES] Are you alive? Are you capable of answering questions? You seem to understand me since each of you has placed a gnarled finger to your thin lips. You look like women, but your beards make me think otherwise.
MACBETH
Speak, if you’re able. What are you?
FIRST WITCH
All hail, Macbeth! Hail to you, Thane of Glamis!
SECOND WITCH
All hail, Macbeth! Hail to you, Thane of Cawdor!
THIRD WITCH
All hail, Macbeth! The future king!
BANQUO
[to MACBETH] Good sir, why do you flinch and seem afraid of such fortunate predictions?
[to the WITCHES] Be honest. Are you an illusion? Or are you genuinely what you appear to be? You greeted my noble friend with his current title, and then you predicted additional titles— including a kingship; these things have left Macbeth in shock… Yet you haven’t said anything to me… If you can look into the future, tell me which endeavors will pay off and which will fail. I do not beg for— nor fear— your favors or your hate.
FIRST WITCH
Hail!
SECOND WITCH
Hail!
THIRD WITCH
Hail!
FIRST WITCH
You are lesser than Macbeth, but you are also greater.
SECOND WITCH
You are not as happy as Macbeth, yet you are also much happier.
THIRD WITCH
Though you’ll never be a king, your descendants will— so all hail Macbeth and Banquo!
FIRST WITCH
Banquo and Macbeth, all hail!
MACBETH
Wait! You haven’t told me everything; tell me more. I know that I inherited the Thane of Glamis title when my father— Sinel— died, but how can I be the Thane of Cawdor? The Thane of Cawdor is alive and well— and I find it even more difficult to believe that I might become the king. Where did you get this strange information, and why did you deliver it here, on this deserted field? I command you to tell me!
[the WITCHES vanish]
BANQUO
The earth is bubbling like water. These creatures must come from such a bubble. Where did they go?
MACBETH
Into the air; they appeared to be solid, but then they vanished like breath on the wind. I wish they would have stayed!
BANQUO
Were those creatures even really here? Or have we eaten something foul that’s caused us to hallucinate?
MACBETH
Your children will be kings.
BANQUO
You will be king.
MACBETH
And the Thane of Cawdor too… Isn’t that what they said?
BANQUO
Yes; those were their exact words… Who’s here?
[ROSS & ANGUS enter]
ROSS
Macbeth, the king was happy to hear of your success. When he read of your personal heroism against the rebels, he couldn’t decide whether to praise you or remain silently amazed. He was speechless upon learning that you fought Norway’s army on the same day— and that you showed no fear as you killed those around you. A stream of messengers brought this news to the king, and they praised your defense of his country.
ANGUS
We have been sent to relay the king’s thanks and to escort you to him, though we do not have your reward…
ROSS
But— to give you a hint of the honor to come— he said to call you the Thane of Cawdor. Hail, most worthy Thane, for that title is now yours.
BANQUO
What? Can the devil tell the truth?
MACBETH
The Thane of Cawdor is still alive; how can you call me by his title?
ANGUS
The former Thane is still alive, but he has been sentenced to death— and rightly so. I don’t know whether he fought with the Norwegians, secretly helped the rebels, or conspired to destroy our country with both— but he confessed to capital treason, so he lost his title.
MACBETH
[to himself] Glamis and Cawdor! With the greatest part of the prophecy still to come...
[to ROSS & ANGUS] Thanks for your efforts in delivering this news.
[whispers to BANQUO] Are you beginning to believe your children might be kings now that I’ll be made Thane of Cawdor as promised?
BANQUO
By trusting them you might also eventually become the king, but all of this is strange. The agents of darkness will often tell us a bit of truth in order to lead us to harm. They win us over by being honest about trivial things, but then they betray us when it comes to the most important things.
[to ROSS & ANGUS] Cousins, come speak with me for a moment, please.
[ROSS, ANGUS, & BANQUO step off to the side]
MACBETH
[to himself] Two of the prophecies have already come true… It makes it seem possible that I might really end up on the throne...
[to ROSS & ANGUS] Thank you, gentlemen.
[to himself] This supernatural temptation cannot be a bad thing, but it cannot be a good thing, either. If it is a bad thing, then why did it promise a truthful success? I am the Thane of Cawdor… But if it is a good thing, then why am I thinking about something so horrible that it makes my hair stand on end and causes my heart to pound. The things I should actually fear are less frightening than the horrible things in my imagination. My thoughts of murder are only a fantasy, but they shake me to my core. My racing thoughts prevent me from taking action, and all I can think of are things that don’t exist.
BANQUO
Look, our friend is lost in thought.
MACBETH
[to himself] If it is my fate to be king, perhaps fate will give me the crown without my having to do anything at all.
BANQUO
Like new clothes, Macbeth’s new titles won’t seem to fit right until he’s worn them for a while.
MACBETH
[to himself] No matter what happens, time will continue moving forward— even through the roughest day.
BANQUO
Noble Macbeth, we’ll leave whenever you’re ready.
MACBETH
Excuse me, my mind was preoccupied with forgotten thoughts. Kind gentlemen, I will always remember your efforts here today; let’s go see the king.
[whispers to BANQUO] Think about what’s happened here, and we’ll discuss it amongst ourselves once we’ve had time to consider exactly what it all means.
BANQUO
Gladly.
MACBETH
Until then, we’ll keep this to ourselves.
[to ROSS & ANGUS] Let’s go, friends.
[they all exit]
​
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​
ACT 1, SCENE 4: Forres, the palace
[trumpets play; DUNCAN, MALCOLM, DONALBAIN, LENNOX, & attendants enter]
DUNCAN
Has the Thane of Cawdor been executed yet? Have the executioners returned?
MALCOLM
My lord, they have not returned yet, but I spoke to someone who witnessed the execution; the Thane of Cawdor confessed to treason, begged for forgiveness, and expressed deep remorse. Dying was the noblest act of his life— he died like someone prepared to throw away their most valuable possession like a worthless trinket.
DUNCAN
It’s impossible to know what a man is thinking by the look on his face. Cawdor was a gentleman, and I trusted him completely.
[MACBETH, BANQUO, ROSS, & ANGUS enter]
[to MACBETH] My noble cousin! I feel guilty for not showing you enough gratitude. You accomplish so much that— no matter how fast I reward you— it’s never enough. If you deserved less, maybe I’d come out ahead for once! I owe you more than I can repay.
MACBETH
The loyalty I feel toward you and the chance to serve you is a reward unto itself. It’s your duty to accept our loyalty and service, while our duty to you and the country is like what a child owes their father— or what a servant owes their master. We’re only doing our jobs by keeping you safe.
DUNCAN
Be welcome here! Your rewards are like newly planted seeds, and now, I will endeavor to help you grow them into a great future.
[to BANQUO] Noble Banquo, you are as worthy as Macbeth; that’s something everyone should know. Let me embrace you and hold you close to my heart.
BANQUO
Then, if I grow to greatness, it will benefit you as well.
DUNCAN
I’m so full of joy that it brings tears to my eyes. Sons, relatives, and friends— I hereby proclaim that my oldest son, Malcolm, is my heir; he is now the Prince of Cumberland, and he isn’t alone in gaining a new title. Noble titles will shine on all who deserve them.
[to MACBETH] Let’s go to Inverness; your hospitality will indebt me even further to you.
MACBETH
Efforts in your service never feel like work. Now, I’ll humbly take my leave so that I may be the messenger who delights my wife with the news.
DUNCAN
My noble Cawdor!
MACBETH
[to himself] Malcolm is the Prince of Cumberland; Since he’s standing between myself and the throne, I must either move above him or give up any hope of the crown… Stars, hide your light so that my dark desires are hidden. Blind my eyes to my hand’s actions! Though— if I perform this deed— I’ll still be forced to see it once it’s done.
[MACBETH exits]
DUNCAN
It’s true; Macbeth is incredibly heroic, and I also benefit by rewarding him. Now that he’s gone ahead to make preparations, let’s follow him; no man is his equal.
[trumpets play; they all exit]
​
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​
ACT 1, SCENE 5: Inverness; Macbeth's castle
[LADY MACBETH enters, reading a letter]
LADY MACBETH
[reading] “I met the witches on the day of my big victory, and I’m certain they possess supernatural knowledge. I was desperate to question them further, but they vanished into thin air. While I stood stunned by this, the king’s messengers arrived and greeted me as the Thane of Cawdor— that’s what the weird sisters called me before referring to me as the future king. My dearest partner, I wanted to deliver this news so you could also celebrate the good fortune we’ve been promised. Keep this close to your heart; goodbye.”
[puts the letter down] You are the Thane of Glamis and Cawdor, and you will be the king— just as you were promised… Yet I fear your nature; you’re far too kind to take treacherous shortcuts along the way. You wish to be powerful, and you have ambition, but you lack the nastiness needed to go with it. You’re hoping to gain honor with virtuous acts— you don’t want to lie or cheat. You want to win, yet you’re too afraid to do it... Come home, so I can whisper in your ear and scold you. Then you will no longer be affected by the things preventing you from taking the crown— the crown that both fate and magic want you to have.
[a MESSENGER enters]
What’s your news?
MESSENGER
The king is coming here tonight.
LADY MACBETH
That’s a crazy thing to say. Isn’t Macbeth with the king? If your message were true, he would have sent word sooner so I could prepare.
MESSENGER
I beg your pardon, but it is true; our lord is coming. Another servant raced ahead of him, and he was so out of breath that he was barely able to deliver the message.
LADY MACBETH
Take care of the messenger; he brings great news.
[the MESSENGER exits]
The messenger croaks his announcement of Duncan’s fatal visit to my castle like a raven would croak out a warning. Come on, spirits who encourage murderous thoughts; strip away my womanhood, and fill me with cruelty from head to toe! Thicken my blood, and block my veins from feeling regret so that no guilt can sway me from fulfilling my dark desires. Demons of murder, come to me from wherever you hide; help to inspire me with evil feelings, and turn my mother’s milk to acid. Come, thick night, wrap me in the darkest smoke of hell so that my knife cannot see the wound it makes, and heaven cannot cry out to stop me.
[MACBETH enters]
Great Thane of Glamis, noble Thane of Cawdor… You’ll be greater than both of those when you’re the king. Your letter has made me think of the future as if it were already here; it has taken me beyond the worry of not knowing what will happen between now and then.
MACBETH
My dearest love… Duncan will be here tonight.
LADY MACBETH
And when will he leave?
MACBETH
He plans to leave tomorrow.
LADY MACBETH
He will never see tomorrow’s sunrise! My lord, your face betrays your troubled mind and allows other men to read it like a book. To deceive the others, you must look like the others. When you greet the king, welcome him with your whole being— with your eyes and hands as well as your words. You need to look like an innocent flower while being the snake that hides beneath it. The king must be provided for… Let me handle everything tonight; what we do tonight will bring us sole power and mastery of all our days and nights to come.
MACBETH
We will speak more about this later.
LADY MACBETH
Just keep your head up and stay calm; if your expression changes, it’ll arouse suspicions. Leave the rest to me.
[they exit]
​
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​
ACT 1, SCENE 6: Outside Macbeth's castle
[torches light the stage; oboes playing; DUNCAN, MALCOLM, DONALBAIN, BANQUO, LENNOX, MACDUFF, ROSS, ANGUS, & attendants enter]
DUNCAN
This castle is in a pleasant location. The fresh, sweet air is pleasing to the senses.
BANQUO
The martin is a summer bird that builds its nest in church steeples; the fact they build their homes here is proof of how sweet the breeze is. They prefer to live where the air is finest, and there are nests on every overhang, carving, and corner of the castle.
[LADY MACBETH enters]
DUNCAN
Look! It’s our honored hostess! Sometimes, it troubles me how far my subjects will go to please me, but I’m still thankful… In saying that, I’m suggesting you should thank me for the trouble my presence is causing— since my presence is proof of my love for you.
LADY MACBETH
Even if our efforts were doubled twice, they would be poor and small compared to the profound honor you’ve brought to our home. For all of the honors you’ve given us before— and for all that you’ve added now— we will always support you.
DUNCAN
Where's Macbeth? We were on his heels and hoping to catch up with him, but he’s such a skilled rider. Plus, his great love for you is as sharp as his spur, and it motivated him to get home even faster. Beautiful, noble hostess, we are your guests tonight.
LADY MACBETH
We - along with our servants - will always serve you, and everything we own belongs to you. It’s all for you to use at your leisure; we’re only returning what is already yours.
DUNCAN
Give me your hand and lead me to Macbeth. I love him dearly, and I will continue to show him my favor. We may go when you’re ready.
[they all exit]
​
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​
ACT 1, SCENE 7: Macbeth's castle
[oboes play; torches light the stage; a butler & many servants enter with dishes & utensils, & MACBETH enters after]
MACBETH
If this will all end once the deed is done, then it’s best to do it quickly. If the king’s assassination could nullify the consequences of committing murder, then the act itself would be the end of the whole affair. At this point, I’m willing to risk my place in heaven, but such crimes also carry consequences in our world. Violent acts only teach others to commit violence, and the violence done by our students will always return to haunt us. Justice is even-handed; it takes the cups we poison and returns them to our own lips. The king trusts me completely; I’m his cousin, his subject, and his host. I should be protecting him from murderers— not trying to kill him; Duncan has been a good leader— honest, humble, and free of corruption. The angels will cry out against his murder; sadness will ride the winds over the land as the tragic news of his death spreads, and a flood of tears will rain down. Ambition is the only reason to act, and ambition rushes people into action— and therefore, tragedy.
[LADY MACBETH enters]
What news is there?
LADY MACBETH
He has almost finished eating; why did you leave the dining-room?
MACBETH
Did he ask for me?
LADY MACBETH
Of course he has; didn’t you know that he would?
MACBETH
We’ll go no further with this plan; he recently honored me, and many people have formed good opinions of me. I should be enjoying my new position— not discarding it.
LADY MACBETH
Were you drunk when you were so hopeful earlier? Have you slept since then? Did you wake up pale and feeling sick about what we freely planned? From this point forward, I will see your love in a different way. Are you afraid to act on your desires? Would you rather take what you want most? Or live like a coward— always saying, “I can’t” after, “I want to”? You’re like the cat who wanted a fish but refused to get his feet wet.
MACBETH
Stop, I’m begging you; I will only do what is appropriate for a man to do. He who dares to do more is no real man at all.
LADY MACBETH
Then what beast was it that first told me about all of this? When you dared to do it, that’s when you were a man, and— if you actually do it— you will be even more of one. The time and place weren’t right before, yet you would’ve done it anyway… But now, the time and place are perfect, and it’s turning you into a coward. I know the feeling of a mother’s tender love for her nursing babe, yet I would have plucked my nipple from its smiling, toothless gums and bashed its brains in if I had sworn to you that I would.
MACBETH
But what if we fail?
LADY MACBETH
What do you mean, fail? If your courage doesn’t falter, we won’t fail. When Duncan is asleep— which will be soon after today’s hard journey— I’ll give his two serving-men so much alcohol that their memories will disappear in its fumes. They’ll sleep like the dead, and there will be no one to stop us from doing whatever we want to the unguarded Duncan… Or from blaming his murder on the drunken servants.
MACBETH
May you only give birth to boys, for your fearless spirit could create nothing else. Are you sure people believe the servants murdered the king if we mark them with blood and use their daggers to do the deed?
LADY MACBETH
Who would possibly think otherwise? We’ll wail with grief at the news of his death.
MACBETH
I’m convinced; I’ll rely on all of my strength to accomplish this terrible act. Go now, and pretend to be extremely friendly with everyone; you must conceal your false heart behind a false face.
[they both exit]
​
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​
Act 2

Act 1/Scene 1
Thunder and Lightning. Enter three Witches.
FIRST WITCH When shall we three meet again? In thunder, lightning, or in rain?
SECOND WITCH When the hurly-burly’s done, When the battle’s lost and won.
THIRD WITCH That will be ere the set of sun.
FIRST WITCH Where the place?
SECOND WITCH Upon the heath.
THIRD WITCH There to meet with Macbeth.
FIRST WITCH I come, Graymalkin.
⌜SECOND WITCH⌝ Paddock calls.
⌜THIRD WITCH⌝ Anon.
ALL Fair is foul, and foul is fair; Hover through the fog and filthy air.
They exit.
Act 1/Scene 2
Alarum within. Enter King ⌜Duncan,⌝ Malcolm, Donalbain, Lennox, with Attendants, meeting a bleeding Captain.
DUNCAN What bloody man is that? He can report, As seemeth by his plight, of the revolt The newest state.
MALCOLM This is the sergeant Who, like a good and hardy soldier, fought ’Gainst my captivity.—Hail, brave friend! Say to the King the knowledge of the broil As thou didst leave it.
CAPTAIN Doubtful it stood, As two spent swimmers that do cling together And choke their art. The merciless Macdonwald (Worthy to be a rebel, for to that The multiplying villainies of nature Do swarm upon him) from the Western Isles Of kerns and ⌜gallowglasses⌝ is supplied; And Fortune, on his damnèd ⌜quarrel⌝ smiling, Showed like a rebel’s whore. But all’s too weak; For brave Macbeth (well he deserves that name), Disdaining Fortune, with his brandished steel, Which smoked with bloody execution, Like Valor’s minion, carved out his passage Till he faced the slave; Which ne’er shook hands, nor bade farewell to him, Till he unseamed him from the nave to th’ chops, And fixed his head upon our battlements.
DUNCAN O valiant cousin, worthy gentleman!
CAPTAIN As whence the sun ’gins his reflection Shipwracking storms and direful thunders ⌜break,⌝ So from that spring whence comfort seemed to come Discomfort swells. Mark, King of Scotland, mark: No sooner justice had, with valor armed, Compelled these skipping kerns to trust their heels, But the Norweyan lord, surveying vantage, With furbished arms and new supplies of men, Began a fresh assault.
DUNCAN Dismayed not this our captains, Macbeth and Banquo?
CAPTAIN Yes, as sparrows eagles, or the hare the lion. If I say sooth, I must report they were As cannons overcharged with double cracks, So they doubly redoubled strokes upon the foe. Except they meant to bathe in reeking wounds Or memorize another Golgotha, I cannot tell— But I am faint. My gashes cry for help.
DUNCAN So well thy words become thee as thy wounds: They smack of honor both.—Go, get him surgeons.
⌜The Captain is led off by Attendants.⌝
Enter Ross and Angus.
Who comes here?
MALCOLM The worthy Thane of Ross.
LENNOX What a haste looks through his eyes! So should he look that seems to speak things strange.
ROSS God save the King.
DUNCAN Whence cam’st thou, worthy thane?
ROSS From Fife, great king, Where the Norweyan banners flout the sky And fan our people cold. Norway himself, with terrible numbers, Assisted by that most disloyal traitor, The Thane of Cawdor, began a dismal conflict, Till that Bellona’s bridegroom, lapped in proof, Confronted him with self-comparisons, Point against point, rebellious arm ’gainst arm, Curbing his lavish spirit. And to conclude, The victory fell on us.
DUNCAN Great happiness!
ROSS That now Sweno, The Norways’ king, craves composition. Nor would we deign him burial of his men Till he disbursèd at Saint Colme’s Inch Ten thousand dollars to our general use.
DUNCAN No more that Thane of Cawdor shall deceive Our bosom interest. Go, pronounce his present death, And with his former title greet Macbeth.
ROSS I’ll see it done.
DUNCAN What he hath lost, noble Macbeth hath won.
They exit.
Act 1/Scene 3
Thunder. Enter the three Witches.
FIRST WITCH Where hast thou been, sister?
SECOND WITCH Killing swine.
THIRD WITCH Sister, where thou?
FIRST WITCH A sailor’s wife had chestnuts in her lap And munched and munched and munched. “Give me,” quoth I. “Aroint thee, witch,” the rump-fed runnion cries. Her husband’s to Aleppo gone, master o’ th’ Tiger; But in a sieve I’ll thither sail, And, like a rat without a tail, I’ll do, I’ll do, and I’ll do.
SECOND WITCH I’ll give thee a wind.
FIRST WITCH Th’ art kind.
THIRD WITCH And I another.
FIRST WITCH I myself have all the other, And the very ports they blow; All the quarters that they know I’ th’ shipman’s card. I’ll drain him dry as hay. Sleep shall neither night nor day Hang upon his penthouse lid. He shall live a man forbid. Weary sev’nnights, nine times nine, Shall he dwindle, peak, and pine. Though his bark cannot be lost, Yet it shall be tempest-tossed. Look what I have.
SECOND WITCH Show me, show me.
FIRST WITCH Here I have a pilot’s thumb, Wracked as homeward he did come.
Drum within.
THIRD WITCH A drum, a drum! Macbeth doth come.
ALL, ⌜dancing in a circle⌝ The Weïrd Sisters, hand in hand, Posters of the sea and land, Thus do go about, about, Thrice to thine and thrice to mine And thrice again, to make up nine. Peace, the charm’s wound up.
Enter Macbeth and Banquo.
MACBETH So foul and fair a day I have not seen.
BANQUO How far is ’t called to ⌜Forres?⌝—What are these, So withered, and so wild in their attire, That look not like th’ inhabitants o’ th’ Earth And yet are on ’t?—Live you? Or are you aught That man may question? You seem to understand me By each at once her choppy finger laying Upon her skinny lips. You should be women, And yet your beards forbid me to interpret That you are so.
MACBETH Speak if you can. What are you?
FIRST WITCH All hail, Macbeth! Hail to thee, Thane of Glamis!
SECOND WITCH All hail, Macbeth! Hail to thee, Thane of Cawdor!
THIRD WITCH All hail, Macbeth, that shalt be king hereafter!
BANQUO Good sir, why do you start and seem to fear Things that do sound so fair?—I’ th’ name of truth, Are you fantastical, or that indeed Which outwardly you show? My noble partner You greet with present grace and great prediction Of noble having and of royal hope, That he seems rapt withal. To me you speak not. If you can look into the seeds of time And say which grain will grow and which will not, Speak, then, to me, who neither beg nor fear Your favors nor your hate.
FIRST WITCH Hail!
SECOND WITCH Hail!
THIRD WITCH Hail!
FIRST WITCH Lesser than Macbeth and greater.
SECOND WITCH Not so happy, yet much happier.
THIRD WITCH Thou shalt get kings, though thou be none. So all hail, Macbeth and Banquo!
FIRST WITCH Banquo and Macbeth, all hail!
MACBETH Stay, you imperfect speakers. Tell me more. By Sinel’s death I know I am Thane of Glamis. But how of Cawdor? The Thane of Cawdor lives A prosperous gentleman, and to be king Stands not within the prospect of belief, No more than to be Cawdor. Say from whence You owe this strange intelligence or why Upon this blasted heath you stop our way With such prophetic greeting. Speak, I charge you.
Witches vanish.
BANQUO The earth hath bubbles, as the water has, And these are of them. Whither are they vanished?
MACBETH Into the air, and what seemed corporal melted, As breath into the wind. Would they had stayed!
BANQUO Were such things here as we do speak about? Or have we eaten on the insane root That takes the reason prisoner?
MACBETH Your children shall be kings.
BANQUO You shall be king.
MACBETH And Thane of Cawdor too. Went it not so?
BANQUO To th’ selfsame tune and words.—Who’s here?
Enter Ross and Angus.
ROSS The King hath happily received, Macbeth, The news of thy success, and, when he reads Thy personal venture in the rebels’ fight, His wonders and his praises do contend Which should be thine or his. Silenced with that, In viewing o’er the rest o’ th’ selfsame day He finds thee in the stout Norweyan ranks, Nothing afeard of what thyself didst make, Strange images of death. As thick as tale ⌜Came⌝ post with post, and every one did bear Thy praises in his kingdom’s great defense, And poured them down before him. ANGUS We are sent To give thee from our royal master thanks, Only to herald thee into his sight, Not pay thee.
ROSS And for an earnest of a greater honor, He bade me, from him, call thee Thane of Cawdor, In which addition, hail, most worthy thane, For it is thine.
BANQUO What, can the devil speak true?
MACBETH The Thane of Cawdor lives. Why do you dress me In borrowed robes?
ANGUS Who was the Thane lives yet, But under heavy judgment bears that life Which he deserves to lose. Whether he was combined With those of Norway, or did line the rebel With hidden help and vantage, or that with both He labored in his country’s wrack, I know not; But treasons capital, confessed and proved, Have overthrown him.
MACBETH, ⌜aside⌝ Glamis and Thane of Cawdor! The greatest is behind. ⌜To Ross and Angus.⌝ Thanks for your pains. ⌜Aside to Banquo.⌝ Do you not hope your children shall be kings, When those that gave the Thane of Cawdor to me Promised no less to them?
BANQUO That, trusted home, Might yet enkindle you unto the crown, Besides the Thane of Cawdor. But ’tis strange. And oftentimes, to win us to our harm, The instruments of darkness tell us truths, Win us with honest trifles, to betray ’s In deepest consequence.— Cousins, a word, I pray you.
⌜They step aside.⌝
MACBETH, ⌜aside⌝ Two truths are told As happy prologues to the swelling act Of the imperial theme.—I thank you, gentlemen. ⌜Aside.⌝ This supernatural soliciting Cannot be ill, cannot be good. If ill, Why hath it given me earnest of success Commencing in a truth? I am Thane of Cawdor. If good, why do I yield to that suggestion Whose horrid image doth unfix my hair And make my seated heart knock at my ribs Against the use of nature? Present fears Are less than horrible imaginings. My thought, whose murder yet is but fantastical, Shakes so my single state of man That function is smothered in surmise, And nothing is but what is not.
BANQUO Look how our partner’s rapt.
MACBETH, ⌜aside⌝ If chance will have me king, why, chance may crown me Without my stir.
BANQUO New honors come upon him, Like our strange garments, cleave not to their mold But with the aid of use.
MACBETH, ⌜aside⌝ Come what come may, Time and the hour runs through the roughest day.
BANQUO Worthy Macbeth, we stay upon your leisure.
MACBETH Give me your favor. My dull brain was wrought With things forgotten. Kind gentlemen, your pains Are registered where every day I turn The leaf to read them. Let us toward the King. ⌜Aside to Banquo.⌝ Think upon what hath chanced, and at more time, The interim having weighed it, let us speak Our free hearts each to other.
BANQUO Very gladly.
MACBETH Till then, enough.—Come, friends.
They exit.
Act 1/Scene 4
Flourish. Enter King ⌜Duncan,⌝ Lennox, Malcolm, Donalbain, and Attendants.
DUNCAN Is execution done on Cawdor? ⌜Are⌝ not Those in commission yet returned?
MALCOLM My liege, They are not yet come back. But I have spoke With one that saw him die, who did report That very frankly he confessed his treasons, Implored your Highness’ pardon, and set forth A deep repentance. Nothing in his life Became him like the leaving it. He died As one that had been studied in his death To throw away the dearest thing he owed As ’twere a careless trifle.
DUNCAN There’s no art To find the mind’s construction in the face. He was a gentleman on whom I built An absolute trust.
Enter Macbeth, Banquo, Ross, and Angus.
O worthiest cousin, The sin of my ingratitude even now Was heavy on me. Thou art so far before That swiftest wing of recompense is slow To overtake thee. Would thou hadst less deserved, That the proportion both of thanks and payment Might have been mine! Only I have left to say, More is thy due than more than all can pay.
MACBETH The service and the loyalty I owe In doing it pays itself. Your Highness’ part Is to receive our duties, and our duties Are to your throne and state children and servants, Which do but what they should by doing everything Safe toward your love and honor.
DUNCAN Welcome hither. I have begun to plant thee and will labor To make thee full of growing.—Noble Banquo, That hast no less deserved nor must be known No less to have done so, let me enfold thee And hold thee to my heart.
BANQUO There, if I grow, The harvest is your own.
DUNCAN My plenteous joys, Wanton in fullness, seek to hide themselves In drops of sorrow.—Sons, kinsmen, thanes, And you whose places are the nearest, know We will establish our estate upon Our eldest, Malcolm, whom we name hereafter The Prince of Cumberland; which honor must Not unaccompanied invest him only, But signs of nobleness, like stars, shall shine On all deservers.—From hence to Inverness And bind us further to you.
MACBETH The rest is labor which is not used for you. I’ll be myself the harbinger and make joyful The hearing of my wife with your approach. So humbly take my leave.
DUNCAN My worthy Cawdor.
MACBETH, ⌜aside⌝ The Prince of Cumberland! That is a step On which I must fall down or else o’erleap, For in my way it lies. Stars, hide your fires; Let not light see my black and deep desires. The eye wink at the hand, yet let that be Which the eye fears, when it is done, to see.
He exits.
DUNCAN True, worthy Banquo. He is full so valiant, And in his commendations I am fed: It is a banquet to me.—Let’s after him, Whose care is gone before to bid us welcome. It is a peerless kinsman.
Flourish. They exit.
Act 1/Scene 5
Enter Macbeth’s Wife, alone, with a letter.
LADY MACBETH, ⌜reading the letter⌝ They met me in the day of success, and I have learned by the perfect’st report they have more in them than mortal knowledge. When I burned in desire to question them further, they made themselves air, into which they vanished. Whiles I stood rapt in the wonder of it came missives from the King, who all-hailed me “Thane of Cawdor,” by which title, before, these Weïrd Sisters saluted me and referred me to the coming on of time with “Hail, king that shalt be.” This have I thought good to deliver thee, my dearest partner of greatness, that thou might’st not lose the dues of rejoicing by being ignorant of what greatness is promised thee. Lay it to thy heart, and farewell. Glamis thou art, and Cawdor, and shalt be What thou art promised. Yet do I fear thy nature; It is too full o’ th’ milk of human kindness To catch the nearest way. Thou wouldst be great, Art not without ambition, but without The illness should attend it. What thou wouldst highly, That wouldst thou holily; wouldst not play false And yet wouldst wrongly win. Thou ’dst have, great Glamis, That which cries “Thus thou must do,” if thou have it, And that which rather thou dost fear to do, Than wishest should be undone. Hie thee hither, That I may pour my spirits in thine ear And chastise with the valor of my tongue All that impedes thee from the golden round, Which fate and metaphysical aid doth seem To have thee crowned withal.
Enter Messenger.
What is your tidings?
MESSENGER The King comes here tonight.
LADY MACBETH Thou ’rt mad to say it. Is not thy master with him, who, were ’t so, Would have informed for preparation?
MESSENGER So please you, it is true. Our thane is coming. One of my fellows had the speed of him, Who, almost dead for breath, had scarcely more Than would make up his message.
LADY MACBETH Give him tending. He brings great news.
Messenger exits.
The raven himself is hoarse That croaks the fatal entrance of Duncan Under my battlements. Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty. Make thick my blood. Stop up th’ access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between Th’ effect and it. Come to my woman’s breasts And take my milk for gall, you murd’ring ministers, Wherever in your sightless substances You wait on nature’s mischief. Come, thick night, And pall thee in the dunnest smoke of hell, That my keen knife see not the wound it makes, Nor heaven peep through the blanket of the dark To cry “Hold, hold!”
Enter Macbeth.
Great Glamis, worthy Cawdor, Greater than both by the all-hail hereafter! Thy letters have transported me beyond This ignorant present, and I feel now The future in the instant.
MACBETH My dearest love, Duncan comes here tonight.
LADY MACBETH And when goes hence?
MACBETH Tomorrow, as he purposes.
LADY MACBETH O, never Shall sun that morrow see! Your face, my thane, is as a book where men May read strange matters. To beguile the time, Look like the time. Bear welcome in your eye, Your hand, your tongue. Look like th’ innocent flower, But be the serpent under ’t. He that’s coming Must be provided for; and you shall put This night’s great business into my dispatch, Which shall to all our nights and days to come Give solely sovereign sway and masterdom.
MACBETH We will speak further.
LADY MACBETH Only look up clear. To alter favor ever is to fear. Leave all the rest to me.
They exit.
Act 1/Scene 6
Hautboys and Torches. Enter King ⌜Duncan,⌝ Malcolm, Donalbain, Banquo, Lennox, Macduff, Ross, Angus, and Attendants.
DUNCAN This castle hath a pleasant seat. The air Nimbly and sweetly recommends itself Unto our gentle senses.
BANQUO This guest of summer, The temple-haunting ⌜martlet,⌝ does approve, By his loved ⌜mansionry,⌝ that the heaven’s breath Smells wooingly here. No jutty, frieze, Buttress, nor coign of vantage, but this bird Hath made his pendant bed and procreant cradle. Where they ⌜most⌝ breed and haunt, I have observed, The air is delicate.
Enter Lady ⌜Macbeth.⌝
DUNCAN See, see our honored hostess!— The love that follows us sometime is our trouble, Which still we thank as love. Herein I teach you How you shall bid God ’ild us for your pains And thank us for your trouble.
LADY MACBETH All our service, In every point twice done and then done double, Were poor and single business to contend Against those honors deep and broad wherewith Your Majesty loads our house. For those of old, And the late dignities heaped up to them, We rest your hermits.
DUNCAN Where’s the Thane of Cawdor? We coursed him at the heels and had a purpose To be his purveyor; but he rides well, And his great love, sharp as his spur, hath helped him To his home before us. Fair and noble hostess, We are your guest tonight.
LADY MACBETH Your servants ever Have theirs, themselves, and what is theirs in compt To make their audit at your Highness’ pleasure, Still to return your own.
DUNCAN Give me your hand.
⌜Taking her hand.⌝
Conduct me to mine host. We love him highly And shall continue our graces towards him. By your leave, hostess.
They exit.
Act 1/Scene 7
Hautboys. Torches. Enter a Sewer and divers Servants with dishes and service over the stage. Then enter Macbeth.
MACBETH If it were done when ’tis done, then ’twere well It were done quickly. If th’ assassination Could trammel up the consequence and catch With his surcease success, that but this blow Might be the be-all and the end-all here, But here, upon this bank and ⌜shoal⌝ of time, We’d jump the life to come. But in these cases We still have judgment here, that we but teach Bloody instructions, which, being taught, return To plague th’ inventor. This even-handed justice Commends th’ ingredience of our poisoned chalice To our own lips. He’s here in double trust: First, as I am his kinsman and his subject, Strong both against the deed; then, as his host, Who should against his murderer shut the door, Not bear the knife myself. Besides, this Duncan Hath borne his faculties so meek, hath been So clear in his great office, that his virtues Will plead like angels, trumpet-tongued, against The deep damnation of his taking-off; And pity, like a naked newborn babe Striding the blast, or heaven’s cherubin horsed Upon the sightless couriers of the air, Shall blow the horrid deed in every eye, That tears shall drown the wind. I have no spur To prick the sides of my intent, but only Vaulting ambition, which o’erleaps itself And falls on th’ other—
Enter Lady ⌜Macbeth.⌝
How now, what news?
LADY MACBETH He has almost supped. Why have you left the chamber?
MACBETH Hath he asked for me?
LADY MACBETH Know you not he has?
MACBETH We will proceed no further in this business. He hath honored me of late, and I have bought Golden opinions from all sorts of people, Which would be worn now in their newest gloss, Not cast aside so soon.
LADY MACBETH Was the hope drunk Wherein you dressed yourself? Hath it slept since? And wakes it now, to look so green and pale At what it did so freely? From this time Such I account thy love. Art thou afeard To be the same in thine own act and valor As thou art in desire? Wouldst thou have that Which thou esteem’st the ornament of life And live a coward in thine own esteem, Letting “I dare not” wait upon “I would,” Like the poor cat i’ th’ adage?
MACBETH Prithee, peace. I dare do all that may become a man. Who dares ⌜do⌝ more is none.
LADY MACBETH What beast was ’t, then, That made you break this enterprise to me? When you durst do it, then you were a man; And to be more than what you were, you would Be so much more the man. Nor time nor place Did then adhere, and yet you would make both. They have made themselves, and that their fitness now Does unmake you. I have given suck, and know How tender ’tis to love the babe that milks me. I would, while it was smiling in my face, Have plucked my nipple from his boneless gums And dashed the brains out, had I so sworn as you Have done to this.
MACBETH If we should fail—
LADY MACBETH We fail? But screw your courage to the sticking place And we’ll not fail. When Duncan is asleep (Whereto the rather shall his day’s hard journey Soundly invite him), his two chamberlains Will I with wine and wassail so convince That memory, the warder of the brain, Shall be a fume, and the receipt of reason A limbeck only. When in swinish sleep Their drenchèd natures lies as in a death, What cannot you and I perform upon Th’ unguarded Duncan? What not put upon His spongy officers, who shall bear the guilt Of our great quell?
MACBETH Bring forth men-children only, For thy undaunted mettle should compose Nothing but males. Will it not be received, When we have marked with blood those sleepy two Of his own chamber and used their very daggers, That they have done ’t?
LADY MACBETH Who dares receive it other, As we shall make our griefs and clamor roar Upon his death?
MACBETH I am settled and bend up Each corporal agent to this terrible feat. Away, and mock the time with fairest show. False face must hide what the false heart doth know.
They exit.
[Rest of the play in the comments]

Article de Cécile Ducourtieux, disponible ici : https://www.lemonde.fsociete/article/2022/12/24/rehabilitation-des-sorcieres-d-ecosse-entre-travail-de-memoire-et-feminisme_6155578_3224.html
Entre 1563 et 1727, plus de 2 500 personnes, essentiellementdes femmes, furent accusées de sorcellerie et exécutées en Ecosse. Des historiens, des associations, mais aussi le gouvernement, s’emploient à dénoncer ces injustices. Entre féminisme et travail de mémoire
Cécile Ducourtieux Torryburn, Mid Calder et Forfar (ÉCOSSE) - envoyée spéciale - Douglas Speirs ouvre le coffre de sa voiture, nous tend des bottes. L’air est glacé mais lumineux et la marée est encore basse, découvrant la baie de Torry, au large de Torryburn, un hameau de la péninsule de Fife, en Ecosse. En abordant la grève, on s’enfonce dans une boue collante et limoneuse. Au bout de quelques mètres, l’archéologue s’accroupit, écarte délicatement les chapelets d’algues recouvrant une longue dalle : la pierre tombale de Lilias Adie, une dame de la localité, décédée dans les premiers jours de septembre 1704.
Veste en tweed, savoir d’érudit et verbe de conteur, Douglas Speirs a pris soin d’introduire son sujet avant d’arriver sur les lieux : « Tout est parti d’une conversation sur les revenants avec Louise Yeoman, une éminente historienne écossaise. Elle m’avait signalé un cas extrêmement intéressant dans cette localité. En 2014, j’ai sillonné la baie pendant trois jours. J’ai fini par trouver la tombe au moment où j’allais abandonner. »
Lilias Adie avait passédeux mois en captivité dans l’église de Torryburn. C’était une vieille dame sans soutien. Les rares archives disponibles – les comptes rendus des interrogatoires menés par le pasteur de la paroisse, le révérend Allan Logan – ne mentionnent ni enfant ni mari. On comprend juste qu’elle avait été accusée d’être une sorcière et avait été maltraitée par les membres du kirk session , le consistoire, formé du pasteur et de notables, qui agissait presque comme un tribunal. Elle a finalement avoué avoir renoncé à son baptême, signé un pacte avec le diable et être devenue une de ses servantes. « C’était évidemment n’importe quoi, mais elle avait été torturée, sans doute privée de sommeil, une pratique courante à l’époque » , précise l’archéologue, employé du conseil régional de Fife.
Comme toutes les personnes passées aux aveux, Lilias Adie aurait dû être exécutée par strangulation puis brûlée sur le bûcher. Mais elle est morte avant que le conseil du roi, à Edimbourg, donne son feu vert à l’organisation d’un procès. Passée aux aveux mais pas dûment condamnée, la vieille dame fut enterrée avec des précautions inédites, d’après Douglas Speirs : « Les gens croyaient sincèrement que Satan pouvait ressusciter ses servantes, pour l’aider à accomplir ses noirs desseins. Lilias a donc été enterrée comme une possible revenante, dans cette zone de l’estran réservée aux morts très spéciaux. Son cercueil a été recouvert de cette pierre d’au moins une demi-tonne, blonde, extraite d’une carrière toute proche tandis que celles de la baie sont bleu-noir. C’est la seule tombe d’une personne accusée de sorcellerie conservée en Ecosse. »
Au milieu du XIXe siècle, la peur des revenants s’est estompée, Joseph Neil Paton, un collectionneur fameux à l’époque, retrouve la trace de cette étrange sépulture. Il fait ouvrir le cercueil, récupère le crâne de Lilias. Au début du XXe siècle, ce dernier est signalé dans les collections d’anatomie de la prestigieuse université de St Andrews, dans le nord du Fife. Il est même exposé à l’Empire Exhibition de Glasgow en 1938 (une sorte d’exposition universelle), avant de disparaître complètement.
Douglas Speirs cherche le crânedepuis sept ans. Il a écrit à toutes les universités et sociétés savantes du pays, diffusé des annonces dans les journaux. Il n’est pas découragé : « Ce serait bien de le retrouver pour donner à Lilias la sépulture qu’elle mérite. » L’archéologue est un des pionniers de l’impressionnant travail de mémoire entamé ces dernières années en Ecosse pour réhabiliter les victimes de l’une des plus brutales chasses aux sorcières de l’histoire occidentale. Historiens, politiques, artistes, simples citoyens : ils sont des milliers à exhumer cette part sombre de l’histoire nationale, en s’attachant à redonner des noms, des voix, une dignité aux victimes.
Entre l’adoption par le Parlement écossais du Witchcraft Act en 1563 (une loi qui punissait de mort la sorcellerie) et l’abrogation de cette même loi en 1736, près de 4 000 personnes ont été accusées de sorcellerie en Ecosse, dont 85 % de femmes, selon les archives disponibles – aveux soutirés sous la torture et rédigés par les membres du consistoire ainsi que comptes rendus de procès. D’après ces mêmes documents, environ 2 500 des accusés furent exécutés, un bilan probablement inférieur à la réalité.
« A l’époque, l’Ecosse comptait moins de 1 million d’habitants , souligne Mary Craig, historienne et écrivaine, très engagée dans le travail de réhabilitation en cours. Ces gens innocents pouvaient avoir des enfants, des époux, des parents : des dizaines de milliers de personnes ont été directement affectées par ces drames, soit l’entière population d’Edimbourg à l’époque. »
Ni chaudrons ni nez crochus
Mme Craig est notamment l’autrice d’une biographie d’Agnes Finnie, sur le point de paraître aux éditions Luath Press. « Agnes m’intéressait car elle ne correspond pas au stéréotype de la sorcière. Elle n’était pas très âgée, et ne vivait pas dans une chaumière isolée. C’était une commerçante d’Edimbourg, une grande gueule, querelleuse. Elle était tout simplement vivante ! » , explique Mary Craig, petite femme aux cheveux flamboyants, qui dit s’être prise de passion pour les « sorcières » quand elle a compris, très jeune, qu’elles n’avaient ni chaudrons ni nez crochus et avaient surtout été victimes de terribles injustices. Agnes Finnie a été probablement dénoncée par des voisins, torturée, jugée, puis brûlée le 6 mars 1645 sur Castle Hill, l’esplanade du château d’Edimbourg, où jusqu’à 300 autres personnes ont été exécutées pour sorcellerie.
On connaît aujourd’hui l’Ecosse progressiste et pro-européenne, une nation du Royaume-Uni à la forte identité et aux tentations indépendantistes. On connaît aussi l’Ecosse de carte postale, du monstre du loch Ness et de Harry Potter , apprenti à l’école des sorciers de Poudlard. Son autrice, J. K. Rowling, a écrit une partie du fameux roman dans un café situé à deux pas de Castle Hill, et a fait de la capitale écossaise aux venelles médiévales sa ville de résidence. En revanche, les terribles chasses aux sorcières ont été jusqu’à présent largement ignorées. « On nous a parlé de notre passé esclavagiste, mais pas de ce passé-là , insiste Mary Craig. Il est grand temps de l’affronter et de le reconnaître. »
Entamé à la fin des années 1990 par des historiens tels que Louise Yeoman et Julian Goodare, un énorme travail de collecte d’archives a été mis à disposition du grand public par l’université d’Edimbourg, sous la forme d’un répertoire des victimes (« Survey of Scottish Witchcraft », « étude sur la sorcellerie écossaise », non traduit) et d’une carte interactive permettant de localiser leurs villages. Cette dernière permet de constater que, au XVIIe siècle, alors que beaucoup de bourgs avaient leurs « sorcières », les « chasses » se concentraient dans la péninsule de Fife, la région du Lothian (autour d’Edimbourg) et les borders , la frontière avec l’Angleterre.
Claire Mitchell est une éminente avocate, spécialiste des erreurs judiciaires. Avec une amie écrivaine et enseignante, Zoe Venditozzi, elle a lancé en 2020 une campagne pour obtenir des excuses publiques, une loi de pardon et un monument national. Les deux femmes animent aussi un podcast, « Witches of Scotland », au succès grandissant. « Le pardon est très important : il s’agit de changer le statut légal des victimes, de personnes condamnées, parce que sorcières au titre du Witchcraft Act de 1563, à personnes condamnées à tort » , explique l’avocate.
« Il n’est pas question de juger les croyances de l’époque, nous ne sommes pas moralement supérieurs à ces gens qui croyaient aux sorcières » , précise Mme Mitchell,mais il faut blanchir les condamnés, qui n’ont pas pu commettre les crimes de sorcellerie dont on les accusait. L’archéologue Douglas Speirs en est convaincu : « Dans dix ans, on se demandera comment on a pu parler des sorcières de cette manière, laisser nos enfants se déguiser avec des chapeaux pointus à Hallowen. »
Ce travail de mémoire est aussi un vaste projet féministe. Claire Mitchell, comme les autres activistes, veut en finir avec une histoire écossaise encore presque exclusivement racontée et commémorée au travers de ses grands hommes : à l’exception notable de Marie Stuart, la fameuse reine d’Ecosse exécutée sur ordre de sa cousine Elizabeth Ire en 1587, il n’y en a que pour Robert Bruce (1274-1329), héros de l’indépendance, ou l’économiste Adam Smith. Le mur d’enceinte de Castle Hill, un haut lieu du tourisme, est tapissé de plaques en hommage aux soldats des deux guerres mondiales. Pas la moindre présence féminine.
« Il y a même une statue consacrée à un ours ayant servi dans l’armée polonaise, mais pas un nom de femme ! » , s’indigne Claire Mitchell. A bien y regarder, il existe tout de même une plaque à l’entrée de l’esplanade, mais si discrète que le visiteur passe sans la voir. Et, surtout, elle fait mention des « nombreuses sorcières » ayant été exécutées à cet endroit. « Il s’agissait de femmes innocentes, pas de sorcières ! , proteste l’avocate. La misogynie était alors profonde, elle explique pourquoi les victimes sont si majoritairement des femmes, considérées comme des êtres moralement et intellectuellement inférieurs, plus susceptibles que les hommes de céder aux avances du diable. »
Il suffisait d’une dénonciation sans preuve et en apparence loufoque, par exemple, avoir fait tourner le lait d’une vache, s’être transformée en chat ou avoir eu des rapports sexuels avec Satan, pour être suspectée et interrogée. Etre une femme de caractère, pauvre ou veuve sans soutien, guérisseuse ou sage-femme, pouvait constituer des circonstances aggravantes. Tout comme les handicaps, infirmités ou taches de naissance, susceptibles d’être des « marques du diable » laissées par Satan sur ses servantes. Des hommes furent condamnés pour sorcellerie, mais souvent par association, en tant que maris ou frères des accusées.
La campagne de réhabilitation est prise très au sérieux par les autorités. La première ministre écossaise, Nicola Sturgeon, féministe revendiquée, a prononcé des excuses publiques lors de la Journée internationale des femmes, le 8 mars, soulignant la « colossale » injustice faite aux « sorcières ». Un projet de loi de pardon a été déposé au Parlement écossais, défendu par Natalie Don, députée du parti indépendantiste SNP, dont Mme Sturgeon est la cheffe de file. Les consultations sont closes depuis l’automne. L’avocate Claire Mitchell est confiante, elle pense que la loi verra bien le jour. « Le texte est relativement consensuel » , précise Zoe Venditozzi.
Les sorcières n’ont pas toujours été pourchassées et brûlées sur ces terres septentrionales. Imprégnée d’animisme celtique, l’Ecosse médiévale était plus tolérante qu’on a pu le penser. A l’époque, les mages, des hommes ou des femmesversés dans la connaissance des plantes et des filtres, n’ont pas toujours bonne réputation, mais ils sont respectés et souvent sollicités pour soigner un malade ou aider une femme en couches. Les historiens en conviennent : ce qui déclenche les « chasses », les dénonciations en série et les exécutions de masse, c’est une vraie révolution religieuse.
Nous sommes alors aumilieu du XVIe siècle. L’Ecosse passe d’un catholicisme assez émollient à un réformisme rigide, imprégné de calvinisme, porté par des religieux, tel John Knox, le fondateur de l’Eglise presbytérienne écossaise. Ces « fous de Dieu » ne tolèrent ni les chants ni la consommation d’alcool et voient l’œuvre du diable partout. En créant l’Eglise d’Angleterre, quelques années plus tôt, le roi anglais Henri VIII a provoqué une Réforme moins sévère. « C’est en partie la raison pour laquelle on compte bien moins de victimes des procès en sorcellerie par habitant en Angleterre ou dans les pays catholiques européens » , souligne l’historienne Martha McGill, spécialiste des croyances surnaturelles à l’université de Warwick.
La folie collective qui s’empare de l’Ecosse n’aurait pas eu lieu sans la complicité active du pouvoir séculier. Le roi écossais Jacques VI, fils de Marie Stuart, croit suffisamment aux sorcières et à la magie noire pour écrire un traité de « démonologie », publié en 1597. Il est directement impliqué dans le premier procès de masse de sorcières. En 1590, à North Berwick, un port situé à l’est d’Edimbourg, jusqu’à 70 personnes sont soupçonnées d’avoirmanigancé la mortdu roi Jacques VI en déclenchant de terribles tempêtes à son retour du Danemark avec sa fiancée Anne de Danemark.
Des charmes pour lever des tempêtes
Jacques VI mène lui-même des interrogatoires, notamment celui d’Agnes Sampson, dont le triste destin a traversé les siècles grâce à un pamphlet publié à Londres quelques mois après son supplice. Cette femme, connue pour ses savoirs de guérisseuse, est menée devant le roi et « examinée » : ses tortionnaires cherchent la « marque » du diable, un signe qu’il est supposé cacher dans les parties intimes de ses servantes. Sans doute terrorisée et épuisée, la vieille femme finit par confesser tout ce qu’on veut entendre d’elle : elle a fabriqué des charmes pour lever des tempêtes. Elle est exécutée, le 28 janvier 1591, sur Castle Hill.
La petite église deCalder, à Mid Calder, un bourg agricole à l’ouest d’Edimbourg, porte encore à fleur de pierre la mémoire des femmes suppliciées et celle du rôle de l’Eglise dans leur calvaire. MairiHarkness, une habitante, ex-sage-femme devenue chercheuse à l’université de Stirling, accueille à l’entrée de l’église avec une toile de jute dans les bras. C’est un tissu similaire, rugueux au possible, que les femmes de la localité accusées de sorcellerie entre 1643 et 1645 devaient revêtir. Mme Harkness est l’une des fondatrices de la toute récente association The Calder Witch Hunt (« la chasse aux sorcières de Calder »).
Accompagnée de SusanGillanders, une médiéviste, et de Claire Duncan,une artiste, toutes deux membres de l’association, elle nous conduit à la sacristie, au fond de l’église. Près de quatre siècles après les faits, les lieux n’ont pas changé : un plafond voûté, pas de cheminée. C’est dans cette petite pièce glaciale que les femmes accusées étaient enfermées. Cinq au moins furent exécutées ici : Agnes Bischope, Agnes Vassie, Marioun Gibsone, Jonet Bruce et Helen Stewart, probablement sur Cunnigar Hill, une colline voisine. Qui les avait accusées, de quoi ? Les archives manquent.
Mairi Harkness s’arrête sur le destin singulier de Margaret Thomsone, prisonnière dans la sacristie d’avril à novembre 1644. « Elle a été battue, maintenue éveillée pendant vingt-six jours d’affilée par des membres du consistoire. Elle devait être incroyablement forte. » Elle ne confesse rien et est finalement libérée, après l’appel interjeté par son mari.
A Mid Calder, la « chasse » semble avoir été encouragée par un pasteur zélé, Hew Kennedie, nommé dans la paroisse à l’âge de 22 ans, en 1643. « Il n’y avait pas de chasse aux sorcières dans toutes les communes , précise Susan Gillanders. Pour qu’elles aient lieu, il fallait la réunion de plusieurs volontés. » Hew Kennedie sortait de l’université de St Andrews, il était ambitieux. Chasser le démon avec ferveur était un gage de piété. Il a fini par devenir un des dirigeants de l’Eglise d’Ecosse.
En mai, cette même Eglise a présenté ses excuses pour son « rôle » dans cette « persécution historique » . A Mid Calder, le clergé local s’est montré coopératif ; une messe commémorative a été dite en juin pour les victimes.De son côté, l’association The Calder Witch Hunt a organisé une exposition dans la sacristie. « La plupart des gens, comme nous au début, ignoraient cette histoire locale. Ils étaient émus. Les enfants des écoles ont reconnu des patronymes encore portés sur place. Ces femmes étaient des épouses, des mères, si nous avions vécu à l’époque, cela aurait pu être nous » , relève Mairi Harkness, qui espère que « là où elles sont, nos femmes voient ce que nous faisons pour elles et [que] cela leur fait du bien ».
Le cas de Forfar, une ville un peu endormie au nord de Dundee, est également très éclairant sur les préjugés de l’époque et l’engrenage des dénonciations. Entre 1660 et 1662, au moins 52 personnes y sont accusées d’être des sorcières, au minimum 13 femmes sont exécutées. Dans la grand-rue, le musée local a reconstitué la scène de condamnation de l’une d’elles et exhibe un instrument de torture, alors en usage localement : un cercle en métal qu’on glissait sur la tête, avec une partie pointue insérée dans la bouche. « Les pointes déchiraient la langue et les joues dès que les suppliciées tentaient de parler ou de manger », explique Shaun Wilson, tout juste diplômé en histoire de l’université d’Aberdeen et désormais employé au Musée de Forfar.
Nous le retrouvons un matin neigeux de décembre dans un des rares cafés du bourg, en compagnie de Judith Langlands-Scott,historienne et écrivaine, qui travaille avec lui à raviver la mémoire des victimes de Forfar. Ils préparent des conférences, elle peaufine un roman. On ne sait pas grand-chose sur ce qui a déclenché la folie de Forfar, mais le contexte historique, lui, est connu. En 1660, l’homme politique et militaireOliver Cromwell vient de mourir ; son armée anglaise, qui avait envahi l’Ecosse, se retire. Avec son départ, l’Eglise d’Ecosse et ses consistoires reprennent leurs droits. « C’est aussi une période de mauvaises récoltes, de peste, les gens pensent que 1666 sera l’année du diable et que celui-ci recrute plein d’agents » , précise Judith Langlands-Scott. La traque des supposées sorcièresest encouragée par le pasteur local. Un chasseur de sorcières sévit aussi, John Kincaid, un sinistre personnage, bien connu à l’époque, qui allait de ville en ville, prétendant pouvoir identifier la « marque du diable » sur des suspectes en les piquant avec des aiguilles : si elles restaient insensibles, elles étaient de vraies sorcières. A chaque fois qu’il en identifiait une, il percevait de l’argent.
Parmi les suspectes, une personnalité se distingue : Helen Guthrie, une femme au parcours accidenté, accusée plus jeune d’avoir causé la mort de sa sœur. Elle est très proche de la communauté du voyage, présente dans le centre de l’Ecosse depuis le XVe siècle. « Contrairement aux autres femmes, elle semblait persuadée d’avoir des pouvoirs magiques, elle avait appris à dire la bonne aventure » , raconte Judith Langlands-Scott. Helen Guthrie serait elle-même à l’origine d’une trentaine de dénonciations de supposées sorcières et sorciers. Les dénonciations n’étaient pas rares : durant les interrogatoires, les suppliciés donnaient des noms de prétendus complices des deux sexes pour que leurs tourments cessent. « Helen cherchait peut-être à se rendre utile et tentait de retarder l’échéance de son exécution » , observe Shaun Wilson. Elle n’échappera pourtant pas au bûcher : Helen Guthrie sera la dernière à être exécutée à Forfar, le 14 novembre 1662.
Un nouveau féminisme
Un service a été célébré, le 30 octobre, à l’église East and Old Parish, dont le clocher d’origine fit un temps office de sallede torture. Ce jour-là, les noms des 52 victimes ont été énoncés à haute voix. Un moment « très émouvant » , d’après Judith Langlands-Scott. Selon l’historienne, de telles cérémonies sont importantes : « Les femmes condamnées étaient croyantes, tout le monde l’était à l’époque. On leur disait qu’elles iraient en enfer, on leur déniait tout espoir dans cette vie mais aussi dans l’au-delà. »
Shaun Wilson et Judith Langlands-Scott portent un intérêt personnel au sujet : tous deux ont été diagnostiqués autistes, ce qui les rend plus sensibles encore au sort des personnes dénoncées en raison de leur « différence », de problèmes mentaux ou physiques. « Voilà pourquoi il faut parler de ces victimes aujourd’hui encore. Les “chasses” adviennent quand une communauté se tourne contre ses membres parce qu’ils sont handicapés ou n’ont pas la même religion » , ajoute Judith Langlands-Scott. Le combat contre les croyances en sorcellerie n’est d’ailleurs pas terminé car, comme le relève son ami Shaun, « aux Etats-Unis, certains prêtres officiant dans des méga-églises prétendent que les enfants autistes sont possédés. En Asie ou en Afrique, des enfants neurodivergents sont aussi accusés d’être possédés ».
Au début du XVIIIe siècle, le siècle des Lumières a commencé aussi en Ecosse, les « chasses » s’espacent.Janet Horne est la dernière femme exécutée pour sorcellerie, en 1727 dans les Highlands, dans le Nord-Ouest. Dans les universités de St Andrews ou d’Edimbourg, des penseurs rationalistes rejettent les superstitions de l’Eglise. « Les croyances dans les sorcières ne disparaissent pas brutalement, mais le système judiciaire se centralise et les juges réclament des preuves plus substantielles de culpabilité , indique l’historienne Martha McGill. Les simples témoignages ne suffisent plus, les aveux arrachés sous la torture sont suspects. »
Si ces destins tragiques émeuvent tant l’Ecosse de 2022, c’est aussi qu’ils résonnent avec l’actualité. Un nouveau féminisme, combatif et défensif, y est récemment apparu, en réaction à un projet de loi du gouvernement Sturgeon, adopté jeudi 22 décembre, permettant aux transgenres de changer d’identité de genre sans avis médical. Les féministes craignent que des hommes en profitent pour violer leurs espaces réservés en se faisant passer pour des femmes. Des activistes trans moquent ces inquiétudes et accusent de « transphobie » toutes celles, dont J. K. Rowling, qui osent protester. Le débat est si toxique que certaines féministes parlent de nouvelle « chasse aux sorcières ». Judith Langlands-Scott réserve prudemment sa position, mais déplore que des personnes puissent être violemment prises pour cible sur les réseaux sociaux. D’après elle, « cela prouve à quel point nous ne sommes pas plus civilisés qu’avant » .

After the passing of Queen Elizabeth, I decided I wanted to research the history of the royal family, and compiled a list of the previous monarchs and their children.
If you have another country you wish to have a list made of (I am thinking France next), please let me know!

House of Wessex - c. 886-978

Ælfred (Alfred) the Great (849, ruled c. 886 - 899)

*Ealhswith (Ealhswitha) (unknown - 902, married 868 - 899)
Æthelflæd (f) (unknown - 918), married Lord Æthelred of the Mercians (unknown - 911)
Edward the Elder (c. 874 - 924) (m), married Ecgwynn (Ecgwynna) (unknown - unknown), Ælfflæd (unknown - unknown), and Eadgifu of Kent (c. 903 - c. 966)
Æthelgifu (unknown - unknown) (f), never married
Æthelweard (unknown - possibly 922) (m), married unknown
Ælfthryth (Elftrudis, Elftrude, Elfrida) (unknown - 929) (f), married Baldwin II

Edward the Elder (born c. 874, ruled 899 - 924)

Ecgwynn (Ecgwynna) (unknown - unknown, married c. 893 - unknown)
Æthelstan (894 - 939) (m), never married
Unknown daughter (unknown - possibly 926), possibly Edith, married Sitric Cáech/Sihtric Cáech/Sigtrygg Gále (unknown - 927)
Ælfflæd (unknown - unknown, married c. 900 - unknown)
Ælfweard (c. 902 - 924) (m), never married, disputed if was ever king
Edwin (unknown - 933) (m), never married
Æthelhild (unknown - unknown) (f), never married
Eadgifu (unknown - 951) (f), married King Charles The Simple III of West Francia (879 - 929)
Eadflæd (unknown - unknown) (f), never married
Eadhild (unknown - 937) (f), married Hugh the Great (c. 898 - 956)
Eadgyth (Edith of England) (c. 910 - 946) (f), married Otto I of the East Franks (912 - 973)
Ælfgifu (Edgiva) (unknown - unknown) (f), married unknown prince
Eadgifu of Kent (c. 902/903 - c. 968, married 919 - 924)
Eadmund I (Edmund) (920/21 - 946) (m), married Ælfgifu of Shaftesbury (unknown - 944) and Æthelflæd of Damerham (unknown - unknown)
Eadred (c. 923 - 955) (m), never married
Eadburh (Edburga) (921/924 - 951/953) (f), never married
Eadgifu (unknown - unknown) (f), may be Ælgifu

Æthelstan (Athelstan) (894, ruled 924 - 939)

Never married

Eadmund I (Edmund) (c. 921, ruled 939 - 946)

Ælfgifu of Shaftesbury (unknown - 944, married unknown - 944)
Eadwig (Edwy) (c. 940 - 959) (m), married Ælfgifu (unknown - unknown)
Edgar the Peaceful (c. 943 - 975) (m), married Æthelflæd Eneda (unknown - unknown), Wulfthryth of Wilton (unknown - unknown), and Ælfthryth (Alfrida, Elfrida, Elfthryth) (c. 945 - 1000/1001)
Æthelflæd, no known children

Eadred (c. 923 - 955, ruled 946 - 955)

Unmarried, no children

Eadwig (Edwy) (c. 940 - 959, ruled 955 - 959)

Ælfgifu (unknown - unknown, married unknown - unknown), no known children

Edgar the Peaceful (c. 943 - 975, ruled 959 - 975)

Æthelflæd Eneda (unknown - unknown, married c. 960 - unknown)
Edward the Martyr (Eadward) (c. 962 - 978) (m), never married
Wulfthryth of Wilton (Wilfreda) (unknown - unknown, uncertain if there was a marriage)
Edith of Wilton (c. 961 - 984) (f)
Ælfthryth (Alfrida, Elfrida, Elfthryth) (c. 945 - 1000/1001, married c. 964 - 975)
Edmund Atheling (m), never married
Æthelred the Unready II (m) (c. 966 - 1016), married Ælfgifu of York (970 - 1002, married 991 - 1002) and Emma of Normandy (Ælfgifu) (c. 984 - 1052, married 1002 - 1013)

Edward the Martyr (c. 962 - 978, ruled 975 - 978)

Unmarried, no children

Æthelred the Unready II (c. 966 - 1016, ruled 978 - 1013)

Ælfgifu of York (c. 970 - 1002, married 991 - 1002)
Æthelstan Ætheling (c. 980s - 1014) (m), never married
Ecgberht Ætheling (unknown - unknown) (m), unknown
Edmund Ironside II (c. 990 - 1016) (m), married Ealdgyth (Edith) of West Anglia (c. 992 - after 1016)
Eadred Ætheling (unknown - c. 1012) (m), unknown
Eadwig Ætheling (Eadwy, Edwy) (unknown - 1017) (m), unknown
Edgar Ætheling (unknown - unknown) (m), unknown
Eadgyth (Edith) (unknown - unknown) (f), married Eadric Streona (unknown - 1017)
Ælfgifu (unknown - unknown) (f), married Uhtred (Uchterd) the Bold (unknown - 1016)
Wulfhild (f) (uncertain), married Ulfcytel Snillingr (Snylling) (unknown - 1016)
Unknown Abbess (uncertain)
Emma of Normandy (Ælfgifu) (c. 984 - 1052, married 1002 - 1016)
Edward the Confessor (c. 1003 - 1066) (m), married Edith of Wessex (c. 1025 - 1075)
Ælfred Aetheling (m) (c. 1005 - 1036), unknown
Godgifu (Goda of England) (c. 1004 - c. 1049) (f), married Drogo of Mantes (996 - 1035) and Count Eustace II aux Grennons (c. 1015 - c. 1087)

House of Denmark - 1013-14

Sweyn Forkbeard (963 - 1014, ruled 1013 - 1014)

Świętosława (unknown - unknown, married unknown - unknown), Sigrid the Haughty (unknown - unknown, married c. 990 - unknown), and/or Gunhild (Gunhilda) of Wenden (unknown - unknown, married c. 1000 - unknown) (conflicting sources on wife's name and origin)
Herald II of Denmark (c. 996-98 - c. 1018) (m), never married
Cnut the Great (Canute) (unknown - 1035) (m), married Ælfgifu of Northampton (c. 990 - after 1036, married unknown - unknown) and Emma of Normandy (c. 984 - 1052, married 1017 - 1035) (yes, the same as Æthelred II's wife)
Estrid Svendsdatter of Denmark (990/997 - 1057/1073) (f), supposedly married unknown Russian prince, Richard II of Normandy (unknown - 1026) or Robert the Magnificent (1000 - 1035), and Jarl Ulf of Orkney (unknown - unknown)
Gytha (unknown - unknown) (f), unknown
Gunnhild (unknown - unknown) (f), unknown
Santslaue (unknown - unknown) (f), unknown
Thyra (unknown - unknown) (f), unknown

House of Wessex (restored) - 1014-16

Æthelred the Unworthy II (c. 966 - 1016, ruled 1014 - 1016)

See previous

Edmund Ironside II (c. 990 - 1016, ruled 1016)

Ealdgyth (Edith) of West Anglia (c. 992 - after 1016, married unknown - unknown)
Edward Ætheling the Exile (1016-1057) (m), married Agatha (before 1030 - after 1070, married unknown - unknown)
Edmund Ætheling (c. 1015 - sometime between 1046-1054) (m), married Hedwig of Hungary (unknown - unknown, married unknown - unknown)

House of Denmark (restored) - 1016-1042

Cnut The Great (Canute) (c. 995 - 1035, ruled 1016 - 1035)

Ælfgifu of Northampton (c. 990 - after 1036, married unknown - unknown)
Svein Knutsson (c. 1016 - 1035) (m), King of Norway, never married
Harold Harefoot I (unknown - 1040) (m), possibly married Æelfgifu (unknown ‐ unknown, married unknown - unknown)
Emma of Normandy (c. 984 - 1052, married 1017 - 1035)
Harthacnut (1018 - 1042) (m), never married
Grunhilda of Denmark (c. 1020 - 1038) (f), married King Henry III of the Holy Roman Empire

Harold Harefoot I (unknown - 1040, ruled 1035 - 1040)

Ælfgifu (possibly) (unknown - unknown)
Ælfwine Haroldsson (unknown - unknown) (m), never married

Harthacnut (c. 1018 - 1042, ruled 1035 - 1040)

Unmarried, no children

House of Wessex (restored) (again) - 1042-66

Edward the Confessor (c. 1003 - 1066, ruled 1042 - 1066)

Edyth of Wessex (c. 1025 - 1075, married 1045 - 1066), no children

House of Godwin (1066)

Harold Godwinson II (1022 - 1066, ruled 1066)

Edith Swannesha the Fair (1025 - 1066, married unknown - 1066)
Godwin (Godwine) (1040s - unknown) (m), unknown
Edmund (Eadmund) (1040s - unknown) (m), unknown
Magnus (1040s - unknown) (m), unknown
Gunnhild of Wessex (unknown - unknown) (f), eloped Alan Rufus the Red (c. 1040 - 1093)
Gytha of Wessex (c. 1053/1061 - 1098/1107) (f), married Vladimir Monomakh II (1053 - 1125)
Ulf (Wulf) (unknown - unknown) (m), unknown
Ealdgyth of Mercia (Aldgyth, Edith) (unknown - unknown, married c. 1064 - unknown)
Harold (unknown - unknown) (m), unknown

House of Normandy - 1066-1135

William the Conqueror I (c. 1028 - 1087, ruled 1066 - 1087)

Matilda of Flanders (c. 1031 - 1083, married 1053 - 1083)
Robert Curthose II of Normandy (c. 1051 - 1134) (m), married Sibylla of Conversano (unknown - 1103, married unknown- 1103)
Richard of Normandy (born before 1056 - c. 1075) (m), never married
William Rufus II (c. 1056 ‐ 1100, ruled 1087 - 1100) (m), never married
Henry Beauclerc I (c. 1068 - 1135, ruled 1100 - 1135) (m), married Matilda of Scotland (1080 - 1118) and Adeliza of Louvain (c. 1103 - 1151)
Adeliza (Adelia, Adelaide) (unknown - before 1113) (f), rumored to be betrothed to Harold Godwinson
Cecilia (Cecily) (c. 1056 - 1126) (f), never married
Matilda (c. 1061 - c. 1086) (f), unknown
Constance of Normandy (1057-61 - 1090) (f), married Alan IV of Brittany
Adela of Normandy (c. 1067 - 1137) (f), married Count Stephen Henry of Blois
Possibly Agatha (c. 1040/1041 - 1109) (f), married to Alfonso VI of Léon and Castille

William Rufus II (c. 1056 - 1100, ruled 1087 - 1100)

Unmarried, no children

Henry Beauclerc I (1068 - 1135, ruled 1100 - 1135)

*Matilda of Scotland (christened as Edith) (1080 - 1118, married 1100 - 1118)
Matilda (c. 1102 - 1167) (f), married Henry V of the Holy Roman Empire (1081/86 - 1125) and Geoffrey V (1113 - 1151)
William Ætheling (Adelin) (1103 - 1120) (m), married Matilda of Anjou (c. 1106 - 1154)
Richard (unknown - unknown, short lived) (m), not married
Adeliza of Louvain (c. 1103 - 1151, married 1121 - 1135), no children
Ansfride (unknown - unknown), unmarried
Richard of Lincoln (before 1100 - 1120) (m), betrothed to Amice (unknown - unknown)
Sibyl Corbert (unknown - unknown), unmarried
Reginald de Dunstanville (c. 1100 - 1175) (m), married Mabel FitzRichard (unknown - unknown)
Sybilla of Normandy (c. 1092 - 1122) (f), married Alexander I of Scotland
William (unknown - unknown) (m), unknown
Edith Forne (unknown - 1129), unmarried
Robert FitzEdith (1093 - 1172) (m), married Matilda 'Maud' d'Avranches (unknown - unknown)
William de Tracy (1097 - 1140) (m), unknown (unknown - unknown)
Adeliza FitzEdith (unknown - unknown) (f), unknown
Edith (unknown - unknown), unmarried
Matilda FitzRoy (c. 1080/1100 - 1120) (f), married Rotrou the Great III (before 1080 - 1144)
*Isabel Beaumont (unknown - unknown), unmarried
Isabel (unknown - unknown) (f), unknown
Various others (he had many illegitimate children)
Robert FitzRoy of Gloucester (c. 1090 - 1147) (m), married Mabel FitzRobert (c. 1100 - 1157)
Gilbert FitzRoy (unknown - before 1143) (m), never married (Possibly Sybil Corbet's, Isabella Beaumont (unknown - unknown), or Nest ferch Rhys (c. 1085 - 1136)'s kid)
Henry FitzRoy (c. 1100 - 1104) (m), never married (Possibly Nest fetch Rhys's kid)
Matilda FitzRoy (unknown - unknown) (f), married Conan III of Brittany (c. 1093-94 - 1148)
Juliane (Juliana) de Fontevrault (1090 - after 1136) (f), married Eustace of Breteuil
Fulk FitzRoy (unknown - unknown) (m), unknown
Mabel (unknown - unknown) (f), married William Gouet
Constance (unknown - unknown) (f), unknown
Alix (Aline) FitzRoy (unknown - before 1141) (f), married Matthew of Montgomery I
Matilda 'Maud' FitzRoy (unknown - unknown) (f), never married
Gundrada (unknown - unknown) (f), never married
Rohese (unknown - unknown) (f), never married
Emma (unknown - unknown) (f), married Guy of Laval (unknown - unknown)
Elizabeth FitzRoy (unknown - unknown) (f), married Fergus of Galloway (unknown - 1161)
Sibyl Falaise (unknown - unknown) (f), unknown

House of Blois - 1135-1154

Stephen of Blois (1092-1096 - 1154, ruled 1135 - 1154)

Matilda of Baulogne (c. 1105 - 1152, married 1125 - 1152)
Eustace IV (c. 1129/1131 - 1153) (m), married Constance of France (c. 1126 - 1190)
Marie I (1136 - 1182) (f), married Matthew of Alsace (c. 1137 - 1173)
William I (c. 1137 - 1159) (m), married Isabel de Warenne (c. 1137 - 1159)
Damette (unknown - unknown), unmarried
Gervase of Blois (unknown - unknown) (m), unknown
Others (illegitimate)
Amalric (unknown - unknown) (m), unknown

House of Anjou/Plantagenet - 1154-1216

Henry Curtmantle II (1133 - 1188, ruled 1154 - 1189)

Eleanor of Aquitaine (c. 1122 - 1204, married 1152 - 1189)
William IX of Poitiers (1153 - 1156) (m), never married
Henry the Young King (1155 - 1183) (m), married Margaret of France (1158 - 1197)
Matilda of England (1156 - 1189) (f), married Henry the Lion (1129/1131 - 1195)
Richard I the Lionheart (1157 - 1199) (m), married Berengaria of Navarre (c. 1165 - 1230)
Geoffrey II of Brittany (1158 - 1186) (m), married Constance of Brittany (c. 1161 - c. 1201)
Eleanor of England (c. 1161 - 1214) (f), married Alfonso VII of Castile (1155 - 1214)
Joan of England (1165 - 1199) (f), married William II of Sicily (1153 - 1189) and Raymond VI of Toulouse (1156 - 1222)
John (1166 - 1216) (m), married Isabella of Gloucester (1173/74 - 1217) and Isabella Angoulême (c. 1186/1188 - 1246)
Ida de Tosny (unknown - 1181), unmarried
Willian Longespée of Salisbury (before 1167 - 1226) (m), married Ela of Salisbury (1187 - 1261)
Nest Bloet (unknown - 1124/25), unmarried
Morgan (unknown - unknown) (m), never married
Unknown (illegitimate children)
Geoffrey of York (c. 1152 - 1212) (m), never married

Richard I the Lionheart (1157 - 1199, ruled 1189 - 1199)

Berengaria (c. 1165/1170 - 1230, married 1191 - 1999), no children
Unknown (illegitimate children)
Philip of Cognac (1180s - after 1201) (m), married Amelia of Cognac (unknown - unknown)

John Lackland (1166 - 1216, 1199 - 1216)

Isabella of Gloucester (1773/74 - 1217, married 1189 - 1199), no children
Isabella of Angoulême (c. 1886-88 - 1246, married 1200 - 1216)
Henry III of Winchester (1207 - 1272) (m), married Eleanor of Provence (c. 1223 - 1291)
Richard of the Romans (1209 - 1272) (m), married Isabel Marshal (1200 - 1240), Sanchia of Provence (c. 1225 - 1261), and Beatrice of Falkenburg (c. 1245 - 1277)
Joan of England (1210 - 1238) (f), married Alexander II of Scotland (1198 - 1249)
Isabella of England (1214 - 1241) (f), married Fredrick II of the Holy Roman Empire (1214 - 1241)
Eleanor of England (Plantagenet, of Leicester) (1215 - 1275) (f), William Marshal of Pembroke (1190 - 1231) and Simon de Montfort (c. 1208 - 1265)
Adela de Warrenne (unknown - unknown), unmarried
Richard FitzRoy (c. 1190 - 1246) (m), married Rohese de Dover (unknown - unknown)
Joan of Wales and Snowdon (c. 1191-92 - 1237) (f), married Llywelyn the Great (c. 1173 - 1240)

House of Plantagenet - 1216-1399

Henry III of Winchester (1207 - 1272, ruled 1216 - 1272)

Eleanor of Provence (c. 1223 - 1291, married 1236 - 1272)
Edward Longshanks I (1239 - 1307) (m), married Eleanor of Catille (1241 - 1290) and Margaret of France (c. 1279 - 1318)
Margaret of England (1240 - 1275) (f), married Alexander III of Scotland (1241 - 1286)
Beatrice of England (1242 - 1275) (f), married John II of Brittany (1239 - 1305)
Edmund Crouchback of Lancaster and Leicester (1245 - 1296) (m), married Aveline de Forz of Aumale and Holderness (1259 - 1274) and Blanche of Artois (1248 - 1302)
Katherine of England (1253 - 1257) (f), never married

Edward Longshanks I (1239 - 1307, ruled 1272 - 1307)

Eleanor of Castille (1241 - 1290, married 1254 - 1290)
Katherine (1264 - 1264) (f), never married
Joanna (1265 - 1265) (f), never married
John (1266 - 1271) (m), never married
Henry (1268 - 1274) (m), never married
Eleanor of England (1269 - 1298) (f), married Henry III of Bar (1259 - 1302)
Juliana (1271 - 1271) (f), never married
Joan of Acre (1272 - 1307) (f), married Gilbert de Clare of Gloucester (1243 - 1295) and Sir Ralph de Monthermer (1270 - 1325)
Alphonso (Alfonso) of Chester (1273 - 1284) (m), never married
Margaret of England (1275 - 1333) (f), married John II of Brabant (1275 - 1312)
Berengaria (1276 - 1278) (f), never married
Mary of Woodstock (1278 - 1332) (f), never married
Elizabeth of Rhuddlan (c. 1282 - 1316) (f), married John I of Holland (1284 - 1299) and Humphrey de Bohun and Hereford (1276 - 1322)
Edward II of Caernarfon (1284 - 1327) (m), married Isabella of France (c. 1295 - 1358)
Margaret of France (c. 1279 - 1318, married 1299 - 1307)
Thomas of Brotherton and Norfolk (1300 - 1338) (m), married Alice Hales (unknown - unknown) and Mary Brewes (unknown - unknown)
Edmund of Woodstock and Kent (1301 - 1330) (m), married Margaret Wake of Liddell and Kent (c. 1297 - 1349)
Eleanor (1306 - 1311) (f), never married

Edward II of Caernarfon (1284 - 1327, ruled 1307 - 1327)

Isabella of France (c. 1295 - 1358, married 1308 - 1327)
Edward III of England and Windsor (1312 - 1377) (m), married Philippa of Hainhault (1310/1315 - 1369)
John of Eltham and Cornwall (1316 - 1336) (m), never married
Eleanor of Woodstock (1318 - 1355) (f), married Reginald II of Guelders (c. 1295 - 1343)
Joan of the Tower (1321 - 1362) (f), married David II of Scotland (1324 - 1371)
Various others (illegitimate)
Adam FitzRoy (c. 1307 - 1322) (m), never married

Edward III of Windsor (1312 - 1377, ruled 1327 - 1377)

Philippa of Hainault (1310 - 1369, married 1328 - 1369)
Edward (The Black Prince) of Woodstock (1330 - 1376) (m), married Joan of Kent (1326/27 - 1385)
Isabella of England (1332 - c. 1382) (f), married Enguerrand VII de Coucy and Bedford (1340 - 1397)
Joan of England (1333-34 - 1348) (f), betrothed to Peter of Castile (1334 - 1369)
William of Hatfield (1337 - 1337) (m), never married
Lionel of Antwerp and Clarence (1338 - 1368) (m), married Elizabeth de Burgh and Ulster (1332 - 1363) and Philippa of Clarence and Ulster (1355 - 1382)
John of Gaunt and Lancaster (1340 - 1399) (f), married Blanche of Lancaster (1342 - 1368), Constance of Castile (1354 - 1394), and Katherine Swynford (c. 1350 - 1403)
Edmund of Langley and York (1341 - 1402) (m), married Isabella of Castile (1355 - 1392) and Joan Holland (c. 1380 - 1434)
Blanche (1342 - 1342) (f), never married
Mary of Waltham (1344 - 1361) (f), married John IV of Brittany (1339 - 1399)
Margaret of England and Pembroke (1346 - 1361) (f), married John Hastings of Pembroke (1347 - 1375)
Thomas of Windsor (1347 - 1348) (m), never married
William of Windsor (1348 - 1348) (m), never married
Thomas of Woodstock and Gloucester (1355 - 1397) (m), married Eleanor de Bohun (c. 1366 - 1399)

Richard II of Bordeaux (1367 - 1400, ruled 1377 - 1399)

Anne of Bohemia and Luxembourg (1366 - 1394, married 1382 - 1394), no children
Isabella of France and Valois (1389 - 1409, married 1396 - 1399), no children

House of Lancaster - 1399-1461

Henry Bolingbtoke IV (c. 1367 - 1413, ruled 1399 - 1413)

Mary de Bohun (c. 1369/70 - 1394, married 1381 - 1394)
Henry V of England and Monmouth (1386 - 1422) (m), married Catherine of Valois and France (1401 - 1437)
Thomas of Lancaster and Clarence (1387 - 1421) (m), married Margaret Holland (1385 - 1439)
John of Lancaster and Bedford (1389 - 1435) (m), married Anne of Burgundy and Bedford (1404 - 1432) and Jacquetta of Luxembourg and Bedford (1415/1416 - 1472)
Humphrey of Lancaster and Gloucester (1390 - 1447) (m), married Jacqueline of Hainaut and Holland (1401 - 1436) and Eleanor Cobham (c. 1400 - 1452)
Blanche of England and Lancaster (1392 - 1409) (f), married Louis III of Rhine (1378 - 1436)
Philippa of England and Lancaster (1394 - 1430) (f), married Eric of Pomerania (1381/82 - 1459)
Joan (Joanna) of Navarre (c. 1368 - 1437, married 1403 - 1413), no children
Various others (illegitimate)
Edmund Leboorde (1401 - 1419) (m), never married

Henry V of Monmouth (1386 - 1422, ruled 1413 - 1422)

Catherine of Valois and France (1401 - 1437, married 1420 - 1422)
Henry VI of England (1421 - 1471) (m), married Margaret of Anjou (1430 - 1482)

Henry VI of England (1421 - 1471, ruled 1422 - 1461)

Margaret of Anjou (1430 - 1482, married 1445 - 1471)
Edward of Westminster and Lancaster (1453 - 1471) (m), never married

House of York - 1461-1470

Edward IV (1442 - 1483, ruled 1461 - 1470)

*Elizabeth Woodville (1437 - 1492, married 1464 - 1483)
Elizabeth of York (1466 - 1503) (f), married Henry VII of England and Ireland (1457 - 1509)
Mary of York (1467 - 1482) (f), never married
Cecily Welles of York (1469 - 1507) (f), married John de Welles (c. 1450 - 1498)
Edward V of England (1470 - c. 1483) (m), never married
Margaret of York (1472 - 1472) (f), never married
Richard of Shrewsbury and York (1473 - c. 1483), never married
Anne Howard of York (1475 - 1511) (f), married Thomas Howard of Norfolk (1473 - 1554)
Goerge of York and Bedford (1477 - 1479) (m), never married
Catherine of York (1479 - 1527) (f), married William Courtenay of Devon (1475 - 1511)
Bridget of York (1480 - 1507) (f), never married
Elizabeth Wayte (unknown - unknown), unmarried)
Arthur Plantagenet (1461-1475 - 1542) (m), married Elizabeth Gray (1482/84 - 1525/26) and Honor Grenville (1493-5 - 1566)
Various others (illegitimate)
Elizabeth Plantagenet (c. 1464 - unknown) (f), married Thomas Lumley (unknown - unknown) (possibly daughter of Elizabeth Lucy)
Grace Plantagenet (unknown - unknown) (f), unknown

House of Lancaster (restored) - 1470-1471

Henry VI (1421 - 1471, ruled 1470 - 1471)

See previous

House of York (restored) - 1471-1485

Edward IV (1442 - 1483, ruled 1471 - 1483)

See previous

Edward V (1470 - c. 1483, ruled 1483)

Unmarried, no children

Richard III (1452 - 1485, ruled 1483 - 1485)

Anne Neville (1456 - 1485, married 1472 - 1485)
Edward of Middleham and Wales (c. 1473/76 - 1484) (m), never married
Various others (illegitimate)
John of Gloucester and Pontefract (c. 1468 - c. 1499) (m), unknown (possibly Alice Burgh or Katherine Haute's son)
Katherine Plantagent of Huntingdon (unknown - unknown) (f), unknown

House of Tudor - 1485-1553

Henry VII (1457 - 1509, ruled 1485 - 1509)

Elizabeth of York (1466 - 1503, married 1486 - 1503)
Arthur of Wales (1486 - 1502) (m), married Catherine of Aragon (1485-87 - 1536)
Margaret Tudor (1489 - 1541) (f), married James IV of Scotland (1473 - 1513)
Henry VIII of England (1491 - 1547) (m), married Catalina (Catherine) of Aragon (1485 - 1536), Anne Boleyn (c. 1501/07 - 1536), Jane Seymour (c. 1508 - 1537), Anna Von Kleve (Anne of Cleves) (1515 - 1557), Catherine (Katheryn) Howard (c. 1521 - 1542), and Catherine Parr (1512 - 1548)
Elizabeth Tudor (1492 - 1495) (f), never married
Mary Tudor (1496 - 1533) (f), married Louis XII of France (1462 - 1515) and Charles Brandon of Suffolk (c. 1484 - 1545)
Edmund Tudor of Somerset (1499 - 1500) (m), never married
Katherine (1503 - 1503) (f), never married
Various others (illegitimate)
Roland de Velville (1471-74 - 1535) (m), married Agnes Girffith (unknown - unknown)

Henry VIII of England (1491 - 1547, ruled 1509 - 1547)

Catalina (Catherine) of Aragon (1485 - 1536, married 1509 - 1533)
Henry of Cornwall (1511 - 1511) (m), never married
Mary Tudor I (1516 - 1558) (f), married Philip II of Spain (1527 - 1598)
Elizabeth 'Bessie' Blount (c. 1498/1500/1502 - 1540), unmarried
Henry FitzRoy of Richmond and Somerset (1519 - 1536) (m), married Mary Howard of Richmond and Somerset (1519 - 1557)
Anne Boleyn (c. 1501/07 - 1536, married 1533 - 1536)
Elizabeth I (1533 - 1603) (f), never married
Jane Seymour (c. 1508 - 1537, married 1536 - 1537)
Edward VI (1537 - 1553) (f), never married
Anna von Kleve (Anne of Cleves) (1515 - 1557, married 1540 - 1540), no children
Catherine (Katheryn) Howard (c. 1521-25 - 1542, married 1540 - 1542), no children
Catherine Parr (1512 - 1548, married 1543 - 1547), no children

Edward VI (1537 - 1553, ruled 1947 - 1553)

Unmarried, no children

Mary Tudor I (1516 - 1558, ruled 1553 - 1558)

Philip II of Spain (1527 - 1598, married 1554 - 1558), no children

Elizabeth I (1533 - 1603, ruled 1558 - 1603)

Unmarried, no children

House of Stuart - 1603-1649

James VI of Scotland and I of England (1566 - 1625, ruled 1603 - 1625)

Anne of Denmark (1574 - 1619, married 1589 - 1619)
Henry Fredrick of Wales (1594 - 1612) (m), never married
Elizabeth Stuart of Bohemia (1596 - 1662) (f), married Fredrick V of the Rhine (1596 - 1632)
Margaret Stuart (1598 - 1600) (m), never married
Charles I of England (1600 - 1649) (m), married Henrietta Maria of France (1609 - 1669)
Robert Bruce Stuart of Kintyre and Lorne (1602 - 1602) (m), never married
Mary Stuart (1605 - 1607) (f), never married
Sophia Rosula Stuart (1606 - 1606) (f), never married

Charles I (1600 - 1649, ruled 1625 - 1649)

Henrietta Maria of France (1609 - 1669, married 1625 - 1649)
Charles James of Cornwall and Rothesay (1629 - 1629) (m), never married
Charles II (1630 - 1685) (m), married Catherine of Braganza (1638 - 1705)
Mary Henrietta Stuart (1631 - 1660) (f), married William II of Orange (1626 - 1650)
James II of England and VII of Scotland (1633 - 1701) (m), married Anne Hyde (1637 - 671) and Maria Beatrice Eleanora Anna Margherita Isabella d'Este di Modena (Mary of Modena) (1658 - 1718)
Elizabeth Stuart (1635 - 1650) (f), never married
Anne Stuart (1637 - 1640) (f), never married
Catherine (1639 - 1639) (f), never married
Henry Stuart of Gloucester and Oatlands (1640 - 1660) (m), never married
Henrietta Anne (1644 - 1670) (f), married Philippe I of Orléans (1640 - 1701)

House of Stuart (restored)

Charles II (1630 - 1685, ruled 1660 - 1685)

Catherine of Braganza (1638 - 1705, married 1662 - 1685), no children

James II and VII of England and Scotland (1633 - 1701, ruled 1685 - 1688)

Anne Hyde (1637 - 1671, married 1660 - 1671)
Charles Stuart of Cambridge (1660 - 1661) (m), never married
Mary II (1662 - 1694) (f), married William Henry III and II of England and Scotland (1650 - 1702)
James Stuart of Cambridge (1663 - 1667) (m), never married
Anne of Great Britain (1665 - 1715) (f), married George of Denmark (1653 - 1708)
Charles Stuart of Kendal (1666 - 1667) (m), never married
Edgar Stuart of Cambridge (1667 - 1671) (m), never married
Henrietta (1669 - 1669) (f), never married
Catherine (1671 - 1671) (f), never married
Maria Beatrice Eleonora Anna Margherita Isabella d'Este di Modena (Mary of Modena) (1658 - 1718, married 1673 - 1701)
Catherine Laura (1675 - 1675) (f), never married
Isabel Stuart (1676 - 1681) (f), never married
Charles Stuart (1677 - 1677) (m), never married
Elizabeth (1678 - 1678) (f), never married
Charlotte Maria (1682 - 1682) (f), never married
James Francis Edward Stuart III and VIII (1688 - 1766) (m), married Maria Clementina Sobieska (1702 - 1735)
Louisa Maria Teresa Stuart (1692 - 1712) (f), never married

Mary II of England (1662 - 1694, ruled 1689 - 1694)

William of Orange III and II of England and Scotland (1650 - 1702, married 1677 - 1694), no children

William Henry (1650 - 1702, ruled 1689 - 1702)

*Mary II of England (1662 -1694, married 1677 - 1694), no children

Anne (1665 - 1714, ruled 1702 - 1707)

George of Denmark (1653 - 1708, married 1683 - 1708)
Mary (1685 - 1687) (f), never married
Anne Sophia (1686 - 1687) (f), never married
William of Gloucester (1689 - 1700) (m), never married
Mary (1690 - 1690) (f), never married
George (1692 - 1692) (m), never married

British Monarchs

Anne Stuart (1665 - 1714, ruled 1707 - 1714)

See previous

George Louis I (1600 - 1727, ruled 1714 - 1727)

Sophia Dorothea of Brunswick-Lünwberg-Celle (1666 - 1726, married 1682 - 1714)
George Augusutus II (1683 - 1760) (m), married Wilhelmina Charlotte Caroline Brandenburg-Ansbach (1683 - 1783)
Sophia Dorothea of Hanover (1687 - 1757) (f), married Frederick William I of Prussia (1688 - 1740)
Ehrengard 'Melusine' von der Schulenburg, of Kendal, and Munster (1667 - 1743), unmarried
Anna 'Louise' Sophia von der Schulenburg (1692 - 1773) (f), married Ernst August Philipp von dem Bussche-Ippenberg (unknown - unknown)
Petronilla 'Melusina' von der Schulenberg (1693 - 1778) (f), married Philip Dormer Stanhope of Chesterfield (1694 - 1773)
Margarethe Gertrud von Oeynhausen (1701 - 1726) (f), married Albrecht Wolfgang of Schaumburg-Lippe (1699 - 1748)

George Augustus II (1683 - 1760, ruled 1727 - 1760)

Wilhelmina Charlotte Caroline of Brandenburg-Ansbach (1683 - 1737, married 1705 - 1737)
Frederick Louis (1707 - 1751) (m), married Augusta of Saxe-Gotha-Altenburg (1719 - 1772)
Anne of Orange (1709 - 1759) (f), married William Karel Hendrik Friso IV of Orange (1711 - 1751)
Amelia Sophia Eleonore of Great Britain (1711 - 1786) (f), never married
Caroline Elizabeth (1713 - 1757) (f), never married
George William of Great Britain (1717 - 1718) (m), never married
William Augustus of Cumberland (1721 - 1765) (m), never married
Mary of Great Britain (1723 - 1772) (m), married Landgraf Friedrich II von Hesse-Kassel (1720 - 1785)
Louisa (Louise) of Great Britain (1724 - 1751) (f), married Frederick V of Denmark (1723 - 1766)

George William Frederick III (1738 - 1820, ruled 1760 - 1820)

*Sophia 'Charlotte' of Mecklenburg-Strelitz (1744 - 1818, married 1761 - 1818)
George Augustus Frederick (1762 - 1830) (m), married Caroline Amelia Elizabeth of Brunswick-Wolfenbüttel (1768 - 1821)
Frederick Augustus of York and Albany (1763 - 1827) (m), married Friederike Charlotte Ulrike Katharina (Frederica Charlotte) of Prussia (1767 - 1820)
William Henry IV (1765 - 1837) (m), married Adelaide Amelia Louise Theresa Caroline of Saxe-Meiningen (1792 - 1849)
Charlotte Augusta Matilda of Wüttemburg (1766 - 1828) (f), married Friedrich Wilhelm Karl I of Wuttenberg (1754 - 1816)
Edward Augustus of Kent and Strathearn (1767 - 1820) (m), married Marie Louise 'Victoria' of Saxe-Coburg-Saalfeld (1786 - 1861)
Augusta Sophia of the United Kingdom (1768 - 1840) (f), never married
Elizabeth of the United Kingdom (1770 - 1840) (f), married Fredrick IV of Hesse-Homburg (1769 - 1829)
Ernest Augustus of Hanover (1771 - 1851) (m), married Frederica Louise Caroline Sophie Alexandrina of Mecklenburg-Strelitz (1778 - 1841)
Augustus Frederick of Sussex (1773 - 1843) (m), married Augusta De Ameland (1761 - 1830) and Cecilia Underwood of Inverness (c. 1789 - 1873)
Adolphus Frederick of Cambridge (1774 - 1850) (m), married Augusta Wilhelmina Louisa of Hesse-Kessel (1797 - 1889)
Mary of Gloucester and Edinburgh (1776 - 1857) (f), married William Frederick of Gloucester and Edinburgh (1776 - 1834)
Sophia Matilda of the United Kingdom (1777 - 1848) (f), never married
Octavius of Great Britain (1779 - 1783) (m), never married
Alfred of Great Britain (1780 - 1782) (m), never married
Amelia of the United Kingdom (1783 - 1810) (f), never married

George Augustus Frederick IV (1762 - 1830, ruled 1820 - 1830)

Caroline Amelia Elizabeth of Brunswick-Wolfenbüttel (1768 - 1821, married 1795 - 1821)
Charlotte Augusta of Wales (1796 - 1817) (f), married Leopold I of Belgium (1790 - 1865)

William Henry IV (1765 - 1837, ruled 1830 - 1837)

Unknown (illegitimate)
William (before 1791 - 1807) (m), unknown
Dorethea Jordan (1761 - 1816), unmarried
George Augustus Frederick FitzClarence of Munster (1794 - 1842) (f), married Mary Windam (unknown - unknown)
Henry FitzClarence (1795 - 1817) (m), unmarried
Sophia Sidney de L'Isle and Dudley (1796 - 1837) (f), married Philip Charles Shelley Sidney de L'Isle and Dudley (1800 - 1851)
Mary Fox (1798 - 1864) (f), married Charles Richard Fox (1796 - 1873)
Frederick FitzClarence (1799 - 1854) (m), married Augusta Boyle (unknown - unknown)
Elizabeth Hay of Erroll (1801 - 1856) (f), married William George Hay of Erroll (1801 - 1846)
Adolphus FitzClarence (1802 - 1856) (m), never married
Augusta Gordon (1803 - 1865) (f), married John Kennedy-Erskine (unknown - unknown) and John 'Frederick' Gordon-Hallyburton (1799 - 1878)
Augustus FitzClarence (1805 - 1854) (m), married Sarah Gordon (unknown - unknown)
Amelia Cary of Falkland (1807 - 1858) (f), married Lucius Bentinck Cary (1803 - 1884)
Adelaide Amelia Louise Theresa Caroline of Saxe-Meiningen (1792 - 1849, married 1818 - 1837)
Charlotte Augusta Louisa of Clarence (1819 - 1819) (f), never married
Elizabeth Georgiana Adelaide of Clarence (1820 - 1821) (f), never married

Alexandrina 'Victoria' (1819 - 1901, ruled 1830 - 1901)

*Franz August Karl 'Albert' Emanuel (1819 - 1861, married 1840 - 1861)
Victoria Adelaide Mary Louisa of Germany and Prussia (1840 - 1901) (f), married Friedrich Wilhelm Nikolaus Karl III of Prussia (1831 - 1888)
Albert 'Edward' IV (1841 - 1910) (m), married Alexandra Caroline Marie Charlotte Louise Julia of Denmark (1844 - 1925)
Alice Maud Mary of the United Kingdom (1843 - 1878) (f), married Louis
Alfred Ernest Albert of Saxe-Coburg and Gotha (1844 - 1900) (m), married Maria Alexandrovna of Russia (1853 - 1920)
Helena Augusta Victoria of the United Kingdom (1846 - 1923) (f), married Frederick 'Christian' Charles Augustus of Schleswig-Holstein (1831 - 1917)
Louisa Caroline Alberta of Argyll (1848 - 1939) (f), married John George Edward Henry Douglas Sutherland Campbell of Argyll (1845 - 1914)
Arthur William Patrick Albert of Connaught and Strathem (1850 - 1942) (m), married Louise Margaret Alexandra Victoria Agnes (1860 - 1917)
Leopold George Duncan Albert of Albany (1853 - 1884) (m), married Helen Frederica Augusta of Waldeck and Pyrmont (1861 - 1922)
Beatrice Mary Victoria Feodore of the United Kingdom (1857 - 1944) (f), married Henry Maurice of Battenburg (1858 - 1896)

Albert 'Edward' (1841 - 1910, ruled 1901 - 1910)

Alexandra Caroline Marie Charlotte Louise Julia of Denmark (1844 - 1925, married 1863 - 1910)
Albert Victor Christian Edward of Clarence and Avondale (186 - 1892), never married
George Frederick Ernest Albert V (1865 - 1936) (m), married Victoria 'Mary' Augusta Louise Olga Pauline Claudine Agnes of Teck (1867 - 1953)
Louise Victoria Alexandra Dagmar of Fife (1867 - 1931) (f), married Alexander William George Duff of Fife (1849 - 1912)
Victoria Alexandra Olga Mary of the United Kingdom (1868 - 1935) (f), never married
Maud Charlotte Mary Victoria of Wales (1869 - 1938) (f), married Christian 'Haakon IV' Frederik Carl Georg Valdemar Axel of Norway (1872 - 1957)
Alexander John of Wales (1871 - 1871) (m), never married

George Frederick Ernest Albert V (1865 - 1936, ruled 1910 - 1936)

Victoria 'Mary' Augusta Louise Olga Pauline Claudine Agnes of Teck (1867 - 1953, married 1893 - 1936)
Edward Albert Christian George Andrew Patrick David VIII of Windsor (1894 - 1972) (m), married Bessie 'Wallis Simpson' Warfield of Windsor (1896 - 1986)
**Albert Frederick Arthur 'George' VI (1895 - 1952) (m), married Elizabeth Angela Marguerite Bowes-Lyon (1900 - 2002)
Victoria Alexandra Alice 'Mary' of Harewood (1897 - 1965) (f), married Henry George Charles Lascelles of Harewood (1882 - 1947)
Henry William Frederick Albert of Gloucester (1900 - 1974) (f), married Alice Christabel Montagu Douglas Scott of Gloucester (1901 - 2004)
George Edward Alexander Edmund of Kent (1902 - 1942) (m), married Marina of Greece, Denmark and Kent (1906 - 1968)
John Charles Francis of the United Kingdom (1905 - 1919) (m), never married

Edward Albert Christian Christian George Andrew Patrick David VIII of Windsor (1894 - 1972, ruled 1936-1936 (never crowned, abdicated)

Bessie 'Wallis Simpson' Warfield (1896 - 1986, married 1937 - 1972), no children

Albert Frederick Arthur 'George VI' (1895 - 1952, ruled 1936 - 1952)

Elizabeth Angela Marguerite Bowes-Lyon (1900 - 2002, married 1936 - 1952)
Elizabeth Alexandra Mary II (1926 - 2022) (f), married Philip Mountbatten of Edinburgh, Greece, and Denmark (1921 - 2021)
Margaret Rose of Snowdon (1930 - 2002) (f), married Antony Charles Robert Armstrong-Jones of Snowdon (1930 - 2017)

Elizabeth Alexandra Mary II (1926 - 2022, ruled 1952 - 2022)

**Charles Philip Arthur George III (1948) (m), married Diana Frances Spencer of Wales (1961 - 1997) and Camilla Rosemary Parker Bowles (1947)
Anne Elizbeth Alice Louise (1950) (f), married Mark Anthony Peter Philips (1948) and Timothy James Hamilton Laurence (1955)
Andrew Albert Christian Edward of York (1960) (m), married Sarah Margaret Ferguson of York (1959)
Edward Antony Richard Louis of Wessex (1964) (m), Sophie Helen Rhys-Jones of Wessex (1965)

Charles Philip Arthur George (1948, ruled 2022 onwards)

Diana Frances Spencer of Wales (1961 - 1997, married 1981 - 1996)
William Arthur Philip Louis (1982) (m), married Catherine 'Kate' Elizabeth Middleton of Windsor (1982)
Henry 'Harry' Charles Albert David (1984) (m), married Rachel 'Meghan' Markle of Sussex (1981)
Camilla Rosemary Parker Bowles of the United Kingdom (1947, married 2005), no children

Fixtures

Scottish Cup Qualifying

Friday 26 August

Time	Home	v	Away	Extra info
FT	Syngenta	1 - 0	Threave Rovers

Saturday 27 August

Time	Home	v	Away	Extra info
FT	Clydebank	4 - 1	Bonnyton Thistle
FT	Rutherglen Glencairn	2 - 2	Kilwinning Rangers
	Tower Hearts	v	Cumnock	Match cancelled
FT	Drumchapel United	3 - 0	Easthouses Lily
FT	Penicuik Athletic	0 - 1	Musselburgh Athletic
FT	Whitehill Welfare	1 - 4	Camelon Juniors
FT	Auchinleck Talbot	7 - 0	Coldstream
FT	Broxburn Athletic	3 - 0	Blackburn United
FT	Burntisland Shipyard	1 - 5	Lothian Thistle Hutchison Vale
FT	Carnoustie Panmure	1 - 1	Hawick Royal Albert
FT	Dalkeith Thistle	1 - 3	Lochee United
FT	Dundonald Bluebell	3 - 1	Tayport
FT	Fort William	0 - 4	Benburb
FT	Haddington Athletic	1 - 3	Darvel
FT	Invergordon	1 - 5	Newtongrange Star
FT	Irvine Meadow XI	1 - 1	Hill Of Beath Hawthorn
FT	Linlithgow Rose	9 - 0	St Cuthbert Wanderers
FT	Pollok	6 - 0	Girvan
FT	Preston Athletic	0 - 1	Newton Stewart
FT	Sauchie Juniors	4 - 2	St Andrew's
FT	Vale of Leithen	0 - 2	Dunbar United
FT	Wigtown & Bladnoch	0 - 12	Dunipace
FT	Glasgow University	2 - 0	Golspie Sutherland

Scottish Championship

Friday 26 August

Time	Home	v	Away	Extra info
FT	Ayr United	3 - 1	Dundee	Akinyemi (17', 67'), Houston (62'); Rudden (4')

Saturday 27 August

Time	Home	v	Away	Extra info
FT	Hamilton Academical	1 - 0	Arbroath	Lawson (58' pen)
FT	Inverness CT	0 - 1	Greenock Morton	Gillespie (85' pen)
FT	Partick Thistle	2 - 1	Raith Rovers	Tiffoney (3'), Lawless (42'); Ross (43')
FT	Queen's Park	2 - 1	Cove Rangers	Murray (45' pen, 64'); McIntosh (65')

Scottish Premiership

Saturday 27 August

Time	Home	v	Away	Extra info
FT	Aberdeen	5 - 0	Livingston	Miovski (42' pen, 63'), McCrorie (58'), Besuijen (62' pen), Duncan (86')
FT	Kilmarnock	2 - 1	Motherwell	Armstrong (71'), Taylor (76'); van Veen (14')
FT	Rangers	4 - 0	Ross County	Lundstram (24'), Colak (39', 58'), Davis (80')
FT	St Mirren	1 - 0	Hibernian	Baccus (6')

Sunday 28 August

Time	Home	v	Away	Extra info
FT	Dundee United	0 - 9	Celtic	Furuhashi (15', 40', 45'+2), Neves Filipe (45'+6), Abada (50', 59', 77'), Juranovic (55'), Starfelt (81')
FT	Heart of Midlothian	3 - 2	St Johnstone	Rowles (25'), Boyce (31'), Shankland (81' pen); Carey (6'), Considine (54')

Scottish League One

Saturday 27 August

Time	Home	v	Away	Extra info
FT	Alloa Athletic	5 - 0	Peterhead	Sammon (1', 52'), Stanger (13'), Rodden (37'), Rankin (90'+1)
FT	Dunfermline	1 - 1	Airdrieonians	Todorov (68'); Frizzell (78')
FT	Falkirk	3 - 1	Queen of the South	Morrison (12'), Alegría (29'), Lawal (83'); Paton (61' pen)
FT	FC Edinburgh	2 - 0	Clyde	See (15'), Robertson (61')
FT	Montrose	3 - 0	Kelty Hearts	Waddell (31'), McAllister (51'), Rennie (90'+2)

Scottish League Two

Saturday 27 August

Time	Home	v	Away	Extra info
FT	Albion Rovers	2 - 2	Annan Athletic	Fernie (23'), Reilly (90'+1 pen); Goss (36' pen), Luissint (90'+2)
FT	Bonnyrigg Rose	1 - 0	Stirling Albion	Martyniuk (13' pen)
FT	Dumbarton	2 - 1	Elgin City	Love (51' pen, 54' pen); Hester (27')
FT	Forfar Athletic	1 - 2	Stenhousemuir	Nditi (89'); Jamieson (20'), Sewell (42')
FT	Stranraer	2 - 2	East Fife	Woods (15'), Watt (33'); Schiavone (22'), Healy (90'+4)

Following the success of our first-ever "test" fantasy MLR league that was limited to 8 league members, we wanted to get more people involved and have created our "Fantasy MLR Playoff Challenge" for ANYONE interested in getting a feel for fantasy rugby in the MLR!
Assemble a fantasy lineup and see where you stack up, among our current league members and the rest of the Major League Rugby community! Spread the word and help make fantasy rugby a reality in the MLR! We already have a bunch of submissions and want to keep #TheFantasyRuckersPlayoff Challenge growing!
How does it work? (It's quick and easy!)

• Participants will have a $15 budget to assemble a 5 man squad that consists of MLR players competing in the playoffs
• The 5 positions include: Front-row, Second-row/Back-row, Scrum-half/Fly-half, CenteBack-three, Team Set-piece
• Players at each position will vary from $1 to $5 in value based on their 2022 final regular season fantasy ranking
• Participants will select one player from each position while staying within the $15 budget
• Fantasy points will be tallied (based on our 2022 fantasy season scoring settings) throughout the playoffs
• "Survivor-style" Format - No changes once a lineup is submitted. (If a player's team gets eliminated, they will no longer earn anymore points.)
• Participant's lineup with highest total fantasy points tallied after the entire MLR Championship series wins!
• Submit your lineup (1 per participant) by either sending us a DM on Reddit, Discord or our other social media accounts (@TheFantasyRuckers) OR tag us on socials and use #TheFantasyRuckersPlayoffChallenge.
• SUBMISSION DEADLINE: Saturday June 11, 2022 @ 8:30pm EST
• For more details and to chat with other participants you can join our Discord Channel: https://discord.gg/mNeCxC6P9r
• Results will be updated on our Discord AND social media...may the best fantasy MLR player win!
• WINNER of the challenge will get to come on our weekly fantasy MLR podcast, "The Fantasy Ruckers Show", to boast about their fantasy MLR superiority and talk fantasy rugby with our hosts!

Scoring
Try = 5pts Try distance = 0.1pts/m Try Assist = 2pts Conversion = 1pt Penalty/Drop-goal = 1.5pts Yellow Card = -4pts Red Card = -8pts Offensive Bonus Point = 1pt Defensive Bonus Point = 1pt
Available Players:

• positions are based on our fantasy league's final player position eligibility
• Due to Reddit formatting, the chart below is a little messy so...we created google sheet that is accessible to everyone that also includes the values: https://docs.google.com/spreadsheets/d/168txHfhVObzXIPLllcu_rBy3ZuaVFMcynBz6DcQ7kiU/edit?usp=sharing

Front-Row

$5	$4	$3	$2	$1
Dean Muir / Marko Janse van Rensburg	Alex Maughan / Peter Malcolm / Dylan Fawsitt	Kalolo Tuiloma / Kaleb Geiger / Pieter Janson / Tiaan Erasmus / Mills Sanerivi	James Malcolm / Matt Moulds / Mzamo Majola / Sam Matenga / Hencus van Wyk	Juan Pablo Zeiss / Foster Dewitt / Axel Zapata / Q. Newcomer / Wilton Rebolo / C. Wenglewski / Kyle Ciquera / JR Jenkinson / Dewald Donald / Tim Metcher / Chris Baumann / Joe Walsh / J. Hilterbrand / Nathan Sylvia / Aaron Mitchell / Diego Fortuny / Pono Davis / Alex McDonnell / Alex Johnston / Erich de Jager / Spencer Krueger / Tevita Sole / John Sullivan / J. Petrakopoulas / Lincoln Sii / W. Groenewald / Nic Mayhew / Zak Taulafo / Sakaria Taulafo / Peter Reyes / Pat Lynott / Thomas Reyes / Matt Duncan / Mike Brown / Taniela Tupou / Steven Hinshaw / Nicolas Solveyra / Kellen Gordon / Frikkie de Beer / Will Burke / Paddy Ryan

Second-Row / Back-Row

$5	$4	$3	$2	$1
Riekert Hattingh	Slade McDowall / Gideon van Wyk / Johan Momsen / Brendan O'Connor / Ben Mitchell	Connor Cook / Matt Heaton / Martini Talapusi / Danny Barrett Joe Johnston / Daemon Torres / Tevita Tameilau	Kara Pryor / Michael Smith / Vili Helu / Ben Grant / Will Tucker / Dan Pryor / Willie Britz / B. Bonasso / Wian Conradie / Rhyno Herbst / Justin Basson	Nakai Penny / Rohan O'Regan / Andrew Duratalo / Chris Turori / Cam Davidowicz / Terrell Peita / Nick Civetta / Chris Robshaw / Josh Larsen / Conor Keys / Pago Haini / R. O'Gorman / Ben Landry / J. Bezuidenhout / W. Grassmann S. van den Hoven / Charlie Hewitt / Nate Brakeley / Jason Damm / M. Redelinghuys / Malon Al-Jiboori / Evan Mintern / Ross Deacon / Antonio Kiri Kiri / Travis Larsen Siaosi Mahoni / Joe Railala / Tommy Clark / Emmanuel Albert / Will Crawford / Ishmail Shabazz / Setefano Funaki / Joe Basser / Javon Camp / Keni Nasoqeqe / Victor Comptat Brad Tucker / Justin Johnson / Ethan Fryer / F. Henry-Ajudua / A. Oiyemhonlan / Derek Broussard / Dom Iacovino / J. Dietenberger / Jesse Parete / Samu Manoa / M. Naromaitoga

Scrum-half / Fly-half

$5	$4	$3	$2	$1
Beaudein Waaka / AJ Alatimu	David Coetzer / Jack Heighton / Jason Higgins / Dillon Smit / Kurt Coleman /	Sam Windsor / JP Smith / John Poland / Will Hooley /	Nate Augspurger / D. van Schalkwyk Kian Meadon / Zach Pangelinan / Conor McManus / Andy Ellis	Ryan Rees / Zach Bestres / Kieran Joyce / Connor Buckley / Rowan Gouws / Reid Watkins / Harrison Boyle / Patrick Madden / Holden Yungert / Josh Henderson / E. Matthews / Trace Bolstad / Sean Yacoubian / Marcus Tupuola / Nico Gilli / Juan Mostert / Jared Whippy

Centre / Back-Three

$5	$4	$3	$2	$1
Ed Fidow Joe Pieterson	Mitch Wilson / Le Roux Malan / Joaquin de la Vega Mendia / Martin Iosefo / T. Waitokia / L. van der Schyff / Ross Neal / Christian Dyer / Matias Freyre / Waisake Naholo / Nehe Milner-Skudder	Andrew Coe / Paula Balekana / Tavite Lopeti / D. Matthews / Will Leonard / Bjorn Basson	W. van der Bank / Fa'asiu Fuatai / Jason Emery / Dan Kriel / Lauina Futi / Thomas Aoake / Ryan Matyas / Austin White / Thomas Morani / Harry Barlow / Matai Leuta / Kian Meadon / Nick Boyer / Dougie Fife / Jax Hidalgo / Robbie Povey	Troy Lockyear / Mat Turner / Kainoa Lloyd / Marcos Moroni / Harley Davidson / Ryan Nell / Marcell Muller / Ma'a Nonu / Tiaan Loots / G. Labuschagne / Quinn Ngawati / David Busby / Kisi Unufe / N. Tuamoheloa / George Barton / Cole Davis / Jack Reeves / Mika Lomano / Isaac Olson / A. Cakaubalavu / Josh Thiel / Juan Mostert / Lopeti Aisea / Darrell Williams / Tai Enosa / Cole Zarcone / John Powers

Team Set-Piece / Bonus Point

$5	$4	$3	$2	$1
		Rugby ATL / Rugby NY	NE Free Jacks / HOU SaberCats	SD Legion / SEA Seawolves

Best of luck to everyone who joins! Can't wait to see who and what lineup build comes out on top! And let's keep on trying to make fantasy rugby a reality in the MLR!

Venue: Veterans Memorial Stadium, Quincy, MA Weather: 78 F, 25 C, Clear Sky
Broadcast: The Rugby Network, NBC Sports Boston
Kickoff: 7pm ET, 4pm PT

Atlanta	Number	New England
Will Burke	1	Kyle Ciquera
Marko Janse van Rensburg	2	Pieter Jansen
John-Roy Jenkinson	3	Erich de Jager
Evan Mintern	4	Josh Larsen (c)
Johan Momsen	5	Stan van den Hoven
Connor Cook	6	Jesse Parete
Matt Heaton (c)	7	Slade McDowall
Jason Damm	8	Wian Conradie
Rowan Gouws	9	John Poland
Kurt Coleman	10	Beaudein Waaka
Cole Davis	11	Paula Balekana
Will Leonard	12	Le Roux Malan
Te Rangatira Waitokia	13	Wayne van der Bank
Harley Davidson	14	Mitch Wilson
Joaquín de la Vega Mendía	15	Dougie Fife
Reserves		Reserves
Tiaan Erasmus	16	Mills Sanerivi
Alex Maughan	17	Alex Johnston
Lincoln Sii	18	Spencer Krueger
Conor Keys	19	Cam Davidowicz
Vili Helu	20	Joe Johnston
Ryan Rees	21	Holden Yungert
Duncan van Schalkwyk	22	Jack Reeves
Ryan Nell	23	Harrison Boyle

Referee: George Selwood (England)
Assistants: Lex Weiner (USA) & Nick Tricarico (USA)
TMO: Davey Ardrey (USA)

Act 1.2 - Macbeth At the start of the play, Macbeth is presented as an archetypal hero; he appears courageous and brave as he loyally fights to preserve King Duncan’s power and prestige. Shakespeare employs a range of adjectives to present Macbeth as a virtuous and gracious soldier as we are introduced to him as “Brave Macbeth” and “Noble Macbeth.” The sense of admiration given to Macbeth at this point gives the suggestion that Macbeth is a truly valiant man willing to risk his own life for his King and country. We are also introduced to his violent nature when we realise that he has been awarded the description of “brave” due to his ruthless killing of the “Merciless Macdonald” whom he “sliced from the nave to the chops” like “Bellona’s Bridegroom” Arguably, Shakespeare's reference to the Roman Goddess of war, and the use of such violent imagery, suggests that Macbeth was born a fierce warrior with no fear of death and therefore this brutal murder may be seen to foreshadow Macbeth’s later behaviour. However, it is clear that, at this point in the play, Macbeth’s violence is motivated by loyalty towards the King, a man whom he is in “double trust”, rather than a manic desire for power as seen later when his ambition develops. The use of such admirable adjectives such as “brave” and “noble” suggests that Macbeth is respect by all for his courageous acts and this further invites audience to hold Macbeth in high esteem at the offset of the play. This would be particularly true to those watching the play within the Jacobean era when, given the strong belief in the Divine Right of Kings, and the understanding that the monarchy was of equal to the power to God, any man who was willing to fight to protect his King would be praised for his bravery.
Act 1.3 - Macbeth as the play begins to develop, Macbeth’s conflicted nature begins to become clear, and the audience observes his emotions rapidly fluctuating between fear and ambition. After hearing that he will become “King hereafter”, Macbeth appears elated at the prospect of reaching “success” yet still is terrified of the consequences of any potential actions. Shakespeare utilises a metaphor to illustrates the physical impact of Macbeth’s fear as Macbeth exclaims that the witches prophecy “makes my seated heart knock at my ribs.” This highlights that Macbeth has been overtaken by a sense of anxiety as his heart begins to beat excessively at the mere prospect of following his desire for Kingship. At this point, we see that Macbeth’s rational understanding of social order, and his need to protect the King, is greater than his want for power as even the thought of contemplating killing King Duncan brings his great distress, impacting not only his mental capacity but his entire physicality. Given his overwhelming sense of fear, Macbeth decides to leave his success to fate and says “chance may crown me” and thus we see a stark difference to his character later, as he becomes a megalomaniac without a moral compass driven only by “vaulting ambition”. The juxtaposition between “seated”, meaning still, and “knock” highlights the sudden change within Macbeth – his fear has overtaken his body quickly at the slightest suggestion of acting in a immoral and unnatural way. The metaphor would make a Jacobean audience relate to Macbeth’s fear; during this religious beliefs were held strongly and regicide was the greatest sacrilege of all. The fatal punishment for acting against the King was widely known and so all audience members would understand Macbeth’s anxiety for his “deepest desires” and would understand why he would want “stars to hide their fires” so his yearning for power would be hidden from all – including God.
Act 1.7 - Macbeth as the play reaches its first climactic event, and the murder of King Duncan, we see Macbeth begin to transition from a man of fear to a man of ambition. Within Act 1 scene 7, Macbeth – having been manipulated and emasculated by the words of Lady Macbeth- begins to contemplate the reality of killing his King. At the start of this critical soliloquy, Macbeth appears to remain loyal to King Duncan, reminding us that he “should against his murderer shut the door” suggesting that Macbeth’s sense of devotion towards, and desire to protect, the King is greater than his yearning for power or success because he appears to feel guilty at even the thought of hurting someone so innocent that “his virtues would plead like angels.” Shakespeare also alludes to Macbeth’s internal fear of retribution, employing a metaphor to suggest that it is not only loyalty, but fear that is kerbing Macbeth’s ambition. He exclaims that he is worried that his actions may return to “plague th’ inventor” and see “this poisoned chalice” come to his “own lips” and shows that he is desperately afraid of the fatal consequences of committing regicide. Arguably, at this point, Macbeth can be seen as weaker than Lady Macbeth who appears to be devoid of fear and even shows her distaste for Macbeth’s concerns, dismissing his nature and suggesting that he “is too full of the milk of human kindness” and should “leave all the rest” to her. The biblical reference to “plague” highlights that Macbeth is not only afraid of the punishment he will face upon Earth but is terrified of how he will be punished by God for committing such a heinous sin. However, it soon becomes clear that Macbeth’s fear is not enough to restrict his desire for success and, at the end of the soliloquy, Shakespeare uses a metaphor to show the force of Macbeth’s true craving for power. He confesses that he has “vaulting ambition” and this alludes to the notion, that despite Macbeth’s attempt at thinking rationally, ultimately his ambition was too great because it could not be controlled. This marks the start of his transition towards becoming a tragic hero and we see him start to become a man destroyed by his fatal flaw – his ambition. This soliloquy would encourage the audience to start to fear Macbeth as during the Jacobean era regicide was the greatest sacrilege as Kings were seen as equal to God and thus any harm done against them was punishable by certain death.
Act 2.1 - Macbeth After the murder of King Duncan, Macbeth appears destroyed by his remorse. Shakespeare uses exclamatory sentences and a metaphor to show that Macbeth has rapidly fallen into guilt ridden insanity. He returns from the murder appearing erratic and agitated as he exclaims “Sleep no more! Macbeth doth murder sleep!” This illustrates that Macbeth is instantly struck by remorse because he appears to immediately acknowledge that there will be devastating consequences to his evil actions. This also shows that Macbeth has realised that, in killing a vulnerable innocent man in the depth of sleep, he will be punished by insomnia and that he cannot even “say Amen” to bring him peace. It becomes clear to the audience that Macbeth’s mentality is at question and we become aware that he is slipping rapidly into guilt ridden insanity as his conscience will not let him rest rather keeps him awake to repeatedly suffer the consequences of his deeds. At this point, we see a disparity between the guilt of Macbeth and the heartlessness of Lady Macbeth who simply states “ a little water clears us of this deed” illustrating that she does not feel any remorse for their murderous acts. The symbolism of sleep repeatedly links to feelings remorse and it is later in the play, when Macbeth has lost all sense of guilt and is firmly presented as a megalomaniac, that Lady Macbeth is tainted by guilt and her sleep is destroyed by her hallucinations. Returning back to Act 2 scene 2, the suggestion that Macbeth will “sleep no more” is exaggerated by the use of exclamation mark and we see the anxiety that begins to overwhelm Macbeth as he realises he has “murdered” all that is good and peaceful in the world. The use of metaphor would frighten a Jacobean audience as Macbeth appears possessed by insanity at this point and during this era there was a great fear of the supernatural and madness would often be seen as satanic or as being brought on by witchcraft.
Act 3.2 - Macbeth as the play continues, Macbeth’s “vaulting ambition” only continues to flourish. He slips deeper into becoming a megalomaniac who has lost all moral compass. Driven by a fear brought on by the witches prophecies, Macbeth decides to kill Banquo and Shakespeare uses a metaphor to show Macbeth’s growing anxieties. He states that “our fears in Banquo stick deep” highlighting that he cannot enjoy his success whilst being aware that Banquo may take his power away from him. Arguably, the use of inclusive pronoun in “our” is ironic as, at this point, Macbeth is no longer including Lady Macbeth in his plans – she remains at ease following the murder of King Duncan and is not destroyed by insanity like her husband. Therefore, Macbeth is making decisions regarding the future of their power alone and they no longer appear to be united, if anything their relationship is growing increasingly tenuous and disjointed. This also alludes to the notion that Macbeth has lost all sense of morality and is willing to kill a man who was once his best friend in the interest of maintaining his power. Therefore, we see that ambition has overtaken his moral compass – something that is later exaggerated as he orders murderers to “seize upon Fife” and kill the innocent Macduff family. This scene further suggests that Macbeth sees his success as futile whilst he is at risk of losing it to another; he comments on how he wears a “fruitless crown” and carries and “baron sceptre” and we see that he is not enjoying his power but is plagued by his desire for greater control and success. The idea that his “fears” stick “deep” illustrates how overpowering his anxiety is and further illustrate his journey towards ultimate downfall as it becomes clear that he is almost cursed by his ambition and it is slowly destroying him. At this point, a Jacobean audience would fear Macbeth’s villainous behaviours, as given the strong Christian beliefs held by the public, the audience would perceive Macbeth as an evil man who would soon be punished by God.
Act 3 scene 4, Macbeth appears destroyed by guilt and Shakespeare utilises an imperative verb to show Macbeth’s desperation and mental torment. Upon hallucinating and envisioning Banquo’s ghost he screams “never shake thy gory locks at me” suggesting that he has become haunted by his own guilt as he feels he cannot escape the consequences of his actions. We also see that Macbeth’s mental state is deteriorating quickly and he is no longer the valiant and “brave” man he was at the start of the play. Furthermore, it becomes clear that Macbeth’s mental instability is driving a division between himself and Lady Macbeth who visibly is disgusted by his overt display of madness and questions his masculinity asking “ are you a man?” The use of bloody imagery and the idea that Banquo is “bloody” suggests that Macbeth is tortured by his guilt and cannot escape the vision of his friend being killed. However, it is important to note that Macbeth’s guilt is not strong enough to kerb his violent behaviours and indeed at the end of the act he confesses that he plans on continuing his merciless acts because he thinks that “”we are yet but young in deed” showing this ultimately his ambition is far stronger than any sense of remorse. The use of imperative verb shows Macbeth’s desperation for Banquo to “Avaunt!” and “quit [his] sight” and in turns illustrates that Macbeth is slowly falling closer towards ultimate destruction. This may provide the audience with a sense of satisfaction as during the Jacobean era regicide was the greatest sacrilege and so the audience may be relieved to see Macbeth suffer a sense of retribution and suffer the consequences of his tyrannous actions.
Act 4.1 - Macbeth Following the murder of Banquo, Macbeth becomes an even greater megalomaniac. Shakespeare uses imperative verbs to show Macbeth’s desperation to maintain his power at all costs. Macbeth tells hired murderers to “Seize upon Fife” and “give the edge of the sword his wife, his babes” after hearing from the witches that he should “Beware Macduff.” At this point, we see that Macbeth no longer has any sense of moral compass because he is even willing to kill innocent “babes” in order to demonstrate his might and power. We also see that Macbeth has become a violent tyrant and is no longer the “brave” and “noble” man he once was because he does not have any loyalty left – he has simply been destroyed by his “vaulting ambition”. Arguably, we may see the influence of Lady Macbeth’s violent tendencies over Macbeth’s actions as earlier in the play Lady Macbeth commented that she was so full of “direst cruelty” that she would “pluck” a baby from her nipple and “dash the brains out.” We also see a sense of desperation in Macbeth to keep his power because he is afraid that it could be lost; leaving him with no more than a “fruitless crown.” We begin to truly acknowledge that Macbeth is becoming even more of a tragic hero – his downfall seems inevitable because it is clear that he is acting irrationally and is driven by ambition rather than morality or rational thought. A Jacobean audience would fear Macbeth’s murderous intent at this point and would be hoping that he would face retribution in the final act as during this time murder – and most notably regicide – was seen as the ultimate sacrilege.
Act 5.5 - Macbeth After hearing about the death of Lady Macbeth, Macbeth seems to have a momentary existential crisis. Shakespeare uses a metaphor to show that Macbeth has acknowledged the futile nature of power and at this point his ambition seems fleeting. He comments that “life is but a walking shadow.” Here, Macbeth realizes that his existence is now pitiful because from the moment he decided to kill King Duncan to the moment when his beloved wife killed herself, has been consumed by his reckless “vaulting ambition”. This directly shows the damaging power of ambition because he appears weak and ultimately destroyed by his fatal flaw. We see that Macbeth is beginning to accept that if he had been content with his previous title, which was prestigious enough, a host of tragedy would have been avoided. Macbeth comments that life is now “devoid of meaning” suggesting that he has been overtaken by a sense of hopelessness not previously seen within the play. This scene seems to be juxtaposed to the majority of the play - in which Macbeth is presented as a megalomaniac desperate for more and more power – because it is the only moment in which Macbeth appears to see his power as futile realising that, even as king he is no more than a “poor player who struts and frets his hour upon the stage” as death is inevitable and will eventually overpower all – regardless of status or stature. A Jacobean audience would be relieved to see some sense of remorse from Macbeth but may be surprised to see a King question their existence as there was a strong belief in the Divine Right of Kings – a belief that meant that people saw Kings as equivalent to God and so it would be unusual to see such a visible display of weakness from someone in power.
Act 5.5 - Macbeth Despite his momentary existential crisis, Shakespeare ensures that Macbeth ends up a tragic hero destroyed by his own fatal flaw – his ambition. Shakespeare uses a metaphor to show that Macbeth’s ambition has destroyed all sense of rationality and is unable to acknowledge that he is in danger now that Macduff and the English army are approaching. He exclaims that “the heart I bear shall never sag with doubt or fear” suggesting that he is so consumed by his “vaulting ambition” that he “cannot taint with fear” because he will not allow himself to be destroyed by panic or fright. Once the army eventually arrive, Macbeth quickly descends into a “confident tyrant” who refuses to accept that death is a possibility because he has been so manipulated by the witches prophecy that “no man born of woman shall harm Macbeth.” As the play reaches its final climax, we truly acknowledge Macbeth’s transition from an archetypal “brave” hero to a tragic hero destroyed by ambition. N Act 5 scene 8, Shakespeare shows that Macbeth refuses to admit defeat despite the inevitably of his death and decides to fight to the end as he will “not yield to kiss the ground at young Malcom’s feet” and forfeit his position as King. Therefore, this suggests that – for Macbeth – ambition and power is of greater value than even life itself and he seems almost fearless at the prospect of his unavoidable death. A Jacobean audience would be relieved to see Macbeth’s fatal retribution and arguably, would begin to see the play as a cautionary tale. Indeed, Shakespeare wrote Macbeth, in part, to illustrate the destruction brought about by challenging or questioning your position within The Great Chain of Being.
Act 1.5 - Lady Macbeth Lady Macbeth is first introduced to the audience within Act 1 scene 5. when she instantly is perceived as vindictive woman who craves power and control. Shakespeare employs imperative verbs to illustrate Lady Macbeth’s desperation and desire for supremacy; she demands for “spirits who tend on mortal thoughts” to “unsex” her and fill her with “direst cruelty.” Within this, her sense of powerlessness is apparent; it is only through her femininity being removed that Lady Macbeth believes that she will have the strength to commit the murder of Duncan and full fill her ambition. This highlights the notion that Lady Macbeth feels limited by her gender but that her desire for power is overwhelming – she needs the “spirits” to empower her and remove the boundaries of her gender. The use of imperative verbs exaggerates her desperation and illustrates the strength of her desires as it appears as though she is demanding urgently – she appears frantic and distressed. Furthermore, the use of the superlative “direst” alludes to the suggestion that Lady Macbeth wants to be thoroughly evil; she wants all sense of morality to be stripped from her soul and for malicious intent to fill her “from the crown to the toe top full.” Lady Macbeth’s desire for power is also evident later in the scene as Shakespeare uses juxtaposition to illustrate Lady Macbeth’s hope to remove all maternal instinct from her being. She demands that the spirits “take [her] milk for gall.” Here, it is evident that Lady Macbeth wants to be consumed by destructive power and for her motherly kindness to be brutally removed. Thus, there is the indication that once again Lady Macbeth craves power but perceives her femininity as a barrier to success and control. A Jacobean audience would be horrified by such a display from a woman as it is evident that Lady Macbeth contests the gendered expectations of Jacobean as she is presented as inherently evil and destructive as opposed to showing the pure, chaste and delicate characteristics expected of women.
Act 1.5 - Lady Macbeth as Act 1 scene 5 develops, and Macbeth returns to their home, Lady Macbeth’s dominance over her husband becomes evident. She is obviously concerned that Macbeth is “too full of the milk of human kindness” to kill King Duncan without persuasion and manipulation. Shakespeare uses a metaphor and imperative verb to show that Lady Macbeth is instructing Macbeth to be deceptively malevolent and appear “fair” but in fact be “foul”; she believes that he should use his respected position as a “brave” and loyal solider to lure Duncan into a false sense of security before inflicting harm upon him. This suggests that Lady Macbeth is the dominant force within the relationship, and arguably suggests that she is the catalyst for the evil acts within the play as she encourages Macbeth’s transition from an archetypal hero to a melomaniac and tragic hero. Moreover, we see Lady Macbeth as an assertive character who seems devoid of emotion or concern; Lady Macbeth herself does not hide her feelings in the same way that Macbeth does. She is not rapt in wonderment, simply practical. The short sentence used in the last line of the scene, "Leave all the rest to me," is quite modern in its tone. With this blunt and chilling imperative, Lady Macbeth asserts her power over Macbeth and forces her husband into the passive role of accomplice. The use of the pronoun “me” highlights that Lady Macbeth perceives herself as responsible for the success of her malevolent plan because she clearly is disgusted by Macbeth’s “kindness” which she sees a weakness that will restrict them from achieving her ambition. At this point, a Jacobean audience would be horrified to see a woman question their position within the Great Chain of Being and demonstrating values so at odds with the Christian beliefs prevalent during the era.
Act 2.1 - Lady Macbeth After the murder of King Duncan, Lady Macbeth’s lack of remorse appears chilling to the audience and we begin to truly acknowledge her malevolence. Whilst Macbeth is concerned that even all of “Neptune’s Ocean” wouldn’t be able to wash away his sin, Shakespeare uses an assertive short sentence to present Lady Macbeth and cold, heartless and dismissive. She states that “a little water clears us of this deed” suggesting that she does not feel any guilt for her involvement in the deed and in fact perceives it as a small inconvenience that can easily be rectified and forgotten. Lady Macbeth also appears exasperated by Macbeth’s visible guilt and his concern that “Macbeth hath murdered sleep” because she sees remorse as a sign of weakness and wishes that he would accept that “what’s done is done” There is an evident irony employed my Shakespeare here, as by the end of the play, through the use of structural mirroring, it becomes clear that even Lady Macbeth cannot escape the grips of guilt ridden insanity and begins to hallucinate – seeing blood on her hands and realising that “what's done cannot be undone.” Returning back to Act 2, the adjective “little” highlights Lady Macbeth’s dismissive attitude because she appears to see the act of murder as something that is almost insignificant – something that should not leave them “poorly” in their “thoughts”. Here, the use of short sentences would horrify a Jacobean audience as given the strong Christian beliefs prevalent within the country, murder – and most importantly regicide- was seen as the ultimate sin and sacrilege.
Act 5.1 - Lady Macbeth as the play develops, Lady Macbeth transitions from a woman driven by a malevolent desire for power to a weak character plagued by guilt. Shakespeare uses an imperative verb and exclamatory sentence to show that Lady Macbeth has fallen into guilt ridden insanity and is suffering a powerless demise after being destroyed by her ambition. In Act 5 scene 1, she shouts “Out damned spot!” as she hallucinates and sees herself as tainted by blood. Here, her imagined blood can be seen as symbolic of her new sense of remorse; the signs of red cannot be removed just like her acts that “cannot be undone”. Her agitated rubbing of her hands reflects her psychological distress as it shows that she is no longer at peace and has been destroyed by her guilt. Lady Macbeth's speech has become fragmented and broken by an her insanity: the suave hostess and cool, domineering wife has been reduced to a gibbering creature whose speech “signifies nothing”. There aren’t any logical connections between her memories or her sentences, and indeed, the devastation of her mind is so complete that she cannot recall events in their correct order. For example, "Out damned spot" is followed by "The Thane of Fife had a wife," referring to Lady Macduff. Arguably, it is the question “where is she now?” that suggests that Lady Macbeth’s downfall has been encouraged by hearing of Lady Macduff’s murder; Lady Macduff was an innocent woman and perhaps – for Lady Macbeth – her murder was undeserved. A Jacobean audience would be distressed to see such visible madness and yet would be pleased to see a form of redemption and retribution. It is arguable therefore that Shakespeare ensures Lady Macbeth’s death and downfall in order to act as a warning to those who desire to question their position in the chain of beings and interfere with the divine right of kings. At the end of the play, Lady Macbeth is a “walking shadow” of her former self and has lost all sense of power as she is consumed by guilt and descends into insanity – sending herself “to bed, to bed, to bed.”
Act 1.5 Within the play, Lady Macbeth is seen as a dominant force from the first time we see her in Act 1 scene 5, declaring that she knows she will have to manipulate her husband into committing murder since he is “too full o’th’ milk of human kindness” to take such a drastic step to seize the crown from Duncan. The first two acts present her time and time again as a strong and forceful woman who will stop at nothing to realise her “vaulting ambition” This is in direct contrast to Macbeth himself: while Macbeth spends much of Act 1 expressing his conflicted emotions over the thought of killing the king, Lady Macbeth herself does not waste time deliberating ethics but cold-bloodedly plans Duncan’s murder and then influences Macbeth into carrying it out, even to the point of overriding his decision when he tells her in Act 1 scene 7, “We will proceed no further in this business.” Her contempt for - what she perceives to be – his lack of courage is evident in her scornful jibe, “When you durst do it, then you are a man”; and this lack of respect for him is further emphasised in her admonition, “Leave all the rest to me.” We can almost hear the resignation in her voice in these latter words: it is yet another instance of Lady Macbeth realising that if something needs to be done, she – and not her husband – is the man for the job. A Jacobean audience would find Lady Macbeth’s dominance and Macbeth’s weakness equally distasteful, since husbands were expected to be the head of the household and wives their subservient helpmeets. It is possible, then, to argue that whilst Macbeth is a brave general on the battlefield, he is totally under his wife’s command when at home. Perhaps this is his true tragic flaw.
Act 1.5 Lady Macbeth appears to be a manipulative spouse from the very beginning of the play. In the very first act Lady Macbeth is a malevolent woman, who toys with Macbeth’s noble nature, when she advises him to “look like the innocent flower but be the serpent under it”. Lady Macbeth sparks Macbeth’s ambition and acts as a catalyst to his “vaulting ambition”. She dominates his guilty and fearful thoughts, by questioning his male status. Lady Macbeth emasculates Macbeth by comparing him to the ‘poor cat I’th’adage’. Macbeth appears incapable of achieving his ambitions, as Lady Macbeth implies that his ambition is not enough, because he is too cowardly to actually carry out the deed of killing the king. Lady Macbeth overpowers Macbeth with her malevolence. She continues to torment him throughout the first two acts because she detests the guilt and fear that Macbeth feels. Shakespeare juxtaposes Macbeth’s character to Lady Macbeth, as she is strong, aggressive and assertive, whilst he is frail with feelings of remorse and guilt. Macbeth cannot live with his conscience after taking an innocent life. The metaphor used to describe how Macbeth should behave, reiterates the innocence that Macbeth holds in comparison to the evil tongue of Lady Macbeth, which corrupts him. The use of imagery when Lady Macbeth suggests for Macbeth to act like a ‘flower’ connotes that Macbeth is pure and ‘too full o’th’milk of human kindness’. Macbeth is almost as much of a victim to Lady Macbeth’s influence, as king Duncan is to Macbeth’s murder. Lady Macbeth acts as a cunning and poisonous character who inflicts her ‘direst cruelty’ on both Macbeth and Duncan, thus destroying the courage and valour of ‘brave Macbeth’. An audience would pity Macbeth because of the cunning and poisonous influence that Lady Macbeth has on him. However at the same time, they would feel that Macbeth is pathetic because he is unable to stop Lady Macbeth and avert her thoughts. A Jacobean audience, in particular, would think that Macbeth responds to Lady Macbeth in a despicable way; instead of listening to a woman, Macbeth should have corrected Lady Macbeth’s outrageous way of thinking. A Shakespearean audience might also fear Lady Macbeth because she deviates from the Jacobean expectation of inferior and subservient women – she not only speaks with boldness to Macbeth, but she provokes him to commit a sacrilege, which will lead him to his tragic ending.
Act 2.2 This scene reveals a surprising power dynamic; with Lady Macbeth further establishing herself as the dominant ‘partner in greatness.’ In Act 1 Lady Macbeth demonstrates her masterful ability to manipulate a reluctant Macbeth into committing regicide with the promise that he will become ‘much more the man.’ However, in this extract we see Lady Macbeth take charge overtly and even aggressively. This change in tone is exemplified by the imperative verbs she uses to command her panicking husband to ‘go get some water.’ The instruction ‘go’ is repeated and conjures an image of a master instructing a servant rather than a dutiful wife speaking to her husband. These imperatives also demonstrate the difference in the two characters reaction to Duncan’s death. Macbeth is traumatised, convinced he ‘hath murdered sleep,’ whereas Lady Macbeth is unfazed and able to issue the orders necessary to hide their ‘dark deed.’ The relationship presented here would be troubling to a Jacobean audience, who despite the long reign of Queen Elizabeth maintained a deeply patriarchal society. In a time when ‘nagging’ women were punished with the scolds’ bridle, it would have been shocking to see a wife openly issuing commands to her husband.
Act 2.2 Shakespeare uses assertive language and exclamatory sentences in Act 2 Scene 2 to present Lady Macbeth’s frustration at Macbeth. The use of the assertive language in ‘infirm of purpose’ illustrates clearly to the audience that Lady Macbeth is implying that Macbeth is weak-minded, and cowardly because he was unable to commit the murder without suffering with remorse and thus is someone who must be admonished for his behaviour. Throughout this scene, and the scenes that preceded it, Lady Macbeth uses insults to berate Macbeth as she believes that manipulation would hearten Macbeth to take charge in order to prove his worth to her. This highlights Lady Macbeth’s dominance over Macbeth, as it appears she believes that he will soon try to has to appease her and thus this further reveals Lady Macbeth’s power and influence. The use of the exclamatory sentence in ‘Infirm of purpose!’ conveys Lady Macbeth’s frustration, as Macbeth’s guilty conscience is proving to be a barrier in Lady Macbeth’s ambition. At this point, a Jacobean audience would be horrified to see a woman question and reproach their husband’s on his masculinity and ability to be intrepid and demonstrating values so at odds with the societal beliefs prevalent during the era.
Act 3.2 As the play continues, Macbeth’s “vaulting ambition” only continues to flourish and it is clear that he no longer relies on Lady Macbeth’s dominance or manipulation. He slips deeper into becoming a megalomaniac who has lost all moral compass. Driven by a fear brought on by the witches prophecies, Macbeth decides to kill Banquo and Shakespeare uses a metaphor to show Macbeth’s growing anxieties. He states that “our fears in Banquo stick deep” highlighting that he cannot enjoy his success whilst being aware that Banquo may take his power away from him. Arguably, the use of inclusive pronoun in “our” is ironic as, at this point, Macbeth is no longer including Lady Macbeth in his plans, in fact he deliberately excludes her from his decision telling her to be “innocent of the knowledge” Therefore, Macbeth is making decisions regarding the future of their power alone and they no longer appear to be united, if anything their relationship is growing increasingly tenuous and disjointed. This also alludes to the notion that Macbeth has lost all sense of morality and is willing to kill a man who was once his best friend in the interest of maintaining his power. Therefore, we see that ambition has overtaken his moral compass – something that is later exaggerated as he orders murderers to “seize upon Fife” and kill the innocent Macduff family. This scene further suggests that Macbeth sees his success as futile whilst he is at risk of losing it to another; he comments on how he wears a “fruitless crown” and carries and “baron sceptre” and we see that he is not enjoying his power but is plagued by his desire for greater control and success. The idea that his “fears” stick “deep” illustrates how overpowering his anxiety is and further illustrate his journey towards ultimate downfall as it becomes clear that he is almost cursed by his ambition and it is slowly destroying him. At this point, a Jacobean audience would fear Macbeth’s villainous behaviours, as given the strong Christian beliefs held by the public, the audience would perceive Macbeth as an evil man who would soon be punished by God.
Act 5.1 As the play develops, the power dynamic within the relationship shifts dramatically as Lady Macbeth transitions from a woman driven by a malevolent desire for power to a weak character plagued by guilt. Shakespeare uses an imperative verb and exclamatory sentence to show that Lady Macbeth has fallen into guilt ridden insanity and is suffering a powerless demise after being destroyed by her ambition. In Act 5 scene 1, she shouts “Out damned spot!” as she hallucinates and sees herself as tainted by blood. Here, her imagined blood can be seen as symbolic of her new sense of remorse; the signs of red cannot be removed just like her acts that “cannot be undone”. Her agitated rubbing of her hands reflects her psychological distress as it shows that she is no longer at peace and has been destroyed by her guilt. Lady Macbeth's speech has become fragmented and broken by an her insanity: the suave hostess and cool, domineering wife has been reduced to a gibbering creature whose speech “signifies nothing”. There aren’t any logical connections between her memories or her sentences, and indeed, the devastation of her mind is so complete that she cannot recall events in their correct order. For example, "Out damned spot" is followed by "The Thane of Fife had a wife," referring to Lady Macduff. Arguably, it is the question “where is she now?” that suggests that Lady Macbeth’s downfall has been encouraged by hearing of Lady Macduff’s murder; Lady Macduff was an innocent woman and perhaps – for Lady Macbeth – her murder was undeserved. A Jacobean audience would be distressed to see such visible madness and yet would be pleased to see a form of redemption and retribution. It is arguable therefore that Shakespeare ensures Lady Macbeth’s death and downfall in order to act as a warning to those who desire to question their position in the chain of beings and interfere with the divine right of kings. At the end of the play, Lady Macbeth is a “walking shadow” of her former self and has lost all sense of power as she is consumed by guilt and descends into insanity – sending herself “to bed, to bed, to bed.”

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financier
finch
Finchampstead
finches
Finchley
Findlay
Findus
finesses
fingerboard
fingerprinted
finishings
fink
finks
Finland
Finlay
Finn
Finnish
Fiona
Fiorano
Fiorina
fire
firearm
firearms
Firebird
fireflies
Firefox
Firestone
fish
Fishbourne
Fishburn
Fisichella
Fittipaldi
Fitzgerald
Fitzwilliam
fjords
flailing
Flanigan
flannel
Flannigan
flatjaw
flatjaws
flattener
flawlessy
fleshed
Fletcher
flickery
flightless
flipcharts
flirtatious
flit
floodfills
floodings
Flopsy
Florentine
floristry
floss
fluoride
fluorine
flusher
flutes
flutist
Fogarty
Fogerty
foghorn
foghorns
foibles
folk
Folkestone
fond
Fonda
fonder
fondle
fondled
fondly
fondue
Fonseca
fop
foreboding
foreclosure
forehead
foreheads
forensic
foreskin
foreskins
forestalled
forger
forgers
formal
formaldehyde
formedness
Formosa
Formosan
forsaking
fort
forte
Fortescue
Fortnum
Fortran
fortuitously
forty
forwardee
Forysth
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fouls
four
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fours
fourscore
fourteen
fourteens
fourteenth
fourth
fourthly
fourths
fox
foxed
foxes
foxgloves
foxhole
fragile
fragility
fragmentable
framer
framings
franchisee
Francophone
Francophones
Frankie
Franscisco
frau
freaked
freakery
Frederick
Freedonia
freeware
Freiberg
French
frenzied
frictionless
Frigidaire
frilly
frock
frocks
froths
fruitfully
fuck
fucked
fucker
fuckers
fucking
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fuckwits
fuckwitted
Fuego
fulfil
fume
fumes
fumigation
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fun
funerary
fussing
fuzzballs
gab
gable
gabled
gables
Gabon
Gabriel
Gabrielle
gad
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gadget
gadgets
gads
Gaelic
gaff
gaffes
gag
gaga
gagging
gaggle
gags
Gail
gaily
gain
gained
gainers
gainful
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gainless
gainlessly
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gainsayed
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Gainsborough
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gala
galactic
Galashiels
galaxies
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gall
Gallagher
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galleries
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galleys
Galliano
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gallons
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Galloway
gallows
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Galway
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gambled
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gambling
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game
gamecock
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gamekeeper
gamekeepers
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gamesters
gaming
gamma
Gammage
gammon
gammons
gamuts
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Gandalf
gander
ganders
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gang
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Ganges
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Ganguly
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gantry
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gap
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garbage
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garble
garbled
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garbling
Garbo
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garden
gardener
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gardening
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gargle
gargoyle
gargoyles
Garibaldi
garish
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garlands
garlic
garment
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garnering
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garnishment
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gas
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gaseous
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gasps
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gassing
Gaston
gastric
gastrointestinal
gate
gateaux
gatecrasher
gated
gatefold
gatehouse
gatehouses
gatekeeper
gatekeepers
gatepost
gateposts
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gateway
gateways
gather
gathered
gatherer
gathering
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Gatwick
gauche
gaudy
gauge
gauged
gauges
gauging
Gauguin
Gaultier
gaunt
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gauntlet
gauntly
gauntness
Gauss
Gaussian
Gaussians
gauze
gave
Gavin
gavotte
Gawain
gawd
gawk
gawky
gawping
gay
Gayle
Gaylord
gayness
Gaynor
gays
Gaza
gaze
gazebo
gazed
gazelle
gazette
gazetteer
gazetteers
gazillion
gazillions
gazing
gazpacho
gear
gearbox
gearboxes
geared
gearing
gears
gearshift
gecko
geckos
gee
geek
geekier
geekiest
geekishly
geeks
geeky
geese
Geest
geewhiz
geez
geezerettes
geezers
Geiger
Geir
Geiss
gelatin
Geldof
gelled
gem
Gemma
gems
gemstone
gemstones
gender
genders
gene
general
generalisation
generalist
generalities
generality
generally
generals
generate
generated
generates
generating
generation
generations
generative
generator
generators
generic
generically
generics
generosity
generous
generously
genes
genetic
genetical
genetically
geneticist
geneticists
genetics
Geneva
genii
Genoa
genocidal
genocide
Genovese
gentiles
gentleman
gentlemen
gentlemens
gentleness
gentler
gentlewomen
gently
gentry
gents
genuflect
genuine
genuinely
genuineness
geoarchaeological
geochemistry
Geocities
Geoff
Geoffrey
geographer
George
Georgetown
Georgia
Georgian
Georgians
Georgie
Georgina
Georgiou
GEOS
geosciences
geostationary
geosynchronous
Geraint
Gerald
Geraldine
geranium
Gerard
Gerasimov
gerbil
Gerhard
Geri
geriatric
geriatrician
geriatrics
geriatrist
geriatrists
Germaine
German
Germanic
germanium
Germans
Germany
germinated
germinators
germs
Gerrold
Gerry
Gershwin
Gertrude
gestating
gestation
gesticulation
gesticulations
gesture
gestures
gesturing
get
Gethin
gets
getting
Getty
Gettysburg
geysers
Ghana
Ghanaian
ghastly
ghettos
ghost
Ghostbusters
ghosted
ghosting
ghostly
ghosts
ghoulish
Giancarlo
Gianni
giant
giants
gibbed
gibbering
gibberish
gibbon
gibbons
Gibbs
Gibraltar
Gibson
giddily
giddy
Gideon
GIF
gift
gifted
gifting
gifts
gig
giga
Gigabeat
gigabits
gigabyte
gigabytes
gigahertz
gigantic
gigawords
Giger
giggle
giggled
Gigglehurts
giggles
giggling
Giggs
gigolo
gigs
Gilbert
Gilberto
Gilby
gild
gilders
gilds
Giles
Gill
Gillan
Gilles
Gillespie
Gilliam
Gillian
Gilligan
gills
Gilly
Gilmore
Gilmour
gilt
Gilthoniel
gilts
gimme
gimmick
gimmicks
gin
Gina
ginge
ginger
gingerbread
gingerly
ginkgo
Ginola
Giorgio
Giotto
Giovanni
giraffe
Girardot
Giraud
gird
girders
girdle
girdled
girdles
girl
girlfriend
girlfriends
girlhood
Girobank
girth
gist
gists
git
Gitanes
gits
Giuseppe
give
giveaway
giveaways
given
Givenchy
giver
givers
gives
giveth
giving
givingly
gizmo
gizmos
glacial
glacially
glaciated
glacier
glaciers
glad
glade
glades
gladiator
gladly
gladsome
Gladstone
Gladys
Glaister
glam
Glamis
glammed
Glamorgan
glamorous
glamorously
glance
glanced
glances
glancing
glands
glandular
glare
glared
glaring
glaringly
glascrete
Glasgow
glass
glasses
glasshouse
glasshouses
glassier
glassiest
glassily
glassiness
glasslike
Glasspool
glassware
glassworks
glassy
Glastonbury
Glaswegians
Glaxo
gleam
gleans
Gleason
glee
gleeful
gleefully
Gleeson
glen
Glenda
Glenfiddich
Glenn
Glenys
Gless
glimmers
gloated
globe
globes
globetrotting
Gloria
glossing
Gloucester
Gloucestershire
glove
gloved
gloves
gloving
glow
glowworm
glucose
glug
gluing
glut
gluteal
gluts
glutted
gluttons
Glynis
gnarly
gnome
gnomeless
gnomes
gnu
gnuish
gnus
Gnutella
go
goad
goaded
goal
goalkeeper
goalkeepers
goalkicking
goalless
goalposts
goals
goat
goatee
goatees
goatherd
goatish
goats
goblin
goblins
Godalming
Godard
Godber
goddamn
goddamned
goddess
Godel
godfather
Godfrey
godhead
godhood
Godiva
godlike
godliness
godly
godmother
godmothers
gods
Godshill
Godzilla
Goethe
gold
Goldberry
goldfinch
goldfish
Goldilocks
Goldwyn
golem
gondola
gondoliers
Gonzales
Gonzalez
Gonzo
goo
Gooch
good
goodbye
goodbyes
goodhearted
goodheartedly
goodies
Goodliffe
Goodwood
Goodyear
goof
gophered
gophering
Gordini
gores
gorgon
gorgonzola
Gorman
gormenghast
gorse
Gosdenheath
Gosforth
gosh
gosling
Gosport
Gossard
gossip
gossips
got
gotcha
gotchas
Gothenburg
gotta
gotten
Gottlieb
gouda
gouging
Goulstone
gourd
gourds
gout
gouts
grabbers
Grabowski
graced
Graceland
Graeme
Graham
gramma
grammar
grammarian
grammars
grammatic
grammatical
grammatically
grammes
gramophone
grandfather
grandly
Grandslam
Grantchester
grants
grape
grapefruit
grapes
grapeseed
grapevine
Grasmere
grassing
gratings
Gratton
grave
Gravediggaz
Gravesend
Gravesham
Gravitar
gravities
grayish
greeb
Greece
greediest
Greek
greeked
Greeks
green
greenback
Greene
Greenland
Greenlandic
Greenpeace
greens
Greenslade
Greenspan
Greenwich
greeters
Greg
Gregor
Gregory
Gregson
Grenada
Grenoble
Gresham
Greta
Gretchen
Gretzky
grew
greyhound
greyhounds
gridlock
Grieg
grieved
Griff
Griffith
Grigson
Grimsby
Grisham
grittiness
groaning
Groening
Grolier
Groningen
grooves
grope
groper
groping
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grosser
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grossly
Grosvenor
grotesque
grotesquely
grotto
grotty
Groucho
grove
grovelling
grub
grubby
grubs
grudge
grudgingly
gruelling
gruesome
gruff
gruffly
grumble
grumbled
grumbling
grumblings
grumpy
Grundig
grunge
grungey
grunt
grunted
grunts
Grus
gruyere
gryphon
Guadalajara
Guadeloupe
Guam
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guaranteeable
guaranteed
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guarantor
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guard
guarded
guardhouse
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guardians
guardianship
guarding
guardingly
guardings
guardrail
guards
Guatemala
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Gucci
Guernsey
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Guglielmo
Guiana
Guildford
guillemot
Guillotine
guinea
Guinevere
Guinness
Guiseley
guitarists
Gujarat
Gujarati
gulf
gull
Gulliver
gulped
gulping
gulps
gum
gumball
gumballs
Gummo
gunmen
Gunnarson
gunslinger
gurkhas
Gurney
Gus
gusset
gussets
guttermouth
Guyana
Gwen
Gwendolen
Gwendoline
Gwendolyn
Gwent
Gwyndaf
Gwynedd
Gwyneth
gym
gymkhanas
gymnasium
gymnast
gymnastic
gymnastically
gymnastics
gymnasts
gynaecological
gynaecologist
gynaecology
gypsum

I am an attorney who can work remotely so I'm taking my legal assistant (who is a great friend of mine) and we are coming to Edinburgh for an extended visit, April 27 through May 11.
This trip was inspired by reading in Roger Ebert's memoir (he was a quasi-famous US film critic) who every year after going to the Cannes film festival would spend a couple of weeks in London in the same bed and breakfast and going to the same pubs. He talked about how nice it was to have a second community that he became part of over the years. Traveling to new places is magic, but coming back to the same street year after year allowed him to become actual friends with locals and get to know the place in a way someone just passing through for a few days never could.
So I have decided to make Edinburgh my place that I come back to for a few weeks every year for the rest of my life. For this trip I booked an airbnb just west of Edinburgh Castle near The Usher Hall. One of my goals this trip is to discover the different Edinburgh neighborhoods and decide where I want to make my home-away-from-home on future trips. So if anyone is willing to host a couple of American men (both single men in our 40s) at your favorite pub, we'll be happy to buy a couple of rounds of drinks for the table.
I am an American mutt of many nationalities, but I have two Scottish lines, the McCormick/Johnstone/Patrick/Christie/Mitchel/Ramsay/Duncan line from Fife (including some clergy members) and the Scots-Irish McFarland line that went to Ireland from around Loch Lomond before heading to the US. I understand that the McFarlands were a band of rogues (cattle thieves). A number of members from both lines ended up in Edinburgh and I'm sure I've many distant relatives among you.
The plan is to go on long exploring walks in the morning when America sleeps, then work after lunch until about 8-9pm, then hit a pub or bar in the evening. Our calendar is wide open.
What are your favorite "locals" pubs/bars in Edinburgh?
Are there neighborhoods we should avoid? Neighborhoods we should for sure check out?
Any good turkish/russian bathhouses in town? A google search didn't turn up anything--one really shady-looking place and a bunch of high-end hotel spas.
Any good shows/bands we should make sure to see? We love good live music. (A recent trip was from New Orleans up through the Mississippi Delta to Memphis hitting all the great Jazz and Blues places in between with some friends.)
I would love to discuss what practicing law in Scotland is like and learn how it differs than the legal life in the US. So if there are any attorneys on here, let's meet up!
Can't wait to meet you all! Is that too much American enthusiasm for Scotland? LOL

Fixtures

Scottish Championship

Friday 15 April

Time	Home	v	Away	Extra info
FT	Inverness CT	2 - 1	Kilmarnock	Mckay (76'), Chalmers (82'); Taylor (60')

Saturday 16 April

Time	Home	v	Away	Extra info
FT	Arbroath	5 - 1	Queen of the South	Hamilton (25'), Hamilton (37', 59'), Cameron (54' og), Craigen (90'); Roy (12')
FT	Dunfermline	2 - 1	Ayr United	Cole (79'), Todorov (86'); Muirhead (35' pen)
FT	Greenock Morton	0 - 1	Hamilton Academical	Moyo (6')
FT	Partick Thistle	0 - 1	Raith Rovers	Poplatnik (90')

Scottish Cup Semi-finals

Saturday 16 April

Time	Home	v	Away	Extra info
FT	Heart of Midlothian	2 - 1	Hibernian	Simms (16'), Kingsley (21'); Cadden (22')

Sunday 17 April

Time	Home	v	Away	Extra info
AET	Celtic	1 - 2	Rangers	Taylor (64'); Arfield (78'), Starfelt (114' og)

Scottish League One

Saturday 16 April

Time	Home	v	Away	Extra info
FT	Airdrieonians	3 - 2	Dumbarton	Easton (24'), Gallagher (27'), Allan (88'); Stanger (39'), McCabe (70' og)
FT	Clyde	2 - 1	Montrose	Jamieson (15'), McAllister (41'); Gardyne (3')
FT	Cove Rangers	3 - 0	Alloa Athletic	Fyvie (57', 83'), Milne (89')
FT	East Fife	1 - 3	Falkirk	Semple (84' pen); Morrison (34', 90'+1), Telfer (56')
FT	Peterhead	2 - 1	Queen's Park	Duncan (4'), Savoury (49'); Murray (64')

Scottish League Two

Saturday 16 April

Time	Home	v	Away	Extra info
FT	Cowdenbeath	0 - 0	Edinburgh City
FT	Forfar Athletic	5 - 1	Annan Athletic	Aitken (12'), Warnock (23'), McCluskey (26', 34', 37' pen); Wallace (79')
FT	Stenhousemuir	4 - 1	Albion Rovers	Corbett (1'), O'Reilly (8'), Thomson (20'), Brown (24'); Reilly (40' pen)
FT	Stirling Albion	0 - 2	Elgin City	MacEwan (52'), Cooper (78')
FT	Stranraer	0 - 3	Kelty Hearts	McNab (62'), Reilly (64'), Higginbotham (81')

 The Macbeth’s Evilness William Shakespeare’s Macbeth properly shows how Macbeth and his wife, Lady Macbeth, change their morals throughout the play. The play focuses on the greed of Macbeth and Lady Macbeth that lead them to their downfall. In the beginning of the play, Macbeth is a good person. He fights for his king, loves his wife and his country, and is so uneasy about killing that he almost chooses not to. However, after one too many of the witches' prophecies come true, he starts to believe everything they say; the witches convince him that the throne is his and he will do anything to keep it. Lady Macbeth is in pursuit of the throne from the very beginning, she plots to kill King Duncan and is successful, but near the end of the play she regrets her decisions; however, Macbeth is the eviler character, Macbeth’s attitude changes from Innocent Thane of Glamis to heartless king of Scotland who thrives on feeding his bloodlust. Lady Macbeth has her eyes set on becoming queen. She realizes that to achieve this feat she must kill King Duncan, but she never kills him; Instead she convinces Macbeth to kill the king. When Macbeth tries to back out of the murder Lady Macbeth belittles him saying that “when [he] dared to do it, then you were a man” (1.7.49). This act of persuasion sways Macbeth to sneak into Duncans chambers and stab him. After which he is in such awful distress that he forgets to frame the guards. For her to think about murdering such a generous king leads Ellen Terry to describe Lady Macbeth as "a remorseless, terrible woman, who knew no tenderness” (Article). Lady Macbeth had a huge part in murdering the king, but she was also very smart about it. The next morning everyone wakes up to discover King Duncan dead, Macduff wants someone to “look after the lady” after she pretends to faint (2.3.131). Lady Macbeth acts fragile and weak making it seem like this news is surprising to a point that she lost consciousness. She completely fools everyone into believing she had no part in the murder and if they found out Macbeth is the culprit they would assume Lady Macbeth is innocent. All of her scheming pins the blame onto Macbeth even though she was holding the dagger. Near the end of the play Lady Macbeth confesses to all the vile things she has done. In her sleep, she reenacts what happens on the night they kill King Duncan. She pretends to wash her hands and admits that “the old man had so much blood in him” (5.1.35). She conveys the thoughts that go through her head when she talks aloud. Lady Macbeth believes it is impossible to trace the murders back to them, because after all the Macbeths are loyal to the king. She continues to wash her hands and begins talking about the Thane of Fife. Her next confession involves Lady Macduff, as Lady Macbeth continues to wash her hands, she asks: “What, will these hands never be clean” (5.1.38)? This time the action of washing her hands is an allegory. They hire assassins to kill Lady Macduff meaning she did not involve herself with the killing. Washing her hands symbolizes that she once again stains herself with the blood of innocence but this time she cannot wash away the stains. In the beginning of the play, before Macbeth’s heart has gone cold, he is still seen as a good person. Macbeth holds on to what little morals he has left after murdering King Duncan, crying out for help in shock and fear for what he has done. Macbeth believes he not only murders King Duncan but that “Lord Glamis has murdered sleep, and so Lord Cawdor shall sleep no more” (2.2.42-43). He is both Lord of Glamis and Lord of Cawdor and blames himself for being unable to sleep. After hiring someone to kill for him he acts as if he knew nothing about it at a dinner party. When the dinner party begins everyone takes a seat, except for Macbeth, because the ghost of Banquo occupies his spot and in retaliation Macbeth shouts: “you have no power of seeing in those glaring eyes” (3.4.99). Macbeth kills Banquo for the sole purpose of keeping the throne to himself and his line. The ghost of Banquo burdens his shoulders knowing that what he did is wrong but the only thing he cares about is staying in power. Macbeth kills anyone that stands in his way leaving a trail of bloody murder behind him. After Macbeth has become more comfortable with sitting on the throne he also becomes more comfortable with killing. He believes that Macduff sides himself with Malcolm, his response is to “occupy Fife and kill his wife, his children and all his relations” (4.1.153). To react in a way that makes killing someone's entire family sound so simple is revolting. There is no hesitation before giving out these orders, he believes that murdering others is second nature to being a king. Macbeth is told by the witches that “nobody born of woman shall harm Macbeth” (4.1.80-81). After the witches prove themselves to Macbeth he begins to believe everything they say. This leads him to having a sense of false courage, and when he encounters young Siward this false courage presents itself in arrogance. Before battling young Siward, Macbeth claims his “courage will never droop with doubt or shake with fear” (5.3.9-10). He is able to successfully kill young Siward, falling for the witches trap believing no man can harm him. Afterwards, Macbeth dies at the hands of Macduff because he was born by a C-section and not by women. 

No conclusion :(