I had a dream about you Essay Example for Free

I had a dream about you Essay The beginning of the poem is about a dream reflecting the beginning of a relationship, or more specifically, your relationship. In your dream it seems you had a lot of fun, throwing oranges at your boyfriend, and all the kisses. In the next dream, you’re progressing in the relationship, and things get a bit more serious and realistic. In the last dream he seems to be getting annoyed with you, even though you’re the same. You stay a static character and he isn’t, in the dreams. Seeing that dreams are a reflection of real life, he begins to become annoyed with you as he grows sicker, and things become serious. In the next dream you could see he was growing sicker, and that he was going to die. With hints like, the sky was red, the sand was red, and the bird-crows- were watching him. You also explained how you could hear his heart beat, and you could hear him breathing. When a person is sick and is very close to death, hearing signs that they are still alive it the most comforting thing you could hear. You also talk about his ribs being delineated like a junkyard dogs, and the hospital, which implies illness, I think aids or Cancer. When you stop talking about the dreams, we are where you were in the relationship at that time, seriousness, and that you needed to stay by his side. When he was on the bridge it just showed that he need you to take care of him, you both needed to be saved. Seeing as both of you couldn’t save yourselves it was a chore to save each other. He asked about if you would love him even more when he was dead, there was a certainty, no hypothetical, which made it scarier. That is why you felt the need to fatten him up, because he knew he was going to die, you wanted to stop the inevitable. When you said you wanted to fat him up, it made me think of chemotherapy which to some degree drains your health, and aids, which does the same.

Fatty Acids are Needed for Growth Essay -- Health Nutrition Papers

Fatty Acids are Needed for Growth The lipids of our central nervous system contain high proportions of arachidonic acid (20:4 n-6, AA) and docosahexaenoic acid (22:6 n-3, DHA) which are the two most important polyunsaturated fatty acids in the brain. Levels of linoleic acid (18:2 n-6) and alpha-linolenic acid (18:3 n-3) are low, usually less than 1% to 2% of total fatty acids (Innis, S78-79). Linoleic acid and alpha-linolenic acid are precursors to AA and DHA; they are elongated and desaturated to form AA and DHA (Clandinin, 27). The brain growth in humans begins early in the third trimester of pregnancy. This is the most important period for brain AA and DHA accumulation (Innis, S78-79). Therefore, the composition of fat in the brain during this period is very important for normal growth and development of the brain. Any changes in the balance of the fatty acids in the dietary fat intake will result in changes in the membrane functioning of brain cells. During this prenatal life, lipids are mostly needed for structural and regulatory functions. After birth, the infant is challenged by changes in the lipid sources. The response to these changes can be altered by changes in the diet composition. For example, a newborn infant’s response to human milk is considered to be ideal, therefore baby formulas try to mimic that response (Biervliet, S101). Studies have shown that fatty acid accumulation in the brain increases as the pregnancy progresses. It reaches the maximum level of accumulation toward the end of the pregnancy. But there are differences in the rate of accumulation of these fatty acids. For example, DHA levels in the cerebrum increase as the percentage of the total fatty acid, whereas AA levels decrease during ... ...awlosky, Robert J, and Salem, Norman Jr. "Ethanol exposure causes a decrease in docosahexaenoic acid and an increase in docosapentaenoic acid in feline brains and retinas." The American Journal of Clinical Nutrition. 61 (6). June 1995, 1284-9. Stryer, Lubert. Biochemistry. Fourth edition. W.H. Freeman and Company, New York. 1995, 687-88. Uavy, Ricardo, Birch, Eileen, Birch, David, and Peirano, Patricio. "Visual and brain function measurements in studies of n-3 fatty acid requirements of infants." The Journal of Pediatrics. 120 (4)(pt 2). Apr 1992, S168-80. Van Biervliet, J.P., Vinaimont, N., Vercaemst, R., and Rosseneu, M. "Serum cholesterol, cholesteryl ester, and high-density lipoprotein development in newborn infants: Response to formulas supplemented with cholesterol and gamma-linolenic acid." The Journal of Pediatrics. 120(4)(pt 2). Apr 1992, S101-8.

History based on the life of the original Macbeth Essay

Eleventh century Scotland was a violent and troubled country. Family and supposedly loyal friends rebelled against one another for trading and territory purposes. The threats of an enemy invasion or an attack on fortresses were extremely common. Rampant Vikings and local Scottish men raided constantly to weaken and more importantly drive out the stubborn opposing forces that lay in their way. Macbeth was born into this dangerous environment in 1005, son of the victorious family that stamped its authority on ‘Moray’ and ‘Ross’ [significant areas in Scotland]. The family itself betrayed themselves as being loving and caring to one another, however, internally they were scarred mentally, as a consequence of their father’s death who was evidently murdered by his cousins. Macbeth obviously emotionally distracted by his father’s death, concentrated his thoughts on leading a comparatively normal life, supported by ‘Brauch’ his new partner [granddaughter to a ‘High King of Scotland’]. Subsequently they had no children of their own. The present ruler of Scotland was Duncan, an ineffectual and seemingly unpopular person amidst the civil problems. Not surprisingly someone assassinated him at the age of thirty-eight. Historians believe that it may have actually been Macbeth, but there is no conclusive evidence to confirm their theories. Macbeth seized this unique opportunity, and was elected ‘High King of Scotland’ in 1040; he ruled for seventeen years. As predecessor of the reviled Duncan, his first priority during his initial ten years in power, was to bring peace and relative stability to his problematic kingdom, notably he was fairly successful at doing-so; he became a reforming King accordingly. He managed to balance out and annihilate the majority of the negative feelings amongst the population. Unfortunately for him, his greatest and most fatal hurdle materialized in the form Duncan’s son Malcolm, who was absolutely determined to take control of Scotland. He ingeniously invaded the region in 1054, aided by the English King ‘Edward the Confessor’. Macbeth himself was brutally exterminated on the 15th of August 1057 at ‘Peel Ring Lumphanan’ in ‘Mar’. He was buried at Iona, respectively; the sacred burial place of the Kings of Scotland. Was this epic period of Scottish History the basis for Shakespeare ‘Macbeth’? Shakespeare was a talented playwright, not a historian. However, the past provides an excellent source for basing a flourishing play. It is exciting factual material with which [if one is intellectually sound], can modify and adapt to conjure up maximum dramatic effect and a truly brilliant and entertaining ‘stage production’. Historical evidence bestows writers with a fruitful background; an imaginative base on which one can construct a sophisticated plot that entices the audience’s mind, body and soul. For Shakespeare this would have been incredibly difficult to originate, hence the gathering below the rostrum; that were either damn right rude or absolutely sloshed. Indeed, it is true to say that some of his dramas were not as appreciated or dominant, fortunately Macbeth proved different, and would be a prevailing theatrical production for hundreds of years. Shakespeare was an independent character, one who thrived on his own personal achievement, and one who was not afraid to alter and develop certain features regarding a story to accomplish ultimate dramatic effect. The epicentre of Macbeth pivoted around the eleventh century ancestors; he obviously acknowledged the great potential in these characters. He evidently thought it necessary to convert, invent and abolish particular characteristics surrounding the events of eleventh century Scotland. He established ‘Lady Macbeth’s’ sleepwalking and death, the banquet scene and Banquo’s ghost, and most of the cauldron scene. With a little imagination and adaptation he reversed King Duncan’s nasty personality into a loved and greatly appreciated ‘role model’. He also eliminated Macbeth’s ten years of good rule to make the scenario and atmosphere more effective; everything he purposely altered was in the interest of the play. Interestingly, King James I was in power, when Shakespeare first presented Macbeth in 1603. I personally find this rather intriguing, because the actual storyline consists of many of King James’s personal comforts and interests. It is obvious that King James was a superior influence on the outcome of the play; he helps to conjure up some fruitful inspiration for Shakespeare; this, and the colourful Scottish pass times, provides a feast of information and ideas for Shakespeare to weave his magic upon. He gratefully accepted this priceless gift, and transformed it into one of the greatest tragedies this world has literally ever experienced. What message is Shakespeare trying to get across? I feel it important for one and me to understand that the play is meaningfully founded on the ‘corruption of power’. Although the supernatural, fascinating individuals and mysterious undertakings create a unique atmosphere to the play, the nucleus consists off events that revolve around the abuse of power. It is true to say that this is present and happening in our modern society, take ‘Hitler’ for example. He was a dictator who possessed a lethal amount of power, he used it to brainwash people, so that he could do what he wanted. He started by wiping out an entire race, known as the ‘Jews’; he and his fixation to be in control was a major factor in triggering the Second World War. A comparison can be made between him and Macbeth, both of which abused their authority. Shakespeare is trying to get this eminent message across to his viewers. Witchcraft and Murderous Schemes. If one is familiar with the tragedy, one will know that Shakespeare wrote and directed it, at a time in which murders and witchcraft were everyday issues. In fact, the majority of the general public seriously believed and feared the paranormal universe, so much so, individuals who were thought to be actual witches were tried, tested and eventually killed. During this time, ‘witch mania’ reached terrifying proportions; hundreds of innocent people [usually women] were condemned to immediate execution, without an adequate assessment. As anticipated, a small minority were against this mass persecution, but they and their justifiable opinions were suffocated without due consideration by the bulk of the general public. Essay Targets. Macbeth has complicated plots that comprise of numerous acts and scenes. I am attempting to devise an essay focusing on three specific scenes. The essay is to be written in a ‘director’s point of view’ – as if I was to direct these three selected scenes: Act I, Scene 3. Act I, Scene 5. Act 5, Scene 5. I feel that these three scenes collectively describe the basic tale and downfall of Macbeth himself. Act I, Scene 3 – meets the witches, which influences his decision to kill the king. Act I, Scene 5 – Lady Macbeth plots to kill Duncan herself and confides her thoughts in Macbeth. Act 5, Scene 5 – As a consequence of his murders, everything has come back to haunt him. He is about to be attacked by the English army, and inevitably faces the decisive punishment for his sins†¦ Death!!! I deem each scene to be off substantial importance, all independently help to develop and illustrate the overall narrative too. Unquestionably, each one has to be directed appropriately, to attain the audiences’ concentration, and to merely get them philosophizing about the story. An enthralling location is also absolutely necessary, the audience needs to be encapsulated by the setting and circumstances. The following essay denotes each scene autonomously, and expresses my feelings and points of view on how I should direct and conduct all three scenes to achieve a stunning atmosphere to mesmerize and amaze the spectators. My main objective is to manipulate selected characters and transform their personality and temperament to improve the play and exaggerate the horror theme. The fact that Shakespeare himself, left no stage directions leaves the doorway open for any willing direct to interpret the actual play, as he/she wants. Over the centuries, several producers have devised their own technique and developed the plot to create their own translation of the enigmatic ventures of the Scottish hierarchy. I have committed my play and essay to a ‘film production’. I have chosen to adopt this particular method, because I feel that it would fit perfectly into a modern day movie, which has the funds and technology to support graphic and suitable special effects. I have observed a modern day interpretation of the play; it was staged on a rough Birmingham estate. For some bizarre reason though, the actors referred to the direct text, but conveyed them in a ‘Brummie’ accent; this was literally diabolical. It simply did not complement Shakespeare’s’ erratic language, the pronunciation was awful- quite positively negative. I on the other hand deem it more appropriate to compose the epic tale of Macbeth’s downfall in its indigenous and traditional generation. Director’s point of view for Act I, Scene 3. Summary of scene: Macbeth and Banquo meet the witches, Macbeth is returning from the battle with his gallant companion and hearty Scottish nobleman, Banquo. Their journey back to the King’s camp takes them over a deserted heath. Here, the witches lie in wait for them, talking as they generally do about an evil spell they have cast upon one unfortunate person. The mist clears Macbeth and Banquo unexpectedly see the witches. They demand that these creatures: ‘so wither’d and so wild in their attire’, explain who they are. When the witches speak, they greet Macbeth as ‘Thane of Cawdor’ and predict that he’ll become king. To Banquo they foretell ‘Your heirs will be kings, although you will not’, they then disappear, before a bewildered and perplexed Macbeth can inquire about their prophecies. I feel it compulsory to point out that this scene is the penultimate in the opening trio, therefore a lot of planning and thought has gone into directing it, hence the fact it’s considerably longer than the other two scenes. Uncharacteristically, I have chosen to direct the third scene instead of the first. Respectively both are of great significance to the outcome of the play, but the third introduces the witches, their first apparition, Macbeth and Banquo. Like the opening scene, this one needs to be just as effective to conquer the audiences’ awareness. In this scene the witches encourage Macbeth to believe that he is invulnerable and indestructible. The intereference of the witches influence Macbeth’s actions; he immediately considers to commit ‘regicide’ against King Duncan ‘ 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’? These four sentences help to describe Macbeth’s feelings, he is basically thinking about the proposed murder, he does this by making references to certain features on his body. For example, your heart pounds when you’re excited or nervous. Macbeth having possession of all the confidence in the world as a consequence of the witches’ predictions and the recent victory in the exasperating battle fears no one. I find it hard to appreciate the reliance and dependence confined in the witches and their prophecies by Macbeth; after all they are absolute strangers. This is why I’ve chosen to portray the witches as attractive housewives, hopefully this will make the scene more believable, because men are easily dominated and controlled by beautiful, seductive mistresses. This needs to apprehend the audience’s interest, so that they can acknowledge the circumstances and understand what’s actually happening. I will set the play on a desolate, open stretch of countryside. It will be nighttime with a low and eerie fog making visibility poor. This will intensify the atmosphere, because the audience will instinctively be weary of the surroundings and the mysterious environment. The witches, Macbeth and Banquo are all dominant and important characters, thus meaning they need to be familiarized and introduced, so the audience recognizes who they are later on in the film. The scene will get underway with Macbeth and Banquo strolling over the motionless fields, discussing the eventful battle, although you will not be able to hear them, because only a sinister genre of music will be heard. They are going to be dressed in war-like clothes; therefore the audience will directly associate them with a battle of some description. In the near distance a lonely farm building will stand [the audience obviously noticing this, should already be imagining what’s in it and are Macbeth and Banquo going to go there]? The interior of the barn will be exceptionally gloomy, but in the far corner three ugly hags are going to be highlighted by specifically positioned lightning. The witches are severely deformed, to leave the audience feeling astonished and expectantly physically sick! The witches will speak in macabre tone of voice, whilst speaking to one another. Their wicked conversations will consist off evil material e.g. ‘Killing swine/ and like a rat without a tail/ Here I have a pilot’s thumb, wrecked as homeward he did come’. The presence of the witches and their repulsive words is a created stimulus that makes the play a great deal more engaging, therefore the overall production benefits and improves considerably. Their physical appearance and cursed lines keep the audience hooked, simultaneously the supernatural element increases the suspense with every scary sound and disgusting illustration produced or described by the witches. Macbeth and Banquo feeling exhausted from their tiresome day will seek deserved refuge beneath the suspicious looking dwelling. The tension and suspense will certainly be enhanced amongst the audience obviously fearing the couplets safety as they cautiously enter. However, they will be treated to a pleasant surprise, this is due to the sexy figures gathered in the corner of the room. Using contemporary technology and realistic special effects, the hideous threesome will magically be converted into gorgeous bitches! The transformed witches disguised as randy and bored housewives will [without doubt], outstand and arouse the audience together with Macbeth and Banquo. This is known as ‘dramatic irony’, when the watchers know something that the characters don’t. The witches dressed in a low, red cut top [showing an outrageous amount of cleavage] will immediately greet the dazed Macbeth and Banquo with verses of factual information and weird prophecies. The amorous ladies will speak in a confident, persuasive, but somewhat devious tone of voice, thus causing the men in the room to absorb these queer predictions. The audience would accept the witches’ original nature and accept the fact that beautiful seductive women are able to force gullible/intelligent men to believe in them and their words. Obviously, Macbeth and Banquo will be confused and amazed, but in some sense enthusiastic about the apparition. As they attempt to verbally challenge the witches, the room will suddenly become silenced, with them both pondering their recent experience, the atmosphere again changes though, as Ross and Angus storm into the equation. Ross and Angus stunned to find their chums under these certain circumstances try to regurgitate the report sent by the king. Gradually, as Ross explains the situation to Macbeth and Banquo [regarding the former ‘Thane of Cawdor’ and him being sentenced to death for treason against the king], the witches’ prophecy is beginning to unfold. Therefore Macbeth needs to act in an astounded manner, altering his body language and facial expressions accordingly best shows this. Macbeth has chosen to renovate his character, and so he keeps his feelings and thoughts to himself. This is aptly shown as he speaks to the audience alone [aside]. His soliloquy refers to and describes his ambition. The prophecy that was revealed by the witches brings a broad temptation to Macbeth that had been his secret all along for being a king, for example: ‘ My thought, whose murder yet is but fanastical’. This purely indicates Macbeth’s great ambition, he is already thinking about killing Duncan. If the audience is reasonably clever, they will detect this too. Another distinctive line is ‘Nothing is, but what is not’. He is referring to the recent events, commenting on the sensational proceedings. During this scene the plot is potentially discovered, it helps to entangle and trigger off the storyline. Although the words are enormously imperative, the characters and their actions are equally significant, in conjunction with one another, the audience understand what’s going on. The scene will end with Macbeth and Banquo standing side by side, contemplating their prosperous future. The camera will zoom in on Macbeth and his cunning visions of murdering Duncan. Unlike Banquo, who is triumphantly imaging his sons being crowned, with him in the background looking on proudly, crying sweet tears of joy? Director’s point of view for Act I, Scene 5. Brief summary of scene: In this scene Lady Macbeth plans a murder. She lives at home in there castle at Inverness. Lady Macbeth has received a letter from her husband; in it he tells her about the witches prophecies. She is interrupted as a messenger arrives telling her of the king’s visit. She realises that this is the golden opportunity to kill Duncan, the king. Her treacherous thoughts are kept to herself, unlike Macbeth who suppresses them. She makes her mind up that the murder must be committed that night. When Macbeth arrives at the castle ahead of the king, she exclaims convincingly that she has arranged everything. Lady Macbeth is the second most dominant influence on Macbeth. As soon as Lady Macbeth learns of the words spoken by the weird sisters, she instantaneously analyses Macbeth’s future i.e. if Duncan were killed, Macbeth and her could acquire Scotland. She vigorously studies the letter and assesses the situation, considering the best and most suitable option to chose, in order to bring her eagerly awaited success. If I were to direct this scene, I would set it in Lady Macbeth’s chamber; this is because bedrooms tend to be a solemn place of privacy and security. The bedroom is to be very grand and ornate, with elaborate walls, preferably in a blood-red colour, this is to emphasis the theme of blood that runs throughout the play. Lady Macbeth dressed in her sexy, soft; silky nighttime gown will try to interpret the epistle relaxing on her mahogany ‘four poster bed’. Under a quiet, pleasant piece of music, Lady Macbeth’s voice is to be sounded above the music, reading out the letter to herself, she will also over exaggerate particular words and phrases, which depict Macbeth’s thoughts. Whilst peacefully examining the letter, succeeding in comprehending it, she will act in a attentive fashion. As the production is a film, I have decided to include visual images of Lady Macbeth’s perceptions of the letter. When reading it, there will be metaphors of Lady Macbeth conjuring up pictures of her and Macbeth sitting gloriously on the throne, with hundreds of spectators gathered below, robustly singing their praises. To accompany this ceremony, a victorious composition will engulf it, however, these false celebrations will be disrupted as she resumes normality awoken by an attendant. Things could just not get any better for Lady Macbeth; the attendant brings delightful news concerning Macbeth’s and Duncan’s arrival. The supernatural is again underlined and called upon, this time by Lady Macbeth. She forms an imaginary conversation with the evil spirits, asking them to assist her murderous plans: ‘Come you spirits that tend on mortal thoughts, unsex me here’. When the conversation commences, Lady Macbeth is going to gaze up at the ceiling and perform actions with her hands where appropriate e.g. ‘Come to my woman’s breasts’ she will be clenching her bosoms as she speaks. Again, faded scenes of wicked witches will corrupt her mind, these will then turn into vivid images of her viciously stabbing Duncan to death with a decorative candlestick, as he sleeps. You will then he totally horrified by her face speckled with distinctive spots of blood. Another will then immediately follow this bloodcurdling incident; her menacing eyes will stare at you, threatening you, frightening you!!! With an ounce of luck, the audience will be completely petrified, thus achieving maximum dramatic effect. Over pictures of gruesome violence, a terrorizing sample of music will be heard. During Lady Macbeth’s deceitful outburst, many references to blood, light and dark and hell are made e.g. ‘Come thick night, and pull these in the durnest smoke of HELL’. All of these factors exaggerate the horror theme and atmosphere. Macbeth then enters the bedroom, instantly Lady Macbeth [being the scheming bovine she is], craftily asks her partner [when he claims that Duncan is coming] ‘and when goes hence?’ In other words when is he going, so I know when to conduct his brutal surcease? Being a woman in all, she is able to change nature and personality whenever she feels it obligatory to fool or persuade Macbeth. Subsequently, she goes on, to subtly describe about disguise: ‘To beguile the time, look like the time/ look like the innocent flower, but be the serpent under’t’. She is relating these lines to the killing of Duncan, in such away that the audience and Macbeth cannot really appreciate or indeed realize. I would instruct Lady Macbeth to deliver these disloyal words in a convincing way, almost as if she’s reassuring Macbeth about the murder. Macbeth does actually distinguish Lady Macbeth’s words, but he fails to comment on them, instead he ignores her, and demands to talk at a later date. By this time, the murder is already almost complete. Directors point of view for Act 5, Scene 5. Brief summary of scene: Macbeth prepares for battle, is busy setting up defenses all around Dunsinane Castle. Most of his noblemen and soldiers have rebelled and joined the other side, but he is certain he cannot be beaten or not until ‘Birnam Forest’ comes to ‘Dunsinane’ [as a consequence of the witches new appairitions]. What he does not know is that his enemies have agreed to meet at ‘Birnam Wood’. When the soldiers gather there, each one is given the branch of a tree to camouflage them as they move forward to launch an attack. As he is organizing for the battle, he thinks how meaningless life is. Just then, a messenger announces that Birnam wood appears to move. After the initial murder of Duncan, Macbeth persists in his violent actions and continues to kill more, in an attempt to become ruler of everyone and everything north of the border. Once the first the killing took place, the ball started rolling and unfortunately did not stop, that is up till now. Macbeth is facing unavoidable death, the ultimate punishment for his many sins; his castle at Dunsinane is surrounded with him at the epicentre amongst the entire calamity, but yet he still have faith in the witches predictions, and why not? The witches prophecies and apparitions have so far proved correct, significantly, the prediction concerning Macbeth’s mortality: ‘No man on earth shall harm him’, is about to prove incorrect. However, the arrogant Macbeth seriously supposes himself imperishable, consequently fearing no one. He is undisputedly emotionless this is shown in line 9: ‘I have almost forgot the taste of fears’, clearly his mental state is severely befuddled, his aspiration has got him where he is and under these particular state of affairs, he cannot turn back the clock, he simply has to face the penalty of his slaughterous actions. Remarkably, he does not sense any guilt either; instead he concentrates his efforts on the seemingly impossible encounter ahead. Even when is once loved wife dies, he fails to physically react, he simply gathers his thoughts and feelings and distributes them into a touching paragraph; yes, even the audience cannot help to feel for the desolate Macbeth. He once walked upon lifeless stretches of open countryside accompanied by his dearest friend Banquo, now he is the dirt on which his predecessors and countless enemies tread. This scene resembles Macbeth’s uncomfortable position, and his feelings; it needs to be incredibly effective to achieve the right atmosphere and tension. A more suitable location could not have been selected; the castle at Dunsinane is the perfect setting under such awkward circumstances. With the castle encircled and the defeated, lonesome, loathed figure stranded at the centre, the scene is an awesome opportunity for a willing director like myself to challenge. The scene will commence with an aerial view of the castle and the environment engulfing it, the audience will now understand Macbeth’s situation. Thousands of infantry will be advancing towards the castle under the natural camouflage off tree branches, a strong drum beat intentionally heard by the audience, will encourage the soldiers to move forwards. Meanwhile, Macbeth seeking what he considers to be relative safety in the castle will burst onto the scene in an aggressive manner. A room sited at the top of the castle [overlooking their boundaries], will suddenly be animated as the door flies open with a terrific thud, followed by a apprehensive Macbeth, Seyton and three rather nervously looking soldiers. A window foreseeing the countryside ahead and the moving woodland will be an important feature in the room, this is because Macbeth will stand in front of it [with his back against the opening], facing the anxious congregation organized below. Macbeth dressed in his gleaming armour tries to rally his troops by expressing valiant words of defiance: ‘Our castle’s strength will laugh a siege to scorn; here let them lie till famine and the ague eat them up.’ This successfully illustrates his current state of mind, he is positive and thinks that he and their stronghold will hold out against the enemy, the audience should sense this by listening to the tone in which he conveys his words; he will do so in a self-assured and powerful manner. During his defiant speech, a high-pitched squeal will be heard, immediately the audience and Macbeth will demand to know what it actually was. Seyton acknowledges that it was a cry of women. Macbeth reflects in a ‘sorry’ tone, his emotions; the way in which he delivers these might effect the audiences opinion of him. The audience realizes that he was once a good fellow, who fought bravely and cared for ones close, they should almost feel a bit of sympathy towards him, but then they compare him to the coward he has become, one who deserves everything coming his way [that is in the form of an entire army, seeking revenge for the futile murders he has committed]. Seyton informs Macbeth that it was his wife ‘Lady Macbeth’. Once more Macbeth expresses his thoughts on the matter, almost as if he is looking back and regretting his actions. The audience will be able to identify the real Macbeth again, as he comments upon ones’ life, comparing it to ‘Lady Macbeth’s’ and his. The atmosphere at this point will be depressive, due to Macbeth’s sorrowful words. However, the mood will revolutionize on the arrival of a messenger bringing shocking, but inevitable news. I will instruct the messenger to act in a stunned manner; he will also find it increasingly more difficult to tell Macbeth of the moving forest, approaching them at a rapid pace. Macbeth purposely rejects this news: ‘Liar and slave!’ even though he knows full well that there true, because the witches told him so. At this meticulous moment, a flashback will occur, this will consist of haunted reminiscences of the raunchy women retelling the third apparition stating: ‘Macbeth shall never vanquished be until Great Birnam Wood to high Dunsinane hill shall come against him.’ In other words, you will never be hurt or even destroyed until Birnam Wood moves towards Dunsinane [this will help to remind the audience about the apparition]. When Macbeth resumes regularity, he will again, persist in not believing the messengers words of truth, perhaps he does not want to believe them, because he knows that the end is near. Regardless of this, he has come too far, and so he will fight to the very last second. At the conclusion of his final dialogue in the scene, he will turn to observe the view outside, noticing an entire wood gradually moving closer, this signifying that his death is exceptionally near, a vacant expression on his countenance will demonstrate this completely.

The Plays of Agatha Christie

Agatha Christie wrote more best-selling crime novels than any other writer. As if that weren’t enough, in the 1930s she began a â€Å"second career† as a record-breaking playwright. Here is a glimpse of the best mystery plays by the master plot-twister herself. Murder at the Vicarage Based on Agatha Christie’s novel, the play was adapted by Moie Charles and Barabra Toy. However, according to biographers, Christie assisted with the writing and attended many of the rehearsals. This mystery features the elderly heroine Miss Marple, a rather gossipy old woman with a knack for solving crimes. Many of the characters underestimate Miss Marple, believing her to be too confused for detective work. But it’s all a ruse – the ol’ gal is as sharp as a tack! Murder on the Nile This is my favorite of the Hercule Peroit mysteries. Peroit is a brilliant and often snooty Belgian detective who appeared in 33 Agatha Christie novels. The play takes place on board a palace steamer traveling down the exotic Nile River. The passenger roster contains vengeful ex-lovers, devious husbands, jewel thieves, and several soon-to-be corpses. Witness for the Prosecution One of the best courtroom dramas ever written, Agatha Christie’s play provides mystery, surprise, and a fascinating look at the British justice system. I remember watching the 1957 film version of Witness for the Prosecution starring Charles Laughton as the cunning barrister. I must have gasped three different times at each astounding twist in the plot! (And no, I don’t gasp easily.) And Then There Were None (or, Ten Little Indians) If you think the title â€Å"Ten Little Indians† is politically incorrect, then you’ll be aghast to discover the original title of this famous Agatha Christie play. Controversial titles aside, the plot of this mystery is marvelously sinister. Ten people with deep, dark pasts arrive at a wealthy estate hidden away on a remote island. One by one, the guests are picked off by an unknown murderer. For those of you who like their theater bloody, And Then There Were None has the highest body count of the Agatha Christie plays. The Mousetrap This Agatha Christie play has earned a spot in the Guinness Book of World Records. It is the longest running play in the history of theater. Since its initial run, The Mousetrap has been performed over 24,000 times. It premiered in 1952, transferred to several theaters without ending its run, and then found a seemingly permanent home at the St. Martin Theater. Two of the actors, David Raven and Mysie Monte, played the roles of Mrs. Boyle and Major Metcalf for over 11 years. At the end of each performance, the audience is asked to keep The Mousetrap a secret. Therefore, in honor of Agatha Christie’s mystery plays, I will remain silent about the plot. All I will say is that if you are ever in London and you want to watch a delightful, old-fashioned mystery, then you should definitely watch The Mousetrap.