Thank you!This looks quite interesting. Watched
I intend my Drakia to be so far removed from the original it doesn’t count as fanfic. The books are an inspiration but I’m going to be diverging from them majorly. So I don’t think it belongs in fandom.This is quite interesting but since Drakia is a fictional country, maybe move this to the Fandom AH?
What mean with Relinquished?By 1710, the English government relinquished control of the colony, issuing a charter to Sir Christopher Wray. The population of Drakia was, at this time, 9,800 citizens, 4,000 free coloureds
Apologies bad phrasing - I mean relinquished direct control, the government hand it over as a grant to Wray, relinquishing direct rule from London, with a warrant to develop it as a stop off outpost for ships heading to India. Will go into this further in the next chapter.What mean with Relinquished?
Because i don't see England give up the Colony. And more because in 1710 the BEIC started to obtain power
Ahhh so they become like a Domain like Canada or AustraliaApologies bad phrasing - I mean relinquished direct control, the government hand it over as a grant to Wray, relinquishing direct rule from London, with a warrant to develop it as a stop off outpost for ships heading to India. Will go into this further in the next chapter.
picture is gonna give me nightmares,lol. Where did you find it?Chapter Three
View attachment 789302
Extract taken from a section on the Winter 2009 Season section of the Royal Shakespeare Company’s website: ‘Makbet of Dun Thalia’
TheRoyalShakespeareCompany.com. Stratford, United Kingdom, 2009
Thomas Bowdler is among the most celebrated dramatists in Draka history. Born to a banking family in Bath, England, Bowdler settled in Draka in 1781 following extensive travels in Europe and Africa. It was during this time that he adopted the characteristic mysticism present in all his plays, wed no less than five women, and became one of the earliest converts to Esoteric Draka Paganism.
In a career which spanned from his first play in 1791 to his beheading in 1833 he wrote 86 plays, 33 books, and 401 poems. His four adaptations of Shakespeare plays for the Draka audience were written in the period 1818-1822, and saw Bowdler edit, recontextualize, and remove elements he thought unsuitable or ideologically improper. This quartet – ‘Makbet of Dun Thalia’, ‘Hamlet the Draka’, ‘Bad King John’, and ‘Titus Draconicus’ – are considered the jewels in the crown of Draka theatre.
A messenger arrives at the encampment of Dinkane, King of Europa, with word that Makbet and Banqcwuou have defeated the combined armies of Xhosa and Zululand, lead by the traitor Thane of Rajput, MakTheodahad, who has taken a Xhosa wife. Dinkane asks for proof of their victory, and the messenger presents him with MakTheodahad’s severed head.
Makbet and Banqcwuou, returning home, are met by three witches. They greet Makbet as ‘Thane of Dun Thalia, Thane of Rajput, and King hereafter.’ The witches tell Banqcwuou he shall be, ‘less than Makbet, yet more’ and that he shall sire kings. Perplexed, the two men rape and slay the witches, then continue on to Dun Thalia.
Upon his return, Dinkane and Lady Makbet welcome Makbet home. Once they are alone Makbet tells Lady Makbet and her serf handmaiden Maudlin of the witches’ prophesy. She is sceptical, though Maudlin encourages Makbet to seize the crown. At a celebratory banquet, Dinkane proclaims Makbet the new Thane of Rajput.
Convinced of the veracity of the prophesy Makbet and Maudlin together scheme to murder Malcolm in his sleep and lay the blame on his mamluk guards. After drugging the mamluks, Makbet murders Dinkane and his son Malcolm, plants the dagger on the incapacitated mamluks and returns to bed. The next morning, Makduf, the chief of Dinkane’s mamluk bodyguards, arrives and executes the two men charged with guarding the king.
Makbet starts to grow more and more paranoid, believing that Lady Makbet and Banqcwuou might suspect his part in Dinkane’s death. At a banquet, Lady Makbet reveals she is pregnant and Banqcwuou announces that he and his son will be returning to their home that night. Makbet recruits two murderers and sends them after Banqcwuou’s party. They are joined by a masked third murderer on the road, slay Banqcwuou, but allow his son to escape in a moment of weakness.
At a banquet held for his men, Makbet dances and makes merry, however he is disturbed by the appearance of Banqcwuou’s ghost. Lady Makbet sends the revellers away and tries to console her husband. Later, Makbet receives the third murderer, who informs him of Banqcwuou’s death and his son’s escape. Makbet angrily reprimands the third murderer and asks him why he failed in his task. In response, the third murderer unmasks revealing himself to be Hastur the Unspeakable, the God of Agriculture and Soil in Esoteric Draka Paganism. Makbet demands he show him the truth of the witches’ prophecy. Hastur replies that no man born of a woman will kill Makbet, that he must beware Makduf, and that his reign will only end when the forests of Africa march on Europa. Heading this prophecy, Makbet proceeds to impale Makduf’s wife and daughter on stakes, though Makduf himself escapes.
Lady Makbet, increasingly guilt ridden over the crimes her husband has committed, kills herself and Makbet’s unborn child. Makbet is unmoved by her death, ‘she would have died hereafter’, and resolves to have a child with Maudlin. Makduf arrives in Africa and gathers an army of Xhosa and Zulus to attack Makbet. As they approach Dun Thalia, the Africans chop down trees, and use their branches as battle standards. Maudlin, upon seemingly seeing the trees approach from her balcony, throws herself from the castle, causing Makbet to despair and deliver the ‘Tomorrow, and Tomorrow, and Tomorrow’ soliloquy.
As the Africans overrun the castle Makbet and Makduf come face to face. Makbet boasts that no man born of a woman may kill him. Makduf reveals that he was born to a Zulu isangoma, and was thus, ‘not of a weakly woman’s womb conveyed.’ After cutting off Makbet’s head Makduf declares himself King of Europa. The play ends on an, apparently, hopeful note with Banqcwuou’s son arriving in a new, tropical land which they subjugate and christen Drakia.
On its surface, ‘Makbet of Dun Thalia’ serves as a simple, racist fairy-tale. The brave soldier Makbet allows himself to be seduced by the wicked, wanton serf woman Maudlin and pays the ultimate price for miscegenation. The play is very much informed by the Draka Pagan religion, Rajput and Dun Thalia (in addition to being the names of major Draka cities) are two of the mythological heavenly kingdoms which supposedly existed in Europe thousands of years ago. The play’s ending draws on the allegorical foundation myth for the Draka people.
A revisionist approach to the play has been popular since Arthur Miller’s 1948 production at the New York Idlewild Theatre. Instead of a strong-willed and cunning warrior lead astray by a seducing serf, Makbet is instead a brutal tyrant whose overthrow by the Africans is a moment of liberation. Maudlin and Lady Makbet are, here, victims of Makbet’s lust as much as they are agents of their own fate. Maudlin’s support for Makbet can be read as her trying to direct his violence towards the nation and away from herself.
According to Miller, this is a play about the good-hearted proletarian serfs overthrowing bad-hearted masters. Indeed, the only character in this play who acts selflessly at all is Makduf the Mamluk, a serf. A faithful servant to Dinkane unto his master’s death he undertakes his invasion of Europa with the express intent of avenging his slain relatives. In this reading Banqcwuou’s son conquering Drakia is not a happy ending but rather a sad reminder of the cyclical nature of history.
Makbet, thane of Dun Thalia – Christopher Eccleston
Lady Makbet, Makbet’s wife – Tracey Ann Oberman
Maudlin, Makbet’s serf – Billie Piper
Banqcwuou, a general – Robert Carlyle
Dinkane, king of Europa – Jim Broadbent
Makduf, Dinkane’s mamluk – Kayvan Novak
Extract taken from ‘Cyclopaedia Britannica’ by Richard P. Stalker & Others.
Stalker, R., P., 1985. Oxford University Press; Oxford, United Kingdom
BOWDLERIZE – To edit, doctor, or otherwise twist a text for your own meaning. Often used when describing the euphemistic exploitation of previously existing texts by totalitarian regimes. Taken from the name of Thomas Bowdler, infamous Draka propagandist, who re-wrote the works of Shakespeare.
‘The editors of your newspaper bowdlerized by quotation to make me look like an idiot!’
Freaky isn't it? It's an old trade paperback cover for The King In Yellow by Robert Chambers!That
picture is gonna give me nightmares,lol. Where did you find it?
Thank you very much. I often think the social side of history is missing in a lot of TLs, we're all shaped by the stories we're told after all.This is really cool. I love how you're delving into the media and culture of this Alt Draka, as many TLs prefer to focus on military or political history.