By Charlene Lunnon, Lisa Hoodless, Gill Paul
In 1999, on the smooth age of ten, Charlene Lunnon and Lisa Hoodless have been snatched as they walked to varsity. Over the following week, they have been held captive, tortured, raped and virtually killed. information of the girls' disappearance ruled the headlines, and the full kingdom held its breath, praying for his or her secure go back as a tremendous police hunt didn't take place any clues. yet then a miracle occurred. the ladies have been came upon alive, their abductor used to be arrested and the case was once closed.
But there has been to be no such closure for Charlene and Lisa. Over the arriving years, their friendship was once strained to verge of collapse, as they struggled to reconcile themselves to their painful stories and to every other.
Abducted is their dazzling first-hand, insider account of the way it feels to be abducted, how they survived their bad ordeal and the way they've got discovered the energy to maneuver on and rebuild their lives.
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219). 5 Holland, p. 170. 6 Robert Smallwood, ‘Shakespeare Performances in England’, SS 51 (1998), 219‒55; p. 251. 25 Introduction split the image of woman into devil and angel, Eve and Mary. ’1 Shakespeare drew on many other direct as well as traditional sources, too, and his transmutation of his inherited material is so radical that his play creates a far greater impression of originality than of derivativeness. ‘Arcadia’. Conspicuously, Shakespeare chose to weave alongside and into the story of Lear and his three daughters the parallel narrative of the Earl of Gloucester and his two sons, Edgar and Edmund.
Although the plot of King Lear is intricately woven, it is nevertheless open enough to admit the inclusion of speeches and episodes which, inessential to the story line, add to and illuminate its system of ideas. Prominent among these are much of the Fool’s role, including the bulk of the scene (Sc. 31‒75); Edgar’s moralizing speech at the end of Scene 13 (‘When we our betters see bearing our woes . ’); the scene (Sc. 17) in which we hear of Cordelia’s reaction to her father’s plight;1 and, most conspicuously, the encounter between mad Lear and blind Gloucester (Sc.
Jackson and R. Smallwood (Cambridge, 1988), pp. 151‒66; pp. 154‒5. 2 D. Bradley, work cited in p. 38, n. 2, p. 34. 3 D. Bradley states ‘It is really a misnomer . . to speak of “sub-plots” or “double-plots” in Elizabethan plays’, pointing to ‘the Gloucester family . . whose history is fully explored and whose life-lines are interwoven, both in actuality and in the tightest thematic way, with those of the main characters’ (p. 35). 43 Introduction 6. David Bradley as Gloucester and Robert Stephens as Lear in Adrian Noble’s RSC production, 1993.
Abducted by Charlene Lunnon, Lisa Hoodless, Gill Paul