Gender

Gender in 'Macbeth'

The Concept of Gender

The concept of gender and the roles characters are confined to due to it are central themes throughout the play 'Macbeth'. The male characters notably display a strong regard for masculinity as the desired trait, often reacting defensively to any challenge to their manhood. A prominent example occurs when Lady Macbeth questions Macbeth’s masculinity by asking if he is a "man" (3.4). Macduff also asserts that he must experience his grief "as a man" (4.3), further highlighting the societal expectations surrounding gender roles. It becomes evident that characters, particularly the Macbeths, feel constrained by these gender expectations and roles.

Gender in Context

In the context of the Jacobean era, gender was marked by strictly defined roles that dictated expectations for men and women in society. The construction of gender was pivotal in establishing a societal hierarchy. Women were expected to be loyal and respectful as daughters, wives, and mothers. Failure to adhere to these societal norms could lead to severe consequences, including being ostracized or killed, with financial independence for women being nearly unattainable. Educational access was limited, further restricting women's life choices. Conversely, men enjoyed greater freedom, often taking on roles as householders, politicians, and landlords. Aggression, particularly in sexuality, was celebrated in men, yet masculine behavior was also constrained by societal expectations that mandated financial independence and viewed dying in battle as the ideal way to achieve honor.

The Presentation of Men in 'Macbeth'

Shakespeare presents diverse representations of masculinity throughout 'Macbeth'. The playwright invites audiences to consider the differentiation among male characters and the consequent message conveyed.

Macbeth and Masculinity

Lady Macbeth frequently challenges Macbeth’s masculinity, indicating that his identity as a man is fragile and susceptible to external pressures. For instance, after being accused by Lady Macbeth of cowardice, Macbeth responds with, "Prithee, peace. / I dare do all that may become a man; / Who dares do more is none" (1.7). This plea reveals his vulnerability to the assault on his masculinity. Ultimately, Lady Macbeth implies that true masculinity is defined by violence when she pressures Macbeth to murder Duncan. Macbeth, however, argues that true manhood is tied to honor, stating that those who act outside of the natural order or grasp for undue power cannot be deemed men or are no longer human. This presents a dichotomy in masculine identity that Shakespeare explores: the violent man versus the chivalrous one.

Macbeth ultimately succumbs to Lady Macbeth’s taunts and becomes preoccupied with proving his masculinity as perceived by her. He asserts, "Ay, and a bold one, that dare look on that / Which might appal the devil" (3.4), illustrating his inflated sense of manhood, linked to unfolding bravery and strength to confront evil.

Fear and Masculinity

In Macbeth’s world, fear and paranoia are viewed as incompatible with masculinity. Male characters repress these emotions to maintain their masculine identities. After Duncan’s murder, Macbeth grapples with fear over his heinous actions and the loss of his masculine stature. He admits upon learning of Fleance's escape, "I had else been perfect; / Whole as the marble, founded as the rock, / As broad and general as the casing air: / But now I am cabined, cribbed, confined, bound in / To saucy doubts and fears" (3.4). This indicates that fear undermines his sense of perfect masculinity and illustrates how he resorts to further violence in an effort to escape his overwhelming doubts and fears.

Final Battle

Macbeth’s understanding of masculinity evolves towards the end of the play when, in his final battle, he chooses to fight until death rather than surrender, indicating a restoration of courage and honor. He expresses this resolve with, "I’ll fight till from my flesh be hacked" (5.3), and states, "Why should I play the Roman fool and die / On mine own sword? Whiles I see lives, the gashes / Do better upon them" (5.5). This valor aligns with Jacobean ideals of masculinity, suggesting that glory lies in the noble act of dying in battle.

Malcolm and Macduff

In addition to examining violence and bravery, Shakespeare presents an alternative, more nuanced form of masculinity through Malcolm and Macduff. As Malcolm assumes kingship, his understanding of manhood diverges from conventional notions, emphasizing compassion and emotional depth.

Controlling Emotions

Malcolm seeks to assess Macduff’s loyalty and morals by cautioning him against succumbing to "the cistern of [his] lust," emphasizing that masculinity involves self-control over one's desires (4.3). Macduff acknowledges, "Boundless intemperance / In nature is a tyranny," summarizing the notion that societal expectations encourage male tyranny and indulgence in uncontrolled desires.

The Emotional Depth of Masculinity

The death of Macduff's family prompts a profound emotional response. His anguished cry, "All my pretty ones? / Did you say all? O hell-kite! All? / What, all my pretty chickens and their dam / At one fell swoop?" (4.3), signifies deep paternal love and emotional grief, characteristics often deemed unmasculine in Jacobean times. Macduff’s statement, "I shall do so; / But I must also feel it as a man; / I cannot but remember such things were / That were most precious to me," asserts the necessity of acknowledging emotions despite societal judgments of masculinity.

The Women in 'Macbeth'

The female characters transcend traditional gender norms and are portrayed with agency within the narrative. Their interactions and the consequences of their actions significantly propel the plot, yet they also repudiate their femininity in their quests for power.

Lady Macbeth's Manipulation

Lady Macbeth's character strikingly deviates from the submissive archetype of women. She embodies manipulative ambition and dominates her marriage with Macbeth. By attacking his masculinity, she drives him towards murder and ambition, showcasing her mental power over him. Yet, she orchestrates their plans without initiating violence herself. This manipulation likens her to biblical figures, where her actions echo the narrative of Eve leading to Adam’s downfall.

Lady Macbeth's Soliloquy

In her famous soliloquy in Act 1, Scene 5, Lady Macbeth implores the spirits to "unsex" her and fill her with