Macbeth Vs. Manliness

Macbeth vs. Manliness What exactly does it mean to be a ‘man’, and what or where is this divine and otherworldly source of decisiveness that definitively ascertains these qualities in a person? These questionable ideals are presented and challenged in William Shakespeare’s “The Tragedy of Macbeth” through the central character, Macbeth, and the playwright’s other significantly relevant characters. “The Tragedy of Macbeth” tells the grippingly calamitous tale of the nobleman Macbeth, who, through darker influences and an overwhelming avidity to rule Scotland, has his heart darkened and blemished through his corrupt and sinful deeds, that include but are graciously not limited to murder, treason, and deceit. Macbeth’s plummet into complete

Masculinity is prominently imbued through the main character Macbeth as he struggles with indecision, regret, and an overall lack of valor. Through some verbal manipulation and sly persuasiveness, Macbeth seals his fate and finally strikes Duncan down, which slowly begins to whittle away at his frailly precious mentality. When Macbeth returns from the aforementioned murder, he states, “List’ning their fear, I could not say Amen.” (Act II, scn ii, ln-27-28) Although Macbeth travelled along the road of his destiny, brightened with the guiding light of treason that promised that which he desired the most, Macbeth absolutely loses it and his sheer level of paranoia is laughably feeble. Macbeth’s inability to compose himself in the face of a dilemma speak volumes to how strongly Macbeth’s personality opposes the qualities of a true man, courageousness and firmness of purpose. Lady Macbeth is the one that has to babysit Macbeth and ensure the success of the entire operation as Macbeth continues to stir in his crib. This wavering cowardice; this crippling inability to steel his resolve and commit to the task at hand is a prime example of his lack of manliness and, when asked to return to the scene of the crime and stage the grotesque daggers emblazoned with sin and gore, Macbeth says “I’ll go no more. I am afraid to think what I have done.” (Act II, scn ii, ln-50) This quote places Macbeth’s regret and fear on the surface,

Masculinity through. After receiving news of his family’s demise at the hands of the sadistically savage Macbeth, Macduff is, justifiably, set aback. Malcolm tells Macduff to dispute the news like a man and, in response to this overly-simple solution, Macduff replies, “I shall do so; But I must also feel it as a man.” (Act IV, scn iii, ln-220-221) Macduff, here, demonstrates the extent of his wise character; Macduff knows that there is more to being a man than blind relentless aggression, a true man must also allow time to grieve and accept what has happened. After convincing Malcolm to take down the tyrannical unjust reign of the demonic Macbeth, Macduff says, “But, gentle heavens, cut short all intermission; front to front.” (Act IV, scn iii, ln-231-232) Macduff exemplifies his determination and vows to avenge his fallen family and save his country, which is as patriotic as it is manly. These quotes strongly solidify themselves and Malcolm as a bold testament to the theme Manhood vs. Masculinity.

To conclude, these examples clearly demonstrate the underlying theme of Manhood vs. Masculinity. This reoccurring theme permeates itself directly into the characters’ blossoming radiance of the theme’s ideals. Through Macbeth’s weak-hearted will, Lady Macbeth’s clever game of human chess, and Macduff’s burning desire to take revenge on