The Review: A Journal of Undergraduate Student Research
Volume 17 The Review Article 6
2016
“But I must also feel it like a man”: Redressing Representations of Masculinity in Macbeth
Caitlin H. Higgins Saint John Fisher College, [email protected]
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Recommended Citation Higgins, Caitlin H.. "“But I must also feel it like a man”: Redressing Representations of Masculinity in Macbeth." The Review: A Journal of Undergraduate Student Research 17 (2016): -. Web. [date of access].
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Abstract The most popular characters in William Shakespeare’s Macbeth, second only to Macbeth himself, are the Weird Sisters. Despite being called “Sisters” the women are oddly androgynous and there is very little in their physical appearance or behavior to indicate their gender. Even more importantly, there is nothing to indicate their place in the Scottish patriarchy of which Macbeth and Banquo are firmly established. As the first actors to appear on stage and arguably the manipulators of Macbeth’s fate, the genderless Weird Sisters would have disturbed deeply rooted understandings of gender definition and hierarchy in viewers. This disturbance allows Shakespeare to redress binary understandings of masculinity through the characters of Macbeth, MacDuff, and King Duncan. By looking at definitions of masculinity and patriarchy in Early Modern England it is becomes evident that Shakespeare is rejecting a narrow definition of what it means to be a “man”. He instead embraces a much broader concept of gender which challenges many common masculine stereotypes in favor of a contradictory and complex view of masculinity and patriarchy.
Keywords Macbeth, Sexuality, Gender, Shakespeare, Witchcraft, Early Modern England
Cover Page Footnote Thank you to the St. John Fisher College English department for always pushing me to write more and to broaden my thinking
This article is available in The Review: A Journal of Undergraduate Student Research: https://fisherpub.sjfc.edu/ur/ vol17/iss1/6 Higgins: Redressing Representations of Masculinity
“But I must also feel it like a man:” Representations of Masculinity in Macbeth
Caitlin Higgins
The most frequently referenced characters in Scottish throne. Surprisingly, especially William Shakespeare’s Macbeth are the when contrasted with Shakespeare’s adapta- three frightening and androgynous Weird tion, the Weird Sisters have hardly any pres- Sisters. Despite being called “Sisters,” there ence in the Holinshed record. When they ini- is very little in their physical appearance or tially appear to Macbeth and Banquo, the behavior to reinforce their gender. Even witches are described only as “three women more importantly, there is nothing to indi- in strange and wild apparel, resembling cate their place in the Scottish patriarchy. creatures of elder world” (141). When Ban- Beards would have been the most legible quo meets the witches in Macbeth, his first source of gender hierarchy for men. As the impulse is to situate the women in terms of first actors to appear on stage and arguably the gender patriarchy as either men, women, the mediators of Macbeth’s fate, the bearded or boys. However, he is extremely confused Weird Sisters would have disturbed deeply by their appearance. Banquo declares “you rooted understandings of gender définition should be women, / And yet your beards for- and hierarchy in viewers. Bearded women bid me to interpret / That you are so” would not have had any place within the (1.3.46-48). The witches appear to be male hierarchy and their presence produces women and yet have beards which obscures a destabilization of gender for both the audi- Banquo’s ability to accurately judge their ence and the characters in Macbeth. This gender. Although Banquo wishes to disturbance allows Shakespeare to redress “interpret” the witches to be women, their binary understandings of masculinity beards literally “forbid” him to do so. The through the characters of Macbeth, King fate of the men is relayed to them not by Duncan, and Macduff. By looking at defini- their equals but by those who operate out- tions of masculinity and patriarchy in early side of gender norms. modern England we can observe that Shake- speare is rejecting a narrow definition of The beard was an incredibly important as- what it means to be a “man.” He instead em- pect of the construction of masculinity in braces a much broader concept of gender early modern England. Particularly during which challenges many common masculine the time Macbeth was written and show- stereotypes in favor of a contradictory and cased, the beard would have been a key vis- complex view of masculinity and patriarchy. ual marker which socially separated men from boys and women. Mark Johnson, in his The physical appearances of Shakespeare’s article “Bearded Women in Early Modern Weird Sisters would have been a notable de- England,” describes the beard as not only a parture from the three witches in the source marker of gender but also as a sign of eco- Shakespeare drew from. One of several pri- nomic standing and marriageability. In 16th mary sources for Macbeth is the legend of and 17th century London, the “presence of a King Macbeth recorded by Raphael Holin- beard advertised the completion of appren- shed in The Chronicles of England Scotland, ticeship and the acquisition of freeman sta- and Ireland. Completed in 1587, it is a re- tus” (1). A beard indicated that the individ- cording of the events leading up to and after ual was now a sexually and socioeconomi- the historic Macbeth’s usurpation of the
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cally viable member of society (1). Beard- they become an ambiguous “other” with less faces either belonged to children or to powers which extend outside the authority women, both of whom would be subordi- of the men. The witches are not crossdress- nated by that patriarchal construct. ing (as is a major plot device in many of his plays) so the witches’ presence as an “other” The importance of the beard in signifying gender is never readdressed through a gen- manhood appears a surprising number of der reveal or a costume change. They be- times throughout the play. Often, beards are come representative of an alternative econ- representative of a moment of intense emo- omy outside of patriarchal prerogative that tion or desperation on behalf of Macbeth. In operates by rules mysterious to those rooted Act 5, Scene 2, Macbeth is preparing for his in commonly accepted gender stereotypes. final sparring with his rival Macduff. Len- By using the social and political male signi- nox, a Scottish nobleman, takes stock of the fier of the beard to complicate the gender of pitiful forces that Macbeth has collected for the witches, Shakespeare is both critiquing battle; “There is Siward’s son, / And many binary understandings of gender and em- unrough youths that even now, / protest their bracing a more complex view of masculinity first of manhood” (5.2.9-11). The “unrough which rejects understanding on the basis of youths” are smooth faced young boys and stereotypes. This is most clearly illustrated teens. The boys cannot yet “protest their first by the character of Macbeth who struggles manhood” because their very manhood is through the play to come to his own defini- quantifiable only by having a beard. Without tion of masculinity and ultimately is undone beards, these are a collection of individuals by it. who would have been considered ranked with women in the patriarchal constructs of Macbeth seems to be the individual most early modern England. Macbeth’s army is strongly impacted by the witches’ destabili- composed of boys so young that they would zation of gender hierarchy. Macbeth, before not have been considered socially, sexually, meeting the witches, seems self-assured and or economically independent outside of war- certain of his place in Scottish society. Mac- time. This intensifies the audience’s percep- beth post-weird sisters is erratic, unstable, tion of how desperate, and how hopeless, and anything but certain of his masculinity. Macbeth’s cause is at this point in the play. It is interesting to note just how many times These soldiers are not men but rather the so- throughout the play Macbeth seems to go cial equivalent of an army of women. At this out of his way to define his own sense of point in the play, either all of the “men” are masculinity. No other male character in the dead or, more likely, no true bearded “men” play makes such an effort to defend the au- will fight for his ridiculous cause. thenticity of their gendered behavior. While other characters may comment on the manli- A bearded woman challenges the pairing of ness of their king or another male character, the beard and maleness in a way which Macbeth is the only one to whom it feels would have been very troubling to Renais- necessary to qualify manhood in direct refer- sance audiences. The presence of a beard on ence to himself. He seems to be caught in a women outwardly marks them as witches constant cycle of being unmanned and then and also signifies that they are social outliers needing to reassert his masculinity. One rea- who do not participate in the established pa- son why Macbeth may feel the need to con- triarchy as subordinate to men. The witches tinuously restate his masculinity may be be- provide no other contextual clues to indicate cause he has become genuinely confused that they are either women or men. Instead about his own definition of masculinity. It is
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obvious, at least at the start of the play, that esteem” rather than kill Duncan and gain the Macbeth is morally aware that to some ex- Kingship (1.7.43). She is questioning his tent his honor and identity stem from his masculinity, defined here by his political obedience to King Duncan. When contem- power, and his very integrity as a man. Mac- plating the possibility of murder, he says, beth counters her accusation by saying “I “My thought, whose murder yet is but fan- dare do all that may become a man; / Who tastical, / Shakes so my single state of man dares do more is none” (1.7.47-48). Macbeth that function / Is smother'd in surmise, and reestablishes his masculinity by essentially nothing is / But what is not” (1.3.141-144). stating that whatever he does is what is ap- In “Themes of Manhood in Five Shake- propriate for a man to do. The notion of speare Tragedies” C. O. Gardner identifies murder which a short time earlier violently this as the moment when Macbeth’s mascu- disrupted his understanding of his own mo- linity “begins to lose its singleness” (15). Up rality and self-possession is now excusable until this moment, Macbeth has defined because Macbeth embodies manhood. masculinity as being courageous, noble, and loyal to the authority of his king. His ac- The character of Macbeth embodies crum- tions, which earned him the title of “Thane bling ideals of masculinity in early modern of Cawdor,” consisted of fighting honorably England. His uncertainty and his unwilling- in wars for his King and respecting his place ness to obey his own sense of morality ulti- within the structured Scottish nobility. After mately lead to his disillusionment and de- meeting the Weird Sisters, Macbeth has mise. Macbeth seems to represent a warning been presented with a new definition of against allowing one’s self-image to be ma- masculinity which inherently violates his nipulated by societal norms. The ways in moral values. He is discovering that rather which his views of masculinity are con- than being one, single-minded man, there is stantly shifting and finally settle on violence another aspect of his personality which con- and ambition, ambitions which lead to his siders regicide as a means of advancement. destruction and loss of power, are a testa- Macbeth’s understanding of himself, as in- ment against a traditional understanding of stigated by the Weird Sisters, is disrupted in masculinity which values those things above an irreparable way from which his sense of morality, courage, and sensitivity. Macbeth self never recovers. is not remembered kindly, but those men who embody a more complex sense of mas- Macbeth’s definition of masculinity may be culinity are. so malleable because it is based on other people’s opinions and evaluations of his The play offers only a small glimpse of the standing and his actions rather than his own personality of King Duncan in the time be- moral compass. Gardner suggests that Mac- fore he is murdered. However, in that time beth’s self-esteem and ambition have been the audience glimpses a man who is secure “fed by his own and by society’s acknowl- in his masculinity and embodies a complex edgement of his power” (17). I would argue understanding of gender which extends be- that this also works on his view of what it is yond ideas of ambition and power. While to be a man. In several instances, Macbeth the King Duncan of the Holinshed source is seems to change his definition of manhood fumbling and foolish, Shakespeare’s adapta- in reaction to someone challenging his tion of him is more noble and honorable. power or authority. In Act 1, Scene 7, Lady Duncan’s language is heavily laden with Macbeth questions whether her husband feminine undertones and themes of nurtur- would prefer to “live a coward in thine own ing. He responds to the return of the warlike
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Macbeth by saying “Welcome hither. / I Macduff, Macbeth’s rival and the man who have begun to plant thee, and will labor / To is determined to restore Scotland to glory. make thee full of growing” (1.4.28-30). In While Macduff is more warlike than Duncan the same scene he requests of Banquo to al- (he ultimately claims Macbeth’s head) his low him to “infold thee / And hold thee to reasons for doing so are based in maintain- my heart” (1.4.30-33). More often than any ing order in Scotland and protecting the in- other character he frequently uses the word nocent. Macduff, like Duncan, stands as a “love” to describe his relationship with his complete juxtaposition to the character of close friends and subjects. He embodies a Macbeth. Throughout the play he embodies view of masculinity which allows for emo- a sense of disgust towards the actions of tion and sensitivity and rewards loyalty and Macbeth in a way which refuses to change obedience over warmongering. His behavior his sense masculinity in response to war. In and viewpoints present a shocking juxtapo- his call to action for his troops he says sition to Macbeth’s campaign of unfeeling “Hold fast the mortal sword and, like good ambition. men, / Bestride our downfall’n birthdom Each new morn / New widows howl, new The value of Duncan’s complex perspective orphans cry, new sorrows / Strike heaven on becomes even more evident after his death the face, that it resounds” (4.3.3-7). He in the ways he is described by those who wages war against Macbeth not for personal mourn him. Macbeth, the man who commit- gain but to defend those who cannot defend ted the deed, describes Duncan’s corpse as themselves. His view of masculinity and pa- “silver skin laced with his golden blood, / triarchy is firmly established in protecting And his gashed stabs looked like a breach in the family over personal elevation. After nature” (1.2.91-93). Duncan’s body is de- learning of the death of his family, Malcolm scribed in terms of precious metals and pleads with Macduff to take revenge and to turned into a sacred object of value. His be- “dispute it like a man” (meaning to respond havior in life has made him sacred in death with violence); Macduff responds by saying and, despite the knowledge that he murdered “I shall do so, / But I must also feel it as a him, even Macbeth chooses to remember man. / I cannot but remember such things him fondly possibly because he embodied a were / That were most precious to me” sense of self awareness that Macbeth lacks. (4.3.226-229). The phrase “feel it as a man” Macduff elevates the corpse of Duncan to implies that masculinity also includes ac- the status of holy relic when he states “Most knowledging loss and mourning as valuable sacrilegious murder hath broke ope / The traits. Macduff acts upon ideas of order and Lord’s anointed temple, and stole thence / patriarchy but does so in a way which allows The life o' th' building!” (1.3.41-43). Duncan for logic and sensitivity to intermingle with embodies the spirit of God, rather than mor- duty and order. tal man and becomes the ideal embodiment of a servant of God on earth. By remember- It is no coincidence that the unfeeling, al- ing Duncan in this way as both sacred object pha-male Macbeth is finally destroyed by and sacred spirit, Shakespeare encourages the sensitive, family orientated Macduff in approval of Duncan’s behavior and mascu- an event that was set in motion by the linity in a way which Macbeth never re- Witches. The bearded weird sisters which ceives in life or in death. disrupt the audience's understanding of pa- triarchy set the stage for Macbeth’s struggle Duncan’s complex embodiment of mascu- with his own sense of self. The fall of Mac- linity is expanded upon by the character of
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beth due to an oversimplification of mascu- and more reliant on order, sensitivity, ex- linity and an emphasis on ambition and vio- pression of emotion, and mutual respect lence highlights the traits of kindness and over ambition and violence. While it does justice displayed through both Duncan and not completely reject the merits of tradi- Macduff. By dismantling Macbeth (by way tional masculinity, it is a suggestion that of the weird sisters) and promoting King what it is to be a male is more complex that Duncan and Macduff, Shakespeare encour- gender stereotyping may lead Englishmen to ages a kind of masculinity that is complex believe.
References
Gardner, C. O. "Themes of Manhood in Five Shakespeare Tragedies: Some Notes on "Othello," "King Lear," "Macbeth," "Antony and Cleopatra" and "Coriolanus"" Theoria: A Journal of Social and Political Theory 29 (1967): 1-24. MLA Database. Web. 15 Mar. 2016.
Holinshed, Raphael. "From The Chronicles of England, Scotland, and Ireland." Mac- beth: Texts and Contexts. Ed. William C. Carroll. Boston: Bedford/St. Martin's, 1999. 135-50. Print.
Johnston, Mark Albert. "Bearded Women in Early Modern England." SEL Studies in English Literature 1500-1900 47.1 (2007): 1-28. MLA Database. Web. 15 Mar. 2016.
Shakespeare, William. Macbeth. The Bed- ford Shakespeare. Ed. Russ McDonald and Lena Cowen Orlin. Boston: Bedford / St. Martin’s, 2015. 1407-1459. Print
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