Compare and Contrast the representation of masculinity in any two plays

Familiarity with Shakespeare’s work often leads to awareness to the representation of masculinity, gender roles, and the patriarchal order as these subjects are often greatly reflected in his writing. Renaissance concept of order meant there was a shift from what used to be an Open Lineage Family, to a Restricted Patriarchal Nuclear Family. In turn, Renaissance families saw an increase in obligations to the church and state. Shakespeare (with the use of irony) often played with typical renaissance beliefs and ideologies, giving his work both historical and critical value. With the endorsement of an ideal marriage based on companionship and sharing, the role of women became increasingly significant; however, their overall treatment and position in society did not reflect this. In support of the above statement, Marilyn French argues, ‘As men began to build what would become patriarchy, or “male supremacy built by force,” the female class became disempowered, marginalised, and subjugated to the will of the male class.1 shakespeare noted and often commented on the difficulties experienced by Elizabethan women but like many of his radical contemporaries, shakepeares own social and political ideas are shrouded in ambiguity, so although he does have definite beliefs… According to William Perkins, the wife’s first duty is submission to her husband and acknowledgement of him as ‘her head in all things’ and secondly to be unquestioningly obedient ‘as the church yields obedience to Christ... to be commanded, governed and directed’ Perkins W (172-173) Women were to remain silent and avoid political discussions because they were burdened with feelings of passion, weakness and emotionally feminine attributes: whilst men were courageous, honourable, ambitious, reasonable, determined, and greater morally, physically and intellectually.

Another form of masculinity demonstrated in these plays are valour, kinship and honour; William Segar takes the radical position that’ there are but two arenas of action for men; business and honour’ Smith B Shakespeare and Masculinity (43) The tension charged exchange between Mowbray and Bolingroke in the opening scene of Shakespeare’s King Richard 2 in an all male arena, where both men throw down gages in a physical display of manliness and are prepared to settle their dispute by combat is clearly located in Segar’ s arena of honour.

There I throw don my gage,

If guilty dread have ...

This is a preview of the whole essay

There I throw don my gage,

If guilty dread have left thee so much strength

As to take up mine honours’ pawn, then stoop

By that and all the rites of Knighthood else

Will make good against thee, arm to arm, (1.1.69,73-76)

However, this warring with words a womanish undertaking ‘whilst dolled up to the nines’ Healy M William Shakespeare Richard 2 (52 in chivalric tournament gear was a great show of maleness and virility. This contrasts with Shakespeare’s Macbeth whose masculinity is initially defined by courage and honour on the battlefield. Shakespeare’s King Richards masculinity is initially defined by honourable and just decision making within kingship. Shakespeare’s plays Macbeth and King Richard 2 exemplify attributes that constitute masculinity and expose the conflict between men and women, control and emotion, within a society that fears feminine attributes, as they are deemed to be detrimental to order.

The opening scene in Macbeth is one of war where men stand side by side and fight for king and country. Patriotism with bloodthirsty violence was seen to be very masculine and to fight and die for your country was heroic and honourable. Macbeth’s bravery is recognized and defined by The Captain and King Duncan as courageous. The text supports his masculinity with,

For brave Macbeth (well he deserves that name),

Disdaining Fortune, with his brandish’d steel,

Which smok’d with bloody execution,

Like Valour’s minion,

0 Valiant Cousin! Worthy gentleman! (1,2.16-24).

Macbeth’s peers confirm his manliness on the battlefield. His masculinity is essentially measured by his military prowess. This contrast with the first impression we have of King Richards’s ceremonial engagement at St-lamberts where he had ordered that both Mowbray and Bollingbroke should duel. The reader could assume his decisiveness and ability to lead a masculine and kingly feature. However, King Richards’s action of halting the duel in its last moments in an act of showmanship seems fickle, self-centred; this change of mind and inability to stick to decisions and a need to be centre of attention are attributes of femininity. At this stage there is no reason to suspect that Macbeth has any inherent weaknesses if his manliness is to be questioned it will be outside the decidedly masculine domain.

Shakespeare’s King Richard after asserting himself within the court over the charge of treason against Mowbray replaces the duel with the banishment of both men. He seems unable to make firm political decisions and shoulder the responsibility that comes with being divinely appointed. In contrast King Duncan wastes no time in performing two basic Kingly duties, punishes the bad and rewarding the good.

No more the thane of Cawdor shall deceive our bosom interest: go pronounce his present immediate death

And with his former title greet Macbeth

The word bosom suggests a love relationship between King and subject and an acknowledgement of his duty to them. He continues to trust on face value after announcing that it his hard to read the construct of the face.

Lady Macbeth is an ambitious strong woman who has been made equal

by all standards by her husband, who refers to her in his letter as,

My dearest partner of greatness. (1.5. 11.)

Although Macbeth wants to rule and eliminate King Duncan whether it be for pure ambition, greed or to enforce the witches prophecy, it would have been Lady Macbeths function to talk him out of regicide not

encourage it. We understand her character from her first appearance as she states her husband is flawed by being,

‘too full o’ th’ milk of human kindness’ (1.5.17).

This perception not only calls attention to her femininity but her attempts to subvert it it also equates Macbeth with feminine submission and her

with masculine assertion.

Come you spirits

That tend on mortal thoughts, unsex me here. (1.5,40-41)

This desire to be a man with thoughts of murder reserved for men in mind, she asked the spirits to remove any signs of femininity, Intent on portraying herself as a superior man she succeeds in inverting the male and female roles that are associated with renaissance culture. This contrasts with Queen Isabella whose husband has not informed her of his circumstance and has to be told by gardeners of his predicament. However, she shows signs of strength in character as she tries to reprimand her husband and spur him into some form of action by questioning his resolve.

What is my Richard in shape and mind

Transform’ d and weak’ ned? hath Bolingbroke despos’ d

Thine intellect? hath he been in thy heart? (5.1.26-28)

Macbeth’s apprehension to kill Duncan in his wife’s view is unambitious but he has morals and qualities that would be considered manly today. For Shakespeare’s Lady Macbeth killing is equivocal to male potency, as she continues with taunts at her husband undermining his masculinity, questioning his courage and ability to do what a man does best.

Was the hope drunk

Wherein you dressed yourself? Hath it slept since?

And wakes it now to look so green and pale. ((1.7.35-37)

Lady Macbeth uses ‘green and pale’ to suggest cowardice and Macbeth replies with.

I dare do all that may become a man,

Who dares do more is none. (1.7.46-47)

Lady Macbeth replies with further insults to his manhood by using the term ‘beast’ to contrast with ‘man’ and ‘unmake’ as an ironic pun for unman. The crude mention of babies also highlights his lack of heirs challenging his sexuality.

What beast was’ t then,

That made you break this enterprise to me?

When you durst do it, then you were a man, And, to be more than what you were, you would Be so much more the man. Nor time, nor place, Did then adhere, and yet you would make both:

They have made themselves, and that their fitness now

Does unmake you. I have given suck, and know

How tender’ tis to love the babe that milks me:

I would, while it was smiling in my face,

Have pluck’ d my nipple from his boneless gums,

And dash’ d the brains out, had I so sworn

As you have done this. (1.7.47- 59)

These words depict an extreme will of steel fit for warrior, a woman who would rather kill her own child than break her wora, so impressed and reassured by this masculinity was Macbeth that his response was,

Bring forth men-children only!

For thy undaunted mettle should compose

Nothing but males. (1.7.73-75)

/‘( (

Macbeth uses the same tactics used by his wife on him when he insights A the murder of Banquo. He tells the two men that Banquo is the reason for

‘As men began to build what would become patriarchy, or “male supremacy built by force,” the female class became disempowered, marginalised, and subjugated to the will of the male class.’ Nicole Rogers

Mutuality and Patriarchy in the Renaissance Family and Shakespeare’s Macbeth

Page 1, paragraph 1