How Does Shakespeare Use His Secondary Characters In Macbeth Essay Example

Macbeth's heartbreak is palpable as she laments her husband's flight, "From whence himself does fly? He loves us not." Her pain and suffering elicit sympathy, pity, and even hatred from the audience. By this point in the play, the audience begins to turn against Macbeth and favor Macduff Campbell. Shakespeare's tragedies often include humor to prevent the audience from sinking too deeply into despair.

In Macbeth, the character known as the Porter appears in Act 2, Scene 3, following the death of Duncan. Some viewers find this scene uncomfortable due to its lack of humor. The Porter imagines himself as a gatekeeper to hell, welcoming various sinners. He describes the types of people he would let in, including a farmer who hanged himself on false hopes of prosperity, an equivocator who lied under oath for personal gain, and an English tailor who stole French clothing. The Porter's voice is typically high-pitched and manic, with an appearance that appears unhinged but can only be fully conveyed through his eyes. The role requires a skilled actor who can make the audience laugh despite any discomfort they may feel.

Shakespeare wrote some interesting and inappropriate lines for the character. The Porter overhears Macduff and Lennox talking about the effects of drinking and decides to share some of them with the audience, including "nose-painting, sleep, and urine." The mention of "lechery" as another symptom is not as well-received. The role of the Porter requires the actor to appear insane while only being drunk, and to deliver the line "Knock, knock, knock!" in a way that both terrifies and amuses the audience. It is a difficult role to perform, as comedy

on stage can be risky. However, secondary characters like the Porter can be useful for providing information about off-stage events without requiring additional time for exposition.

Macbeth is filled with many characters, but the captain has a significant role in building up Macbeth's image for the audience before he even appears. This character details what happened in the battle and praises Macbeth's bravery while telling The King. In Act 1 Scene 2, the captain covered in blood is introduced. He once saved Malcolm in a fight and shares the tale of how "brave Macbeth" defeated Macdonwald from "the nave to the chaps." The nobles nearby applaud and this establishes Macbeth as important before the audience even sees him, allowing them to envision their own portrayal of the character.

In discussing the battle, Macbeth is praised for bravely fighting against Macdonwald and King Sweno's reinforcements. Despite being outnumbered, he persistently fought his way through until reaching Sweno whom he killed. Another character, Seyton, serves as an armourer and a servant to Macbeth. Although a supporting character, Seyton conveys the most important news in the play: Lady Macbeth's death. Following a scream that both scares the characters and the audience, Seyton investigates and returns with the news that "The queen, my lord, is dead." This leaves the audience wondering about Macbeth's ability to lead without his main source of power. The audience sees Macbeth as human in his mourning of his wife's death, expressing "Life's but a walking shadow." This creates empathy from the audience towards Macbeth regarding his profound sadness.

The play uses certain characters to communicate messages between the different groups. One of the most

fascinating of these characters is Rosse, who has his own small story within the play. He greets young Macduff as "My dearest coz", which was a greeting for a relative in Shakespeare's time. Not only is he related to the Macduffs, but he is also a loyal lord of the king. Rosse commits an act of betrayal by warning Lady Macduff, a deed that would be considered switching sides in modern times but was unforgivable in Shakespeare's era. The act of passing messages not only creates a sense of division among the groups but also provides valuable information. This is demonstrated when Rosse delivers the news of Macbeth being named thane of Cawdor, just after encountering the witches. "He bade me, from him, call thee thane of Cawdor" refers, of course, to the king, Duncan.

One of Rosse's roles in Macbeth castle is at the dinner table where he delivers the famous line "Gentlemen, rise: his highness is not well." This allows Lady Macbeth to explain her husband's "fits." Secondary characters also serve the practical purpose of giving the main characters a break. Act 3, Scene 6 is a notable example as it is one of the few scenes in the play that doesn't include Macbeth himself. In modern theater, this break could be used for costume or makeup changes, but in Shakespeare's time, it was likely needed for actors to catch their breath.

Although the scene itself may be dull, it serves to inform the audience, reveal the true colors of the characters, and provide an opportunity for individual interpretation. In order to captivate the audience, actors should utilize both dialogue and physical movements. Moving about

the stage highlights the significance of the scene, while circular movements during conflicts can also capture attention. Additionally, gesturing while speaking expresses a point of view. Most importantly, to make the play relatable, characters should remind audiences of real-life situations. In Macbeth, witches were included to flatter King James VI who had an infatuation with supernatural beings and even wrote a book on demonology. Including witches in the play not only pleased the king but also instilled fear in the audience, solidifying Shakespeare's position among his royal patrons.

If the manipulative voice were used to deliver the lines "Double, double toil and trouble; /Fire burn and cauldron bubble," the effect on the audience would be unparalleled. During Shakespeare's time, witches were a very real threat, with women being burned at the stake while the play was being performed. Depicting witches as hags in those days would have been terrifying, but for modern-day audiences, it has become a challenge to scare them as the threat of witches no longer exists. To address this, many directors have opted to show witches as young women, children or silhouettes, but incorporating signs of the occult could prove more effective. For instance, having young women stand on the points of a triquetra could instill fear in viewers at a time when people are unnerved by the unknown.

During the time period in which Macbeth was performed, the idea of Macbeth killing his king would have been especially frightening due to the recent Gunpowder Plot. The memory of Guy Fawkes' attempt on the king's life would have still been fresh in the audience's minds, making them intrigued and possibly even feeling

a sense of catharsis as they watched the play. In my opinion, secondary characters are often more important than the main ones since without them, the play would be confusing and too long. However, one issue with secondary characters is that they tend to use fake Scottish accents, which can reveal uncertainty in their role. If an actor truly understands their role and performs well, a Scottish accent is unnecessary.

Although it is a play and not a book or film, the secondary characters deserve recognition for their reserved behavior during soliloquies. Despite not being the focal point, these characters still manage to capture attention. Though there are numerous techniques for utilizing secondary characters, those mentioned are the most prevalent in this production and are frequently witnessed by viewers.