Macbeth Power Relations Essay Example

strong bond. Lady Macbeth exceeds her husband in ruthlessness, ambition, and strength, making her one of Shakespeare’s most formidable and intimidating female characters. Recognizing that Macbeth is too kind-hearted to kill Duncan, she assumes the responsibility of persuading him to commit the murder.

Lady Macbeth's soliloquies in Act one, scenes five and seven demonstrate her as the dominant force in their marriage and challenge the notion of male superiority. In Act one, scene five, Lady Macbeth's soliloquy introduces the theme of masculinity as she exclaims, "unsex me here... Come to my woman's breasts, And take my milk for gall." This indicates that her femininity is hindering her ability to carry out acts of violence and therefore preventing her from personally killing Duncan. However, the scene also reveals that Lady Macbeth is fully capable of murdering Duncan or organizing it.

Lady Macbeth believes that cruelty and violence are masculine qualities, seeing murder as a defining trait of manhood. She asks the spirits to give her intense cruelty and no remorse. In contrast to her husband, Lady Macbeth displays more ambition and cruelty, making her appear more masculine. This theme is further explored in act one, scene seven when the audience sees Lady Macbeth's dominant position of power in her relationship with Macbeth.

The exploration of Macbeth's relationship and the theme of masculinity in Act one, scene seven is further developed. Previous scenes depict Lady Macbeth as more masculine, as violence is associated with masculinity. Macbeth, on the other hand, is portrayed as brave in the earlier scenes when Banquo describes his slaying of Macdonald as "he unseamed him from the nave to th'chops".

This portrays Macbeth as courageous, heroic, and robust. However, Lady Macbeth perceives him differently.

In his second major soliloquy, Macbeth expresses hesitations about murdering Duncan due to the consequences of damnation. He shares with the audience his reasons for not wanting to commit the act, stating that as a subject and host of Duncan, he should protect him and refrain from taking up the knife himself. However, when speaking to Lady Macbeth, Macbeth offers a different explanation. He claims that he doesn't want to kill Duncan because he has received "new honours" from him and desires to bask in the admiration and respect he has earned. It's possible that Macbeth is also concerned about how Lady Macbeth perceives his masculinity since she exhibits more masculine traits.

Lady Macbeth continuously undermines Macbeth's confidence and masculinity by constantly questioning his manhood. Whenever he displays any reluctance, she insinuates that he lacks true courage. She goes as far as labeling him a coward, to which he assertively replies, "I am willing to do all that is expected of a man; Any further actions would be deemed inappropriate." Lady Macbeth reprimands him for reneging on his commitment to assassinate Duncan, inquiring about the reason behind his sudden change of heart.

Lady Macbeth defies societal expectations of women in the 17th century by challenging traditional gender roles. In contrast to Macbeth's uncertain tone and gentle imagery, she uses forceful language and violent imagery to express her determination to take action rather than backing down. If she had made a promise, she would have acted forcefully instead of conforming to feminine and motherly qualities.

The contrasting speeches

of Macbeth and Lady Macbeth utilize nurturing imagery. While Macbeth describes Duncan with the phrase "pity, like a new-born babe", Lady Macbeth's language is violent as she speaks of "dashing the brains out". Additionally, Macbeth acknowledges Lady Macbeth's boldness and courage by calling her manly and suggesting that she should "Bring forth men-children only". The fact that Macbeth immediately gives in to her desires implies that he is praising her and reinforcing the notion that bravery is a masculine quality.

In the third act of 'Macbeth', Macbeth perceives his wife as displaying courageous traits typically associated with masculinity, whereas Lady Macbeth utilizes her masculine qualities for malicious purposes. Instead of attempting to persuade him, Lady Macbeth actually encourages him to carry out the murder. Macbeth is unable to resist Lady Macbeth's manipulation, highlighting the link between violence and masculinity while also showcasing Lady Macbeth's significant ambition and dominance over her husband. Moreover, this act symbolizes a shift in gender roles as power now transfers from Lady Macbeth to Macbeth.

Throughout Macbeth's continuous spree of killings, he undergoes a monstrous transformation. He commands the murder of Banquo and his son Fleance, whom he perceives as potential dangers based on the witches' prophecy. To convince the assigned murderers, Macbeth uses persuasive techniques like rhetorical questions, similar to Lady Macbeth's method of persuading him to kill Duncan. By challenging their manhood and fueling their anger, he ignites their ambition to prove themselves by carrying out Banquo and Fleance's murders.

Manliness is once again linked to bravery and violence. Macbeth reflects Lady Macbeth's previous instruction to appear innocent on the surface but be deceitful underneath, stating

that they must now conceal their true intentions. As Lady Macbeth becomes disheartened, claiming that they have gained nothing and lost everything, Macbeth becomes more courageous.

Lady Macbeth's change in behavior is surprising as she now advises her husband against committing more murders, going against her previous encouragement for him to kill the King. It is interesting to note that she mirrors Macbeth's earlier words, saying "What's done is done." This statement refers back to Macbeth's use of the word 'done' in Act one when he said, "If it were done when 'tis done, then 'twere well it were done quickly." The repetition of their phrases implies a shift in power dynamics between them. As Macbeth becomes more ambitious and violent, Lady Macbeth gradually weakens and gives in to guilt, which has a negative impact on her mental state.

Despite Macbeth's initial hold on power in their marriage, his character progressively weakens as he carries out additional murders. Instead of achieving the security and power he desired, each murder only intensifies his fear and vulnerability. The audience comprehends that the sole resolution to the ongoing chaos is Macbeth's demise. Subsequently, Lady Macbeth demonstrates her strength surpassing that of her husband when he witnesses the apparition of Banquo during their banquet, resulting in him appearing mentally distressed to their guests.

Macbeth's confidence and certainty in previous scenes are now replaced by guilt. However, he regains control over his relationship with Lady Macbeth as she descends into madness. This power shift is reflective of the time period, despite its unusual circumstances. The reversal of gender roles signifies the start of the deterioration of their

relationship. Moreover, other characters in 'Macbeth' also embody notions of gender and masculinity.

The play showcases a range of powerful female characters created by Shakespeare, notably the three witches and Lady Macbeth. These female characters possess a violent nature and display greater strength than their male counterparts. The play commences with the three witches setting a sinister and violent tone for the entire story. Their entrances on stage are associated with unease and turmoil in the natural world, often accompanied by thunder and lightning as indicated in the stage directions. Furthermore, the witches employ evil and contrasting language, exemplified by their quote "Fair is foul, and foul is fair".

The female characters in the play are the originators of evil. The witches initiate Macbeth’s violent behavior and desires. Lady Macbeth schemes the murder of the King and urges Macbeth to commit the crime. Meanwhile, Hectate, the goddess of witchcraft, represents the only divine entity. All disorder in 'Macbeth' can be directly attributed to these female characters. They employ feminine techniques of gaining power, such as manipulation. Rather than resorting to violence, these women employ persuasive words to encourage their male counterparts to be ruthless and commit murder.

The play suggests that societal constraints prevented the women from pursuing their ambitions. Surprisingly, the aggression displayed by these women in the play goes against the expected nurturing nature of women. Lady Macbeth and other female characters prove to the audience that they can be equally or even more cruel than men, challenging the belief of women being weaker in seventeenth century society. Furthermore, Malcolm and Macduff present contrasting views on masculinity.

Throughout the

play, the notion of manhood is portrayed as being linked to cruelty and violence. This is evident when Macduff learns about the deaths of his wife and child. Malcolm encourages him to respond in a 'manly' manner by seeking vengeance against Macbeth, stating "Dispute it like a man". In response, Macduff acknowledges Malcolm's advice but emphasizes that he must also experience the pain as a man. Macduff challenges the prevailing association between masculinity and aggression, showcasing that manhood can also involve allowing oneself to be sensitive and experience grief.

In the seventeenth century, masculinity was seen as aggressive and violent, honoring soldiers and warriors for their fierce disposition. While this concept still holds some significance nowadays, it is not as dominant. The play 'Macbeth' showcases male characters with different outlooks on masculinity. One perspective aligns with the power dynamics of that time, while another questions this connection. At first, Macbeth and his wife regarded each other as equals, but in Act three, their dynamic changes, ultimately causing the breakdown of their previously strong bond.

The relationship between Macbeth and Lady Macbeth deteriorates in Act two. Macbeth goes against the plan and murders the servants, indicating that Lady Macbeth's influence over him has weakened. When Lady Macbeth learns of her husband's actions, she faints, but he does not comfort her. This highlights Macbeth's lack of concern for his wife, which grows as their love and marriage decline throughout the play. As Macbeth gains more power, Lady Macbeth becomes less important and gradually experiences mental distress.

The relationship between Macbeth and Lady Macbeth undergoes a significant change when she is excluded from his plans

to assassinate Banquo and Fleance. Initially, Macbeth actively sought Lady Macbeth's guidance on the idea of killing Duncan, indicating a strong connection between them. However, as the story progresses, he no longer seeks her approval and becomes more distant. Nevertheless, he does confide in her about his distress over Duncan's murder and his "terrible dreams." Despite this emotional sharing, Lady Macbeth conceals her own troubles, suggesting a lack of complete trust between them.

Macbeth's perception of his wife has shifted. In Act one, he affectionately referred to Lady Macbeth as his “dearest partner of greatness”. However, in Act three, scene two, he instructs her to “Be innocent of the knowledge, dearest chuck”. Furthermore, Macbeth conceals from Lady Macbeth the murder of Macduff’s family. This implies that he either anticipates her disapproval or no longer values her perspective. Moreover, Lady Macbeth is absent in Act four and receives no mention from Macbeth. He now fully embraces wickedness and places trust in the three witches rather than his spouse.

Macbeth arranges for a doctor to treat Lady Macbeth's nightmares and urges the doctor to "Cure her of that". His concern for her condition arises from the fear of incrimination if her sleep talk is overheard. The decline of their marriage becomes apparent in Act five, scene five when Macbeth is informed about Lady Macbeth's death. His lack of sorrow upon learning that she has taken her own life indicates his lack of love for her. Macbeth declares, "She should have died hereafter; There would have been a time for such a word".

If Lady Macbeth had passed away at a later time, there would

have been more opportunity for mourning. However, if Macbeth was too occupied and lacked the time to mourn his wife's death, it suggests a complete breakdown in their relationship. This highlights the extent of their relationship's collapse. The downfall of their marriage demonstrates how the prophecy of the three witches and Macbeth's yearning for power have resulted in a reversal of the power dynamic, contradicting societal expectations. As a result, due to her husband's wicked and murderous deeds, Lady Macbeth endures sleepwalking and madness.

The play 'Macbeth' examines the power dynamics and idea of kingship in connection to male and female characters. It juxtaposes Duncan, always depicted as a king, with Macbeth, portrayed as a tyrant. In Act one, scene seven, Macbeth's soliloquy openly acknowledges the ramifications of regicide.

The speaker acknowledges the consequence of "bloody instructions... being taught, return to plague th'inventor." A few factors prevent him from assassinating Duncan, including his loyalty as a subject of Duncan and Duncan's inherent goodness. Back in the seventeenth century, the King held the highest esteem in society and was essentially considered a deity by his subjects. Killing a King was viewed as the most reprehensible crime, particularly for a Shakespearian audience. Lady Macbeth draws a parallel between Duncan and her father, implying that she regards him as an authoritative figure whom she must remain loyal to, despite her overwhelming desire for power and for Macbeth to ascend to the throne.

The storms and abnormal animal behavior symbolize the chaos resulting from Duncan's murder, which signifies a shift in the king-subject relationship to a tyrant-victim dynamic. Macbeth seeks power by killing Duncan and challenges

traditional power dynamics between kings and subjects, as regicide was seen as extreme in Shakespearean times. Macbeth's intense longing for power is emphasized by his willingness to go to extreme measures to obtain it.

Shakespeare delves into the dynamics of power in relationships through the murder of Banquo, Macbeth's close friend, and the innocent family of Macduff in 'Macbeth.' These actions heighten Macbeth's desire for power. The contrasting roles of Duncan and Macbeth as King underline the disruption caused by Macbeth's ambitions. Furthermore, Macbeth's act of regicide underscores his craving for authority and disrupts the power dynamics and reverence between a king and his subjects in seventeenth-century society.

The text examines the connection between Macbeth and Lady Macbeth, as well as the bond between a king and his subjects. It also explores power dynamics in terms of gender, highlighting notions of masculinity and featuring strong female characters like the witches and Lady Macbeth. The play incorporates multiple role reversals, such as the shift from king to tyrant and Lady Macbeth's journey from dominance to suffering from sleepwalking and ultimately committing suicide.

The play 'Macbeth' examines power relations in the seventeenth century, both reflecting and challenging them. Initially, Lady Macbeth's merciless ambition challenges these power dynamics. Nevertheless, as the play concludes, her downfall embodies notions about gender roles. The demise of Macbeth ultimately restores order in Scotland and reinstates a 'king', thereby symbolizing the prevailing power relations of that time.