Macbeth and Macduff Revisited

2008. In a literary work, a minor character, often known as a foil, possesses traits that emphasize, by contrast or comparison, the distinctive characteristics and qualities of the main character. For example, the ideas or behavior of a minor character might be used to highlight the weaknesses or strengths of the main character. Choose a novel or play in which a minor character serves as a foil for the main character. Then write an essay in which you analyze how the relation between the minor character and the major character illuminates the meaning of the work.

In the famous play by William Shakespeare, The Tragedy of Macbeth, Lord Macbeth expresses insecurity on his own masculinity, which are cast further into light by the scheming words of his wife as she presses him to strive for power by killing the king of Scotland so he can take control of the kingdom.  This is in stark contrast to the attitudes of Lord Macduff, who is unafraid to show sorrow or pain and expresses them freely when he views appropriate.  Through Macbeth and his foil, Shakespeare provides commentary on the appropriate balance of masculinity and femininity.

Lord Macbeth's insecurity is easily seen through his wife's methods of controlling him.  When he expresses discomfort with the idea of killing the king of Scotland, who has taken him in, is a good leader, and is his kin, she scorns him and accuses him of being weak and feminine.  In response, he performs the necessary actions which lead to the deaths of the king, as well as his friend Banquo, who discovers the actions.  Macbeth continues to order atrocious actions to be performed, including the murder of Lady Macduff and her innocent children in hearing that Lord Macduff would cause his downfall.  Through his titular character's heinous actions, Shakespeare denounces those who focus too heavily on their appearance of masculinity and being what men ought to be.

Macbeth's foil, Lord Macduff, on the other hand, provides a contrasting take on masculinity.  When Macduff is informed of the deaths of his wife and children, he does not pretend to hide his sorrow, but openly displays his grief.  When the prince and rightful heir to the throne, Malcolm, questions him on his display, Macduff's response indicates that it is not shameful to mourn that which has been lost, nor does it show any sign of weakness in his status as a man.  Though a minor character, Macduff's righteousness and honor endear him to the reader and his actions proclaim the appropriate response of man to painful news.  Shakespeare uses Macduff to illustrate that proper balance of emotions, acclaiming his actions as those of a proper and dignified man who has nothing of which to be ashamed.

In the end, Macbeth and Macduff meet in person in the last act and fight.  At first, Macbeth, whose arrogance has grown from the fact that he is unable to be killed by any man, does not seem to worry when confronting his foil.  Even after Macduff reveals that he was not born by a woman but instead taken from his mother's womb early, Macbeth refuses to surrender.  This may have also been partially due to his concept of surrendering as weak.  His wife accused him of being weak and feminine when he wanted to turn back from killing the king and taking his position as ruler of Scotland and he could fear her reaction if he were to surrender then.  Furthermore, the sword-fight itself between Macbeth and Macduff can be seen as a play on the word "foil," since foils are a type of weapon similar to a sword.  However, in the end, Macduff kills Macbeth, indicating that in spite of all of what Macbeth would perceive as signs of femininity and weakness in Macduff, he can still kill and solve the conflict.  As such, Shakespeare indicates that having more feminine aspects does not detract from a man's capabilities.

By setting up very contrasting characters in both personality and morality, Shakespeare uses Macbeth as a method of indicating the proper balance of femininity and masculinity in an honorable man.  It does not do to be wholly one, Shakespeare insists, but a balance will create a much better man, such as the strengths of Macduff over Macbeth, which eventually lead to the downfall of the main character.

Rosenstern and Guildencrantz

Yeah, so that was a terrible attempt at an interesting blog title.  But that essentially sums up what we did...

So first we finished Hamlet.  I loved loved LOVED Tennant's Hamlet.  Except I didn't really like the Ophelia.  She wasn't quite what I was imagining for Ophelia.  (Side note: Does anyone else have a really hard typing the name "Ophelia"?  I can't ever seem to get it right.)  The last version that we saw, with the genderbent Polonius and Horatio was weird.  I mean, I didn't understand it.  At all.  I am intrigued though.  I kind of want to sit down and watch the whole thing.  I did enjoy the Horatio and Hamlet scene at the end.  I was kind of hoping that by changing the gender, they'd make it better for a kiss to take place (though I resent the fact that because it's a straight couple, it's more reasonable to show them kissing).  But I digress...

After finishing everything on Hamlet, we've been reading Rosencrantz and Guildenstern are Dead.  It's certainly... interesting.  I'm finding a lot of things catching my attention, but at the same time, I'm feeling like I'm missing a lot as well.  It's really quite confusing, but our occasional pauses help to work certain things out.  It kind of reminds me of when we first started reading The American Dream because we had no idea what we were getting into and we didn't understand what's going on.  Except this has a little bit of understandable plot because scenes are taken from Hamlet - and then elaborated, of course.  It's like a spin-off, only one that changes how we see the entire thing as a whole?  I don't know but it's certainly interesting.  I can't wait to finish it!