David Li

Mrs. Willson

World Literature

15 February 2008

True Manhood

            In our minds, we all have vague conceptions of what manhood is. But, aside from scientific specifics, how would we judge manhood? Merriam-Webster’s dictionary merely says that manhood is “the condition of being a human being; or qualities associated with men.” Clearly, the ideas of what really constitutes manhood are vague at best. This issue undoubtedly interested William Shakespeare, and he deliberated this in several of his works, including Julius Caesar. In the tragedy Macbeth, Shakespeare uses varying definitions of manhood presented by different characters in order to debate the meaning of manhood and present his idea of true manhood.

            Through the entirety of the play, Lady Macbeth represents a more primitive and cruel definition of manhood, which she often uses against Macbeth. Soon after receiving a letter from Macbeth about the witches’ prophecies, Lady Macbeth calls on spirits to change her mentality, making her more like a man. “Come you spirits / That tend on mortal thoughts, unsex me here, / And fill me from the crown to the toe top-full / of direst cruelty. Make thick my blood. Stop up th’ access and passage to remorse” (1.5.47-51). This quote indicates that Lady Macbeth believes manhood is primarily based on relentless determination, lack of remorse, and cruelty. As the play progresses, Lady Macbeth sticks to her characterization of manhood, and frequently uses it to goad Macbeth into “proving” his manhood by ruthlessly killing those who opposed the new monarchs. Before slaying Duncan, Lady Macbeth reprimands Macbeth in that fashion, pointing out, “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” (1.7.56-58). Her meaning is that Macbeth’s adamant claims of being a man are all meaningless, unless he takes action to demonstrate it. From this excerpt, it is also clear that Lady Macbeth regards strong, uncompromising action as indicative of manhood. This quality, along with cruelty, and the lack of remorse and pity, is attributed to Lady Macbeth’s character, and is the dominant attitude toward manhood during the progression of the play.

            Fitting with the unnatural and cruel events that plague the beginning of the play, no alternate depictions of manhood are given until the fourth act, when Malcolm and Macduff introduce a far deeper definition than that of Lady Macbeth’s. When Macduff receives word that his entire family has been savagely killed by Macbeth, he wildly expresses his grief, to which Malcolm says “Dispute it like a man” (4.3.259). Macduff, however, says “I shall do so, / But I must also feel it as a man” (4.3.260-261). For the first time in the play, genuine emotions are suggested to be a crucial part of being a man. Whereas Malcolm tells Macduff to immediately seek revenge against Macbeth for his slaughtered family, Macduff tells him that it is just as important for a man to have and express emotions as it is for a man to take decisive actions. As Malcolm continues to urge for Macduff to “Let grief / Convert to anger. [and] Blunt not the heart; enrage it” (4.3.268-269), Macduff responds, “O, I could play the woman with mine eyes / And braggart with my tongue! But, gentle heavens, / Cut short this intermission! Front to front / Bring thou this fiend of Scotland and myself. / Within my sword’s length set him. If he ‘scape, / Heaven forbid him too” (4.3.270-275). Macduff is pointing out that he could easily hide his feelings, but that would not make him any more of a man – a true man must have feelings too. Nevertheless, he seeks to avenge his family and slay the fiend, Macbeth, to which Malcolm remarks “This tune goes manly” (4.3.276), indicating his approval of Macduff’s decision. By describing this exchange of comments between Malcolm and Macduff, Shakespeare introduces a new definition of manhood, one that not only comprises of the extreme and stereotypic values of Lady Macbeth’s interpretation, but also encompasses the emotions that are a part of true manhood.

            Finally, however, it is Ross that presents the true meaning of manhood that has been realized through the course of the play – courage. In the last act of Macbeth, as the battle between Macbeth and Malcolm’s forces rages, Young Siward, son of Siward, duels Macbeth, and is killed. When the fighting ceases, Ross informs Siward of the tragedy, saying “Your son, my lord, has paid a soldier’s debt. / He only lived but till he was a man, / The which no sooner had his prowess confirmed / In the unshrinking station where he fought, / But like a man he died” (5.8.44-48). Although Young Siward has been killed, Ross tells Siward that his son had heroically stood his ground against a superior foe – he had died an honorable death, as a true man, one full of courage and bravery. This new interpretation of manhood is further cemented when Siward accepts this with pride for his fallen son, exclaiming “Why then, God’s soldier be he! / Had I as many sons as I have hairs, / I would not wish them to a fairer death” (5.8.55-57). Siward’s acceptance and pride that his son showed his true manhood compounds this new definition of manhood. Thus, Ross’s report of Young Siward’s courageous actions presents the true definition of manhood – courage and bravery.

            Through the events in Macbeth, Shakespeare shows what true manhood is – it is not blind cruelty or the unswerving determination to achieve one’s selfish desires, nor is it the relentless pursuit of vengeance, but courage. Courage is what marks the difference between the deserting soldier and the heroic knight who leads the charge, the quiet slave and the human rights activist who faces insurmountable odds. As Theodore Roosevelt once said, “We need the iron qualities that go with true manhood. We need the positive virtues of resolution, of courage, [and] of indomitable will.”