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Lady Macbeth Feminist

Decent Essays

Through deep analysis and criticism of the role of Lady Macbeth as a feminist character in William Shakespeare’s Macbeth is often viewed as a manipulative or derogatory role. She achieves her goals and advances her husband’s political status through manipulation. But Lady Macbeth has been criticized greatly for how she goes about achieving her goals and the boundaries she constantly crosses that women in her time would never dream of treading on.
The first introduction to Lady Macbeth in Macbeth was of her getting the idea to murder King Duncan without her even consulting her husband who has the same plan. Lady Macbeth lessens her husband to do her bidding by constraining him to gender roles that she is actually trying to separate herself …show more content…

When Anna Jameson criticized, “Insert E3”. In Shakespeare's play, Lady Macbeth's portrayal begins with the powerful elements of her ambitious and successful plotting of Duncan's demise, effective rhetorical manipulation of her husband to "be a man" and take action, and her position-potentially--as Macbeth's equal in their relationship, his desired "dear partner of greatness." And yet, for the most part, these powerful moments are all in the service of disorder and the unnatural. Her guilt-filled sleepwalking scene and later suicide register therefore as bodily signs of her corruption and as self-punishment for her transgressive, "evil" ways.Lady Macbeth's status as one of Shakespeare's most devious and fascinating characters has been recognized in the proliferation of criticism on and adaptive works of Macbeth over the past 400 years. Of particular concern has been how she achieves her ambitions and advances her and her husband's political interests while working within a stringently patriarchal society. One way critics have explained Lady Macbeth's relative success is through her associations with demonic forces and the fateful powers of the notorious three witches. …show more content…

Macbeth gains in murderous testoterone, ordering killing after killing like a mafia boss, including the deaths of the dutifully domesticated Lady Macduff and the ‘pretty ones’ (4.3.216) who are her children, while Lady Macbeth lapses back into the feminine helplessness she had earlier rejected. Her loss of control is most theatrically manifested in her guilt-ridden sleep-walking scene. Here the sleep, whose murder she had commanded, overwhelms her, forcing her to confess her sins while failing to ‘knit up the ravell’d sleeve of care’ (2.2.34). And though Macbeth too had wished to purify himself of crime, grandiosely fearing that he could not be cleansed by ‘all great Neptune’s ocean’(2.2.57), his sleep-walking lady, enacting an obsessive-compulsive ritual of hand-washing, whimpers that ‘all the perfumes of Arabia will not sweeten this little hand’ (5.1.50–51). Madness, curiously, forces her back into the stereotypical femininity that her transgressive yearning for imperial power had

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