Gertrude: The Slut, Lady Macbeth: a Man Stuck in a Woman?s Body?

Since the late 1960s, equality of men and women has become a major world issue. With the surfacing of this feminist movement, critics have taken different stances in the analysis of both male and female characters in literature. Thus, there exist old interpretations of well-known works, and newly revised interpretations, which take a feminist approach. William Shakespeare, one of the world?s most renowned play-writes and poets, does not escape this feminist scrutiny. Shakespeare has been called a ?feminist, a protofeminist, a cryptofeminist, and an antifeminist? (Kolin 8). These labels have been produced simply by interpretations of Shakespeare?s treatment of female characters. Yet, it is impossible to determine whether Shakespeare does conform to any of those labels. It is, however, possible to examine the roles of Shakespeare?s women, determine their roles in their respective works and determine if they display stereotypical female roles. Two women in constant speculation are Lady Macbeth from ?Macbeth? and Gertrude from ?Hamlet, Prince of Denmark?. The typical interpretations of these women displays them as strong, sexual and independent women, however, a more feminist approach at analyzing these characters shows two women who display typical feminist roles.

Queen Gertrude, Hamlet?s mother, is often interpreted as an adulterate, incestuous woman. Catherine Belsey states that typical interpretations of Hamlet maintain: ?Gertrude . . . [as] a slut; . . . and Shakespeare [as] a patriarchal bard? (34). These typical interpretations are shown in Kenneth Branagh?s ?Hamlet?, released in 1997. This film shows Gertrude to be a highly sexual individual: scenes of Gertrude running with Claudius and throwing herself on their bed; ?. . . images of Claudius?s hand untying Gertrude?s bodice? (Burnett 80).

Directly from the text, it is possible to see where these misinterpretations are spawned: Hamlet?s statements, ?O, most wicked speed, to post with such dexterity to incestuous sheets!? (1.2.157), and ?Nay, but to live in the rank sweat of an enseamed bed . . . making love over the nasty sty? (3.4.93-96) send most critics into a frenzy, because they believe Gertrude to be a highly sexual woman. These statements can imply that Gertrude was sexually involved with Claudius before the untimely death of her husband, King Hamlet. This further involvement of Claudius and Gertrude also gives the impression that Gertrude was involved in the murder of her own husband, conspiring with Claudius so they could be together. These typical interpretations imply that Gertrude is a strong, independent woman, who has the presence of mind to conspire to satisfy her sexual needs. It also gives the underlying idea that Gertrude?s main purpose in life is sexual.

On a closer reading of ?Hamlet?, it is evident that Gertrude is not so one-sided as the sexually motivated character described above. The evidence comes directly from the original text. Firstly, Gertrude is only seen in ten of the twenty scenes in the play. She speaks rarely and when she does, her language is plain (Smith 199). These facts show that Gertrude is not a very aggressive character. She speaks only when she feels it necessary. When she speaks, throughout the play, she follows her own advice to Polonius; ?more matter, with less art? (2.2.95). Thus, there is no evidence of Gertrude?s wantonness through her language. In fact, her language suggests an agreeable person who speaks to tell of fact, not to display her sexual desires.

Secondly, Gertrude?s actions show her to be very passive, hardly a strong, independent woman. Three times during the play, Gertrude is told to leave, and does so without hesitation. In Act 1, scene 2, Claudius and Gertrude ask Hamlet to stay in Denmark. After he agrees, Claudius says to Gertrude, ?Madam, come? (122). Then again, Act 3, scene 1, Claudius, Polonius, Ophelia and Gertrude are trying to find out the cause of Hamlet?s distemper. Hamlet is Gertrude?s son, and closest living relation, and yet when Claudius says to her, ?Sweet Gertrude, leave us . . .? (28), she complies; ?I shall obey you? (37). Finally, in Act 4, scene 1, Gertrude and Claudius are discussing the death of Polonius and he says to her, ?O Gertrude, come away!? (28). This obedience is characteristic of a woman who is scared of going against the wishes of her husband, and against his male dominance. She does not seem to be aggressive and independent, rather, she appears to want to please everyone.

In Shakespearean plays, it is always evident to the audience if a character is guilty of some crime: that character always shows a sense of guilt. Shakespeare states this through the character in question: ?So full of artless jealousy is guilt, it spills itself in fearing to be spilt? (4.5.19-20). Through Gertrude, Shakespeare tells his audience that guilt is something that is virtually impossible to hide. Therefore, if Gertrude were guilty of the crimes often attributed her, she would show a guilty conscience. When Claudius contemplates Hamlet?s distemper, Gertrude states that it is caused by ?his father?s death and our o?erhasty marriage? (2.2.54-57). If her character were guilty, Shakespeare would probably use some theatrical device to disclose her guilt to the audience, but not to the other characters.

The largest piece of evidence that proves that Gertrude is not involved in the murder of her former husband is her reaction to the play-within-a-play, ?The Mousetrap?. When Claudius is offended by the play, because of its echo in his life, he stands and demands the play to stop. Gertrude does not show any guilt, and is confused by Claudius? reaction: ?How fares my lord?? (3.2.265), she asks as he stands. A common misconception of Gertrude?s statement, ?the lady doth protest too much, methinks? (3.2.228), is the opinion that this is an admission of guilt. This statement can just as easily be seen as a confirmation of Gertrude?s passive female role. The woman in the play disagrees with her husband?s instruction to remarry in the case of his death. Thus, Gertrude?s reaction to the Player Queen?s speech is reasonable because of her natural hesitation in speaking due to her role as a woman.

Gertrude has one moment of guilt in the play. In the closet scene, Hamlet tells his mother that she should be ashamed of herself, and tells her of his suspicions into the death of his father. Her reaction when she realizes that Hamlet may be right, shows her sense of guilt; ?Thou turn?st mine eyes into my very soul and there I see such black and grained spots as will not leave their tinct? (3.4.91-93). But this guilt is brought on only by Hamlet?s accusations, and seems to be caused more by the fact that Gertrude allowed herself to be seduced by the treasonous Claudius, not because of her own sense of guilt over the death of King Hamlet.

Gertrude?s character does not seem to fit the stereotypical sexual, strong woman. She is much more dependent on the men in her life. She seems to have one purpose: to please everyone around her. The ghost of old Hamlet supports this idea when he tells Hamlet to accuse Claudius, but not Gertrude. He also confirms this idea when he enters the closet scene to ?whet [Hamlet?s] almost blunted purpose? (3.4.115), halting Hamlet?s abuse of his mother. Her dependence is also reinforced during the fencing match between Hamlet and Laertes. Gertrude drinks the poisoned wine even after Claudius instructs her not to drink. ?I will, my lord, I pray you pardon me? (5.2.294) she disobeys, and as a result dies. In her one attempt to please herself, she causes her own death. Yet, as fitting last words, she warns Hamlet of the poison, proving Claudius? guilt, and once again pleasing her son.

Gertrude is not the incestuous beast that many critics make her out to be. She is a woman whose words and actions depict her as having the roles of ?the nurturing, loving, careful mother and wife . . .? (Smith 207). Based on textual evidence, Gertrude?s character was not meant as a sexual object, but as a woman torn between the men that she loves because she cannot possibly please them all.

The most common interpretation of the play ?Macbeth? is that no murders would occur without the influence of Lady Macbeth. It is hypothesized that Lady Macbeth is the cause of the evil in the play, and because of this she is seen as strong and independent; two very ?manly? qualities. James L. O?Rourke maintains that, ?Macbeth says that he has no desire to kill Duncan (?I have no spur / To prick the side of my intent,? [1.7.25-26])? (O?Rourke 219), and A.C. Bradley states that ?neither his ambition nor yet the prophecy of the Witches would ever without the aid of Lady Macbeth have overcome . . . [Macbeth?s] resistance to the idea of killing Duncan? (qtd. in O?Rourke 219). This same, typical, interpretation can show that Lady Macbeth is not a strong character but in her attempts to unsex herself, she causes her own destruction.

Lady Macbeth?s first appearance shows her to be strong and determined. She reads the letter from Macbeth and immediately begins plans to murder Duncan to fulfill the prophecy from the three Witches. On Macbeth?s entrance, they discuss these plans and Lady Macbeth states, ?and you shall put this night?s great business into my dispatch? (1.5.67-68). In this very act, Joan Larsen Klein says, Lady Macbeth is ?assuming the feminine role of comforter and helper: ?we?ll not fail? (1.7.61)? (244).

Lady Macbeth?s character often separates from the unsexed character she wishes to be. When the death of Duncan is announced, Lady Macbeth faints in order to stop Macbeth from indicting himself with the murder. This attempt to help her husband is very noble, but her attempt again proves her to be feminine. Fainting is a very feminine act, and makes her look weak. In general, Lady Macbeth shows feminine qualities: she never forgets about her domestic duties, playing hostess and housekeeper.

Lady Macbeth loses control of Macbeth after he becomes King, and thus loses her control over the gender roles she can assume. Macbeth starts to consult the witches instead of his wife. She becomes ineffectual in her attempts to stop his killings. Macbeth is scared of Banquo and Fleance, and the possibility of his losing his throne. Lady Macbeth tries to plead with him, ?. . . in them nature?s copy?s not eterne? (3.2.41), she says, meaning that Banquo and Fleance cannot live forever. After this loss of control, Macbeth takes from her the feminine roles that she had maintained: hostess and housekeeper. Macbeth plans the party to which he invites Banquo, where he is the host of the party. When he sees the ghost of Banquo at the party, Lady Macbeth can only try to divert the attention of the others, again attempting to play the feminine role of helper for Macbeth.

Similar to Gertrude, Lady Macbeth?s final act can be considered an act that unsexes her character. She does not appear in the scene, only a scream is heard from inside, and it is reported as ?The Queen, my lord, is dead? (5.5.16). The act of suicide is often seen as something only a strong individual can do, as it takes courage to take one?s own life.

Lady Macbeth attempts to free herself from the bonds of being a woman, but is unsuccessful in her attempts. William T. Liston states that this is because ?When men and women step outside [their] gender roles, they lose their humanity. Their liberation from definition destroys them? (232-33). This appears to be the case with Lady Macbeth. She tries to unsex herself by committing terrible acts, but she is unable to do the acts herself, so she gets her husband to commit murder in her place. By this simple fact, Lady Macbeth is showing her weakness in her woman?s role. When her feminine roles are taken from her, she destroys herself as Liston predicts will happen when someone tries to break from gender ?definition?.

The typical interpretations of the women in Shakespeare are valid, but they can be updated by today?s knowledge of the oppression of women. Did Shakespeare intend to display definite feminist roles with his characters Gertrude and Lady Macbeth? That is a question that no one can answer. However, he does not write the story about these women. Therefore, his intentions in the plays do not appear to be to display feminism and the evils of male dominance. The stories focus on the female character?s counterparts: the men who keep them trapped in their feminine roles. Therefore, whether Shakespeare intended to display these feminist roles is questionable. Feminism did exist during the 1600s, although it was not nearly as universal as the feminist movement from the 1960s. Whatever Shakespeare?s intentions, he displays two very unique women that display feminine qualities, typical female roles and the effects of gender definition.

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