monstering herself and
becoming a parody of womanhood, until madness again confines her to feminine
helplessness’1. Gilbert and Susan
Gubar, in The Madwoman in the Attic: the
Woman Writer and the Nineteenth-Century Literary Imagination (1979), assert
that the “male voice has for too long been dominant. Because males have also
had the power of the pen and therefore the press, they have been able to define
and create images of women as they so chose in their male texts”2. For example, in Macbeth although
Lady Macbeth is ‘notably strong compared to other members of her gender’3, she has
no way of following through with her plans as ‘she is kept isolated from other
women during the course of the play. While her strength is great, she is not
powerful enough alone to deal with a murder. She does not reveal the secret of
their murderous deeds because she is a woman and thus inherently weak, but she
reveals the secret because she is a woman and thus has been selectively
isolated from finding strength in number’4. In
response to Sandra Gilbert and Susan Gubar, I agree that for the 16th
century period that the written for Lady Macbeth is a very

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