URIE V. SHAKESPEARE
Brendon Urie and Shakespeare are two names almost never placed together in the same sentence. One is a modern-day rock singer – he is Panic! At the Disco – and the other certainly does not warrant an identification. Yet, Panic! At the Disco’s song “Emperor’s New Clothes” is the quintessential work to explore one of the major aspects in Macbeth: how Shakespeare convinces the reader that Macbeth isn’t evil.
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EVIL? NO. BUT HOW?
Like an innocent virgin turned seductress, Shakespeare subtly transforms Macbeth into a cold-hearted killer, yet in a way that Macbeth, the madman, isn’t seen as “evil”. In “Emperor’s New Clothes”, an arrogant Urie does a spectacular job in portraying himself, not as a greedy fame-seeking singer, but as a man whose takeover of Panic! At the Disco is completely justified. Both Shakespeare and Urie use similar methods to humanize each stage in this ambitious journey, and shift the blame away from Macbeth in one case, and Urie in the other, to devillanize their actions.
STAGE 1: COERCION
Urie and Macbeth both have outlandish reasons that motivate their respective takeovers. In the music video for “Emperor’s New Clothes”, Urie undergoes a transformation from human to devilish character. As his transformation finishes, he rasps, with bulging eyes,
“Heroes get remembered but legends never die”
(“Emperor’s New Clothes”). The driving force behind Urie’s hellish growth is FAME. He will not settle to be remembered for his “good deeds” – in this case, his music – he seeks more. His takeover as the band may turn him into ~Satan’s~ advocate, but his search for glory will be fulfilled. Urie’s ultimately been seduced by the false promises of remembrance; he is willing to sacrifice his character for being a “legend”.
Lady Macbeth similarly SEDUCES Macbeth into killing Duncan. By allowing something other than an internal force – in this case a someone – to blame Macbeth’s madness (his own devilish growth) upon, Shakespeare successfully portrays Macbeth as weak, but not evil. Lady Macbeth subtly coerces Macbeth into committing the terrible deed by saying, “Your hand, your tongue. Look like the innocent flower,/ But be the SERPENT under’t” (Act I, Scene V). The Lady attacks Macbeth’s manhood in a most clever way; Macbeth doesn’t even realize he’s being played. All Macbeth takes away from the encounter is that to prove his masculinity, he must prove his character to his wife by killing Duncan. Both authors portray their characters as defenseless, so neither character is completely responsible for the “evil” behavior soon to come – it seems that achieving despicable goals isn’t exactly Urie’s or Macbeth’s personal intention.
STAGE 2: GREED
Both Urie and Macbeth’s eventual greed is again justified by the skewed visions they have of themselves and their surroundings. Urie displays the twisted vision he has of fame when singing “Sycophants on velvet sofas/lavish mansions, vintage wine/I am so much more than royal/Snatch your chain and mace your eyes” (“Emperor’s New Clothes”). This is undoubtedly the most ARROGANT line in Urie’s song. He believes he is far too good to be a measly part of a boy band – he should be the whole of the band. Yet, Urie’s greed seems justified. His delusion, that “velvet sofas and lavish mansions” await him at the peak of glory are again, simply human and understandable. After all, many modern day superstars receive those privileges, so what’s to stop him from desiring them too!
Shakespeare also incorporates realistic delusions into Macbeth’s persona to make it appear that his greed for power is similarly justified. As Macbeth contemplates becoming a murderer, he thinks, “Besides, this Duncan hath borne his faculties so meek/ I have no spur to prick the sides of my intent, but only vaulting ambition, which o’erleaps itself and falls on the other” (Act I, Scene VII). Macbeth has honestly convinced himself that he would be a better ruler than Duncan. His “VAULTING AMBITION” and his newly discovered “MASCULINE” core would allow him to rule with an iron fist – something that Duncan hadn’t been able to do. Macbeth, like Urie, is convinced that what drives him is not greed, but the true belief that achieving his goals – though they may include murder – is for the greater good.
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STAGE 3: DEFEAT
Finally, Urie and Shakespeare both ensure that their characters understand, and are willing to accept defeat when the time comes. This makes a reader or listener question if Macbeth or Urie are TRULY evil. If both can admit they’re not immortal, and will recognize when they’re overpowered, it makes them seem less like tyrants, or soulless power-seekers, and more like men who genuinely believe in what they’re fighting for. When Urie sings “Mortal kings are ruling castles/ Welcome to my world of fun” (“Emperor’s New Clothes”) he acknowledges that every “ruler” will eventually meet their demise. His mindset in striving for rock STARDOM is not to last forever as the king of popular music, but to enjoy it while he’s there. It’s hard to fault a man who seeks large goals but with realistic expectations of what to expect once he’s achieved them.
Shakespeare uses the same technique to make Macbeth appear slightly less insane – when the inevitable battle with MacDuff draws near, Macbeth begins to accept his impending defeat. He tells his chief servant Seyton
“I have lived long enough. My way of life/ Is fall’n into the sere, the yellow leaf,” (Act V, Scene III). The fierce Macbeth appears to express some regret, as he believes the course of his life has fallen away; he sees little reason for him to continue on with his honor and love-lacking lifestyle and he’s ready to give up.
Macbeth’s almost comically easy surrender to his defeat is Shakespeare’s BRILLIANT way in depicting him as a character who isn’t evil, but instead misguided. His eventual concession to MacDuff, just because he’s a woman-born, shows that MacBeth truly falls victim to the DeLuSiOnS the three witches place in his head. These DeLuSiOnS drive him to achieve his large goals, like Urie, but even after achieving his desire of becoming king, Macbeth’s attachment to these DeLuSiOnS allow him to believe that his reign will be short-lived. Overall, both Shakespeare and Urie made their characters fallible, and less manic, by permitting them to disregard the idea that rulers are indestructible.
Had Macbeth been real and living in the 21st century, he and Urie would almost certainly be best friends. The likeness between their two characters is unmistakable; they both act in TERRIBLE ways, yet the skill of their authors allows them both to escape an evil portrayal.
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