Margrethe's character in Copenhagen reflects the play's inherent complementarity and uncertainty. Frayn uses the character of Margrethe to catalyze events in the play, analyze the meeting between Bohr and Heisenberg as an ideological conflict, and give voice to the play's subtle emotions to the audience. Frayn dispels preconceived notions about the pure scientific background of the meeting through Margrethe's constant deflation of esoteric stereotypes of male scientists. Margrethe plays the role of translator by translating the scientific jargon of Bohr and Heisenberg into relatable, humanistic dialogue for the audience. Margrethe exploits the principles of uncertainty and complementarity by giving voice to Bohr and Heisenberg's hidden emotions that allowed them to sift through both the moral and personal ramifications. She embodies uncertainty by fulfilling the stereotypical role of a housewife without scandalizing the public and at the same time openly expressing her scientific ideas. He embodies complementarity by using these two sides of his personality as complements to constantly distance the audience from the formula of a scientist. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Frayn uses Margrethe to reduce quantum mechanics to the study of elements characterized by personal drive and ideology. Margrethe mirrors the emotional connection that Bohr and Heisenberg share and pushes the audience to reckon with their meeting as an emotional and ideological conflict in the realm of quantum mechanics. Both Bohr and Heisenberg note on several occasions Margrethe's ability to go beyond her science and bring it to a more “personal” level (Frayn 73). Margrethe, while talking about complementarity, quickly turns the conversation into an attack on Heisenberg's personal choices in advancing his career. Bohr tries to intervene in this sudden turn in the conversation. “Not to criticize, Margrethe, but you have a tendency to make everything personal” (73). Bohr's defensive reaction in response to Margrethe's attack can be perceived as Bohr's display of his emotions towards Heisenberg. Even when pitted against each other in the prevailing circumstances, the protégé does not hesitate to protect his student/child. On the surface what seems like a logical response to maintain the scientific integrity of the situation may actually be perceived as the exposure of a hidden emotional connection issue that is pervasive in their relationship regardless of the circumstances. Margrethe is the key factor catalyzing this manifestation of Bohr's emotions and hidden humanism. He exposes his humanitarian side which leaves the audience uncertain about his character. It exposes how the two aspects of Bohr's personality complement each other and resolve his actions. In response to this interjection, Margrethe lashes out at Heisenberg and Bohr stating, "I'm sorry but you want to make everything seem heroically abstract and logical... It's confusion, anger, jealousy and tears..." (73). . Margrethe's sudden outburst, however, does not detract from the progress of the play. Instead, he reveals his emotions and unleashes a wave of feeling for Bohr, who, awakened by his argument, follows suit in the attack against Heisenberg. In his statement, he uses multiple names to describe the reality of their situation. She continues to ramble and her tone lends uncertainty and doubt to her statement. His argument highlights the inherent uncertainty in their realities where there is no fixed emotion to feel or perspective to justify. It brings out the subjectivity that represents theirssituation and allows the audience to step away from their strict notions of reality. Margrethe's role as the wife allows the audience to see that Bohr is not a solitary individual and also credits Margrethe with the ability to gauge Bohr's emotions for the audience. In a few lines of the play, Bohr calls Margrethe "his love" , which helps establish his romantic association with Margrethe while also showing his compassionate side (3). This initial connection allows the audience to see that Bohr, although a physicist, has a connection outside of his scientific world and that his emotions are as accessible as those of any other human being. This bond is what allows Margrethe to gauge her husband's emotions. The audience is introduced to Margrethe's ability to understand and mirror Bohr's emotions in the same conversation when she states, "I know when you're angry," which not only helps show the audience that they have a normal, loving marriage, but also allows the audience to get a glimpse of Margrethe's role within the show (4). This is in opposition to the public's Bohr stereotype, where an emotional and marital disconnection from one's romantic partner is expected. Without Margrethe in the role of wife, the audience would have had a difficult time shedding their initial assumptions about Bohr, making it harder for the audience to connect with the larger purpose of the show. Margrethe does not explicitly dominate every discussion but underlines her presence by exposing the emotional and humanitarian side which then slowly pushes her into the dominant position. Margrethe breaks down the ongoing conversation into layman terms, which is approved by Bohr and Heisenberg. By having Margrethe's translations legitimized by the approval of Heisenberg and Bohr, Frayn carefully constructs a situation in which Margrethe embodies the duality of a housewife and a woman aware of the esoteric conversation taking place. This ensures constant deflation of stereotypes instead of a hasty revelation that would cause confusion. He translates Heisenberg's famous uncertainty principle into layman terms to effectively convey its meaning to the audience. He puts it in plain language by saying, “If you're doing something you have to concentrate on you can't even think about doing it, and if you're thinking about doing it, then you can't actually do it.” . Yes” (72) This simple explanation transcends the realm of science and helps the public apply this complex principle to their own lives. Through this universal explanation, Margrethe guides the ubiquitous application of uncertainty in everyday life and emotions. Margrethe uses her scientific knowledge to connect with audiences while demonstrating her effectiveness in engaging in scientific debate. She oscillates between her dual role, that of a housewife and that of an intelligent woman. The audience is exposed to only one of these roles, but never both at the same time, suggesting the inherent uncertainty of his character. This uncertainty in his character manifests itself in the eyes of the audience as he can only know one side of his being at any given time. Through his meticulous knowledge of the scientific jargon widely used by Bohr and Heisenberg and his vocal interjections during their conversation, he informs the audience of the impending deflation of preconceived notions. It plants the seeds of uncertainty in the minds of the audience and prepares them for the impending conflict in terms of characters, ideologies, and the scientific drive of Bohr and Heisenberg. Frayn implicitly highlights the presence of uncertainty, in terms of character, and of complementarity, in terms of being an integral center of conversations. Dependence and reliability onPersonal collaborators are the implicit tools used to deflate the notions of solidarity and isolation that tarnish a scientist's reputation. This is demonstrated by Bohr's dependence on his wife to help him put his work into words. Not only does Frayn note this in his postscript, but Margrethe mentions it several times throughout the play. For example, when the men discuss a debate between Bohr and another field scientist, Margrethe interjects several times to point out that each time she typed up Bohr's answers: Heisenberg: You've drafted your answer. Margrethe: I wrote it. Heisenberg: You checked it with Klein. Margrethe: I rewrote it (27). To the public, Bohr is no longer a solitary and secretive scientist. He is a human being who depends on the people around him to advance his work. Margrethe's role is intellectually furthered by showing the audience how she gained her knowledge of science through her work with Bohr. Frayn's inclusion of these relationships shows her recognition of how important these social connections are in breaking down stereotypes and how these emotional connections are established. The show relies heavily on the audience's skill and willingness in trying to move the audience beyond Heisenberg's cultural identity. Margrethe is incredibly important in the opening sequence as she helps portray Heisenberg's nervous emotions at having to face his teacher and, most importantly, his father. He serves as a mediator between this duo and brings to light emotions and issues beyond the realm of science. As they exchange warm greetings, Margrethe watches in silence. At one point she states, “I watch him discreetly from behind my expression of polite interest as he struggles” (14). He is aware of the emotional struggle simmering in Heisenberg and the uncertainty associated with his ideological scientific drive. Margrethe notes: “So now obviously I'm starting to feel almost sorry for him. Sitting here all alone among the people who hate him, all his against the two of us” (Frayn 16). It gives voice to his hidden emotions and humanizes the conversation. There is uncertainty in terms of how to converse with each other given the situation, but complementarity also comes into play when this uncertainty exposes the scientist's complementary dual personality. Although Heisenberg is the enemy, the breaking of boundaries between characters in the play from Margrethe's point of view allows the audience to see Heisenberg as a human being, not an enemy. The characterization of Heisenberg as an enemy is more complicated than his wanting the Nazis to have the atomic bomb. Heisenberg, with the help of Margrethe's perspective, is characterized as a human being who tries to protect his family and the people he cares about, including Bohr. Frayn challenges the audience to justify their own predispositions and look at Heisenberg from a different perspective, but much of this is facilitated with the help of Margrethe's suggestions and prodding. “Margrethe: No, I've kept my thoughts to myself all these years. But it's exasperating to have this intelligent child always dancing before our eyes, always demanding our approval, always fighting to shock us, always begging to be told what the limits of his freedom are, if only so he can go out and transgress them!” (78) This outburst allows the audience to realize that, despite the unfortunate circumstances, the Bohrs regarded Heisenberg as a son. This statement resembles a parent scolding their wayward child. Heisenberg was the rebellious son of the Bohrs, implying a personal connection that pervades the uncertain circumstances. Margrethe speaks of the young physicist as a lost child when she refers to.