The character of Margrethe in Copenhagen reflects the complementarity and uncertainty inherent in the play. Frayn uses the character of Margrethe to catalyze the events of the play, analyze the meeting between Bohr and Heisenberg as an ideological conflict, and express the play's subtle emotions to the audience. Frayn dispels preconceptions about the pure scientific context of the meeting through Margrethe's constant deflation of esoteric stereotypes of male scientists. Margrethe plays the role of a translator, translating the scientific jargon of Bohr and Heisenberg into relatable, humanistic dialogue for the audience. Margrethe addresses the principles of uncertainty and complementarity by expressing Bohr and Heisenberg's secret emotions, which allowed them to sift through both their moral and personal ramifications. She embodies uncertainty by fulfilling the stereotypical role of a housewife without scandalizing the public while still promoting her scientific ideas. She embodies complementarity by using these two facets of her personality as complements to gradually distance the public from a scientific formula. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get the original essay Frayn uses Margrethe to reduce quantum mechanics to the study of things characterized by personal motivation and ideology. Margrethe reflects the emotional connection that Bohr and Heisenberg share and inspires the audience to accept their encounter as an emotional and ideological conflict in the field of quantum mechanics. Bohr and Heisenberg repeatedly note Margrethe's ability to go beyond their science and take it to a more "personal" level (Frayn 73). Margrethe, while talking about complementarity, quickly transforms the conversation into an attack on Heisenberg's personal choices to advance his career. Bohr tries to intervene on this sudden turn in the conversation. “This is not to criticize, Margrethe, but you tend to make everything personal” (73). Bohr's defensive reaction in response to Margrethe's attack can be seen as a demonstration by Bohr of his emotions towards Heisenberg. Even if he is opposed to each other in the circumstances, the protégé does not hesitate to protect his student/son. On the surface, what appears to be a logical response to maintaining the scientific integrity of the situation may actually be seen as a statement of a problem. hidden emotional bond that is omnipresent in their relationship whatever the circumstances. Margrethe is the key factor that catalyzes this display of Bohr's emotions and hidden humanism. She exposes her humanitarian side which leaves the audience uncertain about her character. It explains 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 everything to seem heroically abstract and logical... It's confusion, rage, jealousy and tears..." (73). Margrethe's sudden outburst, however, does not detract from the flow of the play. Instead, it reveals his emotions and triggers a wave of feeling for Bohr, who, aroused by his argument, follows suit in attacking Heisenberg. In her statement, she uses several 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 uncertainty inherent in their realities where there is no emotion to feel or perspective to justify. It brings out the subjectivity that represents their situation andallows the audience to move away from their strict notions of reality. Margrethe's role as wife allows the audience to see that Bohr is not a solitary individual and also gives Margrethe 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 showing her 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 just as accessible as those of any other human being. This connection allows Margrethe to assess 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 marriage normal and loving, but also allows the audience to gain insight into Margrethe's role in the play (4). This counters the public stereotype of Bohr, where emotional and marital disconnection from one's romantic partner is expected. Without Margrethe playing the role of the wife, the audience would have had a harder time eliminating their initial assumptions about Bohr, making it harder for the audience to connect to the main purpose of the play. Margrethe does not explicitly dominate every discussion but emphasizes her presence by exposing the emotional and humanitarian side which then slowly pushes her towards the dominant position. Margrethe breaks down the ongoing conversation into simple terms, which is endorsed by Bohr and Heisenberg. By legitimizing Margrethe's translations through 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 at hand. This ensures a constant deflation of stereotypes instead of a rushed reveal that would lead to confusion. She translates Heisenberg's famous uncertainty principle into simple terms to effectively convey its meaning to the public. She puts it in simple language by saying: "If you are doing something that you have to concentrate on, you can't also think about doing it, and if you are 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 lives. Through this universal explanation, Margrethe promotes the ubiquitous application of uncertainty in daily life and emotions. Margrethe uses her scientific knowledge to gain connectivity with the public while proving her effectiveness in her ability to participate in scientific debate. She oscillates between her dual role, that of a housewife and that of an intelligent woman. The audience is only exposed to one of these roles, but never both at once, hinting at the uncertainty inherent in his character. This uncertainty in his character manifests itself in the eyes of the audience who can only know one facet of his being at any given moment. Through her meticulous knowledge of the scientific jargon used extensively by Bohr and Heisenberg and her vocal interjections in During Their Conversation, she informs the audience of the coming deflation of preconceptions. It sows uncertainty in the minds of the audience and prepares them for the coming conflict in terms of the characters, ideologies and scientific dynamism of Bohr and Heisenberg. Frayn implicitly emphasizes the presence of uncertainty, in terms of character, and complementarity, in terms of the integrating center of conversations. Dependence and reliability on personal associates are implicit tools usedto deflate the notions of solidarity and isolation that tarnish a scientist's reputation. This is reflected in Bohr's reliance on his own 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 scientist in the field, Margrethe interjects several times to point out that she typed Bohr's answers each time: Heisenberg: You wrote your answer. Margrethe: I typed it. Heisenberg: You checked it with Klein. Margrethe: I retyped it (27). For the public, Bohr is no longer a solitary and secretive scientist. He is a human being who depends on the people around him to help him advance his work. Margrethe's role is intellectually strengthened by showing the audience how she acquired her scientific knowledge through her work with Bohr. Frayn's inclusion of these relationships shows his recognition of the importance of these social connections in breaking stereotypes and how these emotional connections are established. The play relies heavily on its audience's ability and willingness to try to move the audience beyond Heisenberg's cultural identity. Margrethe is incredibly important in the opening sequence in helping to interpret Heisenberg's nervous emotions at having to confront his teacher and, more importantly, his father. She serves as a mediator between this duo and highlights emotions and issues that go beyond the domain of science. As cordial greetings are exchanged, Margrethe watches quietly. At one point she states, “I observe him discreetly behind my expression of polite interest as he struggles” (14). She is aware of the emotional struggle bubbling within Heisenberg and the uncertainty associated with his scientific ideological dynamics. Margrethe notes: “So now, of course, I'm starting to feel almost sorry for him. Sitting here all alone among people who hate him, all alone against the two of us” (Frayn 16). She expresses her hidden emotions and humanizes the conversation. There is uncertainty about 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 breakdown of boundaries between the characters in the play from Margrethe's point of view allows the audience to see Heisenberg as a human and not as an enemy. The characterization of Heisenberg as the enemy is more complicated than the fact that he wanted the Nazis to have the atomic bomb. Heisenberg, with the help of Margrethe's perspective, is characterized as a human seeking to protect his family and the people he cares for, including Bohr. Frayn challenges the audience to excuse their predispositions and look at Heisenberg from a different perspective, but much of this is facilitated by Margrethe's help. “Margrethe: No, I kept my thoughts to myself all these years. But it's maddening to have this intelligent son always dancing before our eyes, always demanding our approval, always struggling to shock us, always begging to be told the limits of his freedom, if only to that he may go out and transgress them! (78) This outburst allows the audience to realize that despite the unfortunate circumstances, the Bohrs viewed Heisenberg as a son. This statement sounds like a parent scolding their wayward child. Heisenberg was the Bohr's wayward son, implying a personal connection that permeates the uncertain circumstances. Margrethe talks about the young.