In the play, Duncan is always referred to as a “king,”
while Macbeth soon becomes known as the “tyrant.” The difference
between the two types of rulers seems to be expressed in a conversation
that occurs in Act 4, scene 3, when Macduff meets Malcolm in England.
In order to test Macduff’s loyalty to Scotland, Malcolm pretends
that he would mshows thesake an even worse king than Macbeth. He tells Macduff
of his reproachable qualities—among them a thirst for personal power
and a violent temperament, both of which seem to characterize Macbeth
perfectly. On the other hand, Malcolm says, “The king-becoming graces
/ [are] justice, verity, temp’rance, stableness, / Bounty, perseverance,
mercy, [and] lowliness” (4.3.92–93). The
model king, then, offers the kingdom an embodiment of order and
justice, but also comfort and affection. Under him, subjects are rewarded
according to their merits, as when Duncan makes Macbeth thane of
Cawdor after Macbeth’s victory over the invaders. Most important,
the king must be loyal to Scotland above his own interests. Macbeth,
by contrast, brings only chaos to Scotland—symbolized in the bad
weather and bizarre supernatural events—and offers no real justice,
only a habit of capriciously murdering those he sees as a threat.
As the embodiment of tyranny, he must be overcome by Malcolm so
that Scotland can have a true king once more.
Polanski films the two kings, Duncan and Macbeth, in two very contrasting ways.
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