Duncan in 'Macbeth'

STRUCTURE


In Act 1 of 'Macbeth', Shakespeare uses foreshadowing to present Duncan as great and noble thus presenting themes of kingship (as selective) and religion. This is evident when he admits 'there's no art/To find the man's construction in face'. "Construction' may suggest Macbeth's thoughts as the face often movies according to what one thing about; Duncan describes how the previous Thane of Cawdor was unable to hide his traitor-like thoughts which foreshadows Macbeth's decline, for he becomes Thane of Cawdor. The audience may assume suspicion over Duncan's omniscient nature as he shows seems to have known about the Thane of Cawdor's treachery which may cause the audience to assume that he knows about everyone's thoughts and intentions like Macbeth's motivations which will lead him to butchery, A Jacobean audience may have expected to see the King act God-like as Shakespeare presents him as omnibenevolent and omniscient which were philosophically believed attributes of God (Duncan trusts Macbeth enough to stay in his castle proving his omnibenevolence, King's were often believed to be God's representatives. A modern audience may sense Duncan is akin to God anyway for he seems kind (presents Lady Macbeth with a diamond) thus benevolent and shows all positive attributes (calling Macbeth's castle 'pleasant' thus demonstrating his appreciation). Moreover, the ambivalent nature of a "man's construction", for the audience does not know who the "man" - being a common noun, presents Duncan as high intelligent for once they find out about Macbeth's intention to commit regicide. However, Duncan's lack of prejudice towards Macbeth (as he stays in the castle) amplifies his noble appearance and the idea of a King upholding values presented by God.

LANGUAGE

Shakespeare uses repetition throughout the play to present kingship as inherited thus selective. The nature of Duncan's noble kingship is made clear most notably when Macbeth talks of murdered Duncan as having 'silver skin lac'd... with golden blood" in Act II Scene III. One might suggest the use of "blood" suggests one can only be King if their parents were, as blood is passed down from generation to generation. In addition, the "blood" is used to keep people alive hence suggesting that Duncan should of been kept alive as he was rightfully King of Scotland which amplifies Macbeth's murder as barbaric. Moreover, a Jacobean audience may feel rather distressed as King's were often believed to be representatives of God, so regicide would have been considered perhaps an unforgivable sin. Macbeth has not inherited the 'blood', so it is unnatural to make him King as shown through 'blood' being passed on. Blood usually being red as opposed to 'gold' emphasises how rarely and selective it should be to become King and only by divine right. King James I would have been in the audience (he was a patron for Macbeth's theatre company), so Macbeth pleases him by showing the rare and aristocratic nature of being King. Furthermore, 'blood' is used later on in the play when Lady Macbeth can 'smell...blood' which shows the burden of guilt from killing one who is royal.

FORM

Duncan's grand power is presented through the use of Freytag's Pyramid.

• Duncan dies before the climax, although his death impacts the rest of the story, including the denouement, for Macbeth ends in Act 5 Scene 9, during Malcolm's coronation in Scone which was as a result of battle with Macbeth over him killing Duncan.
• The real Duncan who was slaughtered in 1040 was believed to be a weak leader. The audience would have not thought Duncan to be so noble and great. His kindness is shown as he presents Lady Macbeth with a diamond (calling her 'honoured hostess' and says the castle is 'pleasant'. King James would have been pleased to see how Shakespeare presents Duncan as great in the play, which would of reflected on James, as they were both Kings. The use of the pyramid's show how great and power Duncan was as contrary to contemporary belief. 
• The use of the pyramid shows how Duncan remains significant throughout the play, and has power even after death, to affect the lives of many people: Macbeth, Lady Macbeth, Fleance and Malcolm.