Multimodal Representation of Blood Imagery in Shakespeare’s Macbeth
Abstract
In the majority of cases, stylistic studies of imagery in a play seem to
concentrate on the analysis of the text per se. Yet performances of one certain play
admittedly incorporate multimodal elements which, acting in the same way as
linguistic elements, can condition our interpretation(s) of the original text.
Adopting a multimodal approach, this paper examines the dramatic text, including
its stage directions and verbal representation of blood, in Shakespeare's Macbeth. It
also explores the verbal and presentational aspects of blood imagery in Roman
Polanski’s adaptation of the same work. Polanski’s highly acclaimed adaptation,
directed in 1971, employs both verbal and visual elements to do justice to one of
the bloodiest of Shakespeare’s tragedies. In an attempt to show how these direct
references and presentational manifestations of blood have contributed to both the
play and this adaptation, a multimodal stylistic analysis is carried out regarding the
emphasis on multifarious representation of blood imagery.
Keywords: Multimodal stylistics, blood imagery, Macbeth, Roman
Polanski’s adaptation
Introduction
Circumstances at times collaborate to create a special mode of expression.
Emblems, symbols and imagery, throughout the Renaissance, formed the soul of
many a work of art. In literature, like other branches of art, this way of expression
illuminated and enriched poetic concepts. This was mainly the result of
coalescence of numerous intellectual trends ushered in during the medieval period;
one of them being a sort of emphasis upon the didactic function of poetry so much
so that the writers developed a passionate desire to seek cryptic expression of
thought to voice their otherwise straightforward dictums in a valid turn of phrase.
Shakespeare, like many of his contemporaries, naturally found delight and
satisfaction in employing such devices, but his originality mainly lies in his
characteristic use of imagery which was, like the popular emblems of his time, a
roundabout way of expression. Shakespeare’s pictures unlike emblematic
engravings and woodcuts are for the most part verbal and their significance is
determined by the dramatic context of the play.
Norman Friedman in his article on imagery in Princeton Encyclopedia of
Poetry and Poetics examines the term under three categories “mental imagery”,
imagery as “figures of speech” and “imagery and image patterns as the
embodiment of ‘symbolic vision’ or ‘nondiscursive truth’” (363). Of these three, it
is particularly the third one that has claimed much of the attention of the recent
critics especially after 1935 and the publication of Spurgeon’s invaluable book on
Shakespeare’s image clusters and their significance.
Caroline Spurgeon’s Shakespeare’s Imagery and What It Tells Us triggered
a series of reactions (both favorable and unfavorable) and set in, much more
seriously, a trend in Shakespearean criticism that can be traced back to the late
eighteenth century and Walter Whiter’s A Specimen of a Commentary on
Shakespeare.
Our procedure here, unlike Spurgeon’s, is far from a merely statistical one
and the image will not be cut off from its dramatic context for non-dramatic
purposes. Spurgeon tries to show how “the poet unwittingly lays bare his own
innermost likes and dislikes, observations and interests … in and through image”
(4). This also would not be our main source of interest since we admit that the text
can rarely tell us, with any degree of certainty, anything about the playwright
himself.
Spurgeon, in her studies, mainly focuses on only one of the elements
comprising a metaphor: the vehicle or subject-matter of the metaphor (material
illustrating the idea underlying the image); while the tenor might be of much
greater importance. For instance in discussing the following line from Macbeth
“Sleep, that knits up the ravell’d sleave of care” (2.2.37), she maintains that this is
a “wonderful picture of knitting up the loose fluffy all-pervading substance of
frayed-out floss silk” (5), whereas, in view of the symbolic pattern of the play, the
tenor is of much greater significance.
Wolfgang H. Clemen argues that “every investigation of an individual
development carries with it the danger of overlooking the connection of this
element with the play as an organic whole” (2). He considers an image which is cut
off its context as “only half the image” and says that its “full life” is only furnished
by the context where it occurs (ibid.). It is the situation, character, theme, desired
effect, mood, and many other factors that occasion the exclusive function of a
special image. So any study of imagery outside the closely-knit web seems to be of
little significance and any discussion about imagery should examine the forces
determining that special kind of imagery.
R. A. Foaks in his article entitled “Suggestions for a New Approach to
Shakespeare’s Imagery” represents a new conscious attention to the significance of
imagery especially in dramatic arts:
While it is possible for a poem to be a metaphor, to exist only in an
image or images, this cannot properly be said for a Shakespearean
play. The poetic image in a play is set in a context not of words alone,
but of words, dramatic situation, interplay of character, stage-effect,
and is also placed in a time sequence. (85-6)
There is a marked difference between drama and other forms of literary
production. While other forms are heavily dependent upon their verbal medium for
communication, drama has the potentiality of being conveyed through a variety of
means. A play, which is primarily written to be acted out on stage, has something
more to be taken into consideration than its mere verbal text. What can be seen and
heard while a play is staged attach added significance to the language and verbal
imagery of the play. So, an efficient study of imagery should not lose sight of what
these non-verbal aspects have to tell us. R .A. Foaks in the same article argues that
“poetic imagery should be considered together with other facts in the play which
shares its functions, and together this constitutes dramatic imagery” (89). Stage
directions, colors, duration of certain features and imagery presented on stage,
costumes and props could contribute to our understanding of special symbols and
emblems.
In dealing with symbolism, Eco employs the Gricean maxims. By using this
pragmatic approach, he attempts to point out that symbolism forms part of the
normal communicative resources we use in interaction. As mentioned in Elizabeth
Black's Pragmatic Stylistics, Eco is of the opinion that “the potential for a
symbolic interpretation is triggered by an apparent violation of one or more of the
maxims-- particularly those of quantity, manner or relation” (qtd. in Black 125).
Repeating and emphasizing the same image for instance, providing this repetition
falls outside the norm of the text, may be embedded with certain reasons or
messages. . Such violations result in an “over-encoding” of meanings (ibid.). Thus,
symbolism resulting from repetition of an image can be viewed as a violation of
the maxim of quantity which in turn results in an implicature and the possibility of
further significance.
Our study here mainly concerns the study of blood imagery within the
context of the paly. To show the significance of the media of representation, an
analogy will be drawn between the text and the excessively violent film version
directed by Roman Polanski in 1971. The verbal and visual presentations of blood
are incorporated into the movie to intensify the mindless cruelty and barbarism of
Macbeth.
Methodology
Multimodality and Multimodal StylisticsGibbons asserts that in everyday
life we experience “multimodal terms through sight, sound, movement” (8). Every
conversation includes language, intonation, and gesture and so on. Multimodal
aspect is therefore a significant issue in text linguistics and semiotics. The idea of
developing a theory of multimodal communication was first generated by Kress
and Leeuwen who defined mode as “semiotic resources which allow simultaneous
realization of discourses and types of interaction” (qtd. in Kaindl 258). In the
words of Kaindl “[i]n contrast to single semiotic analyses, which regard visual or
musical signs in an isolated way, a multimodal perspective implies the awareness
that modes exist in combination” (ibid.).He remarks that Kress and Leeuwen
regarded multimodality as a “principle of text design where individual modes are
not limited to certain functions, but worked in combination” (ibid.). The function
of a mode in a text and the type of mode used in designing a text depends on
“pragmatic as well as culture-specific factors” (ibid.).If we are to understand
meaning making completely, modes other than linguistic mode have to be studied.
Multimodality theory assumes that language is only one signifying mode amongst
many. Meaning therefore is constructed also by other non-linguistic modes in a
text.
This is inspired by Kress and van Leeuwen who suggested that “like
linguistic structures, visual structures point to particular interpretations of
experience and forms of social interaction” ( qtd. in Majstorovic 200).
In fields such as Media Studies, Film Studies and Psychology, linguists have
begun to turn their attention more to the visual kind of communication especially
after the introduction of the works of Kress and Van Leeuwen. As Machin points
out “ Kress and Van Leeuwen were interested in developing a set of tools that
could bring some of the rigor of analysis characteristic of Halliday's work that had
been able to show what kinds of resources were available to communicators in
language, to provide a more systematic approach to visual design” (30).
As opposed to the formal theories of syntax which are commonly associated
with linguistics, “new literacies integrate multiple meaning-making system such as
language, image, sound and movement” (Unworth 379). These modes could
conceivably fulfill the three metafunctions introduced by Halliday and therefore
communicate meaning accordingly.
According to Gibbons “[t]he development of the academic study of
multimodality was catalyzed by the rise of digital technologies, provoking increase
in multimodal products, which can now be created cheaply and easily” (8).The
concept of modality then can be fully applicable to moving images. Kress believes
that a film is “a temporal mode, structured by intricate semantic and rhythmic
patterns of editing and it is also characteristically multimodal, involving not just
the visual, but also speech, sound and music” (265).
Multimodal analyses of texts coupled with other disciplines could be
employed to help improve the understanding of any literary work. One such
discipline is stylistics. Therefore, “multimodal stylistics aims to combine
multimodal theory and methodology with that of literary stylistics in an attempt to
systematically take into consideration all modes involved in literary meaningmaking” (Nørgaard et al.159). Nørgaard believes multimodal stylistics to be a very
recent development:
By bringing together literary studies , linguistics and multimodal
semiotics, multimodal stylisticians wish to develop a framework for
the analysis of modes like typography, layout, color and visual
images-and of the interaction of these modes-which matches and
combines with the systematic detailed analysis that characterizes more
traditional stylistic approaches to wording .( qtd. in Montoro 19)
In the words of Montero , embracing linguistic frameworks used in stylistic
analyses on the one hand, and the study of semiotics resources on the other, can
give
multimodal
stylistics
an
encompassing
outlook
(19).
Applying multimodal stylistics would be the celebration of a new collaboration
between a new and a traditional approaches:
Altogether, the multimodal take on stylistics would seem a
promising approach for analysts who acknowledge that texts,
including literary ones, are multimodal, and who wish to
employ and further develop tools for the description of
multimodal meaning-making which are as delicate and
systematic as those traditionally employed in stylistics for
analysis of verbal forms. (Nørgaard et al. 34)
Stylisticians typically tend to focus on dramatic texts assuming that “the text
is more stable object of analysis than a performance” (Mclntyre 309) As Short
believes, the reason is that “meanings and values will change not from one
production to another but also from one performance of a particular production to
another” ( qtd. in Mclntyre 310).
Given the stage productions of plays where there are various performances,
this criticism seems to be well-founded. Yet Mclntyre believes that being
“methodologically rigorous” will produce an incomplete analysis while avoiding
this rigor will result in “an analysis which is fuller in the sense of considering
performance and production elements” (311). A solution appears to be applicable
to the case of those plays which have been dramatized into movies. Mclntyre
proposes that “analyzing a filmed version of a play would seem, therefore, one way
to avoid the methodological issue that Short raises, thereby allowing for a stylistic
analysis of the play that takes account of multimodal elements of performance and
production.” (ibid.)
By combining aspects of visual grammar with a more traditional stylistic
analysis of the blood imagery in Polanski's 1971 film version of Macbeth, this
paper attempts to define how the visual and the verbal can be both described
systematically, how they can interact and finally how a multimodal approach will
grant a more comprehensive analysis of this filmed play, compared to the one
achieved by a stylistic analysis of the verbal text only.
Blood Imagery in Macbeth
Macbeth is one of Shakespeare’s bloodiest plays; in every act we have blood
in torrents. Msgr.F.C. Kolbe argues that the word “‘blood’ is mentioned over one
hundred times in the course of the play” (paraphrased in Muir’s edition of Macbeth
5). In a research employing the Shakespeare Corpus at the University of
Birmingham Sonia Zyngier has produced a frequency list of all the word-forms
both in Macbeth and in the Shakespeare Tragedy Corpus . Thus she proposes that
the frequency of the word “blood” in Macbeth is 2.08 times more than it is in the
tragedy corpus. Whereas in the other plays, blood is mostly used in a metaphorical
way, a concordance of blood in Macbeth indicates that it deviates from
Shakespeare’s use of the word since there are 15 literal uses and 11 metaphorical
ones, thus adding to the visual impact and the violence of the play (537).
The symbolic significance of the image invests it with a high degree of
potentiality which points to a variety of implications. The second scene of the play
opens with the Captain’s account of Macbeth’s “bloody execution” (1.12.18). His
story is replete with “reeking wounds” (1.2.40) and bleeding “gashes” (1.2.43). It
has a primitive violence which associates Macbeth from the very beginning with
murder and bloodshed. The tale of Macbeth’s heroic deeds is rendered all the more
emphatic by the visible blood as a sort of backdrop for the Captain’s story. The
passage probably represents the most overpowering picture that blood imagery
evokes: the image of slaughter and violence.
The particular context in which the image is employed here establishes
Macbeth as a heroic character, “Valour’s minion” (1.2.19) and “Bellona’s
bridegroom” (1.2.54). But as we shall see later on, Macbeth is gradually giving
himself up to the evil soliciting of the Witches and turns into a blood-sucking
vampire.
Macbeth’s dagger soliloquy shows him preparing himself for the “bloody
business” (2.1.48). It is a highly dramatic part of the play in which we are urged to
see, through Macbeth’s extended descriptions, the vision of an “air-drawn dagger”
(3.4.61). The “gouts of blood” (2.1.46) on the hallucinatory dagger, pointing to
Duncan’s room, forebode Macbeth’s fatal undertaking and the horrible murder at
hand. After the murder, Macbeth enters holding two bloody daggers in his hands.
The bloody daggers which remain for nearly forty lines on stage bear testimony to
the horror of the crime. These silent witnesses become all the while the tormentors
of the guilty conscience of the murderer until they are taken back to the king’s
chamber by Lady Macbeth.
In some other contexts, blood can be considered as symbolizing vitality and
life. “Blood as the seat of life,” Ad de Vries argues, “is sacred to Yahweh;
therefore sacred and taboo” (52) . This sacred aspect of blood imagery points to its
positive and sacred implications in the play. Macduff calls Duncan’s body “The
Lord anointed Temple” (2.3.67) ; the temple in which divine authority resides on
earth and hence it is sacred. Lady Macbeth on the other hand, in the sleep-walking
scene, while reliving the horrifying memories of the past, surprisingly asks “who
should have thought the old/ man to have so much blood in him?” (5.1.37-8).
Given the divine character of the king, the quoted lines implicitly attest to the
sacred nature of blood in his context.
This aspect of blood symbolism, by an extension of meaning, can include
love and compassion as well. Lady Macbeth, while praying to the spirit of cruelty
to “make thick my blood/stop up th’ access and passage to remorse” (1.5.43-4)
implicitly suggests this aspect of blood imagery. Bradley considers blood as a
vehicle carrying pity along the vein (335). So blood, when not “thickened” can
give way to “remorse” which is defined by K. Muir as “compassion” and
“tenderness” (30).
Joan M. Byles notices that the imagery of the play continually emphasizes
“the unnatural and destructive tendencies in both Lady Macbeth and Macbeth’s
willingness to empty the life-giving and life-sustaining body fluids of milk and
blood […]” (153).Closely connected with blood in its spiritual implications is gold.
Duncan’s “golden blood” (2.3.110) and its divine connotations are further revealed
when viewed in the relevant context:
Here lay Duncan,
His silver skin lac’d with his golden blood;
And his gash’d stabs look’d like a breach in nature
For ruin’s wasteful entrance:(2.3.109-12)
The given picture is in keeping with Macduff’s description of the king’s body as
“[t]he Lord’s anointed Temple” (2.3.67). Duncan is being transformed into a
saintly relic.
After the murder of the king, Macbeth’s cry that “[t]he wine of life is drawn,
and the mere lees/ Is left this vault to brag of” (2.3.93-4) recalls the Last Supper
and Christ’s divine blood. Considering the interchangeable quality of blood and
wine symbolism on one hand (Cooper 193) and its association with the sacred
implications of gold symbolism on the other (Ad de Vries 219) , we can see an
elaborate network of intertwined images pointing to the same direction: Duncan’s
divine character.
Lady Macbeth uses Duncan’s “golden blood” to “gild the faces of the
grooms withal/ For it must seem their guilt” (2.2.55-6). Cleanth Brooks has shown
that the pun is very expressive and that Lady Macbeth considers the guilt as a stain
that can be painted on and washed off (40). The quoted passage also delineates
how succinctly Shakespeare manages to connect two significant symbolic
implications of blood imagery. In the sleep-walking scene Lady Macbeth shows
that the “damned spot” (5.1.33) is indelible and reveals how her attempt to remove
the stain, symbolizing their guilt, comes to nothing. The image is also implied in
Angus’s speech, when toward the end of the play he declares that Macbeth’s
“secret murthers sticking on his hand”(5.2.17). This guilt can only be atoned for by
the death of Macbeth and his wife.
Blood imagery in Roman Polanski’s Macbeth
The Polish literary critic Jan Kott is quoted as saying that “blood in Macbeth
is not just a metaphor, for it stains the hands and faces of characters as well as their
daggers and swords. Therefore, a production of Macbeth that doesn’t evoke a
bloody world would be false” ( qtd. in Bird 55).
Polanski’s Macbeth was made and released at a painful moment in its
director's life and at a precarious one in his career. Few films have such a graphic
depiction of the obscenity of savagery and barbarism. “Bodies are knifed, speared,
decapitated, mutilated and hanged” (ibid).
Blood is the dominant visual metaphor of the film. In an attempt to amplify
Shakespeare’s description, Polanski explicitly portrays the homicide of Duncan,
the execution of the Thane of Cawdor, the rape and slaughter of Macduff’s family
and the decapitation of Macbeth. Given this latter scene , while Shakespeare
merely has Macduff return to the stage with Macbeth’s head on a pole ,Polanski’s
Macbeth is being beheaded , his body collapses down the staircase and the
sequence closes with a shot of the decapitated head on a pole. He also attempted to
add an extra dose of violence by incorporating scenes such as the baiting of the
bear or smashing the wounded on the beach into the movie. Crowl argues that “the
interconnections between power, appetite, revolt and violence are reinforced by
Polanski's handling of two crucial scenes: the murder of Duncan and Banquo's
banquet” (228).
The homicide of Duncan is depicted by Polanski in a superfluously
barbarous manner. Some would argue that the amount of gratuitous violence,
mainly in the abovementioned scene, may have been influenced by Polanski’s wife
heinous murder which occurred a year prior to the production of the movie.
Though Polanski himself denied such influence, one could not fail to notice that
the strikingly flagitious slaughter of the King serves to provide the audience with
an insight into Macbeth’s murderous ambition. According to Deats “[e]xcept for
the savage hacking of the opening scene, the screen does not bleed red until after
Macbeth's violent ripping apart of the natural order in his murder of Duncan; this
action opens flooding arteries of gore and the spectator, like Macbeth, sinks deeper
and deeper into blood” (87).
Macbeth enters Duncan’s chamber and finds the king’s servants in a deep
sleep with their wine spilled everywhere which in the first place creates the illusion
of blood and murder. When Macbeth places his dagger on Duncan’s bare chest, the
momentary hesitation he experiences makes the audience reevaluate their
judgments about his depravity but as Duncan suddenly wakes, Macbeth’s savage
and constant attacks quickly disillusion them. For the next few minutes, while the
very last seconds of Duncan’s struggle to survive is pictured, blood is everywhere.
Duncan’s chest and face is covered in blood. The final stab in Duncan’s neck
makes blood squirt all over Macbeth’s hands and garment. His encounter with
Lady Macbeth, who has been waiting for her in the yard, is also the depiction of a
sequence of bloody scenes. Lady Macbeth reaches for the daggers, takes them to
the king’s chamber and when back, she too has both hands drenched in blood.
During this period the camera focuses on their hands and while they both hastily
try to cleanse them, blood is still evidently all over their gowns.
Blood continues to be a prominent element throughout the movie. The bearbaiting sequence which follows the murder of Banquo also ends in blood when the
carcasses of the bear and two dogs are dragged across a corridor and the trace of
blood left is soon covered by servants and maids. The banquet scene in Polanski’s
movie has also its fair share of blood. When Banquo’s ghost first appears he is
portrayed in a quite pale and unearthly way. The second time though, his face and
garment is excessively soaked in blood while he moves towards Macbeth. The
consistency of blood’s presence in the majority of sequences, has equipped this
naturalistic adaptation of Shakespeare’s most nihilistic tragedy with the same
chaos and bestiality as evident in the maniacal and diabolic Macbeth himself.
Conclusion
Dramatic potentials in Macbeth provides Polanski with ample leeway to
present his own idiosyncratic version (or reading) of the tragedy. The scope and
divers presentational modes of expression in the stage production and film version
of the play can further accentuate its imaginative aspect and show how these
potentials are realized in practice.
The recent revival of interest in Shakespeare’s style and language has
opened doors to versatile researches and new findings. For instance, in an attempt
to “bridge the gap between Shakespeare and language studies” Ravassat and
Culpeper edited a series of trans-disciplinary studies employing new approaches
such as computational, corpus based and cognitive stylistic studies with the aim of
offering a holistic vision of Shakespeare’s use of language (2). Such innovative
studies and approaches could enhance our understanding of the significance of
certain features and elements in works of Shakespeare.
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