ChapterThreeMetaphorsinTheShawshank'sRedemption3.1StructuralMetaphorStructuralmetaphorreferstousingthestructureofoneconcepttoconstructanotherconcept,sothatthetwoconceptsaresuperimposed,andthewordsthatusedtotalkaboutvariouscharacteristicsofoneconceptareusedtoanother.Therearemanystructuralmetaphorsinmovies,andherearetwoexamplestoexplore.3.1.1Death—Imprisonment,Despair,DarknessDeathreferstothelossoflife,whichisanaturalphenomenonexperiencedbyalllivingthingsinnature.WhenAndyfirstenteredtheprison,thewardensaid,"Putyourtrustinthelord,yourassbelongstome."Thissentencegaveasenseofoppressionandsuffocation.ThefatmanwhowenttoprisonwithAndywaskilledbyHadleybecausehecriedatthefirstnight.Helosthislifebecauseofafewtears,andtheprisonguardwhokilledhimwasnotpunished.Theprisonerdoesn'tevenhavetherighttocry,soitcanbeseenthathisdeathisametaphorforimprisonmentanddarknessoftheprison.Inthismovie,imprisonmentmeanstoconfineorrestrict.AfterBrookswasreleasedfromprison,hecouldn'tadapttotherapiddevelopmentofsocietyandthecarsonthestreet,andcouldn'tfindhisownvalueatthesametime.Hewasataloss.Finally,Heleft"HerewasBrooks”onthewallandcommittedsuicide.Therefore,Brooks'deathisametaphorforhisdespairandhelpless.Despairisthelossofhope.TommytoldAndythetruthandwassummoned

by

the

warden

totalktohim

at

the

prison

exit.ThewardensentsomeonetoshootTommy,andframedTommytoescapefromprisonandkilledhim.Tommy'sdeathisametaphorforthewarden'sgreedanddarkness.Thewardenbrokethelawforhisownpersonalgain,launderedmoneyandkilledAndy'sonlywitness.Darknessinthismoviereferstothecorruptionandbackwardnessofpeopleorinstitutions.Impersonation,despair,anddarknessarenotinthesamecognitivedomainasdeath.Butthroughmetaphor,theconceptofdeathsuccessfullyportraysthelossoffreedomofprisonersandthedarkcorruptionofprisons.Thefirstthreekindsofdeathareaboutthedarknessofprisonandthehelplessnessofprisoners.Prisonershavenochoice.Sothereisasentenceintheline,“comesdowntoasimplechoice:getbusydyingorgetbusyliving.”Death,anormalphenomenon,extendsitsconcepttoothercognitivedomainsthroughtheanalysisofstructuralmetaphor.Thismakesthedeathofthecharacterinthefilmmoremeaningful.Viewerscanbetterunderstandtheconceptofdeaththroughtheconceptsofcaptivity,despair

and

darkness.Atthesametime,thedeathofTommyandthefatmanalsostrengthenedAndy'sdeterminationtoescapefromthisdarkplaceandpavedthewayforAndy'snextescapefromprison.3.1.2Water—Disaster,RebirthJustarrivedattheprison,Andyandotherinmateswerewashedanddisinfectedbytheprisonguards.Onthesurface,itseemstowashawaythedirtanddustonthebodyoftheprisoners.Infact,foraninnocentpersonlikeAndy,itisthewaterofdisaster.Becauseafterwashing,theywillbeputinprisonandlosetheirpersonalfreedom.Sothewaterhereisametaphorfordisaster.Firstofall,themosttypicalistheGreatFloodinTheBible.Godregrettedcreatinghumanbeings,sohewantedtouseanextremelydestructivemethodtotrytodestroyhumanbeings.ThefloodisthetoolGodusestopunishmankind.Inthecaseofflood,noonecanescape,whichisthemostseriousdisasterformankind.Andyisinnocent,justliketheinnocenthumaninTheBible.Andthe"water"isusedtocleanprisonersisjustliketheflood,whichisthewaterofdisaster.Secondly,humanbeingsaresmallinthefaceofnaturaldisasters,andtheprobabilityofpeoplesurvivingsuchmajordisastersasthetsunamiisverysmall.Andywillbeputintoprisonafterbeingwashed,anditwillbedifficulttoescape.Theconceptofwaterhereiscombinedwithdisastersandthetargetdomainisdisasterandthesourcedomainiswater.Therefore,themetaphorhereis"disasteriswater."Through"flood"and"tsunami",itiseasiertounderstandthe"disasterwater"thatwashesprisonersinTheShawshankRedemption.Andy'sfriendRedfoundAndyattheseaside.Theyhuggedeachothertightly.Underthesunandthesea,theyseemedtoberebornandliveafreelifeagain.First,wateristhesourceofallthings,andnolifecanlivewithoutwater.AndyandRedmetagainaftertheywerereleasedfromprison,withtheseaasthebackground,tohighlighttheirrebirthafterthedisasterandtheirhard-wonhappinessagain.Second,Theseashimmeringasfarastheeyecanseeisverybeautiful.Thisisinstarkcontrasttotherepressionofprison.AndyandRedarereunitedatthebeach,facingthemagnificentsea,andbegintopreparefortheirnewlife.Therefore,themetaphorhereis"rebirthiswater".Thevastandboundlesswateralsorepresentstheabsenceofprisonsandoppression.Throughthepresentationofthefreesceneandtheconstructionoftheconceptofrebirth,readerscanbetterunderstandAndy'srebirthafterthedisaster.3.2OrientationalMetaphorOrientationmetaphorreferstoaseriesofmetaphoricalconceptsbasedonspatialorientation.Spatialorientationcomesfromtheinteractionbetweenpeopleandnature.Itisthemostbasicconceptthatpeoplerelyonforsurvival:up-down,front-back,deep-shallow,center-edge,etc.Peopleprojectthesespecificconceptsontoabstractconceptssuchasemotions,physicalconditions,quantityandsocialstatus,formingsomeabstractconceptsexpressedinwordsoforientation.Theenvironmentoffreedomandinstitutionalizationisnottangibleormaterial,butthroughmetaphor,peoplecanunderstandthemeaningoftheenvironmentoffreedomandinstitutionalizationinthismovie.3.2.1TheBirdThatFlewoutofPrison—FreedomAndyfoundaworminhisfirstmealinprison.BrooksnexttohimaskedAndyforworm.Hegotitandsaiditwasdelicious.Andythoughthewantedtoeatitbyhimself,butheopenedhisclothesandfedittoabirdinhisclothes.Later,thebirdgrewupslowly.Later,beforeBrookswasreleasedfromprison,Brooksreleasedthebird.Inonescene,birdsflyoutoftinyprisonWindows,overhighwallsandhoverinthesky.ItisastarkcontrasttotheoppressiveShawshankprisonaboveground.Flyinghighisaconceptoforientation,whilefreedomisaconceptofpoliticalphilosophy.Leavingprisonandflyingintheskyisfreedom,andwiththehelpofthelocationalmetaphor,viewerscanbetterunderstandthisconnection.Theorientationalmetaphorcomesfrompeople'smostdirectperceptualexperience.Peopleareintherealworld.Therearedifferentpositionsbetweenbodiesandotherobjects,soitisnaturaltohavethesenseofspaceupanddown,leftandright,frontandback.Theorientationalmetaphorisoftencombinedwiththestatepresentedbythebodytoformavaluejudgment.ThesecondmentionofthebirdisthatAndy,afterescapingfromprison,stretchedouthisarmlikeabirdintherain,whichisalsotheposterofthisfilm.ThemomentAndyopenedhisarmstotheskylikeabird,hewastrulyfree.Arms

outstretched

and

looking

up

to

the

skyaretheconceptsoforientation,theyarealsothestateoffreedomandjoyexpressedinAndy'sbody.Itmeantthathewasnolongersubjectedtothetortureofprisonandtheoppressionofinstitutionalizedconditions.Beforethat,Andyhadbeenwalkingaroundtheprisonwithhisheaddown,verysilent.Onceagain,thebirdisametaphorforfreedom.ThethirdmentionofbirdsisthecommentofoldprisonfriendRedafterAndyescaped."Ihavetoremindmyselfthatsomebirdsare'tmeantobecaged.Theirfeathersarejusttoobright,andwhentheyflyaway,peoplewillsincerelycongratulateontheirfreedomtoenjoy;Howeverhelplessis:youhavetocontinueinthisboringdragoutanignobleexistence.IguessIreallymissmyfriend."Intheabovesentence,＂Becaged＂and＂flyaway＂arebothdirectional.RedinprisonandAndyoutsidetheprisonformedaspatialconnection.RedfigurativelycomparesAndytoabird.Andyhad"flown"outoftheprison,leftthedarknarrowShawshanktothevastfreesky.ButRedisstilllockedupinaclosedprison,subjecttotheerosionofprison,nofreedom.ThereisalsoamentionofbirdsoncebeforeAndyescapesfromprison.ThemoviementionedbirdsagainwhenAndysawamusicalfilminthebookhereceived.Itwasverynicetohear.Heturnedontheradioandletallprisonerslisten.WhenthemusicofFigaro'sWeddingsoundedfromtheradio,allprisonersputdowntheirthings.Onthesquare,prisonerslookedupattheloudspeakeroftheradio.Redsaid:“I’dliketothinktheyweresingingaboutsomethingsobeautifulitcan’texpressedinwordsanditmakesyouheartachebecauseofitItellyou,thosevoicessoaredhigherandfartherthananybodyinagreatplacedarestodream.Itwasasifsomebeautifulbirdhadflappedintoourdrablittlecageandmadethesewallsdissolveaway,andforthebriefestofmoments,everylastmanisShawshankfeltfree.”Here,Redreferedtomusicasabirdflyingintoaprisonfromtheoutside."Theseareorientationalstatements.Whenprisonerslistenedtomusic,nothingwasmoreimportant.Becauseatthatmomentmusicrepresentedfreedom.Inthismusic,alltheprisonersinShawshankPrisonwereenjoyingtheirfreedom.ForRed,thebirdofmusicfliedintoprisonandbroughtfreedom.Throughtheanalysisoftheorientationalmetaphorofbirds,itisnotdifficulttofindthatthepicturesandactor'slinesofallbirdsinthefilmaremetaphorsoffreedom.3.2.2ThePrisonThatTrappsPeople—InstitutionalizedandInescapableEnvironment.IntheuniqueworldofShawshank,prisonseparatespeoplefromthefreeworld.Prisonisagroupofspecialpeoplewhohavecommittedcrimesinsocietyandhavebeensenttoprisonforreform.Brooksspent50yearsinprison.Hisapplicationforparolewasfinallyapproved.Whatwasunexpectedwasthathewasnotonlyunhappy,butalsowantedtokilltheinmatewhocametocongratulatehim.Hecommittedsuicideafterbeingreleasedfromprison.Andyisverypuzzledaboutthis,butRed,whohasservedmanyyearsinprison,knowswhy.Hesaid,"Thesewallsarekindoffunlikethat.Firstyouhavethem,thenyougetusedtothem.Enoughtimepassed,getsoyoudependonthem.That'sinstitutionalized."Prisonrepresentsapowerfulsystem,underwhichpeopleareforcedtoacceptitstransformationandnorms.Forexample,prisonersmustreportbeforegoingtothebathroom,mustnotmakeloudnoises,mustgotobedontimeatnight,andmustgetupinthemorningforrollcall,mustfollowinstructionsfromprisonguards.AndywasimprisonedfortwomonthsbecauseherefusedtomakefalseaccountsforthewardenNorton.Attheendoftheconfinement,AndyandhisgoodfriendRedmetandhadanimportantconversation,whichtookplaceunderthehighwalloftheprison.Theyseemsosmallinsuchalargeprison.Thisseemstoindicatethattheyareunabletogetridoftheshacklesofthesystem.Atthesametime,italsocreatesaforeshadowingandstrongcontrastforAndy'ssuccessfulescapefromprison,thatis,breakingtheinstitutionalization.Thehighwallsblockfreedomandhumandesire.Theyalsomakeprisonsfullofoppressionandcorruption.Althoughthewallisonlymadeofcementandbrick,itisalreadyasymbolofastrictandcorruptsystem.Prisonisaclosedanddarkplace.Thehighwallrepresentsastrictprisonsystem,justlikethesystemisaboveallelseinprison.Everyoneispartoftheinstitutionalizedenvironment,andconversely,theinstitutionalizedenvironmentisimprisoningeveryone.Withoutgoingout,prisoners'mechanicalmovementsaretheconceptoflocationandfitintotheprisonsystem.Thehighwallistheorientationmetaphorofthestrictsystemofprison,whiletheprisonistheorientationmetaphoroftheinstitutionalizedenvironment.ThecombinationofthetwoprovidesadarkandoppressivebackgroundforAndy'splotafterbeingsentencedtoprison.3.3OntologicalMetaphorOntologymetaphorisoneofthemostbasicmetaphoricalways.Itisakindofmetaphoricalformthatregardsthings,activities,emotionsandideasasentitiesandsubstances.Littlehammersandstonesoftenappearinmovies,butordinarythingsmetaphoricallyimplydeepermeanings.3.3.1TheLittleHammerinTheBible—TheWayofSalvationThefirstmentionofthesmallhammerinthefilmisthatAndyfoundRedandwantedtobuyasmallstonehammertocarvestones.Andygotthesmallstonehammerandbegantocarvesmallstones.Andywasenjoyinghishobbieswhileothersaresmokingandchattingtokilltime.ThissmallhammergaveAndyspiritualcomfort,sothatAndywouldnotbeinstitutionalizedbydoingnothinglikeothers.Throughtheontologicalmetaphoranalysis,viewerscanbetterunderstandthemeaningofthesmallhammerandthewayofsalvationandtheircorrelation.OncewhenthewardencheckedAndy'sroom,hetalkedwithAndyaboutTheBible,andtheyhadagoodchat.ThewardenreturnedittoAndybeforeleavingandsaid,"Salvationlieswithin."Ontologicalmetaphorisbasedondirectperceptualexperience,whichexpressesabstractthingsinrelationtovisiblethingsinreality.ThelittlehammerinTheBibleisatoolthatistangible,material,andvisibleinreality.Butthewayofsalvationisabstract,unseenanduntouchable.Itexistsonlyinthehumanimagination.ForAndy,TheBibleisnotthewaytobesaved.Therealwaytobesavedisthesmallhammerhiddeninit.Forthewarden,TheBibledidn'tsavehim,either.Heclaimedtolovereadingit,buthelaunderedmoneyandkilledpeople.Later,Andyactuallyusesasmallhammertodigout"thewayofsalvation"andescapefromprison.Atthesametime,Andyalsoindirectlysavedthewarden.Ofcourse,thewayofsalvationisnotthehole,itcannotbetouchedorseen,butthehammermakesthewayofsalvationeasiertounderstand.Sothehammerisametaphorforsalvation.3.3.2Stone—Resources,KnowledgeThereisalineinthefilm:“Therearesomethingsinthisworldthatcannotbecarvedintostone.Inourhearts,thereisaplacecannotbelockedandthatplaceiscalledhope.Stonesrepresentresourceshere.Prisonisaplacewithlimitedresources.It'shardfortheprisonerstogetwhattheywantsuchascigarettes,tools,books,cards,beautifulpictures.”Resourcesareaveryabstractthing,whichcanbeweapons,canbecoal,canalsobesunshine,airorfriends.Butstonesareeverywhereinthismovie,andtheybecomearesourceforAndy,givinghimtheconfidenceandabilitytobreakoutofprison.Inthefilm,itisalsomentionedthatAndycarvedachesssetwithasmallhammer.Redwasveryhappy,andthefriendshipbetweenthetwobecamedeeperanddeeper,whichpavedthewayforAndytoobtainvariousresourceslater.Thestoneisametaphorfortheresource,andtheresourceisthefriendRed.Ifprisonisametaphorforenvironment,thenstoneisametaphorforresources.Stones

are

just

mineral

aggregates

of

random

size

and

shapeindailylife.Itappearsrepeatedlyinthefilm.Stoneisknowledge.Throughstoneandgeographicalknowledge,Andyjudgedthatthewalloftheprisonwasaffectedbypressureandweathering,andthesoilbecameloose.Heonlyusedalittlehammerin20yearstodigapassagethatwouldtake600yearstodig.Stoneswerealsohishobby,andheusedthemtocarvechesspieces.Butstonesarenotonlyahobby,butalsoacoverfordiggingtunnels.Knowledgeisintangible,butstoneistangible.Therefore,stoneisametaphorforknowledgeandresourceshere.ChapterFourTheSignificanceofMetaphorinTheShawshankRedemption4.1SignificanceonCharacterImageThedespairandoppressionofcaptivityshownthroughstructuralmetaphorshighlightAndy'scomposureinthefaceofdesperation.Thebirdappearsrepeatedlyinthemovie.ItisliketheembodimentofAndy.Withtheanalysisofthedirectionalmetaphor,thebirdsymbolizesfreedom,andalsoshowstheaudienceAndy'sultimateyearningforfreedom.TheinstitutionalizedenvironmentprovidesthebackgroundsupportfortheplotafterAndyissentencedtoprison.Andyisnotaffectedbytheinstitutionalizedenvironmentoftheprison,soitcanbeseenthatAndyisamentallystrongperson.ThelittlehammerinTheBibleisametaphorforsalvation.Inthewarden'swords,thewaytosalvationisTheBible,buthe'sonlyfoolinghimself.AsmallhammerletsAndyescapefromprisonandfindhisownwayofsalvation.ThisshowsthatAndyisapatientandstrategicperson.Combinedwithontologicalmetaphoranalysis,stonerepresentsresourcesandknowledge.TheunremarkablestonebecomesastrongsupportforAndy'sescape,whichalsohighlightsAndy'sprofoundknowledge.Inaword,theuseofmetaphorcreatesamentallystrongandknowledgeableprotagonistAndyforviewers.Heisfearlessinthefaceofdeath,darestobreaktheshacklesofthesystemandisproficientinallaspectsofknowledge.4.2SignificanceontheFilmPlotInthefilm,threepeopledie,anddeathrepresentstheendlessconfinementandsuffocatingdarkness.Itfitsinwiththeinstitutionalizedenvironmentofprisonwhichcannotbebrokenout,andlaysagloomyanddepressedatmospherefortheplotofthefilm.Atthesametime,theatmosphereisincontrasttoAndy'sstrongheart.Thebirdisoneofthefewthingsinthemoviethatmakespeoplefeelcomfortable.Smallhammersappearrepeatedlyinmovies.Atfirst,itwasjustatooltogiveAndysomecomfortinhissparetime.Astheseriesprogresses,HammersgraduallybecomesAndy'ssalvation,andhebeginstouseHammerstodigtunnels.Thishumblegadgetalsobringsthedramatoaclimax.Theappearanceofstoneinthefilmisalsothroughout,whichnotonlysetsoffAndy'sprofoundknowledge,butalsoservesasalinkforthewholefilm.Ofcourse,thebirdsinthemoviearealsoverymeaningful.Thebirdsappearfourtimesintotal.ThefirsttimethefilmhintsatafreeendingwhenbirdsflyintotheskyfromtheprisonjustbeforeAndy'sescape.ThesecondtimewaswhenAndyescapedfromprison,armsoutstretched,facingtherainysky.Twentyyearsinprisonarefinallyover.That'swhenthemoviereachesitsclimax.ThethirdmentionofthebirdsisRed'sline,whichexplainsAndy'sescapefromprisonandsetsthestageforRed'sreleaseonparole.Sobirdsaretheembodimentoffreedominmovieplots.Everytimeitappears,itbringshopeandfreedom.Theuseofmetaphornotonlyforeshadowstheplotofthefilm,butalsoplaysagreatroleintheupsanddownsoftheplot.Throughtheontologicalmetaphoranalysis,thelittlehammerinTheBiblesymbolizesthewayofsalvation.Thisisinstarkcontrasttothewarden'swords.Whilesatirizingthewarden,italsoaddsinteresttothestoryandenrichestheplot.ChapterFiveConclusionTakingTheShawshankRedemptionasanexample,thispaperdiscussesthesignificanceofmetaphorinthefilmfromthreeaspects:structuralmetaphor,directionalmetaphorandontologicalmetaphor.Throughtheanalysisofstructuralmetaphorsinthefilm,therearethreetargetdomainconceptsaboutthe"death"ofthesourcedomain:impressionment,despairanddarkness,andtwotargetdomainconceptsaboutthe"water"ofthesourcedomain:disaterandrebirth.Combiningtheconceptualframeworkof"death"and"water"canbetterunderstandtheabstractconcept.Thestructuralmetaphorprovidesadarkanddepressingatmosphereforthefilmplot.Thewayofsalvationisabstract,butontologicalmetaphormakesitmaterial.Everytimethehammerappears,itmovestheplotforward.Itnotonlybringstheplottoaclimaxbutalsosetsofftheprotagonist'sknowledgeandperseverance.Byanalyzingtheinstitutionalizedenvironmentandfreedomoftheorientationmetaphorinthefilm,viewerswillhaveadeeperunderstandingofthethemeofthefilm.Itistheglorificationofliberalismand