Incarnadine

Incarnadine (pronounced in-kahr-nuh-dahyn, in-kahr-nuh-din or in-kahr-nuh-deen)

(1) A color classically blood-red but for commercial purposes also described as variations in the range of crimson, flesh-colored, pale pink etc.

(2) To make incarnadine; to tinge or stain with a reddish hue.

(3) In figurative use, bloodstained, bloody

1585–1595: From the Middle French, the feminine of incarnadin (flesh-colored), from the dialectal Italian incarnadino, a variant of incarnatino (carnation; flesh-colored), the construct being incarnat(o) (embodied; made flesh (the sense most familiar in ecclesiastical use in the form “incarnate”, from the Late Latin incarnātus (made flesh, incarnate)) + -ino.  The Italian suffix -ino was from the Latin -īnus, from the primitive Indo-European -iHnos (and comparable with the English -ine).  It was used (1) to form adjectival diminutives, (2) to indicate a profession, (3) to indicate an ethnic or geographical origin and (4) to indicate tools or instruments.  Incarnato was from Ecclesiastical Latin and the Late Latin incarnātus (having been made incarnate), the perfect passive participle of incarnō (to become or make incarnate; to make into flesh), the construct being in- (in, inside, within) + carō (flesh, meat; body (and ultimately from the primitive Indo-European ker & sker- (to cut off)) + -ō (the suffix used to form regular first-conjugation verbs).  The noun and verb were derived from the adjective and the senses (1) of the blood-red colour of raw flesh, (2) the figurative blood-stained; bloody (most famously as “blood on one’s hands”) and the noun use (blood-red colour of raw flesh) are the legacy of William Shakespeare’s (1564–1616) use of the word as a verb in the blood-soaked Macbeth (circa 1606).  In the technical language of the Roman Catholic Church, incardinate has the specific technical meanings (1) to raise someone to the rank of cardinal & (2) to enroll someone as a priest attached to a particular church.  Incarnadine is a noun, verb & adjective and incarnadined & incarnadining are verbs & adjectives; the noun plural is incarnadines.

The Shakespeare effect

William Shakespeare: Macbeth Act 2, Scene 2, 54–60:

[Knocking within] Macbeth:

Whence is that knocking?
How is't with me, when every noise appalls me?
What hands are here? Hah! They pluck out mine eyes.
Will all great Neptune's ocean wash this blood
Clean from my hand? No; this my hand will rather
The multitudinous seas incarnadine,
Making the green one red.

Shakespeare wasn’t actually unusual in his inventive ways with words, English then far from standardized and such “dictionaries” as existed sometimes offering different spellings and conflicting meanings.  Shakespeare probably felt no more entitled than any other writer to kick the language around but because what he wrote is celebrated as a core of the Western literary canon, what he did is both better remembered and granted a certain authority.  His attitude was probably something like the “low-level peaks & pokes” database administrators used to be able to use to solve immediate problems, even if such tricks weren't in the manual.  So, in the early 1600s, “the multitudinous seas incarnadine” would have been novel and what Shakespeare did was make a verb of incarnadine, a sixteenth century adjective meaning "pink", the sense derived from the Latin root carn- ("of flesh" and thus, in its derivatives, "the color of flesh").  “To incarnadine” thus meant turn something pink or light red and in the bard’s vivid imagery Macbeth imagines his bloodied hands turning Neptune's green ocean.  Under the influence of Shakespeare’s text, the verb and adjective have both come to refer to the color of blood itself (a range of crimson tones) rather than to the light red of a blood-stained sea.  This extends to the play as psychological drama, Macbeth coming to realize that no matter what, his guilt can never be washed off, even if the blood can be cleaned from his hands.  Instead, his guilt will poison the world around him for which the wide ocean is a metaphor and already in his hallucinations he sees his hands plucking out his eyes in retribution for the murder of Duncan.

Shakespeare would have approved the verbing: Lindsay Lohan incarnadining her lips, Playboy magazine photo-shoot, 2011.

However, for whatever reason,  Shakespeare didn’t use the word again although there was no shortage of death and blood in the dozen-odd plays he wrote after Macbeth and in all that he wrote, it’s the only occasion on which the word appears.  Maybe he didn’t like the effect or perhaps his critics were critical but it's surprising it didn't re-appear because his opportunities to seek some alternative to “red”, “crimson” or “scarlet” were not infrequent, some 74 unfortunate souls dying in his plays in the stage-scenes alone with the inherently bloody business of stabbing a popular means of dispatch.  Not surprisingly then, the word “blood” appears in Shakespeare's works 673 times.  The author’s neglect of incarnadine was matched by that of the general population and since the nineteenth century its most usual appearance in text has been in lists of obsolete and antique words and were it not for lexicographers preserving it thus, it might now be regarded as extinct which, for most practical purposes, it otherwise is.

Crooked Hillary Clinton in incarnadine pantsuit, a practical color in that one can wipe the blood from one’s hands without it showing.

Shakespeare makes Lady Macbeth a central character responsible for much violence and bloodshed yet one who avoids blood literally ending up on her hands.  It’s Lady Macbeth who goads and manipulates her husband into killing King Duncan so he may seize the throne of Scotland and make her queen.  She even plans the murder, taking part in the plot by making it appear others are responsible.  After the foul deed, Lady Macbeth begins to suffer from her role in the murder, haunted by visions of blood on her hands which she tries to wash off, symbolizing her inability to rid herself of the guilt she feels.

Color contrast ratios of incarnadine against while and black backgrounds.

It is a truly lovely color, a deep rich red less orange than the classic brick, darker than a bright cherry and lighter than a Merlot although those disturbed by such things might see also the color of raw steak and spilled blood.  It has survived as a technical term used in color charts, incarnadine listed as Hex #aa0022 (Color Mixture: Pink and Red & Color Hue/Base color: Red).  In the RGB color code model, Hex #aa0022 Color Code is created after adding 66.67% red color, 0% green color and 13.33% blue color.  Hex #aa0022 Color code in the CMYK color (process color) code model is generated after subtraction of 0% cyan, 100% magenta, 80% yellow and 33% black.  It’s a handy word for the manufacturers because it provides something different for the color charts, other variations of red including blood red, brick red, burgundy, cardinal, carmine, carnation, cerise, cherry, cherry red, Chinese red, cinnabar, claret, crimson, damask, fire brick, fire engine red, flame, flamingo, fuchsia, garnet, geranium, gules, hot pink, incarnadine, Indian red, magenta, ruddle, maroon, misty, mantle, rose, nacarat, oxblood, pillar-box red, pink, flush, Pompeian red, poppy, raspberry, red violet, rose, rouge, ruby, ruddy, salmon, sanguine, scarlet, shocking pink, rust, stammel, strawberry, Turkey red, rubricate, bloody, blooming, Venetian red, vermillion, vinaceous, vinous, violet & wine.