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Tenshi Androgynous The Angel Androgynous Tsuchiya Ruka duel chorus, episode 28
analysis by Gerald Tarrant Gobou seikei Ruka's duel chorus is a comparison of opposites: both a juxtaposition and balance of nature and impossibility. The opening lines of the chorus contain heavy religious/occult imagery. The pentagram is a symbol commonly associated with paganism and the occult. From http://www.webcom.com/~lstead/wicatru.html: "…a common understanding of the religious meaning of the symbol is that it represents five equidistant elements: Earth, Air, Fire, Water, and Spirit, each bound within the circle of life, death, and rebirth. Here then is a display of a central ideology behind Wicca: to live one's life in harmony with these elements, representative of features of the self, and in union with the cycles of nature. There are other interpretations of the pentagram such as a human figure, limbs outstretched bound by the cosmos or the cycle of nature, but nearly all of these explanations of the pentagram examine it as a glyph with a symbolic importance other than as a simple symbol of the faith." From the Oxford English Dictionary: "mandala : n. A symbolic representation of a magic circle usually with symmetrical divisions and figures of deities, etc., in the centre, used by Buddhists in meditation and found in many cultures as a religious symbol; spec. in Jungian Psychol., an image of a similar magic circle visualized in dreams and symbolizing the dreamer's striving for unity of self and completeness." Both the pentagram and the mandala's main function is to aid in the quest for harmony and balance. The first and the second lines of the duel chorus can then be seen both as a comparison and a contrast. While both the pentagram and the mandala emphasize balance of the human soul and the elements, paganism is at complete opposites with Buddhism in definition. One is considered a religion, the other a complete occult belief. Yet are they two such different philosophies? The concept of balance within oneself and finding peace with nature are common to both. The mandala is also called the "pleasure mandala" in the second line, which defies the common use of the mandala and Buddhism as a religion in which enlightenment supersedes physical pleasure. Thus even from the beginning of the chorus we have a study in opposites: Paganism and Buddhism, the pentagram and the mandala, and also a study in sameness of the two groups.
Seishoku-jiku From Webster's New World Dictionary: "axis : n. 1 a real or imaginary straight line on which an object rotates 2. A central line around which the parts of a thing, system, etc. are evenly arranged." Here the word "axis" brings to mind the shape of a circle or another shape divided in half, opposites. The reproduction axis, then could be referring to man and woman, both of whom need to be present for (animal) reproduction to occur. The act of sex is often referred to "becoming one," making the man and woman one creature, evenly divided, half and half, on an axis.
Risou to jitsuzai These two lines are relatively straightforward. Ideals and reality are definitely opposites, and male and female simply refers to the above line of "reproduction axis." Ideals and reality may also refer to Ruka's somewhat "idealistic" belief in miracles and Juri's "realistic" denial of them.
Igen junketsu Here for the first time the "angel" in the title may be being referred to. Angels are portrayed with dignity and chastity, being higher in the plane of existence than human beings. The line may also be referring to Juri, who has dignity, being a duelist and a Student Council member, and chastity, being unable to touch the one she loves. The imagery of passion as waves here brings to mind the more concrete image of a woman's waves of hair, as well as the standard imagery of likening passion to waves pulling one under. And what is the "double submission"? Since this is Ruka's duel chorus, we refer back to the love triangle of Ruka, Shiori, and Juri. Two views may be taken with this line. The first view is that of female submission to male dominance. Shiori is one submission of passion; she submits to Ruka with sexual passion after he charms her, knowing she is lying to him. The other submission of passion in this first approach is Juri to Ruka. The passion this time is not purely sexual, however, but more emotional. Juri and Ruka are both very passionate people good at hiding their true feelings from others; however, Ruka succeeds in twisting Juri's own passion to make her do what he wants. This leads directly into the second view, which is that the "double submission of passion" is Ruka and Juri to one another: Juri, through losing her duel with Ruka, Ruka, through his impossible love for Juri.
Kodai genkei to tsunagaru watashi From http://jollyroger.com/library/SeraphitabyHonoredeBalzacebook.html: "Reference to an 1835 story by Balzac. Seraphita is a mystical androgynous being who changes sex. Seraphita wears 'a formless garment which resembles equally a woman's robe and a man's mantle.' " The line above mentions the "prototype of antiquity," which can be taken to mean that Ruka, as the present duelist and therefore the "me" of the chorus, is merely a recreation of "Seraphitus," at once male and female, both and neither.
Ryousei guyuu no futari The "me" of the preceding lines has now transformed into the "we," the "couple," referring a few lines back to the concept of male and female being two parts of a reproduction axis. If Ruka is the "me," who is his female half, the one to complete the other side of the axis and make the couple whole? The answer is Juri. Juri is both Ruka's confidant and rival, the only student at the Academy who sees Ruka for what he is and not the idealized image that he emanates to others. As Ruka's replacement on the fencing team, Juri can be seen as both a substitute Ruka and a character foil to Ruka. As a lesbian, Juri mirrors Ruka's thoughts in some ways, but as a member of the opposite sex, she also opposes him in others. Ruka and Juri are the two halves of a whole, the couple equipped with both sexes. The change from "Seraphitus" to "Serafita" also is important in continuing the imagery of male and female. The "us" ending is used in classical Latin to indicate the gender of words as masculine, while the "a" ending generally indicates that the word is feminine. Thus, Seraphitus and Serafita are the masculine and feminine side of the androgynous creature.
Tendou karakuri Akio's castle is a floating paradise projected from a machine in his planetarium, an illusion. The duels are also detached from reality, violence in paradise. These lines refer to the larger scope of the duels and Akio's overall scheme for the duelists in general. The duelists themselves are the model and the mosaic: put together by Akio, different parts combined to form a varied whole. This concept also refers back to the first lines of the song regarding the pentagram and the mandala, balance within every part of a whole.
Futatsu nari yume This line calls to mind the dreamscape of the duel arena and the concept of the whole Ohtori Academy as being mostly a dream for those within. The "doubling" hints at a dream within a dream. The scenes of Ruka and Juri dueling in the sunset with the glittering clouds and light surrounding them have something of a dream-like quality. Dueling itself is also an act of doubling, in which two people mirror each others' moves. Both fencers and duelists, Ruka and Juri are tangible manifestations of this doubling.
Kisuu to guusuu More references to opposites that combine to form a whole. Odd and even numbers make up the number system. Light and darkness make one day.
Issha ka tasha ka The duelists are individuals within a multitude of faces at the Academy. To Ruka, Juri is an individual within a multitude, one face out of hundreds of adoring girls who swarm the fencing arena in order to catch a glimpse of him. Juri is the only one that matters. "Words or things" are opposites; words are intangible while things can be touched. Words can be twisted while things do not lie.
Diosukuroi From the duel chorus translation notes: " Dioskuroi - The "Sons of Zeus," or the Gemini. Depicted as males, they are Kastyr and Polydeukes (Castor and Pollux); as females, Clytemnaestra and Helen of Troy. The Dioskuroi were two sets of twins. The children hatched from two giant eggs laid by Leda, a mortal woman whom the god Zeus had raped after taking the form of a swan. Kastyr and Helen were the immortal children of Zeus, while Polydeukes and Clytemnaestra were the mortal children of Leda's husband, King Tyndareus of Sparta. Therefore, of each set of twins, male and female, only one twin was immortal." The twins this time are Ruka and Juri, the "couple equipped with both sexes," able to be depicted as either male or female. The mortal twin is Ruka, the immortal one Juri.
Banbutsu ryousei kaosu From the American Heritage College Dictionary: "anima : n. in Jungian psychology, the feminine inner personality of men. animus : n. in Jungian psychology, the masculine inner personality of women." Both episodes in which Ruka appears are definitely chaotic, with unresolved plotlines and relationships even until the end. The line indicates that the chaos stems from the inner conflict of both sexes, the anima/animus within each person. Again, the concept of balance, with both male and female being balanced internally by an "inner personality" of the opposite sex. However, here there is no balance but only chaos.
Reiteki kansei wo isogou The spiritual completion here refers back to the "anima/animus" comparison of the previous line. If an internal personality of the opposite sex is residing within each man or woman, it is that person's job to "discover" this inner personality within. As doubles and opposites, Ruka and Juri each have some part of the other within them, and until they each discover this, they cannot couple and combine to become the complete being. This is the "sacrifice" that Ruka refers to, the sacrifice that every miracle stands upon. By leaving the hospital and returning to the Academy, Ruka sacrifices himself to free Juri from her obsession with Shiori. At the end of her duel with Utena, Juri sacrifices her memory of Shiori in order to help Ruka's wish come true. What she does not know is that in doing so, she herself has brought about Ruka's miracle.
Migi to hidari no futari no watashi Right and left again calls to mind the image of dueling, one duelist opposite the other, forming a balanced whole. This line is also the first reference to angels in the duel chorus. The kanji here, however, reads "ten chi," or "heaven earth," instead of the normal kanji "tenshi" to mean "angel." This is another juxtaposition of opposites and may refer to angels being a little higher than mankind but a little lower than the heavens, or God. Suspended between the two extremes, then, it is a meeting place for two opposites: here "man and woman, both sexes."
Soutoutou soutaitai This line is the first of four lines which all mention the concept of pairs. Heads and bodies are the tangible representation of a human, both male and female.
Sounainai sougaigai This line is probably best interpreted to represent the sexual organs. Where the line above refers to the outward appearance that makes a human either male or female, the sexual organs are what truly define sex. The defining external organs occur in pairs: breasts and the external vaginal labia for women, testes for men. Internally, they are the ovaries for women and the vas deferens tubes for men. Interestingly enough, the eggs from the two ovaries and the sperm from the two testes must be removed from the pairs of sexual organs and placed in a single sexual organ (the vagina or the penis) before the sexual act can be completed. The penis and the vagina can also be considered a pair, coming together to form a whole.
Souseisei soushishi These two lines simply repeat the ideas from the first two lines of the verse of all the parts of a man mirroring the parts of a woman.
Watashi sekai ni futari bochi The words "solitary duo" are in themselves at first glance a contradiction. How can a duo, by definition meaning "two," be solitary, which by definition has the meaning of "one"? The main stigma that Juri carries about herself at Ohtori is that she is frightening. Most of the students, both male and female are wary about speaking, approaching, or even coming close to her except in fencing class. The exceptions to this are the members of the Student Council and Tenjou Utena. When Ruka reenters Ohtori, we see that the stigma proves true to him as well. With him, it is more an awe of the masculine presence, but he also appears unapproachable. Both Ruka and Juri are solitary, seeking comfort in no one, not even each other. Yet, as discussed in the lines above, Ruka and Juri are also one pair, with Juri being Ruka's anima and Ruka as Juri's animus. They are, therefore, the "solitary duo," set apart from the other inhabitants of the world.
Watashi sekai ni futari kiri Juri as Ruka's other "self" fits this line. Referring to the line above, with Juri and Ruka as the solitary duo and therefore both one person and two at the same time, each of them can be viewed as existing alone with the complementing half.
Watashi sekai ni futari dake The last reference to Juri and Ruka and their existence as one being.
Futari Tarifu Rifuta Futari A play upon the word "futari" (literally, "two people") and summing up the preceding three lines. This wordplay also brings to mind the ending lyrics of Zettai Unmei Mokushiroku, the pre-duel chorus: "mokushi kushimo shimoku kumoshi moshiku shikumo".
Watashi sekai ni andorogyunusu And here this line summarizes the entire duel chorus. If Ruka and Juri are considered one being, both male and female, complementing and mirroring the other, then the only word for this being of both sexes is androgynous. Possessing attributes of both sexes, the androgynous creature is compatible with no other creature than itself. It must turn to itself to find companionship and to find sexual fulfillment, because the world shuns any creature which does not conform to its natural order. Both Ruka and Juri are set apart from the normal order of Ohtori, and Ruka's relationship with Shiori is nothing more than both a substitute for his ideal relationship with Juri and a way to perhaps free Juri from her solitude, to make her realize that Ruka is her true other half. In a bizarre way, Shiroi can be seen as Juri's substitute for Ruka, but since Shiori is female she can never replace Ruka. Juri will never find fulfillment in Shiori to become the whole, balanced, circle.
Herumafurodizumu! The closing line of the duel chorus is a shout, "Hermaphroditism!" The androgynous being is a hermaphrodite, possesing the characteristics of both sexes, a bizarre mockery of the norm of sexual reproduction. How does this apply then, to Ruka? Ruka's relationship with Juri is in itself a bizarre mockery of a normal, healthy, human relationship. It cannot be denied that Ruka and Juri are close friends, and yet this friendship manifests itself throughout the two episodes in negative actions: quarreling, slapping, dueling. Ruka's very love for Juri is impossible and unhealthy, as Juri is a lesbian and cannot possibly have a relationship with Ruka in the way that he wants. The only act of sexual intimacy in which the two are portrayed, a kiss, turns the tender act of affection into something bitter and resentful to both parties. Ruka and Juri are two elements out of balance, an incomplete mandala and pentagram which upsets the natural order. Out of this imbalance comes the duels: first Ruka with Utena and then Juri with Utena. Ruka's sole purpose in first hurting Juri and then hurting Shiori was to free Juri of Shiori. Ruka's duel was the first part in this plan, and at the end of Juri's duel in the next episode, he finally succeeds. Ruka casts off the substitute half of Juri's solitude and now the two halves can come together as a whole. However, Ruka and Juri are the Dioskuroi, the twins, one mortal and one immortal, one destined to live forever and one destined to die. As the immortal twin, the angel, Juri is freed from the chains of bondage that would have held her for eternity, free to continue with her life. But Ruka, as the mortal one, has no such future. Ruka's task was to free Juri, and now that task is complete, he has no other choice but to return to mortality and to face his certain end. And so he dies. Was Ruka's work in vain? At the end of the next episode, Shiori is shown running after Juri after she leaves the hospital hearing of Ruka's death. "How are you?" Juri asks the absent Ruka. "I have something to ask you when I see you next. What did you hope to accomplish with the power of miracles? And were you directing it at someone? I pray your wish comes true." Instead of scorning the power of miracles, Juri now clearly accepts the fact that miracles can happen and wishes for one for Ruka. Ruka's death can be seen not as an end, but a new beginning as Juri takes up the beliefs and the legacy that he left behind, from becoming the true fencing captain to renewing her belief in miracles. Shiori's chasing after Juri is a reversal of the previous happenings of the anime, where Juri is the one to pursue Shiori, and perhaps an acknowledgment that Juri no longer needs Shiori. She and Ruka are ideals and reality combined, complete, man and woman, the angel androgynous.
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