Theme Song

"Xanadouche",

I, naturally, noticed the near-exact same thing in the opening credits as the dual/duel reflection of Henrietta appears walking in the wide pool of water. This slow steady rain induced "reflection pool" serves several symbolic purposes, aside from this.


First, it reliably reflects the double, or dual "Duality" which Jung was so decidedly and descriptively enamoured, and which we see Henrietta is specifically set to symbolically represent, but it also deliniates the supporting soliciated symbolism between tears and rain drops. Thus, the remarkably rendered double image of Henrietta is supposedly the result of rain, but it is also interconected with the slow steady cries of tears which have pooled together. The rain is partly a prospective parallel to tears, but it also warrants as a way to wishfully wash away the troubling tears and, with it, her terrible tragic troubles.


Everyting (and I do mean entirely everything!), in the series is stylistically symbolic. Honestly, we even hear that Henrietta's name is directly derived from the German or Gothic and generally means "home-ruler", and this meaning invariably indicates that she is intently seeking and desperately desirious and wanting, wishing, and waiting to be in a real home. She sincerely wants to be something of a homemaker, and her "Henrietta" name is honestly indicative of this.


Specifically, with regard to Jung and girls and how his honed writings rather glaring garner a "Gunslinger Girl" response, I have read reams of rather interesting research which reliably relates that as children approach puberty they tend to dream more and more frequently of, what Jung called, the "Shadow".



Jung descriptively denoted or viewed that dreams are derived from 2 sources: (1) The "Individual Unconscious"--where it is our everday experiential experiences which formulate and form the first and final source of these sorts of dreams, and Jung adamantly asserted that these were invariably the main source of inspiration in the dreams of all people (maybe, 80%?, but even in "Collective Unconscious" dreams we directly detect all manner of image or imagined symbolism derived in or from the collective unconscious.). (2) The "Collective Unconscious"--where our detailed dreams are directly derived from those demonstratable strident symbolic images and impressions or "Archetypes" in which we all seem to wistfully share. In this mode, everything, from the themes to the characters, are the unconscious constructs of the "Collective Unconscious".



Now, interestingly enough, we observe that invariably and instinctively in the dreams of young males that they overtly create a "Shadow" figure. Jung noted and all Jungians and Post Jungians agree that this is actually the most common dream theme or image resulting from influences of the "Collective Unconscious". Usually, the "Shadow" is described as being: slender, dark costumed, but the actual full frontal face of the figure is almost always obligingly obliquely obscured--hence the solicitous statement of the "Shadow". Sometimes the figure's face has a false-front, a mask, or, most often, simply surrounded by misty shade of shadows; sometimes, even, by the shadow set from the wide brim of a stylish judiciously jolly jaunty hat?



Initially, the "Shadow" is a figure that the dreamer seems to sometimes believe is essentially something an egregious enemy to the individual. This dark "Shadow" usually does dire and even dreadful things, but the fixiated fine figure often is just behaving in a fun and wholesome wild way, but we see in these dreams that we are always sort of sad-sorts, sticklers, and excessively lawabiding and strictly solemn (Goody-Two-Shoes). Nevertheless, in dreams we have the dreamer often at obsessive odds with the shadow figure, and the dreamer often decides to fight and even kill this figure because it is always inflicting some sort of pain or punishment or ridicule onto the dreamer or others while the individual is dreaming of the "Shadow".


What and how Jung inspiringly interpreated this intense dream was that he noted that the "Shadow" was not our enemy, but it was actually our "Animus"--assumed to be the female part of ourselves! In most cultures, we find that the feminine and female figure is consciously, and even unconsciously, considered or consigned to be the evil, unclean (Blood), or mendaciously marginalized as maniacially representing the malicious side of humanity, and we see that this effeminate figure unwholly or wholly works at night--where or while the wiles of women are wonderfully waxing at their here-to-fore height. Where the main or major male virtue is to stand up to or against someone directly "Face-to-face", the female side is set to seem one way, when really wanting to do or say something else--"two-face" or...masked.



However, Jung noted that this "Animus" Shadow is not our enemy, but it is that female part of ourself--surprisingly, something of our evil, sly, sneaky, side (We, today, in the West, take the, entirely, tangential view that the male is the malign and malignant monster, but this is not the major view in the mass of other cultures found in the world.). The "Shadow" dream is really a situation where we must muster and manage ourself in such a way that we do not destroy our "Shadow", but we must master and symbolically make it an effective part of ourselves in a very real way. This is because the "Shadow" part of ourselves is very vital valiantly needed if we are to overcome our real opponnet--The BEAST" or the "Dragon", who really represents or renames the Devil or Demons!



If we are able to accomodate or competantly control our crucial "Shadow", without destroying it, then we have a considered and complete chance to use the skills from our "Shadow" side, and seriously fight the "Beast" with all the forces at our disposal. If we fail to use our ultimate Ulysses (Trojan Horse) or "Underhanded" side, and we fight the Beast on a strictly face-to-face stand-up battle, then we will tend to waste our best chance to better the Beast. The Beast is so big and strong, we will need to wage war in determined, deliberate, and even dire ways, which may not be winnable by one who is not willing to do anything sly or sneaky or silently. Failure, in this situation, is death,and the death of everyone and everything that we ever love. Thus, this is not a thikable option.


Most im-mature males when they are directy asked about their dreams by Doctors do not deliberately believe that the figure of "The Shadow" is female, but it is still symbolically our female side, but some few males (Approx. 15%, but I have seen other percentages as well?) do see and denote the described figure as fully female and not entirely just an effectively effeminate male. Typically, we find that those individuals will truthfully permit their female "Shadow" to get away with even more outlandish, outrageous, over-the-top stunts without stopping them, or as then compared with those who do not detect that the figure of the Shadow is overtly female.



Jung noted that the main time when these "Shadow" dreams become more frequent is the point when young males are entering puberity and about to become men--roughtly, 12-21 (Numerlogically, this is an interesting series or set of select numbers! Jung supposed spent the last several years facinated by alchemy and numerology!). This is not to say that even younger or much older males will not have these "Shadow" dreams, but it is simply to say that this prospective period produces the most pronounced episode of such dreams. Nor, is it to stridently or solicitously say that females will not have these sorts of dreams, but it seems that among young males we see this sort of singular select dream to be very, very pronounced and prospectively popular.



As I have mentioned previously--I hope that I will not be forced to find a way to furnish another detailed description describing how our "Collective Unconscious" works with our Conscious. I do not really want to go into delictable but demonstrative detail in order to find the ways or describe the ways in which the symbolic archetype inspirational images, found in our Collective Unconscious, but I will announce that are precisely programmed and presented in profuse profussion in our folktales and fairy tales, and I mentioned in a massive post that all people are attuned and attracted to stories and tales and images which present or project prospective "Archetypes" or any and all aspects derived from our "Collective Unconscious"; we will wantonly and go to great grande lengths to seek out these images in all manner of imagined ways. Thus, the important implied impart of this is to directly demonstrate that we are demonstratiably "drawn" to seek out and see these stories. By the way, I will add, taht many of these and other interesting elements are also contained in Shakespearian stories, but I will solicitiously also save this surprising Shakespearian side for another solemn day?



Inescapably, I will incrementally insert that, surprisingly, Jung was not more specific about the source or specificity of female dreams or variant stories of the "Shadow" (Jung was likewise utterly supremely silent about the ultimate source of the "Collective Unconscious", but I have mentioned my research seems to lead me tangentially to the "Evolutionary Biology" or Sociobiology angle?). However, I have found that Jung did describe that, amongst (Sometimes, we see it is surprinslgy ranked the highest!) the most popular Female dreams for girls approaching puberty, is a dream about running away with or their being kidnapped or abducted by some sort of "Romantic Outlaw" (Again this dream is not just proscribed as prospectively prevalent amongst pre-pubscent teen girls, but it is very common and fabulously favored amongst all females.).


This "Romantic Outlaw", I will attest, is not reliably Jung's referred reference to any sort of a sexual romance, but it is a literary term of description from the 19th and early 20th century eras which was a wistfully considered as a way to describe stories about dashing and daringly determined figures engaged or revealing and regally engaged in romantic adventure style endeavours. Thus, if we read a direct description detailing or using the term: "romantic" from a typical 19th century literature synopsis, then it is not necessarily describing a story about a supposed or even a suppressed sort of secret romantic sexual situation, but it is simply a description of the hero being something of an admired and admirable figure engaged in heroic an assortment of adventurous acts, or about the engaging engendered endeavours itself.



Jung noted that young girls--going into puberty--frequently--have this dream (Romantic Outlaw, either running away with or an abject abduction), but he did not consign or carefully classify it as critically a "Shadow" dream? I have read descriptions of this sort of dream renumerated and recounted in several revealing bits of research. To me, there is no doubt, this dream is un-debatably, a "Shadow Dream" variant. The girl is essentially going away with herself--not necessarily in a near-lesbian sort of romantic partner. She is simply attracted to the lifestyle of the romantic outlaw, and I should really relate or remind you that the "Romantic Outlaw" figure is, invariably, imagined as in these female dreams as being slender, dark costumed, and essentially effeminate like the "Shadow" "Animus" figure from the male dreams.




What does this do for us in regards to "Gunslinger Girl"? Well, it evidently explains how and why the tale is so essentially evocative of many equalevalent folktales and fairy tales, and this explains (As I have related perviously) how and why we will willingly find that the stories and the characters are so similar and so sought to those from these earlier sources. These tales reflect these most popular dreams derived from the "Collective Unconscious", it explains why men and women, boys and girls would tend to find certain aspects of the tale, which matches what we know resides in our Collective Unconscious regarding the roles we see in this series, to be exciting and desired to be recounted and related and read. Thus, we have an explanation as to why people of all ages and all genders would tend to generally gravitate toward the "Gunslinger Girl" storyline. This means that there should be a surprising ammount of interest in this sort of story, and it might, maybe, suffice as a major reason why the studios should study this film for possibilities...



Jung noted that folktales and folklore were filled with these stories of "Shadow" figures, and we can understand that the draw for these tales is that we identify from our "Collective Unconscious" with the tales which we imagine or will possess images derived from these "Shadow" dreams. So,




Must leave, but I will try and come back?

i love it and the delgados are great and this is'nt even the best track off their hate lp by no means.

*WHAT IT DO*

*WHAT IT DON'T DO*