‘I want her alive!’
The connection between these two sets of dynamics, the first concerned with the identity of the masculine consciousness and the second with the possibility of relationship with the feminine, is made by the relationship between Shadow and Anima, ‘those two twilight figures of the psyche’[1]. Lucas establishes the significance of this opposition/conspiracy from the outset: the first main character we meet in Episode IV is Leia and the next is Vader, the opposition between the two underlined by the visual contrast of her youthful, feminine beauty and softly draped white robes with his hard, black armour, violent behaviour and dramatic bass voice. It is Leia, not Luke, that Vader is hunting in Episode IV and it is Leia with whom he finally makes his peace in Episode VI. In Episodes IV-VI these two combine their efforts covertly to move Luke along in his journey to consciousness: Leia precipitates Luke’s decision to embark on his heroic quest, not only by providing an image that fascinates his imagination when projected by R2D2, but also by her attempt to get the plans of the Death Star to the rebels; it brings Vader in pursuit and his stormtroopers destroy Luke’s home and family. Later on, it’s Leia who discovers and controls the release of the information that will enable the destruction of the Death Star. In Episode V Leia rescues Luke when Vader has driven forward his journey by revealing himself as Luke’s father and severing his right hand. In Episode VI it’s Leia that makes contact with the Ewoks, enabling the destruction of the Death Star’s defence shield and it’s Vader’s invocation of Leia that catalyses his final duel with Luke. Episodes IV-VI can therefore be read as a struggle both between Leia and Vader for Luke and by Leia and Vader on behalf of Luke, a struggle staged for his benefit by which he can develop.
In Episodes I-III Anakin’s experience is drive by the political agendas of Palpatine and Amidala, and in Episode III by their direct appeals for his loyalty. In Episode I Anakin is discovered on Tatooine by Qui Gon and Amidala as they arrange her flight from the occupied Naboo, an occupation orchestrated by Palpatine, and he is present at the battle for Naboo (again orchestrated by Palpatine) because Qui Gon must go with Amidala when she insists on returning to her planet. In Episode II Anakin is brought back into contact with her by Palpatine’s renewed efforts to have her assassinated and stays with her because this danger demands that she have a Jedi bodyguard.
In Episode III the Emperor’s attention has shifted to Anakin as Vader’s shifted to Luke in Episodes V and VI. Palpatine makes explicit use of Anakin’s fear of losing Padmé in his temptation of Anakin to the Dark Side; Padmé repeatedly attempts to diffuse these fears (‘I promise I won’t die in childbirth’) but fails. When Anakin pledges himself to Palpatine he does so to save Padmé and relieve his own fear: ‘I will do whatever you ask. Just help me save Padmé’s life. I can’t live without her.’ It is Palpatine who names him Vader; it is Padmé who unwittingly transports Obi Wan to Mustafar for the final struggle with Anakin; it is Padmé who precipitates Anakin’s final separation from her by challenging his move to the Dark Side. She makes a final demand for his desire, ‘all I want is your love,’ and she refuses to follow him. This triggers the release of Anakin’s barely repressed resentment and anger, which in turn prompts Obi Wan to come to her defence and challenge Anakin for their final duel. When Anakin is nearly killed it is Palpatine that searches for and rehabilitates him as the Vader we recognise. The twin roles of Anima and Shadow are then directly related as scenes of the birth of the Skywalker twins are intercut with the Emperor’s transformation of Anakin into Vader and Vader’s first, heavy breath.
It is therefore the epic tension between these two archetypal ‘twilight figures’ that provide the framework for the story of psychic development, initiates the narrative and lends momentum to its subsequent unravelling as the ego struggles to move towards full consciousness. Where the hero myth becomes questionable and compromised, the importance of these two elements of the male psyche for the development of that psyche is as ineluctably apparent at the end of Episode III as it was at the beginning.
[1] C. G. Jung, CW vol. 9:I, para. 222.
The connection between these two sets of dynamics, the first concerned with the identity of the masculine consciousness and the second with the possibility of relationship with the feminine, is made by the relationship between Shadow and Anima, ‘those two twilight figures of the psyche’[1]. Lucas establishes the significance of this opposition/conspiracy from the outset: the first main character we meet in Episode IV is Leia and the next is Vader, the opposition between the two underlined by the visual contrast of her youthful, feminine beauty and softly draped white robes with his hard, black armour, violent behaviour and dramatic bass voice. It is Leia, not Luke, that Vader is hunting in Episode IV and it is Leia with whom he finally makes his peace in Episode VI. In Episodes IV-VI these two combine their efforts covertly to move Luke along in his journey to consciousness: Leia precipitates Luke’s decision to embark on his heroic quest, not only by providing an image that fascinates his imagination when projected by R2D2, but also by her attempt to get the plans of the Death Star to the rebels; it brings Vader in pursuit and his stormtroopers destroy Luke’s home and family. Later on, it’s Leia who discovers and controls the release of the information that will enable the destruction of the Death Star. In Episode V Leia rescues Luke when Vader has driven forward his journey by revealing himself as Luke’s father and severing his right hand. In Episode VI it’s Leia that makes contact with the Ewoks, enabling the destruction of the Death Star’s defence shield and it’s Vader’s invocation of Leia that catalyses his final duel with Luke. Episodes IV-VI can therefore be read as a struggle both between Leia and Vader for Luke and by Leia and Vader on behalf of Luke, a struggle staged for his benefit by which he can develop.
In Episodes I-III Anakin’s experience is drive by the political agendas of Palpatine and Amidala, and in Episode III by their direct appeals for his loyalty. In Episode I Anakin is discovered on Tatooine by Qui Gon and Amidala as they arrange her flight from the occupied Naboo, an occupation orchestrated by Palpatine, and he is present at the battle for Naboo (again orchestrated by Palpatine) because Qui Gon must go with Amidala when she insists on returning to her planet. In Episode II Anakin is brought back into contact with her by Palpatine’s renewed efforts to have her assassinated and stays with her because this danger demands that she have a Jedi bodyguard.
In Episode III the Emperor’s attention has shifted to Anakin as Vader’s shifted to Luke in Episodes V and VI. Palpatine makes explicit use of Anakin’s fear of losing Padmé in his temptation of Anakin to the Dark Side; Padmé repeatedly attempts to diffuse these fears (‘I promise I won’t die in childbirth’) but fails. When Anakin pledges himself to Palpatine he does so to save Padmé and relieve his own fear: ‘I will do whatever you ask. Just help me save Padmé’s life. I can’t live without her.’ It is Palpatine who names him Vader; it is Padmé who unwittingly transports Obi Wan to Mustafar for the final struggle with Anakin; it is Padmé who precipitates Anakin’s final separation from her by challenging his move to the Dark Side. She makes a final demand for his desire, ‘all I want is your love,’ and she refuses to follow him. This triggers the release of Anakin’s barely repressed resentment and anger, which in turn prompts Obi Wan to come to her defence and challenge Anakin for their final duel. When Anakin is nearly killed it is Palpatine that searches for and rehabilitates him as the Vader we recognise. The twin roles of Anima and Shadow are then directly related as scenes of the birth of the Skywalker twins are intercut with the Emperor’s transformation of Anakin into Vader and Vader’s first, heavy breath.
It is therefore the epic tension between these two archetypal ‘twilight figures’ that provide the framework for the story of psychic development, initiates the narrative and lends momentum to its subsequent unravelling as the ego struggles to move towards full consciousness. Where the hero myth becomes questionable and compromised, the importance of these two elements of the male psyche for the development of that psyche is as ineluctably apparent at the end of Episode III as it was at the beginning.
[1] C. G. Jung, CW vol. 9:I, para. 222.
posted by Ask my Animus at 11:45 AM
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