υ · Sealing

The Trio de Colus triumphs and Hagooda surrenders.  But it’s not the Empire of Hagooda that gives up: it’s the Republic of Hagooda.  As the citizens storm the palace, the Queen comes face to face with F.U. Rognar and accuses him of fomenting revolution in her country.  He doesn’t deny it, and we realize that Emperor Amaterasu’s plans for Hagooda were successful to the wildest degree: not only did Rognar and Dippa spy out Hagooda’s connections with Fillmore and Hathuha, but they actually managed to destabilized the enemy of Colus and hand it over to them on a platter.

Revolution in Hagooda

Maybe I’m crazy, but the Queen’s familiarity with Rognar suggests to me that some sort of liaison might have taken place.  As Rognar is actually married to his Fatima Eatta, the Queen’s question “Am I even more beautiful than the Fatimas?” is more than mere vanity.  Regardless, the scene is particularly poignant for Rognar.  When the Queen reminds him (and us) that as the King of Babiron he must have some sense of what it feels to lose your nation, I wonder to what extent he thinks of Babiron’s situation vis-à-vis Grees and the AKD, and his own relationship of complete obedience to an Emperor Amaterasu.  Rognar remains silent.

The image of the burning palace scares Rognar.  He is evidently a wise, wise fellow.

After this, Sharie Randers gets named AKD ambassador to the Trio de Colus.  Was this Amaterasu’s idea?  Did Sharie herself suggest it?  The attraction between Prince Trao of Ballanka (the obvious successor to this important kingdom in the Trio) and Randers sounds like just the kind of thing that the infinitely calculating Amaterasu would use to his advantage…who knows?

Queen Elmelah and Clotho

Ladios Sopp seals the Jünchoon with Clotho inside.  The details of their synchronization are vague, but I’m struck by the resemblance between this event and the general idea of Neon Genesis Evangelion and the danger there of pilots over-synchronizing with their mechas.  The idea of a return of the hero (all-white MH to boot!) to save the nation in its time of trouble resonates with Barbarossa’s sleep in the mountain fastness of Germany, King Arthur’s sleep in Avalon etc.  It’s a beautiful scene.

The King of Ballanka shows us again the chivalry that characterizes the people of Colus.  Sopp offers to give him the royal sword that Colus III handed to him and Ballanka refuses.  Of course, this is all about respecting the deceased monarch’s last wishes but considering that Sopp is a foreigner (!) and that the sword is the symbol of the monarchy (!!) to leave it in his hands seems like very dangerous business indeed.  Especially when you think that precisely because of this chivalry, ceremonial objects like this royal sword have real meaning for the people of Colus…

Queen Elmelah’s quiet happiness at the end of this tale is the product of a twisted psychology, but we can still trace it with relative ease.  Her pregnancy, her child, are hers.  She knows (or rather, feels) that eventually this child (or its descendants) will turn to the Fatimas again like Colus III did with Ulicul, but she also feels happy that for her moment and likely until her death she will be able to love and control the child completely.

Lachesis defiant (shohjo!)

Thus, Elmelah hasn’t resolved her issues at all, and she knows it!  She thanks Clotho for her service with a genuine feeling of gratitude that only comes to the surface because Clotho is sleeping.  If she were actually standing in front of the Queen, she wouldn’t stand her (pardon the pun).  These untidy (even impure?!) feelings reflect her husband’s precisely: his love for Ulicul held along with feelings of guilt toward Elmelah.

Having said all of this, the focal point of the conversation between Lachesis and the Queen is probably the Fatima’s vow to produce children for Amaterasu when the the time of need has arrived.

NOTE ON THE SECOND BATTLE OF ATORK:

At the end of volume 7 there is a blurb on Clotho which reveals her power by stating that “she is the only one capable of forcing her will on the Knight of Gold.”  This seems to imply that back in the battle at Atork, the KOG’s tossing of the sword to Jünchoon was due to her command, and not the KOG’s own decision.  The KOG’s metal sword is particularly fearsome so the choice makes sense.  Food for thought…

[covered VOLUME 7: from page 50 to the end of the volume]

~ by Haloed Bane on November 21, 2009.

2 Responses to “υ · Sealing”

  1. Yeah I was thinking exactly about Clotho imposing her will on the KOG — Lachesis’ MH. It’s very effective in establishing the hierarchy of ‘power levels’ among fatima. Lachesis is supposedly this goddess, and yet Clotho dominates her — and is foretold to vanquish her.

    Here the precedent is established, and while they are both ‘friendlies.’

    Elmelah’s speech at the end echoes her rather sympathetic one earlier in the arc, but doesn’t elicit the same kind of sympathy. It speaks of a slave morality towards men, and in doing so completely denies any humanity from the fatima as characters.

    It also creates three profiles of love and sacrifice for the male love object:

    1. Ulicul gives up her life.
    2. Clotho gives up time (?), and decisive action to declare her love — despite her creator-given (Ballanche) free will.
    3. Elmelah gives up dignity, and suffers the insult of being a mere breeder after enjoying (perhaps) the flower of youthful love with Colus III.

    Among the three, Elmelah is the only one who ‘enjoys’ the resolution of her love story — given that she has a lifetime to live, and a Colus love object in the form of Colus IV (her unborn son — ewwww).

    • Good comment re Lachesis vs Clotho. No wonder Nagano is drained every time he draws her.

      Elmelah is creepy, no doubt. I wonder, though. Didn’t Colus III meet Ulicul before he met Elmelah? If he did, then she never really had any claim to his love…

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