Its not like I'm saying Sanji is a bad person but its completely BS to say he's not a pervert.
Sure he respects women. Respecting women doesn't stop you from being a pervert as he showed in front of Absalom in Thriller Bark.
He's obviously the pervert type. Along with the Brooke.
Yeah, Sanji fits the same archetype as Jiraiya.
Yeah and the same as haposai
Well I would also like to add Boa Hancock as the princess/maiden archetype, she may be playing too hard to get but with her love interest she certainly fits that archetype the most.
Also I think western folklore is different than eastern folklore, so I have to explore it more to know about certain archetypes that are exclusive to it. Even though I do think Jung explored eastern cultures as well, I think Japan is exclusive on it's own and Oda uses Japanese mythology and folklore a lot as well. From language(puns) to abilities and character's names.
Even more specific, she fits the warrior princess archetype, like Hippolyta. I think it's instructive that she rules the island of Amazon Lily.
Indeed, the archetypal and mythological Amazon women. Of course her sister fit that more, even the Artemis(ancient Greek Godess) archetype is close.
Nyon may fit the wise old woman archetype. There is also the Martyr archetype, I think Ace and his father fit that perfectly, maybe WB as well.
Lord Rayleigh is one of my favorites. I see in him melancholy and bitterness much more that I feel in Crocus which seems to have some of that feelings. It's curious the contrast between Shanks and Rayleight in regards their hope for a better world. Shanks do believe that is possible, and he has the legacy of Roger, and pass it with clear faith to Luffy. Rayleigh seems to not believe in a better world just until he knows Luffy. That's why he cries when he sees sailing towards Fishman Island, in, to me, one of the most beautiful chapters of OP. He is the guy who had a dream, lost it, and now waits for the younger son or disciple to make his dream come true. He is the pattern of the hope regained.
Last edited by ukimix; February 23, 2013 at 06:14 AM.
Ace definitely fits the martyr archetype, so does Sabo (assuming he actually is dead). I've always thought of Paradise as symbolizing middle and high school. There are a set number of routes, with the log post always pointing directly to the next island. As long you work hard, and follow the log post, you can successfully navigate. New World is trickier. The log pose points in three directions, some more dangerous than others. Choosing a route requires decision making, there are many ways to go, none necessarily the right way. This sounds a lot like being an adult. Ace's death forced Luffy to be a man, to understand that life is not all fun and games. Becoming pirate king won't be easy, and he will have to make sacrifices to reach his goal.
---------- Post added at 08:56 PM ---------- Previous post was at 08:52 PM ----------
Oh, wow it just hit me there are too many hints to the Greek mythology in One Piece, those are archetypes of their own.
Moria - Hades
Whitebeard - Zeus or Poseidon
Garp - Hephaestus("making" the weapons(training them))
Akainu - Ares
Boa - Artemis/Aphrodite
Also as a whole I like One Piece as a metaphor on human life, though many tend to think of Ace's death and the time skip not connected, and the war as an arc on it's own, it will come back to bite ...
I think everything that happened between Sabaody, Amazon Lily, and Marineford are intimately connected, culminating in Ace's death. I think it's essential that Luffy did not have his nakama to rely on in Impel Down, at Marineford, or when Ace died. The timeskip had to happen when it did, Marineford effectively ended the storyline in paradise. An intermission was needed. Continuing the metaphor from last post, Luffy was a kid (17) when the timeskip started, but a young adult (19) when the story resumed.
Madame Shirley is taken from Amabie; Monet from Yuki Ona who is in part a femme fatale (too bad that she couldn't conquer any man, but he tried with Law), and also Sentomaru is related to Kintaro, from japanese folk. Here a pic:
ther are other mythological characters involved like Kalubaterman who comes from the old german folklore tales.
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But, now that I think abou it, many mythological characters are not archetypes since they are in a sense so unique; and an archetype needs cases.
Last edited by ukimix; February 22, 2013 at 09:41 PM.
But it's not like he's gonna peep on women just because they're naked. If I recall, didn't he only do that once after the fight with Crocodile when the SHP, the king of Alabasta, and Vivi were taking a bath?
Who knows what he'd do, thougH?
We have Zoro, Luffy, Smoker, tons of men in the series.
And you really want to argue that Sanji isn't the pervert type?
He gets distracted by Woman and Oda had Sanji state Robin's breast and waist size. Its clear he is.
You're wasting your time if you want to argue Sanji isn't the pervert type.
Just because you respect women doesn't stop you from being perverted.
So he isn't as perverted as Brooke, doesn't stop him from being one. Its clear as day he is a pervert.
Passion, love, jealousy, and lovers stabbed to death (because of jealousy), gypsy dancers, bullfighting ... all of it can be found in Bisset's Opera Carmen. Here a summary of the final act from wiki:
In Carmen by Prosper Merimee, the previous novel that influenced Bisset, Carmen is a thief, and a lier who pushes Merimee to a live of crime (Merimee told the storie as if it happened to him).Quote:
If you change: men-stab-women-because-of-jealousy, per women-stab-men-because-of-jealousy... it's pretty much a reference.
---------- Post added April 06, 2013 at 09:54 AM ---------- Previous post was March 27, 2013 at 03:43 PM ----------
Oda has introduced in this arc a character without precedents: a lover capable of kill for love. This is quite a unique figure or archetype. And in this arc it has some additional ingredients: the lover is a (spanish) flamenco dancer. I have posted two notes about this character: one on Carmen by Bizet, and a vid of the film Carmen by the spanish director Carlos Saura. This director made another film "El amor brujo" ("Love the magician") based on the piece of music of the same title, composed by the spanish musician Manuel de Falla about the andalusian culture. The whole film by Saura, and the music by de Falla portray among other things this kind of passions. There is a song by de Falla which capture the essence of that passion.
"La cancion del amor dolido" (Song of Suffering Love)
To me, the best verions of the song is the first one of the three that comes in this vid. I couldn't find it alone.
Here the lyrics with a free translation I did (surely it's improvable given the limitations of my english).
The river that sounds is the rumors about her lover's unloyalty. The fire represents love, and the water jealousy. Hence, once she listen the rumors, a battle is triggered inside of her between love and jealousy (water and love). And her feelings are so deep that she feels like dying,... but she also feels anger, (the reference to her blood being burned). there you have a mixture that turns a lover into a lover muerderer.... Pretty beautiful poem...
In Carmen, Bizet's opera, and Saura's film, the murder is no a penalty to the unloyal lover, but a forced consecuence of the fact that it's impossible to live with out the love of Carmen. Nothing to do with punishment.... just passion, and irrational and strong and painful passion. Of course OP doesn't have to include nothing so deep like that. But it's interesting.
Also here a vid of the section "Cancion del fuego fatuo" as it was filmed in the film by Saura:
This section "Cancion del Fuego Fatuo" was covered by jazz musician Miles Davis on his album Sketches of Spain (1959) as "Will O' the Wisp". All of them about andalucian culture:
All of this themes are about andalucian culture. And Violet and mainly her feelings about love are inspired heavily on themes of this culture.
Last edited by ukimix; April 06, 2013 at 09:58 AM.