| Note: I wrote this 1yr ago (~Oct 2006). I now disagree with many aspects of this essay. This essay took me three evenings to complete.
Evangelion and Jung Introduction Hideaki Anno, director of Evangelion, tried to portray his inner thoughts and feelings in the anime. As he stated in 1995 [1]: “I tried to include everything of myself in Neon Genesis Evangelion -- myself, a broken man who could do nothing for four years. A man who ran away for four years, one who was simply not dead. Then one thought: "You can't run away," came to me, and I restarted this production. It is a production where my only thought was to burn my feelings into film. I know my behavior was thoughtless, troublesome, and arrogant. But I tried. I don't know what the result will be. That is because within me, the story is not yet finished.” In transferring his inner contents to film, in a time of psychological distress, Anno has infused the story and characters with aspects intrinsically linked to the human psyche. Evangelion is also an animation steeped with symbols. Failure to understand or appreciate the meaning behind these symbols necessarily results in a fixation on the appearance of the symbols, or misguided conclusions. The natural question is what framework one can use to allow the symbols in Evangelion to be understood in relation to the human psyche. Here, a Jungian framework is used to adumbrate the psychological meaning behind the various symbols. The goal is then to find out what impact this meaning has for our individual human lives. For this is the ultimate aim of Jung’s psychoanalysis (whether he achieved this aim is another matter), and by using the aim in this essay, the practical messages in Evangelion can be revealed. Brief Outline of Jungian Framework Carl Gustav Jung was a prolific writer and practitioner of psychoanalysis, and any attempt to do full justice to his 20 volumes of Collected Works (CW), and assorted published lecture material, is doomed to failure. Thus, it is necessary just to sketch what the Jungian framework is. It is not the aim here to give a full justification of Jung’s framework either, as that is outside the remit of this essay. The reader is advised to consult the CW for expansion on the themes in this essay. Jung’s writings, at first, seem intractable with their mix of psychology, philosophy, literature and religion. However, all his theories (which, as he stresses, are based on experience, and hence are not merely empty theoretical constructs, but have empirical import; e.g. [2-6]) revolve around his conception of the human psyche. For Jung, the psyche (mental region) is split into two main parts, namely the conscious and the unconscious [7]. These terms should be familiar due to modern usage, but it is important to understand what Jung’s conception is. The conscious is, for Jung, a domain in which exist all the psychic phenomena that can be perceived by the ego [8]. The ego is the centre of the field of consciousness and exhibits continuity and identity through time [9]. In the domain of consciousness, we experience ourselves as the subject of all other objects, the “I.” In contrast, the unconscious is that domain where we experience ourselves as the object of some other force [10]. To put it somewhat glibly, we are not in “control” of this domain, and the processes which operate within it are not subject to our conscious willing. Jung has a particular word to denote the psychic energy which gives rise to the processes within the psyche. It is “libido,” and should not be confused with its Freudian namesake. For Freud, the libido has an overriding sexual character, whereas for Jung, the libido is undifferentiated energy that can give intensity to different forms of psychological processes, which may not necessarily be sexual [11,12]. So far, all this may seem rather trite, but now Jung further differentiates the unconscious into the personal and the collective unconscious. The personal unconscious is unique to the particular individual and contains personal psychic material, whereas the collective unconscious is common to every single human being, not only spatially but temporally through all time [13,14]. For the contents of the collective unconscious, Jung likes to give the analogy of “inherited factors” akin to genes [15]. It might be objected that the gamut of mental processes have a materialistic correlate in the brain. This reductionist Weltanschauung was addressed by Jung, who pointed out that in many of his cases, the cause of the mental disturbance did not correspond to a precise part of the brain, thus supporting the hypothesis that such mental phenomena are in fact emergent, and cannot be accounted for fully by physiological processes in the brain [16]. In a wider sense, this issue of “emergence” has been recognised recently in science, with its importance in human thinking acknowledged [17]. The collective unconscious contains universal forms which arise everywhere in time and space [18]. These are called archetypes, and to give another biological analogy, Jung mentions that of instincts [19]. Once libido enters these forms, the archetypes are activated and can exert their influence on the conscious domain. For Jung, the psyche is dynamic, and psychic contents can move between the two domains [20]. It is important to note however, that Jung takes the unconscious to predate the conscious [21]. That this is not just a whim is justified by the following reasoning: the evolution of humans has shown an increasing consciousness through rational thinking and manipulation of abstract concepts. This has been shown amply by anthropology, from prehistoric times when people still relied heavily on instinct to the modern man who relies on rational thinking for survival. This has parallels with Freud’s Civilisation and Its Discontents [22]. In addition, as a child is born it gradually develops a state of consciousness from a state of total unconscious. Contents in the collective unconscious are thus accorded the titles “primordial” and “archaic” [13]. If an archetype has gained enough libido, its contents will try and press itself into consciousness. The reason why this is so can be found from Jung’s “law of conservation of libido,” which, analogous to the famous physics law, states that a change in libido in the conscious is balanced by a corresponding change in the unconscious [23]. If there is too much libido (energy) in one domain, then some strives to break over to the other domain, since libido moves along a gradient [23]. Thus, a surplus of libido in the unconscious can activate an archetype and when its contents are pressed into consciousness, some libido returns to the consciousness, restoring some of the balance – that is, provided they are recognized consciously. This may all seem like sophistry, but this is a framework which Jung has found to accord with his experience with patients – if there is too much libido dammed up in the unconscious, or to put it in its simplest terms, if one suppresses too many aspects of life and shirks away by not thinking about them, then this can cause a psychic/mental disturbance [20]. This framework is extraordinarily uncluttered, yet one can elaborate it in many directions with a seemingly inexhaustible supply of terminology. The core meaning is the same, but such elaboration can give, perhaps, a greater meaning for our human minds to grasp. This is in fact what Jung tries to do. For example, Jung has construed the unconscious as a somewhat dark and mysterious region, typically pertaining to revelation and primitive ideas, e.g. [24,25]. It is not surprising then, that he can run the gauntlet of religions and philosophies and find parallels to the archetypes. For example, the consciousness, with its penchant for clear, rational thinking is associated with the rational and idealistic philosophical trends (e.g. Greek thinkers such as Plato and modern science). Thus, one of Jung’s appellations for it is the “intellect” [26]. Now all this may be very interesting, but what is its therapeutic value? We have said this is not just ossified dogma, but has existential import – so what is this import? Jung dealt primarily with schizophrenics (old name: dementia praecox), that is, those people with a split between their consciousness and unconscious [27]. Here, a split means that there is a surplus of libido in one domain, most usually the unconscious [28]. Through his word-association tests, the early Jung noticed how reaction times to certain stimulus words were longer, as it touched upon a sensitive unconscious issue, or “complex.” The process of mental association between the stimulus and the complex is very difficult to decipher, and drove Jung to use the patients’ dreams, daydreams, visions and fantasies. The intuition behind this is simple: all these phenomena are unconscious products, and by examining them, one may, by hook or by crook, reveal important (formerly) unconscious links which can help us to discover the root of the complex, e.g. [29], bring this to the level of consciousness (“integrate” the contents to consciousness) [30] and help restore the libido balance. One may state haughtily that the schizophrenic has then been restored to sanity, even if we ourselves tend to be so ignorant of our unconscious contents. Thus, Jung’s theories may have originated in his experience with schizophrenics, but it extends to the “normal” person as well [28]. Jung does not see events as depicted in dreams and associated unconscious products as a facade behind which the true meaning lies, e.g. [31], but takes the events themselves as important symbols which state, in the best possible way that is permissible for a product made available for the consciousness, the internal workings of the unconscious. Here, “symbols” must not be misunderstood. It is not just a sign which expresses a content that is fully known to the prying conscious mind, but it tries to express what cannot be fully known, as the symbol tries to express an unconscious product in conscious form [32]. Symbols thus have an irrational element, as well as a rational part. To appreciate why symbols mean so much to Jung, we only need to take a few more steps. It is seen that symbols are a bridge between the conscious and unconscious domains. Thus, they have an integral role to play in restoring the libido balance by channelling energy from one domain to the other, through the realization of the unconscious contents by consciousness, via the symbol [33]. This is no simple rationalization process. But how do we get at the meaning behind the symbol? By definition, there is no way of grasping it fully by reason alone, so one must look at its meaning through history, how it has been manifested in times past, e.g. [34]. This is valid within the framework, as it has already been postulated that the collective unconscious is the sum store of the universal psychic contents of all humans that have ever existed. Jung extends this theory by showing how universal unconscious contents are manifested in various outward forms through projection of the contents (unconsciously) onto external objects [35]. Thus, for example, religion is an object with such universally projected contents, e.g. [36] – which is why there are so much symbols in religion. This is also why Jung spent so much time looking into the meaning behind religious symbols, and symbols in other fields such as alchemy, e.g. [37]. All to further understanding of that “bridge” between consciousness and the unconscious, to understand us as we are today, and thus, to build for a better future (mentally, which can pull over to the physical field). This process is prospective [38]. The specific process of successfully acknowledging and integrating the meaning behind (formerly) unconscious contents to the consciousness is called “individuation” and results in the individual achieving the realization of the “self” [39] The relation between this concept of “self” and the self in Indian religious teaching (called “atman” or “Brahman”) is readily seen: individuation achieves harmony (libido balance) between the two opposites conscious and unconscious [40], whereas in Indian teaching, the self is reached when we have rid ourselves of opposites and instead repose in the unchanging (e.g. have rejected happiness and sad, because they bring a never-ending cycle of unrest through changing feelings and desires) [41]. It can readily be pointed out that this link maybe tenuous, but it must not be forgotten that for Jung, Buddhism itself was originally a result of projected unconscious contents, and the broad parallels are there. Jung has no qualms about reducing religion to a psychological process. However, that is not to say it is then worthless in the practical field, because Jung is dedicated to showing precisely how large a factor the psychic realm is in ordering our lives. We have gone a little way in fleshing out the bare bones of Jung’s theoretical framework (not forgetting it is intrinsically linked to its practical efficacy and empirical explanatory power), and are now in a position to use this framework to look at Evangelion. In particular, how can we use the framework to decipher the meaning behind Evangelion, through its symbols? Due to space limitations, only the main (more obvious) symbols will be looked at. Nonetheless, as will be shown, several insights can be gained. The value of Jung’s work in deciphering aspects of Evangelion which do not involve symbols will be examined briefly as well. “Reality” and Evangelion Should one take the characters and events in the anime as they are or as symbols? Perhaps not surprisingly, the answer is that we should use elements of both approaches. Henceforth, “reality” will be used to refer to what pertains in the conscious part of the world a person (e.g. you or I) inhabits , and “symbols” will be used in the Jungian sense of representing something which is not fully known to consciousness. The link between Evangelion the anime and reality comes in two parts: (i) Characters and events are portrayed in a way that is detached from reality. For example, when all human life starts to disintegrate into L.C.L. at the onset of Third Impact, one struggles to comprehend this using a direct analogue in reality. Instead, one has to realise the symbolic meaning behind this particular event, and this meaning can then be related to reality. (ii) Characters and events are portrayed which have a direct analogy with reality, thus rendering any symbolic analysis redundant. For example, when Shinji displays his outward shy demeanour in enquiring about his father’s burnt hands (episode 5), it is unnecessary to render a symbolic meaning. Ockham’s razor, and indeed, common sense, would require this scene to be interpreted as it is. This is because the situation and event portrayed is readily played out in reality. As with any type of media with symbols, taking the symbols literally leaves one at a loss as to what that that media tells us about our existence, thus severing a large part of the intrinsic meaning. This essay deals mainly with (i), although (ii) is looked at briefly at the end. Rei and Kaworu as the Keys to Individuation When there is a psychic disturbance resulting in a lack of conscious adaptation, this is indicative of libido dammed up in the unconscious and unable to flow to the conscious. This libido then regresses back to the primordial region of the collective unconscious [20]. Among the many archetypes it can activate, one of the most prominent is the “divine male-female pair.” These do not relate just to the biological parents, but can correspond to a pair of male-female deities, with incomprehensible (“divine”) qualities. The divine figures form what Jung calls the “syzygy” [42]. One of the symbols designated for the realization of the self is a cosmic marriage or union of this contrasexual pair, a mysterium coniunctionis, to symbolize the union of the two main psychic domains [43]. This is because Jung found that women tend to be more irrational and men more rational [44], such that their symbolic union achieves a harmonization of opposites and would therefore symbolize an emergent self. Connected to this is the idea of a hermaphrodite as a symbol of the self [45]. Given this brief outline of the syzygy motif, the meaning of Rei and Kaworu becomes clear. Rei has a body which is cloned from Shinji’s mother, Yui. However, Rei is not just his biological mother in another form, for she has the soul of Lilith within her. Lilith, as can be recalled from Misato’s line in the End of Evangelion (hereafter, EoE) is a source of life (using the Bochan_Bird script, which corrects the error in the Manga Entertainment translation [46]). Thus, Rei has an undoubtedly god-like or divine nature. “God” must not be interpreted in the Christian sense as a supreme being above man who is pure love, the summum bonum. Since we are adopting a Jungian framework, the god image must be interpreted according to Jung, that is, as an incomprehensible power which governs itself and symbolizes the inner recesses of the collective unconscious [47]. Jung has never advocated the truth of any particular doctrine, quite the opposite, as he is a fervent opponent of turgid dogma [47,48]. Kaworu has a masculine human figure, and has the soul of Adam (episode 24, director’s cut), which is the second life source in the anime (EoE). His relation to Gendo is apparent from the observation that Gendo has the material Adam fused into his body. Kaworu has the metaphysical Adam (its soul) fused into his existence. Thus, Kaworu is none other than the spiritual form of Gendo, raised to a divine level. Another argument could be that since Kaworu physically looks like Shinji (episode 24) and has Adam for a soul, then Kaworu is a spiritual father image for Shinji. Therefore, Rei and Kaworu form a divine mother/father pair, the divine syzygy, and furthermore, this syzygy pertains to Shinji. Using a Jungian interpretation, if these two unite, then it would symbolize the culmination of the individuation process. Indeed, this is what is shown in the EoE movie, when Shinji at the end is shown to discover a greater meaning to his individual existence, in the context of others around him – he has achieved individuation. Rei and Kaworu appear as a fused hermaphrodite and this is an unmistakable symbol of the self. That this scene depicts the beginning of the realization of the self is in accord with what happens at the end of both the series and the movie, when Shinji is seen to undergo a spiritual rebirth (this is considered in greater detail below). Taken from another perspective, Rei is from NERV (German: nerve) and Kaworu from SEELE (German: soul). Nerves are tangible in our bodies and other life forms (none more so than the giant squid), whereas the soul is intangible. Thus, nerve and soul can represent the Jungian conception of conscious and the unconscious. When Rei and Kaworu are united, nerve and soul are united, that is the conscious and the unconscious. It is also mentioned in EoE that Rei and Kaworu represent “hope”. If Rei and Kaworu each symbolize half of the syzygy, and therefore a means of self-actualization, then in a sense, they do represent “hope.” On a side note, Rei having aspects of the divine is evident from episode 1, where she appears instantaneously in Shinji’s viewpoint, like a Deus absconditus in a revelation (only Shinji did not recognize this as such). Using a symbolic framework, it is not necessary to explain this away as some sort of mental subterfuge for Shinji, because such symbolic behaviour is allowed in the Evangelion universe. In addition, Rei’s affiliation with water, the most common symbol of the unconscious [49], is indicative of her unconscious nature. For Kaworu, an allusion to his unconscious nature is given by his name “Kaworu Nagisa” – “Kaworu of the Seashore.” As mentioned, the sea (water) can represent the unconscious, from which we can infer that Kaworu straddles the area between the unconscious and the conscious (i.e. the seashore). This is in accord with Kaworu, when together with Rei, being a symbol for the unity of the conscious and the unconscious. Symbolic Meaning of Impacts, Instrumentality, A.T. Field, L.C.L. and Rebirth Jung describes the process of mental disintegration as like a catastrophic event. This disintegration consists of the “walls” that divide the conscious and the unconscious being broken down, such that the ability to adapt to external reality is severely impaired. It is a dangerous process, because the unconscious contents may be so powerful as to swamp consciousness, resulting in what Jung calls a psychosis [50]. However, recalling that Jung advocates plunging our conscious mind into the unconscious and integrating its contents (finding the sunken treasure) [51], this process is also a wonderful opportunity to resolve the mental struggle. Keel Lorenz draws attention to this possibility when he alludes to the possibility of the joy of rebirth after destruction (the catastrophic Third Impact; EoE). The concept of joy here is not mere materialistic, fleeting joy, but a more serious and long-term joy, which parallels the conceptions of Joy by Fromm and Kierkegaard [52,53]. To reach a higher peak, one must traverse the valley between the peaks (cf. Nietzsche’s Zarathustra [54]). Indeed, Shinji’s descent to the GeoFront as early as episode 1 could be a symbolic prelude to what he will undergo. Primitives have conceived this catastrophic encounter with the unconscious as the “perils of the soul”, and have constructed multifarious religious procedures to protect against this, such as rites and dogmas [55]. In light of this, since the Impacts in Evangelion can be construed as catastrophic, they can symbolize a significant mental development (like a mental disintegration). The First Impact occurred 4bn yrs ago when an asteroid hit the earth [56]. In reality, the earth formed some 4.5bn yrs ago [57]. Thus, First Impact could symbolize the creation of an unthinking entity, that is, the birth of the unconscious. The Second Impact occurred when Adam was reduced to a fossil and was pressed into the service of humanity, in the shape of being a blueprint for the Evangelion Project. A metaphysical concept has been converted to a tangible object, and pressed into the service of the human intellect. This catastrophic event can thus symbolize an advanced state of consciousness, which has suppressed the power of the unconscious (it is shown below that angels, and thus Adam, symbolize the unconscious). Between First and Second Impact lies the period where there is a rise and development of rational thinking and abstract thought. This leaves the Third Impact. SEELE pushes for this to happen, thus initiating what is called Instrumentality. NERV tried in vain to prevent this, but it too succumbed to Instrumentality. Once again, the subtle play of words is noted – the conscious body (NERV) can no longer deny the importance of the unconscious workings of the soul (SEELE). The mental struggle comes to a head, and this is symbolized by the initiation of Third Impact. Whose mental struggle? Although the series ending shows Asuka, Misato, Rei and Shinji desperately confronting their inner demons, the focus is on Shinji, who is seen to emerge from Instrumentality with a new world-view. In EoE, the focus on Shinji is sharpened, as we explicitly see the internal workings of his inner conflict, and how it is played out (e.g. the syzygy motif pertaining to Shinji, explained earlier). Or, since Shinji is Hideaki Anno’s avatar [1], on one level, this is an extremely personal account of an equally devastating experience for the director. The portrayal of the initiation of Third Impact in EoE is interesting in that it shows EVA-01 suspended on a cross-shaped figure, with a kind of stigmata, or divine symbol, on Shinji’s hands. Jung analysed the cross motif in depth in his Symbols of Transformation [58]. The Cross has been used as a metonymy for Jesus, and is thus used in a sacrifice motif. This sacrifice involves the bringing down of the domain which has become too prominent, or over-adapted, such that the neglected domain can be brought to bear on it [59]. In the case of the mental disturbance, the unconscious is neglected, and this necessitates the sacrifice of the conscious, here represented by Shinji’s sacrifice. The parallel to Jesus is strengthened when the Lance of Longinus is used to deliver the coupe de grace to EVA-01 with Shinji inside, Longinus being the soldier who pierced Jesus’ side with a spear in a legend. This parallel is no coincidence, and reflects the sacrifice motif. Once the sacrifice is complete, the prominent conscious function is brought down nearer the level of the unconscious. Thus, the sacrifice forces a confrontation between the pressing unconscious contents and the conscious kingdom. This precipitates the catastrophic mental event whereby the barrier between the two domains disintegrates, and which is symbolized by Third Impact. Another symbol is the breaking down of the A.T. Field around our hearts. Thinking irrationally with more passion than rational thinking is called “thinking with the heart”. Furthermore, unconscious thoughts have been associated with the heart since Biblical times, e.g. [60]. Thus, the A.T. Field around the heart can be a symbol for the barrier which separates the unconscious with consciousness. This breaks down during Third Impact. Once this happens, the unconscious contents flow forth, threatening a deluge and thus psychosis. This is symbolized by everything returning to L.C.L., which hitherto has not been considered in this essay. L.C.L. is depicted as an undifferentiated substance, which is dynamic and water-like. Given the preceding discussions, it is justified to take L.C.L. as symbolizing undifferentiated libido residing in the collective unconscious – that is, this L.C.L. is not associated with a specific conscious or unconscious content. Thus, when humans turn into L.C.L during Instrumentality, they regress to their collective unconscious. First they must past through their personal unconscious, which harbours personal desires. Thus, we see the desires of Makoto and Maya manifested in front of them, before they become L.C.L. Also, there is a remarkable similarity between the world of L.C.L. as described by Rei in EoE, and a description by Jung of the collective unconscious in his The Archetypes and the Collective Unconscious [61]. First here is the passage from EoE (my italics, bold and numbering) [46]: “Shinji: Ayanami, where are we? Rei: This is the sea of LCL. (1) The primordial soup of life. (2) A world without AT Fields, without your own shape. An ambiguous world where it is impossible to tell where you end and other people start. A fragile world where you exist everywhere, and thus exist nowhere. (3) Shinji: Have I died? Rei: No, everything has just been joined into one. (4) This is the world you have been hoping for, your world. (5)” Now the passage by Jung: “a boundless expanse full of unprecedented uncertainty, with apparently no inside and no outside, no above and no below, no here and no there, no mine and no thine, no good and no bad. It is the world of water (1), where all life floats in suspension; where .... the soul of everything living, begins (2); where I am indivisibly this and that; where I experience the other in myself and the other-than-myself experiences me (3) .... There I am utterly one with the world (4), so much a part of it that I forget all too easily who I really am. "Lost in oneself" is a good way of describing this state. But this self is the world, if only a consciousness could see it. (5)” Sections are paired from both passages using numbers (1)-(5). There are striking similarities for each pair of sections. This provides support that Third Impact symbolizes the breakdown of consciousness, which is then flooded by the collective unconscious, as symbolized by the process of Instrumentality; L.C.L. symbolizes undifferentiated libido in the unconscious. Also, during Instrumentality, the characters are forced to face contents they have been hiding in their unconscious, such as Misato facing up to her relationship with her dad in the series ending. This again supports Instrumentality as a process whereby consciousness is flooded by the collective unconscious. The rich symbolism in Evangelion is shown with respect to L.C.L.: when pilots enter the cockpit, they become submerged in L.C.L. and this represents an encounter with the unconscious; when they refuse to pilot, they are running away from their unconscious and forfeit the chance of self-realization. Thus, the Evangelions represent the unconscious of each pilot under a Jungian framework. That the souls of the Evangelions are the pilot’s respective mothers is likely to be of no coincidence, since the mother is often taken to symbolize contents of the unconscious (the “Mother” archetype [62]). Shinji is seen to rise out of the L.C.L. at the end of the movie, as a symbol that he is now emerging from the collective unconscious back into consciousness with a renewed understanding, through integration of unconscious contents. Note that Instrumentality has still taken place, and it is not a question of whether one “escapes” it or not. This is because Instrumentality is a process which has to be experienced, whether the outcome is self-realization or psychosis. The dissolution of the mind is necessary for both, and thus it makes little sense to talk about “rejecting” or “accepting” Instrumentality – it is a condition for all outcomes. In both the series and EoE, Shinji is seen to achieve self-realization by accepting his unconscious “running away” from his true nature and gaining the strength to accept his individuality in the context of others around him. The enlightened world-view, that is the realization of the self, is symbolized by the creation of a new earth (“shin seiki”). In the series, the other characters congratulate him on this feat. In the EoE, the rebirth process leading to the creation of the new earth is shown in more detail. In addition to the Rei/Kaworu coniuntionis mentioned earlier, there is also the hieros gamos/incest motif. A naked Rei is depicted sitting on top of a naked Shinji, in a sexual position. There are two facets to this symbolic act, both of which shows that the act symbolizes part of the individuation process. That this is a symbolic act rather than a simply sexual one is shown by the way that Shinji did not show any sort of sexual enjoyment at all, and there was no rhythmic movement of either body. First, Rei is a divine being, and thus, the act is reminiscent of a hiero gamos, which is an ancient ritual symbolizing the union of a god and man by a sexual act, e.g. [63]. This is a union of opposites and could symbolize realization of the self. Alternatively, part of Rei’s character is Yui, such that the act also means a symbolic incest event, which symbolizes that Shinji will enter his mother’s womb (unconscious) again and be reborn anew [64] – a rebirth through the unconscious to achieve an enlightened world-view. This is not an ad hoc explanation, but is detailed in Jung’s Symbols of Transformation [58] (to which the reader is referred) with appeal to its many manifestations in hero death-rebirth myths through antiquity. Fromm also interpreted incest and rebirth in a similar symbolic way, whereby man ceases to rely wholly on “nature” (parallels to Jung’s unconscious) and learns to be more independent [65]. The final major symbol in the EoE occurs during the commencement of Instrumentality, with the appearance of the Tree of Life. In the Jungian framework, there is no need to go into the Kabbalistic technicalities of the Sephiroth, and Ockham’s razor supports this omission. For in Jungian analysis, the Tree of Life can symbolize the unconscious [66]. Seen from this angle, SEELE wanted to restore the Tree of Life (from which it can be inferred that it is in a non-optimal state, i.e. neglected), which is in total agreement with their aim of trying to gain prominence for the unconscious function. The Fruit of Wisdom (which Adam ate, and forevermore was endowed with human insight, not to mention created a demarcation between man and God, who were in an original union) symbolizes the human intellect, and once EVA-01 acquires both aspects, or rather is forced to confront both, it has the power either to achieve self-realization (“the Ark which saves mankind” – by creating a new world) or psychosis (“destroy mankind” – by not creating a new world). An “Ark” (Noah’s Ark) is a particularly apt symbol for withstanding the tidal flow of unconscious contents (water), thus avoiding being submerged by them. In addition to the above, the pilots are born soon after Second Impact, which means that they can symbolize the birth of humans who encounter the effects of the catastrophic split between conscious and unconscious. Asuka and Shinji both do not have mothers, thus symbolizing that they have neglected their unconscious, and they slowly come to terms with it by piloting their EVAs. The series and EoE endings are fundamentally the same in that Shinji achieves his new world-view. A significant difference (and perhaps the only one) is that in EoE, Asuka is shown to actively share the new world, as opposed to playing a passive role by congratulating Shinji (series ending). Thus, in EoE, it is alluded to that Asuka too went through a similar process to Shinji and achieved self-realization, although this was not shown. Perhaps this was done such that there is an Adam-Eve (Genesis) reference, which symbolizes a totally new beginning. Symbolic Meaning of the Angels In episode 3, Ritsuko reveals that the Angels have 99.9% similarity with humans. However, their form is entirely different. In the EoE theatrical program the Red Cross Book [56], humans are said to be the 18th Angel, and Misato said the same thing in EoE. In fact, the similar essence of Angels and humans is alluded to in the theme song, which states that the young boy (Shinji) must become a legend (achieve self-realization) like an angel. Thus, the same critical substance is constitutive of humans and Angels, although they have opposite forms. Angels are portrayed as mysterious and incomprehensible (for example, Shinji questions the nature of the Angels in episode 11), and therefore have an affinity with the unconscious. Further evidence that the Angels are affiliated with the unconscious is the 3rd Angel coming from the water (a symbol of the unconscious as mentioned above), the 6th Angel being water-borne, the 8th Angel being in the depths of a volcano, and the 10th Angel being in the dark unknown of space. The 16th Angel sometimes has the shape of a double helix, which can be interpreted as a subtle symbol for a content from the collective unconscious, that is, something which is inherited in the psyche, like the DNA which makes up genes. So from a Jungian perspective, it is seen that the Angels symbolize the unconscious and humans symbolize an entity that is much more conscious. The critical substance constitutive of both Angels and humans is libido, which can give rise to unconscious or conscious forms. As mentioned earlier, the A.T. Field symbolizes the separation between the conscious and unconscious domains, and this is consistent with the fact that both humans and Angels express an A.T. Field. The Angel exerts an outward A.T. Field, since the A.T. Field separates the unknown unconscious (Angel) and known consciousness (the external environment). On the other hand, the A.T. Field for humans is expressed inwardly, as a barrier to their innermost unconscious forces (symbolized by the heart, see above). Other Symbols Other symbols in Evangelion, rendered meaningful using a Jungian framework, are now outlined with a view towards possible elaboration. Synchronicity is a well-known Jungian concept, and it is the phenomena whereby two events occur at the same time and have meaning due to their simultaneous occurrence, even though the two events are not causally linked [67]. In Evangelion, pilots have to synchronize with their EVAs, in order to operate them. Thus, a possible interpretation is that the EVAs’ movement and the pilots’ thoughts must be in synchrony. The 3rd Angel in episodes 5-6 has the same shape as one of Jung’s geometric constructions, the “quaternio” [68]. Might the Angel be related to the meaning of the quaternio? Furthermore, there is also the symbol of the crowd – which is a common symbol of psychic disturbance [69]. Both Asuka (episode 23) and Shinji (EoE) had images of crowds, when their inner mental processes are portrayed. In Jung’s schema for achieving self-realization, before reaching the collective unconscious, one must first overcome the personal unconscious, which is often called the “Shadow” [70]. Shinji is seen to grapple with his shadow side in episode 16, when he is subsumed by an Angel, and subsequently becomes immersed in a shadow. Asuka is also shown to confront her shadow in episode 23, where she has an image of Shinji hiding under Kaji. In effect, her personal unconscious hides a wish to get to know Shinji better, even though her wish is projected onto Kaji. Shinji too has a concealed wish to get to know Asuka better. That this is not a mere sexual wish is shown in EoE, where, despite Asuka’s provocatively sexual advances, Shinji ends with “be nice to me”. However, to get to the stage where he can get closer to her, he must overcome his shadow side, which contains the neglected pent-up aggression he feels towards Asuka, due to her constant belittling of and petulance towards him. This is symbolized by the strangling motif, which is expressed in both the EoE, and in episode 18, where EVA-01 (Shinji’s unconscious) strangles EVA-03 – here the strangling emotion is not directed at the correct object, which means that Shinji has yet to realize the true meaning behind this motif. Lastly, here is a conjecture on the possible symbolic significance in the EoE theatrical program mentioned above, called the “Red Cross Book.” Jung, in his mid-life mental crisis, put his innermost mental processes into word and pictorial form in a book, called the “Red Book” [71]. Could the name of the EoE program be related to Jung’s book? That is, could the “Red Cross Book” be related to the innermost mental processes of Hideaki Anno, in that it tries to describe symbols he had experienced? The Role of Projection and Psychological Types This section looks at (ii) briefly. The role of projection is integral in Jungian psychology, and involves an unconscious transference of psychic products onto an external object (inanimate or animate). In order to break free of the projection, one must recognize the projected contents and thus integrate them into consciousness [72]. Misato had a mental disturbance concerning the acceptance of her father’s neglect of her mother, in light of the bravery he has shown in rescuing her from Second Impact (episode 12). This inability to accept her father’s dark aspects means that Misato acts in a rebellious way against her father’s ideals and expectations of her (episode 26, the case of Misato Katsuragi). This father-offspring conflict was projected onto Shinji’s situation with Gendo, such that she saw herself objectified in Shinji. By helping Shinji in his task of piloting EVA, she is also trying to help Shinji achieve a better father-offspring relationship, something which Misato desired, but which she perceived as not achieving. Another aspect of this rebellion is that Misato harbours the resentment of her father’s perceived rough treatment of her mother, and therefore desires that the reverse was true. Thus, she unwittingly assumes the role of her mother, and enters a relationship with someone she identifies with her father, viz. Ryoji Kaji, in order to try and play out this desire. This projection shows that Misato had an inability to integrate past experience into her consciousness (accept the past as a heart-felt personal truth, which gives one the power and confidence to build for the future, or to “create a new earth”), which is why these experiences sunk into the unconscious, re-surfacing again as unrecognized projections. Jung has also elaborated the theory of psychological types. Only the two broad divisions will be considered here: the introverted type draws external objects into oneself, and the extraverted type tends to adapt wholly to external objects without due consideration for introspection (and are thus at home with social events and situations) [73]. In Evangelion, Shinji is undoubtedly an introvert, whereas Asuka and Misato are extraverts. Thus, their paths towards self-realization are different in this respect (although fundamentally the same). Conclusion This essay has delineated some of the main ways in which Jung can help us to understand the real meaning behind Evangelion. It is not comprehensive and exhaustive, and does not set out to be, so there is scope for further (conscious) elaboration. Issues such as the symbolic significance of Gendo’s desire to achieve eternal union with his wife have been glossed over. Concepts such as the “Shadow” have only been outlined roughly. However, this essay has set out the core meaning of both the Evangelion series and EoE, through a Jungian framework. Evangelion, particularly through Shinji, Asuka and Misato, shows how we as humans have a tendency to neglect our unconscious side, and the pressing need to recognize and integrate its contents (achieve individuation, as Shinji is shown to do). No amount of theory alone would result in successful self-realization, so the theory must be supplemented by experience, as Jung has stressed [4]. One must not get caught in just looking at the literal details pedantically, whether this be religion or Evangelion, but must realize the underlying meaning in our realities. The message is that we should look at ourselves deeply to reveal what we hide in our unconscious, beyond the many layers of persona, to achieve greater insight into who we truly are: as not just the sum of our conscious and unconscious processes, but as an entity which is different from just the sum, due to the synergy between them. This will then perhaps help to attain a truer relation to the world and our lives, and that of others. Failure to do so is shown by Shinji running away from piloting the Evangelion (recognizing his unconscious). One is “still a child” (episode 19), unable to adapt fully to reality. This theme of running away and remaining a “child” is not only a personal struggle for Anno, but also a theme for Jung. Thus, Shinji is not merely about one who shows a lack of mettle in the face of physical and mental hardship, brought about by a neglected childhood and sexual frustration, and risking his life to fight unknown monsters in a giant robot. This is a surface and literal interpretation. The symbolic meaning shows that Shinji represents one who is afraid of his unconscious, which is shown in the anime to harbour more than just secret sexual wishes. This is a situation people can be in, no matter whether they are physically strong, or are able to adapt wonderfully to social situations. In plain English, Evangelion urges us to get off our proverbial backsides after watching it, question our innermost beliefs and thoughts, and experience the outside world without the aid of a persona. We should stop running away. Only then (mirabile dictu!) can we finally escape from the consensus gentium and discover how our individual existences can be justified. This is the salutary and prospective character of Evangelion. DISCLAIMER (2007): I DON’T THINK MUCH OF EITHER EVANGELION OR JUNG NOW. I ALSO THINK EVANGELION’S “MESSAGE” CAN BE PUT DOWN IN PLAIN ENGLISH. References CW3 = Jung, C.G. The Collected Works of C.G. Jung, Vol.3, The Psychogenesis of Mental Disease, 1st ed. London: Routledge and Kegan Paul, 1960. CW4 = Jung, C.G. The Collected Works of C.G. Jung, Vol.4, Freud and Psychoanalysis, 1st ed. London: Routledge and Kegan Paul, 1961. CW5 = Jung, C.G. The Collected Works of C.G. Jung, Vol.5, Symbols of Transformation, 1st ed. London: Routledge and Kegan Paul, 1956. CW6 = Jung, C.G. The Collected Works of C.G. Jung, Vol.6, Psychological Types, 1st ed. London: Routledge and Kegan Paul, 1971. CW9(i) = Jung, C.G. The Collected Works of C.G. Jung, Vol.9, Part I, The Archetypes of the Collective Unconscious, 1st ed. London: Routledge and Kegan Paul, 1959. CW9(ii) = Jung, C.G. The Collected Works of C.G. Jung, Vol.9, Part II, Aion, 1st ed. London: Routledge and Kegan Paul, 1959. TPCGJ = Jacobi, J. The Psychology of C.G. Jung. New Haven and London: Yale University Press, 1973. [1] H. Anno (trans. M. Morimoto, F.Burke). In: Y. Sadamoto, Evangelion manga volume 1. Viz Media. [2] CW9(i), PG44. [3] CW9(i), PG56. [4] CW9(i), PG87. [5] TPCGJ, PGxii. [6] TPCGJ, PG12. [7] TPCGJ, PG6. [8] CW6, PG421. [9] CW6, PG425. [10] CW9(i), PG22. [11] CW6, PG455-6. [12] CW4, PG122-3. [13] CW9(i), PG3-5. [14] TPCGJ, PG8. [15] CW9(i), PG66. [16] CW3, PG156. [17] Ellis, G.F.R. Physics, complexity and causality. Nature. 2005; 435: 743. [18] CW9(i), PG42. [19] CW9(i), PG43-4. [20] TPCGJ, PG56. [21] CW9(i), PG281. [22] Freud, S (trans. Strachey, J.). Civilization and Its Discontents. New York: W.W. Norton & Company, 1989. [23] TPCGJ, PG55-6. [24] CW9(ii), PG25-7. [25] TPCGJ, PG15. [26] CW6, PG452-5. [27] CW3, PG227-8. [28] CW9(i), PG278. [29] CW3, PG99-151. [30] TPCGJ, PG107-141. [31] CW4, PG240. [32] CW9(i), PG6. [33] TPCGJ, PG135. [34] CW9(i), PG48-50. [35] CW9(ii), PG9-10. [36] CW6, PG248. [37] CW9(ii), PG173. [38] CW4, PG292-3. [39] TPCGJ, PG126-7. [40] CW9(i), PG289. [41] CW6, PG118-20,195-7. [42] CW9(i), PG59,68-9. [43] CW9(ii), PG64. [44] CW9(ii), PG14. [45] TPCGJ, PG140. [46] The End of Evangelion script, http://www.evaotaku.com/ [47] TPCGJ, PG146-8. [48] CW9(ii), PGx. [49] CW9(i), PG18. [50] CW3 PG238-9. [51] CW9(i), PG24. [52] Fromm, E. To Have or to Be? London: Abacus, 2002. [53] Grimsley, R. Søren Kierkegaard: a biographical introduction. London: Studio Vista, 1973. [54] Nietzsche, F (trans. Hollingdale, R.J.) Thus Spoke Zarathustra. London: Penguin Books Ltd., 2003. [55] CW9(i), PG22. [56] The End of Evangelion: Red Cross Book, http://www.evaotaku.com/html/programbooks.html [57] Raven, P.H., Johnson, G.B., Losos, J.B., Singer, S.R. Biology: Seventh Edition. New York: McGraw-Hill, 2005. [58] CW5. [59] CW5, PG435. [60] CW9(i), PG20. [61] CW9(i), PG21-2. [62] CW9(i), PG81. [63] CW5, PG269. [64] CW5, PG224,419. [65] Fromm, E. The Sane Society. London: Routledge & Kegan Paul, 1956. [66] TPCGJ, PG94. [67] TPCGJ, PG49. [68] CW9(ii), PG231. [69] CW5, PG207. [70] CW9(i), PG20. [71] Jung, C.G. Memories, Dreams, Reflections, London: Harper Collins, 1995, PG213. [72] CW9(i), PG60. [73] CW6. Copyright John Faulkner 2006 |