![]() In the Dantesque hell, the proud walk under the weight of the boulder that oppresses them: those who wanted to overwhelm others are condemned to be crushed - and this recalls the enormous stone dome in which Hohenheim tries to keep Selim locked up, together with Alphonse. It is outwardly a child, but in reality it’s the personification of the shadows and is the strongest of the Homunculi. It’s known, lust and gluttony are the sins of pleasure and concupiscence and go hand in hand. It’s also representative his link with the sin of lust. ![]() Even his death will be emblematic: he will be devoured by Pride. Perhaps this is why this homunculus itself contains the Father’s attempt to recreate the Portal of Truth: the hunger of omniscience can never generate infinity. Continuous gulping won’t fill the inner emptiness: we could also devour the whole world but we wouldn’t gain harmony. This sin was particularly frowned upon in the Catholic doctrine of the Middle Ages because his constantly swallowing up was an affront to the widespread misery. If lust is, following Catholic rhetoric, a mortal sin, then chastity is one of the greatest sources of virtue, since to preserve it we must resort to martyrdom (suffered by Lust), rebelling against our natural sexual instinct. Fire is the torment and the agonizing rage of Roy that is similar to a form of passion. ![]() She will die burnt by Colonel Mustang’s alchemy of fire. Lust is “ the ultimate spear”, a subtle (but not too much) reference to the act of penetration. His uroboro tattoo is placed on her breast. There is Lust: she’s a beautiful, busty woman with generous forms. Thomas Aquinas, and indicates that the choices determined by the vices don’t remain circumscribed, but influence with a chain effect all the choices that we make: many small steps that lead to evil. The term “ deadly sins” is very old, already present in St. In the Christian tradition, pride, envy, sloth and greed are vices that corrupt the soul, while gluttony, wrath and lust corrupt the body. Now, let’s analyze the personification of the vices. In the end, in fact, the homunculus will suffer at his own expense the most important lesson: “Truth gives men the right amount of desperation so that they don’t become proud”. On the Gate of Truth we can glimpse an apple: the Father is like the first man, the first sinner who hasn’t resisted to reap the fruit of original sin and devour it, despite the warnings, a slave to his own thirst for absolute knowledge. On the other hand, this is precisely the point that will make him vulnerable: the desire to free himself of all the deadly sins emphasizes the inability to completely free himself of the worst of the deadly sins, that is, pride. With the aim of assimilating the Truth, he decides, as already said, to free himself of the deadly sins to become a perfect being. But the determination of the little homunculus is so overwhelming that he turns against the same humanity that generated him, sacrificing the whole kingdom of Xerxes for the creation of the Philosopher’s Stone. What distinguishes the human being from a hypothetical God is the ability to generate life from nothing. The little one inside the flask is the emblematic representation of the challenge of human beings to divinity. The main antagonist of Arakawa’s work is the Father, born as a little one inside the flask: initially it’s an disembodied entity commissioned by the king of Xerxes, terrified by the idea of aging and dying.
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