Elsa and Anna holding each other's hands...

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Elsa and Anna holding each other's hands...
There’s an image of Frozen 2 floating around, no idea at all if it’s real, but just seeing Anna and Elsa facing adventure together has me hyped 😁
My survival kit.
Elsa, a « Romantic » character?
When we think of Romanticism, the picture of a sentimental, dreamy individual often springs to mind. Since these words are relevant, the true meaning of the term that described the artistic movement that was born in the XIXth century is even larger! Knowing that Frozen’s events are taking place at the same period, I found it interesting to link some elements…
The hero’s sensitivity was often accentuated by a deep malaise: indeed, Romanticism exhibed to reader’s eyes human passions and weaknesses, everything that was beautiful or ugly in people, even in noble individuals. That imperfection caused the hero to be broken and sad.
And this is what we notice in Elsa, it is on this very principle that her dilemma is founded: her power can be beautiful and dangerous at the same time, a cause of misfortune or joy, and the young woman herself is powerful but weak, possesses altruistic qualities but would love to be herself… Even worse, as a cursed creature, she creates trouble around her, despite herself.
Besides, it seems that Elsa is the first Disney’s royal character to possess such a broken and complex personality…
One of the most recurrent themes of Romanticism is the intense connection between the character and Nature, and more precisely, the Wild nature, with her weather phenomena, her majesty and her dangers, echoing with the exacerbated emotions of the hero. This one, like Chateaubriand’s Ren, who’s considered as the Romanticism’s precursor, possessed a great sensitivity and loved to walk alone in forests, to explore that new freedom. Nature became a giant playground, the hero’s feeling’s concrete form in the outsideworld.
Isn’t it what we observe with Elsa during Let it go?
The emergence of a delicate sensitivity and creative energy that has been smothered for too long by the severe yoke of duty and responsabilities is obvious. Elsa expresses all this passion through art and identifies herself to this new ice environment which is in harmony with her.
« I am one with the wind and the sky »
On the top of that, romantic artists impersonated the picture of inspirated poets, whose feelings were always focused on a creative goal: it was in pain and sadness, or on the contrary in euphoria, in their hypersensitivity that they found fertility. Then, Elsa represses her feelings because she knows that they are her uncontrollable power’s trigger.
The amazing ice castle resulting from this release is the very symbol of the ideal in which romantic artists projected themselves : the image of a inspirated creator, in relation to nature, elements, sky and universe.
Elsa, un personnage “romantique”?
Lorsque l’on entend le mot Romantique, l’on pense souvent à quelqu’un de sentimental, de rêveur… bien que ces mots fassent sens, la signification originelle du mot désignant le courant artistique qui naquit au XIXème est encore plus vaste ! Sachant que les événements du film se déroulent durant la même période, j’ai trouvé qu’il serait intéressant de mettre certains éléments en relation 😊 …
La sensibilité du héros romantique était souvent doublée d’un profond mal-être : en effet, le romantisme mettait en évidence les passions et les faiblesses humaines, ce qu’il y avait de beau et de laid dans les individus, mêmes chez les nobles. Cette imperfection faisait que le héros était un être tiraillé, tourmenté.
C’est ce que l’on constate chez Elsa, et c’est sur ce principe même que repose son dilemme : son pouvoir peut être à la fois beau et dangereux, source de malheur ou de joie, et la jeune femme elle-même est puissante mais faible, possède de belles qualités altruistes mais désire être elle-même… Pire encore : créature presque maudite, elle crée le malheur autour d’elle, malgré elle.
D’ailleurs, il me semble qu’Elsa est le premier personnage féminin royal de Disney à posséder une personnalité aussi déchirée et complexe…
Un thème récurrent du romantisme est le rapport intense que le personnage entretient avec la Nature ; et plus particulièrement la nature sauvage, avec ses phénomènes météorologiques, sa majesté et sa dangerosité, faisant écho aux émotions exacerbées du héros. Ce dernier, à l’instar de René de Châteaubriand, considéré comme le précurseur du Romantisme, était doté d’une grande sensibilité et de ce fait aimait s’y balader seul, explorer les environs, profiter de cette nouvelle liberté. La nature devenait alors un vaste terrain de jeu, la forme concrète dans le monde extérieur des sentiments du héros.
N’est-ce pas ce que l’on observe avec Elsa dans Libérée, Délivrée ?
L’émergence d’une sensibilité à fleur de peau et d’une puissance créatrice trop longtemps étouffée par le joug sévère du devoir et des responsabilités sont évidentes. Elsa exprime toute cette émotivité à travers l’art et s’identifie à ce nouvel environnement de glace, qui somme toute lui correspond. Témoin cette extase au contact de la nature.
« I am one with the wind and the sky »
Mieux encore, les romantiques s’appropriaient l’image de poètes inspirés, dont les sentiments étaient toujours axés vers un but créateur : c’était dans la souffrance et la tristesse ou l’euphorie, dans l’(hyper)sensibilité qu’ils puisaient leur fécondité. Elsa s’interdit donc l’accès à ses émotions car elle sait qu’elles sont le déclencheur de ses pouvoirs incontrôlables.
Le sublime château de glace résultant de cette libération est le symbole même de l’idéal dans lequel les artistes romantiques se projetaient : celui du créateur inspiré, en relation avec la nature, les éléments, le ciel et l’univers.
P.S: An english version is coming soon :)
Let the things you love be your escape!
two years ago today elsa let it go
i love frozen a lot
40 mins elsa doodle !!! my forever fav i love elsa so much
❄️ ✨ Elsa the Snow Queen in the new sneak peek trailer for Ralph Breaks the Internet. ✨ ❄️
On Queen Elsa as an INFJ
Elsa’s ice power is very much a thing of Se simply because it is a sensory thing in the outside world. As we see the growth of Se, Elsa’s inferior function, throughout the film, we also therefore see her ability to connect with and control this power increase from where she hardly knows how to begin to handle it to realizing she can create something living, and to finally reaching a greater understanding of how to control it much more completely at the end. Her ice powers are also connected to Ni, as they are the expression of Ni in the outer world through Se. They are also quite connected to Fe.
Elsa’s emotions are intrinsically connected to her ice powers. They are a driving factor in her powers, controlling them. This is clear in many ways, one being how they change color and ‘style’ to match her mood and another major one being the difference apparent in using them in connection with love at the end.
When she has been able to let go of the nagging “guidances” from the past, she is able to connect to and understand her emotions, and specifically as part of her powers, largely enabled by an open connection with another person.
A literal flurry of overwhelming emotions:
I don’t think the trouble of being lost in understanding one’s own emotions is foreign to many INFJs. They are skilled at understanding others’ emotions naturally because they take them in through Se/Fe and can process them internally, with Ni, reaching conclusions. But often in order to reach a similar understanding of one’s own emotions, an INFJ has to let the emotions outside first through Fe in order to be able to take them in again through Se, possibly through conversation for instance, and use the same process in that way. And in general, the moral support of others is quite necessary.
Considering that, it’s not hard to see how relentlessly trying to “shut off” one’s emotions would be extremely detrimental to an INFJ. Things can get out of hand if this is the case.
Elsa does not have much to draw from in terms of ways to handle her powers. Her parents were the last ones she could so fully trust and look to in helping keep her safe and find how to control her powers, the last ones who really gave her emotional comfort and the external reassurance that is so vital to the happiness of an INFJ. The more her situation becomes desperate, that extremely unhealthy side of isolating herself is also catching up to her. And in a trying, emotionally unravelling situation such as that, the natural and best thing for INFJs to do is be able to turn to someone they trust—not to take care of their problems for them, but for the emotional reassurance, and the emotional outlet if need be, to help them see what is boiling up inside of them.
In her state of distress and near panic, of overwhelming emotions, and of fear, Elsa needs to turn to something. She needs to grab onto something to try to help her, anything, and that “conceal, don’t feel, don’t let them know” that her parents impressed upon her so much, is that last resort. She’s lost in herself, for sure, and she’s trying to hold onto something that those she loved and kept her safe and loved her gave her, because that is all she has.
She’s trying to stop the emotions but they are too strong, they’re getting out of her control, and it’s made visually apparent in the color and formation of her ice around her. This is incredibly relatable as far as trying to contain far too powerful emotions as an INFJ—at some point, if you don’t find a way to deal with them externally intentionally, they will force themselves out on their own.
But “Conceal, don’t feel” is not something that helps Elsa. It hurts her. It is something she resorts to because she has nothing else to look to, it is the closest thing to reassurance of a loved or trusted one she can find and so she attempts to hold onto it.
Consider the two main times we see Elsa truly happy and more confident (that is, not including earlier childhood, i.e. after parents’ deaths and so forth):
the “Let It Go” sequence
the conclusion of the movie after she has figured out how to end the winter
These events stand out in that during them she does not in the least hold on to the “conceal, don’t feel” from the past. These are the times when she throws that off. I think this is quite a clear indication that Si is not Elsa’s dominant function, as what could be assigned to that function only serves to haunt and hurt her and prevent her from being her real self.
Elsa thrives when she can focus on the future, when she can express herself. I think hiding one’s self away can sound quite appealing to INFJs at times (not to the degree that Elsa did, of course!). But in the long run, what may have seemed like it would be a beneficial thing turns into one of the most harmful things possible.
Yeah!
Adorable!
Just a thought.
It took Elsa mere seconds to build Marshmallow. She didn’t have to think. She didn’t have time to imagine. She didn’t have time to plan because she was desperate to keep Anna away from her and… she already knew what a monster looked like. She already knew, and I’m somewhat convinced that the image of Marshmallow lingered in Elsa’s mind for quite a while. Maybe from a nightmare? Maybe she was scared as hell that she’d fully transform into an ice creature someday because of all the ice she’s carrying inside her small body—and maybe Marshmallow is the image that she has of herself as the aftermath of her pending transformation?
She knows what a monster looks like because she sees herself as one.
When she looks at the mirror, the one staring back at her with hollow, empty eyes is a monster.
So I wonder…I wonder if Marshmallow is the image Elsa thinks of when she looks at herself. I mean…does she even like to look at herself? Strong, powerful, scary, hideous at first glance and… and surrounded by spiky ice and rough around the edges. Untouchable. Threatening. Self-preserving. Something and someone who stands out. An outcast and different from everyone else. Not of this world and not designed to be around others.
Notice how gigantic Marshmallow’s hands are. Does Elsa think of her hands to be that heavy? Dangerous? Ugly? Maybe so because her hands almost killed Anna.
A head so heavy because of the equally heavy crown that she has to carry.
A body so disfigured and dysfunctional and weird because she thinks she’s disfigured and dysfunctional and weird.
It’s so easy to see and conclude that Olaf is Elsa’s subconscious, carefree, and goofy self.
But I also think she thinks of herself as Marshmallow as well. Marshmallow with his melancholy voice, hollow and sad eyes, and a body so abnormal and designed to destroy.
He’s not a random snow monster. He was already preconceived in Elsa’s mind long before she summoned him. I think that he’s the one she sees when she looks at herself.
A few months later after The Great Thaw:
Elsa is always making excuses to see Anna. She doesn’t want to seem too clingy, and she doesn’t want to make Anna feel obligated to talk to her or hang out with her. And sometimes, she just doesn’t know what to say and is afraid of looking and sounding like an idiot in front of the one person she thinks so highly of.
What she doesn’t know is Anna is also dying to talk to her but feels the same way.
Elsa: *knocks on Anna’s door after seeing her just an hour ago*
Anna: *opens the door almost too quickly, excitedly, her face beaming*
Elsa: …Hei.
Anna: Hi!!!!! ❤️❤️❤️
Elsa: I…. you… you left your pencil on my desk and I’m here to bring it back to you.
Elsa: *presents said pencil with both hands*
Anna: ????… thanks, I guess? (???????)
~awkward silence~
Anna: SoOoooo…. do you wanna eat chocolates with me? I still have some left from Rapunzel’s package.
Elsa: :D :D :D Really? Yes!! *clears throat* I mean, yes, sure. Of course.
Later that day..
Elsa: *knocks on Anna’s door. It’s night time now.*
Anna: *opens the door wide open, hoping it’s Elsa and immediately smiles when blue eyes meets hers*
Elsa: Hi.
Anna: Hei. :)
Elsa: I… you… *rummages through her pockets and pulls out a tiny object* I have a piece of chocolate left from this afternoon. I want to give it back to you in case you want to eat it later.
Anna: ….
Anna: Elsa?
Elsa: ….yes?
Anna: Do you want to… do you want to sleepover? We’ll even play chess if you want… annddddd I won’t mind if I lose. What do you think?
Elsa: !!!!!!!!!!
Elsa: :D :D :D
Elsa: Yes.
Notice that when Queen Elsa makes Olaf, she doesn’t include his carrot nose. I think that’s very meaningful.
Because Olaf represents the love between the two sisters, Elsa needed Anna’s help for Olaf to be truly complete.