Anko had a murder-suicide move that Oro taught her, and she was going to use it to kill themselves together. What she saying to Orochimaru was " You and I are going to die here". If we look at What she said before arriving there was ;
Raw: ここで私が 命に代えても 仕止めなきゃ...
Romaji: koko de watashi ga inochi ni kaete mo tsukamatsu tomenakya....
Literal : I have to put an end to it, even if it's cost my life...
Raw: たとえそれが かなわなくとも・・・とにかく暗部が来るまで足止めだけでもしておく･･･
Romaji : tatoe sore ga kanawanakutomo ･･･tonikaku anbu ga kuru made ashidome dake demo shiteoku ･･･
Literal : Even if that doesn't work... Atleast, I'll slow you down until the Anbu comes...
Shinjū here is tagged as a business. It denotes not to oneself, but to the whole. She was risking her life to stop the destruction that Orochimaru could cause to Konoha. So it's Not only to oneself. But it is for Konoha.
自殺する (jisatsu suru) - to kill oneself; commit suicide
Shinjū has been classified into two major categories, johshi (mutually consented lovers' suicide) and oyako-shinjū (parent-child suicide), the latter of which is subclassified further such as boshi-shinjū (mother-child suicide), fushi-shinjū (father-child suicide), and ikka-shinjū (family suicide).
Unable to pay off debts family commit suicide. In the case of an entire family committing suicide, it is
usually the father who takes the lead, probably because most family
suicides are the result of the financial failure of the father, who is
facing bankruptcy or heavy debt. Spouse may come in agree with this but children may not know their decisions. In some cases, the parent gets "scared" of suicide and becomes the sole survivor. The concept of an entire family
dying together in response to some tragedy of their existence is captured by the term "ikka shinjū", literally as "one family"/ "center of the heart."
"Muri- shinjū" is when a family member, usually a mother or father, murders their child, children or other family member and then commits suicide. "muri-shinjū" is a better term as "muri" in this instance means by force/against one's will. While *ikka-shinjū" does mean the suicide of an entire family, what it implies is that they all chose to commit suicide. There are also various combinations of family relationships that may be involved in these so-called 'forced' suicides.
Boshi-shinjū in which the children, who are too young to decide on suicide themselves, are killed by their mothers.
Mother - child suicide : mother killing oneself and her children over martial or other problem [ it was oya-ko shinjū (joint parent-child suicide), a traditional Japanese form of suicide which is still an everyday occurrence in Japan]. However, a mother who
commits joint suicide may justify her act by the fact that she would
be considered very cruel if she left young children behind. The mother who commits suicide without taking her child with her is blamed as an oni no yo na hito ("demon-
like" person).
In fushi-shinjū the fathers (who are usually older than the boshi- shinju mothers) kill their children (who are older than the victims of boshi-shinjū), and then commit suicide. The most common reasons for boshi-shinjū are psychiatric disorders and family conflicts, while those of fushi-shinjū are financial problems and physical illness or other problems.
There are more like these:
An elderly mother begins to become a burden (due to Alzheimer's) to her middle-aged son. He has to give up his job until the breaks down point comes. So the son decides to commit suicide by killing his mother, but the passer-by saves him and the son fails to commit suicide. Later, he committed suicide by jumping from the main bridge into the river. He left a note saying he wished to be cremated with the umbilical cord his mother had left. There is no comparably euphemistic or honorific term for children taking the lives of
their parents.
the husband killing the adulterous wife, rather than the wife committing suicide with her lover. Considering this, it seems that any unnatural death (murder or suicide) that was induced by extra-marital love was considered "shinjū."
Poverty is the main reason for most of them but it is not the only reason behind everything. There may be unemployment, debts, abusive relationships etc.. They find that their situation is irretrievable/unbearable and finally decides to give up their lives through murder and suicide. More cases in real life lead to 無理心中(forced suicide), but when they decide that it is better to give up life and die together, it is not always with consent.
Let's move on to Lover's suicide
@sneezemonster15 & @maoam made a post about Chikamatsu Monzaemon and how Kishimoto is a fan of the guy and his bunraku/kabuki plays.
心中 (Shinjū) - double suicide
Although it is not clear when exactly the first case of double-suicide occurred, the practice of dying together as shinjū started appearing in haikai poetry in the Enpō era (late
1670s); [“Shinjū nara ware o izanae gokuraku e 心中なら我をいざなへ極楽へ” (“If this is shinjū, please take me to heaven”) by Sogen 素玄 (1676)], and Kabuki nenpyō claims that the first shinjū incident and shinjū kabuki plays appeared in Tenna 3 (1683) [According to Kabuki nenpyō, “the beginning of shinjū as an art form (shinjū-gei)” occurred in Tenna 3 (1683) at Arashi Sanzaemon-za, Araki Yojibee-za, and Yamatoya Jinbee-za theaters. It is said to be a dramatization of one of the first love suicide incidents in the Edo period, in which a prostitute and a blind performer died together]. Jōruri followed the example of kabuki, with Chikamatsu Monzaemon’s Sonezaki shinjū, first performed in 1703, as the first successful example of a love
suicide jōruri play (although there were several earlier love suicide jōruri plays that did not achieve popularity). Chikamatsu
Monzaemon’s first sewamono, Sonezaki shinjū (1703), was first performed in Takemoto-za theater in Osaka. The story was originally taken
from a real incident that is also recorded in Shinjū ōkagami. Sonezaki shinjū
did not appear as a sudden mutation in 1703, but rather as a fruit that developed from earlier
theatrical tropes and conventions. In fact, the dramatization of contemporary sensational
incidents such as double suicides was already common in kabuki in Osaka prior to the birth of
sewamono jōruri, from as early as 1683, which also contributed to the establishment of the genre of sewamono in jōruri puppet plays. The popular interest in love suicides as sensational news was widespread in the late seventeenth century. The image of the prostitutes who participated in love suicides, as well as the image of love suicide itself, were negative in contemporary ukiyozōshi fiction, but they were depicted more sympathetically in kabuki plays, especially domestic plays called sewamono.
Shinjū derived from the practices among courtesans and prostitutes in the pleasure
quarters (The word was also used in homosexual relationships. It was quite popular among men to hurt themselves in order to show their love to their homosexual partners). It also a belief in reincarnation perhaps encourages the lovers to abandon this
life and to hope for a final union in the next life. However, shinjū’s original meaning was not “love suicide.” The term literally means “inside one’s heart,” and when read shinchū, the word dates as far back as the Nara period, meaning “one’s heart”. The term “shinjū” did not necessarily mean “love suicide” in the early Edo period, even in pleasure quarters; it was often used as shinjū-date, or “proving one’s heart.” Courtesans and prostitutes who were obliged to take multiple customers sought to prove their
dedication to their lovers. Shikidō ōkagami introduces six different kinds of shinjū
practiced by the prostitutes and courtesans in the pleasure quarters: pulling out one’s nails, writing oaths (sometimes using blood), cutting one’s hair, getting a tattoo relating to one’s lover, chopping off one’s finger, and ultimately, stabbing oneself (non-fatally).
The use of “shinjū” as “love suicide” was popularized through popular theater and fiction
that dramatized actual cases of love suicide beginning in the Genroku period (1688-1704). Jōruri
plays the most significant role in spreading the idealized image of love suicide. The majority of early sewamono jōruri up through the early eighteenth century take the theme of shinjū,
specifically love suicide in which a young couple, often a townsman and a low-ranked prostitute,
die together. Chikamatsu Monzaemon wrote twenty-four sewamono domestic plays, eleven of which are about love suicide. Chikamatsu’s eleven love suicide plays can further be divided into
roughly four categories according to the class of the heroine and the couple’s marital status. Four
are about a low-ranked prostitute and a single townsman; two are about a low-ranked prostitute and a married townsman; two are about a townswoman and a townsman; three are about a
married couple, but all of them belong to the bottom class of the society, having some sort of
financial problems, and lacking agency over their own lives.
For many Japanese, "sharing death appears
to be the culmination of togetherness. ' Every human being is
born into and leaves this life by himself. Even those in the most
intimate relationships have to part with each other when one of
them dies. Therefore, sharing death with someone can be the ultimate expression of oneness signifying the fusion of the two distinct
self-boundaries.
The influence of devoted male love on depictions of male-female devoted lovers in Edo literature is most clearly seen in double-suicide (shinjū) stories and plays, in which "devoted love" was linked with death. Shinjū was a means of giving visible, physical manifestation in the body to the inner secrets of the heart. It also a gesture of devotion, an outward display of "what was in the heart ", involving simple acts of self-wounding by a man or a youth to show the sincerity of their feelings, these included writing vows in blood, piercing the flesh on the arms or thighs, cutting the skin, and in extreme cases amputation of a finger.
During the rule of the Tokugawa bakufu, male-male homosexual relations were most commonly referred to by two main terms: Nanshoku and Shudō. Nanshoku appeared as the subject of innumerous popular books, as well as songs, poems, and woodblock prints, and was much more intrinsically connected with Tokugawa popular culture than with any Buddhist philosophics. The word Shudō placed the love of male youths in the same frame as other "ways" or pursuits, such as chadō ("way of tea" or Japanese tea ceremony), kadō ("way of flowers" or Japanese flower arranging), and budō ("way of martial arts" or Japanese traditional martial arts training). Homosexual
interactions between men was implied in poetry and stories during the Heian Period (794-1185). Evidence of homosexual relationships as early as the Heian period appear in diaries of notable court figures, such as Fujiwara Yorinaga (1120-1156), who detailed sexual encounters with a range of male partners. Despite its lack of any direct mention of male-male relationships. However, comparatively few substantial or explicit texts of male-male sexual relationships were produced by the Heian court. Female-female homosexuality did not share the same cultural acceptability that male-male homosexual relations enjoyed during the Tokugawa period, and written depictions of female-female sexual relations from seventeenth century Japan are few. Homoerotica especially flourished in the Edo period through a type of erotic art, called
shunga. Shunga, meaning “spring picture”, was a type of ukiyo-e, or “art of the floating world”,
and was created with the usage of woodblocks and stamping methods. During this period, the ruling Tokugawa Shogunate was known to have established
strict censorship laws on “immoral” content, yet shunga was never harshly criticized by the government.
Gay love letters are often referred to in Japanese literature, notably in the collection of forty stories in The Great Mirror of Male Love (Nanshoku &okagami) (1687) written by Ihara Saikaku (1642-93) describing (and advocating) love between adult men and youths. In kabuki theatre, the actors (handsome young men dressed as boy or women) often received hundreds of love letters from the men who watched him perform. In addition to love letters, men would often prove their love for one another by slashing their arms or cutting their thighs or, quite common, slicing off the tip of their thumb and tossing it on the stage as if it were a bouquet of flowers.
Early Edo era tattoos, some featuring designs that would be completed only when lovers' hands were joined, also came and went. It called as Irebokuro, tattooed moles. When lovers clasped hands the moles on each person would line up exactly and thus were unique. Tattooed moles were all self-applied (or the partner would do it.) This particular place was chosen because when lovers would hold hands they would be touching the dots. In, Kōshoku ichidai otoko (1682; The Life of an Amorous Man) written by Ihara Saikaku. It gives reference to tattooing of a homosexual relationship between two men. This different variant of a Shinjū is the tattooing of the characters of the lover's name.
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