This article examines the friendship between Oscar François de Jarjayes and Queen Marie Antoinette in the anime version of Riyoko Ikeda’s the Rose of Versailles. Oscar is born female but is raised male and becomes Commander of the Queen’s Royal Guards. The intended shōjo (young girl) audience identifies with both characters. Current scholarship mainly focuses on Oscar’s character, but this study places equal emphasis on Marie Antoinette, since the anime humanizes her character and demonstrates how the Queen’s interactions with Oscar bring out the noble elements of her disposition. The characters grow together and then apart against the backdrop of the French Revolution, with the Revolution standing as a metaphor for the internal struggle Oscar faces when grappling with her gender identity. Marie Antoinette supports and validates Oscar, but the friendship ends when Oscar identifies with the Revolution and the Queen refuses any compromise to the power of the Crown. Oscar’s ultimate rejection of her class and her alliance with the Revolution corresponds directly to the questioning of her gender identity and her ultimate self-acceptance. By contrast, Marie Antoinette’s final self-affirmation comes not through rebellion but through staunch confirmation of royal authority. The process of self-definition is what leads to the downfall of both Oscar and Marie Antoinette, with the former meeting a noble death in the taking of the Bastille, and the latter dying at the guillotine in tragedy and disgrace but redeemed slightly by her friendship with, and memories of, Oscar.

中文翻译：

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Fleur rebelle, fleur Royale：凡尔赛玫瑰中奥斯卡夫人和玛丽·安托瓦内特的友谊

本文探讨了动画版池田理代子的凡尔赛玫瑰中奥斯卡·弗朗索瓦·德·贾尔贾耶斯和玛丽·安托瓦内特王后之间的友谊。奥斯卡出生于女性，但成长为男性，成为女王皇家卫队的指挥官。预期的 shōjo（年轻女孩）观众认同这两个角色。目前的学术研究主要集中在奥斯卡的性格上，但本研究并重强调玛丽·安托瓦内特，因为动画将她的性格人性化，并展示了女王与奥斯卡的互动如何带出她性格中的高贵元素。在法国大革命的背景下，这些角色一起成长，然后分开，大革命象征着奥斯卡在与性别认同作斗争时所面临的内部斗争。玛丽·安托瓦内特支持并认可奥斯卡，但是当奥斯卡认同革命并且女王拒绝向王室的权力妥协时，友谊就结束了。奥斯卡最终拒绝她的阶级以及她与革命的联盟直接对应于对她的性别认同和她最终的自我接受的质疑。相比之下，玛丽·安托瓦内特最后的自我肯定不是通过反叛，而是通过对王室权威的坚定确认。自我定义的过程导致了奥斯卡和玛丽·安托瓦内特的垮台，前者在攻占巴士底狱时遭遇了高贵的死亡，后者在悲剧和耻辱中死于断头台，但她的友谊略有救赎和奥斯卡的回忆。奥斯卡最终拒绝她的阶级以及她与革命的联盟直接对应于对她的性别认同和她最终的自我接受的质疑。相比之下，玛丽·安托瓦内特最后的自我肯定不是通过反叛，而是通过对王室权威的坚定确认。自我定义的过程导致了奥斯卡和玛丽·安托瓦内特的垮台，前者在攻占巴士底狱时遭遇了高贵的死亡，后者在悲剧和耻辱中死于断头台，但她的友谊略有救赎和奥斯卡的回忆。奥斯卡最终拒绝她的阶级以及她与革命的联盟直接对应于对她的性别认同和她最终的自我接受的质疑。相比之下，玛丽·安托瓦内特最后的自我肯定不是通过反叛，而是通过对王室权威的坚定确认。自我定义的过程导致了奥斯卡和玛丽·安托瓦内特的垮台，前者在攻占巴士底狱时遭遇了高贵的死亡，后者在悲剧和耻辱中死于断头台，但她的友谊略有救赎和奥斯卡的回忆。玛丽·安托瓦内特最后的自我肯定不是通过反叛，而是通过对王室权威的坚定确认。自我定义的过程导致了奥斯卡和玛丽·安托瓦内特的垮台，前者在攻占巴士底狱时遭遇了高贵的死亡，后者在悲剧和耻辱中死于断头台，但她的友谊略有救赎和奥斯卡的回忆。玛丽·安托瓦内特最后的自我肯定不是通过反叛，而是通过对王室权威的坚定确认。自我定义的过程导致了奥斯卡和玛丽·安托瓦内特的垮台，前者在攻占巴士底狱时遭遇了高贵的死亡，后者在悲剧和耻辱中死于断头台，但她的友谊略有救赎和奥斯卡的回忆。