貴族女意識真愛的代價是什麼? What It Takes for an Aristocratic Woman to Notice Real Love

28話的問題，答案在37話 (The answer to episode 28 lies in episode 37)

本文標題的答案是：代價很高，但初步是該平民男子安德列起身反抗。
To answer the title: The breakthrough took a significant price, but the commoner André’s rebellion marked the essential first step for the aristocratic Oscar to finally perceive genuine love.

安德列的苦情之果 (アンドレ青いレモン) 在動畫全40話中，是標題最出名、也是最重要的一話，有日本粉絲的部落格就直接起個《青いレモン》“青澀的檸檬” 這樣的名字。這名字在日本動畫歷史上已經留名、也賦予了這個詞新的意義。
Episode 28, titled “André’s Pale Lemon,” is arguably the most famous and significant of the anime’s forty episodes. Some fans even name their blogs after "Pale Lemon" (青いレモン), which literally means "unripe lemon" and implies "a childhood friend." The title has thus become part of anime history and has gained new cultural nuance.

我就直接來破題了，安德列在本話中爆炸的原因，答案在第37話，是他在愛情上長期受到無視的結果。我在網路上看到有個網友說得很好，他的行為用情慾的眼光來看滿能理解的。
To get straight to the point: The answer to André’s outburst in Episode 28—a culmination of his love being ignored for far too long—lies in Episode 37, which depicts the night of Oscar's love confession and expression of atonement. The controversial cloth-ripping scene, which is often misread, must be analyzed not merely as a mix of love and lust, but as a violent act of necessity born from deep-seated class and psychological oppression.

在第 25話已經鋪陳，瑪莉將美洲來歸的 Fersen 任命為編制外的陸軍上校，巡守凡爾賽宮周邊，這其實排擠了奧斯卡的功能，雖然如此，她還沒有離職打算。同樣也在 25 話，奧斯卡終究明白自己是局外人，穿了女裝跟 Fersen 跳舞，斷絕了對他的懸念。我另一篇文章針對為何跳一支舞就能斷念的奧斯卡愛情中的盲點進行了探究。
As foreshadowed in Episode 25, Marie Antoinette appoints Fersen—recently returned from America—as a reserve colonel in the Royal Regiment, effectively sidelining Oscar’s position. Despite this, no hint of resignation has yet come to her mind. Also in Episode 25, it was only when Oscar realized she was an outsider to the bond between Antoinette and Fersen that she took action: she dressed in women's clothing to share a final dance with him, ostensibly putting an end to her long-term romantic longing..., and the question of why a single dance could end such long-term longing is tried to be answered by my another article.

約一個月後，到了 28 話，中間經過奧斯卡插手黑騎士的事情，導致安德列失去一眼，Fersen 再度因為跟瑪莉戀情的痛苦來找他的情緒垃圾桶奧斯卡。Fersen 真的很愛奧斯卡，對她有戀母情節，什麼不開心都帶回家給老母，媽寶一個。他揭穿奧斯卡暗戀自己，意圖不明，可能是想證明自己的魅力、或是一時衝動想跟她在一起。奧斯卡拒絕了厚臉皮的他，主動道再見，表示不再見面，這是絕交了。後面才有奧斯卡想離職，因為再繼續待在那職位上多少會見到面。
About a month later, in Episode 28, following Oscar's unauthorized involvement in the Black Knight case—an intervention that resulted in André losing an eye—Fersen once again seeks Oscar's solace, using her as an emotional dumping ground. He turns to her due to the pain caused by his relationship with Antoinette. This behavior suggests Fersen truly loves Oscar... as a mother figure. He seems to harbor a mother complex, essentially acting as a typical "mama's boy" who brings all his unhappiness home to his mom. In a moment of unclear intent—perhaps seeking validation of his charms or implicitly persuing her — Fersen exposes Oscar’s crush on him. Oscar, however, rejects the soft-imprudent Fersen by actively bidding him farewell and declaring they should never see each other again. This decisive act marks the end of their friendship. Consequently, Oscar considers resignation, believing that remaining in her current service position would inevitably lead to further unnecessary encounters.

她決定不再被愛情困擾、想拋棄女性特質、過著「男人」的生活，而男人應當獨立，所以她向安德列提出分道揚鑣的想法，但我認為這裏多少有奧斯卡對安德列的保護，他剛因為救她而失去了一眼，她希望他不要再因為她受到什麼傷害。但安德列沒想到這點，他含蓄的比喻「玫瑰無法變成丁香」—— 直接挑戰了她虛假的獨立感、以及身為女人的自暴自棄。在憤怒下，她打了他一巴掌，抓住他的衣領，不僅進行身體挑釁，情緒上也勒索。安德列一時衝動吻了她，還撕她衣服，引發了短暫而令人震驚的衝突，但他立刻後悔道歉，為她蓋上被子，發誓再也不會這麼做。Oscar’s decision to resign her twenty-year career in the Imperial Guard and transfer to the French Guards is a desperate attempt to sever ties with Fersen's pestering and shed all "troubles of love." Resolved to live fiercely “as a man,” she orders André that he is left to his own devices. While this order is arguably a reflection of Oscar's protective instinct (fearing further physical injury for the one-eyed André), he seems failing to interpret the dismissal. His subsequent metaphor—“a rose cannot become a lilac”—challenges her self-denial of femininity and her fake sense of independence. In a surge of fury, she slaps him, seizes his collar, and provokes him both physically and emotionally. André reacts impulsively, kissing her and tearing her shirt, briefly escalating the tension, but he immediately regrets the action, covering her and swearing it will never happen again.

安德列失控的原因，答案在第 37 話，奧斯卡與安德列告白成婚之夜，奧斯卡向安德列表達歉意：「明明知道你愛我，卻還是愛著 Fersen」。導演對貴族社會的批判非常嚴厲，體現在奧斯卡對於未能回應安德列的愛感到愧疚。安德列的奉獻是愛，但她有意識地忽略，一直把他排除在戀愛對象之外。在25話，貴族社會最後的自我討醉時期，奧斯卡一心追求同個階級的候鳥，她對此深感虧欠。37 話的「早就知道」跟諾曼第海灘的陳述 「朝夕相處卻沒有察覺的愛」(一緒にいながら愛されていることに気づかなかった愛) 互相矛盾，可見在諾曼第的時候她還在欺騙自己的感情，所以最後才露出愧疚的神情。她整個人生都是一種自我欺騙的模式，始於她誕生在貴族家庭，然後又被迫扮演男人角色。
The answer to André's outburst is found in Episode 37. On the night they consummate their love, Oscar expresses her guilt to André: she chose Fersen over him. She consciously believed Fersen was "allowed" while dismissing André's deep, genuine love as inevitably unrequited due to his lower social class. Her confession in Episode 37 exposes a contradiction to her earlier self-reflection on the Normandy Beaches (Episode 29). Her retrospective thought—that she "...didn't realize she was loved even though they were together"—demonstrates that even during that monologue, she was maintaining a form of self-deception by refusing to acknowledge André's powerful, known love. Throughout her life, she lived in a self-deception mode, started with her aristocratic birth and then the forced role of a man.

她有意識地認為「Fersen 是可以接受的」，並認為安德列的愛因為社會地位不同而注定得不到回應。這與革命前夕貴族們將平民百姓的苦難視為「正常」的態度如出一轍。換言之，奧斯卡愛情中的殘酷，正是貴族階級潛意識中殘酷本質的政治隱喻。
This cruelty in Oscar's love life is, essentially, a cruel political metaphor for the inherent, unconscious narcissism that defined the aristocratic class on the eve of the revolution. Her blindness to André's enduring, sacrificial love strikingly mirrors the aristocracy's disregard for the suffering of the commoners.

22話酒館場景顯示安德列的愛完全被無視 A scene showing André’s feelings extremely ignored. (Epi. 22)

他只能看著她奔向另個男人。 What can he say and what can he do? He can only watch her running to another man.

第26話兩人對於黑騎士一事歧見甚深，安德列對於黑騎士的事情態度非常冷淡，原因之一是，那不是奧斯卡份內的事。 Episode 26 highlights a serious conflict over the Black Knight case between the two. André exhibited distinct disapproval and indifference toward the pursuit, motivated by his view that the matter lay outside Oscar's job functions.

第26話中，奧斯卡再次發表了一番冷血的言論。當安德說，他觀察到時代對貴族不利時，她叫安德列到時候不必客氣，因為他不是貴族。我搞不懂她到底是要安德列不要「客氣」什麼？她的話語充滿了自大跟自卑以及不安全感，自大自卑通常是一體兩面，這正是自戀的貴族社會的典型特徵。 Episode 26 shows another scene of Oscar's coldhearted remark. When Andre tells her that he observes the tide of time is turning against the nobles. She replies there's no need for him to "hesitate" when it does since he is not noble. I mean, "hesitate" what? Her remark is a compound of arrogance and insecurity, which is normally the two sides of a coin, a DNA of the narcissistic aristocracy society.

在28話的馬廄這個場景中，奧斯卡正在跟安德列講那些自己愛過誰戀過誰的五四三，鑑於37話她說她早就知道安德列愛她，所以這裡的奧斯卡是有意在傷害安德列，非常不可取，她明知道他有口難言。安德列被無視成這樣真可憐。 The stable scene in Episode 28 shows Oscar telling André about her knowing what love and falling in love is, clearly implying she once focused on someone else. As evidenced in Episode 37, Oscar knew of André's profound affection all along. Her actions in this moment, therefore, constitute an intentional and highly inappropriate act of cruelty, especially since she was fully aware he was compelled by his class and position to keep his love silent and secret. André's consistent emotional neglect in these scenes is truly pitiful.

然而奧斯卡，從雙手被反制，到後來完全的示弱：”所以，你想要怎麼處置我?” 編劇或許意在表示女人力量不如男人。這就為何西方一些年輕女性，尤其女權自助餐那些，不喜歡這一幕。However, Oscar’s shift from being trapped to showing complete vulnerability—saying, “So, what do you want to do with me?”—suggests that the screenwriter may have intended to portray women as inherently weaker than men. That’s why some young women, especially those who pick-and-choose, dislike this scene.

此外，編劇們亦或許暗示，即使是像安德列這樣自制歷史超過25年的冷靜、成熟的男人，如果情感上長期遭到冷漠忽視，在身心創傷的壓力之下，也可能失控、而徹底崩潰。奧斯卡常常忽視安德列的感受，尤其是在黑騎士篇（第 26-27 話）以及第 25話 和 28 話。
Perhaps the screenwriters also intended to show that even a man as calm and mature as André can lose control and break down under sustained physical and emotional abuse. This interpretation is supported by Oscar's consistent disregard for André's feelings across several cruel episodes, including the Black Knight arc (Episodes 26-27)，Episode 25, and the emotional tolls of Episode 28.

她的作為有道德上的問題，就是如果沒有把人家當成戀愛對象應該早日誠實告知。另一種解讀是如果奧斯卡小姐道德沒問題，那表示她因為內心愛著安德列想要把他留在身邊，所以裝不知道、不回應。那為何又能同時愛上Fersen? 她應該是精神分裂吧？但也可解讀為她對 Fersen 的愛終究是缺乏現實感的虛擬戀愛，與安德列真實的愛是不同。而且不要忘了，Fersen長年在外生死未卜，這也造成了不實的心理修補效應。所幸她對 Fersen 的感情沒有深到讓她付諸行動，唯一的行動是一件洋裝與一支舞。
Oscar's actions toward André are morally questionable. If she did not consider him a love interest, she should have honestly communicated this, allowing him to leave her and the mansion earlier to pursue his true love. An alternative interpretation suggests that if her morality is sound, her reluctance to respond to André indicates that she does love him but fears separation, thus pretending to be unaware of his love. This, however, introduces a narrative conflict: how could she simultaneously harbor feelings for Fersen? Attributing this to a "mental disorder" is reductive; the tension more likely stems from the discrepancy between the anime adaptation and the original manga serialization. Bypassing this structural problem allows for the reading that her devotion to Fersen might not be genuine love but a form of psychological displacement, contrasting sharply with André's profound and authentic affection. Fersen's prolonged absence and uncertain fate may have created a "post-crisis emotional misattribution", which would require time for Oscar to examine whether her feelings for Fersen qualify as love. Fortunately, her attachment to Fersen was not deep enough to prompt any advance toward him, except for a dress and a dance with him to bid him farewell.

37話的坦白可以解讀為她最終接受了自己的真心，她在心中完成了大革命，捨棄了她到當下為止所持有的既有觀念和偏見，允許自己去做她認為是正確的事情，去做她想做的事情。打破了自我欺騙的壁壘，承認了真相、以及她最愛的安德列。但是，一切還是太遲了，她最後含恨而終。
In episode 37, Oscar finally accepted her true self after an internal revolution. She shattered her preconceived notions and class prejudices, allowing herself to act based on her genuine self. By demolishing the walls of self-deception, she fully embraced her truth and, in turn, acknowledged the unwavering love of her beloved André. But it’s too late. She died with deep regret.