Christian themes in Harry Potter?

[inked]

brownjenkins,

In a sense, Harry already has been crucified (the Cruciatus Curse in the cemetary battle with Voldemort) along with many persons in the HP series who gave their lives in that mode (Nevilles's parents and their living 'deaths', so to speak); also Sirius falling through the veil. But the symbolist approach to literature doesn't require crucifixion per se. What we do see is that individuals in opposition to the power of this world not infrequently are pursued, tormented, tortured, and, yes, killed for their audacity. That is symbolic of the Christian life as it may be worked out in the individual believer, though not everyone is necessarily a martyr.

So, I think it highly likely that Harry (who is Everyman symbolically) will likely die to save his world and defeat Voldemort - but it could be along the same lines as Frodo (who saved the Shire but not for himself, as you recall). I predict elsewhere that Dumbledore will be the one to die in the 6th book and I think his death will have the same characteristics. But I think this will occur to put Harry in the pre-eminent position so that Hary's decision will have lasting effect. (Recall that Dumbledore has been in this battle before with Grindewald who was defeated by him in 1945). And recall that Dumbledore advised Harry that if one person at a time prevented the return of Voldemort, "why, he might never come back"!

So I think JKR is telling a rollicking good tale very similar to that which Lewis told about Narnia and in much the same way. AND it is not tit-for-tat allegory but a complex symbolist look at life which gives many vantage points. And it is not a disguised attempt to convert people to Christianity any more than LoTR! But the parallels are too many and obvious to be incidental or unintentional. BESIDES, as JRRT observed the Eucatastrophe is myth made fact and all eucatastrophes draw their meaning from that!

[sun-star]

Originally Posted by inked

So, I think it highly likely that Harry (who is Everyman symbolically)

Why is Harry Everyman? There have been signs since the beginning of the series that he is special, and the prophecy surely confirmed this. In some way which we don't know yet, he is uniquely suited to fight Voldemort. His angst at the end of the fifth book is all about how he's the chosen one. He's an ordinary boy, sure, but there's something special about him which no one else has, not even Dumbledore. If Harry dies to save his world (and I agree with you about everything else you said - I see sacrificial death coming for both Harry and Dumbledore) he will be a Christ figure.

[inked]

Well, I think Harry is an Everyman in the same way that Dante is an Everyman in the Divine Comedy. In the latter, we see through Dante's eyes and experience what he does. The same is true in Harry Potter and to a much greater degree in terms of revelation of thoughts and emotions and dreams. And, we don't get the same sort of information in the same ways from Hermione or Ron or any other character. Our entire experience of Hogwarts is via the external, internal, and self-perceptions of Harry.

And I agree that Harry is special. Every human is special in the same way as Harry. We all fight Voldemort. His angst about being the chosen one is our angst when we have to make the decisions about daily lives and character.
And what you say about his specialness in relation to Dumbledore and the other characters is true - only Harry can be Harry to each of them and be unique in his opportunities. But this was and is equally true for each of the other characters IF the story were written from their point of view as it is from Harry's. And Harry is/maybe a Christ figure in the same way as each of them is/could be were the story told from their point of view, or not (if that is the choice finally made). So I contend that Harry is the Everyman from the structure of the book, the way the characters are delineated, and the way they interact.

On a related note, Harry makes all the important decisions about his character and development as he becomes capable of handling them, hence his angst. But all adolescents go through this in the normal development process AND, importantly, all persons continue to go through this as they face the trials and temptations of life and adulthood, middle-age, and older years. This process never ends in this life. And that is why I think Harry is Everyman and appeals to adults and children. (Did you know that greater than one-third of all HP books are thought to be purchased by adults for themselves! There is one company in England that makes them available in plain brown wrappers so persons reading in public transport or places won't be "embarassed"!) I think this appeal comes from the fact that we all are at Hogwarts everyday of our lives, and we all are uniquely placed and gifted, and we all face Voldemort, and it is a fight to death for each of us.

Me, I read my HP boldly in full-color dust jackets! But I guess you don't find that surprising !

[inked]

brownjenkins,

I have had leisure to re-read Ms Dorothy L. Sayers introduction to her translation Dante this evening. I find that my memory betrayed me in one particular in regards to Dante's poem. Specifically, that he used the word "moral" where I had placed "symbol" in post #37. This is an error of some significance since Dante considered allegory a subset of symbolic writing.

I hope it doesn't bore you, but I am taking the liberty of noting Dante's words on how his Comedy was to be read. In a letter to his patron, Can Grande della Scala he writes:

"The meaning of this work is not simple...for we obtain one meaning from the letter of it, and another from that which the letter signifies; and the first is called LITERAL, but the other ALLEGORICAL or MYSTICAL. And to make this matter of treatment clearer, it may be studied in the verse "When Israel came out of Egypt and the house of Jacob from among a strange people, Judah was his sanctuary and Israel his dominion." For if we regard THE LETTER ALONE, what is set before us is the exodus of the Children of Israel from Egypt in the days of Moses; if the ALLEGORY, our redemption wrought by Christ; if the MORAL sense, we are shown the conversion of the soul from the grief and wretchedness of sin to the state of grace; if the ANAGOGICAL,
we are shown the departure of the holy soul from the thraldom of this corruption to the liberty of erternal glory. And although these mystical meanings are called by various names, they may all be called in general ALLEGORICAL, since they differ from the literal and historical.
"The subject of the whole work, then, taken merely in the LITERAL sense is "the state of the soul after death straightforwardly affirmed", for the development of the whole work hinges on and about that. But if, indeed, the work is taken ALLEGORICALLY, its subject is: "Man, as by good or ill deserts, in the exercise of his free choice, he becomes liable to rewarding or punishing Justice". "

I now follow with Ms Sayers comments:
"It will be seen that Dante has chosen as his illustrative example a text which, taken literally, asserts a historical fact, but which can be interpreted allegorically on three different levels. This suggests that the allegory of the COMMEDIA also may, and should, find various levels of interpretation; and this is true, both of it and of all great allegories which convey universal truths.
"Two other consequences follow. In the first place, because the personages are symbollic images in an allegory, we need not trouble too much about the accuracy of Dante's information and judgment, or waste our time in exclaiming over his arrogance in adjudicating eternal awards and punishments.
He may have erred in supposing.... But that need not, and does not, prevent us - as it did not prevent Dante - from saying: "If his deeds do not belie him, then in that man we behold something that is an embodied damnation." ...
"In the second place, by using for his images real people, rather than personified abstractions, Dante gains an enormous artistic advantage over the simple allegorist. ...Instead of endeavoring to interest us in personages labelled "Counsel" or "Divine Grace" or "Simony" or "Theology" he gave us portraits of Virgil, Beatrice, Pope Nicholas III, and Thomas Aquinas, in whom, since they are human, we are predisposed to be interested."

from DANTE: THE DIVINE COMEDY 1: HELL, "Introduction", pages 14 - 16 published by Penguin Classics, translated by Dorothy L. Sayers (1949), paperback.

Now, if you haven't fallen asleep, I think that HP is this type of symbolic work with these levels of allegorical analyses possible of the literal historical narrative of HP. BUT PLEASE NOTE that I am NOT contending for simple allegory a la Bunyan, rather the complexity and subtlety and symbolic imagery of Dante. And I do not think Dante comes off the worse for this comparison to JK Rowling, nor she vice versa.

But more tomorrow as I am tired afte a busy, busy day. And I will get to Fawkes, as some seem interested.

[sun-star]

Originally Posted by inked

And I agree that Harry is special. Every human is special in the same way as Harry. We all fight Voldemort. His angst about being the chosen one is our angst when we have to make the decisions about daily lives and character.
And what you say about his specialness in relation to Dumbledore and the other characters is true - only Harry can be Harry to each of them and be unique in his opportunities. But this was and is equally true for each of the other characters IF the story were written from their point of view as it is from Harry's. And Harry is/maybe a Christ figure in the same way as each of them is/could be were the story told from their point of view, or not (if that is the choice finally made). So I contend that Harry is the Everyman from the structure of the book, the way the characters are delineated, and the way they interact.

I see what you're saying, but I don't think the fact that Harry is the POV character makes him Everyman. If the story were written from Hermione's POV, it would still be about Harry, because it's his struggle with Voldemort (on the literal plot level) which drives the series. He's the one who has been chosen (Voldemort 'marked him as his equal') and who has to fight the battle. I don't think the series is about Harry merely because he's the POV character - it's about him because the story is Harry vs. Voldemort.

Otherwise every POV character in every novel would be Everyman. Your example of Dante is different - Dante is indeed a kind of Everyman because within the story he could be any ordinary person. His travels could be the travels of any and all of us, not just his experience as an individual. But Harry's experience is individual and unique within his world - the others aren't fighting Voldemort in the same way he is. At the beginning he acted as the eyes of the reader, but now we're familiar with the world he's distinct from the reader and from the other characters, not just any ordinary person.
Besides, I don't think HP is a morality play. When you get into individualised characters you leave Everyman behind.

But anyway, on to Fawkes.

(Did you know that greater than one-third of all HP books are thought to be purchased by adults for themselves! There is one company in England that makes them available in plain brown wrappers so persons reading in public transport or places won't be "embarassed"!)

They actually make them with swish black-and-white arty photographs on the front, which are quite pretty. But I read my bright-coloured ones with pride too! (The day OotP came out I happened to be travelling by train to London and I saw many adults unashamedly carrying their copies under their arm!)

[inked]

Sun-Star, I also see your point. We agree, for now, to disagree on this point. But I will undoubtedly refer back to it for the reasons I gave.

On to Fawkes!

[inked]

Fawkes is a phoenix.
Christian symbolism uses the phoenix as "the Resurrection bird"=Christ.
Pre-christian symbolism was the reason for the choice of the phoenix as such.

A little history, Maestro, if you please!

Louis Charbonneau-Lassay (LCL) published a one-thousand page study of the religious traditions of Egypt, classical Greece and Rome, early and medieval Christianity, Gnosticism, Kabbalah, and alchemy entitled THE BESTIARY OF CHRIST. Published at the outbreak of WWII in his native France, the work was nearly lost during the devastation of the war. Richly researched and documented, it has been translated and abridged by D.M. Dooling into English. The French publication was Le Bestiare du Christ in 1940. My English translation was published in 1991 by Arkana, a member of the Penguin Group. I have had this book and browsed it for over a decade, finding it very useful in understanding Christian symbolism in literature, art, and poetry in word and stained glass! (It has certainly had a work out this year in HP!)

Additional references are: TH White's BESTIARY, P. Ford's COMPANION TO NARNIA, D. Colbert's THE MAGICAL WORLDS OF HARRY POTTER, Allen and Elizabeth Kronzek's THE SORCEROR'S COMPANION, and John Granger's THE HIDDEN KEY TO HARRY POTTER and LOOKING FOR GOD IN HARRY POTTER.

********

The phoenix was known in ancient Asia much earlier than in Egypt: the oldest known Chinese art shows a phoenix often in conjunction with the Nile lily or the lotus, and sharing their symbolic meanings. Assyrian art shows a sacred bird...and this tutelary bird...resembles a phoenix much more than a falcon. Contemporaneus Egyptian culture has a bird following or preceding the Pharoah's chariot, a falcon. Yet Egypt is the source of the myth of the phoenix, a bird which does not accord with any real species of native bird. It is given the name BENNU ( a name reflecting an idea of splendour, seemingly related to the Assyrian BANU meaning brilliant) in Egypt hinting at the vivid color which the Greeks translated as foinix, "crimsoned," from foinikes, "the color crimson"; foinix, which the Hellenist scholar Planche translates as "fire bird." The image is thought by Egyptologists to have its natural prototype in the golden pheasant of Asia. Its Chinese version had the same source.
The Chinese version was born from the sun or from fire, was protector of Emperors, and thought to appear to some holy man or great one of the empire in times of prosperity, when heaven bestowed special blessings on its children... . It was also said there that holy souls in heaven are fed...the marrow of the phoenix, which keep their immortal state in a condition of unequalled bliss.

In the Egyptian religion, the BENNU was connected with the interwoven cults of Osiris and Ra. "The symbol of periodic appearances, and so of sunrises; that is to say - let us take this into account at once - it was a symbol of the resurrections of Osiris" (Virchey). In Ritual of the Dead Osiris identifies himself with the BENNU saying "I am the BENNU...I am the law of existence and beings" (birth, death, and resurrection). This identification of Osiris and the bird sacred to him is found from very early times...in the temple of Heliopolis the BENNU was honored with it own legend in the last millenary before our era. THIS LEGEND SAYS THAT THERE NEVER EXISTED MORE THAN ONE BENNU ON EARTH, and when it felt its five hundredth year approaching, it took flight...and on the altar of the Sun temple it built a funeral pyre of precious Arabian spices upon which it was consumed, the Sun's rays starting the fire. But in the ashes immediately was born a little worm that before the end of the day was transformed into a new and fully vigorous BEENU. Herodotus says that Hesiod lived in the time of Homer (some say Hesiod was contemporary of Solomon) and he is claimed to be the first to speak of the legend of the BENNU in the classical countries, where it was called by the Greek name of foenix, phoenix. Herodotus further says, "If this bird is like the protrait that has been drawn of it, its wings are part golden and part red, and the shape of its body is like the eagles." Pliny in his Natural History and Ovid in Metamorphoses note that the "turning of the Great Year is accomplished with the Phoenix, and that then the same signs reappear of the seasons and the planets. This renewal takes place at noon on the day when the sun enters the sign of the Ram."LCL , pp 441 -444.

to be continued...

[inked]

Fawkes/Phoenix/history continued...

Nonnus, a Greek poet of Egypt in the 4th century before his conversion to Christianity tells the same story - that the phoenix brings about its rebirth from itself, and not from any other source; this is above all why Christian symbolism chose the fabulous bird as one the most perfect symbols of the risen Christ.
...Christian symbolism, finding the legend everywhere, made it into one of the principal symbols of the Resurrection. This teaching, "But now is Christ risen from the dead, and become the first-fruits of them that slept. For since by man came death, by man came also resurrection from the dead. For as in Adam all die, even so in Christ shall all be made alive" (I Corinthians 15: 20 -22, St. Paul), needed symbols to manifest itself itself to the eyes of the world. In the clear affirmation of the new faith, this symbol was chosen first by the Christian priests and teachers - the Egyptian phoenix. All other symbols of the Resurrection were adopted after it. St Clement wrote to the same Church at Corinth that Paul had addressed. In 79 AD Clement used the legend of the Phoenix and concluded "Shall we judge it a great and astonishing matter that the Artisan of the Universe should bring about the resurrection of all those who have served him in a holy manner, with the confidence of a valiant faith, when he shows us with so small a thing as a bird the magnificence of his promise?" The Church Fathers of the early centuries celebrated the legend of the phoenix (whether naively or with wise reservations) and all drawing the conclusion of the certainty of the resurrection of the body and making it an image of the resurrected Christ. The phoenix was bound, then, to appear in Christian art as a symbol of this teaching or as an image of Christ. When it reflected the image of Christ, it was often shown perched on the palm tree. St Paul's depictions show a phoenix on a palm behind him on ancient monuments in accord of his being the Apostle of the Resurrection (cf Corinthians above and throughout). The phoenix may be shown holding a palm because of its conquest of death or a branch of olive betokening peace as Christ said: "Peace be unto you."

In medieval times and to the present, alchemists place the phoenix on the sign for sulfur ( a triangle with inverted cross on its base ) as an image of perpetuity through the continual renewal of cycles. Mystics of the Middle Ages made a connection between the phoenix and Christ because the former is born without obeying the ordinary laws of reproduction and because only one ever exists on earth - thus, they say, Jesus. In French heraldry it was and is an emblem of hope as a human feeling and a theological virtue. The Middle Ages saw it as a symbol of the purity of conscience and, by extension, of chastity (in Chartres Cathedral sculptures, and there perhaps especially feminine chastity, as also in the rose window of the Cathedral of Paris and the sculptures at Amiens). This association is strengthened when the phoenix is associated with white water lilies, emblems of chastity and virginity, as noted since Pliny, and in Western art. LCL pp 445 - 452.

This symbology is noted in Colbert, Kronzek, and White (though not so extensively documented as my precis of LCL). J.E. Cirlot in DICTIONARY OF SYMBOLS notes the legend and states: "In the Christian world, it signifies the triumph of eternal life over death. In Alchemy, it corresponds to the color red (Sulphur), the regeneration of eternal life and to successful completion of a process" p. 254.


Aside from raising my post count, this review is important and should be considered carefully as we look at Fawkes in the HP series so far published. In this review we see many ancient and pre-Christian ideas that have been Christianized so completely in Western art and literature as to nearly have been replaced or brought virtually exclusively into the service of Christ and his Church. So, for an author like JK Rowling writing in the English tradition,this Western and Christian tradition is to be the pre-eminent usage by a convention of 2000 years duration! and which had subsumed previous meanings and usages by fulfilling them! But that shall become clear when we walk the walk and talk the talk of Fawkes!

[inked]

Fawkes is first heard and seen on a Burning Day by Harry. His appearance belies the reality of his nature so much that he is undesirable and without any comeliness (CoS, p 206). Harry's feeling pretty much the same having just tried on the Sorting Hat and had his worst fears confirmed. The description parallels that of the Suffering Servant in Isaiah and the identification of God with man in the Incarnation and specifically Hebrews teaching that Jesus was like us in all points, except sin.

Dumbledore explains the nature of phoenixes and instructs/invites Harry to observe. Harry sees "a tiny, wrinkled, newborn bird ... quite as ugly as the old one." Dumbledore then recounts the nature of Fawkes: "He's really very handsome mnost of the time, wonderful red and gold plumage. Fascinating creatures, phoenixes. They can carry immensely heavy loads, their tears have healing powers, and they make highly faithful pets."

The parallels with Fawkes burning, reduction to ashes, and rebirth - all of himself - are Christian: was crucified, died and was buried, and rose again. Calling to mind "The zeal of Thy house has consumed me"; "the Son of Man must suffer"; "I lay down my life and take it up again".

Next we have Dumbledore's affirmation of faith in Harry and being available to let Harry tell him "whether there is anything you would like to tell me. Anything at all." Harry is unable to respond in similar faith and trust. "No, there isn't anything, Professor...."

Here in word and picture we have the precis of the phoenix legend in its main outlines. It accords in the main with the general legendaria noted above, but there seems to be some adaptation by JK Rowling. There is an implication in Dumbledore's description that there may be more than one phoenix. But this could be the perspective of Dumbledore over time as well. And their powers seem to be enlarged. One could imagine the heavy loads being related to bringing the Arabian spices in sufficient quantities for the funeral pyre on the altar at Heliopolis, but the specification of healing powers by tears and their faithfulness as pets seem additions to the main legendaria.

However, if one considers the Christian view of Christ Jesus' accomplished work as Messiah the extensions have immediate pertinence. The heavy load is applicable of the sins of the world, the healing tears correlate with Jesus' healings and use of spittle or water as agents, and Fawkes faithfulness with Jesus' promise "I am with you always, even unto the end of the age".

If we now turn to FANTASTIC BEASTS AND WHERE TO FIND THEM by Newt Scamander, we find in the description an interesting use of the singular in the description. "The phoenix ... It nests...and is found in Egypt, India, and China. The phoenix...it can regenerate. The phoenix is a gentle creature that has never been known to kill and eats only herbs. ...it can disappear and reappear at will. Phoenix song is magical; it is reputed to increase the courage of the pure in heart and to strike fear into the hearts of the impure. Phoenix tears have powerful healing properties." p 32. Footnote: "The phoenix gains a XXXX rating not because it is aggressive, but because very few wizards have ever succeeded in domesticating it."

In this description there is a strong emphasis on the singular, suggesting but not proving, that only one is present on earth at any time. But I am not too adamant about this for Newt's style is to use the singular in his descriptions.
HOWEVER, we may note that specific attributes given it have parallels in Christian thought. The allusion to never have known to kill calls to mind the Servant Song in Isaiah "a bruised reed He shall not break" and the ability to appear and disappear recalls the Resurrected manifestations of Christ on Emmaus Road and in the upper room where the disciples hid from the authorities. Phoenix song parallels the Holy Spirit. And the Holy Spirit blows where He will - certainly not domesticated.

In ULTIMATE UNOFFICIAL GUIDE TO THE MYSTERIES OF HARRY POTTER by Galadriel Waters and Prof. Astre Mithrandir, 2002, Wizarding World Press, page 111, attention is drawn to Newt's description and the "Evidence of Dumbledore's power, compassion, or maybe even a mysterious link to these bird." A link later explained in the events of the Chamber of Secrets, IMHO.

THE SORCEROR'S COMPANION notes "While Dumbledore's phoenix, Fawkes, most resembles the legendary bird of classical mythology, he has some of the Chinese phoenix in him as well. For it is the Chinese bird - talons bared and wings spread wide - that is traditionally depicted attacking snakes such as the basilisk. And while we know of no precedent for Fawkes' ability to heal wounds with his tears or empower wands with his tail feathers, we also suspect there is a great deal more about this remarkable bird we have yet to discover." p 189

Yes, indeedy! But more later when we take up the events of the Chamber.

NOTE, please that these are parallels and allusions in symbolic form, NOT a strict one-to-one allegory. These are not labels of virtues or actions like Pilgrim's Progress, but much more like Dante's symbolic presentations. And, just as one may read Dante simply on the story line, so JK Rowling. But this pictorial and multi-level approach is functional and not forced; it flows along an integral part of the the river of the story and rendering it a deep river, not merely a shallow stream!

[Mercutio]

Originally Posted by inked

"The zeal of Thy house has consumed me"

reminds me of someone else


and to be on topic:
I think Rowling used a lot of the Western tradition, which stems mostly from Christianity.

[inked]

Of course! Playin' Canterbury the dogma was the drama!

[inked]

Nurv, brownjenkins, minielin?

More? or not? Too boring?

[inked]

*bump*

same question!

[sun-star]

Well I thought it was interesting...

How do these ideas about Fawkes relate to Harry, then?

[inked]

OK, Sun-star,

Here's an analysis by John Granger on-line (though it is in the two books of his I referenced above):http://www.ev90481.dial.pipex.com/ha...er_granger.htm

See the section "Chamber as Morality Play" for a brief outline of the argument.
It's about 3/4 into the article.

I'll do a further follow-up, with the correlations I see in relation to the COS.

[inked]

Harry in the CoS (pages 312 ff) is being interrogated by Tom Riddle who asserts that he desires to know how Harry escaped the greatest wizard of all time? Harry asserts that Voldemort was after Riddle's time. Riddle, pulling Harry's wand from his pocket, uses it to write his own name in the air and reorganize them into I AM LORD VOLDEMORT. He then gives family history and again asserts his being the greatest wizard of all time.

"You're not," (Harry) said, his quiet voice full of hatred. "...the greatest wizard in the world is Albus Dumbledore."

Voldemort says Dumbledore has been driven from this castle by the mere memory of himself.

"He's not as gone as you might think!" Harry retorted. ..."wishing rather than believing it to be true - "
************

Interestingly Harry has come to understand the true nature of Tom Riddle/Lord Voldemort by the self-revelation of this character in refusing to aid Harry and Ginny, in the elaboration of his venom towards Muggles, and in his flalse claims to supremacy. In the face of apparently insuperable odds, Harry states his belief in Albus Dumbledore. When Voldemort asserts his power in driving D out of Hogwarts by mere memory, Harry asserts "He's not as gone as you might think" wanting to scare Riddle, wishing rather than believing it to be true. In this we see the model of a person (Harry) who has been deceived by the appearances of the world (Tom Riddle, the diary) but who has come to understand that evil is at work, its source, and its goal. In the teeth of this trial, in the face of the enemy, the believer asserts the supremacy of God (Albus Dumbledore) in a personal act of faith. The enemy asserts his might in having driven that influence out of the castle, but Harry responds again in faith "not as gone as you might think" even while entertaining doubt! The response to this act of faith is dramatic - music.

I think this portrays dramatically the state of the soul when it comes to grip with the reality of evil and sees it as false path. The truth or the lie is then the soul's choice. Repetitive assaults on that confidence in God's supremacy may weaken faith, but faithfulness continues to hang on to God. And the claim "he's not as gone as you might think" is opposed to the instability of evil in its very nature. Voldemort's italicized word memory is opposed by the action of verbally recalling the presence of Dumbledore. This plays on the power of guilt in symbolic form and suggests that the memory of the reality of evil is strong enough to conquer. But Harry's action is present, an anamnesis - the opposite of not remembering, a calling into present existence.
This parallels the action of faith in the Eucharist.
+++++++++++++++

The response to this anamnesis is beyond either Harry's feeble wishes or Voldemort's anticipations. Music is heard coming out of nowhere and everywhere in the chamber. It grows in volume. It was "eerie, spine-tingling, unearthly" - one might say othernatural,palpable,nonearthly. It had specific effects on Harry: "it lifted the hair on Harry's scalp" - remarkably windy imagery!; and "made his heart feel as though it was swelling to twice its normal size" - a very central enlargement of the traditional seat of the will!
And the music continues to swell in volume and pitch until "Harry felt it vibrating inside his own ribs" - a remarkable symbol of a unity of Harry's being with the music. Then "flames erupted at the top of the nearest pillar" - fire is a symbol of the holiness of God, His Presence, and particularly the Holy Spirit.
******************

Here we have the dramatic presentation of the scriptural promise that "there is no temptation which you have which is not common to all men, but God is faithful who will always make a way of escape"(Hebrews). And Harry, however feebly, has held on to his faith. He then has a virtual private Pentecost - the wind imagery, the sound, and the fire (cf Acts) and Harry is empowered in the inner man (heart) and spirit (vibrating lungs full of 'the breath of Life').
++++++++++++++++++

Fawkes appears, crimson (like traditional church doors to the nave/blood red) and "piping its weird music to the vaulted ceiling" (how's that for churchy imagery taken alone?). Fawkes has a golden tail and talons (kingly train and power imagery) and is gripping a "ragged bundle" (unlikely to be helpful on earthly standards and allusional to "earthen vessels", perhaps?).
******************

Phoenix as Christ symbol, music as Holy Spirit symbol, ragged bundle as Creator/Father symbol or at least strong visual allusions to the persons of the Trinity acting in concert (cf Athanasian Creed). And the appearance of Fawkes cannot but provoke the memory of Jesus in the Upper Room appearing "though the doors were shut" against the fear of the priests and the crowds and their discovery!
++++++++++++++++++


Now, in this highly personal and allusional reading, I am merely responding to the material out of my own reading, understanding of history, experience, and belief system - which is highly biblical and Christian. I am NOT arguing that JK Rowling intentionally meant as she wrote/edited exactly what I am saying. But the imagery is certainly capable of bearing this without forcing it on every reader.

Harry is every believer in God in the course of daily life, trial and temptation who is brought to the realization of a faith test: choose the apparent reality but no more or walk in faith and not by sight only. The affirmation of faith brings resources in unexpected modes - sound, "sensible consolation" or spiritual enhancements, and physical agency. "Grace sufficient" to the task at hand.

continued...

[inked]

Fawkes then flies straight at Harry (who is in the process of trying to figure out what this is) still singing. Fawkes drops the ragged bundle at Harry's feet, "landing heavily on his shoulder", folding "its great wings", and readily visible are its "long, sharp golden beak and a beady black eye." THEN "the bird stopped singing" and "sat still and warm next to Harry's cheek, gazing steadily at Riddle."

"That's a phoenix...." said Riddle.
"FAWKES?" Harry breathed, and he felt the bird's golden claws squeeze his shoulder gently."
*******************

Phoenix to Harry - Jesus to disciple "Lo, I am with you always"
sensible consolation - heavily, still, warm on shoulder - "There is a friend that
sticketh closer than a brother"
great wings - spiritual marker, suggestive of the Holy Spirit descending on
Jesus at Baptism visibly to John and those present
long, sharp golden beak - when the Son of Man returns in the Apocalypse of
St.John (Revelation) the image of a sword
proceding out of his mouth is employed
beady black eye - piercing gaze suggesting Him who looks not on the outside
"but on the heart of men", God
stopped singing - the anamnesis is complete, Christ is present, literally on
Harry's shoulder (side)
++++++++++++++++++

Harry has the experience and receives the gifts and the phoenix but still has not identified his Advocate/Comforter/Helper! That is Voldemort/Riddle's identification!

Harry, who had seen Fawkes on burning day when he had nothing of earthly beauty or power or fulness of stature, only now, at the words of Riddle, identifies his Advocate/Comforter/Helper - "FAWKES?" And, to this somewhat incredulous act of faith, the phoenix gives assurance - "the bird's golden claws squeez(ed) his shoulder gently."
******************

Rather like the Resurrected Lord on the road to Emmaus, familiar and yet not, recognizable and yet not, "a very present help in trouble" - received, companioned, and full awareness yet to come! Rather like Christ in the Eucharist in bread and wine, seen and not seen; or in a fellow Christian, seen and not seen. But once "seen", assuredly present: sensible (perceived by the senses) and insensible (spiritually discerned).
++++++++++++++++++

"And THAT -" said Riddle, ..."that's the old school Sorting Hat-". "This is what Dumbledore sends his defender! A songbird and an old hat! Do you feel brave, Harry Potter? Do you feel safe now?"
********************

Well the Sorting Hat brought by a Christ symbol probably itself symbolizes "the Helmet of Salvation" in Paul's exhortation to put on the full armor of God in Ephesians. It certainly may! though, again, it need not of necessity have meant that in the author's mind. Are there other clues, hmm?




We shall see anon!

[inked]

au revoir c' la vi, mon amici

[Minielin]

Originally Posted by inked

au revoir c' la vi, mon amici

Amici? Je regrette, mais je ne comprends pas...

As for your points, they're very well supported and I must agree with them.

[inked]

Minielin,

I was relying on ancient Latin knowledge from 35+ years ago to frame that series of semi-French words into coherence. I thought I might get away with it since French is just dialectical Latin (rural mispronunciation standardizwed as a language was the way I remember it ).

I could not tell that anyone was reading the thread for a full week so I had a little fun. MER-cy BU-kets!

Need I continue on the chapter or should we let this thread die (it is not the end, merely "the next great adventure") ?