Harry Potter and the Prisoner of Babylon


C.S. Lewis wrote that sometimes fairy stories may say best what’s to be said; if only J.K. Rowling (author of the Harry Potter novels) had listened, she’d have learned something.  The second-biggest flaw of the Potter series is how she swaps genres middle-way through, from fairy-tale to something else.  Teen soap-opera maybe?

Images bubble into the author’s mind (says Lewis), at which point they acclimate themselves to some form of expression or other.  Maybe a play?  Maybe a poem?  Maybe an essay?  In his case, images of fawns and lions best fit the “fairy tale” genre…and so the legend of Narnia was born.

I enjoyed the first three of Rowling’s Potter novels the most.  In my view, they were self-consciously “fairy” in their scope.  But with book 4 (Goblet of Fire), we have petty teen romances introduced into the plot, along with the first narrative death in the series.  Rowling, in my view, was pressured by her own rising fame, and thinking to feed the masses, she blurred the genre lines and moved her franchise into more of a drama, struggling to be “literature”.

Better for the art had she ended after four books instead of seven.  Potter, relying on the deep magic of a mother’s love, could have conquered the evil Voldemort in a flashy ending worthy of a Grimm.  Instead, we suffer through all seven years of Hogwarts, watching Harry struggle to maintain shallow relationships with even shallower characters.  There isn’t much character development in a fairy tale, after all.  Imagine following Hansel and Gretel into their highschool years, watching them struggle with love and acceptance?  Absurd!  Developing them as characters would run counter to the purpose of the genre!

Anyway – if Rowling wanted to take the plunge, she should have gone in entirely.  What we get instead, is an in-between story, with the best of the fairy tale genre getting lost in attempts at drama; unsuccessful attempts, because they’re restrained by the fairy tale elements.

Once the shift to teen-drama had been made, the most interesting relationship (by far) was that between Professor Snape and Harry, but due to the half-hearted effort, we never see genuine human emotion from either character.  Snape (probably the real hero of the entire series) is never tempted by genuine love for Harry – instead, he maintains a steadfast, inhuman, hatred towards him.

Anyway – all this is the second biggest flaw with Potter.

What’s the first?

Well, Rowling lets her neo-babelist religion shape the entire series.  What’s evil to a modernist?  Racism!  That’s what!  Or, at the very least, some form of adamant anti-egalitarian sentiment.  Voldemort’s regime of “Death Eaters” are evil because they want wizarding blood lines to remain pure instead of being tainted by “half-bloods” (wizards who marry non-wizards and copulate).

Worse still, Rowling, like all modernists who get their idea of history from government school and the Discovery Channel, tries to re-create a Nazi-like era of oppression when Voldemort finally takes over – achieving instead, a laughable (not to mention, implausible) situation that robs from whatever genuine appeal the novels had to begin with.

What’s sad is that when Harry Potter first hit the news, he was protested by fundamentalist Christians because, of all things, he uses a wand, does magic, and went to a school of “Witchcraft and Wizardry”.

What the Christians should have been more worried about is the way “Muggles” (a morbid caricature of fundamentalist / puritanical Christians) had an irrational and cartoonish fear of witches, ending with this from the mouths of Potter fans:  “Oh dad, stop being a silly muggle!  You need to accept flagrant and immoral lifestyles else you’re a square!”

On top of it all, evil incarnate is a “racist” who simply wants to keep wizarding blood pure.

This is the sort of tripe the neo-babelist churn out.  They have accepted evil as good and good as evil, so in effect, they’ve lost all notion of what real evil is like.

Only after accepting the existence of real evil can a fairy tale be written with force.  In the same way, a good drama must also accept real evil.  The author can’t get at real tragedy otherwise; and without a real sense of the tragic, there cannot be what Tolkien called a “Eucatastrophe” – a climax of emotion leading to an explosion of positive sentiment (the ultimate eucatastrophe, says Tolkien, was the resurrection of Christ.  All stories, to be truly good, must imitate that Great Story).

Unfortunately, the “teen-fiction” shelves at Barnes & Noble are chocked full of similar such neo-Babelist writings, all of them biased; all of them lacking.

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4 Responses to Harry Potter and the Prisoner of Babylon

  1. Fr. John+ says:

    Here’s what I wrote back in the dark ages, 2007, on this series, just as it was in the middle. I almost feel prophetic, after Rowling said ‘Dumbledore was gay’ just to be ‘trendy’. Gawd.

    ‘It’s Levi-O-sa, not levio-SAH’

    or- Pseudo-Orthodoxy, Harry Potter, and almost getting it right.
    One of my favorite movie series of the last few years, were the Harry Potter movie dramatizations of the books of the same name, by the British author J. K. Rowling.

    Many, MANY in the fundamentalist protestant world, where ‘know-nothingism’ is rife -in matters of culture, churchmanship, and liturgy – ranks up there as highly as ‘salvation by grace’ alone, have joined their know-nothingism with a ‘don’t confuse me with the facts’ mindset, when it came to the matter of the HP novels. The evangelical protestant sub-culture have, from the beginning, seen only ‘eeee-villlll’ when it came to Rowling’s books; precisely because these books are [fictionally] set in ‘a school for witches and wizards.’ Therefore, (as one video I purchased in a second-hand bookstore from an Evangelical preacher from the South [!] intimated) everything about HP was demonic, in that it was teaching ‘our children’ to become Satanists- or so they say!
    But, when I saw the HP movie #1 in the theaters, and saw an ALL-White cast, (with proper English manners, scrupulous uniforms, references to an English Christmas, and a castle- a CASTLE! – as the school) I wondered why this had not been a choice made available to me, during MY elementary school years!

    Such a school was aesthetically the quintessence of the British parochial school system, (not counting the fact that, as a child, I would have truly wanted to go there, just to have cool uniforms, nice friends, and the occasional ghost or cat-that-turns-into-your-English-teacher! ) Yes, it had that ‘strangely bizarre’ element of magic in it, but what great work of child’s literature does NOT have a clearly good-versus-evil paradigm, and why does Lewis’ Narnia tales NOT rank along with HP as ‘like literature’ in these evan-jelly-goos’ minds? What- simply because Lewis was a Christian?

    Isn’t that the height of parochialism and religious chauvinism? Isn’t that seeing what isn’t there, and then pretending it to be, as though it were? [And as to that ‘all-white school’- it was an act of Jewish Hollywood, that they did much the same thing, but with active malice aforethought, when the Studio Bosses inserted that dreadlock-wearing Negroid pseudo-actress for the commercial DVD/VHS release of movie #1, and then ‘inclusivized’ her again in Movie #2, precisely to make HP and Hogwart’s more ‘multi-cultural’- both my wife and I commented on that, after independent viewing of the movie in theatrical release, and then purchasing the videos, and finding her there, where she had not been before!]

    Leaving aside that ‘false evidence appearing real’ [FEAR] by the time I saw movie #2 (HP and the Chamber of Secrets), I realized there was something much larger, more broader-visioned at work here with Mr. Potter et al. Well, finally, someone with some sense of English Lit, English history, and an appreciation of the Saints of Medieval Britain, has tackled the ‘orthodoxy’ of HP, and why it IS a good read…. and I heartily concur with him, for the most part.

    As the author of this article, notes:
    “It’s perfectly evident to me that the Potter books are a ‘gateway drug,’ so to speak, to three millennia of great literature. Why else would Rowling have had the first book translated, at her own personal expense, into ancient Greek and Latin? Is there a lucrative market for what we used to call ‘the sacred languages’?”

    Why indeed?
    Why did Rowling have HP defeat a snake/dragon with a sword in her second HP installment? Because such a battle was a clear literary icon, of the great and TRUE vision of what England once stood for- the defeat by St. George of Satan, ‘that old serpent.’ That the sword appeared ‘out of the hat’ – that ‘sorting hat’ that put Harry into Gryffindor House, was yet another example that ‘God gives aid to those in most need’ as Prof. Dumbledore alluded to, before he was removed from Hogwart’s via the machinations of the ‘evil’ Lucius Malfoy.

    Rowling must be a very devoted ‘satanist,’ therefore, in writing a book about ‘evil witches and wizards’ when she uses, as her main character; a boy who is honest, innocent, not self-aggrandizing (in that he does not seek his own will, and is loath to accept his ‘special-ness’…which reminds one of ANOTHER man so called to ‘defend His people’ against a great evil) and then has him defeat an evil incarnation, via a symbol which once was known as THE Christian vision of England; indeed, it once was a NATIONAL RELIGIOUS holiday that modern Multicultural Britain is at great pains to avoid, in their quest for ‘Britishness,’ rather than “Englishness.”
    Shades of the Orwellian state in action, and in the foolishness of Evangelicals in not seeing their own Lord and Savior under the forms of Rowling’s rather well written fiction!

    Where I take umbrage (but not like Ms. Umbridge, a character in the HP series!) with Bowyer’s article, is in his willingness to assume that either Englishness, or Orthodoxy, find corroboration in the skewing of Rowling’s vision, by those who would make miscegenation a national virtue. Or, in other words, using older terms that once were plentiful in their disdain for ‘mixed marriages’- which nowadays are 180 degrees in the opposite direction- i.e., the avocation of ‘race mixing.’
    Bowyer only alludes to this concomitant ‘glory’ of multiculturalism, and therefore, heresy for True Christians, when he notes:

    “Eventually the initial unity of the four Hogwarts founders was shattered by a disagreement over whether to include people of outside lineage, and the houses remain divided up to the last chapter of the last book.”

    The “outside lineage” Bowyer notes as an ‘evil’ in this article is, of course, the ‘mudblood’ stuff -thrown about with such naziesque aplomb by Rowling- starting with her second book.
    This “wizarding racial supremacist stuff’’ blossoms in it’s condescension, aversion by the ‘good guys,’ and increasing ‘consummate evil’ proportions (one could say it almost assumes something of an almost ‘six million mythos’ status) by the last book.

    This ONE literary device’s growing importance in each subsequent HP novel, seems strange, forced, almost ‘decreed from on high.’ As if it were all in direct proportion, not to plot development, or to further Harry’s quest to find out who he was (both of his parents were ‘purebloods’) but was tied intimately, (one can only surmise) to Rowling’s increasing cash value, market share, and ‘voice’ as an author… as determined (of course!) by those whose ‘editors’ and ‘proofreaders,’ who were ‘helping’ Rowling as she was ‘advised’ by the Publisher (most of whom are owned by, yup, you guessed it…. THOSE people) – all, so it will be said, to make the series more ‘au courant’ and ‘profitable’ for the mass market! But, of course, to those with ‘eyes to see, and ears to hear’ this is bogus propaganda, in an increasingly ‘non-free’ “Free Press.’ Even in the arena of Children’s literature!

    (Talk about a PhD in Literary Studies dissertation thesis in the making!)

    No, Rowling invents (and Bowyer bends the knee to the modern Baal as well) a world that, while it has ‘magic,’ still is a ‘multicultural paradise’ a la Bush or Blair – which is what TRULY makes this work, a work of FICTION! Harry eventually falls in love with the ethnic and familial friend, Ginny Weasley- his best friend, Ron’s sister, even though earlier on, Rowling titillates us with a multicultural ‘kiss’ -(with student ‘Cho’) -that clearly was toned down in importance in the latest film, as opposed to the few pages it took for Rowling to describe, in the corresponding HP volume.

    Now, if Rowling truly wanted HP to be a ‘multicultural hero,’ why DIDN’T he fall in love with the Asian (and therefore NOT English!) Cho? Why did Rowling have HP ‘rescue’ the fair maiden’ Ginny Weasley in HP #2, using imagery of knights, St. George, and maintaining her virginal state untouched (all strong elements of a medival, Christian, Ivanhoe-an consciousness!) UNLESS-
    For Rowling, there is such a strong Christian cultural consensus, that it would have broken all literary ‘norms’ to do so?

    What Rowling has done, especially in the last volume, is to point out the self-sacrificing nature of HP as a sort of “Christ figure’ for the Hogwarts/ DiaGone Alley Wizarding community, in that he ‘dies’ and is ‘brought back to life again’- PRECISELY as did Christ, in being the “Savior of “His People” as the Gospels tell us!

    Yet, in doing so, HP still follows the European, Christian, RACIALLY aware fashion of marrying and loving someone of HIS OWN TRIBE, thus tacitly DENYING all the “mudblood’ propaganda that the Jewish publishers had her insert into the books, to make them ‘conform’ to their abortive Weltanschauung!

    There are shades of Tolkien, (the ‘Sam/Frodo’ Mt. Doom element, when Ron leaves the Trio, and Harry and Hermione are alone in the wilds) Lewis, (the Stag as “patronus’ much like the disappearing and reappearing of mythic/fantastic elements in Lewis’ Narnia tales) and all the other great writers of the English, White, Christian Literary tradition of Children’s literature, in Rowling’s HP novels.

    There are clearly OVERT Christian references in the last book, which brought tears to my eyes, in that I ‘saw’ through the ‘Mirror of Erised’ that Rowling used in making HP fictional, toward the TRUE RACIAL and RELIGIOUS reality that always lies beneath the surface of all truly great catechetical literature! IN short, while HP is not ‘world class’ it certainly shows us the ‘land beyond the Fall’ that we all long for.

    Finally, that Rowling gives us an epilogue that shows the ‘racial equilibrium’ is restored, twenty years AFTER these events, but shows or tells us that Britain is ‘once more’ that ‘green and pleasant land’ where HP and his family, Ron and his family, and the ‘institution’ that is the British Educational system (even at Hogwarts!) survives; in short, J. K. Rowling paints a rosy picture of an England, ostensibly freed from her multicultural heresy! I say this NOW, in the event that Jewish filmmakers, literature studies, and even Rowling herself, may or will seek to warp, destroy, or hide this clear intent of the author,(whether she realized she did it, or not!) and especially if a final HP movie is made.

    IS HP “Orthodox”? No, of course not. Neither is England the land of St. George, or St. Eward the Confessor, as she once was. But, as someone once said, “There will always be an England.” If HP is an exemplar of that racial, cultural, religious self-awareness that must ALWAYS hearken back to her Orthodox, Christian, European past, I believe that the future- indeed, ‘tomorrow belongs to me/us’ – those of us who hold to the ‘old paths,’ and have a clear knowledge of what being an Englishman, a White Man, a Christian, is.

    For, after all, it all depends on how you say the words, that makes the magic happen. “And God spoke, and it was so.” And that Word, that ‘ultimate Magic’ is eternal: for THE Word [Christ] is ‘the same yesterday, today, and forever.’

    Dear Lord, deliver us from the Pagan, the Turk, and the Jew.

  2. Swiss Kinist says:

    What part of any of these books/movies encourages one to take up the cross of Christ, bear his reproach, and suffer for his sake? The Harry Potter series is no different than if a publisher promoted an entire series that held faggotry in high esteem, as the main area of interest, all while claiming, “It’s just fantasy and just a story!” God forbid!!


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