I can remember years ago scoffing at the idea that Harry Potter was a “type of Christ” whenever a more liberal than I evangelical would suggest it. But how close to the mark is the idea?
I would bet that Rowling had no conscious thoughts of making the series allegorical for Christ. But something happened during the course of the series – in the Hallows she quotes Scripture. We’ve always known that Lily’s sacrificial love – something Voldemort would never understand – was what saved Harry and defeated old Voldy the first time.
And there was at least one echo from the Scriptures in the Sorcerer’s Stone: Lord Voldemort, the Hitleresque dark wizard in J.K. Rowling’s fictional works, was defeated not by power but by love—by a young mother who sacrificed her life to save her young son. In Rowling’s world, that kind of love is stronger than any magic. It can even conquer death.
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Writers such as John Granger (hogwartsprofessor.com), however, argue that Rowling’s fictional world is loaded with Christian symbolism, but always in the background. In the books themselves, the only hint of Christianity comes in the form of Sirius Black, Harry’s godfather. Since he has a godfather, Harry was baptized as an infant. (Rowling said the baptism, or christening, was “a hurried, quiet affair” (books.monstersandcritics.com/news/article_858.php).
But Christ begins to whisper in the Deathly Hallows. A few pages before the flashback of the Potters’ death, Harry and his friends visit the last resting place of Lily and James Potter, in the church graveyard in Godric’s Hallow, on Christmas Eve.
First they see the grave of Kendra and Ariana Dumbledore, the mother and sister of the late Hogwarts headmaster. It bears this inscription: “Where your treasure is, there will your heart be also.” (None of the characters seems to know that these words are from Matthew 6:21.)
Not far away is the Potters’ tomb, with a different inscription: “The last enemy that shall be destroyed is death.” The quotation is from 1 Corinthians 15: 26, part of a long passage about the resurrection. In Godric’s Hollow, Rowling begins to reveal that, like Narnia, her world has a “deeper magic.” Love, expressed as substitutionary sacrifice—choosing to lay down your life for your friends—has a power that Lord Voldemort, like the White Witch before him, is blind to. That blindness becomes his undoing—with the help of Harry and his friends.
When C.S. Lewis started out to write The Lion, the Witch, and the Wardrobe, he didn’t have Christianity in mind. “Some people seem to think that I began by asking myself how I could say something abut Christianity to children; then fixed on the fairy tales as an instrument, then collect information about child psychology and decided what age group I’d write for; then drew up a list of basic Christian truths and hammered out ‘allegories’ to embody them,” Lewis once wrote. “This is all pure moonshine. I couldn’t write in that way at all.”
“Everything began with images,” Lewis continued. “A faun carrying an umbrella, a queen on a sled, a magnificent lion. At first there wasn’t anything Christian about them. That element pushed itself in of its own accord.”
Something similar seems to have happened to J.K. Rowling. She began writing about wizards and quidditch and Bertie Botts Every Flavor Beans, and somewhere along the way, Christ began to whisper into the story.
And the whole world was listening.
