少女奇幻文学中的珀耳塞福涅神话
The Myth of Persephone in Girls' Fantasy Literature 2012
Chapter Seven: The Riddle of Féminine Écriture in J. K. Rowling's Harry Potter and the Chamber of Secrets
作者 Holly Virginia Blackford
简介：在这本书中，作者将19世纪珀耳塞福涅神话的吸引力历史化，并在19和20世纪的少女文学中追溯珀耳塞福涅、得墨忒耳和哈迪斯的形象。这个年轻的女神与母亲分离并被拐骗到地下世界的故事，是对女性发展的矛盾心理的一种表达，这种矛盾体现于女主人公返回地上的谈判与循环。神话传达了女性发展在人类延续和更新中的角色，通过圣婚仪式协调自然和文化秩序。与此同时，一些流行小说既新鲜又传统，因为它们重复利用了古老神话中的女神。在书中，作者思考了新一代的文学如何具有更广泛的作品语境，经典如何灵活而独特地享有广泛的吸引力，以及女性传统如何被嵌入到小说中。
In this book, Blackford historicizes the appeal of the Persephone myth in the nineteenth century and traces figurations of Persephone, Demeter, and Hades throughout girls’ literature of the nineteenth and twentieth centuries. She illuminates developmental patterns and anxieties in E. T. A. Hoffmann’s Nutcracker and Mouse King, Louisa May Alcott’s Little Women, Emily Brontë’s Wuthering Heights, J. M. Barrie’s Peter and Wendy, Frances Hodgson Burnett’s The Secret Garden, E. B. White’s Charlotte’s Web, J. K. Rowling’s Harry Potter and the Chamber of Secrets, Stephenie Meyer’s Twilight, and Neil Gaiman’s Coraline. The story of the young goddess’s separation from her mother and abduction into the underworld is, at root, an expression of ambivalence about female development, expressed in the various Neverlands through which female protagonists cycle and negotiate a partial return to earth. The myth conveys the role of female development in the perpetuation and renewal of humankind, coordinating natural and cultural orders through a hieros gamos (fertility coupling) rite. Meanwhile, popular novels such as Twilight and Coraline are paradoxically fresh because they recycle goddesses from myths as old as the seasons. With this book, Blackford offers a consideration of how literature for the young squares with broader canons, how classics flexibly and uniquely speak through novels that enjoy broad appeal, and how female traditions are embedded in novels by both men and women.

作者简介：Holly Blackford (Ph.D. University of California, Berkeley), is an associate professor of English at Rutgers University, Camden, where she teaches children’s and American literature. Her recent books include Out of this World: Why Literature Matters to Girls, 100 Years of Anne with an "e": The Centennial Study of Anne of Green Gables(ed.), and Mockingbird Passing: Closeted Traditions and Sexual Curiosities.
作者在这本251页的书里比较了珀耳塞福涅、胡桃夹子、小妇人、彼得潘、呼啸山庄、秘密花园、夏洛的网、哈利·波特与密室、暮光之城、鬼妈妈。
（但作者的名字，holly是哈利的魔杖木，Virginia的昵称是Ginny，Blackford很像Dark Lord）

While her brothers receive the new, glossy books of Gilderoy Lockhart, Ginny herself is thrown old, discarded books that symbolically embed a very dangerous diary. It is in this diary that Ginny pours her rage, her disembodied voice, that disrupts the school and conjures the immortal boy Tom Riddle, the boy who is really the dark lord himself.
当她的哥哥们收到吉德罗·洛哈特精美的新书时，金妮的旧书中却象征性地嵌入了一本非常危险的日记。正是在这本日记中，金妮倾泻了她的愤怒和她无形的声音，使整个学校陷入混乱，召唤出了永生的男孩汤姆·里德尔，而这个男孩实际上就是黑魔王本人。
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Ginny’s writing communicates things the aboveground world silences. When we discover that Ginny’s writing has transgressed the boundaries of the diary, appearing in blood on the very walls of the school, we realize that the target of a victim’s rage grows. The diary is, like the chamber, a very old vehicle for unleashing repressed feelings, also for Tom Riddle, the abandoned boy haunting Hogwarts.
金妮的书写传达了被地上世界所禁默的事物。当我们发现金妮的书写超出了日记的界限，出现在学校墙上的血书中时，我们意识到受害者愤怒的目标增加了。日记和密室一样，是一种释放压抑感情的古老工具。对汤姆·里德尔——一个萦绕在霍格沃茨的被遗弃的男孩来说，也是如此。
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Together, the parseltongue of Ginny and Tom runs riot in the school.
在一起，金妮和汤姆的蛇佬腔在学校掀起动荡。

The idea that Tom is an older, sexually mature Harry is implied when Tom himself points out similarities between them; teachers also compare the two boys, suggesting the novel's anxiety about adolescent development looming on the horizon.
当汤姆自己指出他们之间的相似之处时，暗示了汤姆是一个年长的、性成熟的哈利；教师们还对这两个男孩进行了比较，表明小说中对青春期成长的焦虑正在逐渐显现。
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Loss of mother-child fusion and onset of separateness fuels transitional phenomena such as the selection of meaningful toys. In each of the texts under study, a dark Hades figure symbolizes the daughter's irreparable separation from the mother's world. There is usually a pair of Hades figures, one, a mysterious adult and one, a brooding, though irresistible, boy.
母子融合的丧失和分离的开始会引发过渡现象，如选择有意义的玩具。在所有研究的文本中，一个黑暗的哈迪斯式人物象征着女儿从母亲的世界中不可挽回的分离。通常有一对哈迪斯式人物，一个是神秘的成年人，另一个是令人难以抗拒的忧思的男孩。
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For example, in the course of Wuthering Heights, the wild, passionate boy Heathcliff becomes a pseudo-gentleman lost to darkness; similarly, Peter Pan is shadowed by Captain Hook, with whom Wendy is momentarily entranced and whom Pan replaces as Captain of the Jolly Rodger...In Rowling's Chamber of Secrets, the boy Tom Riddle is awakened by Ginny when she writes in a diary, and the Dark Lord Voldemort is his past, present, and future.
例如，在《呼啸山庄》中，狂野、热情的男孩希斯克利夫变成了迷失在黑暗中的伪绅士；同样，彼得·潘伴随着胡克船长，温迪一时迷上了胡克，潘取代他成为了罗杰船长……在罗琳的《密室》中，金妮写日记时唤醒了汤姆·里德尔，而黑魔王伏地魔是他的过去、现在和未来。
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The terror of this moment fuels the entrancing beauty of the transitional object, which is precisely what the Hades figure becomes in girls' fantasy literature. Byronic boys and the men mysteriously doubling them, lure the girls into a toy relationship, take over their souls, and then stay behind in the underworld whilst girls move on. They thus paradoxically serve as punitive consequences for development and as warnings of the loss of self that will occur if girls do not choose a return to civilization.
这一刻的恐怖点燃了过渡对象的迷人之美，这正是哈迪斯式人物在少女奇幻文学中的体现。拜伦式的男孩和男性神秘地加倍，引诱女孩进入一种玩具关系，接管她们的灵魂，然后他们留在地下世界，而女孩们继续前进。因此，他们矛盾地充当了对发展的惩罚性后果，并警告如果女孩不选择回归文明世界，就会失去自我。

If we interpret the Byronic heroes that the girls conjure as transitional objects in light of the toy and its function in the myth, we also soon see why the object of the child’s genesis begins to assert its own independent agency. Even as Ginny creates Tom Riddle with the concerns poured out in her diary, he begins to control her, which will end in her unconsciousness and need for rescue.
如果我们根据这个玩具和它在神话中的作用，将女孩们召唤出的拜伦式英雄解释为过渡性客体，我们很快就会明白为什么这个儿童起源的客体开始发挥独立的力量。就在金妮将担忧倾注到日记中，从而创造出汤姆·里德尔时，他开始控制她，最终导致她失去意识，需要救援。
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Technically, Peter Thorslev argues, the solitary Byronic hero is one who makes a “moral choice” against social conformity, celebrating the romantic impulse for individualism, organicism, and rebelliousness. The Byronic hero is chivalrous to women, but he cannot be completely tamed. He is always more sophisticated than those around him, of a higher class, and with more culture and artistic experience than the everyday folk. Of Charlotte, whom I understand as a uniquely Byronic woman, the narrator writes, “she was in a class by herself” (184), a sentiment echoing the high-bred Captain Hook who feels in the company of dogs or Tom Riddle as a wizarding genius or “head boy.”
彼得·索斯列夫认为，严格意义上讲，孤独的拜伦式英雄会做出与社会一致性相悖的“道德选择”，他赞美反叛、个人主义和有机主义的浪漫冲动。拜伦式英雄对女人很有骑士风度，但他不能被完全驯服。他总是比周围的人更世故、更上层，比一般人更有文化和艺术经验。关于夏洛蒂，我认为她是一位独特的拜伦式女性，作者写道，“她独自上课”（184），这种体验与胡克船长相呼应，他认为自己与平庸者相伴，或者像汤姆·里德尔一样，是个魔法天才或“男学生代表”。
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The Byronic figure usually labors under a mysterious sin of the past, which nicely describes Ben Weatherstaff, who has all along been serving the dead Mrs. Craven by tending her roses. The Byronic figure usually devotes himself to a particular cause; for Peter, this would be the fair fight. For Heathcliff, the cause is the degradation of Earnshaw descendents and the ascendency of his line. For Charlotte, this would be the saving of Wilbur, or for Tom Riddle access to Harry, the rival who intrigues him in the same way that Pan drives Hook particularly mad. The Byronic hero follows the tradition of Satan as a fallen angel.
拜伦式人物通常背负着过去的秘密罪恶，例如本·威瑟斯塔夫，通过照料玫瑰花服侍已故的克雷文太太。拜伦式人物通常致力于一项特定的事业。对于彼得是追求正义的战斗，对于希刺克厉夫是恩萧子孙的堕落和他自身家族的优势，对于夏洛是拯救威尔伯的机会。对于汤姆·里德尔是接近哈利的机会，他的对手以同样的方式引诱他，就像潘将胡克逼疯一样。拜伦式英雄遵循了堕落天使撒旦的传统。

哈利·波特与古典世界：J.K.罗琳现代史诗中的希腊罗马典故
Harry Potter and the classical world: Greek and Roman Allusions in J.K. Rowling’s Modern Epic 2015
作者 Richard A. Spencer
Chapter 6 deals with other major characters, including Ginny Weasley as Persephone being rescued from the underworld.

量子哈利：波特宇宙的统一理论
Quantum Harry: A Unified Theory of the Potterverse 2017-2019
作者 B.L. Purdom
◎ Female Archetypes in Harry Potter 哈利·波特中的女性原型
作者提出了蝙蝠精咒、复仇女神、霍利黑德哈比队之间的联系
https://youtu.be/jsysmf4WytE
◎ Red Riding Hood Goes to Hogwarts 小红帽去往霍格沃茨
《密室》的宗教、神话、民间传说典故
http://quantumharry.blogspot.com/2018/04/red-riding-hood-goes-to-hogwarts.html?m=1
◎ Harry and the Priestess 哈利与女祭司
塔罗牌、珀耳塞福涅神话
https://quantumharry.blogspot.com/2019/03/essay-harry-and-priestess.html?m=1

珀耳塞福涅 Proserpine
时间：1871-1882（画了至少8个版本）
画家：但丁·加百列·罗塞蒂（Dante Gabriel Rossetti），拉斐尔前派画家
模特：红发女性 Jane Morris
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拉斐尔前派（Pre-Raphaelite）
1848年的英国正处在维多利亚时代，当时的三个青年画家提出真正优秀的绘画艺术作品存在于文艺复兴之初，存在于拉斐尔之前。他们认为那时的作品感情真挚、形象生动，于是提出要发扬拉斐尔之前的艺术风格。
拉斐尔前派一个明显的特征就是大多选择红发女模特。

珀耳塞福涅的命运 The Fate of Persephone
时间：1877
画家：Walter Crane

画家：Abigail Larson
Stay Here With Me

Goodbye

Persephone's Return