Many readers have (rightly) seen traces of famous myths in Chamber of Secrets, such as Persephone and Hades, in addition to the abundant sexual symbolism in the book. In an earlier blog post (see Quantum Harry, the Podcast, Episode 3: Iron Maiden), I compared Ginny Weasley to Persephone because they both embody the archetype of the Maiden and Persephone’s return from Hades each spring was similar to Ginny’s return from the Chamber, which brings her world back to life the way that Persephone’s return each spring also reawakens the world.
许多读者在《密室》中（正确地）发现了著名神话的痕迹，如珀尔塞福涅和哈迪斯，以及书中大量的性象征。在早些时候的一篇文章中，我比较了金妮·韦斯莱和珀尔塞福涅，因为她们都体现了“少女”的原型，且珀尔塞福涅每年春天从冥界返回与金妮从密室返回相似，金妮的返回使她的世界恢复生机，珀尔塞福涅在春天的返回也使世界复苏。
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However, “Little Red Riding Hood” is the story that really pervades the book, and this positions the second Harry Potter book at a very important place in a Young Adult series: after this Harry is spiritually mature and no longer needs rescuing.
然而，“小红帽”的故事情节事实上也贯穿全书，这使得《哈利·波特》第二部在这套青少年系列文学中占据了非常重要的位置：在这之后，哈利在精神上成熟了，不再需要拯救。
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As rewritten from numerous folk-sources by Wilhelm Grimm, “Little Red Riding Hood” is a Pentecostal tale. Pentecost is the Christian holiday that comes fifty days after Easter; many people consider it to be the “birthday” of the Christian church. In Acts 2:1-31, the story of Pentecost is told, when the Holy Spirit appears as tongues of fire on the heads of Jesus’ disciples, or so the story goes, after which they can speak in languages they previously hadn’t known.
《小红帽》是威廉·格林根据众多民间传说改编而成的故事，与五旬节有关。五旬节是基督教的节日，在复活节后50天。许多人认为它是基督教会的“诞生日”。《使徒行传》2:1-31讲述了五旬节的故事。节日当天，圣灵以火舌的形式出现在耶稣门徒的头顶，在那之后，他们就可以用先前不懂的语言说话。
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Some biblical scholars call this the flip side of the story of the Tower of Babel, in which God is supposed to be upset about humans having the presumption to try to build a tower reaching heaven, so they all suddenly start speaking in different languages and can no longer understand each other—they sound like they are “babbling”, in other words. In his book The Great Code: The Bible and Literature, Northrop Frye writes that biblical scholars say the Tower of Babel story is a tale that ‘prefigures’ the Pentecost story, or foreshadows it, as well as flipping it—we go from an angry god confusing humans’ speech so that they will not commit an act of hubris, to the Holy Spirit making it possible for humans to speak the language of the Other in order to spread the Gospel.
一些圣经学者称五旬节故事为巴别塔故事的反面，巴别塔的故事是，人类妄图建造一座通往天堂的高塔，上帝对此感到不安，因此使人类突然都开始说不同的语言，彼此再也不能沟通——换句话说，他们听起来像是在“胡言乱语”。诺思洛普·弗莱在《伟大的密码：圣经和文学》一书中写道，圣经学者认为，巴别塔故事是五旬节故事的“先前模型”，它预示并翻转了五旬节故事——从愤怒的上帝混淆人类的语言，以免他们做出傲慢的行为；到圣灵使人类可以说出其他人的语言，以传播福音。
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By the middle ages, Pentecost was traditionally when young people in Europe were “confirmed” and joined the church, after which they were considered adults. Wilhelm Grimm was aware of this when he added the woodsman to “Little Red Riding Hood” as a savior-figure, to avoid the heresy of Pelagianism—the idea that humans can be saved from damnation without an outside agent to make up for the Original Sin stemming from the Fall in Eden. Pelagianism is the opposite of Divine Providence, a theological concept that was very important to Grimm.
在中世纪，五旬节在传统上是欧洲的年轻人施“坚信礼”并加入教会的日子，在那之后他们被视为成年人。威廉·格林意识到了这一点，在《小红帽》中加入了樵夫作为救世主形象，以避免异端说法——认为人类可以不需要外界的力量，从天谴中被拯救出来，而弥补伊甸园堕落的原罪。伯拉纠主义与天意论对立，天意论是一个对格林非常重要的神学概念。
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Grimm’s religious motivation for rewriting many old folk tales as “religious poetry” is documented by G. Ronald Murphy in his book The Owl, The Raven and the Dove. Murphy asserts that Grimm also rewrote “Hansel and Gretel” to conform to this religious ideal. In early versions of that story, the brother and sister escape from the witch who is fattening Hansel in a cage and they return home under their own power, whereas Grimm confronts them with “an unbridged river”, creating the necessity for them to rely upon what Murphy calls “supernatural transport”. Murphy, a Jesuit, equates this with God’s grace and the intercession of the Holy Spirit.
出于宗教动机，格林将许多古老的民间故事改写成“宗教诗歌”，这一举动被罗纳德·墨菲记录在著作《猫头鹰、乌鸦和鸽子》中。墨菲称，为了遵从这一宗教理想，格林还重写了《汉塞尔和格莱托》。在这个故事的早期版本中，女巫把汉塞尔关在笼子里养肥，兄妹俩从女巫的魔爪下逃了出来，他们依靠自己的力量回到了家。而在格林的版本中，他们遇到了“一条没有桥的河”，这使得他们不得不依靠墨菲所说的“超自然交通工具”。墨菲，作为耶稣会士，把“超自然交通工具”等同于上帝的恩典和圣灵的代祷。
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An outside agent—or a savior—being necessary in a story to avoid blasphemy wasn’t an idea created by Christianity. Long before Wilhelm Grimm or Christianity, Greek playwrights used the deus ex machina in stage dramas. The “god from the machine” (the meaning of deus ex machina) was an actor portraying a god who was lowered or raised onto the stage by a mechanical device, bringing proclamations concerning the characters and tying off any trailing plot threads with the wave of an omnipotent hand.
为了避免亵渎神明，故事中需要出现外部力量或者救世主，这并不是由基督教创造的概念。早在威廉·格林或基督教之前，希腊剧作家就在舞台剧中使用了“机械降神”。“来自机器的神”是一个扮演神的演员，由机械装置升降到舞台上，带来与角色有关的宣言，用万能的手一挥，把之后所有的情节线索都连接了起来。
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Today the deus ex machina in any kind of writing is considered a trite, “easy” solution, and when it’s called out it’s not usually because a critic wants to praise the author for avoiding blasphemy. Many critics of this device may not even know it had anything to do with blasphemy, but if you’re going criticize this in pre-modern works it is wise to recognize that it was originally meant to show respect. It was an embodiment of a common belief, crossing religious lines, that humans’ salvation was in the gods’ hands, not our own. There are people who still adhere to this belief, and people are still writing works with a deus ex machina of some sort, quite deliberately.
如今，在任何一种写作形式中，“机械降神”都被认为是一种陈腐、“毫不费力”的解决方案。当它被提出时，通常不是因为评论家想要赞扬作者避免了亵渎神明。许多批评这种设定的人甚至不知道它与亵渎神明有任何关系，但如果你要在前现代作品中批评它，最好认识到它最初是用来表达尊敬的。这是一种跨越宗教界限的普遍信仰的体现，即人类的救赎掌握在神手中，而不是人类自己手中。有些人仍然坚持这一信念，有些人仍然在有意地写着机械降神的作品。
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The insertion of a savior into “Little Red Riding Hood” isn’t Grimm’s only manipulation of the story. The Charles Perrault version is a cautionary tale: the girl and her grandmother are devoured by the wolf at the end, which is abrupt and violent. This is followed by a pithy moral about being wary of wolves, not all of whom run “on four legs. / The smooth tongue of a smooth-skinned creature / May mask a rough wolfish nature...” There’s yet another version in which the girl and her grandmother defeat the wolf with their wits, but Grimm would have had the same issue with that that he had with Hansel and Gretel getting home on their own.
在《小红帽》中加入一个救世主并不是格林对故事的唯一处理。查尔斯·佩罗的版本是一个警世故事：女孩和她的姥姥被狼吃掉，结尾骤然且暴力。随后是一个言简意赅的寓意，要提防狼，不是所有的狼都“四条腿跑”/外表光滑且滑舌的生物/可能掩盖了狼一样（粗暴）的本性…”在另一个版本中，小红帽和姥姥用智慧打败了狼，但是格林版本有和《汉塞尔和格莱托》的结尾相同的设计。
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Perrault’s story of Red Riding Hood has blatantly sexual overtones—the wolf has the girl join him in bed—but Grimm omits this. Perrault and Grimm seem to want the story to either be about sexual or spiritual awakening, while Rowling, through her imagery and symbolism, enmeshes both elements in Chamber of Secrets.
佩罗版的《小红帽》带有明显的性暗示——狼让女孩跟他上床——但格林删去了这一点。佩罗和格林似乎希望这个故事要么是关于性的觉醒，要么是精神上的觉醒，而罗琳，运用意象和象征，在《密室》中融合了这两种元素。
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Murphy discusses Perrault’s and Ludwig Tieck’s versions alongside Grimm’s. In Tieck the girl is looking forward to her confirmation and receives a red cap from her grandmother. Murphy writes that this most likely stems from “a folk custom of wearing red...in honor of the feast of Pentecost, when confirmation is customarily administered...” If Perrault’s is a cautionary tale and Tieck’s is an early horror story—his ending is both humorous and gory—then Grimm’s is an allegory of receiving salvation by the grace of God despite being a flawed sinner.
墨菲把佩罗和路德维格·蒂克的版本与格林的版本放在一起讨论。在蒂克版本中，女孩期待着她的坚信礼，并从姥姥那里收到了一顶红色的帽子。墨菲写道，这很可能源于“为庆祝五旬节……穿红色衣服的民间习俗，通常在这一天举行坚信礼……”如果佩罗的故事是一个警世故事，而蒂克的故事是一个早期的恐怖故事（他的结局既幽默又血腥），那么格林的故事则是一个寓言，关于一个有过错的罪人通过上帝的恩典获得了救赎。

The girl in the story is called “sweet” and everyone who lays eyes on her is fond of her. We can easily transpose this description to Ginny Weasley. Grimm’s heroine receives a red hood from her grandmother. Ginny’s red hair is her chief distinguishing physical trait, a legacy from her parents and grandparents. Murphy cites Bruno Bettelheim calling the red hood “a sign of female sexuality”, while in Murphy’s reading of Grimm, it is “a sign of the moment of spiritual maturity”, due to the tie to confirmation and Pentecost that’s more explicit in Tieck. Again, one can see sexual and spiritual maturity being equated, just as it is in Philip Pullman’s His Dark Materials books. (See Quantum Harry, the Podcast, Episode 12: Grow Up Now.)
故事中的女孩被描述成“甜美”和人见人爱。我们可以很容易地把这个描述转换到金妮·韦斯莱身上。格林版本的女主人公从姥姥那里得到了一顶红色的兜帽。金妮的红头发是她主要的身体特征，是来自父母和祖父母的遗产。墨菲引用布鲁诺·贝特尔海姆的话说，红兜帽是“女性特征的标志”，而在墨菲对格林的解读中，它是“精神成熟时刻的标志”，在蒂克的版本中，红兜帽与坚信礼和五旬节的联系更为明显。再一次，人们可以看到性和精神的成熟是等同的，就像菲利普·普尔曼在《黑暗物质》一书中所写的一样。
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Early in Grimm’s tale the girl is told not to “go off the path” on the way to her grandmother’s. In Chamber of Secrets we learn that Ginny had a similar warning from her father. Near the end of the book, Arthur Weasley says, “What have I always told you? Never trust anything that can think for itself if you can’t see where it keeps its brain.” Both girls are going to a place connected to their family heritage, they’re on the cusp of knowing the difference between good and evil, of being sexually and spiritually mature, but they both fall prey to a Tempter.
在格林版故事的开头，小女孩被告知在去姥姥家的路上不要“离开大路”。在《密室》中，我们得知金妮从她父亲那里得到了类似的警告。在书的最后，亚瑟·韦斯莱说：“我一直怎么跟你说的？永远不要相信任何能够独立思考的东西，如果你看清了它把头脑藏在什么地方”。这两个女孩都要去往一个与她们的家庭传统有关的地方（姥姥家/霍格沃茨），她们即将知道善恶的区别，即将获得性和精神上的成熟，但她们都成为了诱惑者的猎物。
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When Red Riding Hood first encounters the wolf in Grimm’s story she’s not afraid, because she “did not know what a bad animal he was”. Ginny thinks of Tom Riddle as “a friend I can carry round in my pocket.” Murphy calls the girl’s reaction “a statement of prelapsarian innocence”—which means innocence like Adam and Even had before the Fall, before they knew about good and evil, which also seems to be how we’re supposed to regard Ginny. This may be why Dumbledore holds Ginny blameless. The fault lies with the “wolf”—Tom Riddle.
在格林的故事中，当小红帽中第一次遇到狼时，她并不害怕，因为她“不知道狼是邪恶的动物”。金妮认为汤姆·里德尔是“一个可以放在口袋里随身携带的朋友”。墨菲称这个女孩的反应是“一种堕落前的天真/无罪”——意思是如同亚当和夏娃在堕落及分辨善恶之前的天真/无罪，我们似乎也是这么看待金妮的。这也许就是邓布利多认为金妮没有过错的原因。而过错出在“狼”——汤姆·里德尔身上。
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Murphy points out that earlier versions had Red Riding Hood meeting the wolf in the village, while Grimm moves this to the woods. According to Murphy, entering the woods “…is to enter one’s grandparents’ and parents’ world, the continuum of the ancient awareness of right and wrong by becoming capable of doing good and doing wrong.” This is the equivalent, for Ginny, of going to Hogwarts, where her parents, grandparents and other ancestors learned to use magic responsibly, where they learned to discern the right path.
墨菲指出，早期的版本中，小红帽在村子里遇到了狼，而格林则把这个场景搬到了树林里。根据墨菲的说法，进入森林“……就是进入一个人的祖父母和父母的世界，变得有能力行善或作恶，延续古老的明辨是非的意识。”对金妮来说，森林相当于霍格沃茨，在那里，她的父母、祖父母和其他祖先学会了负责任地使用魔法，学会了辨别正确的道路。
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Murphy sees the wolf as “the Germanic equivalent for the serpent in the garden.” He mentions the wolf Fenris from Germanic mythology, who, at the end of the world, is “to kill the god Thor (and be killed by Thor’s hammer at the same time).” Like Thor, Harry’s “emblem” is a lightning bolt: his scar. This encounter between Thor and Fenris in Norse mythology is eerily similar to Harry’s battle with the basilisk, since, at the moment that Harry kills the beast, he is also penetrated by one of its fangs, which contains poisonous venom. It’s undoubtedly no coincidence that, in the sixth book (which mirrors many elements of the second) Rowling introduces a character called Fenrir, a werewolf who makes it a habit to prey upon children.
墨菲认为狼在日耳曼文化中相当于伊甸园中的蛇。他提到了日耳曼神话中的芬里斯狼，在诸神黄昏，他要“杀死雷神托尔（但同时被雷神用锤子杀死）”。和雷神托尔一样，哈利的“象征”是一道闪电：他的伤疤。北欧神话中雷神托尔和芬里斯狼的遭遇与哈利与蛇怪的战斗惊人地相似，因为在哈利杀死蛇怪的那一刻，他也被含有剧毒的蛇怪毒牙刺中了。毫无疑问，这不是巧合，在第六部里（第六部照应了第二部的许多元素），罗琳引出了一个叫芬里尔的狼人，他有捕食儿童的习惯。
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In The Hero with a Thousand Faces, Joseph Campbell describes the battle at the end of the world involving Thor, Odin, Fenris-wolf and the world serpent. He writes:
在《千面英雄》中，约瑟夫·坎贝尔描述了诸神黄昏的战斗，参战者包括雷神托尔、奥丁、芬里斯狼和尘世巨蟒耶梦加得。他写道：
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The dog Garm at the cliff-cave, the entrance to the world of the dead, shall open his great jaws and howl...Fenris-Wolf shall run free... The world-enveloping serpent of the cosmic ocean shall rise in giant wrath and advance beside the world upon the land, blowing venom.... [Odin] shall advance against the wolf, Thor against the serpent....Thor shall slay the serpent, stride ten paces from that spot, and because of the venom blown fall dead to the earth. [Odin] shall be swallowed by the wolf...
名叫加姆的巨犬将在阴间的入口崖洞张开它的血盆大口狂吠……芬里斯狼将自由地奔跑…宇宙海洋里包裹着世界的大蛇将愤怒地抬起身体，在大地上和狼一起前行，吐出毒液……奥丁神将对抗狼怪，雷神托尔将对抗巨蛇，雷神将杀死巨蛇，但蛇的毒液让他在十步之内倒地而亡。奥丁神将被狼怪吞掉……
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Wolf and snake are conflated in Chamber of Secrets. Both the basilisk and Tom Riddle, who plays the role of the wolf from the fairy tale, are “snakes”. There may have been numerous sources known to Grimm in which a wolf is linked to the devil, so equating the tempting wolf of the fairy tale with the tempting serpent in the garden hardly seems like a stretch. Another parallel is that, as an adult, Riddle changes his name to Voldemort, but most people in the wizarding world say, “He Who Must Not Be Named” or “You Know Who”. This is similar to folk customs that forbid people to say the name of the Devil, substituting things like “Old Nick”, due to superstitions that to name the Devil is the same as invoking or summoning him. Similarly, no one wants to invoke or summon Voldemort by saying his name, and this “game” becomes very real in the seventh book.
狼和蛇在《密室》中合二为一。蛇怪和汤姆·里德尔（承担童话中狼的角色）都是“蛇”。格林可能知道很多把狼和魔鬼联系在一起的故事，所以把童话中诱惑人的狼和伊甸园里诱惑人的蛇等同也不无道理。另一个相似之处是，成年后，里德尔把他的名字改成了伏地魔，但巫师界的大多数人都称他为“那个连名字都不能提的人”或“神秘人”。这与民间习俗中禁止人们说出魔鬼的名字，代之以“老尼克”等称呼类似。因为出于迷信，人们认为说出魔鬼的名字等同于召唤魔鬼。同样，没有人想通过说出伏地魔的名字来召唤他，这个“游戏设定”在第七部中成真了。

When the wolf asks Red Riding Hood where her grandmother lives, she replies, “...under the three great oak trees, underneath them are the hazelnut hedges...” In this passage, Murphy believes that Grimm is indirectly referencing a Germanic god, Odin, to whom the oak is sacred, which again reminds the reader of Fenris, the adversary of Odin and Thor. The fact that it’s three oak trees, however, evokes the Trinity, which brings the symbolism into Christian times.
狼问小红帽她姥姥住在哪里，她回答说：“……在三棵大橡树下，下面有榛木树篱……”在这一段中，墨菲认为格林间接提及了日耳曼神奥丁（对他来说橡树是神树），这又一次让读者想起了奥丁和雷神托尔的对手芬里斯狼。然而，三棵橡树的描述，让人联想到三位一体，将象征与基督教相联系。
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The hazelnut reference can be considered another pagan element, since, according to Murphy, “The hazel-nut hedge marks off sacred space in Germanic mythology, hazel sticks being placed in a circle to create the sacred space required for a judicial assembly with divine sanction in ancient times. Thus the hazel image is that of a place of contest and divine judgment.”
榛木可以被视为另一种异教元素，因为根据墨菲的说法，“在日耳曼神话中，榛子树篱分隔出神圣的空间，在古代，榛子枝被放置成圆圈，以创造在神的批准下举行的司法大会所需要的神圣空间。因此，榛木的意象是竞争与神圣审判的地点。”
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Rowling converts the hazel to the myrtle: Moaning Myrtle. Myrtle the plant can be grown as a hedge and is known for its thick, protective, impenetrable foliage. It’s also a symbol of Aphrodite and love, and the myrtle flower was often included in bridal bouquets. Rowling may also have liked the Jewish story (if she knows it) of a woman accused of and killed for being a witch who was turned into a myrtle tree after her death. Part of the lore surrounding the tree also says that if you chew myrtle leaves you can detect witches.
罗琳把榛木转变成桃金娘：哭泣的桃金娘。桃金娘这种植物可以做树篱，以其浓密、保护性、难以穿透的叶子而闻名。它也是阿芙罗狄蒂和爱情的象征，桃金娘的花经常被用于新娘捧花中。罗琳可能也喜欢犹太故事（如果她知道的话），即一个女人被指控为女巫而被杀，并在死后变成了桃金娘树。关于这种树的部分传说还说，如果你咀嚼桃金娘的叶子，你可以发现女巫的存在。
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Like Ginny, who is symbolically “swallowed” by her wolf, Red Riding Hood is swallowed whole by the wolf. This allows the hunter to cut her and her grandmother, who was eaten first, out of the wolf’s stomach, where they are alive and well. Murphy writes:
就像金妮被狼象征性地“吞下”了，小红帽也被狼整个吞了下去。这样，猎人就可以割开狼的肚子，把她和她的姥姥（她的姥姥最先被吃掉）救出来，他们出来时仍然活着，安然无恙。墨菲写道：
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“The hunter’s identity as the Savior, as Christ, is shown in the resurrection of the two women, ancient and new, from the death which comes through succumbing to temptation, sin.... Even after he deceives good persons...their souls still shine with the red glow of their gifted spiritual light even in the darkness of his belly, until Christ comes and descends into the darkness of their death and performs...one of the favorite mysteries of medieval Christianity, the harrowing of hell.”
“猎人作为救世主，作为基督，体现在两个女人的复活上，一老一少，屈服于诱惑和罪恶导致死亡……即使他欺骗了好人……在他的腹部的黑暗中，她们的灵魂仍然闪耀着红光，天赋的灵性之光，直到基督降临，降临到她们死亡的黑暗中，并执行拯救…中世纪基督教最喜爱的仪式之一，基督降临地狱（the harrowing of hell）。”
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Harry is the woodsman/hunter/savior in Rowling’s version, descending into a metaphorical hell to save Ginny from the wolf/snake who has tempted her, deceived her, removed her volition, and drained most of her life-force. Unlike the woodsman in Grimm’s tale, Harry is not the deus ex machina—another entity assists Harry. This, in addition to Ginny’s red hair being the equivalent of a Red Hood, adds even more Pentecostal imagery to Chamber of Secrets.
在罗琳的版本中，哈利是樵夫/猎人/救世主，他进入了一个隐喻性的地狱，将金妮从诱惑她、欺骗她、剥夺她的意志、耗尽她大部分生命力的狼/蛇手中拯救出来。与《格林童话》中的樵夫不同，哈利不是机械降神——另一个实体帮助了他。这一点，加上金妮的红发（相当于红兜帽），为《密室》增添了更多五旬节的意象。
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Despite Rowling presenting a child/young adult as the protagonist, which means he should be the one to resolve the plot, she seems to use the deus ex machina in the first two books to distinguish between Harry-the-child and Harry the newly-born-hero, which he cannot become until the end of the second book, after he spiritually matures.
尽管罗琳将一个孩子/年轻人作为主角，承担化解阴谋的责任，她似乎在前两本书中使用了机械降神来区分“孩子哈利”和“新生英雄哈利”。直到第二部的结尾，在他的精神成熟之后，他才可能成为新生英雄哈利。
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In the two books in which Rowling uses the deus ex machina, Harry is still inarguably a child, and his achieving salvation on his own is implausible; he hasn’t acquired the skills or maturity. But he does have wholeness and purity of heart bestowed by an outside force: his mother Lily. Her love, the power of wholeness, protects him and prevents Quirrell from touching Harry without doing himself irreparable harm. Harry did nothing to accomplish that; he is saved by outside agents active before he was born, in addition to Dumbledore, another deus ex machina in the first book, who pulls Quirrell off him when he returns to Hogwarts.
在罗琳使用“机械降神”的两本书中，无可争议地，哈利仍然是一个孩子，他无法仅靠自己获得救赎，他还没有获得技能或真正成熟。但他确实拥有一种外在力量：他的母亲莉莉赋予了他完整而纯洁的心。她的爱保护了他，使奇洛接触哈利时受重伤。这一切不是哈利的成就，哈利被他出生之前就存在的外在力量所拯救了。邓布利多是第一部里的第二个机械降神，他回到霍格沃茨后，把哈利从奇洛身边拯救出来。
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Rowling uses the deus ex machina in the second book when Harry makes his statement of faith in Dumbledore, the god-figure who embodies the Godfather variant of the Wise Old Man archetype. This simple statement of faith brings Fawkes the phoenix to Harry in the Chamber of Secrets. Fawkes is carrying the Sorting Hat, and Gryffindor’s Sword is inside it. Fire is the thing most associated with the phoenix, through which it dies and is reborn. As I wrote earlier, the story of Pentecost says that Christ’s disciples saw the Holy Spirit appear as tongues of fire on their heads; this is a sign of their faith, their belief, and when this happens on Pentecost, they receive the ability to speak in other tongues so they can spread the gospel.
罗琳在第二本书中使用了“机械降神”，哈利表达了他对邓布利多的忠诚（邓布利多是神的化身，是“智慧老人”原型的“教父”变体）。这个简单的忠诚宣言使凤凰福克斯来到密室，来到哈利面前。福克斯带来了分院帽，里面有格兰芬多的宝剑。火是与凤凰关系最密切的元素，凤凰在火中死亡及重生。正如我先前所写的，五旬节的故事说，基督的门徒们看见圣灵以火舌的形式出现在他们的头顶，这是他们忠诚与信仰的标志，他们会得到说其他语言的能力，以传播福音。
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Fawkes symbolizes the Holy Spirit, but when he appears in the Chamber, creating Harry’s Pentecostal moment, Harry already has the gift of speaking to those who are the “Other”, a side-effect of Voldemort making him the accidental Horcrux. This ability is displayed early in the first book, when Harry talks to the snake he frees from the zoo, but it isn’t named until the second book, in which he has his symbolic confirmation or bar mitzvah.
福克斯象征着圣灵，但当它出现在密室时（创造了哈利的五旬节时刻），哈利已经有了与“他者”说话的天赋，这是哈利意外地成为伏地魔魂器的副作用。这种能力在第一部的开头，当哈利和从动物园的蛇说话的时候就有了体现，但是直到第二部才被命名（为蛇佬腔），在第二部里他获得了象征性的坚信礼或者成人礼。

Harry is about to turn thirteen, which is the “commandment age” for Jewish boys. Preparing for a bar mitzvah includes learning to speak an unfamiliar language, in order to read a portion of the Torah during the ceremony. (This is unfamiliar even to children in Israel, many of whom grow up speaking Modern Hebrew, a different language from Ancient Hebrew, just as Modern Greek is not the same as any dialect of Ancient Greek.) Afterward, the boy is considered to be a man, a responsible member of the community who must perform mitzvot—good deeds—and go on a fast at Yom Kippur.
哈利即将年满13岁，这是犹太男孩的“戒律年龄”。准备成年礼需要学习说一门不熟悉的语言，以便在仪式上阅读一部分《律法》。（甚至对以色列的孩子来说，这都很陌生，他们中很多人从小就说现代希伯来语，不同于古希伯来语，就像现代希腊语和任何一种古希腊方言都不一样。）之后，这个男孩被视为成人，是教区中负责任的一员，他必须遵守戒律（善行），在赎罪日斋戒。
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No matter how you look at it, Harry is past his “prelapsarian innocence”, as Ginny is also after the diary is destroyed and she awakens. It’s also of note that Jewish girls studying for their bat mitzvahs often celebrate their majority at the age of twelve, not thirteen. Ginny is approaching her twelfth birthday and, while she was possessed by Tom Riddle, she also spoke Parseltongue, which is how she opened the Chamber. After the incident in the Chamber, Harry and Ginny are both spiritually mature, responsible for their moral decisions, whether you want to think of the experience as a symbolic confirmation or bat/bar mitzvah. It serves the same purpose as any spiritual coming-of-age.
不管你怎么看，哈利已经度过了他“人类堕落前的无罪”，金妮在日记被毁后醒来也是如此。同样需要注意的是，犹太女孩通常在12岁而不是13岁准备她们的成人礼。金妮快到12岁生日了，在被汤姆·里德尔附身的时候，她还说了蛇佬腔，这就是她打开密室的方式。在密室事件之后，哈利和金妮都在精神上成熟了，都为他们的道德决策负责，不管你想把这次经历看作是坚信礼还是成人礼的象征。它的作用与任何精神上的成年一样。
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Like Grimm’s hunter, Harry uses a weapon to slay the basilisk, though a snake is standing in for a wolf, rather than the other way around, which is what we get in Grimm’s story. Harry uses the serpent’s tooth itself to stab the diary, freeing Ginny from the metaphorical belly of the beast. They both leave the Chamber, having spiritually and physically matured. Rowling again makes good use of Fawkes, her symbolic Holy Spirit, by having him heal Harry, so he doesn’t die. Fawkes also bears everyone—Harry, Ginny, Ron and Lockhart—out of the symbolic hell of the Chamber.
和格林版本的猎人一样，哈利用武器杀死了蛇怪，虽然蛇代替了狼。哈利用蛇怪毒牙刺穿了日记，把金妮从隐喻性的野兽肚子里解救出来。他们都离开了密室，在精神上和身体上都已经成熟了。罗琳再次充分地运用了福克斯（圣灵的象征），让它医治哈利从而使他免于死亡。福克斯还把所有人——哈利、金妮、罗恩和洛哈特——从密室（象征意义上的地狱）中带出来。
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Having reached this milestone, Harry doesn’t encounter a deus ex machina at the climax of the next book, and in each subsequent book Rowling also refrains from using this device. It had its place in the first two but it would be inappropriate in the rest of the books. Harry now has the ability to save himself and others and no longer needs an outside force for his salvation. The savior of the wizarding world needs no other savior.
达到这一里程碑之后，哈利在下一本书的高潮处没有遇到机械降神，在接下来的书中罗琳也都没有使用这个设定。它在前两部中有一席之地，但在其他书中就不合适了。哈利现在有能力拯救自己和他人，不再需要外部力量来拯救他。巫师界的救世主不需要其他救世主。
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Grimm didn’t include his woodsman to “cop out”, and Rowling doesn’t rely on Fawkes to help Harry because she couldn’t think of something else. He plays a very specific role as the embodiment of the Holy Spirit and allows us to see that Harry was still a child earlier, though he was on the cusp of adulthood, and needed to cross over into adulthood before fulfilling the role of savior to all of Hogwarts, but specifically Ginny, who represents all children who stumble before learning the difference between right and wrong.
格林没有让樵夫“临阵脱逃”，而罗琳也没有依靠福克斯来帮助哈利，因为她没有想出其他办法。福克斯扮演了一个非常特殊的角色，就是圣灵的化身，以让读者看到哈利的成长。先前哈利仍然是一个孩子，尽管他快步入成年了；在成为霍格沃茨所有人（尤其是金妮，她代表了所有在辨别对错之前犯错的孩子们）的救世主之后，他才算跨入了成年期。

补充其他书：
《色彩列传：红色》，[法] 米歇尔·帕斯图罗
研究《小红帽》的文章著作浩如烟海。比方讲，仅仅是小红帽的“帽子”就让研究者耗费了大量笔墨。在17世纪末，这顶帽子应该是什么样子的呢？…还有一种更加可靠的学术观点，认为小红帽身上的红色代表圣灵降临节，因为红色本来就是属于圣灵的色彩。按照这个思路，即便不涉及宗教历法，我们也能假设，这种红色具有驱邪避凶的保佑作用。按照欧洲的传统习俗，自远古时代以来，驱邪避凶一直是红色的主要功能之一。

这是我看过的第一篇汤金论文，2019年10月3号第一次看到，好像是2020年5月10号翻译的。

没有重新校对，直接把2020年的翻译发出来了，可能有错漏。