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Upon the Absent Beloved
I bless the hour, though it wounded me,when first my eyes were taught to look and grieve,and every joy I thought my heart could weavewas turned to golden thread of misery. For Beauty came, and with her majestymade captive all I had believed was free;yet in that chain my soul learned how to seethe heaven hidden in captivity. O gentle light, too distant to be mine,you burn within me like a sacred…
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We still have Ayato and his info about the previous OEK.
Ayato doesn’t think he found Naagaraj tho (though of course he did, in the massive tentacles). There’s an omake out there which shows him giving up and heading home…but I don’t know where it is =.=‘ (sorry).
If Ayato had reported back to base before the attack on the 24th Ward, there is a chance someone might have figured it out…but as it is, the information came too late. Excellent foreshadowing for the future though.
A Kirishima looks out at a One-Eyed King turned into a genocidal abomination; one in a ruined city, one in a city soon to be ruined if they can’t prevent the repetition of fate.
And to make the parallel even more clear, the 24th Ward kids explicitly refer to it:
“Humans” being devoured by the One-Eyed King in “Tokyo”. Ayato voyages to the underworld and sees a vision of the future.
There’s not much classical imagery in TG so it would be a stretch to say this connection is deliberate, but in Virgil’s Aeneid, the hero Aeneas sees a vision of the future sovereign Augustus when he journeys into the underworld. In this underworld, Ayato sees a vision of his sovereign in the future. Just something cool to consider 👀
(Source: Pinterest via modulagioielli.com)
Cameo by Modula Gioielli
Spencer, Richard A. Harry Potter and the Classical World: Greek and Roman Allusions in JK Rowling's Modern Epic. McFarland, 2015. Print.
Richard Spencer is a professor of classical and biblical studies at the Appalachian State University and is a Protestant Minister. His book, Harry Potter and the Classical World: Greek and Roman Allusions in JK Rowling's Modern Epic, focuses on an arrangement of classical imagery and literature. Spencer briefly examines Hebrew literature and religious texts that have shaped the Harry Potter series. For instance, one of the Ten Commandments demands that no one should take the name of G-d in vain. Jews often use “Adonai” which roughly translates into “my lord” or “Hashem” which means “the name” to talk about G-d. Rowling was inspired by this commandment in her writing as many wizards fear using Voldemort's name. Most characters describe him as “He who shall not be named”. Additionally, Spencer describes the frequent use of the number "12" in Harry Potter and in diverse religious literature. For instance in Genesis, the twelve tribes of Israel (Reuben, Simeon, Levi, Judah, Dan, Naphtali, Gad, Asher, Issachar, Zebulun, Joseph, and Benjamin) play an essential role in the Hebrew texts. There is also a Jewish apocalyptic concept that world history is divided into twelve parts or weeks. Additionally, Severus Snape’s Father was named after a biblical figure named Tobias (Tobiah in Hebrew). After Tobiah's return to Judea from the Babylonian Exile, he could not convince the puritanical Jewish priests that he and his sons were “pure” Israelites, without any taint of non–Israelite blood. Likewise, Severus Snape could not claim pure-blood status among wizards because his father was a Muggle, making him only a “half-blood” wizard.
Q: What do you mean by 'classical imagery'? PB: I mean to touch on the invisible, which is all I'm interested in touching, through an image. In Shakespeare, unless one artificially uses modern dress, which has now become an out-of-date convention, one uses the imagery of kings and queens and gods and goddesses-- imagery that comes from the past. When one uses remote images from the past, one is free from present-day associations, so you can receive the images more strongly, and yet they don't seem real because they come from the past.
"Conversations with Peter Brook" (236)
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