(www.www.Remnantnewspaper.com) We live in treacherous times, where more and more things are not at all (or simply not only) what they appear to be. Much is hidden, concealed and kept secret in about every sphere of modern life, from politics to culture, and when it comes out, it is usually in the form of a scandal. “Do not judge a book by its cover” is a word to the wise that could realistically be reinterpreted as “blow its cover first” and things will appear in an entirely different light.

As the tip of an iceberg is typically about one tenth of its total size, so is the visible part of many products of our modern culture, including the Harry Potter series. But since no other cultural product has received such enormous and worldwide distribution (over 400 million copies in 62 languages, including Latin), and since it so deeply touches the lives of a whole generation of children, responsible adults should take a much closer look at the ‘immersed’ part of this iceberg – a sizeable chunk of about nine tenths of the total – against the backdrop of the huge occult tsunami that sweeps over the Christian West.

At the moment, the present writer is working on a detailed analysis demonstrating directly from J.K. Rowling’s books some of the deeper aspects of Harry Potter’s perversity. The key word here is ‘detailed’, for as the saying goes, “the devil is in the details”. Such analysis reveals the astonishing fact that J.K. Rowling’s books are multi-layered, heavily coded and interactive. In fact, the series is so riddled with doublespeak that it could easily be called a XXXX-pages long coded message. To read this message in its original hidden meaning, there are two master keys without which it is virtually impossible to penetrate the text and tackle its core content.

Those keys are coded text and embedded imagery.

Although codes and embeds are known to the public, such knowledge does not generally extend beyond the realm of computers and web-based activity. The average person is not psychologically prepared to find them in written literature or the entertainment industry, because these are universally perceived as being “fiction”, i.e. not real. While it is an undisputed fact that cultural products have taken a clear dive into the mud, there is still some distance between that and calling a work of fiction harmful, let alone propaganda.

Alas. Had the public, especially the Christian public, been less trusting and better informed of the sneaky ways skilled manipulators can penetrate the modern mind and change its worldview to establish a new moral order, it would have been possible to curb the propagation of the new highly paganized mindset that had overtaking Christian society for decades, changing people’s mindset and behaviors. The new mindset that has so radically transformed the West since the 1950s and more noticeably so since the ‘60s, is clearly antichristian.

But people were so gradually accustomed to the new mindset that they never really perceived it as a potential threat. This is why the public fell so easily for such pagan productions as the movie Avatar. Having little or no background on the subject of the movie and being generally detached from their spiritual moorings, it only stuck to the stunning visuals and sang its praises. Many Christians even found the movie compatible with their faith, not knowing or simply dismissing the basic fact that an avatar is the (re)incarnation of a Hindu god and that one of the climactic scenes in the movie actually shows no less than a ‘soul transfer’ from one body to another.

Hollywood is notorious for spoofing Christian symbols and beliefs and turning them upside down in an effort to weaken and paganize the Body of Christ. Only ten years ago, though, many devout Christians who rejected such claims with contempt and accusations of conspiracy theories, have since taken the time to seriously look into the facts. Many examined the weight of evidence available to all – yet largely unnoticed by most – and came to the conclusion that a dangerously subversive propaganda is indeed in full swing in the Christian West. Such propaganda is aimed at instilling the ‘profane’ crowds, the Harry Potter ‘Muggles’ – e.g. the general unsuspecting public –, with a very specific worldview that is both anti-Christian and immoral.

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But this is often too much to swallow for average law-abiding citizens, who tend to reject such “conspiracy theories”, refusing to consider so much as the possibility that subversion could be exerted through children’s books, which are deemed innocent and pure by default, hence absolutely incompatible with malicious manipulations. Yet the sad reality has been with us for quite some time now: children’s books, movies, music and games have long lost their innocence and become what could be called ‘entertaining agents of change’. In fact, children are vital to the success of the coming ‘Dark Order’. Programming their soft minds to fit the tenets of the coming new age is a matter of high priority for the promoters of that order.

On a different note, a parallel is drawn with good reason between J.K. Rowling and Dan Brown because they reason and write in much the same spirit and with similar techniques, which happen to also be used by secret societies: for example, both Brown and Rowling are masters in the intricate art of symbol manipulation. In the Da Vinci Code, Brown even jokingly mentions Harry Potter as a possible Grail Quest hero! Intrigued by such a bold reference and having repeatedly observed that Brown and Rowling had the same tendency to convey serious content through jokes and casual talk (yet another feature of esoteric circles), I followed the trail and discovered that Harry Potter was indeed displaying numerous embedded signs and symbols pointing to the Grail Quest.

This might come as a shock to many, but the Grail Quest is everything but Christian, although it took a Christian tint during the Middle Ages. Like the Arthurian legend it merged with, it is drenched in Celtic Magic. Christians still believe in good faith that the Grail is a real or semi-real story from the time of Jesus because of the reference to the Holy Chalice used by Christ at the Last Supper. Yet many aspects and even entire renditions of the old legend contradict the Christian doctrine in many ways, notably by referring to some secret teaching of Christ, contrary to the Saviour’s own words: “I have spoken open and did nothing in secret.” 

In fact, it was partly Dan Brown’s detailed exposés on “symbolic analysis” that confirmed what various other sources had taught me over the years. His books helped me understand how unscrupulous factions playing on public ignorance to further an Antichristian and Esoteric agenda boldly offer the unsuspecting crowds grossly distorted versions of historical and religious events. And when brave dissenters start exposing the deception, they are openly ridiculed or flattened with Thor’s hammer! So I painstakingly tried to decipher the forest of subliminal messages found in the Harry Potter series and a plethora of other rotten-to-the-core products designed to attract an entire generation to the dangerous and many-facetted realm of Esotericism.

Since the dawn of time, symbols have been used to represent the Unseen, because they powerfully and instantly express what words cannot. In his own time, Confucius stated that the world was not ruled by laws but by signs and symbols. For millennia, they carried and enriched the most honorable traditions like the Biblical tradition, as well as dark ones, including the Occult. Small, discrete and extremely potent, symbols play a large part in rituals, both religious and magical. For ages, they also served as signs of recognition among the members of a community, good or bad, and were also used as a subversive tool. But never before have signs and symbols been put to such massive use in order to corrupt beliefs and values in the hearts of men.

Our sad times dominated by convincing liars and manipulators have shaped a modern landscape where “cheating is a tradition” as in Harry Potter’s Triwizard Tournament. Although visually familiar with a forest of symbols, the crowds rarely know what these symbols meant or represented and consequently cannot recognize them for what they are. This fact is proudly stated by a 32^o Knight Templar and Past Master in his book Freemasons for Dummies, meant for the general public:

Whether you’re reading books, surfing the Internet, or walking into a lodge, you’ll quickly discover that Masonic symbolism is literally everywhere. You’ll see tools, hourglasses, eyes, skulls, columns, stairs, hearts, swords, letters and numbers. And every one of these symbols has an explanation or use in Masonic ceremonies (p. 132).

Magic symbols too are widely displayed in the public square, as the famous wizard Oberon Zell-Ravenhart, “one of the pioneers of Paganism in the United States”, states in the companion book to his Grimoire for the Apprentice Wizard (2006):

Today, you can find these symbols in plain view, where no one seems to recognize them. Pentacles, for example, are found just about everywhere as mere decoration, and few recognize them as powerful symbols of protection and magick.

Ravenhart also highlights the important fact that “the wizard knows the importance of stories and myths, and seizes the power to tell the story in a way that shapes the future”.

Parents should also note that this famous “pioneer of Paganism” who feels called to shape the future is, in fact, the real-life Professor Dumbledore who headmasters an online Hogwart-like school created in 2005, the Grey School of Wizardry, and wrote the Grimoire for the Apprentice Wizard for his students. Much like the Harry Potter seven-book series, this elaborate teaching tool is “a 7-year course of study in wizardry for Junior High through High School level”. As an enthusiast describes it, Zell-Ravenhart’s Grimoire is “a primer that will appeal to today’s video game youth.” No wonder this real primer designed for real students in a real (though virtual) school teaching real witchcraft and wizardry makes abundant references to J.K. Rowling’s books.

In the first pages of the Companion to his Grimoire, Ravenhart openly states his intention to tackle J.K. Rowling’s mammoth readership:

Since I’d taken particular pains to design a book that would be accessible to teenagers (particularly Harry Potter fans), I also wanted to make sure that (web)sites I would be referring to would be teen-friendly as well. But at the time of that writing, as I soon discovered, there didn’t seem to be any online websites or chat groups dedicated to serious Wizardry or Magick that were suitable for teens.

The first word that comes to mind when reading this is recruiting.

The subliminal corruption of symbols in the Harry Potter series lies under the surface, in the invisible part of the iceberg, showcasing and glorifying the esoteric world of witchcraft, Alchemy and Freemasonry while subtly ridiculing all things Christian. Harry Potter is a wizard, i.e. a man of evil whose final destination, as clearly stated in the Word of God, is Hell. Yet through intricate plot manipulations and a clever corruption of symbols, he is made no less than a type of Christ, the Lamb without blemish. The cunning manipulators who achieved such a literary tour de force counted heavily on the public’s general ignorance of the subject of witchcraft and even more on gross ignorance of its own religion.

With virtually no reference system at all, today’s public is very easy to steer in whatever direction a strong hand wishes to lead it. A writer who carries the manipulators’ agenda can safely count on the silent language of symbols to convey outrageous messages because they offer a close-to-perfect level of discretion and suggest things that would cause immediate scandal if stated openly.  For instance, many J.K. Rowling’s Christian fans would most certainly develop an instant moral rash if they knew that Harry Potter has lost his virginity practically under their noses! When phallic symbols keep popping up in an apparently ‘innocent’ romantic setting, it can only mean what it means. 

Working just below the surface, symbols draw heavily on the power of suggestion and implicit content. In the occult context of Harry Potter, they tell an entirely different story, a story so much darker and dirtier than the one read by the conscious mind that it is simply appalling. The subliminal message it carries is, in fact, the core message of the books, the one a children’s author would never think of voicing for fear of losing readership by sparking outrage among millions of fans. For those who work so hard behind the scenes to instill the young generation with their pagan worldview, losing readership does not mean losing money so much as it means less young minds will be exposed to their distorted anti-Christian doctrines. There lies the real loss.

Practically speaking, many a teacher in public schools, pro- and anti-Potter alike, will testify to the fact that the Harry Potter series is an elaborate teaching tool. This teaching tool is now widely used in both public and Catholic schools as well as in schools of magic which are sprouting everywhere in the Christian West in the wake of Harry Potter. These “special” schools with the same curriculum as Hogwarts’ openly credit their bursting activity to the adventures of the loveable green-eyed wizard.  J.K. Rowling has certainly produced a first-class teaching tool cleverly packaged as fun fiction. Of course, the general public cannot be expected to see through such carefully engineered deception, not having the proper tools for that and, more importantly, having no suspicion whatsoever that kids’ books could be vessels of corruption.

Yet the old ruse has been deceiving the public for decades on end, not only in books, but in other cultural products as well. Although it has been used locally since Antiquity, maybe even before, today this ruse is being implemented on a global scale. Yet it is essential to differentiate between such massive manipulation of cultural products, especially those intended for children and teens, and the ‘organic make-up’ of works that were made to look acceptable to the ruling regime, whether political or religious. Traditionally, the concealment of suspicious ideologies under a hostile rule stemmed from a passive protective approach aiming at sanitizing an unpopular message to make it look harmless, whereas the current trend is an unprecedented aggressive reversal of the Christian paradigm through powerful subliminal subversion.

According to the French writer Nicolas Bonnal, Johnatan Swift, who was a famous satirist, built his Gulliver’s Travels in such a way as to allow more than one reading of the same narrative (satire, allegory, esoteric initiation). Likewise, Diane Andrews Henningfeld reads three different allegories into William Golding’ Lord of the Flies, a political, a Freudian and a Christian. Yet such ‘Christianity’ can spark legitimate doubts coming from an author whose main themes include rebellion, witches and magic and whose title ‘Lord of the Flies’ is another name for Beelzebub (Bel=Baal=lord + zebub=flies) whose bloody statue is all covered with flies. More doubts are warranted by the fact that Dahl’s Charlie and the Chocolate Factory is a highly symbolic string of initiatory tests.

Multiple readings of the same text can also be found in The Wizard of Oz, which is an alchemical allegory under the surface and whose author, Frank Baum, also wrote a play entitled The Uplift of Lucifer or Raising Hell and was a confirmed Theosophist. Theosophy was created in the 19^th Century by the Russian occultist and freemason Helena Blavatsky, who was fiercely antichristian. Parents will be interested to know that Madame Blavatsky’s deeply occult ideas pervade the ideological fabric of J.K. Rowling’s books where she is even mentioned by name under the thinly veiled anagram of Cassandra Vablatsky…

Our Lady of La Salette said it plainly: “All the civil governments will have one and the same plan, which will be to abolish and do away with every religious principle, to make way for materialism, atheism, spiritualism and vice of all kinds.”  The double movement Our Lady is referring to is the blueprint for every revolution: first, destroy the Christian mindset mainly using all the available tools, the most efficient of which is mockery; and then rebuild on firm Pagan ground. This double movement, which is in fact one simultaneous movement, is expressed in an Alchemical motto very popular among both Neopagans and Masons: ‘Solve et Coagula’, Latin for ‘dissolve and coagulate’, destroy and rebuild.

The agents of change who engineered the immoral revolution of the 1960s and shaped the basic tenets of the Culture of Death usually assign one of the two parts of this revolutionary program to each of the mega-productions they sponsor. The many productions that openly or subtly bash and vilify Christianity and the Church generally serve the ‘Solve’ (Destroy) part, while others, like numerous New Age publications, serve the ‘Coagula’ part, i.e. building a new worldview on their own grounds by teaching the public Esoteric doctrine.

Yet the most dangerously ‘loaded’ productions are the bestsellers that generally turn into blockbusters and generate a whole gaming industry, like Harry Potter and the Da Vinci Code, which serve both purposes, i.e. the full undivided ‘Solve and Coagula’ program: they tear down the Christian frame of mind by spoofing its values, symbols and institutions (Solve) while showcasing the basics of Gnosticism in an entertaining setting (Coagula).

This is how modern manipulators are boldly preparing young minds for the ‘Dark (New World) Order’, which seems to conjure many more signs of iniquity with the spirit and the number of the Beast than marks of the Lamb, who is meek and humble at heart. The fall of the Disney Empire, who since the 1990s has produced highly questionable movies riddled with subliminal messages, who openly exalts Freemasonry (National Treasure 2004 & 2007) and harbors a full-scale Harry Potter village in Orlando, amply proves this point.

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An Example of Symbolic Analysis

How the ‘Deathday Party’ in Book 2 is, in fact,  a parody of the Holy Eucharist

On Halloween night, Nearly-headless Nick, the friendly ghost, invites Harry at his Deathday Party in a dungeon.  The whole place is dressed in black as in preparation for a black mass (black drapes, jet-black tapers, a thousand black candles, etc.).  It is indeed a parody of the Holy Mass, especially the table:

On the other side of the dungeon was a long table also covered in black velvet.  The smell was quite disgusting.  Large rotten fish were laid on handsome silver platters, cakes, burned charcoal black, were heaped on salvers; there was a great maggoty haggis, a slab of cheese covered in furry green mould and, in pride of place, an enormous grey cake in the shape of a tombstone, with tar-like icing forming the words Sir Nicholas de Mimsy-Porpington died 31^st October, 1492.  Harry watched, amazed, as a portly ghost approached the table, crouched low and walked through it, his mouth held wide so that it passed through one of the stinking salmon.

-         ‘Can you taste it if you walk through it?’ Harry asked him.

-         ‘Almost,’ said the ghost sadly.

This table is an altar with a black velvet tablecloth, as in a Requiem Mass.  Here the fish, a symbol of Christ (IKTUS), is not only dead but rotten, exactly like God’s enemies wish Him to be (actually, there is a Greek group of Heavy Metal Rock that calls itself ‘Rotten Christ’!). The fish represented with bread traditionally refers to the Eucharist.  The “bread” here is the “cakes burned charcoal black”, like black Hosts used in a black mass.  The night of Halloween is believed to be the night where the veil is the thinnest between the worlds of the living and the dead, but this table shows the Living Christ as a dead and rotten fish with burned hosts (meaning that the Eucharist is dead food for brain dead people), while it exalts ghosts, who are believed to be dead but who are allegedly very much alive. The fish (i.e. the One it symbolizes) is lying flat, hopelessly horizontal whereas the wizard’s tombstone is erect, gloriously vertical “in pride of place”, like a promise of immortality. 

On the esoteric side, fish almost always means salmon in the Celtic tradition. Eating salmon is believed to give clairvoyance and omniscience. Moreover, the symbolism of salmon is the same as that of the wild boar, which is likened to the Druid because he lives alone in the forest and who is “the animal of sacred science”, i.e. divine knowledge, Gnosis.  The sadness of the ghost who tries to eat the salmon is not only that of the ghost who cannot eat anything anymore, but also the deep regret of the soul who is also deprived of the Gnostic sacred science.