Christ figure

A Christ figure, also known as a Christ-Image is a literary technique that the author uses to draw allusions between their characters and the biblical Jesus. More loosely, the Christ figure is a spiritual or prophetic character who parallels Jesus, or other spiritual or prophetic figures.

In general, a character should display more than one correspondence with the story of Jesus Christ as depicted in the Bible. For instance, the character might display one or more of the following traits: performance of miracles, manifestation of divine qualities, healing others, displaying kindness and forgiveness, fighting for justice, being guided by the spirit of the father character, and the character's own death and resurrection. Christ figures are often martyrs, sacrificing themselves for larger causes.

In postmodern literature, the resurrection theme is often abandoned, leaving us with the image of a martyr sacrificing himself for a greater good. It is common to see Christ figures displayed in a manner suggestive of crucifixion as well.

Literature

• Jim Conklin in The Red Badge of Courage[1]
• Sydney Carton in A Tale of Two Cities[2]
• Uncle Tom and Eva St. Clare in Uncle Tom's Cabin[3]
• Jim Casy in The Grapes of Wrath.[4]
• Santiago of The Old Man and the Sea by Ernest Hemingway.[5][6][7][8]
• Aslan in The Chronicles of Narnia by C. S. Lewis. Aslan the lion sacrifices himself to save Edmund but rises again from the dead to defeat the White Witch.[9]
• Simon in William Golding's Lord of the Flies. When Simon reaches up and grabs the fruit from the top of the tree for the little boys in the group, which parallels the story of Jesus feeding the people on the mountain with fish and bread.[10] Simon looks like Jesus, with long black hair. He also is spiritually sensitive. He likes to go off on his own (as Jesus did, going into the desert); he "wrestles with the devil" in the form of his conversation with the Lord of the Flies (the pig's head on a stick); he goes to the mountaintop to find out the revelation that the "beast" is only a dead pilot, and he is martyred for trying to bring the truth to the other boys. Finally, as Simon's dead body is taken by the sea, glowing creatures seem to form a halo around his head.[11]
• Finny in A Separate Peace[12][13]
• Billy Budd in Billy Budd by Herman Melville[14][15]
• John Coffey in The Green Mile.[16]
• Harry Potter in J. K. Rowling's Harry Potter series displays Savior qualities every time he defends the wizard (and Muggle) world from the devilish Lord Voldemort. On multiple occasions, Harry willingly presents himself as a sacrifice and, by doing so, is able to destroy the evil wizard. As an innocent baby, Harry becomes the only being to withstand the killing curse and temporarily defeats Voldemort. Later, after defeating Voldemort for the second time, Harry ultimately dies, as Christ did on the cross. In the end, however, as Christ resurrected, so does Harry Potter, who returns to ultimately destroy Voldemort.[17][18][19]
• Meursault in The Outsider.[20]
• Randle Patrick McMurphy in One Flew Over the Cuckoo's Nest.[21]
• Aragorn, a Ranger of the North and King of Gondor in The Lord of the Rings and Peter Jackson's The Lord of the Rings (film series). Aragorn represents the "kingship," nature of Christ. Like Christ, Aragorn too is the descendant of a long line of royalty who has been "exiled," or removed from his crown position. At the end of the series, Aragorn returns to Gondor and is named its official king. Along with Gandalf (sage/prophet) and Frodo Baggins (saviour/priest), Aragorn completes the triune representation of Christ in the series as its king.[22]
• Gandalf the wizard in the novel The Lord of the Rings and Peter Jackson's The Lord of the Rings (film series). In saving his companions from the Balrog, he falls into an abyss with it, battles with it, dies, and is restored to life by divine intervention. After his return, his robe is no longer gray but brilliant white. The film emphasizes and brings out the symbolic aspects that Tolkien felt compelled to cut back in the book,[23] and adds to the aspects of the sage/prophet and the resurrection aspect also the aspect of the exorcist by making explicit the nature of his healing of Théoden.
• Frodo Baggins, a hobbit, also in The Lord of the Rings. His Christ imagery was more emphasized in the film series. Frodo carried a burden of evil on behalf of the whole world, which is the One Ring, like Christ who carried his cross for the sins of mankind.[24] Frodo walks his "Via Dolorosa" to Mount Doom just like Jesus who made his way to Golgotha.[25] As Frodo approaches the Cracks of Doom the Ring becomes a crushing weight as the cross was for Jesus. Samwise Gamgee, Frodo's friend, parallels Simon of Cyrene, who carries Frodo up to Mount Doom, much as Simon aids Jesus by picking up his cross to Golgotha.[26] When Frodo accomplishes his mission, like Christ, he says "it is done".[27] As Christ ascends to heaven, Frodo’s life in Middle-earth comes to an end when he departs to the Undying Lands.[28] Nevertheless, Tolkien makes sure not to present anything like a one-on-one parallel to Christ: Frodo is unmistakably presented as suffering from the effects of the Fall (in the sense of Catholic theology, in which it is not incompatible with being a genuinely friendly, not unheroic person of certain good-will), which does lead to a major false choice that has to be outdone by Providence; and he travels to the Undying Lands - an earthly Paradise, not Heaven - in order to find bodily healing and a possibly long, but finite life in peace.

Stage, television and film

• Babette in Babette's Feast. She gives entirely of her lottery winnings for the sake of a poor puritanical community.[29]
• James Cole in Twelve Monkeys.[30]
• In Hair, the character Claude becomes a classic Christ figure at various points in the script. In Act I, Claude enters, saying, "I am the Son of God. I shall vanish and be forgotten," then gives benediction to the tribe and the audience. Claude suffers from indecision, and, in his Gethsemane at the end of Act I, he asks "Where Do I Go?". There are various textual allusions to Claude being on a cross, and, in the end, he is chosen to give his life for the others.[31]
• Klaatu in The Day the Earth Stood Still comes down from the "heavens" in a flying saucer, takes the name "Carpenter" to walk incognito among the people, and is persecuted and killed. However, he resurrects back to life, gives a stern benediction to the people of Earth, and then ascends back to the heavens.[32][33]
• Neo in The Matrix Trilogy. Although the film series makes many visual and textual references to various religions,[34] many Christ figure parallels exist. He is repeatedly called "the One" in a messianic sense; Neo saves various people (and all humanity at the trilogy’s conclusion); he suffers and dies; he rises from the dead; and, in the ending of the first movie, ascends into the sky.[35] "Neo" is also an anagram of "one".
• Superman in Superman: The Movie and Superman Returns. Both Superman and Jesus have been sent to Earth by their fathers (Jor-El and God, respectively). Both films chronicle the beginning of Superman's story, and included the famous quote: "They can be a great people, Kal-El, they wish to be. They only lack the light to show the way. For this reason, above all, their capacity for good, I have sent them you: my only son." In the first movie, Kal-El is sent to retire for 12 years to be educated "in spirit" by his father to be earth's savior. At the movie's ending, he made Lois Lane "Rise from death". In Returns, Superman tells Lois "You wrote that the world doesn't need a savior," (referring to her article, "Why the World Doesn't Need Superman") "but every day, I hear people crying for one." Later in the movie, Superman is stabbed in the side as Jesus was believed to have been during the Crucifixion; after casting the Crystal Continent into space, the fatigued Superman falls to Earth in a pose almost identical to that of a man being crucified. Superman wakes from coma in what seems the third day (by biblical timekeeping), mirroring Jesus' awakening on the third day after crucifixion.[36][37]
• The T-800 in Terminator 2: Judgment Day is sent to save humanity, and tries to do so by sacrificing itself.[32]
• Spock in Star Trek II: The Wrath of Khan exposes himself to a lethal amount of radiation in order to save the crew of the Enterprise, and is later "resurrected".[38][39]
• Ellen Ripley in the Alien film series has been seen as a Christ figure. Both in the way that she serves as a personal savior to Newt in Aliens and in the matter that sacrifices her own life in Alien 3 (spreading her arms as she falls into a giant furnace) so the Alien cannot exist anymore.[40] Others have noted that she dies in an act of self-sacrifice, yet similarly to Jesus, she returns in "another form" in the aptly titled Alien Resurrection.[41]
• Jeremy Reed in Powder.[42]
• Lucas Jackson in Cool Hand Luke.[43]
• E.T. the Extra-Terrestrial.[44]
• The Doctor in Doctor Who, dying in martyrdom and resurrecting from time to time to save many worlds.[45]
• Alex J. Murphy in the RoboCop films and other media. A policeman dead as a martyr in the line of duty resurrected to be a righteous champion and protector following faithfully his 3 "commandments": "Serve the public trust, protect the innocent, uphold the law".[46]
• Chris Keller in All My Sons. The son of Joe Keller who is the symbol of Christ in the play.
• King Leonidas I in the historical-fantasy film 300 (2006), adapted from the graphic novel 300 by Frank Miller. At the movie's ending, Leonidas, along with the rest of his 300 Spartans, stay behind to defend a narrow pass against their vastly more numerable Persian foe. Despite suffering a gruesome death to arrow fire, Leonidas' death gives the rest of Sparta time to mobilize an army to defeat the Persian Empire. The final shots of the film show Leonidas' body laying in a crucifix-like pose, pierced in the side and hands by arrows.[47]
• Adria the Orici, she is the leader of Army of the Ori from Stargate SG-1.
• Eleven in Season 1 of the Netflix Original Series Stranger Things.
• Isaac in The Orville, an android from Kaylon-1, a planet inhabited entirely by Kaylon, a race of androids who perceive organic life forms as inferior to them. In the season 2 episode "Identity", the Kaylon seize the Orville and hold the crew at gunpoint. Moments later, in "Identity Part II", Isaac transmits an EMP to disable all the Kaylon on board, including himself, and he is reactivated later in the episode.

Comics and animation

• In comic books as in all other media, Superman saves the people from dangers they cannot overcome on their own. The House of El (Jor-El, Kal-El, etc.) echoes the Hebrew expression for God, El. Jor-El sent is son, Kal-El to Earth to not just to save him from Krypton's impending doom but to become a God on Earth, to protect and save humanity from others and themselves. Jor-El also refers to Kal as "my son" or "the son"; he even once said, "They only need the light to show them the way. For this reason, and this reason only, I have sent you, my only son."[48] We often see Superman in situations where he believes that he has to better humanity because he feels that he is the only one that can save humanity. Superman and society around him, sees him as someone to clean up the mess that humanity has made. They see him as a God because he is not one of them, they think that he is better than them. He even had to resurrect once to keep watching over Earth.[49] For all intents and purposes, Superman is looked at as the modern-day, comic book Jesus Christ sent to save Earth before we destroy ourselves in chaos.
• Nausicaä, the protagonist of Hayao Miyazaki's manga Nausicaä of the Valley of the Wind and its film adaptation, is the humane and peace-loving Warrior Princess of the Valley of the Wind, a small post-apocalyptic society in a world dominated by large, powerful insects who reside in the "Sea of Corruption". Fueled by her love for others and for life itself, Nausicaä attempts to restore the balance of life among other human tribes and the insects, often making numerous sacrifices to do so. Although her character was intended to be viewed in the context of animistic philosophies by Miyazaki, she is often interpreted, especially in regards to Disney's English dub, as a Christ figure.[50][51]
• Kamui Shirō in the manga series X.[52][53] The story takes place at the end of days. Kamui Shirō returns home to Tokyo after a six-year absence to face his destiny as the one who will determine humanity's fate. The construction of Kamui as a messiah is reinforced by his miraculous birth and given name. "Kamui" (a spiritual or divine being in Ainu mythology), like "Christ", doubles as a title that alludes to the character's divine nature.[54][55]
• Signless, in the webcomic Homestuck, is born with no clear parents (albeit that being normal) and is raised by a woman named the Dolorosa (who is represented by the sign of Virgo). He has controversial ideas about how people should be treated with tolerance and is eventually tortured/crucified by the tyrannical government. His handcuffs become a secret symbol for his followers, like the cross of Christianity. One of his most prominent followers is named The Disciple, who later pens the story of his life, and the Empire which kills him persecutes those that worship him.
• Kikyo, in Inuyasha, is able to perform miracles. Resurrected, she eventually gives up on her love for the main character and dies for the cause which allows the other characters to eliminate the antagonist. See Inuyasha The Final Act Among The Twinkling Stars, Episode 8.[56]
• The Iron Giant in the movie The Iron Giant, a robot from space who learns to be human from a boy, sacrifices himself to save the town and is 'resurrected' when he rebuilds himself.
• Optimus Prime in Transformers. His character persona, style of leadership, motivative speech, and encouraging words can be considered messianic, as he is being a true and virtuous leader to the Autobots. His various deaths and resurrections in the franchise, including in various films, animated series and comics, helps to parallel his characteristic manners with, or to emphasize him as being similar to Christ. For example, in The Transformers: The Movie, before dying, he said "To light our darkest hour", making a reference similar to how Christ will return. When he is revived in season 3 episode 29, "The Return of Optimus Prime", all beings, including humans and transformers, are infected by the so-called "Spore Plague" or "Hate Plague", except for Optimus. He asks for help from the central computer on how to destroy the plague, which can only be destroyed by the "Wisdom of all Ages", which is locked inside the Matrix of Leadership. A surviving Quintesson tries to guard the gates so that the infected transformers cannot kill Optimus, but it fails, as the infected transformers are already inside. Before they can attempt to kill Optimus, his plate-chess opens, and the wisdom inside the Matrix lights up, successfully curing the entire universe. This is somehow similar to Christ, who performed miracles, including healing the sick.
• Steven Universe, the protagonist of Rebecca Sugar's television series Steven Universe, is the first and only Gem-human hybrid. He is compassionate, altruistic, and able to heal both Gems and humans with his spit. In season 1 episode 24, "An Indirect Kiss", Steven inadvertently ends up fixing Connie's eyesight after she sips from the juicebox he gave her. In season 4 episode 10, "Three Gems and a Baby", the Crystal Gems present three gifts to Steven a few months after he is born, reenacting the nativity scene. In season 5 episode 3, "Off Colors", Steven resurrects Lars after he dies. In the season 5 finale, "Change Your Mind", after White Diamond takes control of the other Diamonds and the Crystal Gems, she pulls Steven's gem from his body, causing it to regenerate in Steven's form. White tries to take control of the regenerated form, but she is unable to overcome the force field it creates as it slowly walks towards Steven to reunite with him. Once reunited, Steven convinces White that she is imperfect, causing her to release the Diamonds and the Crystal Gems from her control.

References

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10. "Luke 9:16 Taking the five loaves and the two fish and looking up to heaven, he gave thanks and broke them. Then he gave them to the disciples to distribute to the people". Biblehub.com. Retrieved 2016-02-12.
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19. https://web.archive.org/web/20090112214424/http://www.mugglenet.com/editorials/editorials/edit-beauseigneura01.shtml. Archived from the original on January 12, 2009. Retrieved March 25, 2009. Missing or empty |title= (help)
20. John W. Martin (July 1976). "Saint Meursault, philosophe et martyr - Springer". Neophilologus. 60 (3): 367–375. doi:10.1007/BF01513766.
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22. Yarbrough, Oliver. "Engaging the Passion: Perspectives on the Death of Jesus." Minnieapolis: Fortress Press, 2015. p. 216-218
23. Stucky, Mark (2006). "Middle Earth's Messianic Mythology Remixed: Gandalf's Death and Resurrection in Novel and Film" (PDF). Journal of Religion and Popular Culture. XIII (Summer). Retrieved 25 Nov 2006. [¶35] Although most viewers of the films would likely not notice all this symbolism, Gandalf’s death and resurrection scenes are clearly messianic metaphors that add an additional spiritual dimension to the mythology of The Lord of the Rings.... [¶36] After publication, Tolkien thought his book’s description of the return of Gandalf was a “defect.” He explained that Gandalf “must return at that point, and such explanations of his survival as are explicitly set out must be given there—but the narrative is urgent, and must not be held up for elaborate discussions involving the whole ‘mythological’ setting....” The visual nature of film can often compress information into a scene equivalent to many scattered pages of text, and Jackson “encoded” more Christ figure imagery into his scenes than Tolkien’s “severely cut” account. Since Jackson’s films visually amplified Tolkien’s Christological association in Gandalf’s death and resurrection scenes, Jackson’s cinematic presentations of Gandalf as a Christ figure may have communicated more fully the vision of what Tolkien had intended all along.
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30. Kozlovic, Anton Karl. "The Structural Characteristics of the Cinematic Christ-figure". Journal of Religion and Popular Culture. Archived from the original on 2005-02-23. Retrieved 2016-01-06.
31. Miller, Scott. Let the Sun Shine In: The Genius of Hair (Heinemann, 2003) ISBN 0-325-00556-7, pp. 88-89
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50. Ogihara-Schuck, Eriko (December 23, 2010). "The Christianizing of Animism in Manga and Anime: American Translations of Hayao Miyazaki's Nausicaä of the Valley of the Wind". In Lewis, A. David; Hoff Kraemer, Christine (eds.). Graven Images: Religion in Comic Books and Graphic Novels. London: Bloomsbury. pp. 133–146. ISBN 9780826430267. Retrieved February 24, 2014.CS1 maint: ref=harv (link)
51. Ogihara-Schuck, Eriko (October 16, 2014). "The Christianizing of Animism in Manga and Anime: American Translations of Hayao Miyazaki's Nausicaä of the Valley of the Wind". Miyazaki's Animism Abroad: The Reception of Japanese Religious Themes by American and German Audiences. Jefferson, NC: McFarland Books. pp. 133–146. ISBN 978-0-7864-7262-8. Retrieved May 12, 2016.CS1 maint: ref=harv (link)
52. X Infinity: Illustrated Collection 2. (Kadokawa Shoten: ISBN 4-04-853895-0). 2005.
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External links

• "The Journal of Religion and Popular Culture - An exploration, analysis, and interpretation (from a range of disciplinary perspectives) of the interrelations and interactions between religion and religious expression and popular culture". Archived from the original on 2013-06-29. Retrieved 2013-06-04.
• The Journal of Religion and Film - An examination of the description, critique, and embodiment of religion in film.