Aestheticism further accounts for the strong link of Salinger's epiphanies to both painting and poetry.
All these features of Salinger's epiphanies combine to evoke a regressive nostalgia, with narcissistic implications (cf.
In Seymour: An Introduction, Salinger offers us three excellent epiphanic moments experienced by Seymour Glass, but because we learn of them secondhand through Buddy's accounts, Buddy's epiphanies are blended with Seymour's, much as Zooey's two-phase epiphanic paradigm incorporates a vision of Buddy's.
Seymour's other two poetic epiphanies contrast with this one insofar as the earth-air combination becomes a confrontation.
All these suggestions make this one of the richest, most troubling and loveliest, of Salinger's strange, ambivalent epiphanies.
Finally,  Franny's two "solo" epiphanies (not counting the highly attenuated, fragmentary one she shares at the book's end with Zooey) produce a comparable intensity of mixed emotions, particularly when juxtaposed.
As entrancing and alluring as they are self-effacing and annihilating, the images here dramatize the inseparability of pleasure from pain or loss that recurs in Salinger's epiphanies.
The statement that the Fat Lady is Christ is a declaration, or an implicit exhortation ("Behave as if she were"), but it cannot create, or replace, a genuinely effective, well-developed Salingerian epiphany like those of Zooey, Holden, Buddy, Seymour, or the earlier two epiphanies of Franny herself.