HARRY POTTER
HARRY POTTER
Literary analysis of Harry Potter.
On J.K. Rowling, Bigotry, and Canonicity
I’m a writer myself, so I firmly believed in “Word of God” for a long time. “Word of God” is the belief that everything an author says about his or her own work is automatically true in-universe. It’s contrasted by “Death of the Author,” the idea that once a work has been published, the author’s interpretation of or opinion on their own work has no bearing over the work’s “canon.” J.K. Rowling personally killed my devotion to “Word of God.” For a long time, I was willing to accept any supplemental material about Harry Potter’s universe. I liked most of the early Pottermore content, such as Harry Potter’s lineage, the details given about Draco Malfoy, Umbridge, McGonagall, and Lockhart’s personal histories, and so on. If the details came from Rowling’s headspace while she was writing the actual books, so much the better. I accepted that Dumbledore was gay (and still do — it makes sense, and makes his backstory more interesting), and defended Rowling for not making that more explicit early on. And then… Cursed Child happened. It wasn’t just a bad book. It was a colossal blow to the way that I engaged with fiction, and sent me toppling headfirst into a full-on existential crisis. Cursed Child cannot possibly be canon. No matter how stringently you adhere to Word of God, Cursed Child contradicts canon in so many egregious ways that it simply can’t exist within the canon of the original seven books. Not all stories need to be completely internally consistent, especially if they’re part of a franchise — Castlevania has multiple alternate continuities in the games alone (which also taught me a lot about what “canon” means), and don’t even get me started on comic book universes like those of DC and Marvel. But Cursed Child explicitly billed itself as the eighth story in Harry Potter’s continuity. Despite the character assassination, ripping the worldbuilding to shreds, and blatant fanfiction tropes. The very existence of Cursed Child was insulting. At the time, I tried to shift the blame away from J.K. Rowling. She didn’t write it, she only approved it. It wasn’t really her work. But the other two people involved in its creation don’t really deserve the blame for it. John Tiffany handled all the stage-related aspects of it, and from what I’ve heard from people who’ve seen it, Cursed Child is such an impressive spectacle that it almost makes up for the shitty plot. Jack Thorne, meanwhile, wrote HBO’s His Dark Materials, which is both well-written and a faithful adaptation of its source material. Clearly, he knows how to adapt something! So, there’s no one left to blame but Rowling herself, and seeing the work that she’s put out since then… I think Cursed Child really is her fault. I liked the first Fantastic Beasts movie, but not the other two. Fantastic Beasts, like Cursed Child, introduced awful fanfic tropes that fly in the face of all the established lore — Nagini’s backstory, “Aurelius Dumbledore” being a thing (My OC is a secret relative of [canon character]!!!), a Muggle going to Hogwarts and using a wand… It’s like Rowling is taking a sledgehammer to her own world. She’s making a desperate attempt to stay relevant, even though Harry Potter’s fandom is in no danger of dying — or wouldn’t be, if she weren’t killing it. Alongside the Fantastic Beasts films came Rowling’s new Pottermore content about the history of wizards in America. America’s Wizarding community is almost exactly the same as Britain’s, existing alongside that of Muggles, which proves that Rowling knows nothing about American history. America’s too young a country for that to work. Either American wizards are almost completely integrated into American culture (aside from hiding their magic from Muggle neighbors), or they are literally a completely separate country occupying the same piece of land. My personal headcanon is the former: American magic would be just as cosmopolitan as the rest of American culture, drawing from a huge variety of cultural influences from all of its many immigrants. It also makes me cringe whenever I see the fiery “New Salem” banner, because “witches” in Salem were hanged, not burned. Salem could not have had nearly as significant an effect on the magical community as Rowling claims — Salem killed 20 people. Twenty! Around four thousand people were killed for witchcraft in Scotland alone! The Satanic Panic probably had a worse effect on America’s wizarding community than Salem did! Rowling also completely ignores the effect that religious hysteria had on witch trials in both America and Europe. In-universe, that actually makes some sense, because powerful wizards would spread propaganda that Muggles attacked wizards out ignorant malice as opposed to religious frenzy. But the Doylist explanation is that Rowling is bad at worldbuilding. While we’re at it, Ilvermorny would definitely not be Hogwarts 2.0, and it could not possibly be the only Wizarding School in the entire United States. America has a population of over 300 million people. It’s also gigantic — even with magic, it would take more than a train ride to get to school. Rowling’s history of Ilvermorny’s founding is awash with colonialism that goes almost completely unexamined, which is frankly a much bigger problem than the specific history of witch trials. There would also be far more than eleven wizarding schools in the entire world. I wouldn’t be surprised if there are more than twenty in the United States alone. There’s definitely more than one in the entire bleeding continent of Asia. So, Pottermore wasn’t reliable anymore either. That’s another reason not to take everything Rowling says about her world at face-value. She’s not that good at worldbuilding. Well, actually… in certain respects, she is (or was) genius at it. She created a world so damn immersive that everyone wants to be apart of it, which has fueled the existence of so many wonderful Harry Potter-themed experiences. But Harry Potter’s world only works on the most basic level as a fun children’s story. It falls apart under scrutiny, and doesn’t stand up to more sophisticated levels of complexity. It works well enough in the original seven books (when Rowling was completely engaged with writing it, as opposed to now when it’s been over a decade since the last book was published). In everything that’s come after that, the holes have been much bigger and impossible to ignore. The absolute nadir of bad worldbuilding came when Rowling claimed that wizards used to publicly shit themselves and then Vanish the evidence until they discovered that plumbing existed. Leaving aside the crass, inhuman absurdity of wizards publicly shitting themselves, plumbing has existed since the literal Bronze Age. In a single line, J.K. Rowling somehow managed to insult everybody who cared about her story, and that was before she started actively insulting various groups of people. When the transphobia reared its ugly head, that was the final nail in the coffin. Blatant ignorance was one thing, but Rowling’s comments were now tinged with malice. It became impossible to defend her in good faith. Harry Potter’s Author was officially Dead. I have not seen anyone in Harry Potter spaces quote her (as opposed to the books proper) since then — no more inspiring quotes from her, no more using her words to back up interpretations or make points about the books, nothing. And Rowling herself doesn’t seem to care. It’s not that she’s made missteps, it’s that she doubles down when called out on them. It’s that she doesn’t even try to understand where her fans are coming from when they complain. It’s that the latest piece of content is basically “Blood Libel: The Game.” Seriously, its optics are so bad that I almost wonder how it got published. The release of Hogwarts Legacy is putting me through a slower, quieter, but no less painful version of what I experienced around Cursed Child. Harry Potter isn’t just a story to me. It’s legitimately a part of my identity. It’s a story that took residence in my soul, becoming my blood and self and purpose (to paraphrase Erin Morgenstern). Now, I have to once again question what my relationship to it is. I have to ask myself where the magic went. Looking back through the original seven books, I’m still impressed by the writing in them. Even knowing what I now know of Rowling, I still think that the books are masterpieces that will endure for decades (or even centuries). There is a unique magic in them, and the joy they’ve brought to my life and the lives of millions of others is palpable and meaningful in and of itself. I’m not going to let Rowling and her creative decisions ruin Harry Potter for me, just as I didn’t let Warren Ellis and his creative decisions ruin Castlevania for me. But how do I separate this story from the more unsavory parts of it, from Rowling, and from myself? Perhaps the magic comes not from Rowling, but from the books themselves. Perhaps Rowling was just the vehicle for something greater than herself, a story that transcends both her and every other person who’s read or contributed to it. Some creators are like that. They put forward one incredible masterpiece, but the genius is more in the work than it is in them, and when the person behind it actually comes through, they don’t measure up to the thing they created. I think that we’re finally seeing the real Rowling, the person whom the Muse acted through. The positive messages in the books about diversity, inclusion, love, and antifascism are there in spite of her, not because of her. Or maybe being a billionaire went to her head, and made her an objectively worse person, so she is literally not the same writer now that she was 20 years ago. I feel weird saying that, because I’m a writer and I want to be lauded for my work one day. I don’t want to be separated from my work like that. I don’t want to be canceled or locked out of my own story. But I also am making a commitment to be better than this — better to my readers, and better to my story. J.K. Rowling's conduct is unacceptable. She has disrespected and betrayed everyone who has ever felt emotionally connected to her work. She’s grievously insulted trans, Indigenous, and now Jewish people. She’s disrespected her story, her characters, and her world, by twisting them into unrecognizable fanfic-like abominations. Why should she be listened to regarding Harry Potter anymore? The story exists independently of her. It, and its positive influence, is much bigger than she is.
Is Harry Bisexual?
I have mixed feelings about the theory that Harry is bi. I think it’s fine to believe that Harry is bisexual as a headcanon. But the reasoning people give to prove that Harry is bi often involves the assumption that it is impossible for men to acknowledge that other men are attractive, without being attracted to them. In a meta-sense, it’s a straight woman writing. But we are in Harry’s head. For the sake of this question, I think it’s worth comparing how Harry reacts to attractive male vs. female characters. Cho So to begin with, how does Harry react to women? How does he react to people we know he’s attracted to? Based on Ginny and Cho, the two women whom we know for sure Harry is attracted to, Harry has a type. Ginny and Cho are both sporty, popular girls with shiny hair who like Quidditch. Here’s Harry’s initial reaction to Cho Chang in Book Three: Their Seeker, Cho Chang, was the only girl on their team. She was shorter than Harry by about a head, and Harry couldn’t help noticing, nervous as he was, that she was extremely pretty. She smiled at Harry as the teams faced each other behind their captains, and he felt a slight lurch in the region of his stomach that he didn’t think had anything to do with nerves. —PoA, “Gryffindor Versus Ravenclaw” What’s important to note here is that Harry doesn’t simply remark that Cho is physically attractive. His stomach lurches, and it’s not nervousness; this is how we know that Harry actually has a crush on Cho, as opposed to neutrally describing her as attractive. Two years later, Cho is in the DA. When she arrives in the Hog’s Head, Harry tries to avoid looking at her, but his stomach keeps doing flips. There are many moments when Harry reacts to Cho’s behavior in the DA meetings. Cho’s laugh gives him a “familiar swooping sensation in his stomach.” When she smiles at him, he “resisted the temptation to walk past her several more times.” He lingers because he wants Cho to wish him Merry Christmas. It’s when she starts crying and talking about Cedric that he’s completely turned off. When she moves closer to him, he feels paralyzed, and “his brain seemed to have been Stunned.” The actual kiss is not described — it fades to black and cuts to Harry talking about it with Ron and Hermione in the common room. Kissing Cho leaves Harry with complex and contradictory emotions. When Harry goes into his failed date with Cho, this is how she’s described: She was waiting for him a little to the side of the oak front doors, looking very pretty with her hair tied back in a long ponytail. Harry’s feet seemed too big for his body as he walked toward her, and he was suddenly horribly aware of his arms and how stupid they looked swinging at his sides. —OotP, “The Beetle at Bay” Again, Harry doesn’t just describe Cho as pretty, he reacts to her beauty, immediately becoming self-conscious about his own appearance. Of course, this attraction to Cho is not enough to override how embarrassed he feels in Madam Puddifoot’s, and he tries to avoid looking at her or holding her hand. His relationship with Cho fails because Harry struggles to hold space for her grief and dislikes her emotional sensitivity. Ginny Ginny does not have this problem. She’s not an emotional person, and Harry doesn’t have to hold space for her. Harry doesn’t really notice Ginny through most of the series, until after Ginny moves on from him and stops acting awkward around him. In Book Five, Harry is still too fixated on Cho to care about Ginny, but he does notice when Hermione mentions this: “Ginny used to fancy Harry, but she gave up on him months ago. Not that she doesn’t like you, of course,” she added kindly to Harry while she examined a long black-and-gold quill. Harry, whose head was still full of Cho’s parting wave, did not find this subject quite as interesting as Ron, who was positively quivering with indignation, but it did bring something home to him that until now he had not really registered. “So that’s why she talks now?” he asked Hermione. “She never used to talk in front of me.” “Exactly,” said Hermione. —OotP, “In the Hog’s Head.” There was an excellent article on The Sugar Quill (now available through Wayback Machine) that analyzed Harry and Ginny's relationship, arguing that they were attracted to each other before HBP was released and their relationship became canon. There isn't anything I can add that it doesn't already say, so I will analzye their reactions to each other in the latter two books. The first comment about Ginny’s physical appearance in Book Six doesn’t come from Harry’s narration, it actually comes from Pansy Parkinson of all people. She says in the Slytherins’ compartment that even Blaise Zabini thinks she’s good-looking. Harry himself doesn’t react to Ginny until the infamous “chest monster” scene. Harry hardly noticed the sound of shattering glass; he felt disoriented, dizzy; being struck by a lightning bolt must be something like this. You just didn’t like seeing her kissing Dean because she’s Ron’s sister… But unbidden into his mind came an image of that same deserted corridor with himself kissing Ginny instead…. The monster in his chest purred… but then he saw Ron ripping open the tapestry curtain and drawing his wand on Harry, shouting things like “betrayal of trust”… “supposed to be my friend”… […] Harry lay awake for a long time, looking up at the canopy of his four-poster and trying to convince himself that his feelings for Ginny were entirely elder-brotherly. They had lived, had they not, like brother in sister all summer, playing Quidditch, teasing Ron, and having a laugh about Bill and Phlegm? He had known Ginny for years now… It was natural that he should feel protective… natural that he should want to look out for her… want to rip Dean limb from limb for kissing her… No… he would have to control that particular brotherly feeling. Ron gave a great snore. She’s Ron’s sister, Harry told himself firmly. Ron’s sister. She’s out-of-bounds. He would not risk his friendship with Ron for anything. He punched his pillow into a more comfortable shape and waited for sleep to come, trying his utmost not to allow his thoughts to stray anywhere near Ginny. —HBP, “Felix Felicis.” I don’t hate the chest monster, to be honest. Sure, it’s a very literal interpretation of the “Green-Eyed Monster” trope, but sometimes jealousy does feel like this. This passage is the first real indication we get that Harry has a crush on Ginny, and it seems to be the moment he realizes it himself. But Harry’s reaction in this scene is directed more at Dean and Ron than Ginny. Dean is the target of his jealousy, and Ron is what’s holding him back from allowing himself to love Ginny. He doesn’t ask her to Slughorn’s party because he’s afraid of how Ron will react. Though, Harry seems to have become just as fixated on Ginny as he was on Cho. She shows up in his dreams “in ways that made him devoutly thankful that Ron could not perform Legilimency” (“The Unbreakable Vow”). He also fantasizes that Ginny was “weeping over his lifeless form, confess[ing] her feelings of deep attraction to him” when she comes to visit him in the hospital wing after he’s hit by McLaggan (and she basically does that when Harry “dies” in Book Seven). But he doesn’t spend as long secretly pining over Ginny. He kisses her randomly during a party celebrating Gryffindor’s win: Harry looked around; there was Ginny running toward him; she had a hard, blazing look on her face as she threw her arms around him. And without thinking, without planning it, without worrying about the fact that fifty people were watching, Harry kissed her. After several long moments — or it might have been half an hour — or possibly several sunlit days — they broke apart. […] The creature in his chest roaring in triumph, he grinned down at Ginny and gestured wordlessly out of the portrait hole. —HBP, “Sectumsempra” Unlike with Cho, Ginny’s kiss scene really takes its time. Not only does the reader see the whole of it, but so does the rest of Gryffindor House. It’s welcome relief after Harry’s grueling detention with Snape, and it feels downright triumphant. Kissing her feels like “several sunlit days,” in stark contrast to the uncomfortable and emotionally complicated kiss with Cho. He describes Ginny’s expression as “blazing” — Ginny is often described in ways which connect her to fire or light, usually referring to the color of her hair or the way her cheeks flush. For example, Harry later describes Ginny’s hair as “flying like flames” (“Flight of the Prince”) while she’s engaged in combat with Amycus Carrow. In Book Two, her face is “glowing like the setting sun” when she blushes (CoS, “At Flourish and Blotts”). In Book Seven, looking at Ginny is “like gazing into a brilliant light” (DH, “The Will of Albus Dumbledore”). Ginny also tosses her hair in the same way Fleur does — at the beginning of Book Six she does so in a deliberate imitation of Fleur, but she does it again in the “chest monster” scene when confronting Ron. When Ginny kisses Harry at the beginning of Deathly Hallows, he describes it as “blissful oblivion, better than firewhiskey; she was the only real thing in the world, Ginny, the feels of her, one hand at her back and one in her long, sweet-smelling hair…” There are many more reasons why Harry is attracted to Ginny, and why they are compatible as a couple, but that’s the topic of another answer. What’s important here is how Harry behaves around people he’s attracted to. He’s clearly far more relaxed around Ginny than he was around Cho. They’re already friends, so his stomach isn’t doing flips every time she pays any attention to him. He knows her better as a person, so being around her is more comfortable. It’s really his envy that tips him off that he likes her, and then the only thing standing in his way is Ron. When he goes for it, they just click. Fleur Fleur Delacour is a perfect example of a female character who is objectively attractive, but whom Harry himself feels neutrally about. We are given an initial description of her in Goblet of Fire: “A long sheet of silvery-blonde hair fell almost to her waist. She had large, deep blue eyes, and very white, even teeth” (“Beauxbatons and Durmstrang”). Although this description makes it clear that Fleur is beautiful, it doesn’t use the word “beautiful” or “pretty.” It’s a description of what Fleur looks like, while actually calling her beautiful would imply that is Harry’s opinion. Veela are called the most beautiful women that Harry has ever seen, but Fleur herself is not given this designation (at least, not in Book Four). We know how beautiful Fleur is because of how other people react to her. Ron starts “gurgling” and acting weird when Fleur interacts with them for the first time, but Harry notably has no such reaction. He laughs at Ron, and that’s what brings Ron back to his senses. And when Ron points out that “they don’t make them like that at Hogwarts,” Harry says, “They make them okay at Hogwarts” and turns toward Cho. This suggests that Harry experiences no romantic or sexual attraction to Fleur. It also suggests that Harry might have some amount of resistance to Veela magic. We know that full-Veela affect him, because of his reaction to them at the Quidditch World Cup stadium, but when he and his friends are fleeing from the Death Eaters later on, they run across a group of Veela surrounded by young men making impossible claims. Ron reacts to them, but Harry does not — instead, he internally laughs at Stan Shunpike making ridiculous claims to impress the Veela. Again, his reaction is to laugh at another man acting weird. Why do the Veela affect him the first time, but not the second time? No idea. Maybe Harry’s personality is just different from Ron’s, maybe the entire group of Veela dancing in the stadium had a stronger effect (Harry is not affected until after they started dancing), or maybe men who aren’t straight are less affected, even if they’re still attracted to women. The rest of Book Four mentions Fleur tossing her silver hair and mentions that she “swept” or “glided” from place to place. Harry seems to particularly notice her hair, and based on his reactions to Ginny and Cho, we know that hair is one of the things he notices on girls he likes. In “The Weighing of the Wands,” Fleur’s “long silvery hair caught the light” as she throws back her head. Other than that, there’s not much to note. For example, Harry does not remark upon how stunning Fleur looks in her dress robes at the Yule Ball; instead, he focuses on her complaining. Later, however, in Book Six, we get a more detailed description: A young woman was standing in the doorway, a woman of such breathtaking beauty that the room seemed to have become strangely airless. She was tall and willowy with long blonde hair and appeared to emanate a faint, silvery glow. To complete this vision of perfection, she was carrying a heavily laden breakfast tray. —HBP, “An Excess of Phlegm” This description definitely leaves more of an impact than the previous one. Harry’s cheeks burn where she kisses him. But, Harry also laughs when Ginny calls her Phlegm, and he doesn’t fixate on her the way he did Cho or Ginny. I think it’s safe to assume that Harry thinks Fleur is attractive but doesn’t have a crush on her, and is less affected by her Veela magic. So now, we’ve come to the real question — how does Harry react to attractive men? Is it similar to the way he reacts to Ginny and Cho, or is it more like how he reacts to Fleur? Or neither? Suffice to say, we’re not going to get anything quite like the above (because Rowling seems adverse to actually portraying queerness in her work) but I’m going to come at this from a strictly in-universe sense. Speaking as a bisexual person myself, it’s really easy to write off homosexual inclinations as literally anything else. But, I also don’t want to read too much into it, so I’ll be looking for two things: One, Harry’s descriptions in narration, and two, Harry’s own response. Cedric Harry’s first description of Cedric in the series does not say that he is attractive: Wood had pointed out Cedric Diggory to him in the corridor; Diggory was a fifth year and a lot bigger than Harry. Seekers were usually light and speedy, but Diggory’s weight would be an advantage in this weather because he was less likely to be blown off course. —PoA, “Grim Defeat.” That’s it. Harry’s only remark about Cedric’s looks is something that relates directly to Quidditch physics, becuase that’s what Harry cares about. We know that Cedric is attractive because Angelina, Alicia, and Katie giggle and describe him as such. There’s no mention in the narration. Harry doesn’t describe Cedric as attractive until the beginning of Book Four: Cedric Diggory was an extremely handsome boy of around seventeen. He was Captain and Seeker of the Hufflepuff House Quidditch team at Hogwarts. —GoF, “The Portkey.” This sounds more like a neutral description, except that we’re not given any other details of what Cedric looks like, suggesting that his attractiveness is what stands out the most. This later passage, however, is more loaded: Then there was the fact that Cedric looked the part of a champion so much more than he did. Exceptionally handsome, with his straight nose, dark hair, and gray eyes, it was hard to say who was receiving more admiration these days, Cedric or Viktor Krum. Harry actually saw the same sixth-year girls who had been so keen to get Krum’s autograph begging Cedric to sign their school bags one lunchtime. —GoF, “The Weighing of the Wands” There we go, that’s more like it! This is a much more specific and detailed description of Cedric, telling us not just that he is handsome but also why. Harry also is self-conscious about his own appearance in response, though (one could argue) for different reasons than with Cho — this is also an example of Cedric’s handsomeness being used for contrast. Harry feels inferior as a champion in comparison to Cedric. But beyond those two descriptions, there isn’t much. I seriously scoured Book Four and couldn’t find any other moments where Harry mentions Cedric’s looks, or even so much as uses flowery adjectives. There are a lot of potentially opportune moments to describe Cedric, but they’re passed over. There’s no mention of Cedric’s attractiveness during either the meeting in the trophy room in “The Four Champions” (where he’s simply “standing with his hands behind his back, staring into the fire”), or during Rita Skeeter’s photoshoot in “The Weighing of the Wands.” Cedric and Harry also don’t have too many meaningful interactions before the end of Book Four. One is when Harry tips Cedric off about the dragons: There is no mention of Cedric’s appearance, nor anything else that would suggest Harry’s attraction: Cedric still didn’t know about the dragons… the only champion who didn’t, if Harry was right in thinking that Maxime and Karkaroff would have told Fleur and Krum… “Hermione, I”ll see you in the greenhouses,” Harry said, coming to his decision as he watched Cedric leaving the Hall. “Go on, I’ll catch you up.” […] By the time Harry reached the bottom of the marble staircase, Cedric was at the top. He was with a load of sixth-year friends. Harry didn’t want to talk to Cedric in front of them; they were among those who had been quoting Rita Skeeter’s article at him every time he went near them. He followed Cedric at a distance and saw that he was heading toward the Charms corridor. This gave Harry an idea. Pausing at a distance from them, he pulled out his wand, and took careful aim. “Diffindo!” Cedric’s bag split. Parchment, quills, and books spilled out of it onto the floor. Several bottles of ink smashed. “Don’t bother,” said Cedric in an exasperated voice as his friends bent down to help him. “Tell Flitwick I’m coming, go on…” This was exactly what Harry had been hoping for. He slipped his wand back into his robes, waited until Cedric’s friends had disappeared into their classroom, and hurried up the corridor, which was now empty of everyone but himself and Cedric. “Hi,” said Cedric, picking up a copy of A Guide to Advanced Transfiguration that was now splattered with ink. “My bag just split… brand-new and all…” “Cedric,” said Harry, “the first task is dragons.” “What?” said Cedric, looking up. “Dragons,” said Harry, speaking quickly, in case Professor Flitwick came out to see where Cedric had got to. “They’ve got four, one for each of us, and we’ve got to get past them.” Cedric stared at him. Harry saw some of the panic he’d been feeling since Saturday night flickering in Cedric’s gray eyes. “Are you sure?” Cedric said in a hushed voice. “Dead sure,” said Harry. “I’ve seen them.” “But how did you find out? We’re not supposed to know…” “Never mind,” said Harry quickly — he knew Hagrid would be in trouble if he told the truth. “But I’m not the only one who knows. Fleur and Krum will know by now — Maxime and Karkaroff both saw the dragons too.” Cedric straightened up, his arms full of inky quills, parchment, and books, his ripped bag dangling off one shoulder. He stared at Harry, and there was a puzzled, almost suspicious look in his eyes. “Why are you telling me?” he asked. Harry looked at him in disbelief. He was sure Cedric wouldn’t have asked that if he had seen the dragons himself. Harry wouldn’t have let his worst enemy face those monsters unprepared —- well, perhaps Malfoy or Snape… “It’s just… fair, isn’t it?” he said to Cedric. “We all know now… we’re on an even footing, aren’t we?” Cedric was still looking at him in a slightly suspicious way when Harry heard a familiar clunking noise… —GoF, “The First Task.” The second interaction is when Cedric returns the favor by telling Harry to take a bath with the egg, and there’s no mention of Cedric’s looks there, either: It was Cedric Diggory. Harry could see Cho waiting for him in the entrance hall below. “Yeah?” said Harry oldly as Cedric ran up the stairs toward him. Cedric looked as though he didn’t want to say whatever it was in front of Ron, who shrugged, looking bad-tempered, and continued to climb the stairs. “Listen…” Cedric lowered his voice as Ron disappeared. “I owe you one for telling me about the dragons. You know that golden egg? Does yours wail when you open it?” “Yeah,” said Harry. “Well… take a bath, okay?” “What?” “Take a bath, and — er — take the egg with you, and — er — just mull things over in the hot water. It’ll help you think… Trust me.” Harry stared at him. “Tell you what,” Cedric said, “use the prefects’ bathroom. Fourth door to the left of that statue of Boris the Bewildered on the fifth floor. Password’s ‘pine fresh.’ Gotta go… want to say good night —” —GoF, “The Yule Ball” The third interaction is in the maze, and, well, that’s a very stressful situation. The only thing notable is that when Harry considers taking the cup for himself when Cedric offers it, he thinks of Cho’s admiration: Harry looked from Cedric to the cup. For one shining moment, he saw himself emerging from the maze, holding it. He saw himself holding the Triwizard Cup aloft, heard the roar of the crowd, saw Cho’s face shining with admiration, more clearly than he had ever seen it before… and then the picture faded, and he found himself staring at Cedric’s shadowy, stubborn face. —GoF, “The Third Task.” On that note, when Cho turns Harry down for the ball because she already said yes to Cedric, Harry begins to resent Cedric: He had been starting to quite like Cedric — prepared to overlook the fact that he had once beaten him at Quidditch, and was handsome, and popular, and nearly everyone’s favorite champion. Now he suddenly realized that Cedric was in fact a useless pretty boy who didn’t have enough brains to fill an eggcup. —GoF, “The Unexpected Task.” This comment about Cedric’s looks is derisive rather than admiring. Like the previous passage mentioning Cedric’s appearance, it also highlights Harry’s insecurity — he feels inferior to Cedric on multiple levels, and Cho dating him just highlights that. It reads to me like an understated version of how Harry reacts to Dean later, in that it is Harry’s jealousy over a girl that he’s reacting to. Then, of course, Cedric dies. Harry is horrified by Cedric’s death, but doesn’t mention anything that would imply the absolute devastation he would feel if he had a crush on Cedric. Cedric’s death is less about Cedric and more about death: For a second that contained an eternity, Harry stared into Cedric’s face, at his open gray eyes, blank and expressionless as the windows of a deserted house, at his half-open mouth, which looked slightly surprised. And then, before Harry’s mind had accepted what he was seeing, before he could feel anything but numb disbelief, he felt himself being pulled to his feet. —GoF, “Flesh, Blood, and Bone.” No mention of Cedric’s handsome features being drained of life, no poetic tragedy. Just death, vacancy. Harry isn’t devastated that Cedric is dead, he’s appalled that he just saw someone die. What to make of all this? Honestly, Cedric is a bit of a no-sell. Harry doesn’t mention Cedric’s looks as often as people assume he does, and when he does, it’s often his own insecurity talking. Sirius It’s more than a little unsettling to consider Harry being attracted to Sirius, since he unambiguously sees Sirius as a father figure. But it makes sense to separate the younger Sirius from the older Sirius, especially since younger-Sirius and older-Sirius look so different. When Harry first sees Sirius in Book Three, he’s described as having matted hair, waxy skin, and looking like a corpse. But that’s to be expected, since he just spent twelve years in prison. The first description we get of young Sirius is in chapter eleven of Prisoner of Azkaban: If he hadn’t known it was the same person, he would never have guessed it was Black in this old photograph. His face wasn’t sunken and waxy, but handsome, full of laughter. Cedric’s looks are only mentioned a few times in narration, but Sirius’ looks are mentioned nearly every time he’s shown as a young man. The most famous description of young-Sirius is, of course, in “Snape’s Worst Memory”: Sirius was lounging in his chair at his ease, tilting it back on two legs. He was very good-looking; his dark hair fell into his eyes with a sort of casual elegance neither James’s nor Harry’s could ever have achieved, and a girl sitting behind him was eyeing him hopefully, though he didn’t seem to have noticed. —OotP, “Snape’s Worst Memory.” Much like with Ginny and Fleur, Sirius’ hair is mentioned very often, even as an adult. For example, when he’s first seen in Order of the Phoenix, we get this description: “Panting slightly and sweeping his long dark hair out of his eyes, Harry’s godfather, Sirius, turned to face him” (OotP, “Number Twelve, Grimmauld Place”). Sirius does this again when Harry speaks to him and Lupin about Snape’s Worst Memory through the fireplace. When Harry first sees Sirius himself in the fire in Book Four, he remarks how Sirius looks better than he had at the end of Book Three: “…the hair was short and clean now, Sirius’ face was fuller, and he looked younger, more like the only photograph Harry had of him…” (GoF, “The Hungarian Horntail”). His hair is once again “long and dark” when he first appears in the fire in Book Five. Unlike Cedric, Sirius’ former beauty is mentioned when he dies: “Harry saw the look of mingled fear and surprise on his godfather’s once-handsome face as he fell through the ancient doorway and disappeared behind the veil…” (OotP, “Beyond the Veil”). We also get a few post-mortem descriptions of Sirius. In Deathly Hallows, Harry finds a photograph of him with the other Marauders, and describes him thusly: “…carelessly handsome, his slightly arrogant face was so much younger and happier than Harry had ever seen it alive” (DH, “Kreacher’s Tale”). A similar description is given of Sirius’ spirit when the Resurrection Stone calls it back: Sirius was tall and handsome, and younger by far than Harry had seen him in life. He loped with an easy grace, his hands in his pockets and a grin on his face. —DH, “The Forest Again” In death, Sirius is restored to his carefree, cocky, and beautiful younger self. He doesn’t walk, he “lopes with an easy grace,” which is a somewhat doglike description, but it’s also similar to Fleur’s gliding. It produces the same effect as the phrase “casual elegance.” Overall, young Sirius has a sense of ease that the older Sirius lacks — “casual” and “careless.” Between that, the long dark hair, and the motorbike, Sirius was an almost stereotypical Tall-Dark-and-Handsome devil-may-care highschool bad boy. And Harry acknowledges this, repeatedly. To a certain extent, the emphasis on Sirius’ looks is to provide contrast between his younger self and his haunted older self. But this one holds a little more water. Is Harry attracted to his godfather? No. But, I don’t think it’s unreasonable for him to think, “wow, he was really hot when he was younger.” Voldemort And of course, that brings me to Tom Riddle, the epitome of “he was really hot when he was younger.” If it’s unsettling to think of Harry being attracted to Sirius, it’s a bit sickening to think of Harry being attracted to Voldemort. Some stories work well with enemies-to-lovers ships, but this is not one of them. That said, Voldemort is still worth talking about here, because he is the male character whose physical attractiveness is mentioned the most often. Tom Riddle’s attractiveness is mentioned so often for the same reason, to provide contrast. It is, of course, striking that Voldemort used to be so pretty when he ends up being a snake-faced lich. But unlike with Sirius, it’s not just a physical contrast, it’s also a moral contrast. The pretty face hides a twisted personality and a literally mutilated soul. It’s what I’ve come to call the “Dorian Gray effect”; it’s hard to believe that Tom is as evil as he is when he’s just so pretty and charismatic, and everyone (except Dumbledore) buys the act. But secretly, the beautiful man conceals his soul in an object (several, actually) that reveals his depraved true self. And sure, it’s easy to say that the contrast is enough of a reason to frequently emphasize Tom Riddle’s looks. But — but! — anyone who’s read The Picture of Dorian Gray can tell you that it is unambiguously the gayest Victorian novel ever. The only way we can make the moral point is to have everyone, male or female, swoon over how pretty Dorian is. The initial description of Riddle in Book Two is the most neutral one we get. Harry describes Riddle as being taller than himself, but also having jet-black hair (CoS, “The Very Secret Diary”). Riddle is not called “handsome” (or any variant) anywhere in the memory scene. The description of Riddle in the Chamber of Secrets is also neutral — he’s a “tall, black-haired boy” (CoS, “The Heir of Slytherin”). The description of him in that scene places more emphasis on the misty haze that surrounds him, becuase he’s a “memory” conjured by the Horcrux instead of a real person. The only time Riddle is actually called “handsome” anywhere in Book Two is in Dumbledore’s dialogue, when he is explaining who Tom Riddle was in “Dobby’s Reward.” Why isn’t Riddle’s handsomeness mentioned in narration here? Well, in a way this actually supports the Harry-is-bi theory. Harry’s twelve in this book. He hasn’t quite hit puberty yet, and doesn’t start describing people (Cho, Sirius) as attractive until the next book. It makes sense that Harry doesn’t consider Riddle’s handsomeness worth remarking upon when he’s twelve, but does when he’s sixteen. In Half-Blood Prince, Tom Riddle Sr. is described first, as a “very handsome, dark-haired young man” (HBP, “The House of Gaunt”). I bring this up because it should be a completely neutral description; it is not of Voldemort, so it is not meant to provide contrast. The only narrative function that it serves is to explain why Merope was interested in Riddle (though that’s obvious by the context anyway), and maybe to tip us off that the man on the horse is Voldemort’s father before Dumbledore says so — though that’s debatable, since Voldemort himself has not been described as “handsome” yet, only as “black-haired.” In short, the description of Riddle Sr. as “handsome” seems to be Harry’s own opinion, one shared by Dumbledore (a character we know is gay) on the next page. Could it be an objective “this is what he looks like”? Sure, but the objective description of Riddle Jr. in Book Two lacked this specific descriptor. Our first proper description of Riddle Jr. in Book Six is of eleven-year-old Tom, when Dumbledore comes to invite him to Hogwarts: There was no trace of the Gaunts in Tom Riddle’s face. Merope had gotten her dying wish: He was his handsome father in miniature, tall for eleven years old, dark-haired, and pale. —HBP, “The Secret Riddle” This is the first time when Riddle’s beauty is mentioned in narration, in addition to him being tall and dark-haired. Do I think this is because Harry is attracted to him? No. Riddle is a child in this scene (and also, still Voldemort). What this tells us is that Riddle is the spitting image of his father (just as Harry is the spitting image of his father). But… we’ve already emphasized that Riddle Sr. was attractive; this is now the third time. Honestly, I think it’s just weird that this is the scene where Voldemort’s attractiveness is first mentioned. In context, I think it makes the most sense to take it at face value. This is simply a description of what he looks like. Later in the scene, it’s used for contrast: His “wild happiness” about being a wizard “did not make him better looking; on the contrary, his finely carved features seemed somehow rougher, his expression almost bestial.” The next time Voldemort is described is in the memory where he returns to the Gaunts’ house to claim the ring from Morfin. He’s once again described as “tall, pale, dark-haired, and handsome” (“A Sluggish Memory”). Given that these are all the same words that were used to describe Voldemort the last time, I’m writing it off as another simple description of what he looks like. The next description of Voldemort in that same chapter is different: “Harry recognized Voldemort at once. His was the most handsome face and he looked the most relaxed of all the boys.” Here Voldemort is explicitly said to be more handsome than everyone else, and this is said without the other basic adjectives used to describe his appearance (tall, dark-haired, pale). Once again it’s used for contrast — Voldemort has gone full Dorian Gray at this point, having already killed his father and maybe (?) made his first horcrux. Still, he’s identified by his attractiveness, not by anything else. He’s also described as “relaxed,” a similar sense of ease to that which is associated with Sirius (but powerful, rather than carefree). The next memory of Voldemort is the one in which he visits Hepzibah Smith. While explaining the background to this memory, Dumbledore calls Riddle “polite and handsome and clever” — the context is an explanation of how Riddle could charm people like Hepzibah to give up their treasures, but make of that what you will. This is the description we’re given of Voldemort in the memory: The house-elf returned within minutes, followed by a tall young man Harry had no difficulty whatsoever in recognizing as Voldemort. He was plainly dressed in a black suit; his hair was a little longer than it had been at school and his cheeks were hollowed, but all of this suited him; he looked more handsome than ever. He picked his way through the cramped room with an air that showed he had visited many times before and bowed low over Hepzibah’s fat little hand, brushing it with his lips. —HBP, “Lord Voldemort’s Request” I mean… yeah. This is probably the most flattering description of Voldemort that we get. This is, in a manner of speaking, Voldemort at his peak — or at least, at his most Dorian. He’s sharply dressed and debonair and magnetic. And it’s important that Harry notes this. Of course Hepzibah is charmed by Voldemort, but here’s Harry characterizing his worst enemy this way. Voldemort is again described as handsome in the narration when Hepzibah’s ogling him as he’s ogling the cup. There were many missed opportunities with Cedric, but Half-Blood Prince does not miss a single opportunity to point out how hot Riddle is. (Also, note the mention of hair.) In the subsequent memory, Voldemort requesting the Defense Against the Dark Arts job from Dumbledore, he is “no longer handsome Tom Riddle.” It was as though his features had been burned and blurred; they were waxy and oddly distorted, and the whites of the eyes now had a permanently bloody look, though the pupils were not yet the slits that Harry knew they would become. He was wearing a long black cloak, and his face was as pale as the snow glistening on his shoulders. —HBP, “Lord Voldemort’s Request” This is Voldemort as he was in the middle of his transformation from Tall, Dark, and Handsome to snakelike lich. Here the mention of “handsome Tom Riddle” is purely to provide contrast, because the contrast is so startling. Though he was never a good person to begin with, Voldemort is less of a man now. The final mention of Tom Riddle’s handsomeness is at the end of Slughorn’s true memory in “Horcruxes,” again for contrast — Riddle has the same “wild happiness” upon learning about horcruxes, and it makes him look less human instead of more attractive. The final mention of Riddle’s handsomeness in the entire series is in Book Seven, during the locket scene of all places — “Behind both of the glass windows within blinked a living eye, dark and handsome as Tom Riddle’s eyes had been before he turned them scarlet and slit-pupiled” (DH, “The Silver Doe”). The whole locket scene is intriguing and disturbing, both beautiful and appalling. The choice of using Riddle’s dark eyes instead of Voldemort’s red eyes reflects that. The locket repeats all of Ron’s fears and insecurities, but somehow, it’s simultaneously seductive. I think the locket scene is one of my favorites in the whole series, despite me not really liking Book Seven in general. So. What to make of this? I think a lot of Potterheads agree that Voldemort is so much more interesting as Tom Riddle, with that Dorian Gray effect. Evil hiding behind beauty and charisma is so much more interesting than “obviously evil lich is evil.” In the same vein, I can’t tell you how many times I’ve run across artwork of a pretty man with long blond hair and it turns out to be effing Sauron. And Tom Riddle, well… I mean… he's really hot! Do the frequent mentions of Tom Riddle’s looks mean that Harry Potter is bi? Honestly, I’d have to go with, yes it means he’s probably bi, no he’s not attracted to Lord Voldemort. There’s a difference. I know for sure that I’m attracted to men, and I can acknowledge that Tom Riddle is fine as hell. This question calls Tom “historical English drama handsome,” and that’s precisely my type, so god dammit I’m doomed. But I don’t have a literal crush on him the way I do Alucard from Castlevania. I can definitely hear myself saying in my own head, “well, if it wasn’t Voldemort…” But it is Voldemort. Knowing me, my ability to read people’s vibes would tip me off that there is something deeply wrong with him. I’m not the sort of fangirl who would attempt to forgive, excuse, whitewash, or gloss over atrocities just because a character is attractive. I suspect that Harry is in a similar boat — attracted enough to men to think “wow, he’s really hot” repeatedly, but not blindsighted to the point where he forgets that it’s Voldemort. He only barely comes close to sympathizing with Voldemort one time, in “The Secret Riddle,” where he’s surprised that Merope didn’t try to live for the sake of her son. And Harry also has good intuition. Grindelwald There’s actually another Dark wizard whom Harry describes as handsome in narration, and that’s Grindelwald. The first time Grindelwald is described is in “The Muggle-Born Registration Commission,” when Harry sees a photo of him and Dumbledore in Rita Skeeter’s book. Grindelwald’s facial expression is described as “gleeful, wild,” similar to Voldemort, and “His golden hair fell in curls to his shoulders.” That’s a pretty flattering description, and again, the focus on hair. Harry sees Grindelwald through Voldemort’s mind in “The Thief,” and this is the description we’re given: "…there on the window ledge sat perched, like a giant bird, a young man with golden hair. In the split second that the lantern’s light illuminated him, Harry saw the delight upon his handsome face…" Later in that same chapter, Harry again thinks about Grindelwald, emphasizes that same wild facial expression, and compares him to a bird again: Harry could still see the blond-haired youth’s face; it was merry, wild; there was a Fred and George-ish air of triumphant trickery about him. He had soared from the windowsill like a bird, and Harry had seen him before, but he could not think where… —DH, “The Thief” Again, this is a pretty flattering description. Grindelwald “soared” from the windowsill, instead of falling or leaping or any other less-graceful verb. The wild expression on his face does not distort his features the way it does Voldemort’s. When Harry sees a photograph of Grindelwald in Bathilda Bagshot’s home, he is described thusly: “It was the golden-haired, merry-faced thief, the young man who had perched on Gregorovich windowsill, smiling lazily up at Harry out of the silver frame.” (DH, “Bathilda’s Secret”) “Lazily,” again, that sense of ease. Grindelwald is given many of the same associations as both young-Sirius and young-Voldemort. This is saying a lot, becuase Grindelwald is much more inconsequential to the main story than Sirius or Voldemort. In the chapter called “The Life and Lies of Albus Dumbledore,” Harry sees this photograph of Grindelwald and Dumbledore again, and describes Grindelwald as Dumbledore’s “handsome companion.” Since the old Grindelwald barely factors into the story at all, it’s not used for contrast this time. And, since there have already been several descriptions of what Grindelwald looks like, it’s not there for the “objective” reason either. We can assume that this is Harry’s own opinion. I think this may be the strongest evidence that Harry is bi. There isn’t any real reason to say that Grindelwald is handsome, since we’ve already been told what he looks like, and Grindelwald isn’t important enough to the story for it to have any other narrative function — at least, not to Harry. It’s very likely that Grindelwald’s beauty has the same destabilizing effect as Voldemort’s, and that Dumbledore was so besotted with Grindelwald that he ignored all the red flags. (It’s my headcanon that this was one of the reasons Dumbledore saw through Voldemort — he knew better than to make that mistake again.) (While we’re on the topic of Dumbledore, Harry describes Dumbledore’s father, Percival, as “good-looking.” This is when he sees a photograph of the Dumbledore family in “The Bribe.” No other details are given about Percival’s appearance, except that his eyes twinkle.) As I’ve stated above, it’s worth reiterating that straight men are perfectly capable of acknowledging that other men are attractive. But when even minor characters are described as attractive, it begins to add up. Conclusion Harry doesn’t develop any crushes on male characters, but there are lots of reasons that could be. He might not be as into men as he is into women, he’s probably repressing his homosexual inclinations, and he has so many other priorities and stressors as a teenager that prevent him from fully exploring any aspect of his sexuality. I repeat that acknowledging a person as attractive does not mean you are attracted to them, i.e. “I’m ace, not blind.” But, speaking from my own experience, it is so easy to dismiss actual attraction as “aesthetic” or “objective.” Given how often Harry comments on the attractiveness of multiple male characters (four men, as opposed to three women), it seems completely plausible to me that Harry is bisexual.
Is Harry Arrogant?
No, he’s not. This question is old, but I still feel the need to answer it, because this is one of the most pervasive myths about Harry Potter that I’ve seen on Quora. First, a bit of background: Harry is quite a divisive character, but not in the same way Dumbledore and Snape are divisive. Harry is the protagonist, but he’s usually not the character whom most Harry Potter fans like to focus on. It’s actually quite a testament to Rowling’s character writing that some people read her books for the supporting cast. Harry himself falls under the radar — some people think that he’s a blank slate (he definitely has an established personality), or a “Gary Stu” (showing they don’t know what a Mary Sue is), and other people actively hate him. The most common reason for this, at least on Quora, is that Harry is supposedly “arrogant.” I’m a person who has a very similar personality to Harry Potter. I’m similarly empathetic but temperamental, I have similar attitudes toward authority, and I’m every bit as moody. I think I’m arrogant, but I would argue that Harry is not. Harry is constantly mischaracterized as arrogant by multiple people in the series, most notably Snape. Fans characterizing Harry as arrogant is an indirect manifestation of the James Vs. Snape Debate — it makes sense that readers who sympathize with Snape would be more likely to perceive Harry the way Snape does: “—mediocre, arrogant as his father, a determined rule-breaker, delighted to call himself famous, attention-seeking and impertinent—” “You see what you expect to see, Severus,” said Dumbledore, without raising his eyes from a copy of Transfiguration Today. “Other teachers report that the boy is modest, likable, and reasonably talented. Personally, I find him an engaging child.” —DH, chapter 23 I hope to show that all the impressions of Harry that Snape lists are incorrect. A lot of Harry’s supposed arrogance is a result of him having been conditioned to mistrust adults, on top of a clinical disease known as “being a teenager.” Harry actually is extremely modest, likable, and reasonably talented. Harry and Authority The evidence for Harry’s arrogance that I see cited the most often is the many instances of Harry disregarding the rules — Harry setting off a firework in Snape’s classroom as a diversion, Harry neglecting McGonagall’s order to stay away from the third floor corridor, or his various sassy remarks. But it’s important to consider the context here: One, Harry is a teenager, and teenagers are naturally a bit anti-authoritarian. Two, Harry has every reason to distrust authority. Three, the anti-authoritarian message of the Harry Potter series is an important one. One of the many ideas that Harry Potter seeks to combat, especially in Book 5, is the idea that people in power must automatically be respected just because they’re in power. This is partly just a teenager’s way of thinking — I was facing much lower stakes than Harry, and I still acted like obeying authority was a surrendering of my soul. It’s the reason why a lot of YA novels, including Harry Potter, have teenage protagonists going up against mean teachers, abusive parents, and corrupt governments. Speaking just as myself and not as a literary critic, it sort of disturbs me that so many people consider defiance the same thing as arrogance. Defiance is one of my personal values, and I admire Harry for his unwillingness to simply bow his head and do what he’s told. But Harry’s defiance towards authority isn’t simply because he’s a teenager, and it’s not a personal value. It’s a direct result of having been abused as a child. The Dursleys’ physical abuse of him is more often implied than actually shown, but we know that Uncle Vernon hit him because of the following lines: [Hermione] “You don't seem to need many qualifications to liaise with Muggles; all they want is an OWL in Muggle Studies: Much more important is your enthusiasm, patience and a good sense of fun!” “You'd need more than a good sense of fun to liaise with my uncle,” said Harry darkly. “Good sense of when to duck, more like.” —OotP, chapter 29 And: Harry ran down the stairs two at a time, coming to an abrupt halt several steps from the bottom, as long experience had taught him to remain out of arm’s reach of his uncle whenever possible. —HBP, chapter 3 That’s pretty blatant. Even as a teenager, Harry avoids being anywhere near his uncle because he knows he will be physically harmed. And indeed, Vernon tries to choke Harry in chapter 1 of OotP, and promises to “flay him to within an inch of his life” in chapter 2 of CoS. Aunt Petunia isn’t much better — she tries to hit Harry in the head with a frying pan in chapter 1 of CoS, which would have caused at least a concussion, if not worse. Then there’s the fact that the Dursleys put him in solitary confinement more than once. PS chapter 2 mentions an instance of magic for which he’s given a week in his cupboard, and he’s locked in it for nearly a month after the boa constrictor incident. Compared to that, being imprisoned in his bedroom in CoS seems more manageable. Putting a small child in a closet for even a few minutes can be utterly traumatizing for them, let alone weeks. Although Harry is used to it, keeping a child in a confined space for extended periods of time still constitutes child abuse. Even all that aside, making Harry sleep in a cupboard is enough to communicate to a young child, We don’t care about you. You aren’t part of this family. That in and of itself is psychologically damaging. The Dursleys go out of their way to make Harry feel unwelcome and inferior in their home, even in the most minor of ways: She now passed a grapefruit quarter to Harry. He noticed that it was a lot smaller than Dudley’s. Aunt Petunia seemed to feel that the best way to keep up Dudley’s morale was to make sure that he did, at least, get more to eat than Harry. —GoF, chapter 3 They also spread malicious rumors about Harry to the townsfolk: Neighborhood children all around were terrified of [Dudley] — even more terrified than they were of “that Potter boy,” who, they had been warned, was a hardened hooligan who attended St. Brutus’s Secure Center for Incurably Criminal Boys. —OotP, chapter 1. Growing up with the Dursleys taught Harry that the people who are supposed to take care of him and look out for him will not do so. He’s been conditioned to believe that the people who say they know what’s best for him do not, that adult interference in his life is usually malicious, and that he will be punished every time he tries to go to them for help. This is why he always takes matters into his own hands, whether it’s advisable or not. It is not because Harry is entitled, or because he thinks to himself, “I am so much smarter and more capable than these well-trained adult wizards!” His brain does not even go there. Like many abused children, Harry automatically assumes that he cannot trust adults, even when that isn’t necessarily true. That’s not arrogance, that’s a trauma response. It’s worth pointing out that Harry’s distrust of adults, especially Snape, does come back to bite him in the ass. The most obvious example is of course that of Sirius’ death — if Harry had correctly assumed that Snape did go to warn the Order of the Phoenix, and just waited for them to get on it, nothing would have happened. Harry instead takes matters into his own hands, and disaster strikes. He continues to blame Snape for Sirius’ death, because he’s a grieving teenager trying to distract himself from his guilt, and Dumbledore calls him out on it: “What about Snape?” Harry spat. “You’re not talking about him, are you? When I told him Voldemort had Sirius he just sneered at me as usual—” “Harry, you know perfectly well that Professor Snape had no choice but to pretend not to take you seriously in front of Dolores Umbridge,” said Dumbledore steadily, “but as I have explained, he informed the Order as soon as possible about what you had said. It was he who deduced where you had gone when you did not return from the forest. It was he too who gave Professor Umbridge fake Veritaserum when she was attempting to force you to tell of Sirius’s whereabouts…” Harry disregarded this; he felt a savage pleasure in blaming Snape, it seemed to be easing his own sense of dreadful guilt, and he wanted to hear Dumbledore agree with him. “Snape — Snape g-goaded Sirius about staying in the house — he made out Sirius was a coward—” “Sirius was much too old and clever to have allowed such feeble words to hurt him,” said Dumbledore. “Snape stopped giving me Occlumency lessons!” Harry snarled. “He threw me out of his office!” “I am aware of it,” said Dumbledore heavily. “I have already said that it was a mistake for me not to teach you myself, though I was sure, at the time, that nothing could have been more dangerous than to open your mind even further to Voldemort while in my presence—” “Snape made it worse, my scar always hurt worse after lessons with him—” Harry remembered Ron’s thoughts on the subject and plunged on. “How do you know he wasn’t trying to soften me up for Voldemort, make it easier for him to get inside my—” “I trust Severus Snape,” said Dumbledore simply. “But I forgot — another old man’s mistake — that some wounds run too deep for the healing. I thought Professor Snape could overcome his feelings about your father — I was wrong.” —OotP, chapter 37 I’m willing to cut Harry some slack here. He’s fifteen years old, he’s just been through yet another traumatic experience on top of a dreadful year, in which he’s likely been battling PTSD and depression, on top of having to handle Umbridge’s torture and the Ministry’s slander and the encroaching threat of Voldemort. That’s too much for anyone to bear, let alone a kid. Might this be arrogance under normal circumstances? Sure, I’ll grant that. But considering all Harry goes through, his mental health is in remarkably good shape. Harry is wrong to distrust Snape, but is it really any wonder Harry doesn’t trust Snape? Snape’s treatment of Harry is absolutely terrible. Their first interaction really sets the tone for their entire relationship: “Potter!” said Snape suddenly. “What would I get if I added powdered root of asphodel to an infusion of wormwood?” Powdered root of what to an infusion of what? Harry glanced at Ron, who was looking as stumped as he was; Hermione’s hand had shot into the air. “I don’t know, sir,” said Harry. Snape’s lips curled into a sneer. “Tut, tut — fame clearly isn’t everything.” He ignored Hermione’s hand. “Let’s try again. Potter, where would you look if I told you to find me a bezoar?” Hermione stretched her hand as high into the air as it would go without her leaving her seat, but Harry didn’t have the faintest idea what a bezoar was. He tried not to look at Malfoy, Crabbe, and Goyle, who were shaking with laughter. “I don’t know, sir.” “Thought you wouldn’t open a book before coming, eh, Potter?” Harry forced himself to keep looking straight into those cold eyes. He had looked through his books at the Dursleys’, but did Snape expect him to remember everything in One Thousand Magical Herbs and Fungi? Snape was still ignoring Hermione’s quivering hand. “What is the difference, Potter, between monkshood and wolfsbane?” At this, Hermione stood up, her hand stretching toward the dungeon ceiling. “I don’t know,” said Harry quietly. “I think Hermione does, though, why don’t you try her?” A few people laughed; Harry caught Seamus’s eye, and Seamus winked. Snape, however, was not pleased. “Sit down,” he snapped at Hermione. “For your information, Potter, asphodel and wormwood make a sleeping potion so powerful it is known as the Draught of Living Death. A bezoar is a stone taken from the stomach of a goat and it will save you from most poisons. As for monkshood and wolfsbane, they are the same plant, which also goes by the name of aconite. Well? Why aren’t you all copying that down? There was a sudden rummaging for quills and parchment. Over the noise, Snape said, “And a point will be taken from Gryffindor House for your cheek, Potter. —PS, chapter 8 No matter what your feelings about Snape are, Snape is in the wrong here. Snape singles out Harry on his first day of class, before he can reasonably be expected to know anything about the subject, and then asks questions that Snape knows Harry won’t be able to answer. The first two questions are both sixth-year material (Ron also looks stumped, so the ingredients for the Draught of Living Death are not common knowledge among wizard children), and the third is a trick question. Snape is a teacher. He is in a position of power over his students, and abusing that power to humiliate them is wrong. Even if many teachers taught this way in previous generations, that does not mean Snape’s behavior in this scene is justified. (I should not have to say this, but apparently I do have to make this crystal-clear — Snape’s abuse of Harry in this scene does not mean that he deserved to be bullied by James as a teenager, or abused by his parents as a child. Snape did not deserve James’ bullying. We clear? Good.) Harry’s responses, meanwhile, are initially polite. Not knowing the answer to a question is hardly a crime, especially when you haven’t had any classes yet to have paid attention to. Honestly, I didn’t interpret his referral to Hermione as cheek, but I’m willing to concede that one. However, Harry has become the target of Snape’s hatred before he has done anything to warrant it, and he doesn’t have the power to do anything but snipe back. If Snape hadn’t projected James onto Harry during this initial scene, then maybe there wouldn’t have been so much animosity between them. Because Snape is an adult and Harry is not, he can be expected to have more emotional maturity than Harry, so this is all on him. If Harry is dealing with this sort of treatment from Snape lesson after lesson for six years, then, combined with all of the bad conditioning from the Dursleys, why should we expect him to trust Snape? Going to Snape for any sort of help means getting a detention at best, from Harry’s perspective. Even after learning that Snape is on his side as early as Book One, it does nothing to change this deeply-ingrained mindset. “It’s Dumbledore’s business. Dumbledore trusts Severus, and that ought to be good enough for all of us.” “But,” said Harry, “just say — just say Dumbledore’s wrong about Snape—” “People have said it, many times. It comes down to whether or not you trust Dumbledore’s judgement. I do; therefore, I trust Severus.” “But Dumbledore can make mistakes,” argued Harry. “He says it himself. And you” — he looked Lupin straight in the eye, “do you honestly like Snape?” “I neither like nor dislike Severus,” said Lupin. “No, Harry, I am speaking the truth,” he added, as Harry pulled a skeptical expression. “We shall never be bosom friends, perhaps; after all that happened between James and Sirius and Severus, there is too much bitterness there. But I do not forget that during the year I taught at Hogwarts, Severus made the Wolfsbane Potion for me every month, made it perfectly, so that I did not have to suffer as I usually do at the full moon.” “But he ‘accidentally’ let it slip that you’re a werewolf, so you had to leave!” said Harry angrily. Lupin shrugged. “The news would have leaked out anyway. We both know he wanted my job, but he could have wreaked much worse damage by tampering with the potion. He kept me healthy. I must be grateful.” “Maybe he didn’t dare mess with the potion with Dumbledore watching him!” said Harry. “You are determined to hate him, Harry,” said Lupin with a faint smile. “And I understand; with James as your father, with Sirius as your godfather, you have inherited an old prejudice.” —HBP chapter 16 It’s important that we hear this from Lupin, because Lupin was part of the old animosity between Snape and the Marauders. Lupin doesn’t take any of Snape’s vitriol towards him in Book Three to heart, and he is immensely grateful to Snape for the Wolfsbane Potion. Lupin is capable of letting bygones be bygones to work alongside an ally, and Harry is not — but Lupin is also an adult, while Harry is an emotionally immature teenager, and Harry’s own confrontations with Snape aren’t far enough in the past to be water under the bridge. Snape’s trustworthiness is constantly in flux. Harry’s distrust of Snape is not justified, but it is understandable. It’s a pattern that Snape himself enforces, and it’s obviously contributed to by Sirius and (indirectly) James. But calling it arrogance is a stretch, because it’s not superciliousness that motivates Harry’s hatred of Snape. That’s how Snape perceives it, but that’s because Snape is projecting James onto Harry. Harry’s cheek is his only way of retaliating, and also just part of being a teenager. I’m going to come back to Snape, because his and Harry’s relationship is a running theme here, but there’s one more thing I want to touch on in this section about authority, and that’s disruption in Snape’s class in Book Two. I’ve seen people bring this up as a sign of Harry’s arrogance, and I seriously do not understand why. It’s not Harry’s idea to set off the firework — it’s Hermione’s, and the purpose of it is to gather ingredients for the Polyjuice Potion (which, again, is a manifestation of Harry and co.’s general distrust of adults, not a deliberate act of defiance). Harry is not causing disruption in Snape’s class just to stick it to Snape. He doesn’t even want to do it: Harry smiled feebly. Deliberately causing mayhem in Snape’s Potions class was about as safe as poking a sleeping dragon in the eye. —CoS, chapter 11 But it is true that Harry respects Snape less and less as time goes on. And honestly, why should he respect Snape? Harry Potter makes it clear that many authorities — the Dursleys, Umbridge, and even Snape — simply do not deserve respect, because they refuse to show any respect towards their charges. Harry summarizes this sentiment in response to Scrimgeour: “Remembered you’re not at school, have you?” said Scrimgeour, breathing hard into Harry’s face. “Remembered that I am not Dumbledore, who forgave your insolence and insubordination? You may wear that scar like a crown, Potter, but it is not up to a seventeen-year-old boy to tell me how to do my job! It’s time you learned some respect!” “It’s time you earned it,” said Harry. —DH, chapter 7 Calling a person “arrogant” for refusing to put up with harsh treatment is insidious. If it’s self-important to believe that you deserve to be treated like a person, then that implies that you are not entitled to human decency. That’s a dangerous sentiment. If you’re “arrogant” for wanting to be treated with kindness by those in power, then they are justified in mistreating you, because you need to be “taken down a peg.” This is what enables people like Umbridge, the Dursleys, and Snape to be abusive. Having humility should not mean being a doormat. Harry and Celebrity The other big piece of this is Harry’s celebrity, and how he reacts to it. In-universe, one of the most annoying accusations against Harry is the assumption that Harry’s fame has gone to his head, and that all the crazy stuff he does is acting out for attention. But there’s no evidence to suggest that this is how Harry actually feels about being famous. In fact, there’s a lot of evidence to the contrary. Harry’s reactions to celebrity demonstrates his modesty. I remember being consistently frustrated by other characters’ assumptions that Harry is obsessed with fame. Aside from Snape, the first person to make this assumption is Lockhart, in this exchange: “Gave you a taste for publicity, didn’t I?” said Lockhart. “Gave you the bug. You got onto the front page of the newspaper with me and you couldn’t wait to do it again.” “Oh, no, Professor, see —” “Harry, Harry, Harry,” said Lockhart, reaching out and grasping his shoulder. “I understand. Natural to want a bit more once you’ve had that first taste — and I blame myself for giving you that, because it was bound to go to your head — but see here, young man, you can’t start flying cars to get yourself noticed. Just calm down, all right? Plenty of time for all that when you’re older. Yes, yes, I know what you’re thinking! ‘It’s all right for him, he’s an internationally famous wizard already!’ But when I was twelve, I was just as much of a nobody as you are now. In fact, I’d say I was even more of a nobody! I mean, a few people have heard of you, haven’t they? All that business with He-Who-Must-Not-Be-Named!” He glanced at the lightning scar on Harry’s forehead. “I know, I know — it’s not quite as good as winning Witch Weekly’s Most-Charming-Smile Award five times in a row, as I have — but it’s a start, Harry, it’s a start.” —CoS, chapter 6 Lockhart, of course, assumes that Harry has the same feelings about fame that he himself does. But the reader knows that this is not how Harry thinks. The flying car is actually a great example of how and why Harry breaks rules — he missed the train, he needed to get to Hogwarts, the car was available. He simply wasn’t thinking about the attention, positive or negative, that he might get as a result. But Lockhart takes one look and assumes that it’s all an attention grab, that Harry is trying to boost his own ego. Of course he does, it’s Lockhart. But that’s another thing — Harry is never anything like Lockhart. He doesn’t drop phrases like “It’s not as good as defeating the Dark Lord, as I have.” And Harry’s achievements are 1. actually impressive and 2. real! Harry gets a similar accusation thrown at him by the whole Ministry in his fifth year: “Well, they’re writing about you as though you’re this deluded, attention-seeking person who thinks he’s a great tragic hero or something,” said Hermione, very fast, as though it would be less unpleasant for Harry to hear these facts quickly. “They keep slipping in snide comments about you. If some far-fetched story appears they say something like ‘a tale worthy of Harry Potter’ and if anyone has a funny accident or anything it’s ‘let’s hope he hasn’t got a scar on his forehead or we’ll be asked to worship him next —’ ” “I don’t want anyone to worship —” Harry began hotly. “I know you don’t,” said Hermione quickly, looking frightened. “I know, Harry. But you see what they’re doing? They want to turn you into someone nobody will believe. Fudge is behind it, I’ll bet anything. They want wizards on the street to think you’re just some stupid boy who’s a bit of a joke, who tells ridiculous tall stories because he loves being famous and wants to keep it going.” “I didn’t ask — I didn’t want — Voldemort killed my parents!” Harry spluttered. “I got famous because he murdered my family but couldn’t kill me! Who wants to be famous for that? Don’t they think I’d rather it’d never —” “We know, Harry,” said Ginny earnestly. —OotP, chapter 4. The Ministry know that they’re lying. They’re accusing Harry of wanting attention because they’re trying to discredit him. Accusing him of attention-seeking is the easiest way to do that, because it makes sense to people who don’t know Harry. It makes sense that a kid who’s absurdly famous for having survived something by chance would want to milk his encounter with Voldemort for all it’s worth. The general wizarding public doesn’t know about Harry’s other encounters with Voldemort in years 1 and 2, so they don’t have that as added context. Celebrity becomes a weapon to use against him. And then of course, there’s Snape. Snape seems to especially resent Harry’s fame. “Tut, tut — fame clearly isn’t everything.” The first thing he does in his potions class, as previously demonstrated, is attempt to take Harry down a couple of notches, when he’s been given no indication that Harry needed to be taken down. Snape just assumes that Harry is motivated by egotism, that his fame has made him feel like he is inherently more special and more deserving than everyone else. That, or he’s trying to get a rise out of Harry in order to punish him: All this press attention seems to have inflated your already over-large head, Potter,” said Snape quietly, once the rest of the class had settled down again. Harry didn’t answer. He knew Snape was trying to provoke him; he had done this before. No doubt he was hoping for an excuse to take a round of fifty points from Gryffindor before the end of the class. “You might be laboring under the delusion that the entire wizarding world is impressed with you,” Snape went on, so quietly that no one else could hear him. […] “but I don’t care how many times your picture appears in the papers. To me, Potter, you are nothing but a nasty little boy who considers rules to be beneath him.” —GoF, chapter 27 I have already explained how Harry’s disregard for rules has more to do with his general distrust of authority figures from having suffered abuse as a child, and less to do with arrogance. So we can put that aside. Why does Snape keep bringing up Harry’s fame, besides provoking him? What Harry doesn’t know at this point in the story is that Snape is projecting James onto him. Snape automatically assumes that Harry thinks the same way that James does: “…Let the ordinary people worry about his safety! Famous Harry Potter goes where he wants to, with no thought for the consequences.” Harry stayed silent. Snape was trying to provoke him into telling the truth. he wasn’t going to do it. Snape had no proof — yet. “How extraordinarily like your father you are, Potter,” Snape said suddenly, his eyes glinting. “He too was exceedingly arrogant. A small amount of talent on the Quidditch field made him think he was a cut above the rest of us, too. Strutting about the place with his friends and admirers… the resemblance between you is uncanny.” “My dad didn’t strut,” said Harry, before he could stop himself. “And neither do I.” “Your father didn’t set much store by the rules either,” Snape went on, pressing his advantage, his thin face full of malice. “Rules were for lesser mortals, not Quidditch Cup-winners. His head was so swollen—” “SHUT UP!” —PoA, chapter 14 Snape is right about James here, but he is not right about Harry. Because James is what he wants to see, he ignores all the ways in which Harry isn’t like James. Much like Voldemort creating his own worst enemy by going after Harry, Snape therefore encourages Harry to act more like James in his presence. What stuns me is that plenty of Harry Potter fans on Quora make the exact same assumption, despite, presumably, having read the same books and therefore having Harry’s perspective. I understand that people who sympathize with Snape over James are more likely to think like Snape. I sympathize with Harry because I have a similar personality and, as I explained before, I perceive defiance against authority as an inherently noble thing (which Harry doesn’t, necessarily — he doesn’t have a martyr complex the way I did). A person who thinks more like Snape than like me is less likely to perceive Harry’s rule-breaking in a positive light. But I truly do not understand how they can think Harry is motivated by James-like arrogance, because there’s multiple scenes that show us he is not. Quidditch talent was the source of James’ arrogance, at least according to Snape (James being an only child probably had something to do with it). Although James was an incredibly skilled wizard for his age (the Marauder’s Map is a serious feat of enchantment), Quidditch was definitely what he was known for, and he was a lot more conceited about it than Harry: Lupin had pulled out a book and was reading. Sirius stared around at the students milling over the grass, looking rather haughty and bored, but very handsomely so. James was still playing with the Snitch, letting it zoom farther and farther away, almost escaping but always grabbed at the last second. Wormtail was watching him with his mouth open. Every time James made a particularly difficult catch, Wormtail gasped and applauded. After five minutes of this, Harry wondered why James didn’t tell Wormtail to get a grip on himself, but James seemed to be enjoying the attention. Harry noticed his father had a habit of rumpling up his hair as though to make sure it did not get too tidy, and also that he kept looking over at the girls by the water’s edge. “Put that away, will you?” said Sirius finally, as James made a fine catch and Wormtail let out a cheer. “Before Wormtail wets himself from excitement.” Wormtail turned slightly pink but James grinned. “If it bothers you,” he said, stuffing the Snitch back in his pocket. Harry had the distinct impression that Sirius was the only one for whom James would have stopped showing off. […] “Messing up your hair because you think it looks cool to look like you’ve just gotten off your broomstick, showing off with that stupid Snitch, walking down corridors and hexing anyone who annoys you just because you can — I’m surprised your broomstick can get off the ground with that fat head on it. You make me SICK.” […] “What is it with her?” said James, trying and failing to look as though this was a throwaway question of no real importance to him. “Reading between the lines, I’d say she thinks you’re a bit conceited, mate.” “Right,” said James, who looked furious now, “right—” —OotP, chapter 28 Harry does not act like this. He doesn’t steal the Snitch just to show off with it, doesn’t try to draw attention to his Quidditch skills in front of girls just to impress them, doesn’t expect attention or praise from his friends. I think it’s interesting that Harry’s first impulse would be to tell Wormtail to get a grip, drawing a clear line between his and his father’s attitudes. Harry also notes how James probably wouldn’t stop showing off for anybody but his best friend. It takes Lily directly and brutally telling James how unimpressed she is for him to consider how he comes across, and it’s implied that this is what eventually motivates him to change his behavior. I can’t think of a single time in which Harry deliberately shows off his Quidditch skills with the intention to impress other people. Harry also isn’t a bully. How does Harry feel about his Quidditch skills? “So… got any ideas how you’re going to get past your dragon yet?” said Moody. “No,” said Harry. “Well, I’m not going to tell you,” said Moody gruffly. “I don’t show favoritism, me. I’m just going to give you some good, general advice. And the first bit is — play to your strengths.” “I haven’t got any,” said Harry, before he could stop himself. “Excuse me,” growled Moody, “you’ve got strengths if I say you’ve got them. Think now. What are you best at?” Harry tried to concentrate. What was he best at? Well, that was easy, really — “Quidditch,” he said dully. “And a fat lot of help—” “That’s right,” said Moody, staring at him very hard, his magical eye barely moving at all. “You’re a damn good flier from what I’ve heard.” “Yeah, but…” Harry stared at him. “I’m not allowed a broom, I’ve only got my wand—” —GoF, chapter 20 Harry’s first response to being asked what his strengths are is to say he doesn’t have them. This isn’t him putting on airs, this is genuine modesty. Harry is modest to the point of being self-deprecating. And when he does consider Quidditch as a strength, he immediately writes it off. It’s simply not in Harry’s nature to be proud of himself, even when he deserves to be. It makes sense that Harry doesn’t feel particularly proud of being famous for having survived Voldemort’s attack; that isn’t something he remembers or has control over. But that’s also not the only notable thing that Harry Potter has done. Harry spends very little time thinking, let alone talking, about the rest of the things he’s accomplished. When Hermione and Ron bring them up in fifth year, he’s uncomfortable and keeps trying to give other people credit: “You,” said Ron. “Teaching us to do it.” “But…” Harry was grinning now, sure the pair of them were pulling his leg. “But I’m not a teacher, I can’t—” “Harry, you’re the best in the year at Defense Against the Dark Arts,” said Hermione. “Me?” said Harry, now grinning more broadly than ever. “No, I’m not, you’ve beaten me in every test—” “Actually, I haven’t,” said Hermione coolly. “You beat me in our third year — the only year we both sat the test and had a teacher who actually knew the subject. But I’m not talking about test results, Harry. Look at what you’ve done!” “How d’you mean?” “You know what, I’m not sure I want someone this stupid teaching me,” Ron said to Hermione, smirking slightly. He turned to Harry. “Let’s think,” he said, pulling a face like Goyle concentrating. “Uh… first year — you saved the Stone from You-Know-Who.” “But that was luck,” said Harry, “that wasn’t skill—” “Second year,” Ron interrupted, “you killed the basilisk and destroyed Riddle.” “Yeah, but if Fawkes hadn’t turned up I —” “Third year,” said Ron, louder still, “you fought off about a hundred Dementors at once—” “You know that was a fluke, if the Time-Turner hadn’t—” “Last year,” Ron said, almost shouting now, “you fought off You-Know-Who again—” “Listen to me!” said Harry, almost angrily because Ron and Hermione were both smirking now. “Just listen to me, all right? It sounds great when you say it like that, but all of that stuff was luck — I didn’t know what I was doing half the time, I didn’t plan any of it, I just did whatever I could think of, and I nearly always had help—” Ron and Hermione were still smirking and Harry felt his temper rise; he wasn’t even sure why he was feeling so angry. “Don’t sit there grinning like you know better than I do, I was there, wasn’t I?” he said heatedly. “I know what went on, all right? And I didn’t get through any of that because I was as brilliant at Defense Against the Dark Arts, I got through it all because — because help came at the right time, or because I guessed right — but I just blundered through it all, I didn’t have a clue what I was doing — STOP LAUGHING!” —OotP, chapter 15 I love this scene. It’s one of the only times in the series that Harry is actually confronted with the reality of his own achievements, and his first reaction is to downplay them as much as possible. He actually agrees with Snape that he isn’t actually skilled, that “he has fought his way out of a number of tight corners through a combination of sheer luck and more talented friends” (HBP, chapter 2). This isn’t actually true — Harry actually is good at DADA magic, enough to get an Outstanding on his OWL, and he also has a remarkable ability to think clearly under pressure (instead of freezing or panicking). Harry actually has achieved things, but he refuses to acknowledge this. (His tendency to put himself down is also probably a result of the Dursley’s mistreatment.) If Harry were arrogant, he probably would be milking his fame for all it was worth. Like Lockhart, he would be bragging about his magical prowess and recounting how he kicked Voldemort’s ass to anyone who would listen. Or at least, he’d privately think to himself that he deserves to break rules or get better treatment as a result of his achievements. But does he? No. The closest we get is this scene from the beginning of OotP: “SO YOU HAVEN’T BEEN IN THE MEETINGS, BIG DEAL! YOU’VE STILL BEEN HERE, HAVEN’T YOU? YOU’VE STILL BEEN TOGETHER! ME, I’VE BEEN STUCK AT THE DURSLEYS’ FOR A MONTH! AND I’VE HANDLED MORE THAN YOU TWO’VE EVER MANAGED AND DUMBLEDORE KNOWS IT — WHO SAVED THE SORCERER’S STONE? WHO GOT RID OF RIDDLE? WHO SAVED BOTH YOUR SKINS FROM THE DEMENTORS?” Every bitter and resentful thought that Harry had had in the past month was pouring out of him; his frustration at the lack of news, the hurt that they had all been together without him, his fury at being followed and not told about it: All the feelings he was half-ashamed of finally burst their boundaries. […] “WHO HAD TO GET PAST DRAGONS AND SPHINXES AND EVERY OTHER FOUL THING LAST YEAR? WHO SAW HIM COME BACK? WHO HAD TO ESCAPE FROM HIM? ME!” Ron was standing there with his mouth half-open, clearly stunned and at a loss for anything to say, while Hermione looked on the verge of tears. “BUT WHY SHOULD I KNOW WHAT’S GOING ON? WHY SHOULD ANYONE BOTHER TO TELL ME WHAT’S BEEN HAPPENING?” —OotP, chapter 4 This scene is something like the inverse of the later scene. This time it’s Harry listing everything he’s done, and Ron and Hermione getting upset. But the context is different — Harry isn’t bragging, Harry is frustrated about having been kept out of the loop despite having been repeatedly at the center of Voldemort’s schemes, whether he wanted to or not. The narration also specifies that Harry feels “half-ashamed” of what he expresses here. This is one of only two instances, both in this book, in which Harry demonstrates anything like a sense of entitlement connected to his achievements. And it’s still a far cry from acting out or making up stories just for attention. The other example is when Ron gets a prefect badge and Harry does not: Harry screwed up his face and buried it in his hands. He could not lie to himself; if he had known the prefect badge was on its way, he would have expected it to come to him, not Ron. Did this make him as arrogant as Draco Malfoy? Did he think himself superior to everyone else? Did he really believe he was better than Ron? No, said the small voice defiantly. Was that true? Harry wondered, anxiously probing his own feelings. I’m better at Quidditch, said the small voice. But I’m not better at anything else. That was definitely true, Harry thought; he was no better than Ron in lessons. But what about outside lessons? What about those adventures he, Ron, and Hermione had together since they had started at Hogwarts, often risking much more than expulsion? Well, Ron and Hermione were with me most of the time, said the voice in Harry’s head. Not all the time, though, Harry argued with himself. They didn’t fight Quirrel with me. They didn’t take on Riddle and the basilisk. They didn’t get rid of all those dementors the night Sirius escaped. They weren’t in that graveyard with me, the night Voldemort returned… And the same feeling of ill usage that had overwhelmed him on the night he had arrived rose again. I’ve definitely done more, Harry thought indignantly. I’ve done more than either of them! But maybe, said the small voice fairly, maybe Dumbledore doesn’t choose prefects because they’ve gotten themselves into a load of dangerous situations… Maybe he chooses them for other reasons… Ron must have something you don’t… Harry opened his eyes and stared through his fingers at the wardrobe’s clawed feet, remembering what Fred had said. “No one in their right mind would make Ron a prefect…” Harry gave a small snort of laughter. A second later he felt sick with himself. Ron had not asked Dumbledore to give him the prefect badge. This was not Ron’s fault. Was he, Harry, Ron’s best friend in the world, going to sulk because he didn’t have a badge, laugh with the twins behind Ron’s back, ruin this for Ron when, for the first time, he had beaten Harry at something? —OotP, chapter 9 Harry actually wonders to himself whether he’s being arrogant, and I think that just asking himself that question suggests that he isn’t. Arrogance precludes self-awareness, to a certain degree — an arrogant person is attempting to cover up how insecure they feel by drawing attention to things about themselves that they consider impressive. Think Lockhart, who deliberately covers up the fact that he can’t really do anything by taking credit for other wizards’ achievements. But often, arrogant people aren’t liars the way Lockhart is. They don’t realize how insecure they actually are until someone digs into them and they get triggered, like James being “furious” when Lily tells him off. But Harry doesn’t show that kind of immaturity in this scene. Unlike in the previous scene, he doesn’t say out loud to Ron’s face, “But I fought Quirrel and Voldemort and dementors, why didn’t Dumbledore pick me?!” He keeps his indignance to himself this time, and ultimately decides to be better, because even just thinking it makes him feel “sick.” He puts his friendship with Ron first, acknowledging that Ron has been living in his shadow for years and needs something of his own to be proud of. It’s also notable that Harry considers Quidditch to be the only thing he excels at that Ron doesn’t, when (as previously established) Harry is significantly better at DADA. Harry doesn’t brag about or show off his Quidditch skills like James does. He doesn’t brag about having been the youngest Seeker in a century, or the youngest Triwizard champion ever, or about having won the tournament, or about having killed an mf’ing basilisk with a sword at age twelve, or about his corporeal patronus, or anything else. Harry’s won bragging rights multiple times over, I’d say! But it’s not just that he doesn’t brag, it’s that it never occurs to him to brag. The only time he comes close are in those two scenes I’ve already covered — in the first, his indignance is motivated by other things besides a pure James-like sense of entitlement, and in the second, he quickly shuts down that sense of entitlement in favor of being a good friend. There’s one more thing I want to draw attention to, and that’s Harry’s attitude towards money. Harry has a lot of money from his parents, and gets even more from Sirius after book 6. Unlike Draco Malfoy, Harry doesn’t throw money in anyone’s face. In fact, he feels embarrassed by it most of the time. Harry enjoyed the breakneck journey down to the Weasleys’ vault, but felt dreadful, far worse than he had in Knockturn Alley, when it was opened. There was a very small pile of silver Sickles inside, and just one gold Galleon. Mrs. Weasley felt right into the corners before sweeping the whole lot into her bag. Harry felt even worse when they reached his fault. He tried to block the contents from view as he hastily shoved handfuls of coins into a leather bag. —CoS, chapter 4 Harry shows as much generosity towards the Weasleys as he possibly can without embarrassing them. When he first gets access to that money in Philosopher’s Stone, Harry’s first impulse is to buy candy and share it with Ron, because he’s delighted to have something to share and someone to share with. When Lockhart shoves a full set of free books at them, Harry immediately gives them to Ginny, because he knows that he can afford his own set of books and Ginny cannot. And of course, he gives his Triwizard winnings to the Weasley twins: “Take it,” he said, and he thrust the sack into George’s hands. “What?” said Fred, looking flabbergasted. “Take it,” Harry repeated firmly. “I don’t want it.” “You’re mental,” said George, trying to push it back at Harry. “No, I’m not,” said Harry. “You take it, and get inventing. It’s for the joke shop.” “He is mental,” said George, trying to push it back at Harry. “Listen,” said Harry firmly. “If you don’t take it, I’m throwing it down the drain. I don’t want it and I don’t need it. But I could do with a few laughs. We all could do with a few laughs. I’ve got a feeling we’re going to need them more than usual before long.” “Harry,” said George weakly, weighing the money bag in his hands, “there’s got to be a thousand Galleons in here.” “Yeah,” said Harry, grinning. “Think how many Canary Creams that is.” The twins stared at him. “Just don’t tell your mum where you got it… although she might not be so keen for you to join the Ministry anymore, come to think of it…” “Harry,” Fred began, but Harry pulled out his wand. “Look,” he said flatly, “take it, or I’ll hex you. I know some good ones now. Just do me one favor, okay? Buy Ron some different dress robes and say they’re from you.” He left the compartment before they could say another word, stepping over Malfoy, Crabbe, and Goyle, who were still lying on the floor, covered in hex marks. —GoF, chapter 37. Calling Harry arrogant is extremely unfair to him. It’s as unfair as saying that he’s a blank-slate protagonist who lacks any personality. If you’re a person who consistently perceived Harry as an arrogant person because he’s disobedient, I sincerely wonder how long it’s been since you read the books.
How Magic Works
When J.K. Rowling first started writing Harry Potter, she was writing a fun mystery-fantasy story for children. She did not have any way of knowing that her story would end up becoming one of the most scrutinized fantasy novels ever. She may not have even understood the importance of consistent worldbuilding while she was writing. As a result, although Harry Potter’s magic system is iconic, it is… “poorly thought out” would be an understatement: Magic requires a wand and an incantation, except when it doesn’t. Magic requires the deliberate, directed intention of the caster, except when it doesn’t. Magic can’t violate natural law, except when it can. This all makes the magic system incredibly difficult to define. Here’s what we know for sure: 1. Only wizards can do magic. Muggles may still be capable of ritualistic “magic” and certain kinds of divination (given the ubiquity of these practices in cultures from all eras), but they cannot directly harness this supernatural force and compel it to manifest instantaneously, as wizards can. One is born a wizard, and the ability to do magic is always hereditary. It cannot come from external sources (entities or magical items), or be trained in one who is not born with it. It is unknown whether the magic comes from the wizards’ own bodies, or whether it is some external supernatural force that wizards are uniquely capable of manipulating. 2. Wands, incantations, and gestures make magic easier, but none are actually necessary. Wands act as a sort of lightning rod that channels the wizard’s power, making their magic both safer and more effective. Wands are semi-sentient, and will respond differently to different wizards that use them. The most effective wand is one that has “chosen” the wizard, matching the wizard’s personality and magical style. Different wands have different “temperments,” and may be steadfastly loyal to their wizards, or fickle. Wands also seem to “value” different qualities in their respective wizards, like intelligence, creativity, or dominance. Wands are primarily a European thing, with wizards in other countries having different means of casting spells. 3. Incantations serve a similar effect, by declaring the wizard’s intention aloud and quite literally commanding the universe to do the wizard’s bidding. The desire alone is enough, if it’s got enough willpower behind it, but some incantations also seem to have some inherent power (evidenced by Harry successfully casting Sectumsempra and Levicorpus without knowing what they do). Flitwick emphasizes enunciation, referencing a story of a wizard who mispronounced an incantation and caused the spell to go awry; my personal interpretation is that this is a lie-to-children, to make the nature of incantations easier for first-years to understand. Incantations are often not enough to produce magic, especially where more powerful magic is concerned. Spells like the Patronus Charm or the Riddikulus charm are dependent upon certain psychological states, and some curses like Crucio require malicious intent. 4. Certain plants and animals have inherent magical abilities or properties. Most magical animals use magic without having to think about it, and their magic is often very different from that of wizards. Wizards can utilize the magical properties of plants and animals by mixing bits of them into potions that have specific magical effects when drunk or otherwise applied. Muggles cannot brew potions either, because potions require a wizard’s touch to have an actual magical effect (instead of just being a nasty, failed chemistry experiment). There are also sapient magical peoples, like elves, goblins, centaurs, and merfolk, who all have their own brands of magic. 5. Though magic has very few explicitly-defined limits, there are several. One is that magic cannot resurrect the dead — at best, it can just call them back to earth briefly in spirit form. Achieving immortality through magical means is also impossible. Even the Philosopher’s Stone doesn’t really make one immortal, just extends one’s life indefinitely. Conjured objects break down easily, and are essentially cheap knockoffs of the genuine ones. Food cannot be conjured. It’s likely that money cannot be conjured either (or would be somehow recognizable as counterfeit). That’s most of what we know concerning the basic rules of how magic works. Everything else I’ll say here is informed and carefully-considered headcanon, which I hope will fill in some of the gaps. You’re free to disagree with me, but I want to try to make up for Rowling’s inconsistencies: Rowling’s magic system pretends to be a hard magic system, but it’s not. It’s a soft magic system. Therefore, speaking from a Watsonian standpoint, wizards themselves don’t actually know that much about how magic works. The nature of magic is extremely mysterious (hence why there’s an entire department in the Ministry that’s devoted to studying it). The closer to the fundamental nature of existence magic gets, the more mysterious, unpredictable, and powerful its nature. One of the only concrete rules we’re given is Aldabert Waffling’s First Fundamental Law of Magic: "Tamper with the deepest mysteries – the source of life, the essence of self – only if prepared for consequences of the most extreme and dangerous kind." That’s why magic involving Love, Death, and Time is so dangerous to mess with. Magic in general is dangerous, which is why the wand-incantation-gesture system of magic that we are all so familiar with was codified by the Ministry of Magic to make magic easier to regulate. What is taught at Hogwarts is specifically the British system. British wizards use spells based in Latin, not because Latin is an inherently magical language, but because it (for various reasons, one of which may have something to do with Ecclesiastical Latin) was the language chosen as the basis for the majority of incantations. Realistically, there should be just as many incantations based in Old or Middle English, Gaelic, and Welsh. Technically, any language can work for incantations, and some are just straight-up English (Stupify!). Wands need not be as necessary as they are; wandless magic is completely possible for the majority of wizards, and most wizards performed it as kids (with whatever degree of deliberation). If wizards were trained to use wandless magic (which is more difficult and more dangerous, and takes longer) then they would not be as dependent upon their wands to do any magic at all. The wand-incantation-gesture system essentially tricks the wizard’s mind into casting spells safely and correctly. Hence, Flitwick’s lie-to-children about enunciation: If the first-years believe that saying the incantation correctly and doing the gesture correctly is what makes the feather float, then it will, purely because the wizard believes it. 90% of magic is just believing you can do it, but controlling one’s mindset is a lot harder than it sounds. There’s no such shortcut for spells like the Patronus Charm, which is why that spell is so difficult. The Ministry of Magic both standardized and secularized magic. Religious influences in the folk spells of medieval “cunning” wizards were purged, and ceremonial magic was relegated as a hobby for eccentric old wizards with too much time on their hands and/or edgy teens. There are some exceptions — alchemy remained prestigious, and a bunch of eccentric wizards formed a secret society called the Hermetic Order of the Golden Dawn to continue to study ceremonial magic. But Hogwarts students will never be required to read Agrippa’s writings, and they probably only know John Dee from their chocolate frog cards. Honestly, that’s probably a good thing, because not everyone believes in spirits, and parents wouldn’t want their kids learning a magical practice that conflicts with their religious beliefs. (I guarantee that there are just as many wizard parents concerned about certain kinds of magic being “demonic” as there are Muggle fanatics concerned about their kids reading Harry Potter.) Magic is capable of much more beyond this standardized system. Wizards in different countries have different styles of magic. They may or may not use wands or other, similar tools, and their incantations (if they have them) are in all sorts of languages! (Though, it may be safe to assume that incantations are typically in more archaic languages or forms of languages; for example, Indian spells may be more often in Sanskrit than Hindi.) Spells from around the world will also be heavily influenced by those countries’ native traditions of folk magic, and by native religion. The only thing this theory doesn’t explain is how a wizard can cast a spell without knowing what it does, as Harry successfully casts the Prince’s spells just by saying the incantation. Honestly, there’s no in-universe explanation for this one. It’s just an inconsistency. But I could certainly come up with a bunch of potential theories to explain it away: It’s possible that certain kinds of spells invented by particularly powerful wizards (like Snape) have inherent power that other kinds of spells don’t. It’s also possible that, if Harry said the incantation and intended for something to happen, the incantation could fill in the blank (since it is literally a command that describes the desired outcome). If Harry had cast Sectumsempra without the intent to harm, then maybe nothing would have happened. As for Dark Magic, Dark Magic is a bit of an arbitrary distinction. That isn’t to say that Dark Magic doesn’t exist, but that it’s the extreme end of a spectrum, and it starts to tread into moral philosophy rather than simple mechanics. It would make sense that Dark Magic was magic cast with the intention to harm another person. Harry Potter Wiki uses this definition. According to its page on the Dark Arts, Dark Magic is “any type of magic that is mainly used to cause harm to, exert control over, or even kill the victim. Despite being labelled "dark", the Dark Arts are not necessarily ‘evil’.”That’s a very broad definition. It covers so much ground that the Wiki has to specify that it’s not always evil. Hexes and jinxes are listed under “Dark Arts” on each character profile’s “Magical Abilities and Skills” section. So, for example, Ginny Weasley is listed as being “surprisingly skillful” with Dark Magic, such as her signature Bat-Bogey Hex and her powerful Reductor Curse. Pretty much any magic that causes any kind of harm falls under the umbrella of “Dark Magic.” I don’t have a problem with this definition, actually. My philosophy around magic in general is that it is not inherently moral or immoral, but simply a tool akin to fire or electricity or a simple knife. It can be used for good or evil depending on how a particular person wields it. Using this definition of Dark Magic, however, means that the taboo around Dark Magic no longer makes sense. Hogwarts students use Dark Magic on each other all the time! They may even have been taught some of those jinxes in the classroom! The Weasley Twins probably used a significant amount of Dark Magic to make their Skiving Snackboxes and other prank products (to say nothing of love potions, which by all accounts should be considered dangerous Dark Magic). It also begs the question of where exactly the line is between defensive magic and Dark Magic, or if there even is a line. This means that the taboo of being involved in the Dark Arts is either arbitrary and mainly cultural, or that there has to be some other requirement for magic to be considered “Dark Arts.” My headcanon is that the taboo is arbitrary and cultural, since it seems like many powerful and respected Wizarding families are deeply involved in the Dark Arts, and only started losing their reputations for that once they began following Voldemort, a known terrorist. And if the taboo is cultural, then what matters is not the spell itself but why you use it, implying that “Dark Arts” can be used for good. Harry’s own use of Dark spells in extreme situations in Book 7 seems to support this. Even some of the really nasty ones can be used for good or at least neutral intentions — the Imperius Curse can be used to painlessly and safely restrain a dangerous person, and the Killing Curse is ideal for euthanasia. Apparently, necromancy is considered invariably Dark Magic in the Potterverse, but Harry uses it to talk to his parents, Sirius, and Lupin before going to face Voldemort, and there was nothing evil about that. So even necromancy of all things is not hardline. The Harry Potter Lexicon does not use the above definition. It defines Dark spells as being curses — hexes and jinxes are “not necessarily Dark Magic.” Dark Magic must be cast with a truly evil intention, it can’t simply be magic that can or might cause harm. One piece of evidence supporting this definition is James’ tendency to hex people just because he can, despite having “always hated the Dark Arts.” Either this is just hypocrisy, or hexes aren’t bad enough to be Dark Arts. Whatever Dark Magic is, it clearly depends more on the why than the what. Wizards in the Potterverse do not obtain magic from some inherently evil source (such as a pact with Satan or demons or other eldritch entities, or anything Powered by a Forsaken Child) so that their magic becomes inherently “evil” because of where it comes from, regardless of what it does or why. The only exception is horcruxes. Aside from that, evil actions are not required to perform most kinds of Dark Magic. In general, it seems as though using Dark Magic does not have a corrupting (i.e. the person becomes more evil as a result of using the magic, regardless of what their intentions are) effect on the practitioner. It is not like the Dark Side of the Force, or the One Ring. There are certain things that everybody considers Dark, like horcruxes — they are a banned subject at Hogwarts, it’s basically impossible to make one without what is arguably a human sacrifice, and committing such a heinous atrocity that it’s literally unspeakable. It’s clear that truly unquestionable Dark Magic is always that which breaks the First Fundamental Law of Magic. This is the only circumstance in which messing with Dark Magic takes a noticeable and visible toll on the body, mind, and soul, when it becomes truly corrupting as opposed to simply ill-intentioned. Perhaps necromancy only counts as Dark Magic if it is a genuine attempt to restore the dead to life, thereby breaking this law. In short, Dark Magic is mostly an arbitrary distinction, and whether magic is evil or not depends more on the intent of the caster than the effect of the spell. Magic is only unambiguously Dark Magic if it tampers with fundamental nature in some way. It is not defined beyond that point; aside from those obvious signifiers, everything else is in a gray area. In most cases, what is and is not Dark Magic is mostly a matter of perception. Because the Harry Potter system secretly allows for so much leeway, magic could theoretically do far more than it’s shown to, and even the more mysterious examples of magic that we’re shown have a whole host of potential implications to play with. Elemental manipulation along the lines of ATLA may be possible in the Harry Potter universe! Magic that’s utilized through sigils, like in The Owl House, may be possible in the Harry Potter universe (with the sigil replacing the wand). Almost any kind of magic that exists in real life (i.e. occultism) is possible in the Harry Potter universe, as long as we assume that wizards have no more or less knowledge of gods, angels, and demons than Muggles do. Harry Potter’s magic system is almost a blank slate that can incorporate any kind of magic that doesn’t explicitly contradict it.
Lucius Malfoy is Not Abusive
There's a popular trend in Harry Potter fanfiction of writing Draco Malfoy as a "hot bad boy with a troubled past." Except that Draco doesn’t have a dark and troubled past to explain his behavior. Instead, he had an idyllic and extremely privileged childhood in a mansion with parents who loved him. So, what is a fanfic writer to do? Many of them make Lucius Malfoy abusive, to explain away Draco's racist, bigoted views towards Muggle-borns. See, he isn’t really a racist asshole, he was just conditioned to be one by his parents! Calling Draco abused makes it easier for fanfic writers to make Draco more sympathetic, and also makes it easier for them to have him suddenly not be racist as soon as he meets Harry or Hermione or whatever. If he’s been conditioned into racism by abuse, then that racism can’t be who he actually is as a person. Draco can be miraculously transformed into a “good” person, because it shifts responsibility for everything from his petty bullying to his more heinous actions onto his parents. There’s actually a lot wrong with that idea, but before I get into that, let me first address that Draco definitely isn’t being abused by his parents. He’s being spoiled by his parents, but not abused. Draco’s Establishing Character Moment in Book 1 makes this abundantly clear: “Hello,” said the boy. “Hogwarts, too?” “Yes,” said Harry. “My father’s next door buying my books and mother’s up the street looking at wands,” said the boy. He had a bored, drawling voice. “Then I’m going to drag them off to look at racing brooms. I don’t see why first years can’t have their own. I think I’ll bully father into getting me one and I’ll smuggle it in somehow.” Harry was strongly reminded of Dudley. — Philosopher’s Stone, chapter 5 That one line, "I think I'll bully father into getting me one," lays to rest this entire theory. Why would an abused child speak of being able to “bully” his parents into getting him something? That shows Draco’s sense of entitlement, but it also demonstrates that he feels like he has power over his parents. Harry is reminded of Dudley because earlier in that same book, Dudley pretended to cry to emotionally manipulate his mother into getting him two more presents to add to an already massive pile. A hallmark of a spoiled child is their ability to control their parents. There’s also no indication that Draco doesn’t legitimately share his parents’ views. Later in this same scene, he says this: “I really don’t think they should let the other sort in, do you? They’re just not the same, they’ve never been brought up to know our ways. Some of them have never even heard of Hogwarts until they get the letter, imagine. I think they should keep it in the old wizarding families. What’s your surname, anyway?” To be clear: this scene is in Madame Malkin’s, when Harry and Draco are both being fitted for school robes. Draco has no idea who Harry is. As soon as Harry confirms that his parents were a witch and a wizard, Draco feels comfortable going on a racist ramble. He’s away from his parents, he’s making small talk with a wizard he doesn’t know, and this is what he says. Racism against Muggle-borns isn’t even relevant until the next book, but it’s part of Draco’s Establishing Character Moment! For an even more damning example, Draco says this while he is far away from his parents and alone in the Slytherin common room with (whom he believes is) his two sycophants: “Saint Potter, the Mudbloods’ friend,” said Malfoy slowly. “He’s another one with no proper wizard feeling, or he wouldn’t go around with that jumped up Granger Mudblood. And people think he’s Slytherin’s heir!” Harry and Ron waited with bated breath: Malfoy was surely seconds away from telling them it was him — but then, “I wish I knew who it is,” said Malfoy petulantly. “I could help them.” — Chamber of Secrets, chapter 12 Why would Draco say such things if he didn’t believe what he was saying? What would be his motivation here? Keeping up appearances? For whom? Claiming to want to help the Heir of Slytherin with his work is… kind of indefensible. (And it’s also foreshadowing, kind of.) But this question isn’t about Draco. It’s about Lucius. So, let’s look at Lucius’ establishing character moment: The man who followed could only be Draco’s father. He had the same pale, pointed face and identical cold, gray eyes. Mr. Malfoy crossed the shop, looking lazily at the items on display, and rang a bell on the counter before turning to his son and saying, “Touch nothing, Draco.” Malfoy, who had reached for the glass eye, said, “I thought you were going to buy me a present.” “I said I would buy you a racing broom,” said his father, drumming his fingers on the counter. “What’s the good of that if I’m not on the House team?” said Malfoy, looking sulky and bad tempered. “Harry Potter got a Nimbus Two Thousand last year. Special permission from Dumbledore so he could play for Gryffindor. He’s not even that good, it’s just because he’s famous… famous for having a stupid scar on his forehead…” Malfoy bent down to examine a shelf full of skulls. “… everyone thinks he’s so smart, wonderful Potter with his scar and his broomstick —” “You have told me this at least a dozen times already,” said Mr. Malfoy, with a quelling look at his son. “And I would remind you that it is not — prudent — to appear less than fond of Harry Potter, not when most of our kind regard him as the hero who made the Dark Lord disappear — ah, Mr. Borgin.” […] “Can I have that?” interrupted Draco, pointing at the withered hand on its cushion. “Ah, the Hand of Glory!” said Mr. Borgin, abandoning Mr. Malfoy’s list and scurrying over to Draco. “Insert a candle and it gives light only to the holder! Best friend of thieves and plunderers! Your son has fine taste, sir.” “I hope my son will amount to more than a thief or a plunderer, Borgin,” said Mr. Malfoy coldly, and Mr. Borgin said quickly, “No offense, sir, no offense meant —” “Though if his grades don’t pick up,” said Mr. Malfoy, more coldly still, “that may indeed be all he is fit for —” “It’s not my fault,” retorted Draco. “The teachers all have favorites, that Hermione Granger —” “I would have thought you’d be ashamed that a girl of no wizard family beat you in every exam,” snapped Mr. Malfoy. “Ha!” said Harry under his breath, pleased to see Draco looking both abashed and angry. — Chamber of Secrets, chapter 2 Perhaps Lucius isn’t as easy to “bully” as Draco claimed in Book 1, since Draco doesn’t use any kind of manipulation tactics to get what he wants in this scene. He just asks for stuff like a kid in a toy shop, and Lucius says no, and that’s that. However, he doesn’t show any fear or submission in Lucius’ presence, either. So, what does this scene tell us about Lucius? Fundamentally, it shows that he is conscious of the way he is perceived by the wizarding community, and needs to keep up appearances for the sake of his reputation and political power. He advises Draco not to openly hate Harry, because the whole wizarding community admires him. (Also, the whole reason he’s there at Borgin and Burke’s is to sell off Dark artifacts and poisons that he knows would “embarrass” him if they were found by the Ministry.) He also has high standards for his son. These “cold” remarks about Draco’s grades are the most oft-cited evidence for Lucius being abusive, but that alone isn’t really enough to go on. I suppose it’s plausible, but it’s speculative. Honestly, claiming that Draco was abused is really unfair to the Malfoys. Their one redeeming quality is that they really do love each other. Narcissa is clearly willing to bend over backwards for Draco, even to the point of betraying the Dark Lord right in front of him. And Lucius, for all his faults, at least seems to genuinely love his wife and son. Why do you think the Malfoys get off scot-free at the end of the series? Because love is the Great Redeemer, that’s why. The Malfoys are awful enough without the accusation that they abused their son. And that leads me back to why people make the accusation in the first place — becuase they think it makes Draco look better. It doesn’t, not on its own. Abuse isn’t an excuse. It’s an explanation. Really, let that sink in, because not enough writers understand it. A dark and troubled past does not automatically excuse bad behavior, it just provides an explanation for it. All is not immediately forgiven upon learning that the villain is a victim of their upbringing. Harry was abused growing up, and yet he’s still honorable and compassionate. Draco always has a choice whether to behave like an asshole or not. The biggest problem with the “abuse excuse” is that it attempts to shift the blame for Draco’s behavior and ideology onto his parents. Draco is a product of his upbringing either way; why does claiming he was “abused” make him suddenly a good person? The same excuse is often used for Snape — he had a poor family life, he was bullied by James, he was manipulated by Dumbledore — none of that somehow makes his cruelty towards his students okay. Explicable, perhaps even understandable, but not okay. In order for all to be forgiven, the villain needs to recognize their parents’ bad influence on them, and then make the conscious choice to be better than their parents. To demonstrate this, let’s compare Draco to a very similar character who definitely is being abused by her parents: Pacifica Northwest, from Gravity Falls. When she’s introduced, Pacifica is a Grade-A Alpha Bitch. She mocks Mabel and her friends, she manipulates an audience into liking her over Mabel, she flaunts her money and influence, and she’s generally insufferable. Mabel even calls her a “one dimensional beach-blond valley girl stereotype.” And… yeah, that’s kind of all she was, a one-dimensional character who showed up as a villain in three episodes. Until “Northwest Mansion Mystery,” one of my favorite episodes of the whole show. All of a sudden, Pacifica is given much more depth. Long story short, she and her family are throwing a big fancy party for rich people that gets interrupted by a ghost that seeks vengeance on the entire family. So, they call resident paranormal expert Dipper Pines to the scene to get rid of it. Dipper is extremely reluctant to help Pacifica, insulting her to her face and asking why he should bother to help her when all she’s done so far is try to humiliate him and his sister. (In an earlier episode, he even uncovered that her family had been lying about founding the town just to get back at her, and then remarks, “Revenge is underrated, that felt awesome!”) The only reason he agrees to bust the ghost is because his sister and her friends desperately want to go to the party. Dipper and Pacifica seek out the ghost, and only narrowly escape from it. During this sequence, we learn a few things about Pacifica. For one thing, she’s nicer when she’s alone with Dipper, probably because she doesn’t feel like she needs to maintain appearances. Although she and Dipper snipe at each other, they actually start to bond through their experience. There’s even the slightest bit of romantic tension. For another, she demonstrates active fear of her parents. While she and Dipper are fleeing from the ghost, they almost enter a room that has her parents’ favorite carpet pattern. Pacifica does everything she can to stop Dipper from entering the room and tracking mud on the carpet, because she is afraid of her parents’ anger. Dipper is frustrated, and asks “Why are you so afraid of your parents?” and she responds, “You wouldn’t understand!” However, like Draco, Pacifica is a product of her upbringing. Her wealth and privilege makes it difficult for her to empathize with other people, and she’s bought into her parents’ extreme classism. It’s not quite as insidious as the Malfoys’ racism, but it’s functionally similar. Dipper successfully gets rid of the ghost, but learns that its motivations were somewhat justified. The Northwests’ party was supposed to be one for the entire town, instead of an exclusive soirée for only the extremely wealthy and powerful. The ghost had cursed the Northwests for their snobbery, and the Northwests’ knew the haunting was coming. Upon learning this, Dipper storms back in to tell off the Northwests for lying to him: Dipper: You lied to me. All of you did! All you had to do was let the townsfolk into the party and you could have broken the curse! But you made me do your dirty work instead! Preston Northwest: Look at who you’re talking to, boy. I’m hosting a party for the most powerful people in the world. You think they’d come here if they had to rub elbows with your kind? Dipper: My kind? Dipper (to Pacifica): I was right about you all along. You’re just as bad as your parents. Another link in the world’s worst chain. Pacifica: I’m sorry, they made me! I should have told you, but— *Preston rings a bell, and Pacifica stops talking, looking ashamed* Preston: Enjoy the party! It’s the last time you and your kind will ever come. —Season 2, “Northwest Mansion Mystery.” The bell is what makes it obvious that Pacifica is being abused. Her parents are using some kind of Pavlovian conditioning on her, and the ringing of the bell instantly makes her shut up and obey them. It’s subtle enough that it would probably fly over the head of a child watching the show, but it’s also far more overt than any indication of abuse by the Malfoys. This indicates that Pacifica’s previously insufferable behavior really was because of active conditioning from her parents. But that alone does not excuse it — all it does is make us feel some sympathy for Pacifica. What seals Pacifica’s redemption is what she does after this point. She’d begun to legitimately care for Dipper, and his harsh words stuck with her. “I lied to you just because I’m too scared to talk back to my stupid parents! You were right about me. I am just another link in the world’s worst chain.” This is what makes Pacifica different from Draco. She shows genuine self-awareness, and when Dipper responds by encouraging her to be better than her parents, she smiles at him. It isn’t easy to admit that you were wrong, or that your family isn’t as great as you’ve been pretending it is. Pacifica not only manages to admit that to herself, she also takes the first real step towards becoming better. The only way to stop the ghost is for her to open the gates to the mansion and let the townsfolk join the party. Preston makes a last ditch attempt to stop her, but Pacifica resists the ringing of the bell and does the right thing. In the span of one episode, Pacifica goes from being a one-dimensional and frankly detestable character to a much more developed and interesting one. This episode even sets up the beginnings of a ship between Pacifica and Dipper, which would have been an impossibility at the beginning of the episode. It never fully comes to fruition, but it’s still a lot more plausible than shipping Draco with Harry. Why does this work? Because this episode actually shows us the beginnings of a redemption. Yes, Pacifica has been abused by her parents, but she does the right thing anyway. The abuse alone doesn’t absolve her, but showing self-awareness for her past actions and doing the right thing in spite of her parents conditioning, does. Even the ghost agrees that she’s not like the other Northwests. And yet, she still doesn’t do a complete 180 — later episodes and some supplemental material has shown that she’s still conceited and really insecure about her appearance. She’s not one of the good guys yet, but she’s on the right trajectory. You can see how that’s different from Draco, right? Draco never actually does anything to warrant a redemption, he just becomes more sympathetic. Becoming more sympathetic does not automatically constitute a redemption arc. Draco never really admits to his wrongdoing in the books proper, nor does he make active steps to become a better person (at least not until after the war, offscreen). But the fanfic writers who attempt to construe Lucius as abusive are making a pretty big mistake by attempting to take responsibility from Draco’s behavior away from Draco and put it on Lucius. Even if Lucius was abusive, like Preston Northwest, Draco is still the one responsible for the choices that he makes. But honestly, Pacifica isn’t the best example. She’s similar to Draco in a lot of ways, but her character development is rushed, and not a lot is done with it after that one episode. Amity Blight from The Owl House is the same kind of character written much more smoothly, but her story isn’t complete at the time of this writing. Hell, let’s bring out the big guns: An entire essay could be written comparing Zuko to Draco, and maybe someday I’ll write it, but I’m not going to write it now. This answer is already long enough. For now, I’ll just summarize: Zuko actually was horrifically abused by his father, his face scarred for all to see. He also was subject to Fire Nation propaganda and indoctrination since the day he was born. He became something of a young conquerer for the Fire Nation while in exile, and he genuinely believed that he needed to turn the Avatar over to the Fire Nation in order to get back in his father’s good graces. At first glance, his situation is not that different from Draco’s, aside from the fact that he suffers actual parental abuse. However, there’s several important differences between Zuko and Draco. One is that Zuko shows signs of having a capacity for goodness hidden deep down since the very beginning of Season 1. Zuko is given multiple opportunities to be cruel in the first few episodes, and he pointedly doesn’t take them. For example, he agrees not to harm the Southern Water Tribe and then doesn’t. He also refuses to harm Zhao after winning the Agni Kai, even after Zhao calls him weak. The whole reason he was driven into exile in the first place is because he showed concern for Fire Nation soldiers. At the end of the first season, he tries to save Zhao from the Ocean Spirit even after Zhao tried to have him assassinated. That shows that despite his conditioning, despite the abuse, he has already made some right choices and shown some respect for human life, even before his redemption arc properly starts. Unlike Draco, he doesn’t go out of his way to be cruel. He is already a better person to begin with. This makes him more sympathetic and makes his redemption arc more believable. Another difference is that Zuko is more capable of being introspective. Slowly, over the course of Season 2 and Season 3, Zuko completely reevaluates his life and what’s important to him. He does some serious soul-searching. He realizes that the things that he has done are wrong, that his goals and motivations are wrong, and that everything he’s been taught his whole life is wrong. And, it doesn’t break him. When he finally confronts his father, it is a triumphant moment: Zuko: For so long, all I wanted was for you to love me, to accept me. I thought it was my honor that I wanted, but really, I was just trying to please you. You! My father! Who banished me, just for talking out of turn! My father, who challenged me, a thirteen-year-old boy, to an Agni Kai! How can you possibly justify a duel with a child? Ozai: It was to teach you respect. Zuko: It was cruel! And it was wrong. Ozai: Then you’ve learned nothing. Zuko: No. I’ve learned everything, and I’ve had to learn it on my own. Growing up, we were taught that the Fire Nation was the greatest civilization in history. And somehow, the war was our way of sharing our greatness with the rest of the world. What an amazing lie that was. The people of the world are terrified by the Fire Nation. They don’t see our greatness, they hate us, and we deserve it! We’ve created an era of fear in the world, and if we don’t want the world to destroy itself, we need to replace it with an era of peace and kindness. Ozai: *laughs* Your uncle has gotten to you, hasn’t he? Zuko: Yes. He has. — Season 3, ”Day of the Black Sun, Part 2″ What if? What if Draco had decided that murdering Dumbledore was a step too far? What if being asked to do something like that shocked his system so much that he switched sides? What if he realized how he’d hurt people? What if he faced down his parents, or his aunt Bellatrix and the other Death Eaters, or Voldemort himself, and said, No, this is wrong. I won’t do this anymore, and gone to join the protagonists despite knowing that they hate him? What if he did the right thing? But no. Instead, he claims that he’s been “chosen” for the “honor” of killing Dumbledore. He treats the task of killing Dumbledore the same way Zuko treats the task of capturing the Avatar — it is what he needs to do to prove his worth to Voldemort. His heart isn’t in it, and his task of killing Dumbledore tears him apart psychologically, but he doesn’t make it as far as Zuko does. His last scene before the epilogue is this: “I’m Draco Malfoy. I’m Draco, I’m on your side!” Draco was on the upper landing, pleading with another masked Death Eater. Harry Stunned the Death Eater as they passed: Malfoy looked around, beaming, for his savior, and Ron punched him from under the Cloak. Malfoy fell backward on top of the Death Eater, his mouth bleeding, utterly bemused. “And that’s the second time we’ve saved your life tonight, you two-faced bastard!” Ron yelled. —Deathly Hallows, ch. 32 How… underwhelming. There are lots of reasons why Zuko’s redemption arc is one of the best ever written — it takes its time, he backslides, he comes to the conclusion that he was wrong after getting everything he ever wanted — but the one I really want to focus on is that never once does Zuko blame his father for his behavior. Never once does Zuko say anything to the effect of, “I’m sorry I burned down your village; see, I was being indoctrinated by the Fire Lord so it wasn’t really my fault.” He is a victim of his father’s cruelty, but he also recognizes the cruelties that he has inflicted upon other people. It’s not easy for him to gain Team Avatar’s trust, because of course it isn’t. They aren’t going to blindly trust the man who’s been hunting them down for months. Even Aang rejects him at his first attempt. Sokka and Katara assume that Zuko is attempting to manipulate them into letting their guard down so that he can attack them. Katara relates how she had begun to sympathize with Zuko in a cave in Ba Sing Se, almost seeing him as “a real human person,” before he chose Azula’s side and Aang was nearly killed. Toph is willing to give Zuko a chance, but he accidentally burns her feet, effectively incapacitating her. And yet, Zuko does not get defensive at their rejection. What finally convinces Team Avatar that Zuko really has switched sides is hearing him fight “Combustion Man,” the assassin that he sent after them. He does a good deed without knowing they’re watching, which gives him the second chance he needs to be frank with them: "I’ve been through a lot the past few years. And it’s been hard. But I’m realizing that I had to go through all those things to learn the truth. I thought I had lost my honor, and that somehow my father could return it to me. But I know now that no one can give you your honor. It’s something you earn for yourself by choosing to do what’s right. All I want now is to play my part in ending this war, and I know that my destiny is to help you restore balance to the world. I’m sorry for what I did to you [Toph]. It was an accident. Fire can be dangerous and wild, so as a firebender, I need to be more careful and control my bending, so I don’t hurt people unintentionally." —Season 3, ”The Western Air Temple” This is what makes Aang accept Zuko. Zuko’s apology to Toph demonstrates that he is aware of the consequences of his actions, that he knows how he has hurt people, and that he’s willing to atone for it. And it still takes a while for the Gaang to warm up to him. Katara literally threatens to kill him at the end of the episode, and doesn’t fully forgive him until three episodes later. One apology does not fix everything. It takes three life-changing field trips for him to truly earn his place in Team Avatar. So, fanfic writers — if you want to write a redemption arc for Draco, do not use this cheap “abuse excuse.” It doesn’t work. It isn’t a real, complete redemption. Ultimately, it means nothing. Making the audience pity a character is not the same as redeeming the character. Regardless of whether Lucius is abusive or not, it is still Draco’s fault for not making better choices. So, please don’t rob Lucius of his one redeeming quality because you think it will make Draco look better. It won’t. If you want to write a redemption arc for Draco, you have to actually have Draco do the work of atoning for his mistakes, without placing any blame on his parents. A redemption arc happens when a villain chooses to do the right thing despite fearing abuse, despite the risk of punishment, despite being hated, despite losing it all, despite any consequence that might come, and accepts responsibility for their wrongdoings instead of brushing it off or shifting the blame. Let me rephrase a familiar quote: “It is our choices that show who we truly are, far more than our backstories.”
The Truth About House-Elves
This is just a theory. I don’t have any evidence from the books to back this up, but I want to discuss it because I think this is one of the most overlooked “missing pieces” of Harry Potter’s worldbuilding. House-elves are based on a concept from British and Irish folklore called the “brownie.” Brownies are household spirits that look like little wrinkled imps wearing dirty rags, who tidy up around the house and mend things and do farm work and so forth while the people living in the house sleep. All the brownie asks for in return is a bowl of hot milk. Giving the brownie money or clothes will offend it, and it will leave the house forever. Brownies are the exception to the general rule that Celtic fairies are downright sinister, but failure to respect them is still dangerous. If we assume that house-elves are brownies, then this means that they began serving wizards out of their own free will. They serve wizards because they genuinely want to, and have no desire whatsoever to rule over them. But despite their subservient position, they are, ultimately, Fair Folk. Therefore they have powerful magic that does not inherently resemble the type of magic performed by wizards. They operate by their own strange rules, as all fairies do, which is why they are forced to obey wizards and why giving them clothes will dismiss them. Money and clothes offend fairies because giving a fairy money or clothes is treating them like humans, and they are not human. This is why the other house-elves are disgusted when Dobby accepts clothes and money in Dumbledore’s service. This is also the mistake that Hermione makes — she’s right that house-elves deserve more rights and better treatment, but she doesn’t recognize that they operate by fairy-rules and not by human-rules. It seems as though elves themselves have some kind of ancestral memory of the halcyon days where they could serve wizards happily and not have to fear being mistreated. I think that the reason this dynamic worked is because wizards understood elves for what they are. Somewhere along the line, wizards — being humans — lost their respect for house-elves. They ceased to see them as members of the fickle and terrifying Fair Folk, or perhaps they just didn’t care. After all, wizards in general tend to have a very human attitude towards nonhumans — they must be classified, conquered, and controlled. Wizards began to exploit the strange, inhuman rules that house-elves operate by for their own benefit, taking advantage of their desire for work and compulsion to obey. Eventually, the dynamic between wizard and house-elf shifted. Instead of the wizard appreciating the free service bestowed upon him by a powerful Sidhe, he assumes that the elf is his slave and treats it like a drudge. The real question is why the elves never retaliated. Why don’t they wreak vengeance on their masters when they’re disrespected? I think it’s a combination of factors. One is just time — house-elves got used to working for wizards, and wizards probably started conditioning them to believe that it was ever-so rude to disrespect one’s master (a concept that would not exist to a fairy). Dobby felt like he deserved to be punished for disobedience, as opposed to it simply being a magical compulsion. House-elves like Kreacher would serve one family for generations, like all of their parents and grandparents before them, and Kreacher was fanatically loyal to the Blacks. That also probably comes into play, preventing the house-elf from wanting to harm their masters even if they’re being abused. With enough time, and enough exploitation on the part of wizards, the relationship between elves and wizards ceased to be symbiotic. Eventually, both elves and wizards forgot that it was ever supposed to be symbiotic.
My Thoughts on James Potter
I don’t know if I actually like James Potter or not, but I argue in his favor because I identify with him. Reading SWM for the first time felt like a gut-punch. It was probably one of the most impactful chapters in the entire series for me personally. It set off an existential crisis that lasted at least an entire year. Where to begin? When I was a child, I had an internal perception of myself as a “good person.” I was generally eager to please, I didn’t misbehave, and I tried to be the good kid whenever I could. I certainly never bullied anybody. When you’re a kid, and the world seems very black and white, you believe that people are either good or bad, and I was firmly good. Like many Gryffindors, James is self-righteous. He believes his bullying is justified because Snape is in the “evil” compartment. The profound irony of this is that James destroyed my own self-righteousness. I subconsciously recognized myself in James. I didn’t know that at the time— I was nine— but after I read this passage, I felt like my heart had shattered into a million pieces: Harry tried to make a case for Snape having deserved what he had suffered at James’s hands— but hadn’t Lily asked, “What’s he done to you?” And hadn’t James responded, “It’s more the fact that he exists, if you know what I mean?” Hadn’t James started it all simply because Sirius said he was bored? Harry remembered Lupin saying back in Grimmuald Place that Dumbledore had made him prefect in the hope that he would be able to exercise some control over James and Sirius…. But in the Pensive, he had sat there and let it all happen…. Harry reminded himself that Lily had intervened; his mother had been decent, yet the memory of the look on her face as she had shouted at James disturbed him quite as much as anything else. She had clearly loathed James and Harry simply could not understand how they could have ended up married. Once or twice he even wondered whether James had forced her into it…. For nearly five years the thought of his father had been a source of comfort, of inspiration. Whenever someone had told him he was like his father, Harry had glowed with pride inside. And now… now he felt cold and miserable at the thought of him. —OotP, 653–654 I suddenly became obsessed with proving that James was a good person. I brooded over this for months. I also became convinced that arrogance was the root of all evil, and in the process, I lost all my self-confidence. It felt like drowning in a pool of self-imposed modesty. I refused to take credit for anything. Why did I care? James was an extremely minor character and dead for the entire series. At the time, I figured that my extreme reaction to this scene was just because I deeply identified with Harry. Harry and I are so similar that I projected myself pretty heavily, so James was “my” father. But no, I took it more personally than Harry did. For Harry, this whole crisis resolved after he talked to Sirius and Lupin. They convinced him. They did not convince me. I continued brooding, and continued piecing together my shattered heart, long after that dialogue. I’m not sure when I realized that it was myself I was trying to absolve. Now, in hindsight, it seems obvious. Why else would I have tried so hard to repress my arrogance? Why else would I have been so fixed on convincing myself that James was a good person, if not to prove that I was still a good person? Now, ten years later, I feel lucky. I feel lucky that this chapter introduced me to my Shadow so early on in my life, so I could spend my entire adolescence recognizing and confronting my demons. I would not be the person I am today without all of that. But this question isn’t about me. It’s about James, so I’ll come back to this with an adult perspective and a more objective viewpoint. One of the common arguments against James’ development into a better person is that Sirius and Lupin cannot be taken at their word. Why? First of all, it’s a poor arguing tactic to assume without evidence that characters are lying in order to prove your point. To me, that sounds like finding an excuse to refute evidence because it doesn’t support your position. Sirius and Lupin are biased, yes, but they are not lying. You know how I know? “Look, Harry,” said Sirius placatingly, “James and Snape hated each other from the moment they set eyes on each other, it was just one of those things, you can understand that, can’t you? I think James was everything Snape wanted to be— he was popular, he was good at Quidditch, good at pretty much everything. And Snape was just this little oddball who was up to his eyes in the Dark Arts and James— whatever else he may have appeared to you, Harry— always hated the Dark Arts.” “Yeah,” said Harry, “but he just attacked Snape for no good reason, just because— well, just because you said you were bored,” he finished with a slightly apologetic note to his voice. “I’m not proud of it,” said Sirius quickly. Lupin looked sideways at Sirius and then said, “Look, Harry, what you’ve got to understand is that your father and Sirius were the best in the school at whatever they did— everyone thought they were the height of cool— if they sometimes got a bit carried away—” “If we were sometimes arrogant little berks, you mean,” said Sirius. Lupin smiled. “He kept messing up his hair,” said Harry in a pained voice. “I’d forgotten he used to do that,” said Sirius affectionately. “Was he playing with the Snitch?” said Lupin eagerly. “Yeah,” said Harry, watching uncomprehendingly as Sirius and Lupin beamed reminiscently. “Well… I thought he was a bit of an idiot.” “Of course he was a bit of an idiot!” said Sirius bracingly. “We were all idiots! Well— not Moony so much,” he said fairly, looking at Lupin, but Lupin shook his head. “Did I ever tell you to lay off Snape?” he said. “Did I ever have the guts to tell you I thought you were out of order?” “Yeah, well,” said Sirius, “you made us feel ashamed of ourselves sometimes…. that was something….” […] Sirius frowned at Harry, who was still looking unconvinced. “Look,” he said, “your father was the best friend I ever had, and he was a good person. A lot of people are idiots at the age of fifteen. He grew out of it.” “Yeah, okay,” said Harry heavily. “I just never thought I’d feel sorry for Snape.” —670–671 They show self-awareness. They do not attempt to deny or suppress their mistakes. They do not tell Harry that he didn’t know what he saw or even argue that Snape deserved it. What they do is admit to their own arrogance and provide some context for Harry, and the reader. That’s what’s missing from this whole scenario, and part of what finally resolved it for me— context. I remember that while I was in the middle of this whole phase, I read a supplemental short story from the Guardians of Ga’Hoole world about an owl who believes his (dead) father is evil. The only link to his father that he has is fragments of a letter that make his father look like an agent of an evil organization, but when he finds the rest of the letter, he realizes that his father was actually a double agent (like Snape!) and was only trying to disguise his loyalty. After reading that story, I immediately thought of James Potter. His story is incomplete. There’s a lot more to the story that we never see. We only ever see Snape’s side of the story, and although his memories are presented objectively, they are not the whole story and they still paint a literally one-sided image of James. We don’t see enough events of James’ life to know what kind of man he really was. We don’t see enough events of Lily’s life to know how her opinion of James changed. We can’t really judge based on the snippets that we see, especially this one particular scene. But we can try. I feel the need to point out this overlooked line from Lily, which stood out to me when I was rereading the scene: “I don’t need help from filthy little Mudbloods like her!” Lily blinked. “Fine,” she said coolly. “I won’t bother in the future. And I’d wash your pants if I were you, Snivellus.” —648 “Mudblood” is a slur. It’s a nasty slur. It’s akin to calling someone the n-word. Some argue that this is Snape’s worst memory because it officially ended his relationship with Lily, not because of James’ bullying. The bullying was likely a common occurrence. What made this memory different was that. That line seems to support this theory, because not only does Lily end their friendship, but she joins in on the bullying, and even uses the cruel nickname. Ouch. This line shows just how much the M-word hurts. Later, we get a more in-depth look at Lily’s response to the M-word: “I’m sorry.” “I’m not interested.” “I’m sorry!” “Save your breath.” […] “I only came out because Mary told me you were threatening to sleep here.” “I was. I would have done. I never meant to call you Mudblood, it just—” “Slipped out?” There was no pity in Lily’s voice. “It’s too late. I’ve made excuses for you for years. None of my friends can understand why I even talk to you. You and your precious little Death Eater friends— you see, you don’t even deny that’s what you’re all aiming to be! You can’t wait to join You-Know-Who, can you?” He opened his mouth, but closed it without speaking. “I can’t pretend anymore. You’ve chosen your way. I’ve chosen mine.” “No—listen, I didn’t mean—” “—to call me Mudblood? But you call everyone of my birth Mudblood, Severus. Why should I be any different?” —DH 675–676 This dialogue pretty much speaks for itself. I have to admire Rowling’s commentary on racism here. This is why Lily ends up going for James over Snape. After Snape lets “Mudblood” slip, Lily realizes that Snape’s racism isn’t going to go away. She realizes that she can’t continue to cover up Snape’s affiliations and justify her friendship with him. This does not mean that James’ bullying was justified, but it does mean that James is comparatively the better person. Lily also draws a distinction between James’ gang and the people Snape hangs out with: “…I don’t like some of the people you’re hanging round with! I’m sorry, but I detest Avery and Mulciber! Mulciber! What do you see in him, Sev, he’s creepy! D’you know what he tried to do to Mary Macdonald the other day?” Lily had reached a pillar and leaned against it, looking up into the thin, sallow face. “That was nothing,” said Snape. “It was a laugh, that’s all—” “It was Dark Magic, and if you think that’s funny—” “What about the stuff Potter and his mates get up to?” demanded Snape. His color rose again as he said it, unable, it seemed, to hold in his resentment. “What’s Potter got to do with anything?” said Lily. […] “I know James Potter’s an arrogant toerag,” she said, cutting across Snape. “I don’t need you to tell me that. But Mulciber’s and Avery’s idea of fun is just evil. Evil, Sev. I don’t understand how you can be friends with them.” —DH 673–674 Snape’s immediate reaction to Lily’s criticism of his friends is to bring up James. He barely even hears Lily’s assertion that his own friends are evil, because he’s so relieved she insulted James. SWM is a major turning point. It is a turning point for Snape, who experienced the worst moment of his life. For Lily, who realized that she was Snape’s “black best friend,” and that their friendship would not transcend his prejudice. For Harry, who realized that his parents and Snape weren’t the people he thought they were. (And for me, because I learned quite a bit about myself, and began a life-changing chain reaction.) Maybe SWM is a turning point for James, too. It’s likely that once Lily said exactly how she felt about him to his face, James realized that he had to change his ways if he had any chance of wooing her. She was not impressed by his jerkass popular guy schtick. If he wanted her to love him, he needed to prove that he really did have a heart of gold. And he did. Snape did not change for Lily, and James did, so she married him. JKR did us a disservice by not showing James’ growth. I can understand why she didn’t, as it isn’t all that important to the story, but still. The whole reason we’re having this debate is because James’ side of the story is never told. We see nothing of post-SWM James in the books proper. Nothing. Everything we know about James’ late teens is from supplemental material. He already lacks a voice in the books, and piecing together his character development or lack thereof from snippets of supplemental material is nearly impossible. It’s not fair to James that the internet is so divided over a character with a shadow of a presence.
Albus Potter Headcanons
1. He’s a Gryffindor. Suck it. 2. He replaced his brother as Quidditch captain after James graduated, but the only reason he maintains the position is for access to the Prefect’s Bathroom. He loves bubble baths that damn much. 3. He plays Seeker (Lily plays Chaser and James plays Keeper). 4. With the exception of Quidditch, he’s more artsy than sporty. He has a talent for the performing arts, likes theater, and takes ballet lessons. 5. He wears his hair long, and his fashion sense would have made Albus Dumbledore proud. Despite his name, he prefers to wear black. 6. He mostly looks like a swishy version of his father (complete with round glasses), but he has his mother’s hands and some light Weasley freckles across his nose. 7. He is a charismatic performer on stage and on the Quidditch field, so a lot of people want to be friends with him. However, he has only a small handful of close friends because he is socially awkward and shy, not to mention eccentric and temperamental. 8. He switches back and forth between overwhelming confidence and crippling insecurity. 9. Growing up, he was very close friends with his cousin Rose Weasley, and had pretty much no other friends. 10. He and Scorpius hated each other when they first arrived at school, mostly out of obligation, and then just kept their rivalry going becuase it was entertaining. In their final years at school they realized just how stupid that was and became close friends. 11. People have suspected he was gay basically since he was born, because he’s relatively quiet and “girly” for a boy. He’s not gay. 12. Halfway through his tenure at Hogwarts, he realized he was actually bi. He doesn’t know how he feels about Scorpius. 13. Unicorns allow him to touch them. 14. He actually likes the name Albus Severus. 15. His family calls him “Al,” but no one else does. 16. Like his namesakes, he’s something of a magical protégé, inventing spells on his own and experimenting in general. He doesn’t seek to win awards, and mostly innovates out of curiosity and boredom. 17. He’s a brilliant student, but somewhat lazy when it comes to classwork, not anywhere near as invested in academics as Hermione. 18. His favorite subject is Potions. He spends a lot of time in a little dungeon workshop making experimental brews. His teacher convinced him to take part in the Wizarding Schools Potions Championship his seventh year, and he won. 19. His interests in magic extend beyond Hogwarts’ normal curriculum. He studies alchemy, theurgy, and other occult fields in his own time. 20. Also like his namesakes, he’s a Legilimens. He usually avoids using Legilimency when he can help it. 21. All of these qualities together make him an excellent and terrifying duelist, becuase his made-up spells are powerful and unpredictable, and Legilimency gives him an even more unfair advantage. This, coupled with the fact that he’s Harry and Ginny’s son, puts him leagues above his classmates. For this reason, he avoids dueling other students and doesn’t join duelling clubs. Students who challenge him or attempt to provoke him do so at their peril. 22. He has a genuine fondness for Muggle media — fantasy novels, video games, films, etc. The Harry Potter novels exist in my headcanon-verse, and all three kids are superfans who have a load of Muggle-created merchandise and have been to Universal three times. 23. When Albus takes the Pottermore sorting quiz, he gets Gryffindor half the time and gets Slytherin the other half the time. He’s close with his father. He admires and strives to be like his father. He has almost the exact same personality — brooding and sarcastic, with biting sassiness, a fierce temper, and poor social skills. 24. Despite idolizing his father, he doesn’t want to spend his whole life being known as “Harry Potter’s son.” He hopes to get out of his father’s shadow and be known for his own accomplishments. 25. Albus is less of an active troublemaker than James, but he lashes out when his buttons are pressed, and likes going out of his way to make people uncomfortable. His reaction to Umbridge would be the same as his father. He can end up being even bigger trouble through sheer stubbornness and willfulness. He’s also powerful enough that angering him is genuinely dangerous. 26. James and Al will share a room only when Dad wants the house demolished because James will poke Albus until his temper flares and his magic ends up literally destroying something. 27. They are friends in one instance: James and Albus took after their grandfather and explored every corner of the school at night with the Cloak and the Map. The books exist in this verse, so everyone knows about the Map, but James and Albus don’t want anyone to know they have it, so they euphemistically refer to it as the “secret navigational system.” Albus particularly loves finding secret rooms and passageways. 28. He uses the Room of Requirement all the time (usually as a place to dance or to play around with magic), but he would have killed to have combed through the Room of Hidden Things. Pity that was consumed by fiendfyre. 29. Albus doesn’t lie often, but he’s a much better liar than Harry was. 30. Professor Longbottom dotes on him. 31. Albus loves having long conversations about New Age spirituality with Luna Scamander and about archeology with his Uncle Bill. 32. Dumbledore’s portrait smiles warmly upon Albus Potter and sometimes talks with him about magic and his other interests. Snape’s portrait really doesn’t know how to respond to Albus. On the one hand, Albus is talented at potions, similar to Snape in a lot of ways, and has Lily’s eyes. On the other, he’s unsettling, infuriatingly insubordinate, and needs to be taken down about three pegs in Snape’s opinion. I love my version of Albus. A lot of my original work has been born out of his story, which I sometimes use as a framing device for my own creative process.
The Rebirth of Slytherin
The evolution of Slytherin’s reputation, both in-universe and in real life, is an interesting and somewhat contradictory one. Slytherins in-universe are not intended to be sympathetic. You’re not supposed to identify with Slytherin, especially in the early books. Slytherin is the house of selfish, manipulative bullies who value power above all else. These qualities are typically presented as inherently evil in children’s media — just look at how many kids’ cartoons have Evil Overlords as their main antagonists! (Off the top of my head, I can think of ATLA, She-Ra and the Princesses of Power, and The Owl House.) As the series goes on and the story becomes more complex, our perspective on Slytherin house becomes more nuanced. We’re introduced to good Slytherins like Horace Slughorn and Andromeda Tonks. James Potter, whom Harry has idolized up until Book 5, turns out to have been a bully. Snape gets his big reveal that made half the audience fall in love with him, cementing him as one of the most dynamic and fascinating characters in the entire series. At the very end, Harry tells his son that Slytherin is a worthy house to be in, but that his own choices will still matter. Slytherin is still pretty unsympathetic in the finale, though. There are no Slytherins camping out in the Room of Requirement with Neville and co., and none of them stay behind to fight Voldemort. Pansy Parkinson tries to give Harry up. Some of them may have left due to the Slytherin sense of self-preservation, but the obvious implication is that most of the Slytherins support Voldemort, i.e. that Slytherins are evil. I have my own theory as to why the Slytherins support Voldemort, or at least refuse to resist him outright: Because of its founder’s prejudices, Slytherin House deliberately selects for the Wizarding World’s de facto aristocracy, most of whom are old pureblood families who have accumulated a great deal of wealth and power over the centuries. That means that, while Slytherin and the qualities associated with it are not inherently evil, wizards who are bigoted towards Muggle-borns are especially likely to end up in Slytherin, which skews the entire house towards Voldemort. Assuming that this is the case, it would make sense that Slytherins wouldn’t stick around to fight, whether they agreed with Voldemort or not — many of them would likely be fighting their own parents. That’s a really rough position for anyone to be put in, especially if you’ve been taught to value tradition and family ties. For a teenager who may not have taken the time to dissect their parents’ views, leaving seems like the most obvious thing to do. On the bigotry, I think it’s likely that anti-Muggle sentiment was much more common among wizards in general until a couple of decades before the story begins. That’s how prejudices tend to work in real life. Homophobia, for example, has become increasingly unacceptable among Americans in the past few decades, to the point where modern homophobes often couch their language (at least publicly) in wishy-washy phrases like “I just don’t agree with their lifestyle,” instead of throwing the f-slur around with impunity. Laws that target gay people often pretend to be about something else, like parental rights or child safety. That’s obviously not good, but in some cases it is a sign that a prejudice is dying if people aren’t willing to voice it openly. By the time the Harry Potter books begin, the word “Mudblood” is unacceptable to say among polite company, but older wizards’ attitudes towards Muggles are patronizing at best. Despite the existence of cameras, radio, steam trains, and (presumably) printing presses in the Wizarding World, most wizards view Muggle technology as merely a means of compensating for lack of magic. (Imagine telling Arthur Weasley about the Moon Landing.) True bigotry against Muggles and those descended from them seems to only exist among the aformentioned old pureblood families, who are concentrated in Slytherin House. Pureblood supremacy was the status quo up until Vold War One, and possibly as late as Book Two. Slytherin has a culture of bigotry that other houses mostly lack (the goddamn password in Book Two is “Pure-blood” — imagine how that makes Muggle-born Slytherins feel!), so it takes much longer to fade. The wars against Voldemort help to kill anti-Muggle sentiment, and it’s my personal headcanon that Gen Z Slytherins are collectively much less prejudiced than their forebears. The revamping of Slytherin’s reputation within the fandom came with Pottermore. Pre-Pottermore, there still were many self-identified Slytherins, but the majority of them were people infatuated with Draco Malfoy or people who got a kick out of being edgy. When the original (and superior) Pottermore was released, the Sorting Quiz allowed real people to be Sorted into any one of the four houses. Now that real people could be placed in Slytherin, it could not longer be branded as the “Evil House.” No one wants to feel bad about their house designation, so Slytherin’s face had to change: "Congratulations! I'm Prefect Gemma Farley, and I'm delighted to welcome you to SLYTHERIN HOUSE. Our emblem is the serpent, the wisest of creatures; our house colours are emerald green and silver, and our common room lies behind a concealed entrance down in the dungeons. As you'll see, its windows look out into the depths of the Hogwarts lake. We often see the giant squid swooshing by – and sometimes more interesting creatures. We like to feel that our hangout has the aura of a mysterious, underwater shipwreck. Now, there are a few things you should know about Slytherin – and a few you should forget. Firstly, let's dispel a few myths. You might have heard rumours about Slytherin house – that we’re all into the Dark Arts, and will only talk to you if your great-grandfather was a famous wizard, and rubbish like that. Well, you don't want to believe everything you hear from competing houses. I'm not denying that we’ve produced our share of Dark wizards, but so have the other three houses – they just don't like admitting it. And yes, we have traditionally tended to take students who come from long lines of witches and wizards, but nowadays you'll find plenty of people in Slytherin house who have at least one Muggle parent. Here's a little-known fact that the other three houses don't bring up much: Merlin was a Slytherin. Yes, Merlin himself, the most famous wizard in history! He learned all he knew in this very house! Do you want to follow in the footsteps of Merlin? Or would you rather sit at the old desk of that illustrious ex-Hufflepuff, Eglantine Puffett, inventor of the Self-Soaping Dishcloth? I didn't think so. But that's enough about what we’re not. Let's talk about what we are, which is the coolest and edgiest house in this school. We play to win, because we care about the honour and traditions of Slytherin. We also get respect from our fellow students. Yes, some of that respect might be tinged with fear, because of our Dark reputation, but you know what? It can be fun, having a reputation for walking on the wild side. Chuck out a few hints that you've got access to a whole library of curses, and see whether anyone feels like nicking your pencil case. But we’re not bad people. We’re like our emblem, the snake: sleek, powerful, and frequently misunderstood. For instance, we Slytherins look after our own – which is more than you can say for Ravenclaw. Apart from being the biggest bunch of swots you ever met, Ravenclaws are famous for clambering over each other to get good marks, whereas we Slytherins are brothers. The corridors of Hogwarts can throw up surprises for the unwary, and you'll be glad you've got the Serpents on your side as you move around the school. As far as we’re concerned, once you've become a snake, you're one of ours – one of the elite. Because you know what Salazar Slytherin looked for in his chosen students? The seeds of greatness. You've been chosen by this house because you've got the potential to be great, in the true sense of the word. All right, you might see a couple of people hanging around the common room whom you might not think are destined for anything special. Well, keep that to yourself. If the Sorting Hat put them in here, there's something great about them, and don't you forget it. And talking of people who aren’t destined for greatness, I haven't mentioned the Gryffindors. Now, a lot of people say that Slytherins and Gryffindors represent two sides of the same coin. Personally, I think Gryffindors are nothing more than wannabe Slytherins. Mind you, some people say that Salazar Slytherin and Godric Gryffindor prized the same kinds of students, so perhaps we are more similar than we like to think. But that doesn't mean that we cosy up with Gryffindors. They like beating us only slightly less than we like beating them. A few more things you might need to know: our house ghost is the Bloody Baron. If you get on the right side of him he'll sometimes agree to frighten people for you. Just don't ask him how he got bloodstained; he doesn't like it. The password to the common room changes every fortnight. Keep an eye on the noticeboard. Never bring anyone from another house into our common room or tell them our password. No outsider has entered it for more than seven centuries. Well, I think that's all for now. I'm sure you'll like our dormitories. We sleep in ancient four-posters with green silk hangings, and bedspreads embroidered with silver thread. Medieval tapestries depicting the adventures of famous Slytherins cover the walls, and silver lanterns hang from the ceilings. You'll sleep well; it's very soothing, listening to the lake water lapping against the windows at night." This welcome letter is ingenious. Not only does it make Slytherin sound extremely appealing, but it also demonstrates the qualities that Slytherin values. It appeals to the need to feel elite that many Slytherins naturally have, appeals to their ambition, and it emphasizes the feeling of cool edginess that makes Slytherin fun without overdoing it. It also vindicates Slytherin without any denial. Now that real people had officially been Sorted into Slytherin, they had to take back Slytherin’s name and prove that it wasn’t all bad. Slytherin is the most popular house in the fandom because, now that people claim it as part of their identity, the fans have done everything in their power to reclaim it. (Hufflepuff also gets a lot of attention in the fandom because of how underrated and belittled it is in the books. Ravenclaw is the most underrated house overall.) And I like that! I like fandom-Slytherin! It deserves the love it’s gotten. It takes everything that we love about villainous characters and spins it around into something positive. I think it’s good that Slytherin has a better face and that people are proud to be in it! However, that so often involves dragging other houses, especially Gryffindor, through the mud. Gemma Farley does that a little bit in her welcome letter, but it makes some sense in the context of a school rivalry. People online go out of their way to vilify Gryffindor as much as possible, almost to make up for its popularity in the early days of the fandom. And honestly… this is just a theory, but… I think it might be a generational thing. The first Harry Potter book came out more than 20 years ago, and most of the early contributors to the fandom were Millennials. To my understanding, the early fandom was all about Gryffindor all the time (except for the Draco Malfoy stans). And that made sense, because in the early books, Gryffindors were intended to be the underdogs. Remember, Houses are basically glorified high school cliques. Put into the language of conventional high school cliques, Slytherins are supposed to be the rich, preppy douchebags who solve every problem by saying, “Do you know who my father is?” By the time Book One begins, Slytherin has won every House Cup for the last seven years, and they’re also on the top of their Quidditch game. Contrast our protagonists, the Cool Losers — an abused orphan with taped glasses, a bookish girl who struggles to make friends, and a boy from a poor family who doesn’t own anything brand-new. Two of them are introverts, in contrast to the modern Gryffindor stereotype. Part of the reason Harry’s arrival is such a big deal for the Gryffindor Quidditch Team is because high-and-mighty Slytherin will finally, finally get kicked on its ass. Fast-forward. James is now the poster boy for Gryffindor House — arrogant, hotheaded, a Quidditch star, and a bully from a rich family — the aformentioned douchebag. Snape is presented as a mistreated loner with a genius intellect, whom many readers identify with. This, combined with Gryffindor’s overwhelming popularity in the fandom, makes Slytherin the underdogs. But I think that Slytherin also uniquely fits Gen Z’s sensibilities (or at least, those of the Z’ers who frequent fandom spaces online). Slytherins are now stereotyped as quiet, mysterious, and melancholy, but with a bit of an edge. Slytherins quietly plot to give their enemies hell. Instead of being the status quo, Slytherins are now the ones who question the status quo (“why should I be considered evil just for specializing in poisons?”). Slytherins also have that Dark Academia aesthetic going for them. Slytherin is now the House of the Misunderstood Loner with a Heart of Gold, the “not like other girls” girl, the hot and edgy bad boy. Slytherin is now extremely desirable. (I wonder if that coincides with the recent popularity of dark political high fantasy in YA, with all its regal intrigue and backstabbings.) Hell, even I can appreciate the appeal of Slytherin, even though I’ve always been a Gryffindor. I don’t think Slytherins were ever uniformly bad people. The in-universe ones were mostly a product of their environment, and many were conditioned to be bigoted. That’s something that the House can get over with time. Real-life Slytherins were never bad people, and I think Slytherin’s modern popularity has a lot to do with it really suiting Gen Z’s tastes.
Classes that Should be Taught at Hogwarts
Ceremonial Magic: Not every aspect of ceremonial magic belongs at Hogwarts, because ceremonial magic is often religious in flavor, and there are Hogwarts students of all religious backgrounds. Adding the literal existence of intangible entities like angels, demons, and gods to Harry Potter’s world would change it drastically, and that’s unnecessary. But ceremonial magic is such an important subset of real-life magic, it can’t just be neglected entirely! It should at least be a theoretical discipline. I need students rolling their eyes over having to memorize correspondence tables. Folk magic: Sticking pins in poppets, witch bottles, love charms, sympathetic magic! Some aspects of folk magic are referenced or name-dropped in Harry Potter, especially where herbology is concerned. Wizards canonically used to use magic to help out their Muggle neighbors, as village cunning folk, and (according to Pottermore) Harry’s ancestor was one such cunning man. That’s the in-universe origin of the name “Potter.” So, where’s all the folk magic that those medieval wizards would have been doing? Some of the magic that the wizards do should be quieter and more indirect than the flashy spells cast with a wand. Some should be a little talisman hidden under one’s pillow, or a parchment with the word “ABRACADABRA” written in an inverted triangle, thrown over one’s shoulder into a stream. Alchemy: Unlike some of the other stuff on this list, I know that Rowling is familiar with alchemy. She has “solve et coagula” tattooed on her wrist, and she named Albus Dumbledore and Rubeus Hagrid after the albedo and rubedo stages (which correspond to their respective roles in Harry’s “death” and resurrection). So, she has no excuse for the relative lack of presence that alchemy has in the story and world. Illusions: While transfiguration changes the nature of an object, illusion changes the appearance of an object, or creates the image of an object (or sound, smell, some sensory information) when there isn’t one. I’m actually kind of surprised that illusions go unmentioned in Harry Potter. Unlike some of these other ones, it would take no adjustment to Harry Potter’s worldbuilding to add illusions in there. There already are some illusion spells that exist in Harry Potter, like the Disillusionment Charm. No reason for it not to be its own class! Divination: Yeah, I know that it’s taught, but it’s not taken seriously by the author, the characters, or the audience. It is impossible to overstate the significance of divination to almost all cultures’ folk traditions, and there are thousands of different types! From a storytelling standpoint, divination could be a useful tool for acquiring any kind of information by magical means (not just about the future), and divination systems like tarot are loaded with symbolism that can have narrative significance. Instead of giving us any of that, the writing encourages us to laugh at it. It’s reduced to a silly “fortune-teller” stereotype dramatically predicting Harry’s death. Trelawney herself has more going on, and I know that — Dumbledore keeps her around for her prophetic abilities and to protect her from Voldy, not for her teaching skills. But even Dumbledore doesn’t take divination seriously as a subject! It seems as though Rowling literally does not know the difference between divination and Sight. Not everyone gets random flashes of the future, but anyone can learn cartomancy. Actual magical history: Elizabeth I had a court wizard! Seriously, why isn’t John Dee mentioned in Harry Potter’s universe? What about Eliphas Levi? Aleister Crowley was probably kicked out of Wizarding Britain by the Ministry for revealing to Muggles that he was a wizard and generally causing chaos. What about Hermes Trismegistus, the Merlin of Antiquity? Magical history in real life is absolutely fascinating, and worth studying whether you believe in magic or not. Since Harry Potter takes place in the real world, it could incorporate a lot more of that history! Then again, pretty much everything about the way history is approached in Harry Potter could be better. Magical innovation and spell creation: Part of the reason why wizarding society has stagnated is because wizards refuse to be innovative. Muggles have certainly outclassed them, if not by the 1990s (how many wizards do you think know about the Moon Landing?) then certainly by now. Magical advancements exist, but tend to be few and far between (and most of the ones we hear about come from the trifecta of Dumbledore, Snape, and Voldemort.) In addition to being dangerous, magical innovation seems to have a sort of stigma attached to it. So why aren’t wizards taught how to create new spells safely? Come to think of it, magical linguistics should be an entire class in and of itself — the only reason why Latin is used as the basis for most spells is either because it was the ecclesiastical and scholarly language in the Middle Ages (so, for the same reason scientists continue to use it). It’s not because Latin is an inherently magical language. Realistically, there would be just as many ancient spells based in Old English, Welsh, and Gaelic. Kind of ironic that I first learned about a lot of this stuff through material about the lore behind Harry Potter, like The Sorcerer’s Companion and the History of Magic Exhibition. Maybe I should be grateful that none of this stuff appears in Harry Potter. Since Rowling didn’t use it in her work, that means I can use it in mine!