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slitheringghost · 19 days ago

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Lily Evans as Master of Death, Part 2: Flight From Death

This is part 2 to Unweaving Canon Lily: Master of Death. You don't have to read that meta to understand this, but it might help if you do.

In this meta I will address two major points: (1) how Lily is constantly associated with flight throughout the series, and how that ties into point (2) which is that for six books, we are told that Voldemort laughed as he murdered Lily:

As Hagrid’s story came to a close, he saw again the blinding flash of green light, more clearly than he had ever remembered it before — and he remembered something else, for the first time in his life: a high, cold, cruel laugh. (PS) When the dementors approached him, he heard the last moments of his mother’s life, her attempts to protect him, Harry, from Lord Voldemort, and Voldemort’s laughter before he murdered her... (PoA) “It is, isn’t it?” said Harry, in a voice barely more than a whisper. “But she didn’t move. Dad was already dead, but she didn’t want me to go too. She tried to plead with Voldemort... but he just laughed..." (HBP)

But in the actual scene in DH, Voldemort never laughs while Lily's pleading or while he kills her - he laughs while killing James. This isn’t an inconsistency. Because the laugh Harry heard wasn't Voldemort laughing - it was Lily laughing at Voldemort.

Lily and Voldemort as a duo are compared to Sirius and Bellatrix:

Bellatrix laughed, the same exhilarated laugh her cousin Sirius had given as he toppled backward through the veil, and suddenly Harry knew what was going to happen before it did. (DH)

Lily laughed a laugh so identical to Voldemort’s that Harry mistook it as Voldemort laughing instead.

And just as with Lily being Death, the text doesn’t come out and explicitly say it, because JKR weaved Lily in as a riddle and a mystery for readers to solve - and we have to follow the clues and the Easter eggs she put in to reach the answer. In this meta, I’ll go through all the clues that hint to this.

Note: This analysis positions Lily's defeat of Voldemort as deliberate planning by her, which ties into why she'd give a sort of triumphant laugh that mirrors Voldemort's. IMO JKR's portrayal of Lily as Death/Master of Death implies there's more going on with her sacrifice even from a Doylist perspective.

1.0 Flight And Laughter

Voldemort’s name means “flight from death” in French, and the text makes constant references to the true meaning of Voldemort’s name in fascinating - and hilarious - ways.

A hugely important point to this analysis is the Lily is portrayed as Voldemort’s metaphorical sister the way Harry and Voldemort are “brothers”. See more on this here, here, and here.

More specifically, Lily and Harry are Voldemort’s symbolic twin sister and twin brother, Flight From Death #2 and Flight From Death #3, regarding Harry’s immortality and Lily being the reason for both her son’s immortality and for Voldemort’s death, by her sacrifice deflecting the Killing Curse. The HP series is their sibling rivalry with Voldemort - who can fly from death higher?

Lily and Harry invariably win, and just as Lily is portrayed as the true Master Of Death, the true Death, she’s also the true Flight From Death.

There is a recurring motif of Lily laughing at or making fun of others in flight, or laughing in flight herself - because it’s meant to represent Lily laughing at Voldemort's death and his suffering as he tries to kill Harry and repeatedly fails, Lily laughing because Voldemort calls himself “Flight from death”, and yet she and her son flew from death better than him.

There was undisguised greed in his thin face as he watched the younger of the two girls swinging higher and higher than her sister. “Lily, don’t do it!” shrieked the elder of the two. But the girl had let go of the swing at the very height of its arc and flown into the air, quite literally flown, launched herself skyward with a great shout of laughter, and instead of crumpling on the playground asphalt, she soared like a trapeze artist through the air, staying up far too long, landing far too lightly. “Mummy told you not to!” Petunia stopped her swing by dragging the heels of her sandals on the ground, making a crunching, grinding sound, then leapt up, hands on hips. “Mummy said you weren’t allowed, Lily!” “But I’m fine,” said Lily, still giggling.

“It’s not hurting you,” said Lily, but she closed her hand on the blossom and threw it back to the ground. “It’s not right,” said Petunia, but her eyes had followed the flower’s flight to the ground and lingered upon it. “How do you do it?” she added, and there was definite longing in her voice. (DH)

Then we have Lily laughing as Snape tries badly to fly on a broomstick:

a hook-nosed man was shouting at a cowering woman, while a small dark-haired boy cried in a corner... A greasy-haired teenager sat alone in a dark bedroom, pointing his wand at the ceiling, shooting down flies... A girl was laughing as a scrawny boy tried to mount a bucking broomstick — (OoTP)

The text leaves it ambiguous who the girl is, but it’s clear with later context - and the repetition of Lily laughing at others in flight - that the girl is Lily.

Similarly, we have this moment in SWM:

a second flash of light later, Snape was hanging upside down in the air, his robes falling over his head to reveal skinny, pallid legs and a pair of graying underpants. Many people in the small crowd watching cheered. Sirius, James, and Wormtail roared with laughter. Lily, whose furious expression had twitched for an instant as though she was going to smile, said, “Let him down!” (OoTP)

There’s a reason that Lily almost smiles specifically when Levicorpus is used on Snape rather than any other spell he’s attacked with - because Lily is laughing at Snape in flight, tying this into the other similar instances.

Likewise, Lily also insults James’s ability to fly in the same scene:

“Messing up your hair because you think it looks cool to look like you’ve just got 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.” (OoTP)

Then we have Lily’s letter, and the contents of the letter and the passages related to it are full of hidden messages through coded language:

Harry bent down, picked up a few of the pieces of paper, and examined them. He recognized one as part of an old edition of A History of Magic, by Bathilda Bagshot, and another as belonging to a motorcycle maintenance manual. The third was handwritten and crumpled [...] it proved to be most of the photograph Lily had described in her letter. A black-haired baby was zooming in and out of the picture on a tiny broom, roaring with laughter, and a pair of legs that must have belonged to James was chasing after him. [...] Then he ripped in two the photograph he was also holding, so that he kept the part from which Lily laughed, throwing the portion showing James and Harry back onto the floor (DH)

The sequence of things mentioned matters here - Before Snape took the part of Lily laughing, it would’ve been next to the picture of Sirius’s motorbike manuals, so this can be read as Lily laughing at Sirius’s method of flight, just as she was laughing at and insulting Snape’s and James’s.

Dear Padfoot, Thank you thank you, for Harry’s birthday present! It was his favorite by far. One year old and already zooming along on a toy broomstick, he looked so pleased with himself, I’m enclosing a picture so you can see. You know it only rises about two feet off the ground, but he nearly killed the cat and he smashed a horrible vase Petunia sent me for Christmas (no complaints there). Of course, James thought it was so funny, says he’s going to be a great Quidditch player, but we’ve had to pack away all the ornaments and make sure we don’t take our eyes off him when he gets going. (DH)

Harry nearly killed the cat while flying on the toy broom and broke Petunia’s vase - the joke here is that the cat represents Tom Riddle, because Tomcat, and Tom and Jerry, which first aired the year Tom Riddle was 13 (Voldemort is also compared to a cat in GoF - the red eyes, whose pupils were slits, like a cat’s, gleamed still more brightly through the darkness.).

AKA Harry nearly killed Tom Riddle while flying from death and broke the Potter house as he broke the vase (you could say Voldemort gave her the house for Halloween, because James died first and thus Lily technically inherited the house…)

The cat’s state of existence is left ambiguous, whether it perished in the blast or ran away when there was no one left to feed it - just like Voldemort is hovering in the boundary between life and death, existing as a wraith, neither dead nor alive.

Harry’s only one year old and flying from death, only one year old and nearly killing the cat aka Voldemort - this is Lily saying proudly her son will fly from death higher than them all.

Likewise, the photograph also has a double meaning. James isn’t fully in the photo for a reason, to the point that Harry can’t even tell for sure it’s him, because Voldemort is also represented by James here - and this photo’s second meaning is Lily laughing at Voldemort as he chases after Harry as Harry “flies from death”.

He read the letter again, but could not take in any more meaning than he had done the first time, and was reduced to staring at the handwriting itself. She had made her “g”s the same way he did: He searched through the letter for every one of them, and each felt like a friendly little wave glimpsed from behind a veil. (DH)

There’s a reason that specifically the letter “g” was chosen - this is another coded message. Lily made her g’s the same way Harry did, because Godric Gryffindor and Gellert Grindelwald, and Lily and Harry the true Gryffindors and the true masters of the death, linking them to Grindelwald’s quest for the same.

1.1 St. Mungo’s Sequence

[...] a young wizard was performing an odd on-the-spot jig and trying, in between yelps of pain, to explain his predicament to the witch behind the desk. “It’s these — ouch — shoes my brother gave me — ow — they’re eating my — OUCH — feet — look at them, there must be some kind of — AARGH — jinx on them and I can’t — AAAAARGH — get them off —” He hopped from one foot to the other as though dancing on hot coals. “The shoes don’t prevent you reading, do they?” said the blonde witch irritably, pointing at a large sign to the left of her desk. “You want Spell Damage, fourth floor [...]" The wizard hobbled and pranced sideways out of the way (OoTP) The sunlight was dazzling on the smooth surface of the lake, on the bank of which the group of laughing girls who had just left the Great Hall were sitting with shoes and socks off, cooling their feet in the water. (OoTP)

The wizard above represents Voldemort. (JKR often does this, uses random characters to represent or evoke main characters - another example of this in the last section with the German woman representing Lily.) The wizard “dancing on hot coals” evokes how Lily’s blood magic burns Voldemort’s skin, the “yelps of pain” evoke Voldemort saying Lily’s sacrifice caused him “pain beyond pain”, and him not being able to get his shoes off is a reference to Priori Incantatem:

And then — nothing could have prepared Harry for this — he felt his feet lift from the ground. He and Voldemort were both being raised into the air, their wands still connected by that thread of shimmering golden light. They glided away from the tombstone of Voldemort’s father and then came to rest on a patch of ground that was clear and free of graves (GoF)

This is a reference to the Talaria of Mercury, or the winged sandals of Hermes, given to him by his half-brother Hephaestus. The magic in Priori Incantatem lifts his his feet into the air - like he's wearing the winged sandals.

Then the passage of Lily laughing in SWM is tied into the man in St. Mungo’s - While the man representing Voldemort can't get off the shoes eating his feet, Lily has her shoes and socks off; while for him it's like his feet are burning on coals, Lily is cooling her feet in water. Voldemort can’t get the shoes off that his sister Lily gave him.

In short, Lily is laughing at Voldemort being burned by her blood magic, laughing at Voldemort in the graveyard being made to fly and being hindered by her magic yet again, laughing as her son flies from death and escapes him.

“That’ll have to do,” he [Ron] said, slamming the diary shut, “I’ve said I dreamed I was buying a new pair of shoes, she can’t make anything weird out of that, can she?” (OoTP)

You’ll notice that in OoTP Ron starts sounding like Voldemort, “performing” the part of Voldemort in the series. For example, Ron asks, 'What's worse than death?' and Voldemort later says, "There's nothing worse than death, Dumbledore!"

So Ron dreaming a new pair of shoes hints at Ron’s link to Voldemort, because it references the wizard in St. Mungo’s with the shoes eating his feet, who represents Voldemort (perhaps evidence for Seer!Ron).

Again, notice how this text is speaking to us in riddles, in coded messages.

(Also note that just as Ron is performing the part of Voldemort, Hermione is performing the part of Lily. See more on this in my meta Hermione As Teacher And Connections To Lily.)

The wizard with his winged daughter in St. Mungo's an allusion to Lily and Harry as Deadalus and Icarus, because in addition to being aegis-bearing Zeus, and Arachne exposing Voldemort's victimization of mortals in her light-spun web as in Priori Incantatem, Lily is Deadalus crafting wings for her son to fly from death - also referenced in the duo in the St. Mungo’s line after the wizard with the jinxed shoes:

A harassed-looking wizard was holding his small daughter tightly by the ankle while she flapped around his head using the immensely large, feathery wings that had sprouted right out the back of her romper suit [...] the man disappeared through the double doors beside the desk, holding his daughter like an oddly shaped balloon (OoTP)

This is especially funny given Ron says this later in the same book:

“I thought we’d settled that?” said Luna maddeningly. “We’re flying!” “Look,” said Ron, barely containing his anger, “you might be able to fly without a broomstick but the rest of us can’t sprout wings whenever we —” “There are other ways of flying than with broomsticks,” said Luna serenely. (OoTP)

The description of the balloon also evokes flight, and the wizard emphasized specifically as holding his daughter by the ankle is an allusion to the myth of the Achilles heel - to Lily and Harry as Thetis holding her son Achilles by the ankle to dip him in the River Styx, giving him immortality.

Lily and Harry as Deadalus and Icarus are also referenced with Dedalus Diggle, who was one of the earliest Order members mentioned and one of the earliest wizards to interact with Harry:

A tiny man in a violet top hat had bowed to him once while out shopping with Aunt Petunia and Dudley. After asking Harry furiously if he knew the man, Aunt Petunia had rushed them out of the shop without buying anything. (PS) “Delighted, Mr. Potter, just can’t tell you, Diggle’s the name, Dedalus Diggle.” “I’ve seen you before!” said Harry, as Dedalus Diggle’s top hat fell off in his excitement. “You bowed to me once in a shop.” “He remembers!” cried Dedalus Diggle, looking around at everyone. “Did you hear that? He remembers me!” (OoTP)

And Dedalus Diggle also comes to get Harry from the Dursleys right before Harry deflects the Killing Curse while both him and Voldemort are in flight - Harry flying on his broom and Voldemort flying unsupported, another reference to flight from death.

Then there’s Harry’s History of Magic O.W.L., during which Voldemort lures Harry to the DoM with his vision of Sirius, as another important Deadalus and Icarus allusion:

The sun was very hot on the back of his head. Harry closed his eyes and buried his face in his hands, so that the glowing red of his eyelids grew dark and cool. But somebody screamed as Voldemort lowered his wand again; somebody yelled and fell sideways off a hot desk onto the cold stone floor. (OoTP)

The repeated mention of sunlight shining on them is a reference to Lily and Harry as Deadalus and Icarus, because Harry flew too close to the sun - and now their wings are melting and injured, now they’re about to fall from the sky and drown in the sea of despair, because the man both Lily and Harry love - Sirius - is about to die.

Harry dived behind a marble angel to avoid the jets of red light and saw the tip of its wing shatter as the spells hit it. Gripping his wand more tightly, he dashed out from behind the angel — (GoF) It was only then that he realized that Hedwig’s feathers were oddly ruffled; some were bent the wrong way, and she was holding one of her wings at an odd angle. “She’s hurt!” Harry whispered [...] “Look — there’s something wrong with her wing —” (OoTP) Fawkes swooped down in front of Dumbledore, opened his beak wide, and swallowed the jet of green light whole. He burst into flame and fell to the floor, small, wrinkled, and flightless. (OoTP)

2.0 Associations with all flying things

Now I’ll go through all the times Lily is associated with flight - this will circle back to the laugh in the last section, because it ties into how Lily is laughing as her son "flies from death", and laughing at Voldemort as Voldemort himself "flies from death" aka is forced to "fly from death" because he's nearly murdered. (Her associations with flight of course also symbolize her as a God figure and angel)

2.1 Fawkes

Note: Since exact wording really matters when analyzing Lily, it's important to use the first original version of Priori Incantatem, where Lily comes out of the wand last instead of James.

In addition to the above reference - Fawkes swallowing the Killing Curse that was about to kill Dumbledore and then “dying” symbolizing how Lily took the Killing Curse for Harry - an important thing to realize is that the graveyard scene in GoF, where Harry and Voldemort’s phoenix wands connect, is in many ways entirely about Lily.

Lilies represent Christ's resurrection, and are said to have sprouted from the ground where Christ's blood and tears fell during crucifixion.

Harry's tied to the tombstone of Voldemort's father, Peter takes Harry's blood for Voldemort's rebirth, then Voldemort brings up Lily:

��You stand, Harry Potter, upon the remains of my late father,” he hissed softly. “A Muggle and a fool... very like your dear mother. But they both had their uses, did they not? Your mother died to defend you as a child... and I killed my father, and see how useful he has proved himself, in death...” (GoF)

Voldemort mentions Lily's death/sacrifice like 4+ times through this scene. And then when their spells connect:

It first lifts the both of them from that ground by Tom Riddle Sr's grave and places them somewhere else - because flight from death, lilies are sprouting from the ground where Harry’s blood was spilt for the ritual and where Voldemort mentioned Lily, etc. (This comes full circle in DH, where Hermione leaves a wreath of Christmas roses on Lily’s grave as Harry cries on it, so here roses sprouted on the ground where "Christ's tears" fell.)

Which brings me to this passage in OoTP which references it in coded language:

Then a burst of fire in midair illuminated the dirty plates in front of them and as they gave cries of shock, a scroll of parchment fell with a thud onto the table, accompanied by a single golden phoenix tail feather. “Fawkes!” said Sirius at once, snatching up the parchment. “That’s not Dumbledore’s writing — it must be a message from your mother — here —” He thrust the letter into George’s hand, who ripped it open and read aloud, “Dad is still alive. I am setting out for St. Mungo’s now. Stay where you are. I will send news as soon as I can. Mum.” (OoTP) And then an unearthly and beautiful sound filled the air. . . . It was coming from every thread of the light-spun web vibrating around Harry and Voldemort. It was a sound Harry recognized, though he had heard it only once before in his life: phoenix song.It was the sound of hope to Harry... the most beautiful and welcome thing he had ever heard in his life... He felt as though the song were inside him instead of just around him... It was the sound he connected with Dumbledore, and it was almost as though a friend were speaking in his ear... Don’t break the connection. (GoF)

“Your mother’s coming…” he said quietly. “She wants to see you… it will be all right… hold on…” And she came… first her head, then her body… a young woman with long hair, the smoky, shadowy form of Lily Potter blossomed from the end of Voldemort’s wand, fell to the ground, and straightened like her husband. She walked close to Harry, looking down at him, and she spoke in the same distant, echoing voice as the others, but quietly, so that Voldemort, his face now livid with fear as his victims prowled around him, could not hear... “When the connection is broken, we will linger for only moments... but we will give you time... you must get to the Portkey, it will return you to Hogwarts... do you understand, Harry?” (GoF)

Harry associates the phoenix song with Dumbledore, but this isn’t Dumbledore’s doing, it’s a message from Lily, it’s Lily coming to save Harry.

Notice how the wording echoes - Harry hears a voice saying “Don’t break the connection” and Lily’s shade says “When the connection is broken”; Voldemort calls Lily’s blood magic “lingering protection” and Lily’s shade says "we will linger". Voldemort says “My curse was deflected by the woman’s foolish sacrifice, and it rebounded upon myself. Aaah… pain beyond pain, my friends; nothing could have prepared me for it” and when Priori Incantatem lifts Harry and Voldemort into the air the wording is “And then — nothing could have prepared Harry for this — he felt his feet lift from the ground”. These details consistently connect this all back to Lily.

Harry also goes from thinking “There was no hope… no help to be had" and "His mother was not there to die for him this time”, losing faith in Lily, to “It was the sound of hope to Harry” - and lilies are called the “white-robed apostles of hope”, another giveaway.

The OoTP passage about Molly’s letter continues, with more coded connections to the GoF graveyard scene:

[...] George looked around the table.“Still alive...” he said slowly. “But that makes it sound...” He did not need to finish the sentence. It sounded to Harry too as though Mr. Weasley was hovering somewhere between life and death. (OoTP) “My curse was deflected by the woman’s foolish sacrifice, and it rebounded upon myself. Aaah... pain beyond pain, my friends; nothing could have prepared me for it. I was ripped from my body, I was less than spirit, less than the meanest ghost... but still, I was alive.” (GoF)

Voldemort here is represented by “Dad” because he, like Mr. Weasley, is presented as a father figure to Harry.

This comes full circle in the graveyard scene in DH, where Harry mistakes Voldemort’s magic for that of Dumbledore’s, just like he mistook Priori Incantatem for Dumbledore’s magic when it was actually Lily’s magic:

Was it possible that she had been waiting for them all these long months? That Dumbledore had told her to wait, and that Harry would come in the end? Was it not likely that it was she who had moved in the shadows in the graveyard and had followed them to this spot? Even her ability to sense them suggested some Dumbledore-ish power that he had never encountered before. (DH)

Then we have Fawkes healing Harry right as he mentions Lily:

Harry described how the figures that had emerged from the wand had prowled the edges of the golden web, how Voldemort had seemed to fear them, how the shadow of Harry’s mother had told him what to do, how Cedric’s had made its final request. At this point, Harry found he could not continue. He looked around at Sirius and saw that he had his face in his hands. Harry suddenly became aware that Fawkes had left his knee. The phoenix had fluttered to the floor. It was resting its beautiful head against Harry’s injured leg, and thick, pearly tears were falling from its eyes onto the wound left by the spider. The pain vanished. The skin mended. His leg was repaired. (GoF)

The other time the phrase "beautiful head" is used is for the doe patronus: "She stepped toward him, her beautiful head with its wide, long-lashed eyes held high." // "She turned her beautiful head toward him once more"

2.2 Hedwig

Just as he limped past the window, Hedwig soared through it with a soft rustle of wings like a small ghost. “About time!” Harry snarled, as she landed lightly on top of her cage. “You can put that down, I’ve got work for you!” Hedwig’s large round amber eyes gazed reproachfully at him over the dead frog clamped in her beak. (OoTP)

Hedwig here is meant to evoke Lily - described as a “small ghost", the reference to her eyes, and the beak full of dead frog may be a reference to Lily having her “pockets full of frogspawn”.

Hedwig dies during the Battle of Seven Potters in DH - when Lily's magic saves Harry from the Killing Curse a second time, while Harry and Voldemort are both in flight - much like how Fawkes falls dead and flightless after swallowing the Killing Curse, Hedwig dying here represents how it took Lily’s death to make Harry "fly from death". Likewise, Harry first heard Lily’s murder and deflection of the Killing Curse in PoA while he was in flight - because flight from death.

2.3 Lily as the Golden Snitch

“Did you ever discuss codes, or any means of passing secret messages, with Dumbledore?” “No, I didn’t,” said Hermione, still wiping her eyes on her sleeve. “And if the Ministry hasn’t found any hidden codes in this book in thirty-one days, I doubt that I will.” “I notice that your birthday cake is in the shape of a Snitch,” Scrimgeour said to Harry. “Why is that?” Hermione laughed derisively. “Oh, it can’t be a reference to the fact Harry’s a great Seeker, that’s way too obvious,” she said. “There must be a secret message from Dumbledore hidden in the icing!” (DH) He had drawn a Snitch and was now tracing the letters L. E. What did they stand for? (OoTP)

There's a reason that DH includes this bit about Dumbledore leaving secret codes in a book and the Snitch cake potentially containing a secret message - JKR is being incredibly meta here, because when James writes Lily's initials beside the Snitch in OoTP, this is JKR giving readers a secret message: that Lily is the Golden Snitch.

What do we know about the Snitch? The Snitch is tiny, golden, very difficult to see, and notably the only ball in Quidditch that has wings - like how Lily is constantly associated with flight, and an allusion to Lily as an angel to Harry. Snitches have flesh memories - only opening at Harry's touch, as Lily's touch is emphasized, and her blood magic keeping Voldemort from touching Harry.

Harry's the Seeker and Lily is the Snitch - because Lily's playing hide-and-seek with her son through the narrative and Harry has to seek her.

Most celebrated of these half-magical dwelling places is, perhaps, Godric’s Hollow, the West Country village where the great wizard Godric Gryffindor was born, and where Bowman Wright, Wizarding smith, forged the first Golden Snitch. The graveyard is full of the names of ancient magical families, and this accounts, no doubt, for the stories of hauntings that have dogged the little church beside it for many centuries. (DH)

It was invented where Lily died and vanquished Voldemort, where Lily Harry and Voldemort all had their "flight from death".

The long game was ended, the Snitch had been caught, it was time to leave the air… The Snitch. His nerveless fingers fumbled for a moment with the pouch at his neck and he pulled it out. I open at the close. Lily waited until Petunia was near enough to have a clear view, then held out her palm. The flower sat there, opening and closing its petals, like some bizarre, many-lipped oyster. (DH)

It’s time for Harry to leave the air - to fly from death yet again because of Lily's lingering magic and Lily having conquered death.

Lily is playing hide-and-seek with him, and where does Harry find her? Inside the Golden Snitch, where the Resurrection Stone is hidden, and as I said the previous part to this meta, that was Lily’s soul creating the versions of James, Sirius, and Remus just as Riddle’s soul in the locket created Riddle-Harry and Riddle-Hermione.

That Harry’s excellent flying is actually about his “flight from death” is why his Quidditch skills are often mentioned when he faces Voldemort.

Voldemort raised his wand, but this time Harry was ready; with the reflexes born of his Quidditch training, he flung himself sideways onto the ground (GoF) And Harry, with the unerring skill of the Seeker, caught the wand in his free hand as Voldemort fell backward, arms splayed, the slit pupils of the scarlet eyes rolling upward. (DH)

2.4 Charms

“You have your mother’s eyes. It seems only yesterday she was in here herself, buying her first wand. Ten and a quarter inches long, swishy, made of willow. Nice wand for charm work.” (PS)

Lily having a wand good for Charms has significance tying to this narrative thread. The very first spell they learn in Charms (or at least, the first one the text points out iirc) is the Levitation Charm - in other words, how to make something fly, which they then practice on a bird feather.

Hermione is the one to do it perfectly and teach Harry and Ron how to successfully do it - and Hermione performs the part of Lily. Again see this meta.

They learn this spell specifically on Halloween - the same day Harry had his “flight from death” in 1981.

On Halloween morning they woke to the delicious smell of baking pumpkin wafting through the corridors. Even better, Professor Flitwick announced in Charms that he thought they were ready to start making objects fly, something they had all been dying to try […] “Now, don’t forget that nice wrist movement we’ve been practicing!” squeaked Professor Flitwick, perched on top of his pile of books as usual. “Swish and flick, remember, swish and flick. ” (PS)

In general the stuff they learn in Charms is often associated with making things fly - Levitation Charm, Hovering Charm, Summoning Charm, Banishing Charm, etc. Likewise, Flitwick's section for the Stone protections also have to do with flight - they're winged keys that remind Harry of birds and also evoke a Snitch, and Harry uses his Seeker skills to catch them.

2.5 Flying out of a window

The action of flying through the window is repeated by those associated with the Elder Wand and therefore the Master of Death thread in DH.

Lily as represented by the doe patronus:

“For him?” shouted Snape. “Expecto Patronum!” From the tip of his wand burst the silver doe: She landed on the office floor, bounded once across the office, and soared out of the window. Dumbledore watched her fly away, and as her silvery glow faded he turned back to Snape, and his eyes were full of tears. (DH)

Harry and Hermione escaping from Voldemort in Godric's Hollow, with Hermione playing the role of Lily:

Glass cut his cheek as, pulling Hermione with him, he leapt from bed to broken dressing table and then straight out of the smashed window into nothingness, her scream reverberating through the night as they twisted in midair... And then his scar burst open and he was Voldemort and he was running across the fetid bedroom, his long white hands clutching at the windowsill as he glimpsed the bald man and the little woman twist and vanish (DH)

Voldemort as he meets Grindelwald to question him about the Elder Wand:

— and he rose into the night, flying straight up to the window at the very top of the tower — [...] — The window was the merest slit in the black rock, not big enough for a man to enter... A skeletal figure was just visible through it, curled beneath a blanket... Dead, or sleeping...? [...] — as he forced himself through the slit of a window like a snake and landed, lightly as vapor, inside the cell-like room — (DH)

Grindelwald as he steals the Elder Wand:

Gregorovitch burst into the room at the end of the passage and his lantern illuminated what looked like a workshop; wood shavings and gold gleamed in the swinging pool of light, and 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, then the intruder shot a Stunning Spell from his wand and jumped neatly backward out of the window with a crow of laughter. 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)

Snape as he flies with the Elder Wand in his hand:

When Harry looked up again, Snape was in full flight, McGonagall, Flitwick, and Sprout all thundering after him: He hurtled through a classroom door and, moments later, he heard McGonagall cry, “Coward! COWARD!” […] Harry dragged her to her feet and they raced along the corridor, trailing the Invisibility Cloak behind them, into the deserted classroom where Professors McGonagall, Flitwick, and Sprout were standing at a smashed window. “He jumped,” said Professor McGonagall as Harry and Luna ran into the room. “You mean he’s dead?” Harry sprinted to the window [...] With a tingle of horror, Harry saw in the distance a huge, batlike shape flying through the darkness toward the perimeter wall. (DH)

3.0 1981 Memory

Onto the laugh, there are multiple possibilities - one is that since the memories Harry hears near the dementors are blurry, Harry simply heard the laugh and Lily's death out of order, and what he heard was actually Voldemort laughing as he murdered James. It's also possible that it just got left out/implied.

But that doesn't change the fact that the text emphasizes this laugh very specifically in relation to Lily's murder continuously.

As I said before, Voldemort and Lily as a duo parallel Sirius and Bellatrix, and the way Sirius, Bellatrix, and Harry echo each other in this Department of Mysteries sequence (expanded on in my meta "When Lily Cast Her Life As A Shield": Analysis of the Shield Charm) is mirrored by the Voldemort, Lily, and Harry trio:

“Laughed,” said Stan. “Jus’ stood there an’ laughed. An’ when reinforcements from the Ministry of Magic got there, ’e went wiv ’em quiet as anyfink, still laughing ’is ’ead off. ’Cos ’e’s mad, inee, Ern? Inee mad?” (PoA) “Get it himself?” shrieked Bellatrix on a cackle of mad laughter. Only one couple were still battling, apparently unaware of the new arrival. Harry saw Sirius duck Bellatrix’s jet of red light: He was laughing at her. “Come on, you can do better than that!” he yelled, his voice echoing around the cavernous room. " [...] And he knows!” said Harry with a mad laugh to match Bellatrix’s own. “Your dear old mate Voldemort knows it’s gone! He’s not going to be happy with you, is he?” (OoTP)

Remember all the instances of Lily laughing related to flight - in fact every instance of Lily laughing in the series has something to do with this narrative thread. And it's the same thing in the memory of her death:

The child was laughing and trying to catch the smoke, to grab it in his small fist... “Lily, take Harry and go! It’s him! Go! Run! I’ll hold him off!” Hold him off, without a wand in his hand!... He laughed before casting the curse... “Avada Kedavra!” he looked up into the intruder’s face with a kind of bright interest, perhaps thinking that it was his father who hid beneath the cloak, making more pretty lights, and his mother would pop up any moment, laughing — (DH)

Lily is imagined as laughing right before Voldemort casts the Killing Curse on Harry - right before the curse rebounds on and (nearly) kills Voldemort, just as Voldemort laughed before he murdered James.

Note that this echoes Sirius and Bellatrix laughing specifically right before they’re killed - as Voldemort and Lily both laugh as they’re both dying in 1981 (or in Voldemort’s case, his near-death).

How and when did Lily laugh like that and Voldemort not hear it? There are several options. Remember, there are multiple instances where Lily is mentioned to have said something that Voldemort couldn’t hear:

She walked close to Harry, looking down at him, and she spoke in the same distant, echoing voice as the others, but quietly, so that Voldemort, his face now livid with fear as his victims prowled around him, could not hear... (GoF) A door opened and the mother entered, saying words he could not hear, her long dark-red hair falling over her face. (DH)

This may be a deliberate clue to Voldemort not hearing the laugh that Harry can.

It’s possible Lily laughed soon after screaming when Voldemort was still climbing the stairs, knowing she was luring him to his death, or that she laughed hovering between the boundary of life and death right before she died, much like Bellatrix and Sirius are said to have known what happened in the second before they died (“Molly’s curse soared beneath Bellatrix’s outstretched arm and hit her squarely in the chest, directly over her heart. Bellatrix’s gloating smile froze, her eyes seemed to bulge: For the tiniest space of time she knew what had happened, and then she toppled”).

It’s also possible Lily was laughing after she died, from behind the veil, and Harry could hear it because of the magical connection between them, sort of like he can hear her whispering to him from the Veil in OoTP.

Lily knew that in killing her, Voldemort sealed the agreement, sealed the "binding magical contract" that would destroy him when he broke it (more on that here) - the agreement to take Lily's life instead of Harry's. And therefore, in one way or another, she was laughing triumphantly at Voldemort.

That Bellatrix is a clue to Lily is further implied in the parallel here:

“Yeah,” said Harry, tearing his eyes away from Bellatrix Lestrange’s face to glance up and down the High Street. “Yeah, it is weird...” (OoTP) How long he stood there, he didn’t know. The reflections did not fade and he looked and looked until a distant noise brought him back to his senses. He couldn’t stay here, he had to find his way back to bed. He tore his eyes away from his mother’s face, whispered, “I’ll come back,” and hurried from the room. (PS)

The way the language around Voldemort, Lily, and Harry and their movements and actions mirror each other in general in addition to the laughs in the 1981 memory is another big clue.

And then his scar burst open and he was Voldemort and he was running across the fetid bedroom, his long white hands clutching at the windowsill as he glimpsed the bald man and the little woman twist and vanish, and he screamed with rage, a scream that mingled with the girl’s, that echoed across the dark gardens over the church bells ringing in Christmas Day... And his scream was Harry’s scream, his pain was Harry’s pain... He could hear her screaming from the upper floor, trapped, but as long as she was sensible, she, at least, had nothing to fear He was nothing, nothing but pain and terror, and he must hide himself, not here in the rubble of the ruined house, where the child was trapped and screaming, but far away (DH)

Again Hermione here is representing Lily - most evident in this scene, where it’s her spell that saves Harry from Nagini-Bathilda and lets them escape as Voldemort comes, just like Lily saved Harry in 1981, so Voldemort's scream mingling with Hermione's alludes to it mingling with Lily's. (The locket soul piece is also described as "trapped and screaming" later).

He forced the door open, cast aside the chair and boxes hastily piled against it with one lazy wave of his wand... and there she stood, the child in her arms. The child had not cried all this time: He could stand, clutching the bars of his crib, and he looked up into the intruder’s face with a kind of bright interest And now he stood at the broken window of Bathilda’s house, immersed in memories of his greatest loss (DH)

Additionally the three of them aren’t named in the memory, while James is named 4 times, again tying Voldemort, Lily, and Harry as a trio with identical “twin” (or triplet) movements.

As explained in part 1, Voldemort and Lily are both described as “hooded figures”, both are Death, both enter through a doorway (because as in the Cain and Abel passage in Genesis 4, sin is crouching at the door), and the wording here echoes:

A door opened and the mother entered, saying words he could not hear, her long dark-red hair falling over her face. The gate creaked a little as he pushed it open, but James Potter did not hear. His white hand pulled out the wand beneath his cloak and pointed it at the door, which burst open. (DH)

All of which is to say, if everything else echoes - then so must their laughter. On first glance, Lily laughing seems to be only Voldemort's imagination, but once we put together all the clues, we can see how that's meant to hint at Lily actually laughing in this scene.

The green light flashed around the room and she dropped like her husband. The child had not cried all this time: He could stand, clutching the bars of his crib, and he looked up into the intruder’s face with a kind of bright interest, perhaps thinking that it was his father who hid beneath the cloak, making more pretty lights, and his mother would pop up any moment, laughing — He pointed the wand very carefully into the boy’s face: He wanted to see it happen, the destruction of this one, inexplicable danger. The child began to cry: It had seen that he was not James. (DH)

The above passage is the situation flipped. While Voldemort believes that Harry thinks he's James, baby Harry actually thinks Voldemort is Lily, because it's Lily whose face is covered by her hair as a dementor's is hidden, resembling the hood of a cloak or the Veil of Death, while James's face is seen clearly. Basically, while with the laugh Harry mistakes Lily for Voldemort, here he’s mistaking Voldemort for Lily. Harry, looking carefully into Voldemort's face, presumably sees Voldemort's eyes, realizes it's not Lily, and starts crying.

He approached one of them, then saw the whiteness of his own long-fingered hand against the door. He knocked. He felt a mounting excitement. . . . The door opened: A laughing woman stood there. Her face fell as she looked into Harry’s face: humor gone, terror replacing it. . . . “Gregorovitch?” said a high, cold voice. She shook her head: She was trying to close the door. A white hand held it steady, prevented her shutting him out. . . . He raised the wand. She screamed. Two young children came running into the hall. She tried to shield them with her arms. There was a flash of green light — (DH)

This clearly evokes Lily - "The door opened: A laughing woman stood there" parallels the language of 1981 - "A door opened and the mother entered", "There she stood", and Voldemort forcing his way in also parallels "He forced the door open".

Then the rest evokes Lily’s scream, her spreading her arms and “shielding” Harry from Voldemort’s sight, the flash of green light always connected with her murder. Note again how the language echoes to draw certain connections.

So, if this represents Lily, the fact that she's described as a "laughing woman" is significant - this is another clue that the laugh was Lily.

4.0 Conclusion

To summarize, Lily is constantly associated with laughter, and constantly associated with flight, and the two link together in her laughing at others in flight and, finally, laughing at Voldemort because she and her son are the superior "Flight from Death".

If you read this whole thing, please let me know if you were convinced by this theory.

Thank you to @regheart, @keepmycandleburning, and @remus-poopin for reading this over for me!

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licorice-and-rum · 1 month ago

Text

On Fascism, DEs and Dumbledore - the actual essay lol

Hey, guys! Sorry it took me so long to write this one, I really had some themes to mature before I could put all of my thoughts in writing but I finally feel like I’m ready to talk about what I want to. Before I begin, however, I want to point out a few things:

First of all, I ask all of you to enter this with an open mind because not everything I’ll say here is exactly popular opinion in the HP fandom. And, although I recognize that my perceptions and interpretations are frayed by my own background and way of thinking, my literary analysis is still based off, on some level, of academical knowledge. It doesn’t make it true, of course, but I believe it’s a solid base to have.

Second, this is, in no way, an attack on people who like the Death Eaters (Barty, Regulus, Rosier, Draco, and so on). These people are not the problem I’m talking about here because, to begin with, the characters they like are not exactly the Canon version of them, and then, because a work of fiction doesn’t determine a person’s character.

It's completely normal for popular works of fiction — and that’s especially true in Literature — to have their characters remodeled to fit a better narrative to the time they are inserted in. It happens with Fairytales, it happens with classical books — Sherlock Holmes is one of the greatest examples I can give —, it just happens. And the new interpretations are an attempt to almost self-insert: is a mirroring of our interpretations and experiences in those characters we like so much.

That said, I still have a problem with how normalized it has become in our society to make a sad backstory to fascist-like villains and that’s where I would like to start this rant/analysis. This issue is not focused on the Harry Potter characters, however: it has happened in Star Wars (both with Anakin and more recently with The Acolyte), in The Hunger Games (with Snow, although it wasn’t the intention) and many other big films/books/series in the industry.

It has a reason: we’re living through late-stage capitalism, which means capitalism is in shambles and it needs a “emergency button” of sorts, something it can use to establish some kind of control back. That’s why we’ve seen so many far-right parties win elections lately: it’s a normal thing for people to be attracted to fast and simple solutions when things are bad, even though they might not be solutions at all.

Anyway, I digress: the point is, when fascism (capitalism’s emergency button) arises, it needs to have a cultural support so that people can assimilate it better, accept it better so it can maintain itself. Don’t get me wrong: I’m not, by all means, saying that a bunch of men sat down on a white room and decided that now they would start creating Art that endorses/romanticizes fascist narratives, of course not.

This is a natural process, it happens because we, as a general rule, already lean into right wing theorical thinking by living into a capitalist mode of production. So, when capitalism collapses, many of us pull our values farthest into capitalistic mindset because that’s what we understand as secure, as stable. And this translates into art through some favored tropes or classical narratives, such as the Chosen One or the “the system is not corrupted, the people running it are” narrative.

Both of those tropes fit into the Harry Potter series in obvious ways, of course. But lately, I’ve been noticing a really particular characteristic of these narratives/tropes that are used to endorse fascism, which I believe has to do with the time period we’re at right now and who the target-audience is, and that is what I called the “individualization of narratives”.

I’m not gonna be arrogant here and say that I’m the only one who noticed this, of course not, but I haven’t found any works on that, so I’m gonna describe, in my own words, what I think this phenomenon is:

The individualization of narratives, as I call it, refers to the details some characters’ backgrounds have when they are into the “dark side”, the side that is supposed to be the fictional version of fascist-like groups. And those details — or lack thereof — are done in a way the reader can fill in the gaps in such a way to identify and empathize with them.

Again, that’s is not the problem, this happens to every character ever, it even happens with celebrities. Our brains are wired to fill in gaps in a person’s personality or character when we don’t have all the information, it’s a natural reaction. Problem is that, as it’s becoming popular to write a villain with a purpose, a “morally gray” character if you will (although I take issue with how that’s portrayed, which I’ll treat more carefully when I talk about Dumbledore), the fascist-like narratives that became so popular with post-war people, gain a new meaning.

That’s not the doing of the Art itself, it’s just a reflection of political issues that are already here but that are also perpetrated and continued by Art and material cultural production, just like anti-socialism dystopian books were in the Cold War scenario, for example. However, it’s undeniable that this movement serves a purpose, a political purpose, and that is to endorse fascism and fascist narrative. Let’s not get over ourselves here: again, this is not the evil doing of some unknown entity, it’s just a natural process of the current political climate reflecting in cultural production.

But it still serves a purpose, and what I aim to do with this essay is to demystify a bit this movement in Harry Potter. But first, we have to understand what fascism is:

Capitalism, which begun more or less in the 1600s, is a mode of production (a mold to which our society fit to work within capitalism’s needs of existence). It is based on profit, which means our society is shaped to produce that profit, everything in a society is shaped to serve this purpose, from the industry to our perception of reality — it’s all a capitalism-based ideology.

Again, reminding: that’s not a secret plot to convince people, it’s a natural process of building identity within reality. It happened in feudalism, and before that with Ancient Empires, and so on and on. There’s nothing inheritedly evil in this process.

However, capitalism is a mode of production that demands, in order to continuing to exist, more than society can provide, so it collapses from time to time. The Stock Market Crash of 1929 and the following Great Depression is one of the most striking examples of capitalism collapsing, and it’s not by happenstance that fascism arose right after this collapse.

As I said before, fascism is capitalism’s emergency button: when systems collapse, that’s where they get more vulnerable to radical change, and the extreme hardships the masses had to endure after its collapse in the 1930s could easily signify a chance for a change in the modes of production throughout the occidental countries of Europe — something that couldn’t happen if capitalism was to survive.

What I mean by bringing all this to the essay is that I want to be very clear with what fascism defends and what it means: it’s the supremacy of not only a country, or exaggerated nationalism, it is also the management and upkeeping of a society’s very structure. And, to be even clearer: that society is white, rich, and patriarchal-based.

There’s a reason why fascism is considered a white-supremacy political movement: because it defends capitalism. And capitalism was built over the need of cheap work force.

Many of you may have thought slavery when I said that, and you’d be correct.

However, with the times progression, that changed into a new form of exploration: because of the past with slavery and exploration of resources of colonized countries, it became easier — and also a natural progression from the dehumanizing of non-white communities to justify slavery — to just cheapen the work force by making non-white communities poorer, more vulnerable and more desperate to fulfill their needs.

That forces those communities — and third world countries as a whole — to accept the money and the exploration of not only first-world countries (colonizer countries) but also big corporations. I could go on and on about all the effects this policy has in non-white communities, from police brutality until the banalization of the violence in large scale (such as the Palestinian genocide) but I want to stay within the scope here.

This justification of slavery, the dehumanization of non-white peoples, is one of the main pillars of capitalism, and as such, it’s the main pillar of fascism. In Harry Potter, the intention is that those characteristics don’t present themselves in race but in blood — not that Rowling is very successful with this, considering the amount of veiled and not-so-veiled racism in her books but whatever.

Now, as I see it, Harry Potter is not a good portrayal of fascism and that has a very clear cause: Rowling’s lack of understanding of what fascism is to begin with, or how the root causes of it affect the system of the wizarding society.

As someone who have studied it, I can say that the blood purity issue wouldn’t be present only in some rich people’s minds, it would be structural to the wizarding world, in a way that would present itself in hardship for muggleborns to get jobs, in jokes that are not funny, in opinions that are degrading, in isolation and discrimination in a day to day level. And of course, there is some of it in the HP books, but it’s not treated as a structural issue — it’s treated as an individual problem.

And that’s where the real problem begins: if we treat fascism as a problem that stems from a person’s own choices instead of a political and collective movement that elevates to a highest level the structural issues that are already there, we fall into the trap of minimizing the problem because, if someone is a fascist because they’re evil, the next question to make is: why are they evil?

Currently, what we’re doing with our villains becomes a problem in these situations: in an attempt to individualize our villains, we make them human. Human in the sense that we can empathize with them, we can understand them. And, for a fascist-like narrative, that’s extremely dangerous because it makes us unconsciously start to endorse their trajectories and choices when we absolutely shouldn’t.

Fascism is not equivalent to rebelliousness.

“Oh, the good side is not so good because they treated this character bad and now he had to turn to a fascist group and decimate people because he’s traumatized.”

See how, when I say it like that, it sounds ridiculous?

But of course, you probably know that. Again, I’m not accusing people who like those characters of endorsing fascism, what I am saying, however, is that the political climate of today is doing it and it’s reflecting on our art production. What I am calling for is for people to recognize that their view of those characters as they really would be if they were anywhere near reality is not only flawed, it’s entirely wrong.

Snape, Barty Crouch Jr, Evan Rosier, Draco, Bellatrix, the Blacks as a whole — they are not the abused little teenagers who had no choice but to join the Death Eaters. They are fascists, they have always been fascists, even when they suffered. And sure, to some of them, there is more to their characters than this but the truth remains that they, in some capacity, not only endorsed a fascist narrative, they actively perpetuated it to the detriment and the suffering of marginalized peoples.

And none of them had a good, believable, and more importantly, complete redeeming arc.

Our interpretations of them are cool, I love it, I prefer them to many HP characters, to be honest. But that doesn’t change the fact that, if HP was a little bit more real, a little bit closer to reality, those characters wouldn’t be bullied teenagers forced into fascism as a means to become powerful enough to escape their abuse — as if that makes it so much better —, they’d be incels, they’d be bullies themselves.

And that’s not an opinion: we, as a fandom, tend to forget that the DEs are the ones with real societal power in the wizarding world. Most of them are purebloods, most of them are rich, most of them are friends with rich and pureblooded wizards, and they are privileged. They are not ostracized as we like to imagine, they are royalty.

For them, to fight for blood purity is to fight for their own benefit, is to fight to maintain the pillars that keep them unaccountable for their behaviors and privilege whilst at the same time, pushing marginalized people — muggleborns, fantastical creatures, even half-bloods — to a dehumanizing condition. And they don’t feel sorry for this.

Now, the truth is that this is partially Rowling’s fault: her lack of understanding of how deep the issues she’s portraying really run makes it possible for her to interpret her own characters as redeemable because they somehow exchange sides when it fits them.

That’s mostly seen with the Malfoys: neither Draco, Narcissa, nor Lucius ever change sides because they see the suffering of others and think of it as wrong. They change sides when Voldemort’s cruelty starts to weigh on them — their change of loyalties are not coming from empathy for marginalized peoples or decency, it comes from self-preservation.

Kind of the same thing with Snape (I wrote some essays focused on Snape, so if anyone is interested, here’s the first, then the second).

Now, of course, that’s not to say those characters weren’t abused on someway or suffered but that’s the thing: no abuse in the world justifies the persecution, torture and killing of innocent people. To offer a counterpoint, the marginalized peoples the Death Eaters persecuted are also traumatized in some, they also can have had abusive parents and/or families but that is not taken into account when we talk about the Death Eater’s own traumas.

The narrative that the Death Eaters were abused their whole childhoods is so strong today in fandom that most people don’t stop to think that those teenagers probably were horrible people. Yes, maybe horrible because some of them were abused, I’m not denying that, but still horrible, which means they wouldn’t accept help. To hold them responsible for their own doings and their own privileges would seem for them as a persecution against them — just like fascist-like narratives often portray pro-LGBTQ+ or non-white policies and/or narratives.

It is also one of the reasons I take issue with the Slytherin portrayal of abused kids ostracized by the rest of the school. It’s really just isolating fascist narrative and only partially based on truth but I don’t think I want to stretch this conversation now (I can write more about it later if you want though).

So no, respectfully, I refuse to accept that those people — mostly men and rich people, I am forced to point out — would be anything but disgusting, and that’s where I take issue with some behaviors within the HP fandom. Because we’re being influenced by almost two decades of fan fiction and the current political climate, it’s very often that I find people who are sincerely incapable of dissociating fandom to canon.

Hence, the actually infuriating villainization of Albus Dumbledore.

Now, that’s a topic that makes me impatient AF. Not only because it is based on a strong fetishization of who Dumbledore really was, and what he could and couldn’t do, but also because it is a clear example of most people’s inability to differentiate between what they’re reading for fun and what they are internalizing from that media.

Let’s begin with that: Dumbledore is not some evil mastermind, and he is not equivalent to Voldemort. He is a flawed character, that’s true, but he is not a villain. And to think so is to play into the narrative that, because the “good side” fails, or makes wrong decisions, or even actively makes bad decisions, or immoral decisions in times of war, that is somehow equivalent to the “bad side”.

It is not.

That narrative is the same narrative that allows Israel to build an equivalence between Hamas’ violent acts and their own when in truth, as reproachable as some Hamas’ decisions may be according to various perspectives, their violence is a reaction to heavy and even more violent oppression.

What I mean is, even if Dumbledore failed in some of his decision-making in the Harry Potter books, even if we may believe we could do better, Dumbledore is a true morally gray character. But first, to make the point I want to make, we have to understand him:

For this, I will first separate his two identities as they appear throughout Harry Potter: as the story unfolds, it becomes clear that Dumbledore plays a role as a leader and role model, but he is also a person with flaws and mistakes like anyone else. These are the two main “faces” of Albus Dumbledore for this defense post, so now let's analyze them more closely:

The first "face" we see of Dumbledore is that of the leader, and this is primarily because of Harry who, at eleven years old, sees Dumbledore as the kind of man he would like to emulate. This also happens with many other wizards throughout the story: it's clear to anyone that most of the people within Harry’s personal circle like and admire Dumbledore, while those who despise him are often the “bad” characters (Lucius Malfoy is probably one of the earliest examples of this).

Although that doesn’t mean they are somehow starstruck by the headmaster: Sirius, Snape, the Weasley parents, Moody, even James and Lily, they all question Dumbledore and his decision making at some point in the books. They end up following through more times than not, that’s true, but trust in someone is different than blind-faith. Those characters accept Dumbledore’s leadership because they trust him, not because they think he’s some type of a god.

However, we see things through Harry’s point of view, and Harry is a child who has no parents, no model figures, no one who really supports that role to him until his eleventh year. It's easy, then, to see how the leader face Dumbledore presents is one of someone the characters (and readers) can trust not to fail, and even easier to view him as someone with great power. This is the fandom’s biggest mistake in viewing him.

Shall we now remember a bit of Dumbledore’s history and delve into his personal side?

As a young man, he met Grindelwald and, according to J.K. Rowling, fell in love with him, as well as with his goal of seeking the Deathly Hallows and becoming the most powerful wizards of all time.

In the last Harry Potter book, in the King's Cross chapter, Dumbledore himself confesses to Harry how the desire for power blinded him to what was truly important, how power was his greatest weakness, and therefore what made him unworthy of it. This is why Dumbledore remained as the headmaster of Hogwarts when he could have so easily become more important in the wizarding community (besides, of course, his love for the students): to keep himself away from power.

Here's the quote (It might be a bit different in the original, considering I’m translating it from Portuguese):

“‘I was gifted, I was brilliant. I wanted to escape. I wanted to shine. I wanted glory... Invincible Masters of Death, Grindelwald and Dumbledore!... The years passed. There were rumors about him. They said he had obtained a wand of immense power. Meanwhile, I was offered the position of Minister for Magic, not once, but several times. Naturally, I refused. I learned that I could not be trusted with power.’

‘But you'd have been better than Fudge or Scrimgeour!’ said Harry.

‘Would I?’ asked Dumbledore heavily. ‘I am not so sure. I proved as a very young man that power was my weakness and my temptation. It is a curious thing, Harry, but perhaps those best suited to power are those who have never sought it. Those who, like you, have leadership thrust upon them, and take up the mantle because they must, and find to their own surprise that they wear it well.’”

This is what the fandom most fails to understand: the admiration of wizards for Dumbledore makes him influential, but not powerful, and this becomes especially clear during the end of The Goblet of Fire and throughout The Order of the Phoenix.

One of the first signs of this in the fourth book is when Fudge refuses to believe Dumbledore about Voldemort’s return: let's remember that, until that point, Fudge sought Dumbledore’s advice for his decisions as Minister of Magic precisely because the headmaster had the respect of much of the wizarding population. But when Fudge, who has the actual power, puts his foot down and says that Dumbledore no longer has influence over the Ministry’s choices, Dumbledore lacks the power to deny it, to stop it.

If he did, it would be safe to say that he would have used his power over the Ministry to convince everyone that Voldemort had indeed returned, and more, to mobilize the Ministry against Voldemort. But none of this happens simply because Dumbledore does not have that power.

Thus, it becomes easier to differentiate power from influence.

It’s Fudge’s power that causes the Ministry as an organization and the wizarding media to turn against the Headmaster, and Dumbledore doesn’t have the power to stop it, but he has enough influence to still be heard by part of the wizarding population. It’s Fudge’s power that leads to Harry’s expulsion from Hogwarts at the beginning of Order of the Phoenix, but it’s Dumbledore’s influence that convinces the Ministry to agree to a trial, and it’s his influence that moves the people present to listen to his defense of Harry during that trial. If Dumbledore had power over these events, Harry wouldn’t even have had a trial — something the Headmaster categorically calls an absurdity.

Therefore, Dumbledore doesn’t have power; he has influence, and there’s a difference between what he can actually do and what the fandom seems to believe he can do. Dumbledore has no power over the Ministry; he can’t boss anyone around except, perhaps, the Hogwarts staff and the Order of the Phoenix, a group whose members agreed to make him leader.

What he really has are people willing to listen to his advice and thoughts, as well as inclined to follow him, but that doesn’t mean they’ll necessarily do everything Dumbledore says (Sirius, anyone?).

It’s important to separate these two concepts for this analysis to continue because it will make Dumbledore’s actions make much more sense in this discussion. That said, let’s now begin to analyze “The Life and Lies of Albus Dumbledore”:

The main criticisms I see regarding Dumbledore revolve around Harry’s life and the decisions the Headmaster made concerning him.

Before I begin, however, I want to point out that, despite Dumbledore’s flaws, he is still a leader (just like Harry), and as a leader, he bears responsibility for the lives of the people he has chosen to protect (just like Harry). It’s important to keep this in mind so that I can highlight a few things later.

So, let’s start with when the prophecy is heard and Voldemort begins hunting Harry instead of Neville. It’s important to emphasize here that, once a prophecy is made in the Harry Potter universe and the people the prophecy is about start acting according it, it’s going to happen; there’s no way around it, or at least that’s what we’re told as canon. That’s why, as soon as the prophecy is made and Voldemort actively choses to hunt them down, everyone knows that Harry (or Neville) will be the one to face Voldemort, and one of them will die — hopefully Voldemort.

Although he’s the one to whom the prophecy was made, Dumbledore has no control over it: there’s no way to avoid the fact that Harry (or Neville) would face Voldemort at some point in their lives once Snape overhears it and tells Voldemort. All he — and everyone else — can do is give the Chosen One the tools and knowledge necessary to face Voldemort with the best possible chance of winning — which he does later on by becoming Harry’s primary mentor.

Then the Potters are “chosen” and go into hiding in Godric’s Hollow, making Peter the Secret Keeper. Some more information on this choice: Dumbledore offered to be the Secret Keeper, but James and Lily refused and preferred to choose Sirius. However, they switched to Peter without telling anyone, not even Dumbledore. This is another thing I see the fandom complaining about a lot, but it’s explicitly canon that no one besides Sirius, James, Lily, and Peter knew about the switch.

This wasn’t because they didn’t trust Dumbledore, but because Albus was in the middle of the storm as one of Voldemort’s biggest targets. The Potters didn’t reject Dumbledore as their Secret Keeper because they didn’t trust him (they wouldn’t even be in the Order if that were the case, don’t you think?), but because they were thinking primarily of Harry’s safety, and placing their family’s safety in the hands of the second biggest target of Voldemort in that war simply doesn’t seem like a wise move.

So, there’s no reason, even up to the third book, for Dumbledore to suspect that Sirius is innocent and try to intervene to get him some kind of trial or chance to explain himself. There’s no indication that Dumbledore had contact with Sirius before he was sent to Azkaban, so how could the Headmaster be blamed for that?

Again, it’s important to emphasize that Dumbledore has influence.

Even if he wanted Sirius to have a trial, there’s no evidence that he could make it happen, since everything pointed to Sirius as the culprit — remembering that there’s a big difference between a trial for underage magic and the murder of thirteen Muggles, plus the whole Secret Keeper and high-profile situation. In fact, it’s also good to remember that as soon as Dumbledore learns the truth, he does everything in his power — even sending Harry and Hermione back in time — to save Sirius from being kissed by the Dementors.

But going back a bit, a week after Peter becomes the Secret Keeper, he reveals the Potters’ location to Voldemort, and on Halloween night in 1981, Voldemort goes to Godric’s Hollow and kills James, then Lily, then tries to kill Harry but fails.

This event needs to be broken down into two parts. The first is about Lily’s protection: when she chooses to die even though Voldemort gave her a chance to live, Lily protects Harry, and that’s the reason he survives that encounter with the Dark Lord, who also “dies.”

Since the fourth book, there’s a very specific characteristic of this protection that’s seen many times but never explicitly stated, which is the fact that Lily’s protection has a blood-related nature. In other words, Lily’s protection is especially tied to blood, which is why Voldemort chose Harry’s blood to resurrect himself: because in that way, he also “has” Lily’s blood and, consequently, her protection, which frees him to harm Harry in a way he couldn’t before.

And this is the point I want to reach: Dumbledore chooses the Dursleys to raise Harry not because he wants him to suffer, but because Petunia is the only one who carries Lily’s blood and, therefore, the only one who can ensure that Lily’s protection — the thing for which her sister died — continues to work. The blood Petunia shares with Lily even prevents Voldemort, even after the resurrection ritual, because her blood makes Lily’s protection even stronger.

And it’s good to remember that this measure ends up saving Harry in The Philosopher’s Stone — Quirrell and Voldemort couldn’t touch him because of Lily’s protection, guaranteed by his living in the same house as Petunia — and keeps him safe in the Dursleys’ house for sixteen years, until Harry turns seventeen and the protection finally stops working, even though he still lived with Petunia.

Once again, people overestimate Dumbledore’s ability to act: he had no control over the nature of Lily’s protection; he acted to keep Harry as safe as possible within what he could actually control.

Unfortunately, the choices presented in that situation were either to leave him protected from Voldemort’s assassination attempts or spare him the suffering of growing up with the Dursleys.

Neither choice was ideal, but this is where Dumbledore’s leadership character comes in: Harry’s responsibility to face Voldemort was no longer a choice, even though he was only a year old, because of the prophecy. So, it makes much more sense for him to protect Harry from the greater threat (Voldemort) while ensuring that Harry would have more time to develop and grow before having to face him again.

Dumbledore didn’t make the choice to give Harry to the Dursleys joyfully, wanting him to suffer, but thinking about giving him more time and more opportunities to be a child than he would have had if Lily’s protection weren’t ensured. Obviously, this doesn’t work out very well because the Dursleys are especially cruel to Harry in a way that Dumbledore hadn’t really foreseen, something he himself admits in The Half-Blood Prince:

“‘[...] Harry, whom Lord Voldemort has already tried to kill on several occasions, is in much more danger than on the day I left him on your doorstep, fifteen years ago, with a letter explaining that his parents had been murdered and expressing the hope that you would care for him as a son.’

Dumbledore paused, and although his voice remained light and calm, and did not betray his anger, Harry felt a certain coldness emanating from him. He also noticed that the Dursleys huddled together almost imperceptibly.

‘You did not do as I asked. You have never treated Harry as a son. In your care, he has only known neglect and often cruelty...’”

But it’s important to note that Dumbledore didn’t have good options regarding Harry’s custody; he didn’t have the power to change how Lily’s protection worked; he was working with what he had, which wasn’t much.

The second part of this event focuses more on Voldemort and Harry and is probably the most controversial regarding Dumbledore: the creation of the Horcrux inside Harry and how this is somehow seen as Dumbledore’s fault — hence the famous phrase about being “raised like a pig for slaughter,” but... let’s be honest? What, exactly, could Dumbledore have done against the fact that Harry became a Horcrux?

Once again, here’s the exaggerated view of Dumbledore’s power that the fandom seems to have: he had no control over what happened to the Potters in Godric’s Hollow on Halloween night in 1981. He had no power over Lily’s protection or the Horcrux in Harry. He has no power over Lily’s protection, nor over the Horcrux in Harry. The only thing he has the power to do is to act in a way that ensures his plan guarantees Voldemort’s ultimate defeat and thus saves the entire wizarding world.

I hate it when people say Dumbledore “raised Harry like a pig for slaughter” simply because he knew that Harry would have to die for the Horcrux to be destroyed, as if he had any other option in the matter. Harry’s fate was sealed as soon as Lily’s protection saved him and a part of Voldemort’s soul entered him; Dumbledore bears no responsibility for what happened that night.

So what Dumbledore can do regarding Harry having to die is exactly… nothing. He literally has no power to change this fact, no matter how much he wants to — and he does, because he loves Harry, as he himself says in Order of the Phoenix. But Dumbledore is still a leader, and he still needs to think about the best plan of action to ensure that people continue to have hope and that they can truly see that hope — of being free from Voldemort and his reign of terror — come true. And if that meant Harry had to die to destroy the Horcrux, then that was it. Period.

But it’s also important to point out that Dumbledore didn’t force Harry into anything: by the time Harry receives the information that he needs to die to ensure the salvation of everyone and Voldemort’s mortality, all the people who know this — Dumbledore and Snape, in this case — are dead and unable to do anything if Harry decided to simply run away and leave everyone to fend for themselves because he didn’t want to die.

But, as I pointed out before, Harry is a leader. And he fully accepts the responsibility of this role the moment he decides to face death: he goes to Voldemort willing to die by his own choice, wanting to save those who matter to him, those who trust him to end Voldemort. Not because Dumbledore ordered him, but because he — Harry — is a leader, and a leader sacrifices himself for his cause when necessary.

Saying that Dumbledore was the “cause” of Harry’s death, besides being wrong, also takes away from the greatness of Harry’s choice in that situation. Harry is the protagonist of his own story, and he is always making decisions based on his own mind and beliefs (going after the Philosopher’s Stone, entering the Chamber of Secrets, sparing Pettigrew, going after Sirius in the Department of Mysteries, pursuing the Horcruxes, etc.), so it’s completely unfair for people to place the responsibility for his choice to die on Dumbledore’s shoulders just because the Headmaster gave him the information that Harry was a Horcrux. Harry always acted according to his own mind based on the information he had been given — why would it be any different with the Horcrux inside him?

It simply wouldn’t be. Dumbledore gave the information, but it was Harry who decided what to do with it.

Furthermore, it’s worth noting that Dumbledore didn’t tell Harry about having to die to destroy the Horcrux inside him earlier because (a) Harry was a child, and (b) Dumbledore didn’t want to take away Harry’s hope. Additionally, after the fourth book, there was still the possibility that Harry could survive because, by performing the resurrection ritual, Voldemort intertwined his life with Harry’s, thus giving Harry a chance not to die when allowing the Horcrux to be destroyed. So why would Dumbledore tell a teenager that he would have to die at some point in the future… if there was a chance Harry might come back? It seems (to me, at least) like an unnecessary cruelty to place that burden on someone for so long.

So the biggest issue I see with the fandom in relation to Dumbledore is the belief that he had power over things that were completely beyond his reach. Dumbledore was a leader doing the best he could with what he had, within the limitations presented to him and his own experience.

Moreover, it’s admirable that Dumbledore had such a dark and flawed past and acknowledged each of his mistakes, always acting to ensure that he wouldn’t repeat them. It was the events of his adolescence that led him to always remember to value what truly mattered: love and people. He grew through his own pain, through the consequences of his own mistakes; he never forgot or repressed what happened to Ariana — which would certainly have been much easier — but instead, he used that painful event to become a better person.

That’s a morally gray character, that’s someone who had been stuck between a rock and a hard place and did what he thought was best, that’s a character who did the best he could with what he was given. And I really don’t like how fascist-like characters are more often than not considered more complex because of trauma than characters like Dumbledore.

But I guess that’s a bit because we can actually empathize with them better by being convinced that they didn’t have a choice, or that they were somehow forced into those choices even if they really didn’t want to and that might be the case, but to be honest, after seeing what fascist narratives do to marginalized people, I can’t say I care much about it. Anyway, be my guest to comment on my analysis but please be kind, I won’t engage in rage baits nor Zionists, Free Palestine loves <3

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lady-raziel · 4 months ago

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I can’t believe I’m choosing to dive into Harry Potter analysis right now but here we go

Yes I’m aware that based on the actual written text Voldemort is an evil fascist snake man. But I think the point of literary analysis is to differentiate between “what is the STORY’S explanation for this thing” and “what might be the subconscious reason the AUTHOR wrote this set of things in this certain way.”

If you wanted to depict a character as unquestionably evil and utterly irredeemable, a person representative of all that’s wrong in the world and the things ripping society apart, making them a racist megalomaniac who wants to commit genocide is a pretty simple way to do that. I think that is the PROBLEM with Voldemort and just saying “well he’s evil so we shouldn’t think about how JKR’s prejudices might have affected his character.” He IS depicted as totally evil—which is why it’s a problem that ALLEGORICALLY his story shares fantasied elements of how terfs and transphobes see transgender people.

Transphobes DO see trans people as something wrong with society and DO view them as dangerous radicals who are hurting women and children. I think the interesting key point of the thought experiment in the original post was that “if JKR had chosen to make Voldemort transgender, how much of what we know of the character would actually change?” Because that’s the point— JKR would still depict Voldemort as an evil fascist. And it’s problematic that a character that could be read as trans-coded is also made so overwhelmingly evil.

There are more elements of this interpretation here than just the name issue (more on that in a second.) If you do a deep look at Tom Riddle’s backstory there’s much more— the young age he made his first horcrux, out of a desire to defy the “natural order” of things (to cheat death) and starting him down a path of irreversible physical change (which can be read through the lens of anti-gender affirming care for youth/allowing youth to transition); there’s the heavy emphasis on manipulation present in young Tom Riddle’s character in reality and in the horcrux-diary form where he corrupts people around him and gets them to do bad things too, particularly with the case of vulnerable 11 year old Ginny Weasley in Chamber of Secrets where he literally takes over her mind and attempts to steal her soul (transphobes fear of trans people corrupting children); there’s the element, again referring to physical change, that Tom Riddle is said to be very handsome and physically attractive but becomes hideous due to corrupting his soul (transphobes saying transitioning makes someone ugly etc.).

To go back to Dumbledore calling Voldemort by “Tom” (…and yes I do actually know how titles work, thanks…) I think it would be a mistake to wholly accept the STORY’S explanation for this unquestionably. In the context of the story, reminding Voldemort that he’s a man and “not indulging his delusions of grandeur” is the reason given for why Dumbledore does this. But in the context of analysis, I think it would be important to point out that for a transphobe, the motivations for refusing to use a trans person’s chosen name and instead deadnaming them might be insanely similar— to remind them that they are (in the transphobe’s eyes) biologically a man or woman and not to indulge “delusions of grandeur” of being a different gender.

In the context of canon Harry Potter, Dumbledore IS deadnaming Voldemort and while it might not be for reasons related to gender, the REASONING behind doing this is very similar for what I’ve just mentioned and what I said in the original post (using a chosen name as a privilege/whether or not someone is worthy of respect as reason to treat them with dignity) and also the power dynamics of belittlement and patronization in play. There’s the grand story reason for Dumbledore’s behavior, and then there is the fact that in practice it’s still just a way of dismissing Voldemort and Dumbledore saying “you’ll never be anything but worthless orphan Tom Riddle and you can never change who you are.” Let’s be really honest— if the whole “fear of a name only increases fear of the thing itself” thing was the real motivation for Dumbledore doing this thing, in the context of the story or otherwise, then Lord Voldemort, the big scary grandiose name Tom Riddle chose, SHOULD be the name Dumbledore is using BECAUSE people are afraid to say it. If you can’t engage with an adversary and make people not afraid of them when they are at their strongest, what good is using “Tom” going to do when most people, including the Death Eaters, don’t know who that is? Characterizing your enemy as weaker and more pathetic doesn’t work as a tactic if you say you are doing it to reduce fear of them at their most powerful, and more importantly, it doesn’t hold water as an argument if you are only using the deadname tactic to the person’s face and don’t use it elsewhere (because again there are very few people who know who Tom Riddle is).

…whew. Okay. I think I’m done. But yeah I think it’s important for literary analysis to ask questions beyond what the story itself says is the explanation for certain things and also to ask questions about what real-world traits are coded into “good” and “bad” characters in any story and why those traits were associated with those moral alignments.

hate to put anything about JK Rowling on your dash but I saw this post and immediately thought about how much of Rowling’s future ideology was foreshadowed in Harry Potter looking back and how much the really shitty things both the “good” and “bad” characters do are all totally reflections of herself…

Like I was specifically thinking about how much Dumbledore’s insistence on calling Voldemort by his birth name bothered me more and more growing up…and now it’s like oh my god duh it was because Dumbledore was literally deadnaming him because using a person’s chosen name (and by extension, pronouns!!) is something that Rowling thinks should be a privilege you receive if someone respects you that can be instantly taken away if you are “bad” and not worthy of respect

Dumbledore refusing to call Voldemort by his chosen name and calling him “Tom” instead (and keep in mind how Voldemort willingly changed his body to a form he was more comfortable with) was literally just thinly-veiled transphobia wasn’t it and the only reason Voldemort isn’t explicitly trans is because Rowling wrote these books in the early 2000s and Voldemort probably IS a trans woman but the whole damn time she’s being misgendered by an unreliable narrator

#tw transphobes #tw terfs #harry potter #jk rowling #additional point—when an author is bigoted all the characters are victims of that #but like ESPECIALLY the villains because they are the ones that even a bigot chose to make evil #‘but in the book it says—‘ it’s 2024 there is no strict text reading of HP that hasn’t been done before and also free your mind #free your mind from textual canon okay it’s the only way to do literary analysis

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silly-salty-utdr-rants · 4 months ago

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an unnecessarily in depth analysis of my take on underfell papyrus

before we begin: let it be known that none of this is properly confirmed or canon, this is all based on the version of underfell that almost solely exists in my brain. also the quality of grammar, spelling, and translation of brainrot to coherent essay is not guaranteed. also uf!papyrus belongs to underfella

to start lets look at the very basics, what would it take to turn papyrus, the only person to believe even the worst of the worst can improve, the causation (however indirectly) of the true pacifist route, the only monster that will never kill frisk, the sole creature in the entire world of undertale to be dubbed the sadistic fuckface flower's favourite, that the world is kill or be killed? allow me to spin you the tale of how i think it happened.

maybe once upon a time when uf!papyrus was just a kid, he wanted to be a hero. he wanted to be a pacifist in a kill or be killed world. maybe, even unintentionally, he constantly put both him and his older brother in danger. and one day, he tried to spare the wrong people, so both he and his brother were scarred in the process causing a crack over the eye for papyrus and a lost tooth for sans. and on this fateful day papyrus was faced with the choice, kill the attackers and survive or spare them and be killed. and maybe since he's still alive as an adult, he chose to kill, thereby gaining his first LV.

at least thats what i think happened. this traumatic event would cause a number of changes in his life, including, ditching his former obsession with "being a hero" in favor of being a villain, on several occasions being peer pressured to murder, and being more harsh to sans.

BUT. as i have said before and will say again, papyrus' soul is almost definitely bravery and integrity so his preference for pacifism isnt going down without a fight! maybe his whole "kidnapping and torture chamber" schtick is an excuse to not have to kill someone while not being seen as weak. maybe he lies about how many people he's killed or how much LV he has when in reality both numbers are shockingly low. maybe he wants to be captain of the guard so he can delegate the killing to others. maybe he hates asgore because its because of him that their world is like this. maybe he never kills the human. one thing i've never understood is whether or not he kills or spares the human or if he does the whole "OOP YOU'RE AT ONE HP! TIME TO GO TO THE CAPTURE ZONE!" thing. i like to think that he does. hell ive already done a whole damn drawing on what i think it would look like.

⬇️

so yeah. he spares frisk. and maybe adopts them

one last aspect of this guy that intrigues me before i go! what is underfell papyrus' dynamic with flowey? maybe he respects flowey a ton. maybe papyrus is envious of flowey's courage to run away from fights and defuse them instead of hurting the opponent. maybe they're the only one that the other truly opens up to.

but these are only my thoughts on the dude because frankly, there arent enough character analysis about uf!paps. feel free to add your own! or not! i dont care!

#undertale #papyrus #papyrus undertale #the great papyrus #papyrus the skeleton #underfell papyrus #underfell #character analysis #essay #in this essay i will #if you cant tell i think about this very often

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sideprince · 1 year ago

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A movie question I wanted to throw your way: what do you think about the decision to use a decent amount of physical acting on Rickman’s part for comic effect? I’m thinking his snatch of thin air in Philosopher's Stone, his creeping along the table towards Ron and Harry in Chamber, his dramatic point in that same scene, his walk up to the stage for Dueling Club, his whacking students in Goblet and Order, etc.

On one hand, I feel like this does match the tone of the books; he canonically lurks and prowls and points and snatches at the air, and his menace is often undercut by a physical description that’s meant to be some level of comedic. On the other hand, we don't see Snape nearly as much in the movies as we do in the books, so this aspect of his character seems somewhat overinflated by the movies?

TLDR I don’t think these decisions in the movie were completely out of left field, but it also feels off for some reason. Idk I don’t know how exactly to verbalize my feelings on the matter and wanted to hear your thoughts!

It will probably come as no surprise that I feel like any answer to this question is inseparable from the absolute hatchet jobs that are Steve Kloves' screenplays for the HP franchise. This reply is going to end up inevitably long (you ask me about my favorite subject, you suffer the consequences), but all of it is ultimately framed by the problem of having to make the best of a badly written script. (**edit: This post is way too long. Run away. Don't look back.)

The writing doesn't support the story

The first thing that jumps out to me is that there's a separation between where and how these comedic moments are used, up until the end of GoF and after. They're more a part of the story only until Harry's story arc reaches the point of Cedric's death, when he first witnesses death in the way that allows him to see thestrals after. GoF is when the story takes its first dark turn, and up until then the tone and story is much more in line with children's literature, so it makes more sense that Snape is portrayed in a bit of a playful way. After GoF - even though the films reveal it as an aside and much later than the original story does - Snape resumes his role as spy and becomes more integral to the story as a key character and is thus no longer just a foil in a children's story. I think what doesn't work about it is the inconsistency. The books have comedic moments with Snape too, which are cartoonish, up until the end of DH - I feel those are also out of place, but at least their existence gives a basis to what's done in the films.

Nevertheless, one of the biggest problems with the films is that they're badly edited. I'll leave that analysis for another post (you're welcome), but essentially these comedic moments feel inconsistent in part because there's often a disconnect between the performance a director has asked of his actors and the tone that's established in the editing room once pacing and a soundtrack are added. Any vision a director had for these films was muddled by the involvement of big studio producers and limitations. This is made more jarring by the way that Kloves has interjected light, funny moments in awkward ways throughout the scripts. He struggles overall to convey the world that Rowling has created, and if it weren't for the brilliant production design of Stuart Craig, Kloves' failures would be much more obvious (again, worthy of its own roast post).

Take the scene where Snape whacks Harry and Ron on the head in Gof: why are the students all studying in the Great Hall? Why are various years sitting together? Why is Snape overseeing them? It's a scene almost verbatim out of the book (Fred asks Angelina to the ball casually, he and George tell Ron and Harry to get dates "before all the good ones are gone," we find out Hermione already has a date), but like pretty much every scene that originally takes place in the Gryffindor common room, this one is moved to another location for no discernible reason. The main difference in the change is how restrictive it is: in the common room the children are free to be themselves, but in the Great Hall, under a strict teacher's nose, they have to be quiet and restrained. Another subject that would need its own post is the myriad of ways Kloves goes out of his way to rewrite settings and characters to avoid allowing them to express themselves or grow as characters, and how hard he works to stifle and limit them in ways that are convoluted and work against the story, as if he himself couldn't deal with any kind of emotional vulnerability (in a way, his scripts are a desperate cry for help). This directly contributes to why so many of Snape's comedic moments feel off.

The changes in the scene in GoF don't even make sense from a production perspective, as they required more actors, more lighting, and more setups. Instead of using the cozy setting of the common room to establish camaraderie between the students, Kloves replaced that energy and lightheartedness with Snape in a way that's uncharacteristic. The scene, as he wrote it, is already light and has humor, but Kloves doesn't trust it - he feels the need to exaggerate it and the casualties, as always, are the characters and their portrayal. It's as though he's following a formula and saying, "this page number/scene number must provide relief from the tension of the story" and then doesn't consider how following that directive fits into the rhythm of the narrative. It's closer to being an isolated scene akin to a comedy sketch than to a scene that's part of an act that's part of a film. It's worth noting that, in GoF, Kloves interjects this scene as if he's forcing this moment of comic relief into a story that didn't require it and then relies on playing off of Snape's usual seriousness as its crux. In OOtP, when there's a callback to it as Snape smacks Ron with a book again, it's no longer the point of the scene, but an aside in a comical montage focused on Umbridge (OOtP was also the only film not written by Kloves, so this moment is more likely the result of Michael Goldenberg trying to maintain a consistency with Kloves' work). Overall, I think that feeling of something being off is, again, more rooted in the writing than the performance.

Rickman as an actor playing Snape

There's a lot of criticism in the Snapedom of how Alan Rickman portrays Snape, but not enough acknowledgment that none of the characters are portrayed well, and most of it comes down to Kloves' writing of them. Book!McGonagall insists that all students under 17 are evacuated before the Battle of Hogwarts, where Movie!McGonagall only cares that the Slytherin students are locked in the dungeon, everyone else can stay, what does she care if first years die? Book!Hermione is intelligent and empathetic while Movie!Hermione is a two dimensional maternalistic harpy whose main job is to be a mouthpiece for plot exposition. Book!Ron is funny and brave and fiercely loyal, while Movie!Ron throws Hermione under the bus, is cowardly, and is reduced to a flatly written sidekick. Book!Harry is complex and while I could list a million examples, I'll stick to this one: in PoA when he finds out Sirius betrayed his parents, he's enraged but has no reply when asked if he'd want to kill Sirius. Movie!Harry says with conviction, and without prompting, that he wants to find Sirius with the explicit purpose of killing him. Every single character takes a hit because of how Steve Kloves writes them, and Snape is, sadly, no exception.

While some film shoots allow for improvisation, a big budget production on a tight schedule with scenes that require a lot of prep work can't afford to make many changes. So, for example, while Ralph Fiennes was asked to improvise his scene as Voldemort at the end of DH2 when he re-enters Hogwarts victorious (and that's why the dialogue is redundant and that weird hug with Draco continues to plague us), it could be done because the wardrobe and set and cast were already in place and the time required had already been scheduled in. It wouldn't be possible, though, to add an additional scene - like Snape going feral in the hospital wing at the end of PoA - unless it was written into the script. Additional actors would be required, which would mean coordinating with their schedules and adding them to the budget, not to mention scheduling in additional days with the crew who may already have other work lined up. It would require either pushing every other shooting day back - which is near impossible - in order to use the hospital wing set while it's still up, or tacking on production days to the end of the shooting schedule and rebuilding the set on those days. This can be done for necessary pickups that round out existing scenes, but you can't really say, "hey I decided we need a scene here that didn't exist before" without causing huge problems. Because of how contracts work, any significant scene changes would have to be sent back to Kloves who would have to write alternate scenes and/or dialogue, and even then if you wanted to fix a specific character's arc - like Snape's - you would have to add in so much that it just wouldn't be feasible. Screenplay lengths have to fall within a certain number of pages, because each page is approximately a minute of screen time, so adding a few more to a finished script mid-production is very difficult. The actors have to make the best of what's on the page. Which brings us to Alan Rickman, his choices as an actor, and what informed both him and the character of Snape.

Alan Rickman was a RADA trained actor, so his approach to a character involved a lot of physical work as well as character analysis. As far as I know, he was the only actor to contact JK Rowling directly to ask about his character, because he wanted to make an informed decision about how to play him since Snape was so nuanced and gray. Unlike some of the other actors (like Michael "DIDYAPUTYANAMEINDAGOBLETOFFIYAH" Gambon) Rickman read the books - those that were available when he took on the role, and each as they came out afterwards - and used them to inform his understanding of his character beyond what Kloves wrote (presumably in crayon with all the e's backwards). In interviews and Q&A's it's clear Rickman was fond of the HP books and story, and had a thoughtful process taking on Snape's character. He did not see him as a villain, because, as he's said, he didn't approach characters with that kind of judgment. And while I'm sure the egregious amounts of cash Warner Brothers threw at the actors was inevitably a factor for all of them, several of the ones playing teachers or other adults have said that they took on their role because a child in their life insisted on it, despite them being unfamiliar with the books, whereas Rickman's process was to read Rowling's books in order to decide whether to take the role. Again, he was a RADA trained actor, and thus had a meticulous approach to his work that followed a thoughtful, considered process and a decision based on whether he felt he could embody a character in a way that did them justice/if they were interesting enough to him. By the time he started shooting PS, he also had experience directing a film and was working as a director in theatre as well as still acting, so he understood the process from the perspective of not just an actor, but also as someone behind the camera, someone working with actors both as a peer and director, and someone sitting in an editing room.

We know from his diaries that he became increasingly frustrated with how his own process and expectations clashed with that of the producers on Harry Potter. He wasn't interested in renewing his contract after the first few films (goodness knows how much money they offered him in the end - his wife has said that he never let anyone else pick up a tab in a restaurant and if they argued, he would just say "Harry Potter."). He writes about seeing the films at premieres and being frustrated with how little story and development there is (especially for Snape), which makes me think there are deleted scenes somewhere that haven't been released. At one point he writes about a premiere party where he had internally lost patience with the three Davids (Yates, Heyman, and Barron). It's obvious that there's a discord between the work he wanted to do with Snape's character and what choices the production made:

He describes how, during the filming of the Yule Ball scene in GoF, there was an attempt to get him to dance but he refused because he didn't think Snape would dance:

It was a rare moment of potential for improvisation because, again, the set and cast and timing were already accounted for, and in this case there wasn't even dialogue. The scene where he smacks the boys with the notebook - as far as I know - was scripted. So there's a difference there in how much freedom he had, as an actor, to say no to what he was asked to do. Even in the above diary entry it's clear that, given his way, he felt the character wouldn't even be present in that scene, but he had no choice. This tells me that when he had more freedom to make choices, he did so based on his understanding of Snape as a character and, given that he was an actor who was both very respected (and got away with more than most) and also someone who could get argumentative about his character choices, I think this is the most apt lens to examine his physical work with Snape through.

Knowing that he wasn't interested in continuing the role of Snape after the first couple of films and that he was often frustrated with the lack of characterization and story arc, his physicality in his first scene in CoS (when he reprimands Harry and Ron for flying the car) says a lot. (Caveat that one of the reasons he didn't want to renew his contract was that the shooting schedule restricted his schedule and he wanted work on other projects, but I can't help but wonder if that had been the case had HP provided a more satisfying process.) It's almost certain that he had read all the available books by the time the scene in CoS was filmed, including PoA where Snape becomes apoplectic with rage in a way that, to a child reader, is comical (and intended to be) and to someone analyzing Snape is clearly rooted in triggered trauma.

Alan Rickman knew from the outset that Snape's motivation was his love for Lily, so he would have understood the dynamic between his character and Sirius re: who Snape thought sold Lily out to Voldemort. He would also have understood that Snape's reaction in PoA was more about distress and anxiety, and that this was connected to the promise Snape had made to protect Harry for Lily's sake. This would have therefore informed his portrayal of Snape's anger at Harry in CoS, and it's reasonable to assume that Rickman was trying to walk the line between the way Rowling portrayed Snape in full unhinged rage in PoA, what this tells him about this character when angered, and the connection between the moments in PoA and CoS when it comes to Snape's anxiety over Harry's safety. Unlike the author of a book however, who has full control of how they tell a story, Rickman was an actor in a film - an inevitably collaborative medium which therefore made his portrayal reliant on the decisions of others as well.

Chris Columbus, the HP movies, and feral Snape

PS and CoS were directed by Chris Columbus, the guy who directed both Home Alone and Home Alone II and Mrs. Doubtfire. He was a successful director from the 90s tradition of children's movies whose sensibility was informed by the era's attitude towards children's media: kids wanting to see themselves in narratives, in ways that felt empowering and allowed them to process the confusion of a world run by adults in playful, quasi-cartoonish ways within a 3 act structure where the villains - mean adults - get their comeuppance because it feels fair. One thing that set Harry Potter apart was that the villain was not the mean adult; Snape, the mean adult, is a character kids can hate and project their own experiences onto, but Voldemort is a true villain who represents evil and is vanquished by the hero. Chris Columbus established a tone for the first two films that was no longer apt by PoA, not only because it didn't work for the story, but because that 90s era of children's movies had ended and the culture moved on to more complex narratives (and Columbus has focused more on producing than directing since, because his style doesn't work for audiences anymore).

What's ironic about the way Snape's scene at the start of CoS comes off is that, in the book, there's a great comedic moment that's left out:

This is cut from the film, and instead it's Filch waiting at the top of the marble stairs who catches Ron and Harry being late and delivers them to Snape (I don't know why, the scene in the book is much more dynamic and would have taken up about as much time on screen). Rickman, meanwhile, is using the information he's gotten on who Snape is from the books, and imbuing some of that feral Snape energy into his portrayal of a Snape who is genuinely angry:

(Thank you for making these gifs @smilingformoney , they are truly the gift that keeps on giving.)

The thing is, no matter how much of feral Snape Rickman brought to this, no matter how menacing his performance is, this moment still lives within the dynamics of a Chris Columbus children's film. It gets cut off by Dumbledore's entrance - meant to be a comeuppance for Snape, since Dumbledore (being the voice of wisdom and fairness in this world) prevents him from punishing Harry and Ron (you know what, at least in the books they got detention, but ok). Despite Rickman's performance, Columbus as a director has framed this scene in the same context as the one Kloves cut. The tension is brief, and the focus is on Snape being foiled, because it's what children want to see - a mean adult experiencing consequences. It's down to the editing and soundtrack, choices Columbus made in the editing room. In addition, we don't know how many different ways an actor tries a scene, only what ends up in the final cut of a film. The process of the work done on a set is often much richer and more diverse than what an audience sees in the finished film.

Tbh I think this is also why Snape's feral moments were cut from PoA: it's a darker film, but had to straddle the line between being for both children and tweens and not getting too playful, nor too intense. As much as I want to see feral Snape on screen, it's extremely difficult to make work in a narrative that is about Harry and his friends. It either skews too intense, making the audience uncomfortable because seeing an adult becoming unhinged and in pain is difficult and frightening for most young people, even adults, and would therefore take away from Harry's goals and narrative as well as his changing relationship to Sirius (all of which is already barely supported by Kloves' writing). Alternately, it could also skew too comical and over the top, which takes the audience out of the tension of the film's climactic moments.

If Snape's story had gotten more focus and screen time, an unhinged moment would be better justified because the audience would have been more invested in the character and their arc. PoA sidesteps pretty much all of the most compelling parts of the book, which is the realization that Harry is not only connected to Sirius personally, but that his dad, Sirius, Lupin, and Pettigrew created the Marauders Map, that they were animagi, that Harry's patronus takes the form of his father's stag, and that Snape was initimately connected to all of them as well. For me, reading the end of PoA was what cemented Snape as someone who would be crucial to the narrative and whose role would increase as the series went on. As a result of Kloves skimming over these essential plot twists, Snape is a minor character in the film, showing up mostly as a foil who tries to expose Lupin and then catches him and Black in the Shrieking Shack (this also sets his character up to be minimized in every film down the line, which has a worsening impact as Snape becomes increasingly integral to the plot).

One thing I find interesting is that Snape's comical physicality changes over the films. In PS and CoS he's menacing, a looming, larger than life figure the children fear and easily assume to be a full-fledged villain. By GoF there's a relationship embedded in how he interacts with Harry and his friends. He's no longer terrifying, just intimidating, more of an adult Harry challenges than someone he must defeat. The comedic effect now comes from a rapport within an established dynamic between characters. By HBP, the only comical moment is at Slughorn's party, and it's no longer Rickman who uses physicality - the action happens around him, and the comedic effect is in his lack of reaction to any of it. In other words, he's no longer the comic one, he's become the straight man in a (badly written) comedy sketch (with abysmal timing, what even).

Ultimately, as with most of the characters in the HP films, Snape is undermined by the writing. Rickman was stuck working within the confines he was given. No matter how well he may have understood the character, the limited screen time and character development were always going to stifle how Snape was portrayed on screen. I'm very much pro Let Snape Be Feral but I also don't fault Rickman in how little we saw of that.

How Feral is Snape?

If I'm honest, I feel like the Snapedom has taken the Let Snape Be Feral thing and has started forgetting that he wasn't all-feral-all-the-time. The point of Feral Snape is that it's a heightened state of tension in a character whose trauma is being triggered. Apoplectic Snape wouldn't have an impact at the end of PoA if that was his usual way of being. And, as you so brilliantly showed @said-snape-softly Snape's speech patterns are primarily quiet and controlled, his speech gets softer the more dangerous his mood, and it's only after he reassumes his role as a spy that the description of his speech becomes increasingly volatile (but is still controlled). Feral Snape's definitive aspect is the lack of control shown by a character who usually is so exceptionally capable of self restraint and compartmentalization. So again, while I would have loved to see Feral Snape on screen, I think it's also important to acknowledge that this is not the defining feature of his character and is more about what those moments mean to his arc. Their absence is primarily due to poor writing that didn't create space for them (including what leads up to them), and the direction that didn't carve out any kind of niche for them, not Rickman's choices as an actor.

In fact, Snape as a character is defined by descriptors of his voice more than any other character by far. I have my own theory about why this is, and it has to do with Alan Rickman being inextricably connected with how Snape is written. Chris Columbus said that Alan Rickman was always Snape as far as he was concerned, because when JK Rowling showed him a sketch of Snape she had made, it looked exactly like Rickman. I don't think this is accidental.

Alan Rickman was always intended to be Snape

First, what's important to remember is that before Harry Potter, Alan Rickman was best known in the 90s for playing both villains and sad romantic leads. His signature defining feature was his voice. I think it was Ang Lee who described the casting choice of Greg Wise and Alan Rickman in Sense and Sensibility as wanting Willoughby (Wise) to be dashing and Brandon (Rickman) to be sexy (if this was Emma Thompson and not Ang Lee, my apologies, I can't remember where I read this and can't find the source). This is how Rickman was perceived by audiences up until Harry Potter. And I know a lot of the Snapedom considers him to be sexy as Snape too, but the general audiences of the films don't, so please don't @ me, I'm just setting up a point here.

This is relevant because, as we find out in the end of the books, Rowling wrote Snape's motivations to be rooted in romantic love (I'm very nobly putting aside, for the sake of focusing on Rowling's intentions, my personal interpretation that Snape's feelings for Lily were platonic, please acknowledge how brave I am for this). She pulls a lot from gothic tropes into how he's written, and as much as she's talked about the character having been inspired by a chemistry teacher she disliked, and as much as she's talked about Snape being both morally grey and someone she personally dislikes, she also romanticized him. Between this and what Chris Columbus said about her sketch of him, it's hard for me to ignore that this character, conceived of in the 90s, wasn't written with Alan Rickman in mind from the beginning, especially since Rowling herself has said that she envisioned him in the role. Whether or not he lived up to Rowling's imagination is, frankly, his choice and Rowling's problem.

The story of how Harry Potter was written according to JK Rowling is that it started with the idea coming to her on a train ride in 1990. She completed the PS manuscript in 1995. While everything I'm about to say is absolute conjecture, I can't help but wonder at the connection between these films and the way Snape was written (spoilers ahead, no regrets, these films have been out for over a quarter of a century - forgive my reviews, I can't help myself):

1988: Die Hard comes out. Alan Rickman plays Hans Gruber, a villain who is a genius, composed, controlled, and soft-spoken. (Great film, a classic, the only valid Christmas movie.)

1990: Truly, Madly, Deeply. Rickman plays a man whose wife can't get over his tragic death, nor can his own ghost, who comes back to spend more time with her. No one else can see him, and they can't really share a life anymore. She eventually lets him go as she realizes that his spirit doesn't belong in the mortal world and her own life can't move on as long as she clings to it. (Beautiful film, will break your heart and put it through a shredder.)

1991: Robin Hood, Prince of Thieves. Rickman is the Sheriff of Nottingham, an unhinged, feral villain who wears all black complete with billowing cape. (Terrible film, disaster of a period piece, Rickman's performance is the only redeeming thing about it. Halfway through its press tour talk shows started booking Rickman instead of the lead, Kevin Costner, because Rickman stole every scene.)

1995: An Awfully Big Adventure. Rickman is an actor who comes back to his hometown to revive his role as Captain Hook in a local theatre production of Peter Pan. In the process he has an affair with a young ginger stagehand who reminds him of his lost love, a vivacious woman named Stella with bright red hair who, as far as he knows, birthed his child - a son - before she died. It turns out the girl he has an affair with is his daughter, which he realizes when he visits her home where she lives in the care of her aunt and uncle - whose name is Vernon - and connects the dots of who this girl's mother was. (He then rides his motorcycle out to the pier, screams "Stella" at the heavens like he's in a revival production of Streetcar Named Desire, trips and hits his head on the edge of the pier and falls into the water, drowning. I can't make this up. Mike Newell directed this. The same guy who directed GoF. As if following in the vein of the 90s movie obsession with incest as the controversial-trope-du-jour wasn't enough. I don't even need to review this, just sum it up.)

1995: Sense and Sensibility. Rickman plays Colonel Brandon, a forlorn, grieving man who lost his first love at a young age and spends most of the film pining for the only other woman he's ever had a romantic interest in. Wears all black, rides a black horse.

Given what a well-known actor Rickman was in the 90s - especially in England - and how connected his characters all seem to be to various aspects of Snape, it's hard not to see a connection. The entire premise of Truly, Madly, Deeply sounds like the inspiration for the Resurrection Stone in Deathly Hallows. The redheaded lost love whose child is left in the care of an Uncle Vernon in An Awfully Big Adventure is difficult to look past. All of these characters either exude menacingly soft-spoken Snape energy, feral Snape energy, or forlorn because of his lost love Snape energy. As a result, I feel like it's almost inevitable that Rickman inspired Snape, especially when you consider how known he was for his voice and how frequently Snape's voice is used to describe him. When Rowling said that she envisioned him in the role, it makes me wonder if she meant during the casting process for the first film, or well before it. I think his previous roles were a contributing factor in how the character was written in the books. After Tim Roth - who was originally cast in the role - had to back out due to scheduling conflicts, she got her way. Authors don't often get to choose who plays their characters, but in this case it worked out as the production thought Rickman was a good fit as well.

I'm done, I promise

So where does this leave things at the end of this horrendously long post? Rickman's choices of how he physicalized Snape - comedic or not - are only part of a larger whole. He was playing a character who was written based on his other roles, and limited by the shortcomings of how Steve Kloves translated that character from Rowling's books into his own screenplays. Whatever Rickman did on set was limited by that writing, by the directors he worked with, and by the choices made in the editing room.

I'm fascinated by the idea that Rickman was playing a character written with him in mind - but not really him, the him who embodied other characters whose echoes show up in Snape. It's difficult enough to contend with an actor playing a character in a screenplay you wrote with them in mind when you're directing your own script, because they'll never be what you imagined in your head. But for that process to get filtered through several directors, a team of producers, another writer who changes your work, and an editor, let alone throughout a decade of films - that's downright wild. The original intention gets lost and reinterpreted like a game of telephone, and I think that a lot of the consistencies between Movie!Snape and Book!Snape are down to Alan Rickman's nuanced and generous nature as an actor. If I'm honest, I'm not convinced that every Snape moment that comes off comical was meant to be so by Rickman. But again, film is such a collaborative medium that his intentions aren't the only ones that matter, ultimately, at least they aren't the only thing that ends up in the final cut.

My take, personally, is that I'm more interested in critical analysis than personal criticism. I respect that everyone has their own vision of a character and fandom is absolutely here for, among other things, having a place to share those thoughts and feelings. But a character is rarely going to appear on screen the same way you see them in your head, and that's not always going to be a fault, even if it's a disappointment to you. It's interesting to hear different people's perceptions, but there isn't that much to discuss there - you can't refute how someone feels, and you can't argue that their truth is what it is, to them. Whereas with critical analysis there's a lot more to talk about and examine, so it's where my own interest is much more invested.

#asks #long post #said-snape-softly #do I have regrets about the length? not one.#is anyone still reading? not one.

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