“For the Straightforward Path Was Lost”: A Few Starting Notes on The Christmas Pig

To get discussion started on The Christmas Pig, I thought I would post some thoughts, aligned with a few of our keys to interpretation, that I was left with after my first read through. Or, rather, first listen through. The audiobook proved really quite wonderful, with excellent cast and sound design. On any of these points below, consequently, much more can be said. These points are also not in any particular order as they are something of a collection of first impressions. The discussion below will not be spoiler free.
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Elizabeth(s) the Phoenix

The centrality of Elizabethan imagery in Troubled Blood is hard to miss. The  Faerie Queene epigraphs and structuring, already well documented on this site, show the basis of the connection. That this work is meant to parallel Order of the Phoenix is also well documented. I want to suggest that Rowling has clarified much of the meaning of Order of the Phoenix using this imagery, which in turn continues and strengthens a long-running undercurrent in Rowling’s writing: a extensive set of references to 15th through 17th century English ecclesiastical, political, and philosophical history (earlier work directly touching this set of associations in Rowling’s work can be found in this 2009 post).

My core thought here is this: it is not just the one Elizabeth, Elizabeth I, who we are meant to consider. Instead, I think we are meant to focus on the societal and literary impact of four closely intertwined Elizabeths and their associations with the development of English Christianity and esotericism in its many forms. These four are Elizabeth of York, Elizabeth I, Elizabeth Stuart, and Princess Elisabeth of Bohemia.

I’ll grant that this is a fairly large claim, and I may be hunting Crumple Horned Snorkacks (if I am, please let me know), but I think there is this strong thread here worth tracing.
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Puns, Prophecy, and Pizza

On Puns, Considered in Shakespeare According to Hermetic Principles

“Ask for me tomorrow and you shall find me a grave man,” a line from Shakespeare’s Romeo and Juliet, is, in my opinion, the epitome of everything a good pun should be (and yes, there is such a thing as a good pun).  And in the spirit of good analysis and not-so-great humor, I will now explain precisely how this joke works and why.

The context is important here. The speaker, Mercutio, lies dying, having been mortally wounded by Tybalt. Mercutio is precisely the sort of character who takes very little seriously. Here, even as he is about to die, he makes a pun. Whatever he is, he is not “grave” in the sense of being serious. However, he is about to die and thus will find himself in a “grave”, namely the place where one buries dead bodies. That said, the only time he could ever be “grave” (sense 1) is if he is in a grave (sense 2). Thus the full sense of “you shall find me a grave man” is “you’ll take away my sense of humor over my dead body, which it presently will be”, which we may label “grave” (sense 3).

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Nabokov’s Pale Fire: Summary, Analysis, and Harry Potter Borrowings

Many previous posts have traced some of the influence of Vladimir Nabokov on the works of J.K. Rowling. In an attempt to supplement those posts, I will provide a summary of Nabokov’s Pale Fire, along with a brief interpretation. By tracing the plot elements of the book, I hope to demonstrate some of the common techniques of writing common to Nabokov and Rowling. I will conclude with a brief list of elements, whether of direct plot, symbol, or structure, that I see as borrowed by J.K. Rowling from Pale Fire.

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Is World War II Wizarding World Canon? Crimes of Grindelwald Means and Ends

Welcome Evan Willis to the faculty at HogwartsProfessor.com!

Crimes of Grindelwald, in its climactic scene, has Grindelwald presenting a prophecy of World War Two. This, I suggest, was one of the largest plot twists the movie provided, in that it leads us to consider Grindelwald’s motivations as good, but his means to achieve them as evil.

Is World War Two Wizarding World Canon?

From the Harry Potter books, films, and other canon materials, one can learn very little of muggle history. We have no guarantee that muggle history unfolded as we know it did, given that we are dealing with an alternate world in which wizards exist and have an effect, however much hidden, upon history. So, what do we know about what happened, within this alternate world? World War One clearly happened, as Theseus and Jacob both fought in it. I can find no evidence of the Russian Revolution in the text, leaving that an unknown.

However, as far as I can find, there is in the entire text only one reference to the existence of World War Two, in a brief comment at the opening of Goblet of Fire, in which Frank Bryce is described as having “come back from the war with a very stiff leg and a great dislike of crowds and loud noises…,” (Ch. 1). This is our only source that World War Two happened in this alternate world in which magic exists, and is a fairly vague reference at that. It could be possible, with minimal damage to existing text (less drastic than certain already existing plot elements), to have World War Two never occur in this alternate muggle history.

The lack of evidence does not prove a thing’s non-existence. However, one could argue that the Wizarding World could not have remained detached from the war, such that they would have seen the devastation caused by the war and known the ideologies from which it arose. Such a knowledge would, perhaps, have rendered far more difficult the rise of Voldemort, possessing a near-Nazi ideology. If however, the Second World War did not occur, the wizarding world would not have been as on guard against such ideologies, helping to explain Voldemort’s rise.

That said, I think all that this shows is that we, as audience, have been left seeing the Second World War as a merely possible, not historically guaranteed, event. We know as much about this version of the 1940s as Newt and Grindelwald themselves do.  However, World War Two not having happened would still be something of a plot twist, and so the following analysis is going to be relatively independent of whether or not it did.

Good Ends, Bad Means

What, then, does the new film give us? While we have certainly been previously led to see a parallel between the Grindelwald wizarding war and World War Two (cf. Dumbledore’s Chocolate Frog Card providing the 1945 date, Deathly Hallows symbol paralleling the swastika, etc.), I think that we have just been given the plot twist that the principles fought for on the two sides do not parallel the two sides of the muggle war.

With the war with Voldemort, the Death Eater’s goal was clearly one of wizard supremacy over the muggle population as an end in itself. At least publically, Grindelwald presents the argument that the muggle population is prophesied to begin another world war and that the only way to stop this is to provide muggles magical help, in the form of rulership by the wizarding population. Wizarding supremacy is for the muggles’ benefit, so goes Grindelwald’s argument (borrowed from Dumbledore’s letter to him in Deathly Hallows Ch. 18), in that being in the magical community places one in an enlightened elite who can solve the muggle’s problems.

Thus, wizarding supremacy is portrayed as a means to the “greater good” of progressive and enlightened policies (and thus, incidentally but not in itself, it appeals to those like Rosier who desire wizarding supremacy for its own sake). And Rowling goes out of her way to present about as clear an enlightened and progressive “greater good” as one could ask for: stopping World War Two from ever having happened. (This reminds one of the old moral dilemma that asks “If you could go back in time and kill Hitler as a baby, would you?” Part of the beauty of the contingency of the Second World War in this universe is that you don’t know what is going to be chosen.)

Dumbledore’s group is opposed to the tyrannical wielding of power to achieve those progressive ends. Thus, this film reveals the battle between Grindelwald and Dumbledore to be one over means, not ends. Both favor progressive policy (e.g. allowing muggles and wizards to intermarry), but Grindelwald wishes to accomplish this by the conquest of the muggles, Dumbledore will not use such means. It is precisely on account of the parallelism that we had been led to expect with the sides of World War Two (i.e. Grindelwald as wizard-Hitler) that this new formulation is such a remarkable plot twist.

This distinction is foreshadowed by prior elements of the plot. At the opposite end of the movie, we see Queenie’s willingness to use magical power to attempt to force Jacob to marry her counter to the regressive laws present under MACUSA. This alone, I think, is enough to demonstrate the natural agreement of her views with Grindelwald’s: progressive ends, tyrannical means. Newt here, in disenchanting Jacob, shows his support for enlightened ends, in that he truly desires their marriage, but denies the validity of the means Queenie attempted to use. 


Beyond this, there is the treatment of prophecy by both sides. Grindelwald, believing that the prophecy will be fulfilled unless stopped, is trying to use whatever means necessary to keep it from happening. It is entirely possible that he, like Voldemort, will be so eager to stop the prophecy from happening that he causes the prophecy to be fulfilled. Thus, I expect World War Two will happen, but largely because Grindelwald attempted to stop it. Part of the value of us not knowing whether the prophecy will be fulfilled is that we can side with Dumbledore and Newt, not willing to step beyond what is right even to stop a terrible prophecy, with the possibility that by thus refraining one might keep it from being fulfilled. This may be the origin of Dumbledore’s insistence that prophecy’s power is only over those who believe it to be true, who consequently wield power rather than relying upon love (Half-Blood Prince, Ch. 23).