Beatrice Groves is a Research Lecturer and tutor at Trinity College, Oxford, where she teaches classes on early modern literature and drama, Shakespeare in particular. She is also a Potter Pundit of the first rank; her Literary Allusion in Harry Potter is the most exciting, edifying, and enlightening contribution to Potter studies that I’ve read in many, many years. Prof Groves speaks to Harry Potter fandom in addition to this book through a variety of fan sites, large and small; see her discussion of magical plants on TheLeakyCauldron, her Bathilda’s Notebook page on MuggleNet (my favorite there? Literary Allusion in Cormoran Strike), and the three ‘Harrowing of Hell’ Guests Posts here at HogwartsProfessor. She is a frequent guest on Kathryn McDaniel’s ‘Reading, Writing, Rowling’ podcasts and is as charming ‘in person’ on that medium as her remarkably accessible and profound writing suggests she would be.
Prof Groves has just finished another landmark series at her MuggleNet platform, ‘Bathilda’s Notebook,’ this one a three part discussion of Rowling’s debts and embedded allusions in Harry Potter and Crimes of Grindelwald to Shakespeare’s Midsummer Night’s Dream and Kipling’s Puck of Pook’s Hill, Stalky & Co., and ‘The Man Who Would Be King.’ All are chock full of her discoveries — who knew, just for example, that the Headless Hunt, Regulus Black, and the Deathly Hallows symbol are hat-tips to Kipling? If Literary Allusion in Harry Potter has a failing, it is that Dr Groves does not mention literary alchemy in her brilliant chapters on Shakespeare in that book; she more than compensates in these three weblog posts by sharing her thoughts on literary alchemy in Shakespeare, Kipling, and the Crimes of Grindelwald film released this week.
Here are links to these posts I know you will enjoy, either as appetizers for your experience of the new movie or as after dinner treats post viewing!
“The Crimes of Grindelwald,” Kipling, and the Origins of the Deathly Hallows Symbol
The Alchemical Symbolism of the Deathly Hallows in “The Crimes of Grindelwald”
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