Professional Documents
Culture Documents
Perspective,
Memory,
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Jane
Austin and Harry
Potter and Moral Authority: The Legacy
of Jane Austen in J. K. Rowlings Harry Potter
Karin E. Westman
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Karin E. Westman
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Perceptive Penetration
Like Austen, Rowling favors a narrative style which relies upon limited
omniscient point of view to restrict the readers experience of the story
to one characters view of the worldwhat Wayne Booth describes in
The Rhetoric of Fiction as Sympathy through Control of Inside Views in
his influential discussion of Distance in Emma.6 As readers, we only
gradually realize the degree to which our perspective on the wizarding
world is primarily shaped by Harrys perspective, just as Emmas limitations prevent our knowledge of Frank Churchill and Jane Fairfaxs
engagement in Austens novel. We are nearly always aligned with Harrys
perspective, receiving very little third-person description of setting or
character that is not first processed through Harry. Real world details
of the Muggle and wizarding worlds only enter his consciousness and
therefore the series narrative as he experiences them, and not before,
because, as Rowling remarked during a global Webcast from Royal Albert Hall in 2003, Harry is the eyes through which you see the world
(Harry Potter). While Hermione and Ron may have known about
other wizarding academies like Beauxbatons and Durmstrang since
Philosophers Stone, we didnt know that there were other schools in the
wizarding world until Harry learns of their existence at the Quidditch
World Cup in Goblet of Fire.
Rowling had been criticized, until Goblet, for creating a world disconnected from the realities of contemporary culture, but her choice of an
Austen-like narrative style helps us counter this charge. Like Austen,
Rowling introduces social, political, and economic realities as they affect her main characters life, focalizing them through his experience
of these external forces rather than through an omniscient narrative
voice.7 In Emma, our heroine takes note of the poor when they can serve
as a moral lesson for herself and her friend Harriet (79); in Harry Potter,
our hero becomes attuned to systemic wizarding prejudice when Draco
Malfoy calls Hermione You filthy little Mudblood (Chamber 86). Harry
sees and comprehends much more about his world as he grows older,
and so with each year (and volume) we know more. Rowlings limited
omniscient view, focalized through Harry, therefore also explains the
varying tones and emphases of each bookwhy Philosophers Stone seems
so filled with joy relative to later novels, why the Hogwarts girls are often
described as giggly (Azkaban 56) and silly in Azkaban and Goblet by a
confused preteen boy, why the relative simplicity of Philosophers Stone
(derided by some readers and reviewers) yields to the complexity and
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and even, like Emma, to blush for the errors he has committed. That
eighteenth-century mark of true feelingthe physical manifestation
of emotional disquietis the outward sign of these characters interior
experience.11 The appearance of the blush secures our sympathy for
Emma (124, 127, 341) and for Harry, as the heat rises in his face
(Phoenix 687) on several occasions across the series, especially in Goblet
and Phoenix. Such involuntary physical manifestations of emotion
signal that Emma and Harry possess the eighteenth-century quality
of sensibility, the capacity of human sympathy: as it registers the
interface between the public self and private reaction, sensibility serves
as a sort of moral platform from which to reveal the self and know
the other (Doody xiv). As Emma and Harry become more sensible of
themselves within the world, both are increasingly perceptive about the
motives and actions of their own characters as well as those of others.
If one of the valued qualities of character in Emma is indeed penetration (122, 173, 314), the ability to perceive (394) oneself or
another in a clearer light, then the limited omniscient point of view
deployed by both Austen and Rowling grants such powers to the reader.
Able to see into Emmas and Harrys characters for their motives and
unspoken responses, able to watch their own attempts to master the
skill of penetration, we in turn learn to be discerning observers of
human character. In both Austen and Rowling, penetration is thus
linked to sympathy for others, the recognition of anothers point of
view. Emmas shifting view of Jane Fairfax over the course of the novel
depends upon Emmas ability to imagine herself into Janes perspective
(343). Likewise, Harrys shifting view of Snape across Goblet and Phoenix,
thanks to the Pensieve, comprises a similar exchange of perspective.12
Further, to Harry and his readers alike, Harrys ability to imagine
Lunas point of view at the end of Phoenix (760) provides a welcome
relief from the blinkered, self-absorbed, shouting Harrythe CAPS
LOCK Harry, in fan parlanceof the previous 753 pages. Rowlings
limited omniscient point of view therefore encourages us to respect
and sympathize with another persons experience, even if we may never
completely understand or accept that other perspective.
A Stoic Is Born: The Self in Perspective through
Reflection and Collaborative Exchange
Penetrating sympathy serves as one step towards becoming a moral
agent in the world; stoicism and humility are further resources towards
that goal. While Emma demonstrates these two additional qualities with
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for Filchs cat, who roams the halls of Hogwarts assisting her masters
efforts to curtail student and poltergeist infringement on school rules
and regulations. Like Filchs cat, Mrs. Norriss character in Mansfield
Park is walking all day (69) and filled with a spirit of activity (42),
but the tenor of Mrs. Norriss insults to Fanny mark Aunt Norris as an
Aunt Marge of the Regency period, while the menace and power-hungry
gleam motivating her activities around the Bertram household suggest
that she could equally have inspired Phoenixs Dolores Umbridge. Aunt
Norriss view of education further connects these two villains. The faulty
education of the Bertram girls, Maria and Julia, under Mrs. Norriss
guidance (55) provides neither moral compass nor compassion, as Sir
Thomas realizes at the novels end when he throws this would-be educator out of Mansfield Park (448).16 The ignoble departure of Dolores
Umbridge at the end of Phoenix echoes the ousting of Mrs. Norris from
Mansfield Park, and it expunges, for the moment, an anti-intellectual
and impractical educational philosophy from the halls of Hogwarts.
Reflective, collaborative education, connected to everyday practice
and moral purpose, is valued in both Austens and Rowlings fictional
worlds for the development of the moral self.
Speak, Memory: The Private Mind in the Service of Public Education
Reflection, whether on ones own or in collaborative exchange, depends
upon memory, a faculty of the human mind which Austen and Rowling
particularly admire. One of the most powerful tools for Harrys moral
education in Rowlings series is the Pensieve, a wonderful object that
allows one to store memories for future retrieval or consideration, to
unburden ones mind and evaluate a past experience in isolation or
alongside other memories for comparative analysis. For a series which
is part Bildungsroman, Rowlings creation of the Pensieve foregrounds
the importance of memoryones own and othersfor intellectual,
social, and moral growth. Harrys moral development, it seems, depends
upon access to and reflection upon the past.
The magic of Rowlings series permits her characters to realize
the full advantages of memory for moral development, while raising
some ethical complications regarding its use. One of Fannys longest
unprompted speeches in Mansfield Park shows how the benefits of her
educational experience depend upon the power of human memory.
Speaking to an unreceptive Mary Crawford, Fanny marvels at the
individuals experience of, and in, time: How wonderful, how very
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Ministry wizards are quick to point their wands at Muggles and say
Obliviateat the scene of a crime (the murder of Peter Pettigrew),
at an international sporting event (the Quidditch World Cup), over a
chance encounter with a magical object (a regurgitating toilet, a nosebiting teacup), or to prevent an inconveniently timed phone call from
a Muggle President to the Muggle British Prime Minister. Whether first
responders or clean-up crew, wizards from several Ministry Departments
use memory modification more than any other spell when Muggles
are involved.
Implicit in such acts, of course, is wizards belief that they have
the right as well as the need to make Muggles forget. According to
Harrys school books, the right to remove Muggle memories stems from
centuries of wizard persecution at Muggle hands, and the wizarding
communitys subsequent need to protect itself in order to survive
hence, the creation of the International Statute of Wizarding Secrecy
of 1692 (Quidditch 16). However, in the four examples listed above,
the need to remove those memories differs, suggesting that right does
not always align with need. That final example from the opening to
Half-Blood Princehaving a Muggle President forget to call the British Prime Minister so the Prime Minister can confer instead with the
Minister of Magicmodifies memory in order to rearrange events for
wizard convenience. Ministry wizards thus perceive Muggle memory
as expendable and infinitely malleable, whether they are adjusting
the memory of a President or adjusting and re-adjusting with frantic
repetition the memories of Mr. Roberts, the campground manager at
the Quidditch World Cup, or other Muggle minds. In sum, Ministry
officials may use their power to modify memory to suit personal convenience as well as public policy. Their own integrity of self is more
valuable than a Muggles, an exercise of privilege that the series has
yet to explore fully.
While Rowlings series questions only obliquely this wizarding privilege to modify Muggle memory, the novels are quick to indict wizards
who perform such spells on each other, especially for personal gain
rather than public good. Gilderoy Lockhart, for instance, seeks fame
by acquiring the memories of those better at Defense Against the Dark
Arts, and then passing off their knowledge as his own; he receives his
comeuppance when his own spell backfires upon him, eradicating his
memory. Although he has endangered lives through his polished skills
at memory modification, Lockhart serves as a humorous illustration
of one who misuses such magicat least as seen through Harrys eyes
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others minds or of the self. Certain historical moments might call for
the use of memory modification spells, for Legilimency, for persuading others to produce memories for public consumption (or their
equivalent in our world), but imagination, and by extension art, offer
an ethical and secure way to turn the private mind inside outto have
memory speak, and to transform the self.
The role that memory and imagination play in moral education certainly links Rowling to Austen, drawing together the formal presentation
of their fictional worlds and the themes presented there. In Austens
novels, characters like Fanny who can recognize how wonderful, how
very wonderful the operations of time, and the changes of the human
mind and the faculty of memory (222) are the characters who
can be moral agents within the world (De Rose 227). For Austen
and for Rowling, knowledge of the pastones own memories and
others experiencescan create morally responsible individuals in
the present and the future. In presenting such views for their readers,
Austen and Rowling share the artistic goal of presenting a picture
of [their characters] mind (Manfield Park 412) in order to paint a
portrait of moral authority for the social world. While some critics of
the novels, like Philip Hensher, still claim them to be only plotAnd
then, and then, and thenRowlings narrative style reminds us that
character and point of view, as well as a well-crafted plot, are pleasures
of the series and part of its strengths. If we are to appreciate Rowlings
representation of the world through one characters eyes, her call for
sympathy, and her view of the moral self, then her narrative debt to
Austen shows us the way.
Notes
1
In interviews since 1997, Rowling has consistently named Austen as her favorite
author; Roddy Doyle is often listed second. See, for example, Blakeney; Magic, Mystery,
and Mayhem; J. K. Rowlings Bookshelf; Comic Relief Live Chat; and Renton.
2
While reviewers and scholars have noted Rowlings love for Austen, none to my knowledge has offered an extended analysis of Austens legacy in terms of form and theme.
3
Rowlings debt to Austen, then, reaches beyond her borrowing Mrs. Norriss name
from Mansfield Park for Filchs cat. Suman Gupta, in his text-to-world study of books 14,
might see this naming as just one of Rowlings many evasive allusions, as he calls them,
which merely contribute to the inconsistency and indiscriminateness of the allusive
strategy of the Harry Potter novels (9798), but I believe we can read Mrs. Norriss
appearance as part of a more meaningful whole.
4
There are certainly further thematic connections to explore between Austens novels and Rowlings seriesAustens critiques of capitalism and patriarchy, her critique
of authority when it abdicates responsibility and cedes power to the selfish, her use of
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the Gothic, to name a fewbut I will limit my discussion here to the development of
the moral self.
5
For a discussion of Rowlings series within the framework of Lawrence Kohlbergs
theories of moral development, see Whited and Grimes. The readings offered through
this lens echo several of the conclusions I draw, by comparison with Austen, about Harrys
moral development.
6
For a succinct overview of Austens narrative style, see Burrows; see also Hough; and
Flavin. In connecting Rowling and Austen through their narrative form, my argument
stands in contrast to Maria Nikolajevas claim that Rowling does not use any of the more
sophisticated narrative techniques for conveying psychological states and that the Harry
Potter novels are clearly action-oriented rather than character-oriented (134).
7
See, for example, Westman; and Chevalier. For discussions of Austens novels with
attention to the cultural and political world of her characters, see, for example, Johnson;
Stewart; Lew; Fraiman; and Roe.
8
Suman Gupta attempts to explain the changes between books through theories of
progression and elaboration (9496), without addressing this formal element of
Rowlings prose fiction.
9
Wayne Booth describes this narrative process in detail: The author herselfnot
necessarily the real Jane Austen but an implied author, represented in this book by
a reliable narratorheightens the effects by directing our intellectual, moral, and
emotional progress . . . reinforc[ing] both aspects of the double vision that operates
throughout the book: our inside view of Emmas worth and our objective view of her
great faults (256).
10
As Lodge says of our re-reading of Emma, citing Harvey, the ironic mode does not
totally dominate the second reading because our attention is so diversified by the thick
web of linguistic nuance that we do not concentrate singlemindedly on the ironic results
of the mystification. Re-reading is pleasurable, then, and also acquits Emma of failing
to see what, upon re-reading, we missed ourselves the first time through (ix).
11
As Roy Porter notes, in the eighteenth century, she who couldnt blush was a woman
without shame (qtd. in Gwilliams 148). Ruth Bernard Yeazell explains how the writers
of conduct books clearly valued the efficacy of shame and praised the blush precisely as
a sign of the young womans responsiveness to the judgmentsand feelingsof others
(71). For an extended discussion of the collective fascination with the sudden flow of
blood to [the] cheek (65), see Yeazells Modest Blushing in Fictions of Modesty.
12
Emmas view of Miss Bates undergoes a similar change, as does Harrys of Neville.
13
Along with other critics and reviewers such as Ximena Gallardo C. and C. Jason
Smith, Roni Natov notes Harry as a Cinderlad (315). Thomas Hoberg reads Fanny as
an artistic parody of the sweet Cinderella legend (138).
14
Both friendships are on a more equal footing than the one Emma initiates for her
amusement with Harriet in Austens later novel.
15
Fanny differs here from Emma, who cannot follow any course of steady reading
(Emma 32).
16
The effect of education afflicts Mary Crawford and her brother as well, so that
Mary speaks evil in playfulness (275), as she pursues wealth and social station. See Kelly
for an overview of Austens critique of contemporary educational precepts.
17
Slughorns decision to give Dumbledore a modified memory in order to save face
offers another example of selfish modification jeopardizing the public good (Prince 34748). Only Harrys appeals to Slughorns regard for Lily Potter and to the un-Slytherin
desire to be brave and noble bring the unmodified memory to light (459).
18
At issue here is the circulation of knowledge in relation to power: Voldemorts idea
of power depends upon the consolidation of power within one persona theory perhaps
at odds with his decision to fragment and disperse his soulwhile Dumbledore is willing
to share some of his knowledge and therefore his power with others.
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