What Evil May Be Worse Than Voldemort’s?

VOLDEMORT DOESN’T SEEM TO BE A VERY
complicated villain. He wants what he wants. He
doesn’t try to disguise his disregard for human life. Woe to the
person who gets in his way.
But no one can say Rowling has simple ideas
about evil. If you look closely, Voldemort turns out to be an
unusual villain for a story like this one. And there’s another kind
of evil in the story, perhaps more powerful and more dangerous than
Voldemort, which Rowling believes to be present in real life.
SOMETHING WICKED THIS WAY COMES
We have to start with a crucial difference
between evil in this story and others. In books like C. S. Lewis’s
The Chronicles of Narnia and J. R. R.
Tolkien’s The Lord of the Rings, evil is a
supernatural force. Its origin goes back to the creation of the
world, to battles between God and
the fallen angel Satan. Although Lewis dresses Satan in different
clothes, and Tolkien hides him, under another name, in the ancient
mythology of Middle-earth, the supernatural quality of evil is
apparent all through their books.
“I wasn’t going to pretend that an evil presence is
a cardboard cutout and nobody gets hurt,” Rowling once said. “If
you’re writing about evil you genuinely have a responsibility to
show what that means. . . . I was not going to tell a lie.”
In Tolkien’s The Lord of the
Rings, the Dark Lord, Sauron, seems much like Satan. Both tempt
humans to ignore God’s laws. But Sauron is actually an underling of
another Satanic character, Melkor, who is never mentioned in the
trilogy. Melkor is mentioned in The
Silmarillion, which reveals the legends behind
Middle-earth.
If there’s supernatural evil in the background
of Harry’s world, Rowling doesn’t mention it. Given the magic in
the series, this omission is especially unusual. In most
traditions, the power of magic comes from summoning supernatural
spirits, including Satan or figures like him. In the Harry Potter
books, no one summons the evil dead.
For Rowling, evil has a human face. Voldemort’s
twisted mind is explained, at least in part, as a result of his
childhood circumstances.
Even before being born, Voldemort had the odds
against him. His mother, Merope, had suffered her own abuse as a
child, then used a love potion to trick Voldemort’s father into a
loveless marriage. “The enchantment under which Tom Riddle fathered
Voldemort is important because it shows coercion,” Rowling
explained to an interviewer when the series was complete. “There
can’t be many more prejudicial ways to enter the world.”
Voldemort’s father left his mother when she let the enchantment
lapse. She became homeless, and died giving birth to Voldemort, who
was raised in a Muggle orphanage. In an extreme version of the
“family romance” described in a previous chapter, Voldemort’s rage
led him to kill his father and his father’s parents.
This is psychological, not supernatural. In
interviews, Rowling talks about Voldemort being a “psychopath.”
He’s evil, but not demonic. And, she adds, “Everything would have
changed for him if Merope had survived and raised him herself and
loved him.”
THE FAULT LIES NOT IN OUR STARS
Because we like to see a great hero battle a
great villain, it’s easy to think of the series as Harry versus
Voldemort. But Voldemort, for all his skills, would be no threat to
Harry without the help of the Death Eaters.
Voldemort “is what he is, and he’s beyond
redemption,” Rowling has said. “But the people around him, that’s
what’s more interesting in a way . . . People who do have a choice,
did make a choice, like the Malfoys of this world. I think it’s
always worth examining why people choose to make those
decisions.”
Choices. Decisions. The Death Eaters are more
than mindless underlings.
The name Merope (pronounced MARE-a-pee) comes from
a character in Greek mythology. That Merope was one of the
Pleiades, seven nymph sisters who eventually became stars. Like
Merope Riddle, the nymph Merope married a mortal and later hid
herself in shame. The name Merope actually means “[only] partially
visible.” In the Pleiades constellation, the star with her name is
the faintest.
In another Greek myth, Cadmus—whose name Rowling
gives to one of the Peverell brothers—also sows dragon’s teeth and
creates an army. He throws a jewel into their midst to make them
fight with each other, then takes the handful of survivors and
founds the city of Thebes.
For a story with so much magic, it’s a surprise,
and an important one, that Voldemort doesn’t use magic to attract
his followers. With his powers, he might easily have enchanted the
cronies he needed. That’s a common way for Dark Lords to gain
power. Or he might have created an army the way Tolkien’s Orcs were
created, by giving life to something inanimate, like clay and rock.
Examples of supernatural armies go back to ancient myths. In the
Greek story of the Golden Fleece, warriors sprout from dragon’s
teeth planted in a field. Jewish folklore tells of a Golem, a giant
clay monster given life to protect Jews against attack.
But Voldemort wins followers without even
casting a spell. He doesn’t tempt them, trick them, or convince
them that he has a better idea than other wizards. They follow him
because of their own psychology. They need to follow. They were
fascinated by him when he was just Tom Riddle, an extraordinary
student. He wasn’t recruiting Death Eaters then, but they were
already beginning to gather around him. Even Horace Slughorn, who
thought of himself as a leader, and who had created the Slug Club
to give himself admirers, was enthralled by Riddle.
Why do these wizards, who already have great
skills and bright futures, follow Riddle?
It seems they don’t just want a leader, they
need one. The reasons behind that need, and
the consequences of it, say a lot about Rowling’s notion of
evil.
DADDY DEAREST
Wizards feel the same emotions as Muggles. All
humans know their powers are small compared to the dangers of the
world, so they desire safety. Children may separate from their
parents, but they then seek out new authority figures who offer the
same kind of comfort.
Psychologists describe this desire for a father
figure as a desire for “magical protection.” Sigmund Freud remarked
that leaders, like parents, eliminate fear and allow followers to
feel powerful. That’s true whether it’s Crabbe and Goyle following
Draco Malfoy, or Draco and Lucius Malfoy following Voldemort.
Rowling’s wizards, for all their magical powers, look for the same
thing from a wizard whose powers are greater than their own.
The leader gives followers a view of the world
they want to see: He appeals to their narcissism, telling them that
they are good, and their enemies are evil. If they don’t have
enemies, he creates them. Voldemort, for example, makes enemies of
Muggles and “Mudblood” wizards.
“Mobs,” wrote Freud, “demand illusions, and cannot
do without them. They constantly give what is unreal precedence
over what is real.”
“Nobody is more dangerous than he who imagines
himself pure in heart, for his purity, by definition, is
unassailable.” —James Baldwin, “The Black Boy Looks at the White
Boy”
“HOLY AGGRESSION”
Unfortunately, these thoughts often turn into
actions. The followers believe they have the right to express
forbidden desires. They might steal the land of neighbors who are
from another ethnic group, or attack the women from that group. In
the minds of the followers, these acts aren’t crimes. They’re
defence against an evil enemy. “If one murders . . . in imitation
of the hero,” writes anthropologist Ernest Becker in his
influential book The Denial of Death, “why
then it is no longer murder, it is ‘holy aggression.’ ”
Of course, that’s a lie that people tell
themselves. They’re doing what they’ve wanted to do all along. This
brings up the question, are the followers actually doing the
leading? People often choose leaders who have the courage to do
what they might be ashamed to do themselves. Becker explains:
People use their leaders almost as an excuse. When they give in to the leader’s commands they can always reserve the feeling that these commands are alien to them, that they are the leader’s responsibility, that the terrible acts they are committing are in his name and not theirs.
This, then, is another thing that makes people feel
so guiltless, as [Elias] Canetti points out: They can imagine
themselves as temporary victims of the leader. The more they give
in to his spell, and the more terrible the crimes they commit, the
more they can feel that the wrongs are not natural to them. It is
all so neat, this usage of the leader; it reminds us of James
Frazer’s discovery that in the remote past tribes often used their
kings as scapegoats who, when they no longer served the people’s
needs, were put to death. These are the many ways in which men can
play the hero, all the while that they are avoiding responsibility
for their own acts in a cowardly way.
That’s the “more interesting” evil that Rowling was talking about. She sees the world as more than Harry versus Voldemort, hero versus villain.
A DIFFERENT KIND OF HERO
Rowling has often talked about the story’s
references to mob aggression, to the sadistic treatment of
“Mudbloods,” Muggles, and magical creatures. She confirms that she
was thinking
of Nazi Germany and other atrocities. Even in the lead-up to the
story’s final conflict between Harry and Voldemort, she focuses the
reader’s attention on this other kind of evil.
Elias Canetti (1905-1994) was a novelist and
playwright, winner of the 1981 Nobel Prize for Literature. He fled
the Nazi invasion of Austria in 1938, moving to England. His family
had a long history of such escapes. In 1492, his ancestors were
Spaniards and had the name Cañete, from a town there. Along with
all the other Jews in Spain, they were forced to leave as part of
the Spanish Inquisition.
Political theorist Hannah Arendt observed that Nazi
war criminals imagined themselves “involved in something historic,
grandiose, unique, which must therefore be difficult to bear. . . .
So instead of saying: What horrible things I did to people!, the
murderers would be able to say: What horrible things I had to watch
in the pursuance of my duties, how heavily the task weighed upon my
shoulders!”
When Harry’s search for Voldemort’s Horcruxes
leads to the goblins, Bill Weasley tells Harry to ignore
conventional wisdom about goblins. Harry has been taught that
wizards have treated the goblins well, and that the hate goblins
feel toward wizards comes from the goblins’ nature. Bill knows
Harry has heard only the wizards’ version. The wizards, to use
Becker’s phrase, “are avoiding responsibility for their own acts in
a cowardly way.” Unfortunately, Harry doesn’t fully understand.
Despite Bill’s warning, he tries to trick Griphook instead of just
explaining that he’ll need to borrow the sword for a while. Harry,
for all his compassion, doesn’t heroically overcome the bigotry he
has been taught.
That’s because Harry’s not the hero in the
battle against this kind of evil. Hermione is.
Hermione is obsessed with fighting injustice.
(Rowling says that quality came from her own teenage years.) In
Chamber, when Harry and Ron are happy to
believe the wizards’ self-serving lie that house-elves don’t want
freedom, she creates S.P.E.W., the Society for the Promotion of
Elfish Welfare. Although she stumbles along the way, offending the
house-elves she’s trying to help, her heart is in the right place,
and her mission is more than teenage folly.
In Hallows, she’s the
one who convinces Harry that Kreacher’s nastiness comes from
mistreatment by wizards. Harry doesn’t want to believe that one of
his own heroes, Sirius, could have been so unjust. He thinks the
opposite: he believes Kreacher is responsible for the death of
Sirius. But Hermione is right. “I’ve said all along that wizards
would pay for how they treat house-elves,” she reminds Harry.
“Well, Voldemort did . . . and so did Sirius.” Harry’s merciful
treatment, which comes at Hermione’s urging, leads Kreacher to
rally the house-elves to help the wizards in the Battle of
Hogwarts.
Hermione even manages to open Ron’s eyes. As the
Battle of Hogwarts is about to start, it’s Ron who thinks of
warning the house-elves. “Ron had finally got S.P.E.W. and earned
himself a snog!” is how Rowling put it to fans in a webchat.
And what future does Rowling see for her alter
ego? She imagines that Hermione ended up in the Department of
Magical Law Enforcement, where Hermione “was a progressive voice
who ensured the eradication of oppressive, pro-pureblood
laws.”
“The belief in a supernatural source of evil is not
necessary. Men alone are quite capable of every wickedness.”
—Joesph Conrad
See also: Voldemort
Rowling’s message is that even good
societies—like Harry’s, like ours—commit great injustices. To
define themselves as good, they imagine outsiders to be evil. They
find some way to make a virtue out of their beliefs or rituals, and
to belittle the customs and beliefs of their closest neighbors.
It’s a narcissism of little differences. In Harry’s world, even
people who devoted themselves to fighting Voldemort were blind to
the bigoted assumptions they inherited.
Hermione’s victory isn’t as dramatic as Harry’s,
but in Rowling’s view, it’s just as important.