Sequels and segmental series very often follow, but they can rarely be anything more than hollow imitations and formulaic recyclings. It was, therefore, able to build on its medium-term success far more spectacularly than any previous breakthrough enterprise. This proved no inhibition to readers eager to follow the series to its conclusion.
With more than million copies sold, the books have impacted popular culture in a massive way. Five years ago, I began reading the series suspiciously, expecting to encounter a barrage of subversive, anti-Christian propaganda. I devoured the first six volumes, read the seventh book as soon as it came out, and moved on to other things.
This past summer, I took the time to revisit the series from a more critical standpoint. The first time I read the books, I did so primarily for entertainment. The second time around, I was specifically looking for themes — and more specifically, I intended to write this commentary.
Rather than being blindly condemned and censored, it should be read and analyzed thoughtfully. On his eleventh birthday, Harry receives a letter from Hogwarts, a school for young wizards and witches, and promptly enters a world of wonder and mystery.
At Hogwarts, he meets his two closest friends — Ron Weasley and Hermione Granger — and begins studying magic. The first few books of the series develop the characters and set the stage for Book 4, in which Voldemort returns to power and regains a corporeal body. Throughout the course of the series, there are three fundamental concepts that drive the story: Each of these deserves thorough evaluation.
Headmaster Dumbledore observes at one point: That they all have a power beyond his own, a power beyond the reach of any magic, is a truth he has never grasped.
Primary characters are willing to and do suffer unbelievable loss for one another, even giving up their lives in order to do the right thing. The love between family members is celebrated as beautiful and noble, never something to be mocked and sneered at.
However, the true significance of this theme does not emerge until Book 7. While the Horcruxes exist, Voldemort cannot be truly killed. However, it soon becomes clear that, in fact, a seventh Horcrux exists: While Harry lives, Voldemort cannot truly die.
The situation may be summarized thusly: The symbolism is almost explicit. He chooses to lay down his own life to end the evil caused by another.
This theme of sacrificial love applies on another level as well, through the character of Severus Snape. The often-irritable Potions teacher at Hogwarts, Snape frequently appears to be antagonistic towards Harry throughout the series although, interestingly, he often intervenes to protect Harry during the darkest moments.
However, Book 7 finally provides the full story. To make matters worse, Lily asked Snape to watch over their newborn son in the event of her death.
This subplot is one of the most moving elements of the entire series. Voldemort is obsessed with the concept of living forever, no matter what the cost. This dark desire leads him down the path of villainy, transforming him from a disturbed orphan boy into the living incarnation of evil.
He attains a sort of pseudo-immortality by constructing the aforementioned Horcruxes — but in order to do so, he must take a human life for every Horcrux he creates.
Dumbledore sharply critiques this empty attitude towards life: The two things most human beings would choose above all — the trouble is, humans do have a knack of choosing precisely those things that are worst for them. There, he sees the mutilated soul of Lord Voldemort — an affirmation that souls are ultimately held accountable for their actions, and that the material world is but the precursor to something more.
Death is seen not as an end, but rather as a beginning. As Dumbledore puts it: To complete the Christ metaphor, Harry is resurrected from the dead, defeats Voldemort once and for all, and saves the magical world. His death leads to the salvation of countless others.
I am not going to explore the hot-button issue of whether Dumbledore is or is not homosexual. The issue was never raised or alluded to in the novels themselves; thus, for the purposes of this commentary, this will not be under consideration.
I must confess that I missed the significance of this theme the first time I read the series. However, this is perhaps the most interesting and uniquely symbolic element of the entire seven-book saga.
To offer some background, Professor Albus Dumbledore is the headmaster of Hogwarts School, and fulfills the role of a father to Harry. He helps Harry wage his battle against Voldemort, providing counseling and insight throughout the series.A Lesson Before Dying Questions and Answers.
The Question and Answer section for A Lesson Before Dying is a great resource to ask questions, find answers, and discuss the novel. Web Only / Features» May 18, Actually, Mad Max: Fury Road Isn’t That Feminist; And It Isn’t That Good, Either.
Turns out the MRAs aren’t the best judges of feminism. Jun 22, · So, I am a complete moron, sunburned, and bored as crap.. Give me a break, it's my first video and I look like crap. DON'T CARE.:D.
Main Character Critical Flaw. You've reached the "hub" for any and all Dramatica analysis of Who’s Afraid of Virginia Woolf?. In addition to the Storyform, you'll also find any additional analysis or media related to the story in question. More Analysis → Win Win. When Harry Met Sally ←.
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It’s neither a critical or box office success, but Darren Aronofsky’s The Fountain is the kind of movie that serious film-o-philes will be talking about for years. The title of this article is.