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Kendall Brunson Dr. Coyle Undergraduate Research Paper

Potter versus Snape: Vying for the Title of the True Romantic Hero

INTRODUCTION Literature, through its embrace of literary heroes, heroines, and villains, aids readers in eluding everyday life and entering a world filled with imagination, suspense, darkness, hope, and adventure. Think the Count of Monte Cristo, Robinson Crusoe, Dracula, Dr. Jekyll, and Sherlock Holmes; all are characters we long to be or recognize as part of ourselves, but there is a new sheriff in town. Welcome Harry Potter, the character who in recent memory has attracted the imaginations of young and old alike. With more than a quarter of a million books in print, Harry Potter, the orphan boy from J. K. Rowlings young adult, seven book series Harry Potter, has blossomed into one of the largest cultural icons of the 21st century, as he is a character who embodies the true elements of a hero that readers enjoy turning to for literary escape. But is Harry just your run-of-the-mill, stranded-on-a-island, or trapped-in-adungeon type of Hero? Is he more than meets the literary eye? Recently, scholars, such as Maria Nikolajeva, author of Harry Potter and the Secrets of Childrens Literature, have begun to argue that Harry is not just any hero, but a Romantic Hero in the finest of literary traditions. Born under a dark star of impending doom, which haunts his untimely, sacrificial demi-death, Harry, Lilian R Furst, author of Romanticism in Perspective, argues, is often lost in his own introspection, producing the sense of melancholy which is a necessary quality for a Romantic Hero (101). But in typical Rowling cloak and dagger, slight of hand style, there is evidence that the likely Romantic Hero, Harry, is usurped by his seeming rival throughout the books, Severus Snape. Not only does Snape teeter on the edge of complete emotional instability, he also possesses an exaggerated self-awareness

3 and actually savors his delightful gloom to the full, (102) which Furst describes as essential for the Romantic heroes to bear. Although both Harry and Snape embrace the primary characteristics of a Romantic Hero, it is arguably Harry who outgrows these qualities, leaving Snape to carry on the tradition. It is Harry, then, who transforms from a boy enveloped in his own egocentricities, moods, unbalanced and wavering emotions, isolation, and impending doom into an egoless, sacrificial, traditional literary hero, and Snape who cannot evolve beyond these limitations as he clings to the moments that defined his life, crowning him the true Romantic Hero in J.K. Rowlings series Harry Potter. For Henri Peyre, author of What is Romanticism?, Romanticism centers on rebelling and uprooting notions of good taste and tradition while redefining social concepts and norms by introducing complete freedom of expression. For the Romantics, no longer was there an impossible, as all realms of believability were opened. As Peyre observes about the Romantic movement, this reduction of boundaries allowed Romantics to believe in mystical phenomena, to a great regeneration, and proclaimed a law of human progress and the continuing development of mankind (60). The magical universe to which Harry Potter belongs, fused with imagination, emotion, the mystical, and the unbelievable, fits perfectly in modern literatures Romantic Movement. As Furst states, The Romantics looked beyond this world in this quest for an intangible, unattainable ideal in a dream sphere of his own creation (36). In Harrys world, Muggles are blind to the surrounding reality of witches and wizards boarding a train in a popular London station on Platform 9 , and, in turn, miss out on the experiences of drinking with giants, flying on broomsticks, and battling trolls. By recognizing Rowlings imaginative,

4 magical world as Romantic, her protagonist naturally falls into the classification of Romantic Hero, but readers should look for the Romantics rebellious nature, and so, in true Rowling fashion, nothing is what it appears to be. Therefore, it is only natural for Rowling to mislead her readers, drawing them into the labyrinth with the bread crumbs of romanticism. THE CASE FOR ROMANTICISM

First, the Romantics have a weakness for imagination because it allows for complete freedom from reality: Romantic imagination does not accept limitations. Experience and expression are to be limitlessas are the feelings and passions. No subject is outside of the experience of the Romantic imagination (Global). This use of imagination creates a natural connection between young adult fiction and Romanticism, as imagination many times plays a central role for both. Imagination acts as the gobetween for truth and reality, and, because in the Romantic tradition there is a reflection between thought and imagination, it helps young adult and adult readers alike to make sense of this world through exploring the subjective and objective, allowing for the ability to make sense of perceptions, which in itself is magical (Duriez 101). Kerrie Anne Le Lievre clearly links Harry Potter to this world of imagination in her article Wizards and Wainscots: Generic Structures and Gene Themes in the Harry Potter Series by identifying the large role fantasy or imagination plays in the series: It [fantasy fiction] uses the discrete theatre of the Secondary World as a site for exploration, comparison, and judgment of two opposing and mutually exclusive paradigms of imaginative response to the environment within which human beings exist: one which constructs that environment as limiting and attempts to transcend its limits by gaining power over it, and one which attempts to adapt to existence

5 within the limitations the environment imposes and thus to ensure survival. From ghouls and goblins to witches and werewolves, Rowlings world draws on imagination to create one that allows her to emphasize her Romantic Heros egocentricities. Not only does she ask readers to open their imaginations to her limitless world, but to the characters themselves. Second, because of the intertwining of magic and imagination in the series and magics power in human life for good and evil, Rowlings moral universe shows characters that for the most part are egotistically driven by their characteristics, a key component of Romanticism. Both the good characters and the bad characters fall into this category. As Tom Morris explains, both sides lie when it is expedient and break rules whenever those rules do not serve their needs...both sides are technically evil or sinful, even though their agendas might be vastly different (If Harry Potter Ran General Electric 163). Rowlings hero(es) do what they think is right, but walk the high-wire over a sea of grey. Harry, Ron, and Hermione constantly break direct orders from their professors, though Hermione sometimes less willingly than Harry and Ron, who are in search of the truth or the occasional good time. Like many human beings, they follow their heart and instinct, but Harry more so than others, and this is what makes him such an easy character to enjoy. As Morris further explains, Their problems are rarely solved merely by the use of magic, but rather by intelligence, planning, courage, determination, persistence, resourcefulness, fidelity, friendliness, and many other qualities traditionally known by the great philosophers as virtues (If Harry Potter Ran General Electric 10). By forcing characters to earn their virtues, Rowling weaves the narrative plot fabric for the battle of the Romantic Hero.

6 Finally, it is also worth noting that emotions run rampant in Harry Potter, as they play such a critical role in the Romantic Movement by governing how a person acts or behaves without consequence to traditional and proper order. Furst describes how the Romantic ideology invested personal significance on emotions with a new mystical significance. (222) Readers see how Rowling incorporates this element of the Romantic Movement, by her emphasis on emotions, which she uses to unlock characters through the use of the 3rd person close technique. Additionally, readers misinterpret characters, especially Snape, due to Rowlings explanations of characters emotions. Because the books follow Harry closely, the readers know and understand his feelings, thoughts, and reasoning and connect with him easily. However, unfortunately for Snape, his continuous portrayal as the villain limits the readers access to his true motives and emotions, forcing readers to assume he is bad, and it is not until the series ends that Rowling permits readers to learn of his true alliance with Dumbledore and the promises he kept to protect the good of the wizarding world. When Rowling withholds information, manipulation of the readers ensues, pushing them towards the false Romantic Hero. Without emotions, Rowlings series would lose vital plot structure and interest. With them, hints of Romanticism again emerge which enable the plot to be pushed forward.

IS SNAPE GUILTY?

Rowling leaves ample clues for the reader to explore the idea that Snape should emerge as the true Romantic hero. She introduces her case by encouraging readers to reflect on the manner in which she forces her characters to develop virtues without

7 magic, as it is by examining the role of virtue, readers can better understand Snapes predilection towards living the Romantic Hero life. Even though the readers are thrown into a world that demands their imagination, as Tom Morris discusses in his article The Courageous Harry Potter, Rowling is trying to convey that taking the easy way is not how to trek through life. Rather, the process of developing these virtues is what fulfills a life and not magic. By exploring the building of virtues, readers are further able to distinguish Snape as the Romantic Hero. Snape is one of the most virtuous and moral characters in the book; yet, his virtues never grow. The virtues he enters the series with, he dies with. Steven W. Pattersons essay Is Ambition a Virtue? Why Slytherin Belongs at Hogwarts in the book Harry Potter and Philosophy: If Aristotle Ran Hogwarts discusses Severus Snape as an extremely virtuous man, with his most prominent virtue being ambition. Not only does Snape spend his entire career at Hogwarts coveting the position of the instructor of Defense Against the Dark Arts, but he also continuously pushes his Slytherin house to succeed in winning the house cup. But more than just ambition, Snape possess unwavering loyalty to Dumbledore, and follows his exact orders until the very end, no matter how extreme or how much he disagreed with Dumbledore. As Rowling unfolds the tale throughout the last book, readers learn that Snapes unbreakable promise to Malfoys mother-- to kill Dumbledore if Malfoy failed to kill him--is an order from Dumbledore. Even though Dumbledores orders make him uncomfortable and confuse him because he is not told everything, Snape still follows Dumbledores commands to the letter. Snape also exhibits extreme courage as a double agent, teetering on the edge of being caught and then killed by Lord Voldemorts Death Eaters by continuously entering into the lions den. Unlike Harry, who is in his teenage

8 years, learning about himself and developing virtues, Snape is tabled; his three main virtues, ambition, loyalty, and courage, prevent him from evolving past Romantic Hero behavior. Although the practice of his virtues displays his selflessness, this practice also keeps him recycling his feelings for Lily Potter by forcing him to be around Harry day in and day out. Furst discusses that when a Romantic rehashes feelings they begin to prize emotional experience for its own sake, and it calls readers to question whether or not Snapes virtues allow him the opportunity to continuously stay in the frame of mind of Lily Potter and if he somewhat enjoys being there. Insisting on reliving emotions, not matter how painful, illustrates Snapes predilection towards living the life of the Romantic Hero.

THE CASE FOR SNAPE AS THE ROMANTIC HERO

The argument for Snape as the Romantic Hero begins with an exploration of the drama which surrounded Snapes childhood. Tom Morris observes in his book If Harry Potter Ran General Electric that Severus Snape is perhaps the most interesting and frustrating example of divergence between appearance and reality to be found in all the stories (206). Certainly, Snape is Harry Potters most elusive character, with his true motives always out of reach. But to understand the man Snape becomes, we must examine the boy he was. Born on January 9, 1960 to Tobias Snape, a mud-blood, and Eileen Prince, a pure-blood, Snape was to become a classic outcast, teased by his classmates and shunned by the in-crowd. Snape is described in the last book, The Deathly Hallows, at age 9 as sallow, small, and stringy with black hair overlong and

9 his clothes were so mismatched that it looked deliberate: too short jeans, a shabby, overlarge coat that might have belonged to a grown man (33). His appearance, or the fact that he was a mud-blood, does not help him when he enters Hogwarts at age 11, and once he is at Hogwarts, his personal style does not evolve. And as Sirius Black remembers Snapes teenage appearance in The Order of the Phoenix, Snape the teenager had a stringy, pallid look about him, like a plant kept in the dark. His hair was lank and greasy and was flopping onto the table, his hooked nose barely half an inch from the surface of the parchment as he scribbled,(28). From this, Snape is exposed to such nicknames as Snivellus and is the butt of many horrible jokes and pranks, and at the root of this teasing is Harry Potters father, James, and his best friend, Sirius Black, which leads to many plot complications throughout the series, but it also pushes the most critical plot line forward. Lily Potter is at the center of Snapes universe; she is the unattainable shining star ruling his destiny. Childhood friends, Snape and Lily could have developed a relationship; however, once at Hogwarts, Lilys relationship with James alienated her from Snape, who continues to carry the torch for Lily. Between James and Siriuss merciless pranks, and Lilys alliance with them, Snape turns more and more inward, Snapes failure to evolve hints at his role of the Romantic Hero, because, as Furst explains, the Romantic Heros cult of sorrow is largely a matter of pretence, part of his self-dramatizing pose (105). Drama, Snapes forte, clearly influences how people perceive him. Although dramatic, Snape is not portrayed by Rowling as foolish or simpleminded. As Sirius Black observes in The Goblet of Fire, Snape knew more curses when he arrived at school than half the kids in the seventh year (25). Snapes brilliance

10 provided him with enough flare to act as a double agent for Dumbledore against Lord Voldemort, after learning of the Dark Lords prophesy driven plan: The one with the power to vanquish the Dark Lord approaches. Born to those who have thrice defied him, born as the seventh month dies, and the Dark Lord will mark him as his equal, but he will have power the Dark Lord knows not , and either must die at the hand of the other for neither can live while the other survives . The one with the power to vanquish the Dark Lord will be born as the seventh month dies (841). Simply, Snape can not bear that Lily Potter is in danger. And from this moment, Snape becomes a double agent. His hopeless romantic motivation for this dangerous switch not only exemplifies his soft side, but his need for Lily Potters existence, even if it isnt with him. Although his initial actions do not save Lily or James, Snape does not abandon the cause and works with Dumbledore to protect Lilys son, Harry. While these actions resemble those of a traditional literary hero, they draw heavily on the characteristics of the Romantic Hero as they encourage a sense of suffering and entrapment. Furst expounds on how a Romantic Hero is unable to find any such means of escape and suffersfrom a characteristic alteration of the manic and depressive, in which the latter tends to predominate (101). One further touching moment emerges in the last book, The Deathly Hallows, when Snape pockets a letter written to Sirius by Lily and half of a photograph containing her picture. By rooting his life in an emotionally painful environment, the case for Snapes dominance as Romantic Hero grows stronger. Readers can see Snapes adulthood as a tabling stage. Snapes miniscule changes between childhood and his life as an adult cause him to become, perhaps, even more eccentric and his emotions more exaggerated, but he still remains a static character.

11 Since his unhappy teenage years, Snapes personal style has not changed much, and he still does not possess the warm qualities that pull people towards his rival, Harry. In fact, Snape the adult is described in the book as A professor with greasy hair, a hooked nose, and sallow skin and His eyes were blackthey were cold and empty and made you think of dark tunnels (Rowling). And, as Tom Morris describes, Snape often looks like a secret confederate of evil, siding with the haughty, cynical, ambitious Slytherin students, constantly disparaging Harry, and acting quite suspiciously in many ways (If Harry Potter Ran General Electric 206). And to boot, he also sports a long black cape students can hear sweeping across the castle floors as Snape tears towards them. Finally, although readers do not see Snape evolving throughout the series, only his true story unfolding, there is a very critical element that solidifies him as a romantic hero. Snape uses nature as a means to create; he is an artist. Even though potion making is usually viewed as a science and the ingredients scientific elements, the Romantics would view it as organic, rather than, as in the scientific or rationalist view, as a system of mechanical laws, for Romanticism displaced the rationalist view of the universe as a machine (Brooklyn College). Furst also adds why the Romantics were so interested in nature; it springs from their urge to perceive the recondite laws of the universe, to comprehend and seize the flux and flow, the inner hidden unity of the universe (139). Snapes scientific job is actually artistic and inventive, calling for imagination and creativity. Not only does his position as potions master nurture a quasireligious belief in the total fusion of man with nature but it also allows his passion and intellect to intimately combine and unify, which Romantics believed in vehemently,

12 according to Furst (89). Sometimes potions need to be edited or expanded, and sometimes new potions need to be created. The very essence of collecting products of nature to combine together follows Romantic ideology, but Snape does not just follow others potions. He creates his own. The sub-plot in The Half-Blood Prince revolves around Harry and Ron trying to discover who this Half-Blood Prince is. After finding an old potions book with hand-written tips from the previous owner and original potions, Harry and Ron begin to excel at their worst subject. They agree and continuously state throughout the book that the Half-Blood Prince is a genius, and he is, but little do they know it their despised potions master, Snape. By creating, Snape also incorporates the important Romantic element of, again, imagination. Because of Romanticism, imaginations integral role in art became essential (Furst 128). And Fursts explanation of why a Romantic needs to create explains Snapes motives, because Snape used potions as a means to perceive and recreate the world according to his own inner vision (119). Snapes ingenuity displays his qualifications as the Romantic Hero and solidifies his ownership of the title of the true Romantic Hero in Harry Potter, because as Harrys Romantic Hero traits are explored next, it becomes obvious that his lack of an artistic nature and his ability to evolve past the cyclical world of self-absorption disqualify him.

HARRYS DEFENSE

While there is a strong argument made for Snape to be the true Romantic Hero in Harry Potter, the boy the books revolve around must be addressed. After all, Harry is our hero, no? He meets the criteria: Harry is good natured, fights for the good guys, stands up

13 to the bad guys, and ultimately kills the ultimate bad guy, Voldemort. However, through examining Harry further, Harry emerges from his Romantic prison into the daylight of the traditional literary hero. First, comparing Harrys physical appearance to Snapes is critical, because appearances project an outward perception of who one really is. Snapes appearance is over-exaggerated, mirroring the self-involvement of a Romantic Hero, but Harry resembles that of a normal teenager. While Snape sports greasy hair that hangs in his face and lugs a long black cape that sweeps the castle floors when he walks, Harry is the complete opposite. Besides the over-sized, ragged second hand clothes Harry wore while living with his aunt and uncle, Harry looked like an average teenager once he arrived at Hogwarts. Although Snape has a pasty complexion, black, soulless eyes, and yellowed teeth, Harry had always been small and skinny for his age. Harry had a thin face, knobbly knees, black hair, and bright green eyes. He wore round glasses held together with a lot of Scotch tape (Sorcerers Stone 2). In fact, besides his distinct round glasses, Harrys most exciting or noticeable physical feature is the lightning bolt scar given to him by Lord Voldemort. And although his scar is considered the most unique and interesting scar in the Wizarding community, it does not compete with Snapes emo-natured fashion sense and hygiene routine. Next, Harry, like Snape, also deals with teasing from peers, but Harry has friends on his side rooting for him. While Snapes teasing forces him to turn inward, making him more melancholic, Harrys support team pushes him forward, forcing him to not let it affect him. Draco Malfoy is another one of Harrys rival throughout the books. Both only children in the same year, the match is perfect for butting heads, and Draco often

14 succeeds in making Harry more than angry. As Tom Morris points out in his book If Harry Potter Ran General Electric, Around Draco Malfoy, arguably the nastiest little boy at HogwartsHarry often loses control of his temper and is almost irresistibly tempted to stoop to his level of retaliation (86). Morris then recounts when Malfoy also picks on Harrys friends, like Hagrid the groundskeeper, and for Harry it takes all his inner willpower to resist the temptation to follow Hermiones lead and hit Malfoy squarely in the face (86). But, as Morriss example shows, Harry takes action, where Snape does not. As a teenager, Snape practices more spells, writes spells, and sends scathing glances at his enemies. Luckily for Harry, he has friends like Hermione Granger constantly reminding him how to rise above people like Malfoy. In the Prisoner of Azkaban, Hermione keeps Harry from attacking Malfoy by telling him to Just ignore him, its not worth it (96. Morris 87). In fact, Hermione acts as his saving grace by continuously repeating this mantra to just ignore in Harrys ear even if shes the one being ignored. This kind of repetitive, good advice whispered in Harrys ear over seven years keeps Harry from letting this schoolyard teasing control or run his life. Instead, he learns how to cope with it, whereas Snape holds onto the bullying for his entire life, and he took the beatings he received from Harrys father and friends and directs them at Harry and his friends. Snape continues the cycle of abuse, but Harry grows out of it. Although Harry is able to transform with the help of his friends, he had to also overcome a childhood blighted with sorrow and grief. Next, Harrys childhood floods over with sadness and loss, as he loses both of his parents to the rein of terror inflicted on the wizarding world by Lord Voldemort. His mother sacrifices herself for Harry, providing him with the ultimate protection from the

15 killing curse, Avada Kevedra. And although this loving act by his mother turns Harry into a hero before he can pick up a broomstick, he is hoisted out of his home and community and left on Privet Drive in the hands of the Dursleys, his muggle aunt and uncle, Petunia and Vernon, and their spoiled son, Dudley. Even though Rowling does not usually portray muggles as bad people, the Dursleys are a special breed of bad. Starving Harry half to death and keeping him locked in his bedroom the broom closet are just added bonuses to the house work and emotional abuse he suffers for 10 years, because on his 11th birthday he is once again thrust out of his home back to where he belongs: amongst his fellow witches and wizards. However, all of this uprooting forces Harry to become very cautious, and although he develops friendships, he locks himself away, and, much like Snape, he is always on guard. As Furst explains, this creation of selfcenteredness fosters the unhappy heros tendency to introspection by blocking the normal flow of emotion between human beings (99), but Harrys life experiences pull him out of his introspection and into the serious situation and problems around him. Not only is he viewed as the chosen one in the wizarding community, but Harry, sometimes unwillingly, embraces this title, and throughout the books he begins to take on leadership roles and taking care of those around him, instead of focusing on himself. And, unlike Snape who takes a persons situation and relates it to himself, Harry evolves, despite events try to keep him a selfish, self-pitying teenager. Harrys tendency towards dreaming, not only provides a direct line into his subconscious, but also strengthens his connection to the to the Romantic Hero; Global discusses how the Romantic Hero is subject to flights of imagination, dreaminess, hallucinations. And as Amy Billone observes in her article, The Boy Who Lived: From

16 Carrolls Alice and Barries Peter Pan to Rowlings Harry Potter, Harry appears to dream much more frequently than anyone he knows. His dreams are not only numerous but recurrent, so that by the fifth book, whenever he closes his eyes, it is as though a film in his head had been waiting to start. Early in the series, Harrys dreams reflect a self involved focus as he is preoccupied with his own problems, rather than with the problems of those around him, but he has good reason for this, because as Billone further points out in her article, in The Sorcerers Stone, Harry awakes and tries to remember a dream he just had, and It had been a good one. There had been a flying motorcycle in it. He had a funny feeling hed had the same dream before (23), but later in the book he has a prophetic nightmare in which he is wearing the turban of Professor Quirrell. As the turban insists to Harry that he must join Slytherin, Snape turns into Voldemort. This dream is not selfish, and, in fact, his subconscious is warning him of the dangers surrounding him. Although the idea of Snape transforming into Voldemort is ungrounded, as readers and Harry learn later, Harrys dreams have begun to spiral outward, cycling Harry into the world around him. But this game of ping-pong played by his subconscious of selfish dreams and dreams that force him to look outward becomes thematically important throughout the series. In The Order of the Phoenix, Harry has another pleasurable dream, Harry kicked off hard from the ground. The cool night air rushed through his hairHe felt as though his heart was going to explode with pleasure (55-56); however, as the book continues, readers see Harrys dreams again revolving less around him and more about the wizarding war that is about to begin, He repeatedly thinks he is wandering down a windowless corridor and facing a locked door which he longs to enter (due to his own misjudgement these dreams will become prophetic)He

17 has a long conversation speaking in Voldemorts voice, and when he looks in the mirror he sees Voldemort, rather than himself (Billone). Although Harry is still the main subject in his dreams, they are leading him down paths that force him to act selflessly, not selfishly. As Harry leaves his selfish nature behind, his friends look to him as a leader not just because of his many talents and accomplishments but also because of his character. They know they can trust him. They can depend on him. They are convinced that he has their best interest at heartHe will do anything for him, and they know it (Morris If Harry Potter Ran General Electric 65). Leadership, integral to Harrys evolution away from the role of Romantic hero, is evident when Hogwarts becomes more and more dangerous. Harrys peers realize they need practical applications and training in Defense Against the Dark Arts. Morris describes how Harrys friends come to him and ask Harry to teach and lead them. They naturally look to him for signs of what needs to be done, and many of them instinctively follow him when he launches into important action to remedy some serious wrong. (155). And this call to lead comes naturally to Harry. He has not been officially called to duty, he is not a student leaner, nor a Prefect, but it is his personal quality and strength that people draw upon. Even before becoming captain of the Quidditch team he is seen as the teams unofficial leader because of his talent and leadership (Morris 155). Morris also explores how Harry learns to believe in his own abilities, which then allows him to take stand against the daunting challenges he faces from the Dark Lord (56). However, Morris does not stop there, he also focuses on how Harry cares about others and focuses on their needs, while also competing to be the best in the areas of his greatest interest. He builds the trust of others through his basic kindness and compassion for them, and then they are there for him when he needs their support. He seems to be moving in the direction of being both good and great, the combination of qualities that has been modeled for him by Albus Dumbledore (Morris 56). Although Snape teaches and therefore is in a leadership position, he is not called to lead like Harry. Snape teaches because it allows his to stay at Hogwarts and wallow in Lily. Snapes heads Slytherin, but the students whisper behind his back, wondering if he is good or bad. Snapes icy-character encourages insecurity, and although he plays a large role in the series, by playing the double agent, he does not lead. Snape, therefore, stays comfortable in his self-centered world of loneliness and heart-break, while Harry blossoms into a selfless hero.

18 Finally, the last book, The Deathly Hallows, fully displays Harrys growth from the Romantic Hero into the traditional literary hero. Once Harrys father figure and mentor, Dumbledore, dies, Harry is left with no secure guidance, as almost everyones alliance around him is questioned, and the burden falls harder on Harrys shoulders. Lord Voldemorts infiltration of the wizarding world and Hogwarts is becoming more and more prevalent, and Harry, along with the help of Ron and Hermione, must find a way to finally eliminate Lord Voldemort for good. When Snape, through an order from Dumbledore, informs him that he, Harry, is in fact the last Horcrux, Harry walks into Lord Voldemorts death trap in the Forbidden Forest. Harry selflessly and willingly gives the ultimate sacrifice to protect his loved ones and insure the survival of good in the wizarding community, but experiences a demi-death, and returns to his body. Once Harry kills the Dark Lord for good, the traumatic experiences hes dealt with for the past seven years do not consume him. Readers are left with an adult Harry, married to Ginny Weasley and a proud parent. This is an essential move from a Romantic Hero into a traditional hero, and Furst explains this as the ability to cast aside his own reflections and resume his position in society and to take up his duties to fellow-man. By forgetting himself and giving of himself, instead of remaining in the splendid isolation of his egocentricity, Harry matures into one of the finest traditional literary heroes (99).

CONCLUSION

There is no denying that Snape and Harry are heroes. Simon Williams discuses the heroism of the romantic hero in his book Wagner and the Romantic Hero as,

19 at best, a dubious quality. We admire heroes because they embody all that we consider most admirable in ourselves. Heroes are possessed of an excess of human energy, which has a propitious effect on the world around them. They display greater courage than regular people do, they know what they want and are fearless in achieving it. Through their exploits we glimpse, however briefly, images of human perfection and, depending on our beliefs, of something divine. But heroes are not easy to live with. Both Harry and Snape willingly sacrifice their own lives for the greater good; although Snapes life is lost before he is able to rid himself of Romantic tendencies, and Harry is given another opportunity at life. Snape qualifies Williams description of the Romantic Hero more than Harry. Williams specifies the Romantic Hero as possessing brief images of human perfection and maybe something divine. While Snape is prone to temper tantrums, he gives his whole life to Lily Potter and essentially Harry. He devotes his every being to the cause, and spends 17 years living the life of a double agent. This commitment is close to perfection, and although he punishes Harry, Snape also protects him simultaneously. Although Harry also willingly sacrifices himself, it takes quite a bit of time for him to understand such noble gestures. Also, Williams says that the Romantic Heroes are not easy to live with, and Snape wins this qualification without question. Harry throws the occasional fit directed unfairly at his close friends, but Snape is continuously in an abominable mood. When opening a novel, adventure unfolds page by page, and, as readers, we follow our heros lead. However, sometimes, the role of the hero splits, even if we are unaware. Rowlings Harry Potter series presents the challenge of determining who the

20 true romantic hero is, and because there is absolutely no denying Harrys rightful ownership as protagonist, traditional hero, after all, the series is named after him, it forces readers to compare Snape and Harry side by side. When this happens, it is Snape who wins. Simon Wagner sums up the romantic hero best, The romantic hero displayed a multiplicity of characteristics and purposes, but all manifestations of the figure have three qualities in common: a deep reverence for nature, a tendency to respond to the world through feeling rather than rational cogitation, and the insistence that the world can only be understood when viewed from a subjective viewpoint (Williams).

It is Snape who fully possess these characteristics of a Romantic Hero. His deep reverence for nature is explored through his job as potions master. Everyday he works with the earth to explore its ability to assist in the fight for the wizarding world or to create potions for his own personal use, whereas Harry never masters potions and shows no preference for nature. Because nature is an essential element of Romanticism, it is important to show Snapes preference for working with nature over Harrys dismissal of it. And readers see throughout the series how Harry evolves from a boy who reacts with feelings into a man who thinks about his actions and follows through with logic and reason; however, Snapes motivations are purely emotional. Although his is a logical, reasoning man, Snape is still broken-hearted and clinging to the memory of Lily Potter until death, and through these emotions he views the world through a subjective lens instead of an objective lens. While most wizards and witches view Harry as the boy who lived, Snape views Harry as the son of his tormentor and the love of his life. This causes

21 Snape to overreact severely to Harry, even though in the end he is fighting for Harrys life. Over exaggerating life moments and living in his egocentricities qualify Snape as the Romantic Hero. J. K. Rowlings Harry Potter leads readers through seven books, making them believe that Harry is the true hero, Romantic or otherwise, but it is not until the last book that readers can see the big picture. They have been tricked. It is Snape, and not Harry, who is the true Romantic Hero; however, this discovery is not upsetting and a journey worth taking again and again.

22 Works Cited Billone, Amy Christine. The Boy Who Lived: From Carroll's Alice and Barrie's Peter Pan to Rowling's Harry Potter. Childrens Literature. Johns Hopkins University Press. Volume 32, 2004. 178-202 Brooklyn College. Romanticism. Modified February 12, 2009. Accessed March 20, 2009. <http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html> Duriez, Colin. Field Guide to Harry Potter. InterVarsity Press. 2007. Furst, Lilian R. Romanticism in Perspective. Macmillian. 2nd edition. 1979. Global. Elements of Euopean Romanticism. <http://global.cscc.edu/edgl/265/RomanticismFeelingsEmotionsLex.htm> Le Lievre, Kerrie Anne. Wizards and Wainscots: Generic structures and Gene Themes in the Harry Potter Series. Accessed March 10, 2008. <http://galenet.galegroup.com/servlet/LitRC?vrsn=3&OP=contains&locID=jack1 1383&srchtp=athr&ca=1&c=61&ste=16&stab=512&tab=2&tbst=arp&ai=U1302 3712&n=10&docNum=H1100070660&ST=J.+K+Rowling&bConts=15023> Morris, Tom. The Courageous Harry Potter. Bagget, David; Klein, Shawn E. Harry Potter and Philosophy : If Aristotle Ran Hogwarts. Chicago, IL. 2004. Morris, Tom. If Harry Potter Ran General Electric: Leadership Wisdom from the World of Wizards. Doubleday. 2006. Nikolajeva, Maria. Harry Potter and the Secrets of Childrens Literature. Heilman, Elizabeth E. Critical Perspectives on Harry Potter. Taylor & Francis. 2008. 225.

23 Patterson, Steven W. Is Ambition a Virtue? Why Slytherin Belongs at Hogwarts. Bagget, David; Klein, Shawn E. Harry Potter and Philosophy : If Aristotle Ran Hogwarts. Chicago, IL. 2004. Peyre, Henri. What is Romanticism? University of Alabama Press. 1977. Rowling, J. K. Harry Potter and the Deathly Hallows. Scholastic. 2007. Rowling, J. K. Harry Potter and the Goblet of Fire. Thorndike Press. 2000. Rowling, J.K. Harry Potter and the Order of the Phoenix. Scholastic. 2003. Rowling, J. K. Harry Potter and the Prisoner of Azkaban. Scholastic. 1999. Rowling, J. K. Harry Potter and the Sorcerers Stone. Scholastic. 1998. Willams, Simon. Wagner and the Romantic Hero. Cambridge University Press. 2009. Accessed February 20, 2009. <http://www.cambridge.org/catalogue/catalogue.asp?isbn=9780511207013&ss=e xc>