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Hogwarts, Hogwarts,
Hoggy Warty Hogwarts,
Teach us something please,
Whether we be old and bald,
Or young with scabby knees,
Our heads could do with filling,
With some interesting stuff,
For now they're bare
And full of air,
Dead flies and bits of fluff.
So teach us stuff worth knowing,
Bring back what we forgot,
Just do your best
We'll do the rest,
And learn until our brains all rot!



1: The heavens declare the glory of God; and the firmament sheweth his handywork.
2: Day unto day uttereth speech, and night unto night sheweth knowledge.
3: There is no speech nor language, where their voice is not heard.
4: Their line is gone out through all the earth, and their words to the end of the world. In them hath he set a tabernacle for the sun,
5: Which is as a bridegroom coming out of his chamber, and rejoiceth as a strong man to run a race.
6: His going forth is from the end of the heaven, and his circuit unto the ends of it: and there is nothing hid from the heat thereof.
7: The law of the LORD is perfect, converting the soul: the testimony of the LORD is sure, making wise the simple.
8: The statutes of the LORD are right, rejoicing the heart: the commandment of the LORD is pure, enlightening the eyes.
9: The fear of the LORD is clean, enduring for ever: the judgments of the LORD are true and righteous altogether.
10: More to be desired are they than gold, yea, than much fine gold: sweeter also than honey and the honeycomb.
11: Moreover by them is thy servant warned: and in keeping of them there is great reward.
12: Who can understand his errors? cleanse thou me from secret faults.
13: Keep back thy servant also from presumptuous sins; let them not have dominion over me: then shall I be upright, and I shall be innocent from the great transgression.
14: Let the words of my mouth, and the meditation of my heart, be acceptable in thy sight, O LORD, my strength, and my redeemer.

Wednesday, July 04, 2007

ScarCrux Theory

OK, especially in the mounting excitement of the book 7 release on the 21st of thsi mont there is lots of hot speculations and last minute argumentation going on. Probably the single biggest debated topic (other than maybe Snape, but there are numerous sub-topics in those debates), is whether or not Harry's Scar is a Horcrux. some are quite opposed to the idea, some quite enamored of it. I fall in the latter camp but I have heard a few good arguments here and there of things that might preclude the scar as a Horcrux (have also heard a number to me that really don't seem to hold water, and even the better ones that I have heard aren't conclusive on it being positively precluded, but some of them are pretty decent).



So, during some of these "long nights at the wall" on security, when usual study does not stave drowsiness, I sometimes pop OotP out of my bag and read some for a "Fred and George Fix," which usually wakes me up with laughing (the most recent of these is the book 5 instance where they consider using a skiving snack to avaoid Quidditch practice in the rain/storm, but figure Angelina would know what they wer eup to because they had just tried to sell her puking pastils the day before, and they mention the possibility of their new "Fever Fudge" but they haven't figured out how to get rid of the accompanying boils, which, in repsonse to Ron's statement that he sees no boils, they say are in places they usually don't display for the public but which make it a pain sitting on a broom ... that and them taking it in turns to get Zacharias Smith behind his back at the first DA meeting so that every time he opens his mout, before he can get the Expelliarmus spell out, his own wand flies out of his hand ... and last night it was Fed and George in the Hog's Head asking Smith if he wanted his ears cleaned, or any other body part, thay are not particular about where they stick the long "lethal-looking" metal rod George just pulled out of a Zonko's bag ... man I sure hope I am wrong about those two biting it in book 7, I'll really miss them, and our friend Nate told me recently in an email that Fred and George are the faves of his son Elijah).



But tonight, I read at the meeting where Hermione introduces the fake galleons, and Harry notes that what they remind him of are the death eaters' dark marks ... on he doesn't call them "marks" - he calls them "scars." So I thought that in combination with noting this occurance of the word scar here, I would recount here my comments from one of the recent posts, on qualities of the dark mark and the use in light of psychic connections (all in light of the fact that a Horcurx is a portion of soul, of a psyche). All of this should be chalked up to trying to provide text support for the reasonableness of the possibility that the scar is a horcrux.

Here is the contents of that comment on the graveyard use of the dark-marks on the arms of death eaters:

This fits under the connection I made between alchemy and psychology as "sciences of the soul," which is really the best place for this comment because it involves possible soul imagery that, if I am right about the presence of it, possibly connect with the Horcuxes thing, which we all know book 7 will be all about as (as I think Red Hen put it) "Raiders of the Lost Horcruxes.This observation involves Voldy and wandless magic. We know he has a penchant for wandless magic (which I have argued in places is connected to the wand as representative of symbolism and the transcendent in magic) ... the one power remaining to Voldy when he was only vapor and unable to hold a wand was possession, and he notes this very clearly in the Death Eaters chapter (GOF 653, where he specifically notes it as the "only one power" that remained to him). Red Hen and Swythyv were working on a theory of the possible role of possession in the process of making Horcruxes, or at least as Voldy does the deal or had to piece together how to do the deal (note, on GOF 653 Voldy refers to the Horcruxes as his "experiments" - that in the "testing" of being bodyless he discovered that one or more of his "experiments" had worked, since he was not dead and should be) and I think RH and Swv are on a solid path on that (Granger had a post somehwere on the HogPro blog with links to the their stuff).

Possession is obviously both a psychic thing and wandless magic. There is another thing though that I picked up in the end of the "Flesh, Blood and Bone" chapter and I will drop that one in a second, as a finale to this comment, but for the present I wanted to give a little bit of context. Lots of speculation has gone on about the relation between the Avada Kedavra curse and Horcruxes. I myself and working on an essay for shopping for paper publication that focusses on the origins of the AK terms and some of Derrida's concepts of language and deconstruction. Where this connects for me with the AK and possession is that my theory of the AK is "possession based" involving the wand as a channel for a form of concentrated momentary psychic possession that is really a violent "psychic invasion" (the "possession" concentrated to such a level that the psychic "presence" of the caster obliterates the presence/existence of the victim, it exerts the caster's presence in the victim's body so forecfully that it excludes the victim's right to presence in their physical body to the level that it shatters the bond between the victim's soul and body ... and that is why, I think, "Moody" says none of the 4th year class would be able to kill him with the AK, they are not yet skilled enough to be able to muster enough of themselves into the curse to do the trick).

This is based in theories I have spoken of before on the wand being, in general, a concentrated conduit of the psychic energy of a magically gifted person (a conduit that it takes some time to learn how to direct towards different particular ends, like summoning object, banishing objects, levitating objects etc, which is the whole point of magical education). The AK is, I think, basically this basic psychic tenet of magic taken to a radical and violent extreme of concentration against another person. I suspect that, in the normal run of things, the only way to defend against it is to be willing to kill the invading psyche ... the only way to combat the murder is to commit at least "killing in self defense" (and I think that probably nobody but Voldy and Dumbledore really realizes this, end even if the white-hat wizards did realize, the level of concentration and prediction and intention necesary to pull off such a "blocking kill through killing" defense is so high that it is basically, as I thnk the AK itself is, the psychic/psychological state of full blown mania ... making the AK curse [effectively at least] "inblockable"). But notice I qualified that with "in the normal run of things" ... for there is another option.

The only option I can see to "this kill or be killed" line of defense is that of radical self-giving to the level of complete abandonment of self ... love (I take some of this from the Swiss Catholic theologian Hans Urs von Balthasar - VonB spoke of the love of God as "reckless self-giving" like "reckless abandonment." VonB's Christology is based on the cross, and particularly the ultimate suffering on the cross, as what happens when this kind of self-giving love meets a soul that rejects it ... which is really an inverse of what I am saying is the image of the AK curse ... in short, this is all about the answer to one of the classical paradox-conundrums: what happens when an unstoppable force [the self-giving love of God] meets an immovabel object [a soul that rejects that love]? the answer is the crucifixion). This is basically how Lily defended Harry, and it forged a psychic connection Harry's skin to do it.

The image I found in the Flesh Blood and Bone is that when Voldy calls the DE's using WT's dark mark, he does not do it, as they have it in the movie, with his wand, but with his finger, a part of his body being animated by his soul (and very wandless magic) ... but also note that he does a verfication on the mark first, noting that it has been growing stronger ... he did not know this yet, he has to verify the psychic connection working, that his getting stronger in soul strength all year has indeed caused the marks to burn again. I think this "experimentation verification" of the dark mark working bears a strong resemblence to the experiment verification of the horcruxes working that happened when Voldy was not killed on the night he attacked baby Harry.

I'm not saying I think the dark marks are actual horcruxes or anything crazy like that, but they do have a psychic connection to Voldy like Harry's scar and the horcruxes ... there is something there
posted by Merlin at 2:48 AM


Comments on "ScarCrux Theory"

 

Blogger Merlin said ... (July 05, 2007 6:10 AM) : 

Nobody ever had a dream round here,
but I don't really mind and/that it's starting to get to me
Nobody ever pulls the seams round here,
but I don't really mind and/that it's starting to get to me

I've got this energy beneath my feet
like something underground's gonna come up and carry me,
I've got this sentimental heart that beats
but I don't really mind (and) it's starting to get to me

Now.."Why do you waste my time?"
Is the answer to the question on your mind
And I'm sick of all my judges
so scared of what they'll find
But I know that I can make it
As long as somebody takes me home,
every now and then...


-The Killers, Sam's Town

Those were the lyrics I was listening to (from the Killer's album Sam's Town, title track) on my MP3 player as I was walking back over from my meal break tonight ... just sort of jumped out at me how much correpsondance there is with what I had just been reading in Harry Potter and the Order of the Phoenix before I wnet on break - the "The Eyes of the Snake" Chapter. A dream, something underground coming up to carry me (like the thestrals that will carry Harry to the Ministry, underground from death to underground of bureaucracy), energy and a sentimental heart like the kiss with Cho, Umbridge and the trial - "scared of all my judges, so scared of what they'll find" ... and being all right "as long as somebody takes me home every now and then" (Dumbledore's protection via #4 Privet Drive and Aunt Pentunia's choice to give Harry house room).

I think it was Nancy Brown with whom I had an interchange on here about the fact that they are putting the kiss with Cho onscreen in movie 5, and how totally banal and rube-ish, tactless and voyeuristic it is to do so. That is the scene I was just reading, and the dream afterwards and the leading into the snake attack on Arthur, and it hit me exactly how tightly packed this chapter is with really central themes and images.

I'm putting this comment under the present post on the ScarCrux because it is the most recent, but that snake vision is indeed one of the central passages offered in suport of the scar being a horcrux. For one, according to Dumbledore's comments at the end of the books (circa OotP 828) it seems that the dream awakened Voldemort to a connection that already existed (upon which Voldy then startes to practice legilimency). And the dream, a very pronounced psychic contact (I say "psychic" rather than "mental" because for humanity the mental/intellectual is part of the psychic, and if you read that account of the snake attack experience, it involves much more than intellect. It involves the feelings of body animated by soul. The is desire - "Harry longed to bite him" - OotP463), comes through the very snake, Naginni, that we find in HBP that Dumbledore suspects to be a horcrux, not to mention the fact that the snake is intimately tied to the baby body voldy's soul animated, from which he resurrected, with the other elements, the new body his soul now animates.

But, back to that kiss with Cho. I have already, in that conversation with Nancy Brown, explained more at length why I think it such a poor choice to put it onscreen in the movie, so I will just reiterate the main point here. In light of what I am supposing to be, in my recent post, a central 9that I am predicting wil put her as the final DADA teacher at the end of the series (with a patronus change and development), the fact that the kiss comes in this cnetral chapter of book 5 is important and told through a very specific narrative method that alludes to the dpeth by "shrouding it in mystery." In the midst of all the violent emotion in this book (especially) I think that kiss is a violent thing ... not a violent kiss, but a kiss bound up in all of the violent struggles both Harry and Cho are having. The fact that Rolwing does not have it onscreen, but rather told to Hermione and Ron by Harry after the fact, distinctly filtered through a layer of interpretation (a plain, out in the open and on the surface layer of interpretation, not just the "limited omniscient 3r person narrator" of the "narrative misdirection" element John Granger has brought out well) is a textual-narrative way of witnessing to the extreme turbulence surrounding the kiss. ... And then you have the standard exposition, a bit like dream interpretation (whether it be talk-therapy based or like that of Joseph interpreting the dreams fo Pharoh), by Hermione, of exactly what turbulence the kiss involved for Cho, precisely because of Cedric. And this dream, or maybe "oracle" (Harry's recounting fo an event) interpretation forms the basis for the dream introduction to the snake vision (along with some very nice placement of Quidditch importance imagery - Hermione telling Harry he should bequethe his firebolt to Cho, and the fact that it is being held by the little fascist Umbridge).

The choice to put the kiss onscreen, in light of the artistic integrity of Rowling in having it offscreen (not just the "appropriateness" or whatever, but he positive aspects I just mentioned of how adding a layer of intepretation through a layer of removal affects your undertsnading of the event), makes me want to say to the movie makers "yeah, whatever ... whenever you all decide to get around to actually doing something with integrity, give me a call" (and you do get similar things done in movies, and serious dramas movies at that ... like in Shawshank Redemption, in the first sexual assualt on Tim Robbins' character in prison by the "bull" trio, the camera backs away around the corner and the volume drops ... you know what happens without seeing it and the "respect" shown by the camera forms your perception of the event, in-forms your pathos for the depth of the suffering rerresented - unlike a movie like, say, Pulp Fiction, that gratuitously depicts the same type of event in much greater graphic detail ... personally, just off the top of my head, in a scene like the kiss I could imagine a "quick slam" down to silence/stark-close-up maybe working - the increasing closeness and intensity, then a slam-shift from Cho's face the the score to silence and Harry's face, a second of disorienting silence and then Ron asking how it was [as he does in the book] and panning out to re-orient - but I'm sure that in the present climate such a display of actual film story-telling technique would result in massive outcries by the shipper types, cries accusatory of prudishness and the like ... but interesting - the movie is getting panned anyway, at least by some, not for it's choice in material inclusion or exclusion from the text, but for the actors not being able to handle the heavier psychological material well, or the director not being able to get them up to scratch on it).

But that issue of dream interpretation is an important one too. I hit on it heavily in the psychological analysis I did in the post on the insanity chiasm ... but then you get into book 5 and you have dream interpretation as the standard element used in Trelawney's standard quack divination class ... so what does that say about what I was saying about the importance of dreams and interpretation?

I don't think it damages it if you understand the thing correctly. For every valid means of understanding, or knowledge, or wisdom, you will, in my experience, have a prominent quack version of it that muddies the waters for reception of the valid thing. In regards to dreams and prophecy, I have tried fairly regularly on here to hit on the thought of a prominent Jewish religious thinker of the 20th century, Avraham Heschel (Rabbi, I believe), on prophecy as not primarily "fore-telling" but "forth-telling" - that the object is not to predict material facts, but to understand the real meaning of historical and present events.

It is not that the predicting of future events does not eneter into the thing, but it is rather a corrolary effect ... the thing in and of itself is a matter of "logic." If one understands the true inner logic of the past and current events, one will see what their future logical conclusions will likely be. Material predictions are not for their own sake, but for verification of the validity of the understanding that they are based in, understanding of present events.

Rowling's plot phrasing here is very much along these lines of "prophecy" (a dream) being, if understood rightly, insight into what is really going on in present events ... Harry knows it is that he is there, it is what is really happening right now.

But also, as a nice little image drop on the insanity chiasm/issue ... seers are often thought to be mad, and did anybody notice th description of Harry when he wakes up from the snake vision? It involves descriptive qualities of exactly how sordid these events and matters feel, in the word "twisted," but more to the point, on the mental health thing, it reads, "His bedcovers were twisted all around him like a straightjacket" - standard "rubber room" "assylum" imagery.

On top of all this the chapter begins with Hagrid's indroduction of the Thestrals in CoMC class ... the death theme and imagery, death-death as a revelatory path to seeing the thestral that is really there and something that can be coped with in a healthy way or not ... and the little fascist Umbridge seems to be of the opinion that death should, at all costs, be dealt with in as unhealthy a way as possible.

Thus, this chapter has a pretty tight weave of a lot of stuff, themes and image elements, that I have been talking about recently on here, packed into 3 concrete events of which the chapter consists: the Thestrals, the kiss and the snake attack - all packed together in neat order and succesion. In those three you have the death theme (with Hagrid connected to it, remembering that book 7 will be the red stage of the alchemical process and his name is Rubeus), the centrality of Cho (the middle term/event), mental health images (remember what I was saying about vomitting in one of the comments on the insanity chiasm? Harry does it twice from the pain in the scar in this passage ... this is heavy stuff), and the connection with the snake and voldy that could be a horcrux connection.

 

Blogger Merlin said ... (July 20, 2007 3:05 PM) : 

As one least parting shot, here within the 12 hr mark to the release tonight, one more thing popped into my own head about the possibility of Harry putting his head through that veil ... and that is Fred and George's disappearing-head hats in Order of the Phoenix as a possible text clue if that is indeed the case (that Harry will put his head through the veil to remove the scar-crux ... if indeed the scar is a horcrux - as we all have so hotly debated ever since the release of book 6 ... we shall see tonight when all the waiting is finally over)

 

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