Spare parts and Diggory's death

Death is a part of Harry Potter. We all know that. The entire series of novels is set into motion by the brutal murder of Lily and James Potter and an almost unspeakably ruthless act -- the attempt to murder an infant, just over a year old.

I would argue, however, that it is the matter-of-fact, entirely needless murder of Cedric Diggory at the end of book four that provides the series its most brutal moment.

Diggory does not need to die. Rowling could have spared him simply by having him touch the Tri-Wizard Cup a split second later than Harry and get left behind in the maze while Harry is hurtled hundreds of miles to the graveyard to face the Dark Lord. Voldemort could have spared Diggory simply by ordering Wormtail to stun him and forget about him, rather than kill him. Wormtail could have refused to kill him, could have chosen to stun Diggory simply because his murder is such a brutal, needless, cruel act.

Diggory's death is not necessary to the rest of the plot of The Goblet of Fire. After Harry brings his body back to Hogwarts, we see one immediate scene as the shock of Diggory's murder spreads through the crowd and sends his father into grieving hysterics, but no plot point, no future development hinges on Diggory being dead.

Diggory's death is important, however, and perhaps my comment above that "Diggory does not need to die" is not entirely accurate. Cedric dies because Rowling needs to send a clear, ruthless message -- to the characters who are on the side of good in the books and to us as readers -- that Voldemort is back and as brutal as he ever was. With this scene in the graveyard, everything changes.

We are no longer reading simple young-adult fiction where, if death occurs, it occurs off stage, it is crucial to the plot and it occurs for a reason. No, we're reading stories about the most evil sorcerer the world has ever seen, under whose rule death is a common-place, everyday thing, death occurs as often and as casually as the arrival of the owl post, the teaching of classes, the eating of meals.

When Voldemort, still in his almost powerless, infant form, hisses to Wormtail, "Kill the spare," the universe changes. We, as readers, learn that Rowling will pull no punches from here on out. Evil will be evil in every sense of the word. And we learn that Voldemort's cruelty knows no bounds. He will kill with impunity, almost without thought, certainly without remorse. And finally, we learn that Voldemort's followers will carry out his most cruel, most senseless orders without question, without consideration of morality.

And the word "spare" is important. It hits us like a hammer. In the Dark Lord's mind, Cedric Diggory is not a young man, filled with hope of a bright future, kind, funny, handsome, beloved by his family and his friends... he is a spare part to the story, an accidental element that must be swept aside for Voldemort to achieve his goals.

In the French translation, Voldemort hisses "Tue l'autre". This translates, as far as I understand, as "Kill the other". It makes sense, sure, but I'm not sure it has the impact of "Kill the spare." I'm not sure it sends the same ruthless message.

Problems with Priori Incantatem and the wand that killed Cedric

Here's where it all started:  Harry's dream/vision in Divination class in the middle of The Goblet of Fire.

Although I have always believed that these "visions" of Harry's, in which he was able to see what Voldemort was up to, were real, I realized that J.K. was about to give me absolute proof of the fact when I got to the end of the book.

When Harry's wand, you see, forces Voldemort's wand into Priori Incantatem in their duel in the graveyard, the Dark Lord's wand "regurgitate[s] spells it has performed -- in reverse. The most recent first... and then those which preceded it". That's how Dumbledore explains the effect.

So I knew, if Harry's vision of Voldemort's using the Cruciatus curse on Wormtail was actually true, we should see that spell emerge from Voldemort's wand in the graveyard.

And if the Cruciatus curse did not emerge from the wand, then either Harry's visions were not real or... Rowling simply forgot to include the torture curse when she wrote the scene.

I was very pleased, then, when my test worked and confirmed that Harry's visions were real. The first curse to emerge from Voldemort's wand was described as "screams of pain", which would be the Cruciatus Curse the Dark Lord had just used on Harry, then Wormtail's new hand, then "more shouts of pain" (Voldemort's torture of Wormtail to test his wand), then Cedric, and then more screams of pain (which would likely be the curse I was watching for: Voldemort's punishment of Wormtail that was depicted in Harry's Divination-Class vision).

Cool. So the visions were real. I already believed that they were but this confirmation was nice to have.

Unfortunately, I discovered several new problems through my careful examination of the Priori Incantatem effect on Voldemort's wand.

First and most importantly, Voldemort's wand did not apparently cast the curse that killed Cedric Diggory. As you will recall, just after Harry and Cedric arrive in the graveyard, Wormtail approaches carrying a terrifying bundle. Before the two boys even understand what's happening, "a high, cold voice" says "Kill the spare".

The cold, high voice is Voldemort, still barely alive, giving orders from inside the bundle. And then, "A swishing noise and a second voice, which screeched the words to the night: 'Avada Kedavra!'"

That second voice is Wormtail's -- he casts the spell that kills Cedric Diggory.

Perhaps Wormtail was using Voldemort's wand at that point, you suggest.

Perhaps. But there are three arguments against that:

First, Rowling makes no suggestion that Wormtail changes wands before he performs several other feats of magic soon after killing Cedric, including the Lumos charm, the spell that creates the cords that bind Harry to the gravestone and the several bits of magic involved in preparing the cauldron for Voldemort. Yet none of those spells emerge from Voldemort's wand under the Priori Incantatem effect.

Second, it is very clearly established in The Deathly Hallows that Voldemort is protective of his own wand. He even mocks Lucius Malfoy when Lucius dares to believe that the Dark Lord might trade his own wand for Lucius', rather than simply taking it.

Third, and most compelling, when Voldemort recovers his full, adult body in the graveyard, Rowling indulges in a very careful, very detailed description of that recovery. She tells us that Wormtail gives the Dark Lord a robe from the bundle he had used to carry Voldemort into the graveyard. She describes Voldemort's careful examination of his recovered body in great detail.

And then... she says, "Voldemort slipped one of those unnaturally long-fingered hands into a deep pocket, and drew out a wand."

Until that point in time, the Dark Lord's wand had been hidden deep inside the bundle of robes.

So, I think we can agree, Voldemort's wand did not kill Cedric Diggory. So Cedric should not have emerged from the wand under the Priori Incantatem effect. And Cedric never should have been in a position to ask Harry to take his body back to his parents.

It was a lovely scene, no doubt, but it makes no sense at all in the context.

That's not all. There appears to be another inconsistency in the Priori Incantatem scene.

I believe that it is well established that, when the Dark Lord came to Godric's Hollow to kill Harry in the very beginning of the entire tale, Voldemort first killed Harry's father and then offered Harry's mother the chance to live if she would simply step aside and allow Voldemort to kill the baby.

Lily Potter refuses and dies attempting to protect Harry. This selfless act provides Harry with the ancient magic that allows him to survive Voldemort's curse.

I honestly cannot recall where the passages are found in the seven books that confirm this version of the events but certainly the films present this version very clearly.

So why, if Priori Incantatem effect causes a wand to "regurgitate spells it has performed -- in reverse. The most recent first... and then those which preceded it", does James Potter emerge from Voldemort's wand before Lily does?

Lily died last and, according to Dumbledore's explanation of the effect, should have emerged first. This is not so bit a problem as the whose-wand-killed-Cedric-Diggory conundrum above but it is still an error in the writing.

It's about time. It's always about time...

I am on record (numerous times in fact) as to how much I like and admire Harry Potter and the Prisoner of Azkaban. I think it is one of the best of Rowling's seven HP novels and I look forward to reading it every time I pick it up.

But I have to admit, I really regret the fact that J.K. introduced time travel into her magical world.

I have felt the same about the introduction of time travel into all kinds of other wonderful works of fantasy and science fiction: time travel, if it is accessible and fairly easy, completely ruins the drama and introduces all kinds of problems with the story at hand.

In Rowling's third book, time travel allows the creation of a very exciting, interesting plot and a very creative resolution, to be sure. But...

1. If time travel is so dangerous and so strictly controlled by the Ministry, why is it made available to a 13-year-old girl who wants to overload on classes at school?

2. If time travel is so simple to perform, why does the Ministry not use it to avert any of the major disasters that take place in the Potter novels, like the rise of Voldemort, the death of Harry's parents, the murder of dozens of people by Peter Pettigrew, the escape of Sirius Black from Azkaban, the escape of Wormtail, the attack on the Department of Mysteries, the murder of Cedric Diggory, Voldemort's resurrection in the grave yard, Dumbledore's death, the final battle of Hogwarts and on and on and on?

3. If Hermione and Harry can go back three hours in time just by turning the time-turner three times, why not go back five, six, ten hours in time and catch Peter Pettigrew before all the drama begins?

4. Why, in the seventh book, when Harry seeks the Resurrection Stone in a desperate hope of seeing his parents again, does he not, instead, decide to go back in time to save his parents from death in the first place?

5. Why does Voldemort not steal a time-turner and go back in time to avoid his pivotal attack on the infant Harry?

When you introduce time travel, you introduce problems.

I also have to ask the question: why does Dumbledore send Harry and Hermione back in time to save Buckbeak and Sirius rather than simply going back himself? Surely, he would be much more likely to succeed than would these two underage wiz-kids.

As usual, I ask these questions with a smile on my face. These are small issues when compared to the strength of Rowling's creation.

What did Snape know about the Map and Messrs M, W, P & P?

As I have said several times before, The Prisoner of Azkaban is probably my favourite of the Harry Potter books and films. So I approach reading this third novel with a great deal of anticipation and, most often, I sit down to the watch the film when I am coming to the end of the book.

I just love the way the film presents the time-turner elements of the story at the end.

My most recent reading, however, has raised some confusion in my mind, confusion with regard to what is actually going on in the scene in which Snape and Lupin square off over the discovery of the Marauders Map in Harry's possession.

What does Snape know about that map? And about "Messrs Moony, Wormtail, Padfoot and Prongs", its creators?

Certainly, he appears to know a great deal: when he says to Lupin, "You don't think it more likely that he got it directly from the manufacturers", he seems to be indicating that he knows that Lupin and his friends created the map and that Lupin had, in fact, given it to Harry.

So why, then, does Snape allow Lupin to lie to him so blatantly in claiming that the map "looks like a Zonko product to me"?

And why doesn't Snape keep the map and take it to Dumbledore as evidence to support his theory that Lupin is helping his old friend Sirius Black?

We know that Snape is fully aware that Lupin is a werewolf (suggesting the nickname "Moony"); why would Snape not then be able to start to unravel what the other nicknames imply and then figure out how Sirius was able to get past the Dementors and enter the school?

I'm not trying to be critical; I am simply confused. Am I reading this wrong? Is Snape not fully aware of who the manufacturers of the Marauders Map were? Help me figure this out.

A couple of other points on The Prisoner of Azkaban:

On at least two occasions in this book (when Neville breaks a tea cup in Divination and when Hagrid drops a milk jug in his hut), we see magical characters scurry to clean up the mess. Why didn't they deal with the mess with magic?

In the film, when Lupin has his Defence Against the Dark Arts class first face the Boggart, we actually see the Boggart transform into a Dementor on Harry's turn. Lupin doesn't intervene until we, and everyone else, actually see the Dementor. Why, then, does Lupin later suggest that he intervened because he thought it would turn into Lord Voldemort?

In the book, Lupin intervenes before the Boggart transforms, which makes his explanation plausible. But, in the film the Dementor actually appears before Lupin steps in...

Two things to think about, I guess. And please help me to understand what Snape knew and did not know about the Marauders Map and the various nicknames for Lupin and his friends.

Eagle owls and subtlety in writing

Let's talk about eagle owls for a moment.

I think we all know that the Malfoy family owns an eagle owl. We see it delivering packages of sweets to Draco early in the series and from time to time thereafter.

We also know that, in that pivotal vision that harry has in The Goblet of Fire of Voldemort, Wormtail and Nagini just before the third task, Harry arrives at the Riddle Manor House riding upon the back of an eagle owl.

But did you notice that J.K. mentions an eagle owl one other time, earlier in that same novel?

Having grown tired of Ron and Hermione's squabbling over the plight of house elves, Harry decides to go to the Owlery by himself to send a package of food to Sirius. After seeing Pigwidgeon and a couple of school owls off, he stands, looking out over the school grounds, the Durmstrang ship and the Forbidden Dorest, thinking.

Harry sees Hagrid busily digging a patch of ground outside his home and he also sees something else: an eagle owl that flies through the coil of smoke rising from Hagrid's house.

It's a beautifully written, calming scene, like a landscape painting that draws your eye into the world it depicts.

But it's also a clue. One I had not noticed in all of my previous readings of this novel.

The eagle owl is bringing messages back and forth between Barty Crouch Jr. at Hogwarts and Voldemort at the Riddle Manor House. It has to be. It's the Malfoy eagle and it's being used as part of the plot against Harry.

Harry's subconscious mind recognises it as a clue and inserts the eagle owl into his vision. Instead of a message, the owl brings Harry to Voldemort.

When I finally noticed it, I couldn't help but to be impressed, once again, with Rowling's skills as a writer and the very carefully thought and planning she put into every novel.

I've always been amazed at how subtly she inserted a bug into every scene of this book where Rita Skeeter (whom we later discover to be an animagus) eavesdrops on conversations; I never noticed this lovely and subtle clue which should have told me, at least given me a clue as to who was plotting against Harry at Hogwarts.