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Dursleys were middle class social climbers (the most universally despised class). weasels and malfoys were the two types of old money with no money (and fathers who had to stoop to taking govt sinecures as welfare, or in shady business with The Wrong Sort ("directly in business" being the most disreputable part of course)). Hermione was the acceptable kind of rising middle class (dentist, daughter in higher education, probably going into non-profit work). Harry was the ideal form of old money, with a good pedigree on the father's side, fresh blood of undeniable quality from the mother's side, and the money still there (and nobody asks where it came from because it obviously wasn't from anything as tasteless as working for it). Goblins were the international finance class obvs.
Harry is the classic storybook prince who grew up noble living in a pig pen and instantly takes to the ways of his people through pure blood memory.
I'm not sure we even saw anyone who was legitimately from the lower orders except a few parodies like hagrid and the house gnomes, maybe the bus driver? There was probably a scholarship boy hanging from a bannister by his underwear that nobody bothered to mention because it would be gauche to bring attention to it.
I love that Americans can look at the same scene through an entirely different colour spectrum, and all the flashing red bits just look gray to them.
The thief Mundungus Fletcher surely qualifies.
Guess I need to read the books again, because that name only sounds vaguely familiar. He was filching stuff from Sirius's house, right?
(Spoiler: he will not in fact read the books again)
That's right.
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The question is what value is encoded in the British lens and what Americans are missing by not seeing this worldview. Does it make Americans worse analysts when interacting with the Chinese etc or does it free them to do more, with less mental burdens or are they stupider because they're not constantly doing such social calculus etc etc Like preeminent American Timothy Dexter I'll put my punctuation at the end...,,,???????
If some reader misses something that the author intended and the expected audience understood, I would think less of that reader. Like if all I took away from Animal Farm was that it is a sad story about animals, you would be correct to look down on me.
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Certainly I find that living in a foreign country is more relaxing in many ways because my social radar isn’t going off all the time.
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Weasleys werent old money, even if we discount the weird Irish twins none of them speak in RP / upper class accents except for Ginny to some extent. If one had to place them in the British class system it would be as middle-middle rurals vaguely involved in county life but certainly not upper class. There’s no real evidence dad’s job is a sinecure and the ramshackle thing they live in is more quaint converted barn (or grain silo) than dilapidated dower house.
No, I agree with @SteveKirk here. The Weasleys have a noble background (they’re on the Black tapestry) and they’re well known as an old-established Pureblood family. Lucius Malfoy basically dislikes them for being traitors and letting the side down.
It’s noted several times that Mr. Weasley could have a lot more money and be a lot more influential if he were willing to toe the line. He has personal relationships with bigwigs and Department Heads like Bagman and Crouch.
Many of their children also get distinguished positions: Percy goes straight to the top of government and Bill has an important job in the biggest bank in Britain.
(I’m ignoring accents and going by the books, I never had much interest in the films).
Yeah, I only got dragged to the first film by gf fam, but at least in that one they... didn't seem to know what to make of some of the characters.
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Every pure blood family is a well known family because the total number of wizards in Britain is in the thousands, almost certainly below 20,000 even with much longer lifespan than normal for humans. There are conceivably older wizards in their nineties or hundreds who know by name the vast majority of the wizard population in the country.
It’s also a largely post-scarcity society in which bad jobs are done by magic or slaves (eg. the dishes do themselves in the Weasley kitchen), so we imagine people working “service jobs” like shopkeepers or cooks do so primarily because they derive enjoyment from that customer interaction rather than because they need the money. There is financial inequality but it’s mostly abstract except when it comes to the purchase of some magical goods and services (like wands or brooms or magic candy) that cannot be conjured out of thin air and thus require the labor of actual other wizards. Textbooks and other things seem to have some semi-inviolable magic copyright attached.
Most people are essentially middle class, working in the few things not outsourced to magic (aforementioned artisanal magic crafts, the justice/courts system and government, some hospitality, and education). Many people appear to do just fine having little or no real employment, perhaps because wizards can conjure space, light, heat, food, warmth and can teleport. In this context, a job in “the civil service” ie Ministry of Magic isn’t the same as a sinecure in a muggle government. It’s likely the ministry creates a job for any wizard who wants one; the destitute are those wizards who choose to be.
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I always got the impression that JK was channeling Hyacinth Bucket when she wrote Petunia.
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Snape, I think. I can’t remember the flashback well but I think it’s implied that child!Snape comes from the bad end of town.
And the week after I compare Snape's parentage to race-mixing, the new series makes him a half-black formerly known as Prince. Absolutely perfect.
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Oh, Snape's wifebeating dad definitely was. His mom married down and Paid The Toll in American racial terms.
Unless he got a very good match Snape's children would have fallen out entirely, which is one reason him being in love with Lily in spite of his class anxiety was so meaningful.
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Uh, since when did the Malfoys have no money? They were famously generationally wealthy, as evidenced by Lucius Malfoy purchasing a new Nimbus 2001 for each member of the Slytherin Quidditch team in Chamber of Secrets
I thought their house was described in that "not enough money to keep up the manor" state, and they were paying off servants or something. Maybe I was mixing that up with something else.
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I don't think it's enough to say they were in economically dire straits, but in the Half-Blood Prince, Narcissa is portrayed trying to sell some trinkets.
I'd have liked an angle where the Malfoys turn to Voldemort out of economic desperation.
More like Voldy eating them out of house and home :P Like Elizabeth I who destroyed political enemies by turning up with her retinue for two months.
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Yes, the Malfoys were evil aristos parleying old money and social status for influence.
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Malfoy’s mates Crabbe and Goyle - lower class or lower middle class? Servants of House Malfoy? As an American, all I can tell is they’re somewhere between soccer hooligans and Alfred Pennyworth.
Probably a dodgy genealogy chart claiming they've been cracking heads for the malfoys since 1352, and a dubious claim on the family heraldry they put on everything. That sort.
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The lowest of upper/upper middle class, from what I've gathered if I'm not mixing it up with fanon. The kind that have to brownnose people like Malfoys to stay at their level.
Senior Crabbe/Goyle are in the Death Eaters so they couldn't have been too lowborn.
Though it's strongly implied that both Crabbe and Goyle generations are almost too dimwitted to use magic.
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DEs had a lot of people and AFAIR accepted anyone who was pureblood and was willing to worship the big V. I don't think it required any special position in the society, at least for mere membership - it seems to be modeled after the Nazi party, which explicitly welcomed low class people that felt the society has left them behind and wanted to do something about it, no matter who gets hurt. It seems the true numbers of DEs weren't even known as many who were eager to join when the things were going well for them, later claimed there weren't true DEs as they were imperiused or coerced (weird that they didn't have means to detect somebody had been imperiused, but let's not dwell of that, HPs magic system is so full of plot holes).
They could always dose anyone they wanted to question with Veritaserum, the problem in HP society is that the Good Guys can't just impose such measures on the important people.
The text implied there was a ton of low-level DEs who escaped any punishment basically just by going "don't know anything, was imperiused, leave me alone" and ministry of magic doing nothing about it. If anything, the prominent DEs were the ones who got Azkaban or forced to recant and snitch in public on others, and low-level goons largely got away with it - to flock back to Voldie once he came back.
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Also, sometimes you just can’t do stuff. Modern fantasy is very influenced by sci-fi and D&D, and readers expects thing to be rule-based, comprehensible, and amenable to experimentation. See for example all the silliness about playing rules-lawyer with genies.
I don’t think the deep HP magic runs on such modernist lines. It’s more like art: there are principles and the basics are straightforward but the complex stuff just isn’t, and you have to go by feel.
But it's not even explained why you can't do it, not even addressed. There are a lot of limitations which are spelled out, even if inconsistently - like Avada Kedavra being unblockable (which turns out not to be exactly true but ok) or you can't use Imperius to reveal certain secrets, or other stuff you can't do. But this point is never addressed - given that there are ways to remove Imperius (e.g. Thief's Downfall) why everybody, e.g., entering Ministry of Magic is not automatically un-imperiused? Worst thing it does nothing. There's also finite incantatem, there are also veritaserum (ok this one may be too expensive to use on each suspect consistently), and if MoM can detect magic done by underage wizards, up to knowing which spell what used by whom, why can't it detect Imperius usage by others? It looks like tracing works on adult magic (if it is performed in the vicinity of underage, at least) so again, it's inconsistent.
True, I forgot this.
In general, I feel an urge to push back against the ‘rule-ification’ of fantasy. It’s become gospel that fantasy worlds should have systems with clear rules, and a certain amount of post-enlightenment tendency to assume that everything is explainable and amenable to engineering.
We can’t even engineer human social systems, or understand how brains work beyond very basic principles. Why would we be able to understand literal magic?
The world that has no recognizable rules would be incomprehensible for us. You can't have "magic" - at least fantasy type magic, with wizards, magic books, spells etc. - in such a world. Why would doing a gesture and saying "imperio!" produce any consistent result in such a world? Maybe once it would put a person under your control, another time it would turn them into a frog, and another time it would turn your own head into vanilla ice cream. How would you "teach" magic in such a setting? How would you explain this world to anybody and make them involved in it? Basically the only thing you can tell the reader is "any shit can happen shrug". People would be unable to emphasize with such a world and imagine themselves being part of it. The beings living in such a setting would certainly have very little in common with humans as we know them. Maybe H.P. Lovecraft would be able to work with it, but even his nightmare worlds have some rules.... We need rules because our own world has rules, so our brains would be unable to comprehend a world which doesn't work this way. And Rowling is certainly going with the standard here, her magic system is not chaotic, it is set up as having very definite rules - in fact, the whole plot of the series relies on the fact that the rules of magic work in certain way and even the most powerful wizard of all times, who worships power and does not have any moral limitations, is not able to overcome these rules and is ultimately undone by them. In that aspect, I think Rowling's world is more rule-based than ours - in our world, the laws of nature are morally neutral, but in Rowling's world the magic is not. The only problem is that her system was not consistently designed and has many logic flaws. Which is also common for fantasy worlds, so I don't really hold a grudge agains her for that, one just needs to understand we have an imperfect rule system here and deal with it.
Rules for magic give us an interface for magic.
It’s like teaching arithmetic to the youngest kids, then gradually explaining over the next fifteen years of Masters-track schooling how it works under the hood. Eventually you get top math-wizards inventing new types of numbers and functions named after them, because they need them to make X go widdershins into Y through a tensor, but only if it’s not imaginary otherwise you get a strange attractor set and that’s not ideal at all.
Rowling’s system is about this deeply connected energy flowing through most living things, and where other magical sapients get instinctive and powerful ways to use it, humans have to use tools like wands and words to reach an instinctive level beyond wild flailing. (Like mundane animals having fangs and claws and venom, but mundane humans have to make tools.) But once humans can do wandless wordless magic, they’re basically instinctively programming flows of raw magic and can just blow past boundaries the first year students think are immutable.
Then, some magics were modeled by geniuses after the instinctive magics of beasts and beings and so the restrictions don’t apply for those spells, and other magics are basically like having admin access so certain artificial restrictions interact differently with them, like the Hallows.
The “anything can happen” feel is meant to retain the wonder of high fantasy, while the “you can’t do that spell that way” is meant to retain the utility manipulation of low fantasy. I think she did a great job at letting both levels work together, at least for the genre-redefining work of urban fantasy/Roald Dahl pastiche/bildungsroman/YA fascism dystopia it evolved into.
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I was thinking especially of Susan Cooper’s The Dark is Rising trilogy, and to a lesser extent of people like Dianna Wynne Jones or Alan Garner’s Weirdstone of Brisengamen.
The magic in the Dark of Rising isn’t chaotic, but we aren’t told the rules. Some of the characters (the Old Ones) know how things work but one of the big themes is that even though the Old Ones are on our side and appear normal most of the time, their true knowledge make them as distant from us as the stars in the heavens.
The magic works for the reader because it’s not arbitrary. The author is very careful that the magic feels right rather than thinks right. And many of the plot points are foreshadowed by a rhyme that runs through the whole series, so that people aren’t surprised when they turn up.
In general I think that old English fantasy tended to run much more heavily on imagery and allegory, and was generally written by students of ancient languages (Norse and Welsh, usually). Modern fantasy seems to be written by nerds and feels much more like engineering code (reaching an apogee in the LitRPG genre). None of this is bad, obviously, but I feel that something has been lost.
When the Dark comes rising, six shall turn it back:
Three from the circle, three from the track,
Wood, bronze, iron; water, fire, stone;
Five will return, and one go alone.
Iron for the birthday, bronze carried long;
Wood from the burning, stone out of song;
Fire in the candle-ring, water from the thaw;
Six signs, the circle, and the grail gone before.
Fire on the mountain shall find the harp of gold,
Played to wake the sleepers, oldest of the old;
Power of the the Greenwitch, lost beneath the sea,
All shall find the light at last, silver on the tree.
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