by Leah Valentai Wed Aug 14, 2013 1:21 am
Magical Theory
Contents
1.
What is Magic?
Magic as a force
Magic as energy
Magic as matter
Magic in the Magi
What is a Magi’s magic?
Where is a Magi’s magic?
Magical Strength
Developing Magical Strength
Magical Exhaustion
Casting
Components of Arcane Theory
Focus
Incantation
Mental Components
Magic as Intelligent
Techniques
Non-verbal and Non-focal magic
Spell Creation
Dark Rituals
Mental Arts
What is Magic?
Magic is quite a mystery to even the most learned Magi.
It behaves in different ways at different times, and it is my belief that it is impossible to pin down the true nature of magic, partly as it is so beyond the logical way in which our minds work, and partly due to the fluid nature of magic. Such is the nature of miracles - which can be a common definition of Magic in general.
What we can -and will- do, however, is make models of how magic behaves, and these generally split up into three main categories: magic acting as a force, magic acting as energy, and magic
acting as matter.
Of course, magic is none of these things in reality, but it helps to picture it in this way. Perhaps by understanding these different aspects of magic, we can come to have a fuller understanding
of magic as a whole.
There is one other separate magical model that is in existence: magic as a deity.
However, due to a complete lack of valid evidence, it is only a tradition maintained by Mundanes of differing cultures.
Magic as a Force
This is possibly the analogy which comes closest to perceived reality. Through modelling magic this way, magic is a force like the other forces of this universe (gravity, the electromagnetic force, the weak force, the strong force), governed by rules and laws. An example of such a law would be
the law of Annulus Vita -– the law stating that no magic can bring the dead to life. There is a section further on devoted to these laws and their conception.
However, magic as a force would be slightly different to the other forces of the universe. Firstly, as a force it has total dominance over the others. It would be an unnatural law, meaning that the four physical laws of the universe control everything until the magical force intervenes, and when the magical force is removed, and then the four forces regain their power. A simple example of this would be the levitation spell, Wingardium Leviosa. Imagine that you have a feather in front of you. This feather is currently being governed by the four physical laws of the universe. Now, when you cast a levitation spell on it, the magical force intervenes, subjugates the other forces, and makes the feather rise. When the spell is ended, and the magical force removed, then the four physical forces regain their dominance and the feather floats downwards.
There is one other aspect that the magical force has that the physical forces do not. This is the following: that only those beings with a connection to this force may be aware of it, and able to manipulate it. All others (Mundanes), though they may see magic performed, could never,
even with all their instruments and science, measure or manipulate magic. The force itself appears to prevent it. This also may be the reason why electronics fail when in the presence of a strong action of
the magical force (called a strong concentration, though this is misleading), as the very nature of Magic itself is disabling them.
Magic as Energy
Another, less accurate, analogy is that of imagining magic to be a form of energy, like heat, or light, or electricity. It is true that magic does appear to act in this way from time to time, but as a whole it presents a few problems.
The only real application of this model is in the casting of spells. Spells, once they have left the Magi, often act as if they are a form of energy. They can give off sound, light, heat, electricity, and a whole variety of other effects. Under the Mundane laws of the Conservation of Mass-Energy, energy cannot be destroyed, nor made, only transferred to different forms of energy, or mass. This law works well with this model of magic, as the superfluous effects of a spell (light, sound, heat and so on) can be explained as leakages of magical energy into other forms, whether directed or not (such as the Lumos charm vs. the Disarming Hex).
Of course, when modelling magic as a force we stated that magic is completely dominant over the other forces of the universe, and so the models of magic as a force are slightly in conflict with the models of magic as a form of energy. However, as these are simply models of reality, and not explanations of reality itself, this is acceptable, as different models are applicable in different situations. The model of magic as a force gives us an idea of magic overall, the model of magic
as energy gives us some idea of how magic works once it has been formed into a spell construct.
Magic as Matter
This is the analogy which is the least accurate yet still one of the most useful due to the modelling it allows. Comparing magic to matter is a rather contradictory comparison, as magic has no substance.
However, it is also possibly the most important model, as it deals with the very consistency of magic what it is made of and it is through understanding magic in this way that spells are created.
Until very recently indeed, the nature of magic itself has evaded magical researchers. However, recent studies in the Department of Mysteries have shed light on this most mysterious area, and the results
have been most surprising. Put in a simple way, and without going too deeply into Mundane physics, matter is made up of tiny little balls of elementary particles - atoms. In the same way, if we picture magic as matter, it is made up of millions upon millions of “elements”. However, unlike matter, these elements of magic are not charged elementary particles, they are Runes. Magic appears to be made up of a series of Runic languages, written into the very fabric of the universe. Each language seems to correspond to a different set of magic: one for the Dark Arts, defensive magic, magic that changes the
natural state of objects, and so on. Quite where these languages come from is not clear, however, we know that they exist, and using magic according to this model provides many accurate predictions of reality. And thus the study of Ancient Runes was taken into the modern day syllabus.
It is dangerous taking this model too far though. Magic is not like some big pot of liquid, with various glowing Runes floating around. Magic is abstract in the extreme, and has no substance. Though it is a helpful image, magic is not too much like matter, and we should not fool ourselves into thinking that magic is “made up” of runes, in the same way as matter is made up of atoms. The Runes are simply components of magic that are written into the laws and fabric of the universe: they have no physical manifestation, other than those that have been drawn by living beings.
Magic in the Magi
A Magi is not just a Mundane with extras. The allele that makes one a Magi is recessive, but once active it codes for a set of proteins and enzymes to be produced which re-arrange the entirety of a Magi’s genome. Thus, though they look human, Magi’s are really a completely different species to Mundane’s, and magic is as much a part of a Magi as it is of House-Elves or any other Magical Creature. This is an important aspect to keep in mind when dealing with other beings similarly gifted.
What is a Magi’s Magic?
The changes that a Magi's genome undergoes throughout their youth, starting at birth and ending at the age of seventeen (though most of the changes are done by the age of 11), enables the Magi to be connected with magic on a physical, mental and spirit level. At its most basic, a Magi's magic is Authority: the ability to tell the force of magic what
to do, and when to subjugate the other forces of the universe for the Magi's benefit. Of course, this is not so simple as simply saying, Do this! And there are many aspects to a Magi power (see section 4).
Accidental magic is a combination of a Magi’s unstable connection withmagic, due to the incomplete nature of the bond, and mental pressure applied by emotional distress. As the emotional state of the Magi progresses, they see less and less signs of 'accidental' or uncontrolled magic as they mature.
A Magi's magic and the changing of the genome also have several other effects. These are the traditional characteristics of a Magi: long life, resistance to all diseases (but for magical ones -Dragon Pox), increased speedand reflexes (if the Magi develops them), and the potential to becomemasters of their own minds. There are of course many other magical
abilities, such as Metamorphmagi and Parselmouth, which can come about
due to rare mutations of the magic allele and the generation of these trait’s own unique Runes.
Where is a Magi’s Magic?
From reading the above sections, the answer to this question should be obvious, but I feel that it needs to be addressed, as this is one of thekey points that confuse many of the populace.
Magic does not reside within or without the Magi, but is as much part of them as it as a chair.
It is merely the specific development of certain adaptations that differentiate the two.
Magical Strength
Though many will no doubt cringe to hear it, not all Magi are created equal. There are obvious disparities of power between Magi. This is perhaps one of the reasons why many people fall back on conventional wisdom: from these disparities, it would seem that magic can be quantified, as different Magi appear to have different ‘quanta’ of it. We must begin by doing away with this notion.
It will be helpful here, to imagine a Magi's magic like a voice. I have said earlier that a Magi’s magic is Authority, authority to command magic to do his bidding and bend the universe to his will.
Now, just as different people’s voices are different volumes, a Magi's magic can have different levels of Authority. The Authority itself is infinite and never ending: magic will never simply stop listening.
However, if a Magi attempts a task that is beyond their level of authority, they will fail - Magic itself has not accepted the request. This concept links in quite a lot with the subject of magical exhaustion, which will be dealt with shortly, so I shall dwell only briefly upon this idea. Simply put, it means that a Magi cannot, as the leman would believe, run out of magic, as the Authority that a Magi has cannot run out.
Perhaps another analogy is necessary, just to make sure that the idea has been made clear. Imagine, for a moment, that a Magi's magic is a liquid.
Now, some Magi’s have Mercury, the densest liquid in existence, whereas others have water, which is really not very dense at all.
The Magi with the Mercury has stronger magic, as it is “denser”. He has the same volume of magic (which is infinite), but the quality of that magic is of a higher level than others.
So it is that some Magi can be stronger than others, yet still all have infinite magic. I would not like you to take this analogy to seriously, as yet again I want to keep people away from the idea of magic as a substance, but it is a helpful picture, useful for illustration purposes.
Developing Magical Strength
We have already defined Magical Strength as Authority over Magic itself, but what are the constituents of that very own definition. How can a Magi grow in Magical Authority?
Firstly, it is evident that magic is intent based, and even more so- emotionally based. Several spells have an emotional requirement attached onto them. But the best way to label the first emotional requirement of any spell is 'confidence'. This can be tricky to exactly pinpoint, it is not the confidence that comes from a comfy home life, but rather the knowledge that one can perform any task indicated to him or her.
The best known example of this is our very own Harry Potter, who saw himself perform the Patronus Charm for an audience of dozens of Dementors. Upon seeing this, Potter's confidence of his ability to perform the charm -that he had previously lacked- came into the fore and allowed him to reproduce the spell.
The second trait of any Magi worth their salt, is perhaps familiarity with magic. This can be inborn and can be improved with a wand that is well attuned to the wielder. By this theory, one could assume that the Elder Wand increased this substantially, but it would not have been it's greatest virtue, which is another aspect that is covered soon. All in all, the governing factor in this instance is experience. Experience with magic, experience casting it.
Skill itself also plays a very mighty role. Skill can be broken down into a whole number of different side venues by itself, such as knowledge, tricks and short-cuts among their number.
It is this particular virtue that increases the capabilities of spells, and is the primary target of the Eldar Wand, which to this theory- makes all spells 'perfect'.
Perfect being a level of mastery so great that a whole number of different things could be achieved. It is a standard so high, that Dumbledore is the only figure who has shown us what is the casual standpoint that something of this level allows.
During the course of his tenure as Headmaster, Dumbledore was seen to have summoned wine from somewhere. A degree of mastery so great that he did not need to summon an object to him, that he could pull it straight to his location.
How then did he defeat Grindlewald who possessed the Death Stick? Perhaps at that level of Mastery such a item was a paltry thing at best, only providing an incremental amount of difference. However, it does nothing for the mental stability of the owner, which might have given the day to Dumledore in the end. This subject is touched upon next.
Finally in this series, we have emotional stability. The attribute that allows one to maintain a state of equilibrium that is essential in this theory for successful spell casting. Using the previous analogy of Dumbledore, it is a reasonable assumption that he is an Occlumens of prodigious skill and an excellent one at producing poker faces or masks, being able to conceal his pain from the Death Eaters who surrounded him on the Astronomy Tower before his death.
Magical Exhaustion
Magical exhaustion is a myth. I thought I would get that out of the way, before continuing, so that you know in what direction that we are heading. Magical exhaustion is a purely a layman’s idea, and is
in complete discord with the evidence presented to us.
Under the uneduated idea, a Magi has a set “amount” of magic, and if this runs out then the Magi is out of magic – exhausted – and has to wait for his
“magical reserves” to recharge. As you can probably see, this has a very Mundane feel about it, and its success may lie in the popularity of Mundane Role Playing Games among its proponents, in which they have values such as ‘mana’ which can be measured, compared and altered.
Now, I can already hear you thinking in your minds, “If there is no magical exhaustion, what then limits a Magi? And why do we see people apparently tired after, for example, a high-level duel?” The Magical
theory has answers to both these questions, some of which have already been touched upon.
I shall deal first with the idea of limitations. Magi quite obviously
are limited, but it is not by the “quantity” of their magic, for this
is infinite. No, as has been already said, a Magi is limited by the
quality of his magic, by his level of Authority. So, though a Magi may
perform any task within his level of Authority for an infinite amount
of time (all other things being equal), he can never perform a task that
is above his Authority. For example, a levitation charm is a spell that
all Magi can perform: it is well within even the weakest Magi's
level of authority, and it can be performed again and again,
indefinitely. Now, take instead a different spell: the Patronus Charm.
Though much difficulty with this spell is encountered due to
visualisation problems (in other words, the Magi's happy memory is not
strong enough), as a spell it also requires a medium level of
authority: those Magi that have that authority can perform far more efficiently, once they have mastered the spell, whereas those with
insufficient authority can never hope to cast it, no matter how much
effort they put into it. In this way Magi are limited.
Magi are also limited by a mental component, and it is this which
creates the illusion of “magical exhaustion” after high-level magic
usage. Simply put, the concentration required for high-level magic is
rather large, and if a Magi attempts to keep casting high-level magic
for an extended period of time, not only will he experience the strain
of such concentration (in the form of headaches, and in extreme cases haemorrhaging ), but his concentration will also begin to slip. As mental
concentration is an important part of spells, especially powerful ones,
his magic will then begin to suffer, and it will appear as if his magic
is “running out”. It is in fact just his mind. In the same way, a person
who is going through emotional distress (for example, depression or
mourning) will have lower concentration skills, and therefore their
magic will suffer.
Casting and Spells
This is worth noting as it is another one of those topics which, at
first sight, appears to back up the Neo-Merlinist theory of magic. When a Magi's Authority is exercised, and manifests in the form of a spell,
for the accurate prediction of spells and how they act, we must use the
Taurist model of Magic as Energy. This is the only application of this
model.
However, this still differs from the flawed idea. The
uneducated views a spell as a piece of the Magi's magic that has
flowed out of the body, as if it were a substance, and formed into a
spell construct, then expelled through the wand. This is not how the
Magi views magic. A spell is not a piece of magic that is spelled
from the body, as a magi's magic is not a substance, nor something he
posses like his blood, but a property of his very being, that allows
him to tap into the magical force of the universe. Thus a spell, though
we must use the Magic as energy model for it, is not energy that has
come from the Magi's body: it is a bending of the universe by the
force of magic, centred by the Magis focus. Organising the Runic Language into a specific phrase/patter/order/grouping. There is no word in any language to describe this evolution of creation.
Components of Magic and Spells
Magi have been in existence for approximately 60,000 years, when a
mutation in human DNA created the magic allele. Quite how this is
possible is not certain, as being a recessive allele, there needs to be a
copy of it on each homologous chromosome for it to affect the phenotype
of the organism, which couldn’t have occurred unless the first Magi
parents both had mutated the magic allele: extremely unlikely.
Nevertheless, it happened, and the Arcane race was born. The natural
advantages of being magical (resistance to disease, long life,
protective accidental magic in youth) ensured that the mutation spread
quickly, though the fact that it is a recessive allele meant that it did
not spread as quickly as it could have.
The earliest Magi of course had no idea about their magic – they did
not even have language to invoke it back then, any magical phenomena were
accidental. Progress did not come until the dawn of civilisation, when Magi started to experiment with their magic and magical plants.
Potions are perhaps the oldest of all magical disciplines.
Magic back then was unfocused and lacked precision: other than potions,
the only type of magic that could be done was a form of Runic magic, in
which a Magi would write out a Rune (one of the runes that are written
into the fabric of magic), and the rune would give whatever it was
drawn on magical properties, manifested by the magic of the Magi that
drew it.
The next leap of progress was made when a Magi in Rome created the
wand, which allowed for greater complexity of magic, and the first
spells were made. It is perhaps the wand that powered the Roman Empire’s
quick expansion, and wherever they went the Magi brought wands, and
so the revolution spread slowly around the world.
Now that we've had that quick history lesson, we can continue in our
exploration of magical theory, looking through what exactly makes up
spells.
The Focus
The magical focus has a twofold purpose, one mental, and one magical.
There are many possible types of focus, however, the most common is the
wand, as it is easy to carry, flexible, and can make a variety of
complex movements possible. It also has the simple advantage of being
easy to point at things: a surprisingly key part of magic.
The first – less important – purpose of the wand is as a mental focus.
Concentrating the mind on a specific point in space helps concentrate on
a specific idea in the abstract: the wand acts as crucible for the concentration of the Magi. This may sound trivial, but in complex
magic such as human transfiguration this mental focus is essential, as
the mind has to focus on many things at once.
The second, more important, purpose of the wand is so that wand
movements can be made. These wand movements correspond to the Runes that
are part of magic: in effect, you are drawing the applicable Rune, or
part of a Rune, or a series of Runes, in the air when you are making a
wand movement in a spell. This communicated your desire and Authority to
the force of magic, which responds. Now, in modern magic many spells do
not need a wand movement, and this is because of the development of the
incantation, but in ancient cultures, such as the culture of ancient
Greece, Magi did not use incantations at all (they did not know of
their existence) and relied completely on complex (perhaps overly
complex) wand movements.
The Incantation
The incantation is an alternative method by which a Magi may
communicate his Authority to magic. However, speaking any old words in
any old language will not do. Almost every language in the world has at
least some roots in the Runic languages of magic, and some languages are
more magical than others. Generally, the further back in time you go,
the closer links to magic a language will have. It is a well-known fact
that Latin is the most magical of languages, and this is the reason why
most spells are in that tongue. But even within Latin, there are some
words that have human origins, and some which have magical origins, so
simply making a Latin sentence will not work as an incantation: an
incantation must consist only of the words which have their roots back
in magic, and often these words will be twisted from Latin further back
towards their magical etymology.
With incantations, there appeared an alternative way of casting spells,
other than wand movements, and so the two became mixed together: almost
all spells now have an incantation, and all spells must be cast using a
focus. This is because neither the full incantation, or the full wand
movement is used, instead, a hybrid of the two us made, and a spell will
not work without both incantation and wand used in combination. The
only exceptions to this rule are those spells that were created before
the practice of combining wand movements and incantations became
widespread.
Mental Components
As well as the incantation and wand movement, many spells also have a
mental component. This can take one of three forms: an emotional factor,
a knowledge factor, or a visualisation factor.
Emotional-factor spells are obvious: they are spells that require a
specific emotion to be cast. The Patronus Charm is an example of one of
these: happiness is needed for the spell to be cast, and most Magis
conjure this emotion through remembering a happy memory. The Cruciatus
curse is also an example: sadistic pleasure in the pain of other’s is
needed for that curse to be successful.
Knowledge-factor spells are less common, and are generally restricted to
one branch of magic: Transfiguration. In these spells, the caster must
have the knowledge of how the spell will work in order for it to be
successful. This is why so much biology and theory is taught in
Transfiguration: it is because without this knowledge, the magic does
not know what to do, and so the spell will fail, even if the incantation
and wand movement are perfect. A particular example of this would be
the Animagus transformation, where the witch or Magi must know
everything about the animal they are turning into for the change to work
properly.
Visualisation-factor spells are the most common of the three, and
visualisation is necessary in many Charms, and much of Transfiguration.
For example, when transfiguring a chair into a desk, though a person may
have the knowledge of how this works, the wand movement correct and
incantation perfect, if they do not have in their mind a picture of the
details of the desk, it will be very simplistic and have little detail.
Another example of visualisation-factor spells is the Levitation Charm,
where the caster will picture where they wand the object to levitate to,
and the object will follow.
Magic as Intelligent vs Sentient
As has been mentioned, for many years it was believed by the Magiing
world that magic was a sentient deity of some sort, and this belief was
not totally unreasonable: sometimes, magic does appear to have a mind of
its own. However, it is now quite obvious that this is not the case:
the force of magic could perhaps be described as intelligent, in that it
can interpret a Magi’s intentions, but it is not sentient.
A good example of this would be the use of the Impervious Charm. If this
charm were to be used to repel water from your eyes as you were riding a
broomstick in a rainy Quidditch match, then magic interprets your
intention as you wanting to keep away rain from your eyes. If magic were
stupid, and took everything literally, it would keep all moisture from
your eyes, and they would dry out. This does not happen. Thus, we can
divine that magic, though not sentient, is intelligent.
Techniques
We have talked a lot of magic in relation to spells, but there are also
other, rare, forms of magic that are not really spells: they have no
incantation, and a wand. I shall call these types of magic,
“techniques”, for this is how they are performed: the Magi goes
through a certain thought process, rather than using a spell.
Examples of this are few, and perhaps the most commonly known is
Apparition. Anyone who has had to endure the Ministry’s apparition
instructors will know of the three D’s: destination, determination and
deliberation. This is a perfect example of a technique. No spell is cast
in apparition, it is simply a thought process, with some visualisation
involved, and the magic does the rest. It could be said that the
spinning on the spot takes the place of a wand movement in focusing the
Magi’s deliberation, but this is a tenuous link as the Magi has to make their own Rune for the transit that describes their location, the location they wish to travel to and how much weight is needed for compression.
Another example would be the rare mind art of Occlumency, where the user
becomes the master of their own mind, completely aware of what goes on
within, and able to manipulate the inner workings of the mind according
to his will. Again, this is no spell, and this time involves no
visualisation: quite the opposite. Occlumency is a thought process, one
which has to be kept up continuously.
The Rune(s) for it are completely and utterly individualised, as it is used to describe the mind the user wishes to project. A later section will look into the related mental arts.
Non-Focal and Non-Verbal Magic
The naming of these two magical phenomena are a somewhat misnomers.
Despite how they sound, non-verbal magic very much includes an
incantation, and non-focal magic still involves a focus. The difference
is that these, instead of being physical, occur in the mind.
Ever since the wand was first created, Magi’s attempted to replicate
the beneficial effects of the wand without having to keep the physical
presence of the wand, which they viewed as a crutch. Eventually, a
solution was found, though it is one that only those of the highest
mental calibre can perform (usually only those who have mastered
Occlumency have enough mental power to perform non-focal magic). The
solution was thus: instead of physically drawing the runes in the air
with the wand, and instead of physically using the wand as a mental
focus, the Magi would picture the wan doing these things in his mind.
It was found that, though the whole process was mental, the Authority of
the Magi would still be translated to the force of magic, and the
spell would form.
There are however, limitations, even for those Magi’s who have enough
mental focus to perform it. Any spell that manifests itself according to
the laws of Magic as Energy will not work without a physical wand. That
is to say, any spell that causes a physical effect, such as a jet or
ball of light, will not work, as the wand is crucial for the direction
of this magic. So, spells like the Summoning Charm, and the Levitation
Charm, will work, whereas spells like a Stunning Hex will not.
In the same way, non-verbal magic works by the Magi not getting rid of
the incantation completely, but by intoning the incantation mentally
instead of verbally. This requires less concentration than non-focal,
though only about ten per cent of all Magi’s master this ability. The
concentration required for non-verbal, and non-focal magic combines is
phenomenal, and sometimes whole generations can pass without anyone
capable of this feat. There are no limitations to non-verbal magic.
Spell Creation
Among all fields of magic, few are more dangerous then the art of Spell Creation. Reserved for those mad, skilled, brave and desperate enough to formulate their own Runes and inscribe them on the nature of the universe itself. Such an act is among the most beautiful and transcendent things to do and observe if done correctly. However if it goes wrong, there are those who have gone made from watching the figures that drift in that empty nether devour those who would touch the veil that they guard most jealously.
There are only a few who have attempted such actions, the most notable one being a certain Severus Snape. A genius in many things, but having created three notable spells marks him as among the most accomplished in the field. The most public fatality to this art is the Mother of Luna Scamander nee Lovegood, a witch known for experimenting with spells. As it is known that Mrs Scamander observed the incident it is possible that it affect her mental processes. If anything at all this is an example of even those who escape from such an ill-fated event with their lives.
The exact procedure that is gone through is unknown, however it can assumed that from this theory that the Rune is inscribed on the fabric of the universe, and then a incantation is sought out. This is most aptly demonstrated in Severus Snape's notes in his potion book, where he created several incantations for a darker version of the severing charm, until he finally reached the end product of 'Sectumsempra'. It is evident that there is more then one way to incant a spell, but there are differing levels of 'connectivity'. In that the word has little in common with the Magical Runes and hence is not fully understood.
Dark Magic
This is among the most carefully broached of all subjects, heavily disputed on all sides as to the definition and proper usage of these spells that have been labelled as the Dark Arts.
However, this section of this essay also seeks to address Dark Rituals, hence the broader term used for this discussion. To begin with, we will delve into how exactly the Dark Arts have been defined over the years, and why, despite many attempts to the contrary- they remain Dark. Featuring predominantly will be the Unforgivable Curses, and an explanation behind why they are the pinnacles of Dark Magic.
To begin with, one must have understood that intent is everything in spell casting. Your attitude, your drive, your perceptions. All those factors command the magic to your desired effect. Incidentally, the word ‘Dark’ is somewhat misleading for that reason, as it is not literally lacking of light. Rather it requires moral depravity in any particular area to be of any use.
As was shown when Harry Potter attempted to use the Crucifixion Curse on Bellatrix Lestrange, it had limited effectiveness because -as she herself points out- he did not want the pain to be inflicted. It was a righteous anger, not one that could be funnelled to power such a spell.
A less obvious example is the first incident of exposure to the curses, when Barty Crouch comments that even if the entire class were to pull out their wands and incant Avada Kedavra, it would be unlikely to give him anything other then a nosebleed.
Leah Valentai- Fourth Year Ravenclaw
- Number of posts : 44
-
by Leah Valentai Wed Aug 14, 2013 1:24 am
'Ight, so this is heavily within the realm of construction, and doesn't really mean anything as of yet as I'm still in the process of refining it.
Erm, so if there is anything that should be covered, (transfig and potions are both still pending,)
and I'm not sure if this was the right place to post this...if not, feel free to either junk it or move it to the right area staff.
I have it backed up on word, so no concerns there.
Leah Valentai- Fourth Year Ravenclaw
- Number of posts : 44
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