Beyond the Twin Cores: the Motif of Doppelganger in J.K

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BEYOND THE TWIN CORES: THE MOTIF OF DOPPELGANGER IN J.K. ROWLING’S HARRY POTTER SERIES

A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY

MURAT ARSLAN

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE DEPARTMENT OF ENGLISH LITERATURE

AUGUST 2015

Approval of the Graduate School of Social Sciences

Prof. Dr. Meliha Altunışık Director

I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Arts.

Assoc. Prof. Dr. Nurten Birlik Head of Department

This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Arts.

Assist. Prof. Dr. Dürrin Alpakın Martinez Caro Supervisor

Examining Committee Members

Assist. Prof. Dr. Margaret J.M. Sönmez (METU, ELIT) Assist. Prof. Dr. Dürrin Alpakın Martinez Caro (METU, ELIT) Assist. Prof. Dr. Kuğu Tekin (Atılım University, IDE)

I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work.

Name, Last Name: Murat Arslan

Signature :

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ABSTRACT

BEYOND THE TWIN CORES: THE MOTIF OF DOPPELGANGER IN J.K. ROWLING’S HARRY POTTER SERIES

Arslan, Murat M.A., Department of English Literature Supervisor: Assist. Prof. Dr. Dürrin Alpakın Martinez Caro

August 2015, 125 pages

The aim of this thesis is to analyze the doppelganger motif Harry Potter series which is written by J.K. Rowling and belongs to both fantasy literature and children’s literature. It begins with an overview of the uncanny, the fantastic and the interpretations of the double / doppelganger. The doppelganger motif originates from the duality of ancient times but the earlier form of the double is mostly a good visual twin. Later, especially in Gothic fiction, it appears as an evil twin who haunts and pursues the self. Sigmund Freud argues that the double turns into an uncanny omen of death. In the series, it is observed that Voldemort’s return from Harry’ past corresponds to Freud’s uncanny; Voldemort’s haunting and pursuing Harry is an uncanny omen of death. However, there are many similarities between Harry and Voldemort such as the bond of the twin cores, their family background and the ability to speak Parseltongue. Above all, a part of Voldemort, in the form of a Horcrux, resides in Harry. Voldemort represents both the external evil and the evil within Harry. Like many other Gothic examples of the self, Harry wants to restore the order in himself. By killing the doppelganger and awarding Harry with a rebirth, Rowling keeps the tradition of death in relation to the motif of doppelganger and provides the suppression of the evil both in human and in society. This study shows that the doppelganger motif

iv is created by the polarization and mergence of the self and the doppelganger and it keeps the Gothic tradition by destroying the evil.

Keywords: Fantasy literature, children’s literature, doppelganger, the Uncanny, Harry Potter

ÖZ

“İKİZ ÇEKİRDEKLER[İN]” ÖTESİNDE: J.K. ROWLING’İN HARRY POTTER SERİSİNDE KÖTÜ İKİZ MOTİFİ

Arslan, Murat Yüksek Lisans, İngiliz Edebiyatı Bölümü Tez Yöneticisi: Yrd. Doç. Dr. Dürrin Alpakın Martinez Caro

Ağustos 2015, 125 sayfa

Bu tezin amacı, J.K.Rowling tarafından yazılmış olan ve hem fantastik edebiyat hem de çocuk edebiyatına ait Harry Potter serisindeki kötü ikiz motifini analiz etmektir. Tez, tekinsizin, fantastiğin ve (kötü) ikizin motifinin yorumlamalarının genel bir değerlendirmesi ile başlar. Kötü ikiz motifi eski çağlardaki ikililik motifinden gelmektedir ama ikizin ilk şekli iyi görsel ikizdir. Daha sonra, özellikle Gotik edebiyatta, ikiz modeli benliğe dadanan ve onu takip eden kötü ikiz halini alır. Sigmund Freud, ikizin tekinsiz bir ölüm alametine dönüştüğünü savunur. Seride de Voldemort’un Harry’nin hayatına dönüşünün Freud’un tekinsiziyle örtüştüğü gözlemlenmektedir. Voldemort’un Harry’e dadanması ve takip etmesi, tekinsiz bir ölüm alametidir. Fakat Harry ve Voldemort arasında ikiz çekirdeklerin bağı, aile geçmişleri ve Çataldil konuşma gibi pekçok benzerlik bulunmaktadır. En önemlisi, Voldemort’un bir parçası “Hortkuluk” olarak Harry’nin bedeninde yaşamaktadır. Voldemort hem dışarıdaki hem de Harry’nin içindeki kötülüğü temsil etmektedir. Çoğu diğer benlik örneği gibi, Harry kendi içindeki düzeni sağlamak ister. Kötü ikiz, öldürüp Harry’I yeniden dogma ile ödüllendirerek, Rowling kötü ikiz motifi ile ilgili ölüm geleneğini sürdürüp hem insanın içindeki hem de toplumdaki kötüyü bastırır. Bu çalışma kötü ikiz modelinin benlik ve kötü ikizin kutuplaşma ve birleşmesi ile oluşturulduğunu ve kötüyü yok ederek Gotik geleneği sürdürdüğünü gösterir.

Anahtar kelimeler: Fantastik edebiyat, çocuk edebiyatı, kötü ikiz, tekinsiz, Harry Potter

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To My Family

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ACKNOWLEDGEMENTS

I am deeply grateful to my thesis supervisor Assist. Prof. Dr. Dürrin Alpakın Martinez Caro for her continuous support and trust not only through this study, but also through my education period at METU. Without her endless optimism, valuable advice and encouragement, this study would hardly have been completed. I would like to offer my special thanks to Assist. Prof. Dr. Margaret J. M. Sönmez and Assist. Prof. Dr. Kuğu Tekin. I have greatly benefited from their insightful comments, valuable suggestions and guidance. I owe special thanks to Prof. Hilde Staels from Gent University / KU Leuven. It is in her courses that I became familiar with the motif of doppelganger and took inspiration from. It is also her encouragement that paved the way for writing this thesis. I would like the express my deepest gratitude to my parents Gönül-Ali Arslan and my sisters Özlem, Pınar and Elif, who have supported me in all respects. It is their lifelong trust in me that encouraged me throughout my educational life. I am also indebted to my cousin Burçak Keküllüoğlu. She has believed in me with full heart since my first day at METU. I owe my gratitude to my dear friends Pınar Çelik, Arın Polatcan, Sena Çalmaz Güneş and Hakan Özdemir, who have always trusted in me and supported me in my academic goals. My sincere thanks also go to Ceren Korkmaz, Sibel Şentürk and Sinem Pirinçci, who made me feel their support not only through this thesis but also through my graduate studies. In addition, I would like to thank Merve Aydoğdu, Gül Deniz Hoş, Harika Başpınar, Şafak Altunsoy, Mustafa Kara and Gülten Silindir for their never-ending support and precious advices. I am also grateful to Özlem Asker and Ezgi Tanışır for their friendship and unconditional support. Last but not least, special thanks to my friends Sara Nocente, Cansu Kılıç and Henrietta Sörensson who frequently contacted me in my stressful times and made me feel their support from afar.

TABLE OF CONTENTS

ABSTRACT...... iv ÖZ...... vi DEDICATION...... viii ACKNOWLEDGEMENTS...... ix TABLE OF CONTENTS...... x LIST OF ABBREVIATIONS...... xii CHAPTER 1. INTRODUCTION...... 1 1.1. The Freudian “Uncanny” and its relation to “the double”...... 1 1.2. The Freudıan “Uncanny” in fiction...... 6 1.3. Todorov’s Approach to “Uncanny” in accordance with the Fantastic…... 8 1.4. Rosemary Jackson and Fantasy……………………………………….... 12 2. THE DOPPELGANGER / DOUBLE MOTIF...... 19 2.1. Freud and the Double ...... 19 2.2. The Definition of Doppelgänger…...... 23 2.2.1. The Doppelganger and the Otherness / Evilness...... 26 2.2.2. The Otherness in the Fantastic ………………………………….. 27 2.3. The Origin and Variations of Doppelganger …………………………….30 2.3.1. Doppelganger in Gothic Fiction…………...... 33 2.3.2. Doppelganger Motifs in Literature ………...……………………. 35 3. THE BONDING OF THE SELF AND THE DOPPELGANGER IN THE HARRY POTTER SERIES……………………………………………………41 3.1. The Harry Potter Series in Fantasy and Children’s Literature …………. 41 3.2. The Self as a Child and the Doppelganger as a Parasite...... 42 3.3. Opening the “Chamber of Secrets” …………………………………….. 51 3.4. The Revelation of Inner Fears of the Self……………………………….. 60 4. THE MERGENCE OF THE SELF AND THE DOPPELGANGER ……….. 64

4.1. The Connection of the Self to the Doppelganger ...... 64 4.2. The Evil and the Possession of the Self……...... 74 5. THE DEATH OF THE DOPPELGANGER ……...... 84 5.1. Familiarizing the Doppelganger...... 84 5.2. The Death of the Doppelganger and the Survival of the Self ...... 94 6. CONCLUSION...... 103 REFERENCES...... 107 APPENDICES Appendix A: Turkish Summary...... 115 Appendix B: Tez Fotokopisi İzin Formu...... 125

LIST OF ABBREVIATIONS

PS Harry Potter and the Philosopher’s Stone

CS Harry Potter and the Chamber of Secrets

PA Harry Potter and the Prisoner of Azkaban

GF Harry Potter and the Goblet of Fire

OP Harry Potter and the Order of Phoenix

HP Harry Potter and the Half-blood Prince

DH Harry Potter and the Deathly Hallows

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CHAPTER 1

INTRODUCTION

This thesis aims to analyse the Harry Potter series written by J.K. Rowling through the motif of doppelganger and the dualism of the dualism. In the series, which consists of seven books, the narrator presents the adventures of Harry Potter at the Hogwarts School of Witchcraft and Wizardry; these adventures directly or indirectly centre on encounters with the murderer of his parents, the Dark Lord Voldemort, who grows in power through the series. On closer analysis, it is observed that Harry Potter and Voldemort have more in common than the scar which Voldemort left on Harry’s forehead when trying to kill him. Voldemort is in many ways Harry’s evil double and he is the antithesis of everything Harry stands for. Especially when it is considered that they have some similarities in family backgrounds, it would be correct to say that Voldemort is a doppelganger or double for Harry. In order to have a clear comprehension of the doppelganger motif and how Rowling uses this Gothic motif in her fantasy novels, the Freudian concept of the “uncanny” and its relation to the double and doubling in literature are defined and other critics’ interpretations are included in the discussions.

1.1 The Freudian “Uncanny” and its relation to the “double” As Nick Mansfield states, there was in the late nineteenth century a growing “anxiety about the structure of the self and the security of its lodgment in the world” (Mansfield 25). It is also in this period that psychoanalysis emerged through the works of Austrian neurologist Sigmund Freud. Psychoanalysis, from theorizing dreams to naming the relation between the conscious and unconscious mind, contributed not only to science but also to other spheres of life like literature and art. It is beyond doubt that one of the key Freudian texts used in literary analysis is his essay titled “The Uncanny (Das Unheimlich)” which was published in 1919. In his

1 essay, Freud clarifies the concept of the Uncanny, interprets it and opens the way to other theorists for further investigation and elaboration of the concept. Freud is not the inventor of the term “the Uncanny”; however, he gives a more scientific and, specifically, a psychological meaning to it. Freud starts his essay with the purpose of criticizing Ernst Jentsch’s interpretation of the Uncanny. In the beginning of the essay, Freud agrees with him at least to some extent, explaining simply that the Uncanny is “undoubtedly related to what is frightening - to what arouses dread and horror” (219). The word “canny” is “heimlich” in German, which means “homely”, known and familiar. So, its negation “unheimlich” describes “unhomely” and “unfamiliar”. For that reason, what is unknown or unhomely is uncanny and disturbing. Jentsch’ description, according to Freud, is incomplete since it relates to anything unknown and unfamiliar. In order to extend or complete Jentsch’s description, Freud turns to the German language. He notices that both unheimlich and heimlich have more than one meaning, and observes, firstly, that Heimlich means “belonging to the house or the family”, “tame” and “intimate,friendlily comfortable” (222). However, it also means something which is concealed or kept from sight. Thereby, canny can mean both what is familiar and also what is concealed. Hence its negation “uncanny / unheimlich” means unfamiliar, unhomely and also nonsecret. In this way, it is obvious that there is a dichotomy in the meaning of both uncanny and canny. Freud explains this as following:

What interests us most […] is to find that among its different shades of meaning the word ‘heimlich’ exhibits one which is identical with its opposite, ‘unheimlich’. What is heimlich thus comes to unheimlich (224).

It is clear that there is an ambivalence in the meaning, and this ambivalence is supported by Freud in his essay. He analyses E.T.A. Hoffmann’s short story The Sandman (Der Sandmann, 1816) in order to uncover the role and nature of the uncanny in the story. Yet Freud’s interpretation is more explanatory and enlightening in terms

2 of understanding the concept of “uncanny”. It is important that Freud chooses the same story that Jentsch had analysed in his essay because in this way Freud’s reading of it provides both a criticism and a follow-up analysis. Hoffman’s short story starts with letters from the main character Nathaniel to Lothaire, the brother of his lover Clara and from Clara to Nathaniel. These are essential details that provide an insight into Nathaniel’s childhood trauma and memories. In his childhood, Nathaniel’s mother had asked her children to go to bed when the clock struck nine because after that, she explained, the Sandman comes. When Nathaniel asked who the Sandman is, she simply asserted that there was no Sandman and that she said it just because they could not keep their eyes open. With a child’s curiosity, little Nathaniel asked his nanny, too. According to the nanny’s explanation, the sandman was an evil man, who threw sand into children’s eyes when they refuse to go to bed. Nathaniel, again with curiosity, then pretended to be going to bed while in fact hiding behind a curtain and waiting for the Sandman to appear. A visitor, the Sandman of the story, arrived some time later and Nathaniel recognized him as the dreadful lawyer Coppelius. He and Nathaniel’s father started to do some mysterious work over the fire. When he heard Coppelius saying “Eyes here, eyes here”, Nathaniel was appalled and gave himself away. Coppelius grabbed him and tried to drag him to the fire saying that they had enough eyes. As his father saved his son, Nathaniel fainted. The next time Coppelius came to the house, Nathaniel’s father died and Coppelius vanished. Years later, Nathaniel meets an Italian man called Giuseppe Coppola, who tries to sell him a barometer. When Coppola says he can sell pretty eyes, Nathaniel remembers his childhood trauma and is appalled once again. Then, more years later, when Nathaniel is about to finish his studies, he falls in love with Professor Spalanzani’s daughter Olympia, who turns out to be an automaton. In a grand party, he overhears the Professor and Coppola arguing, pulling and tugging Olympia, who has no eyes. Nathaniel, again, suffers from his childhood trauma and he tries to suffocate the Professor. Later in the story, the narrator says that Nathaniel’s madness apparently disappears, but this is proved to be wrong. When he and Clara climb to the Tower-hall, Clara draws attention to a curious thing: looking through Coppola’s telescope,

Nathaniel goes mad and sees the figure of Coppola. He tries to throw Clara off the tower, but she is saved by her brother Lothaire. The story is open-ended, especially with regard to Nathaniel’s situation. What is important to Jentsch’s and Freud’s interpretation are Nathaniel’s childhood memories and their revelation. According to Freud’s criticism, Jentsch’ description of “the uncanny” is that of a situation of intellectual uncertainty. In the case of “The Sandman”, this occurs with the automaton Olympia. Freud is of the opinion that the intellectual uncertainty about whether Olympia is a living being or not is not the point in question when it comes to the uncanny. Unlike Jentsch, Freud directly relates the uncanny to “the idea of being robbed of one’s eyes” (230). He looks through the perspective of psycho-analysis and explains “the fear of damaging or losing one’s eyes” in children (231). For him, there is no other explanation for this than Oedipal anxieties. In his reading, Freud finds that the main reason underlying Nathaniel’s madness is a fear of castration by the father. Bennett and Royle explain this aspect of Freud’s analysis of the story in the following way: “The home, or the heimlich is, for Freud, the place where Oedipal desires and anxieties are generated, so that the home is not, because of the sexualized family tensions which inhere in the Oedipus complex, such a safe place after all” (Bennett & Royle 13). Namely, the child is curious about the father’s deed and frightened of the Sandman, who Freud will explain as the double or the opposite father figure. Hence, Nathaniel is afraid of being blinded or castrated in Freudian terms. In relation to what Bennett and Royle remark, the father in the house is unheimlich as much as he is heimlich. Freud also says that:

He [Hoffman] separates the unfortunate Nathaniel from his betrothed and from her brother, his best friend; he destroys the second object of his love, Olympia, the lovely doll; and he drives him into suicide at the moment when he has won back his Clara and is about to be happily united to her. Elements in the story like these, and many others, seem arbitrary and meaningless so long as we deny all connection between fears about the eye and castration; but they become intelligible as soon as we replace the Sand-Man by the dreaded father at whose hands castration is expected (231-2).

In order to explain this in a more detailed way, Freud changes the course of his essay and relates uncanniness to the idea of double. According to him, “those themes of uncanniness” are “all concerned with the phenomenon of the ‘double’,

4 which appears in every shape and in every degree of development” (234). This is also important to understand the relation between doppelganger pairs in literature, including Harry Potter and Voldemort (which will be discussed in Chapter 2). On the basis of Otto Rank’s writings about the double, Freud argues that the double stems from the primary narcissism of the child and the fear of extinction that was explored in Otto Rank’s thesis:

For the ‘double’ was originally an insurance against the destruction of the ego, an ‘energetic denial of the power of death’, as Rank says; and probably the ‘immortal’ soul was first ‘double’ of the body. This invention of doubling as a preservation against extinction has its counterpart in the language of dreams, which is fond of representing castration by a doubling or multiplication of a genital symbol (235).

Freud clearly shows how the child can, as it were, guarantee himself by creating selves. Yet, when he / she overcomes this stage of development, the ‘double’ develops a converse function; “from having been an assurance of immortality, it becomes the uncanny harbinger of death” (235). Likewise, in Rowling’s novel, Voldemort is in the pursuit of both killing Harry and gaining immortality for himself by creating what Rowling calls horcruxes (objects safeguarding parts of his self or soul). Harry, after overcoming his primary narcissism period, is confronted with his double who is explicitly the harbinger of his death, and from whom only Dumbledore (a father-figure) can protect him.. In the case of Hoffmann’s short story, Nathaniel’s father and Coppelius “represent the two opposites into which the father-imago is split by his ambivalence; whereas the one threatens to blind him – that is to castrate him – the other, the ‘good’ father, intercedes for his sight” (232). Freud, like doing a jigsaw puzzle, completes his analysis by relating the father- imagery to the motif of the doppelganger and the concept of the uncanny. Nathaniel’s inner anxieties reveal themselves through the illusion or reality of the double father images (and it should be mentioned here that in many ways Voldemort could be considered a father-figure for Harry, as well as being his double). As Freud suggests, later in “The Uncanny” this motif repeats itself with the appearance of Spalanzani and Coppola. He finds them to act as “reincarnations of Nathaniel’s pair of fathers” (232). However, Freud argues that the bad father figure or the double kills the good father / the self now that he is more repressed. Likewise, though Spalanzani does not die, it is

5 seen that the good father figure, Nathaniel’s father dies at the beginning of the short story. After claiming that the uncanniness originates with the double which is “a creation dating back to a very early mental stage, long since surmounted – a stage, incidentally, at which it wore a more friendly aspect”, Freud explains that the double is a “thing of terror” (236). It must be remembered that according to Freud, the uncanny is also a manifestation of what is repressed and what is secret inside and it is as frightening as it is familiar. Freud is not primarily concerned with the analysis of Hoffmann’s short story; he is using it to show that uncanniness can be objective and can stem from the repetition of objective frightening experiences, like losing your way in a forest and coming “back again and again to one and the same spot” (237). Freud states that something which is repressed within the self can recur itself as an uncanny element. This repressed “frightening element” is not a new or alien thing, but “something which is familiar and old-established in the mind and which has become alienated from it only through the process of repression” (241). As Pamela Thurschwell puts forward, the Freudian approach or explanation of “the uncanny” with its emphasis on the duality of heimlich / unheimlich completes this explanation since “the ambivalent nature of its two meanings – familiar and unfamiliar – is unseparable from the repeated return of the repressed” (Thurschwell 118). Likewise, it will be observed that Harry Potter’s double Voldemort appears in the series as an uncanny element which is repressed both metaphorically and literally. While trying to kill Harry, Voldemort’s spell is repulsed and Voldemort disappears (he later explains that he flees) leaving a scar on Harry’s forehead. Though it will be discussed later in this thesis, it should be noted here that Harry’s double, that is also his uncanny past, is the familiar secret hidden within him (unbeknownst to him), and returns as a physical manifestation after Harry enters pre-adolescence, learns a hidden “familiar secret” about his identity, and goes to Hogwarts. Hence, it is the return of the repressed both metaphorically and literally.

1.2. The Freudian “Uncanny” in fiction In his essay, Freud not only provides a basis for an explanation of “the double” but also its evolution in fiction. As with his more famous use of the Oedipus story, he

6 utilizes the field of fiction in order to exemplify his psychoanalytic analyses. Yet, as Andrew Smith mentions, Freud does not enlighten literature, rather what he does is a “re-investigation of the literature” and this illuminates him (Smith, “Gothic Radicalism” 72). For that reason, in the essay in which he starts by analyzing Hoffman’s “The Sandman”, he makes use of literature. The uncanny in literature requires a further discussion, because “it is a much more fertile province than the uncanny in real life” (Freud 249). Freud argues that “The contrast between what has been repressed and what has been surmounted cannot be transposed on to the uncanny in fiction without profound modification; for the realm of the phantasy depends for its effect on the fact that its content is not submitted to reality-testing” (249). Clearly, Freud is of the opinion that literature is fertile in uncanniness. As Bennett and Royle remark, literature itself is “the discourse of the uncanny” and it is “the kind of writing which most persistently and most provocatively engages with the uncanny aspects of experience, thought and feeling” (Bennett & Royle 35). For that reason, it is not a surprise to find uncanny elements such as the motif of the doppelganger in the fictional world. Since fiction is a work of creative writing, reading it involves at least two realities: the reality in fiction and the reality of our world. As Freud advocates, the writer can choose whether or to what extent it coincides with the outside reality. In fairy tales, for instance, the reality in our world is left behind from the very beginning because the reader accepts the fact that the incredible events happening in the fairy tales are impossible in real life. In other words, there is, to a major degree, an adjustment by the readers that resembles what Coleridge called “that willing suspension of disbelief that constitutes poetic faith” (Biographia Literaria, Ch 14). Added to this, the writer can also prefer a setting which is not necessarily imaginary but different from the real world. Freud exemplifies this with Dante’s Inferno and Shakespeare’s Hamlet, in which there are supernatural beings who are not real but nevertheless accepted by the readers as if they believed in their reality. In these texts, there is what might be termed a poetic (not common) reality, which distances from everyday reality and makes the figures lose their uncanniness. However, Freud explains the only situation in which fiction can create uncanniness:

The situation is altered as soon as the writer pretends to move in the world of common reality. In this case he accepts as well all the conditions of operating to produce uncanny feelings in real life; and everything that would have an uncanny effect in reality has it in his story. But in this case he can even increase his effect and multiply it far beyond what could happen in reality, by bringing about event which never or very rarely happen in fact. In doing this he is in a sense betraying us to the superstitiousness which we have ostensibly surmounted; he deceives us by promising to give us the sober truth, and then after all overstepping it. We react to his inventions as we would have reacted to real experiences; by the time we have seen through his trick it is already too late and the author has achieved his object (250- 1).

Freud suggests that all the situations which create uncanny effects in real life can happen in fiction. Literary work can include real life uncanniness and adds to it, increasing it, with rare exceptional or unlikely extra uncanniness. The reader does not believe it is real but it still incites in the reader the responses he / she would have in real life. This is because the author still promises to give the reader the truth even though s/he fails to keep his or her word. This also supports the idea of ambivalence and instability both in uncanniness and in linguistic meaning.

1.3 Todorov’s approach to the Uncanny in accordance with the Fantastic Tzvetan Todorov, the Bulgarian–French literary theorist, contributed to the theory of fantasy literature with his work The Fantastic (1975) by making a definition of the fantastic in fiction. It is one of the earliest extended pieces of research on the fantastic. Though it is not uncontroversial, it has been influential in establishing the fantastic as a literary sub-genre, and it is relevant to this thesis because it explicitly ties the sub-genre to the uncanny. Todorov makes use of the concept of “the uncanny” while explaining what the fantastic is. Before that, he creates a situation in order to explain what the fantastic is, as follows:

In a world which is indeed our world, the one we know, a world without devils, sylphides, or vampires, there occurs an event which cannot be explained by the laws of this same familiar world. The person who

experiences the event must opt for one of two possible solutions […] Either the devil is an illusion, an imaginary being, or else he really exists, precisely like other living beings – […] The fantastic occupies the duration of this uncertainty. Once we choose one answer or the other, we leave the fantastic for a neighboring genre, the uncanny or the marvelous. The fantastic is that hesitation experienced by a person who knows only the laws of nature, confronting an apparently supernatural event (Todorov 25).

Todorov thus suggests that a text can be a work of fantastic literature as long as the reader feels a sense of hesitation before interpreting the reality or the unreality of the unusual textual event or figure. Not only the protagonist but also the reader is included in this hesitation. As Maria Nikolajeva suggests, there is in the readers’ and characters’ minds the possibility that “The events may actually be happening, causing us to accept the existence of magic, of parallel magical worlds, and of the possibility of travel between worlds”, and both characters and readers might decide whether that is a dream or a hallucination (Nikolajeva, “Fairy” 154). In addition, Todorov rejects the inclusion of poetic and allegorical fiction into the category of the fantastic. This is because, according to his argument, both cases are not questioned by the reader (who accepts willingly to suspend his or her disbelief in these conventional modes) although the hero and the character confront an uncanny event which causes a hesitation (Todorov 32). Todorov’s interpretation or the usage of the word “uncanny” is explicitly different from Freud’s. While Freud presents a psychoanalytic perspective on it, Todorov explains it at the point at which the reader or the character leaves the hesitation he or she has experienced – that is at the point at which the work ceases to be the fantastic. As introduced in the earlier qutotation, Todorov argues that the moment reader decides to give meaning to the normally inexplicable events happening in the text, he or she is at the junction of two sub-genres:

If he [the reader] decides that the laws of reality remain intact and permit an explanation of the phenomena described, we say that the work belongs to another genre: the uncanny. If, on the contrary, he decides that new laws of nature must be entertained to account for the phenomena, we enter the genre of the marvellous (Todorov 25).

He clearly defines the fantastic as the hesitation of the moment the reader cannot attempt to believe or make sense out of the events. However, the moment he leaves that hesitation, two genres appear: the uncanny and the marvellous. Todorov’s explanation of the fantastic is one of the major approaches to the fantastic; however, it is essential to mention his explanation to understand why there are both uncanny and marvellous elements in the Harry Potter series, especially after analysing Jackson’s approach to Todorov and the fantastic. In Todorov’s words, the fantastic may be not so much an “autonomous genre” as a “frontier of two genres” (Todorov 41). It is not a coincidence that he relates these two genres to Gothic literature, which often includes and exploits the doppelganger motif. According to his explanation, the uncanny is a tendency in which the supernatural is explained and the marvelous is the other tendency in which the supernatural accepted. However, these lines may not always be separated by strictly drawn boundaries. He puts forward “We find that in each case, a transitory subgenre appears: between the fantastic and the uncanny on the one hand, between the fantastic and the marvelous on the other” (Todorov 44). He also adds that there is still hesitation in the characteristic of the pure fantastic; but it ends in the marvelous or the uncanny ultimately. For that reason, these subdivisions are the “uncanny”, the “fantastic- uncanny”, the “fantastic-marvelous” and the “marvelous” (Todorov 44). According to his definition, the fantastic-uncanny is encountered where there are supernatural elements but they are unexplained supernatural elements that are explained rationally at the end of the plot. This rational explanation can include, accident or coincidences, dream, tricks, “prearranged apparitions”, illusions, the effect of drugs or madness. Todorov puts Jan Potocki’s Saragossa Manuscript into this category now that there are explanations for the miracles at the end of the novel. For instance, Alfonso’s waking up under the gallows of the Zoto brothers is caused by the sleeping potion Don Emmanuel de Sa gives to him. Todorov provides an explanation of the uncanny, as well. He does not use the psychoanalytic approaches that refer to repression and familiarity / unfamiliarity. About the uncanny in the pure state, he describes:

In works that belong to this genre, events are related which may be readily accounted for by the laws of reason, but which are, in one way

or another, incredible, extraordinary, shocking, singular, disturbing, or unexpected, and which thereby provoke in the character and in the reader a reaction similar to that which works of the fantastic have made familiar (Todorov 46).

Todorov’s “uncanny” has a similarity with Freud’s approach to uncanny. Using the literal meaning of the word “uncanny”, Todorov stresses upon the extraordinary, disturbing or even shocking elements in uncanny events. However, he suggests that this does not correspond to Freud’s explanation at all by saying that “[a]ccording to Freud, the sense of the uncanny is linked to the appearance of an image which originates in the childhood of the individual or the race (a hypothesis still to be verified; there is not an entire coincidence between Freud’s use of the term and our own)” (Todorov 47). Yet, the uncanny elements appear in the fantastic as an extension of Gothic literature and Freud’s and Todorov’s analyses of the term provide new aspects to it. When it comes to the fantastic-marvelous, Todorov denotes the “the class of narratives that are presented as fantastic and that end with an acceptance of the supernatural” (Todorov 52). These are the closest narratives to the pure fantastic because the unusual or suprising things are not explained or rationalized. In this way, they remain and suggest “the existence of supernatural” (52). He exemplifies this category with Villiers de l’Isle-Adam’s “Vera”. He states that this text shows a hesitation and indecision between believing there is a life-after-death or that the supernatural elements are manifestations of madness, but after discovering the key to the tomb, the count believes it must be his dead wife (Todorov 53). First there is this fantastic hesitation, then it comes to the turn to the marvelous when the supernatural elements is accepted as such. The marvelous, in Todorov’s definition, does not have specific bounds just the way there are no boundaries in the pure state of the uncanny. In addition, in marvelous narratives supernatural elements do not cause any reaction of disbelief in the character or the readers. According to him, there is no single type of the marvelous but fairy tales are the most common example of the genre. Todorov also includes The Arabian Nights in this category. In order to exemplify and clarify, he puts forward four types of the marvelous: in the Hyberbolic marvelous elements have dimensional superiority to our world and in this category, he includes Arabian Nights. The next one is the

11 exotic marvelous, which leads readers to unfamiliar regions which they do not question. Todorov puts Sinbad’s roc, a bird whose body is as big as the sun and whose legs are as great as a tree trunk in this category. There are still hyperbolic marvelous elements in the Harry Potter series: for instance, the magical creatures found in each of the novels. According to Todorov’s categorization, the last two types of marvelous elements are the instrumental marvelous and the scientific marvelous. In the former, there are material devices with apparently impossible properties. Todorov borrows some examples from The Arabian Nights again: “a flying carpet”, “an apple that cures diseases”, “a ‘pipe’ for seeing great distances. These are marvelous devices because they were impossible at the time of the text’s creation, although later inventions may have realized some of their previously magical properties. In the case of Todorov’s examples, for example, the helicopter, antibiotics, and binoculars can be equivalent (Todorov 56). However, he warns the readers to differentiate these devices from others which are purely magical like Aladdin’s lamp. These, namely elements of the scientific marvelous, are closer to “science fiction”. The supernatural elements have a logical explanation but the laws explaining their properties stem from what contemporary science cannot acknowledge. In conclusion, as Nikolejava suggests, “Todorov draws clear distinctions among the uncanny, the marvelous and the fantastic, in which the last is characterized by a strong sense of hesitation” (Nikolejava, “Fairy” 154). It is important to observe the process of using and interpreting the uncanny and how it contributes to interpreting fantasy fiction. For that reason, Todorov is a significant name. Todorov’s work is still one of the most frequently referred-to texts in studies of the fantastic. His approach to the uncanny might not be the same as Freud’s; but, like Freud it is closely related to issues of literary reception. Petzold says that many writers use the word “fantasy” under the influence of French criticism and it applies especially to Gothic fiction and genres of uncanny (Petzold 12).

1.4.Rosemary Jackson and Fantasy Before starting to analyse the motif of the doppelganger, its evolution and literary examples, it would be useful to look at Rosemary Jackson’s approach to Todorov, to fantasy and to the uncanny. Caroline Hunt states that the study of fantasy

12 must be less theoretical and should not be entirely based on audiences (Hunt 8). For that reason, Jackson’s work is essential to understand the function of fantastic and its system from a different perspective. In her Fantasy (1985), Jackson gives readers a detailed analysis of the fantasy or fantastic literature, its evolution and its tradition. She mainly refers to her two great predecessors in the field, Todorov and Freud. She provides a kind of completion to this chapter’s explanations of the fantastic and the uncanny. Jackson starts the book with a description of literary fantasies’ independence. According to her argument, they are free from many traditions: “they have refused to observe unities of time, space and character, doing away with chronology, three- dimensionality and with rigid distinctions between animate and inanimate objects, self and other, life and death” (Jackson 1-2). So it is possible to say that the fantastic turns out to be a ground where the borders of definitions blur away. While analysing fantasy, Jackson emphasizes the importance of the social context in which texts of literary fantasy are produced. According to her, this is what Todorov misses in his The Fantastic. His text, Jackson notes, does not consider the political and social indications of the literary and he only focuses on the “effects of the text and the means of its operation” (Jackson 6). Simply, Jackson observes a deficiency in Todorov’s analysis. While she mainly agrees with Todorov, her attempt is “to extend Todorov’s investigation from being one limited to the poetics of the fantastic into one aware of the politics of its forms” (Jackson 6). Fantasy literature uses unconscious material in abundance. As Jackson acknowledges, it would be nonsensical to comprehend fantasy and its importance “without some reference to psychoanalysis and psychoanalytic readings of texts” (Jackson 6). Hence, applying psychoanalysis provides the ground to understand and interpret fantasy. For that reason, starting this chapter with Freud and his approach to “uncanny” can simplify the interpretation of the fantastic. However, Jackson criticizes what she sees as Todorov’s underestimation of Freud. According to Jackson, he “repudiates Freudian theory as inadequate or irrelevant when approaching the fantastic” and this is “the major blind-spot of his book and one which is bound up with his neglect of political and ideological issues” (Jackson 6). Hence, it can be said that

Jackson does not totally disagree with Todorov, but she extends his investigation and corrects the blind-spots she finds in his analysis. Todorov created categories about the hesitation of the fantastic between the uncanny and the marvelous. Though he draws blurry lines between categories and sub- categories, resulting in compounds like “fantastic-marvelous” and “fantastic- uncanny”, he maintains a deliberate distinction between them. According to Jackson’s main argument, however, “fantasy is a literary mode from which a number of related genres emerge” (Jackson 7). In this mode, it is possible to find romance literature, or the marvelous or “related tales of abnormal psychic states, delusion and hallucination” (Jackson 7). For that reason, this thesis aims to apply this accumulation of approaches to the fantastic and to the uncanny that combine insights from the three theorists discussed in the chapter. Because it is possible to see the fantastic as a mode which includes many genres within itself, Jackson likens it to a paraxis:

This paraxical area could be taken to represent the spectral region of the fantastic, whose imaginary world is neither entirely ‘real’ (object), nor entirely ‘unreal’ (image), but is located somewhere indeterminately between the two. (19).

This ambivalence and freedom provide the grounds of the fantastic as Todorov mentioned: Jackson’s interpretation or explanation brings in the paraxical perspective. She argues that the fantastic initially starts with a realistic approach; yet, it can move into a mode which includes features of the marvelous, or apparent “impossibilities” (Jackson 20). Nevertheless, in the Harry Potter series, though there are realistic elements like Privet Drive or Dudley family, the magical world absolutely represents “the marvellous”. When it comes to his relationship with Voldemort, it can be observed that there are uncanny elements, as well. Jackson’s approach to the fantastic is thus more extensive than Todorov’s. Jackson warns that fantasy should not be considered in an overly simplistic view, as no more than a genre that creates worlds different from ours:

Fantasy is not to do with inventing another non-human world: it is not transcendental. It has to do with inventing elements of this world, re- combining its constitutive features in new relations to produce something strange, unfamiliar and apparently ‘new’ and absolutely ‘other’ and different (Jackson 8).

This is one of the main points where fantasy or the fantastic associates with psychoanalysis. The “unfamiliarity” that Jackson talks about here is much more closely related to Freud’s uncanny than to Todorov’s fantastic ambivalance. Fantasy, in this way, makes use of this aspect and psychoanalysis contributes to its understanding. Taking Todorov’s analysis of the fantastic, Jackson suggests a new explanation related to the status of the fantastic. According to her argument, his categorization creates a confusion, which also leads to confusion in trying to understand the function of the uncanny among the marvelous. Therefore, she adds a further categorization to her explanation in accordance with her consideration of the fantastic as a mode:

For to see the fantastic as a literary form, it needs to be made distinct in literary terms, and the uncanny, or l’etrange, is not one of these – it is not a literary category, whereas the marvellous is. It is perhaps more helpful to define the fantastic as a literary mode rather than a genre, and to place it between the opposite modes of the marvellous and mimetic. The way in which it operates can then be understood by its combination of elements of these two different modes (Jackson 32).

Hence, Jackson re-places the fantastic between two other modes, which allows it to include materials from both of them. According to her description, “the marvellous” is exactly what Todorov describes it to be. In her words, it is the mode of fairy tales and literary texts about magical or supernatural worlds, where “the narrator is impersonal and has become an authoritative, knowing voice” (Jackson 33). However, the mimetic is the mode of “narratives which claim to imitate an external reality, [… and which] also distance experience by shaping it into meaningful patterns and sequences” (Jackson 33-4). Namely, it is narratives in which the events are represented as “real”. The fantastic can have elements from both the marvellous and the mimetic. Her description almost presents another coincidence of the fantastic with the uncanny:

Fantastic narratives confound elements of both the marvellous and the mimetic. They assert that what they are telling is real – relying upon all the conventions of realistic fiction to do so – and then they proceed to break that assumption of realism by introducing what – within those terms – is manifestly unreal. They pull the reader from the apparent familiarity and security of the known and everyday world into something more strange, into world whose improbabilities are closer to the realm normally associated with the marvellous. The narrator is no clearer than the protagonist about what is going on, nor about the interpretation; the status of what is being seen and recorded as ‘real’ is constantly in question. The instability of the narrative is at the centre of the fantastic as a mode (Jackson 34).

The reader of the fantastic is taken into a realm of unfamiliarity and improbabilities. Now that Jackson has added that the uncanny elements are common in the fantastic, the uncanny can be related to this unfamiliarity. According to her description, on the one hand, the fantastic borrows from both the mimetic and the marvellous. On the other hand, it reveals itself from “their assumptions of confidence or presentations of authoritative ‘truths’” (Jackson 35). Also, it can borrow from various generic forms. The function of psychoanalysis in the analysis of a fantasy text is mainly related to the society. That is to say, as Jackson argues, literature of the fantastic is “a literature of desire, which seeks that which is experienced as absence and loss” (3). Yet, this desire can have two different interpretations which exist at the same time just as the word unheimlich or uncanny does: “It can tell of, manifest or show desire (expression in the sense of portrayal, representation, manifestation, linguistic utterance, mention or description” (3) or “it can expel desire, when this desire is a disturbing element which threatens cultural order and continuity (expression in the sense of pressing out the, squeezing, expulsion, getting rid of something by force)” (4). This is strongly reminiscent of Freudian uncanniness which is strangely familiar but needs to be repressed. The fantastic tries to constitute a “space for a discourse other than a conscious one” (62). That is to say, the fantastic can provide the opportunity for the critics or the readers to interpret it through its unconscious discourse. For this reason, the Freudian approach will again be helpful in interpreting that unconscious side of the fantastic. Jackson also supports this, saying that:

By working through Freud’s theories of the uncanny towards his theories of the constitution of the human subject, it is possible to see the modern fantastic as a literature preoccupied with unconscious desire and to relate this desire to cultural order, thereby correcting Todorov’s neglect of ideological issue (Jackson 62-3).

In this way, the modern fantastic can be considered to be dealing with unconscious desire and this is related to the cultural order. It must be remembered that Freud’s argument is that the uncanny is about “projecting unconscious desires and fears into the environment and on to the other people” (Jackson 64). At this point, it is good to remember that the Heimlich (canny) has two levels of meaning. The first is “familiar” and “homely” so this creates an atmosphere of home comfort, familiarity and intimacy. Consequently, the antonym unheimlich (uncanny) can refer to the opposite effect of these, namely unfamiliar and unhomely. The second level of meaning, however, as Jackson comments, “begins to explain the uncanny’s disturbing powers”. This is the level at which heimlich means “that which is concealed from others, all that is hidden, secreted, obscured” and the unheimlich correspondingly “functions to dis-cover, reveal, expose areas normally kept out of sight” (Jackson 65). Hence, the uncanny reveals what is concealed and this is a distressing conversion of familiar into the unfamiliar, as well as of the unfamiliar into the familiar. Likewise, the fantastic reveals all that must be concealed and hidden and “its uncanny effects reveal an obscure, occluded region which lies behind the homely (heimlich) and nature (heimisch)” (Jackson 65). Hence, in fantasy literature, the repressed anxieties, desires return and come to the surface. Fantasy literature does not only take uncanny elements which transgress social taboos or inner unfamiliar desires, but it also fulfills these desires. Jackson associates the fantastic and the Gothic, in which the motif of doppelganger frequently, in this sense by saying that fantasies are not

countercultural merely through this thematic transgression. On the contrary, they frequently serve (as does Gothic fiction) to re-confirm institutional order by supplying a vicarious fulfillment of desire and neutralizing an urge towards transgression (Jackson 72).

For this reason, it can be interpreted that the motif of doppelganger takes place in the Gothic fiction and fantasy literature as a means of this social transgression, as an antithesis.. After a detailed analysis of the related concept like uncanny, fantastic and so on, it will be easier to understand the doppelganger motif, how it evolves and appears in major works of world literature. Chapter II of the thesis, which will also discuss Freud’s interpretations of the “double” motif, is devoted to these issues. Chapter III, IV and V will include the analyses of the Harry Potter novels, focusing firstly on identifying the novels’ uncanny elements and then on psychoanalytic interpretations of these elements. Since these elements can refer to the relationship of the self and the other, or the self and the doppelganger, the rest of the thesis will discuss these issues and investigate through which literary channels Rowling has adapted the Gothic tradition.

CHAPTER 2

THE DOPPELGANGER / DOUBLE MOTIF

In this chapter, though it is quite hard to give an exact definition, the motif of doppelganger is defined according to various definitions and critics. Because it is a significant feature of Gothic literature, its popularity and the meanings it developped in Gothic fiction are analyzed. In addition, its evolution into an element of fantasy literature is explained with Jackson’s arguments. First, though, it is essential to start with a further discussion of Freud’s explanations of the double1 in his essay “The Uncanny”.

2.1. Freud and the Double In his analysis of the uncanny in E.T.A Hoffmann’s “The Sandman”, Freud brings his essay “The Uncanny” to a point which coincides with the motif of doppelganger. According to Freud, Hoffman is “the unrivalled master of the uncanny” and his works include themes concerned with the double (Freud 233). Yet, Freud’s approach to the double prioritizes the visual similarity:

Thus we have characters who are to be considered identical because they look alike. This relation is accentuated by mental processes leaping from one of these characters to another – by what we should call telepathy-, so that the one possesses knowledge, feelings and experience in common with the other. Or it is marked by the fact that the subject identifies himself with someone else, so that he is in doubt as to which his self is, or substitutes the extraneous self. And finally there is the constant recurrence of the same thing – the repetition of the same features of character-traits or vicissitudes, of the same crimes, or even the same name through consecutive generations (Freud 234).

1 Instead of “doppelganger”, “the double” is used in some parts of the thesis in the meaning of an evil double.

In this discussion, he emphasizes the telepathy or strong spiritual connection between the double and the self. He also points out that doubles hold many things in common such as the knowledge, feelings and experience. In the Harry Potter series, Harry and Voldemort have a strong bond which seems to be related to telepathy. It starts as a relatively simple pain in Harry’s scar whenever Voldemort is near him. After Book IV (GF), Harry experiences flashes of insight into Voldemort’s mind, of increasing frequency, duration and gravity. He even can Voldemort’s emotions, which appear mostly but not always as anger; this anger even seems to direct Harry’s own emotional tendencies in the later books. As will be observed in more detail in the following chapters, Voldemort turns into a haunting figure in Harry’s life, appearing in all the books and getting stronger little by little. The only point that limits the definition given above is the importance given to the doubles being identical or alike. Though there are many types of the double / doppelganger, being identical in appearance is just one option for the motif of doppelganger. For instance, for the case of Victor Frankenstein and his monster, it is out of question to have an identical appearance between them. As it happens, though, this limitation to Freud’s definition need not concern us in the analyses that follow, because Voldemort himself (as Tom Riddle in CS), Dumbledore (in more than one of the books) and even Harry recognize that they do look similar to each other. Paying a tribute to Otto Rank’s investigation of doubling, Freud also analyzes the double through the prism of psychoanalysis. He first reminds us of Rank’s suggestion that the first double of the body is “the immortal soul” (235). Freud further agrees that the invention of the double is a kind of “preservation of the extinction” (235). This preservation belongs to the self. However, he feels the urge to bring a psychoanalytic explanation to the reason for this invention. According to him, in dreams, there is a counterpart to this either as “representing castration by a doubling or multiplication of a genital symbol” (235). He relates this need to invent a double to the stage of a child’s development:

The same desire led the Ancient Egyptians to develop the art of making images of the dead in lasting materials. Such ideas, however, have sprung from the soil of the unbounded self-love, from the primary narcissism which dominates the mind of the child and of primitive man. But when this stage has been surmounted, the ‘double’ reverses its

aspect. From having been an assurance of immortality, it becomes the uncanny harbinger of death (Freud 235).

It is understood that Freud relates the creation of the double to the stage of ego development called primary narcissism, the stage when the subject, the child has “the unbounded self-love”. When the child emerges from this stage, he/she can have a degree of moral control. However, the child does not have a concept of death and the double stands for “an assurance of immortality” or a preservation against extinction. In the beginning, the double becomes an extra self for the child. Yet, when this stage of development is surmounted, the status of the double changes. As Smith suggests, “in the adult experience of doubling, implied by the presence of a conscience which enforces moral censorship, the relationship to the double is changed- […] it becomes the uncanny harbinger of death” (Smith, “Gothic Literature” 14). This is because after gaining a further ‘conscience’, the adult becomes aware of the finite and limited nature of mortal life. Freud explains the process of getting ‘conscience’ by relating the double to id and the construction of the ego:

The idea of the ‘double’ does not necessarily disappear with the passing of primary narcissism, for it can receive fresh meaning from the later stages of the ego’s development. A special agency is slowly formed there, which is able to stand over against the rest of the ego, which has the function of observing and criticizing the self and of exercising a censorship within the mind, and which we become aware of as our ‘conscience’. […] The fact that an agency of this kind exists, which is able to treat the rest of the ego like an object – the fact, that is, that man is capable of self-observation – renders it possible to invest the old idea of a ‘double’ with a new meaning and to ascribe a number of things to it – above all, those things which seem to self-criticism to belong to the old surmounted narcissism of earliest times (Freud 235).

It is understood that after surmounting this stage, the superego asserts its power over the ego. The super-ego attributes all the negative aspects of the ego to a primitive side, which belongs to the primary narcissism. Hence, the double represents the id, primitive desires and urges. In addition, new meanings and negative aspects are assigned to the double.

In relation to the ambivalence and dichotomy of the word “uncanny”, the double is now seen to have become a non-self which comes out of the self, as Kelly Hurley points out:

Freud’s hint that a doubling relationship, which on the surface accomplishes a simple bifurcation of the self, gestures towards a more radical fissioning of the self – towards an amorphous version of the self which is a non-self, because it has forfeited all the boundaries that enabled it to distinguish itself from the world of things that surround it (Hurley 42).

The double and the drives from the id, which are still a part of the self, are forced to turn into a split due to the actions of the superego. Hence, a division in the self is seen and the double stands for the antithesis of the ego, from which the urges of the id must be rinsed off. The motif of doppelganger represents in particular the suppression of urges which do not comply with social conventions. When the short story of E.T.A. Hoffman is taken into consideration, Olympia is not the double but as Lis Moller puts forward, she symbolizes the uncanniness of the double. She “is the product of a narcissistic desire to reproduce life and thus to deny the power of death; she is the perfect doubling of life who returns as ‘uncanny harbinger of death’” (Moller 132). Furthermore, Olympia is an automaton and therefore not actually alive, and she is thus an uncanny harbinger of death set against the human desire for immortality. Though Spalanzani and Coppola seem to have created an automaton in the shape of a human being, it is not an immortal being at all. For that reason, it carries the uncanniness of a double, which carries the aspect of being a harbinger of death. Freud’s definition of the double is thus seen to be like a prologue to the explanation and the interpretation of the doppelganger motif. In the Harry Potter series, Harry is “the boy who lived” and Voldemort has the aim of killing him. While one side is associated with life, the other one is associated with death. Additionally, Voldemort is his doppelganger and he has all the aspects related to the id and primitivity. As doppelgangers, Voldemort appears as the uncanny harbinger of death to Harry and Harry is the uncanny harbinger of death to Voldemort. These details will be analyzed in the chapters following this.

2.2. The Definition of Doppelgänger “Doppelgänger” is a word which is originally German but used in English, as well. It is the combination of the words “doppel”, which means “double” and “gänger", which means goer. While it is used with an umlaut in German, it is used as “doppelganger” or “doppelgaenger” more than doppelgänger in English. According to the Online MacMillan English Dictionary, it means “someone who looks like someone else” and “a spirit that some people believe looks like someone who is alive” (MED Online). Its synonyms are defined as “copy, equivalent, parallel” for the former and “being, daemon, evil” for the latter. Both of these synonyms are important aspects of the doppelganger motif especially in Gothic literature. It is defined by the Cambridge English Dictionary as “a spirit that looks exactly like a living person, or someone who looks exactly like someone else but who is not related to that person” (CED Online). Both of these definitions refer to the physical appearance or the reflection of a self. For that reason, they are limited to only one aspect. However, as mentioned for the double, the doppelganger motif is not limited to only physical duplication, namely it does not have to be a duplication of the self. The Merriam-Webster Dictionary provides a better and more extensive definition. According to it, doppelganger means “a ghostly counterpart of a living person”, “a double”, “an alter ego” and “a person who has the same name as another” (MWD Online). Hence, with this definition, the motif comes closer to its meaning in the Gothic fiction and later fiction. The motif of the doppelganger in fiction is not limited to one aspect in relation to visual similarity. In fact, the motif consists of many aspects. In many ways the word is a synonym of the senses of “double” investigated by Rank and Freud, and discussed in Chapter I. We may add to this with Milica Zivkovic’s definition of the double, which follows:

The double, both in literature and out of it, is an enormous and seductive subject. As an imagined figure, a soul, a shadow, a ghost or a mirror reflection that exists in a dependent relation to the original, the double pursues the subject as his second self and makes him feel as himself and the other at the same time. […] the psychological power of the double lies in its ambiguity, in the fact that it can stand for contrast or opposition, but likeness as well (Zivkovic 19).

Zivkovic emphasizes the dichotomy of opposition and likeness in the motif of double, and the same goes for the doppelganger. It can be an imagined figure or a shadow which has a connection to the self. The doppelganger can be the opposite of the self, but he / she is alike, as well. The double becomes the other for the self but also has a connection to the self. As it has already been said there is not one single definition of the doppelganger. Mary Ellen Snodgrass suggests a more extensive definition of the doppelganger. She names it a “mirroring or duality of a character’s persona”, yet she also suggests that there are other depictions in world folklore such as “the twin, shadow double, evil double, and split personality” (Snodgrass 83). Truly, it is understood that the doppelganger does not appear only as a twin. In different characterizations, it can appear as an evil double, as in the case of the Harry Potter series, or it can depict a split personality as it does in Stevenson’s Dr Jekyll and Mr Hyde. In addition to that, Snodgrass also emphasizes there is still a duality even if there is an evilness. Moreover, Mulvey Roberts specifies the motif of doppelganger especially in Gothic fiction as “the presence of a second self, or alter ego, an archetype of otherness and narcissistic specularity indissolubly linked to the individual” (qtd. in Beville 134). Roberts accentuates the otherness of the doppelganger and the fact that it is a narcissistic reflection strongly related to the self. Furthermore, it must be pointed out that in some contexts the term “alter ego” is regarded as a synonym of doppelganger. In view of the fact that there is a connection between the self and the other, or the self and the doppelganger, the motif can also be related to Freud’s analysis of the double. As it has already been discussed, Freud argues that the double is the production of the primary narcissism and the self imposes all the negative aspects to it after surmounting the stage of the primary narcissism. Freud presents the double referring to the subjectivity. The double represents the darkest desires by transgressing all the limits. These primitive impulses which are suppressed become evident in doppelganger are what is suppressed by the superego. This is an alternative and essential interpretation of the motif. Since the doppelganger is the antithesis of the self, it is a perfect subjectivity when the self and the other confront or complete each other. According to Mansfield’s argument, it is “the confrontation between a protagonist and a counterpart who is his near-identical reflection or complement” (Mansfield 99-100).

Yet, this complement can be interpreted as what is forbidden for the self or hidden in the self. In Freudian terms, the double appears as the returning of what the self is alienated from. Smith interprets it in his Gothic Radicalism and says “it represents a return of an Other from which the subject is apparently alienated. This all becomes related to Freud’s wider purpose, which is to explain the feelings generated by an encounter with the double” (Smith, “Gothic Radicalism” 71). Additionally, the double or the other “dramatizes an aspect of the self which is hidden or made ‘inaccessible’” (Smith, “Gothic Radicalism” 71). The double, which is what has been repressed, returns as the other. In the Harry Potter series, Voldemort comes back as Harry’s doppelganger and he is the evil, villain and the other. He is also what is hidden literally inside Harry Potter whereas Harry is the last Horcrux, the last part of Voldemort’s soul. It is also common to see that the doppelganger is in the pursuit of the self in order to create a wholeness, which fails ultimately. Zivkovic associates it with the “Platonic conception of twin souls which seek each other in order to make a whole out of their sundered halves” (Zivkovic 122). This view is close to Mansfield’s interpretation of the doppelganger as a complement. However, this unification of the self and the other is not presented as something possible in Gothic and fantasy fiction, even though it remains a tantalizing or terrifying possibility through many plots. Especially in the nineteenth century Gothic and onwards, it is noticed that “the double signifies a desire to be re-united with a lost centre of personality and it recurs as an obsessive motif” (Jackson 108). Since both are products of their society and the double represents what is the other for the self and the society, the double is repressed. Moreover, in terms of subjectivity, the double or the doppelganger is also a threat to the subject. For that reason, that threat must be destroyed. Linda Dryden supports this as follows:

It is rare to find a tale of doubles or doubling that does not contain strong elements of Gothic horror and inevitable death. The double is a threat to the integrity of the self, and frequently evidence of a Gothic, supernatural force at large that brings with it death and destruction (Dryden 38).

According to Dimitris Vardoulakis’ argument, “associated with death is the figure of following, accosting or pursuing. The doppelganger very often will pursue its other, or be pursuit by it, or both, which would usually be a prelude to a murder” (Vardoulakis 69). Either the doppelganger pursues the self or the self pursues the doppelganger. Henceforth, the pursuit of the doppelganger or the self ends in the ultimate death of one side or both because “’self cannot be united with ‘other’” (Jackson 91).

2.2.1. The Doppelganger and the Otherness / Evilness The issue of otherness and evilness is a significant feature of the doppelganger motif. Zivkovic refers to the relationship between the subject and his double as a connection between “I” and “non-I”. By naming the relationship in this way, she mentions the uncanny relationship between the self and the other, the subject and the doppelganger. In this regard, Jackson puts forward that the relationship between “I” and “non-I” is the issue of the fantastic:

In its broadest sense, fantastic literature has always been concerned with revealing and exploring the interrelations of the “I” and the “not-I”, of self and other. Within a supernatural economy, or a magical thought mode, otherness is designated as otherworldly, supernatural, as being above, or outside the human. The other tends to be identified as an otherworldly, evil force: Satan, the devil, the demon (just as good is identified through the figures of angels, benevolent fairies, wise men) (Jackson 53).

According to Jackson’s explanation, the other which is associated with the doppelganger tends to be evil. This is in parallel with Snodgrass’s argument of the fact that the doppelganger can be an evil double. If the doppelganger is a figure or container of evil, then the self or the subject is the representative of the good, so the self and the other are the two sides: good and evil. As Dryden points out, “tales of doubling are, more often than not, tales about paradigms of good and evil” (Dryden 38). With this in mind, Voldemort is the embodiment of evil while Harry Potter is the representative of good.

The otherness is related to the taboos of a society. Regardless of its period, the other has mostly been what is a threat for the society or what is different from the people living in a community. Frederic Jameson puts forward:

It is the identification, the naming of otherness, which is a telling index of a society’s deepest beliefs. Any social structure tends to exclude as “evil” anything radically different from itself or which threatens it with destruction, and this naming of difference as evil, is a significant ideological gesture. It is a concept “at one with the category of otherness itself: evil characterizes whatever is radically different from me whatever by virtue of precisely that difference seems to constitute a very real and urgent threat to my existence (qtd. In Zivkovic 124).

Jameson clearly defends that otherness is related to evilness in terms of society. A person who is different from the society, who is a threat for it, can be regarded as evil and other. Similarly, doppelganger can be considered as evil now that he or she is different from the self and the society, which makes him a threat. Yet it must be remembered that this is only one of various interpretations. In the Harry Potter series, Voldemort is the other and the doppelganger but his evilness does not only stem from his being the other. It is true that he has the free-will and the choice to be either good or evil. In order to gain fame and power, he chooses to be evil. However, in Mary Shelley’s Frankenstein the monster is considered to be evil because it is different from the society. Posing a threat can also be associated with Freud’s uncanny. The self or the subject hides everything which is different and which is a threat to the familiar. Likewise, the doppelganger turns into a threat to the familiar, the canny. Similarly, as Zivkovic suggests, “the double is defined as evil precisely because of its difference and a possible disturbance to the familiar and the known” (Zivkovic 124). This disturbance can be prevented by destroying or suppressing the other or the evil being.

2.2.2. The Otherness in the Fantastic As shown above, the motif of doppelganger, which can now be seen as the embodiment of the otherness, is the representative of the “non-I”. It is in the pursuit of the “I”, which is the self, and this pursuit mostly ends in the termination of one side or both sides. As Zivkovic notes, from religious narratives to modern fiction, all

“narratives in which the double motif plays a central thematic role, […] , have always been concerned with revealing, and exploring the interrelations of the “I” and the “non- I”, of self and other” (Zivkovic 124). Before the nineteenth century, the origin of the otherness was considered to be outside, something evil. It could be a demonic creature or spirit outside the self or the subject. In the nineteenth century and onwards, the source of evil could be represented as internal and existing within the self. To put it another way, “I” and “non-I” can be two different beings or they can exist in the same human being. For example, Frankenstein’s monster represents the non-I outside the self while Dr Jekyll and Mr Hyde exist in the same being as the “I” and “non-I”, which will be discussed in the following section. Jackson follows the footsteps of Todorov and makes a categorization of otherness in fantasy literature. It must be kept in mind that Jackson also means the Gothic since for her the fantastic has many aspects of the Gothic in itself, one of which is the motif of doppelganger. In relation to the connection between the “I” and “non- I”, Jackson finds two types of otherness referring to Gothic literature, which are the same as the two types (internal or externalized other) mentioned above. The first type of otherness is the one within the self. According to Jackson’ argument, “the source of otherness of threat, is in the self. Danger is seen to originate from the subject, through excessive knowledge, or rationality, or the mis-application of the human will” (Jackson 58). Yet, in this type, excessive knowledge or misapplication destructs the self and causes a fearful and dangerous situation which can be fixed only through “correcting the original ‘sin’ of overreaching, of the misapplication of human knowledge or scientific procedure” (Jackson 58). In other words, the self experiences a metamorphosis, which ends with the alienation of it and turning into other. Hence, it is possible to observe the splitting of subjectivity or multiplication of it. Jackson exemplifies this type with Mary Shelley’s Frankenstein and Stevenson’s Dr Jekyll and Mr Hyde. In the former Doctor Frankenstein’s pride to create a human being or challenge to have a godlike position causes him to create a destructive creature. In the latter, Dr Jekyll, who is indulged in potions, turns into a victim of his own desires. Both of these cases are truly the outcome of a scientific procedure. Yet, the correcting part is only through the imminent death.

The second type of otherness is the one with external root. Namely, in contrast to the one which originates within the self, this one has an origin from the external sources. As Jackson clearly defines, “the self suffers an attack of some sort which makes it part of the other” (Jackson 58). In the first place, the self is attacked by an external force, which invades the self and creates a metamorphosis before leaving. In this way, otherness occurs through the self’s transformation into a new form. In Jackson’s terms, this is an “other” reality. In this category, the threat is not related to the subject itself but external elements. It is also observed that religious beliefs are reproduced and magical devices are included in such a threat. It also involves the problematization of power. As an example Jackson uses Bram Stoker’s Dracula, another Gothic novel which includes the motif of doppelganger. Dracula gathers victims in order to “prove the power of possession, to try to establish a total, self- supporting system” (Jackson 59). The categorization of otherness made by Jackson is essential to the relationship between otherness and doppelganger. Jackson interprets the source of otherness following Todorov’s footsteps; while doing this, she puts forward an analysis of the source of otherness and the alienation or differentiation between the self and the other. Especially, her explanation about self and the other, or “I” and “non-I” is that is nothing but the relationship between the self and the doppelganger. Furthermore, it is possible to interpret it in terms of the creation of the doppelganger. It is true that social taboos affect the creation of the doppelganger but the doppelganger can emerge from the self as the other. It can be the result of the self’s inner desires, pride, urges or repressed feelings. As Jackson points out, the desire in the self “expresses itself as a violent transgression of all human limitations and social taboos prohibiting the realization of desire” (Jackson 57). This transgression is revealed through the motif of the doppelganger in Gothic fiction and the fantastic with crimes, excess, transgressive figures or excessive characters. The doppelganger transgresses all social taboos and appears as a threat for both the self and society. This is the case in the Harry Potter series, as well. Voldemort comes as a massive threat for not only Harry but also the magical world. He kills people with fatal curses and aims for the destruction of Mudbloods, witches and wizards whose parents are not both magical. Added to this, he wishes to create his own order run by threat, fear and tyranny. He creates such

29 horror in the society that neither his enemies nor his supporters dare pronounce his name and prefer to say “You-know-who” or “The Dark Lord”. This is otherness not only between Harry and Voldemort but also between Voldemort and his society. The Harry-Voldemort relationship does not totally fit either of Jackson’s two categories. Yet, it can be put forward that both types can be closer to their relationship now that Voldemort is both within and outside Harry. Especially in GF (Book IV) and OP (Book V), Voldemort manages to affect Harry’s feelings and put him into a dilemma in relation to his inner evil urges because Harry suspects that he might be directing Voldemort’s snake or even killing people through a telepathic connection to Voldemort. Without knowing it, Harry is a Horcrux; a fragment of his doppelganger lives within him while at the same time his doppelganger is another threat outside him. Before starting to analyze the various major samples of doppelganger in literature and world folklore, it must be remembered that the motif of doppelganger does not have a single definition or explanation. It appears in world folklore and fiction in different variations and consequently this leads to different interpretations.

2.3. The Origin and Variations of Doppelganger The motif of doppelganger, especially in the sense that it is an evil double or antithesis of the self, has its origins dating back to the dualism in ancient myths and folklore. Mainly, it appears as a visual duality, a split personality or an evil double haunting the subject. Snodgrass puts forward that the motif of doppelganger dates back to classic playwright Plautus’ “Menaechmi” and Dybbuk, from Jewish folklore. In “Menaechmi”, which was translated as The Two Menaechmuses, the duality is not in the sense of a doppelganger. The play which is a comedy written in Latin depicts the hilarious encounter of two twin brothers. A merchant called Moschus goes on a business trip taking one of his twin sons, Menaechmus. Yet, he gets lost and later found by a merchant. The sorrowful father Moschus changes his other twin son’s name into Menaechmus (of Syracuse) after the loss of real Menaechmus. Later, coming of age, Menaecmus of Sycracuse goes on a search for his twin brother and after many ridiculuous events, they get united. This play does not comply with the evil theme of doppelganger. Yet, it shows that the unification of the self and the double, or the twin

30 brothers is possible. However, it must be pointed out that the twin brother, Menaechmus of Syracuse is not a tyrant or an evil twin who haunts the original Menaecmus. It can be interpreted that this is only possible when the twins are on the same side. Dybbuk is another sample of duality which Snodgrass exemplifies in relation to the origin of doppelganger. According to her argument, dybbuk “has evolved into a psychological study of duality in a single person” (Snodgrass 83). As stated in New World Encylopedia, dybbuk, which originates from the Jewish folklore, is “a spirit of a dead person that attaches itself to a person on earth” (NWE Online). The definition made by the Encylopedia of Judaism is foreshadowing the split personality and the double as an evil side which must be destroyed or dispelled. “The dybbuk or evil spirits can make the possessed individual commit sins. The dybbuk originally gained entry through illness, or because of a secret sin the possessed person committed” (Karesh 125). Though it might be coming from an external force, the subject is split into two sides, one of which is evil. There is also a hint to a sin committed. Split personality and sins also appear in Gothic fiction, especially with Stevenson’s Dr Jekyll and Mr Hyde. This duality even can get back to Gilgamesh and Enkidu in Sumerian mythology or classical mythology. For instance, Romus and Remulus are two twin founders of Rome but only one of them can survive. As Philippe St-Germain puts forward, it is very rare to observe that both of the twins can survive in this type of myths, and more often, “one must murder the other to guarantee the living one’s survival” (St-Germain 3). It is understood that these myths are of similar nature to the relationship between the doppelganger and the subject, in which only one or none of them can survive. Dryden argues that the Bible also includes the doubling as a narrative and the fall of Satan is regarded as an example for the fall of an evil double (Dryden 38). This is later adopted by John Milton in Paradise Lost, as well. As Zivkovic clearly defines, “with respect to the form, the double originates in myth and thus it is not a strictly literary motif but a construction of a tradition culture” (Zivkovic 123). She argues that on the basis of anthropological data, “facets of one indivisible divine being, symbolising nature in its creative and destructive aspects”

(Zivkovic 123). The nature has an ambiguity of being both destructive and constructive. She also relates the pagan rituals to balance this constructive and destructive sides of the nature and the balance between man and nature. Furthermore, with the introduction of Christianity, the double or duality takes a different turn:

The increasing ideological polarization of the existential continuum into irreconcilable opposites – of body and soul, life and death, man and woman, good and evil – basically changes the character and status of the double in Christianity. The belief that the animate or spirit self, in part or whole, somehow departs and continues to exert and influence on the “host” while enjoying an autonomous existence has acquired an extremely negative meaning in Christianity, best defined in three categories: unclean soul, evil spirit and hell, the survival of an individual but of mankind itself. One must be struck by the fact that the very life force which animates a myth returns in the form of an evil, haunting presence eager to do harm in ortodox Christianity (Zivkovic 123).

It is understood that in Christianity, the spirit self or double refers to an evil spirit, an unclean soul. The double haunts the self and has the intention to do harm, which is reminiscent of the motif of doppelganger. Hence, the polarization between the self and the other takes a different meaning from the one it has in earlier pagan traditions or Plautus’ text (Dybbuk can be excluded from this now that it is still an evil spirit possessing the self). Otto Rank explains this turn in the function of the double:

In confronting those ancient conceptions of the dual soul with its modern manifestation in the literature of the double, we realize a decisive change of emphasis, amounting to a moralistic interpretation of the old soul belief. Originally conceived of as a guardian angel, assuring immortal survival of the self, the double eventually appears as precisely the opposite, a reminder of the individual’s mortality, indeed, the announcer of death itself. Thus, from a symbol of eternal life in the primitive, the double developed into an omen of death in the self- conscious individual of modern civilization (qtd in Zivkovic 123-124).

Hence, as Rank suggests, the double takes another meaning which is doppelganger. The double threatens the self and emerges as an omen of death, which supports Freud’s argument of “harbinger of death”. This also exists in German folklore since meeting one’s double is the sign of the self’s death. This turn points out

32 an important stage in Western civilization. Because formerly, there was a belief related to the continuity of life and death and later this is replaced by “a sense of man as discontinuity leading to death and madness – a sense of man ultimately alienated from his own wishes, desires and fears, embodied in the figure of the double” (Zivkovic 124). This explanation also supports the explanation of the doppelganger. As it has been stated earlier, the motif of doppelganger conforms to the idea of duality and the double. Yet, it can have many interpretations and definitions. According to Rank and Zivkovic’s statements, it can be said that the motif of doppelganger takes the meaning of “evil double” in Christianity and this is popularized especially in Gothic fiction. As it has been stated by Jameson earlier, the double also reflects and transgresses social taboos by creating a double, doppelganger to the subject. Conforming to the fears of the society, the doppelganger reflects the deepest fears of the society and this double figure appears as “other” and society attempts to define anything which is different and threatening as “evil”. For that reason, “the double is defined as evil precisely because of its difference and a possible disturbance to the familiar and the known” (Zivkovic 124). This also supports Freud’s explanation of the double as an uncanny element, which is both familiar and unfamiliar and which is a threatening haunting element for the self. In addition, this side of the double or the doppelganger became a popular theme in late eighteenth and nineteenth century fiction.

2.3.1. Doppelganger in Gothic Fiction Fantasy can date back to legends, ancient myths and so on. Yet, “its more immediate roots lie in that literature of unreason and terror which has been designated ‘Gothic’” (Jackson 95). Gothic fiction emerged as a popular genre in the second half of the eighteenth century and the nineteenth century. It was a reaction to the reasonable, ordered and strict perception of the Age of Reason, the Enlightenment and the Industrialization. In this period which silenced the unreason, man’s perception of himself and knowledge transformed in a massive dimension (Jackson 96). For that reason, as Maria Beville says “excess is a fundamental element in Gothic writing” and it is observed that the Gothic transgresses the borders of the society by creating excessive and transgressive elements which are embodiments and the productions of

33 cultural anxieties (Beville 134). In the eighteenth century, it is common to find fragmented descriptions in relation to frightening figures, strange events and hazardous pursuits. On the issue of these frightening images, Fred Botting argues:

Spectres, monsters, demons, corpses, skeletons, evil aristocrats, monks and nuns, fainting heroines and bandits populate Gothic landscapes as suggestive figures of imagined and realistic threats. This list grew in the nineteenth century, with the addition of scientists, fathers, husbands, madmen, criminals and the monstrous double signifying duplicity and evil nature (Botting 1-2).

Many of these figures, which are a threat for the society, are associated with evil according to Jameson’s statement. It is also seen that the double figure, so to say, gets popularized in the sense of doppelganger. The “monstrous” double is nothing but the doppelganger, which has been described by Snodgrass clearly. Yet, as time progresses, especially in the nineteenth century, the Gothic fiction takes a significant turn into the self. The narratives are concerned about the dual relationship between the self and the other, the “I” and “non-I”, subject and the doppelganger. “Uncanny effects rather than sublime terrors predominated” (Botting 7-8). Additionally, alter egos, the double (in the sense of doppelganger), animate depictions of human identity are devices which are common ones. In the nineteenth century, there occurs a gradual increasing of anxiety about the formation of the self and its insurance of construction in the world (Mansfield 25). The Gothic fiction turns inwards in order to depict the psychological, inner problems of the self. In this way, as Jackson explains, it can “dramatize uncertainty and conflicts of the individual subject in relation to a difficult social situation” (Jackson 97). The literature of duality is concerned with the identity and the lack or disorder of identity. Also, the self’s subjectivity is under the threat in “those places where he or she should feel safest” (Wolfreys 72). Hence, expectedly, Gothic fiction uses the motif of doppelganger in order to visualize or exemplify in relation to the fears or desires of the self and the society. It becomes the ground for doubling as well as evilness and otherness. The motif of doppelganger appears as an alter-ego, a split personality or an evil double which represents the inner desires or fears in Gothic fiction. It must be pointed

34 out that the interpretation of the double figure or the duality in the Gothic fiction occurs with the introduction of psychoanalysis by Freud a century later. This is why in the previous chapter Freud’s uncanny theme is explained. Because as Mansfield states:

We have an interior life split between the socially and culturally integrated processes of the conscious mind, and the threatening or unconfessable impulses of the unconscious, which the conscious hopes to keep in its place by a quantum of mental force called repression. The nature of the repressed material is to defy repression and to seek to express itself, either in dreams or in neurotic symptoms, slips of the tongue and so on (Mansfield 30).

This interiority of the self which is related to psychoanalytic aspect became a fertile ground to evaluate and interpret for both Freud and later critics. The relationship between the “I” and “not-I” within the self or outside the self has been analysed in a more scientific way.

2.3.2. Doppelganger Motifs in Literature Though the theme of duality can be traced back to the ancient myths or folklore, the motif of doppelganger is coined for the first time in German literature. Jean Paul Richter coins the term “doppelganger, which means “double goer”, in his novel called Siebenkäs (1796). In the novel, Siebenkäs “leads the charge against middle-class institutions by exchanging his name with his doppelganger Leibgeber and by instigating a faked death in order to gain freedom from his unhappy marriage bonds so as to be able to marry his Romantic ideal Natalie” (Mahoney 84). Richter’s doppelganger figure refers to visual duality or twinness because Siebenkäs and Leibgeber are “not only friends but also look very much like each other except for one physical detail” (Grabovszki 169). These two characters represent two aspects of a personality. Richter’s interpretation is one of the earliest ones in the sense of doppelganger motif now that he explains the doppelganger with a footnote “doubles are such people who see themselves” (qtd in Grabovszki 169). So the first coinage of doppelganger in German literature appears as a visual double more than an evil one. E.T.A. Hoffmann later adopts the doppelganger motif in his various short stories and novels and continues the tradition in German Gothic fiction. His works, which affected many prolific writers such as Nikolai Gogol, Edgar Allan Poe and

Fyodor Dostoyevsky, consist of doubles which “draw from both human psychology and belief in the supernatural” and this reflects “the nineteenth-century interest in scientific psychology” but also “retains a link to occult traditions” (Bomarito vol 1. 233). As it is stated in A History of German Literature, Hoffmann is “one of the first to show an interest in the so-called ‘dark-side’, recognising that social pressure to conform sometimes resulted in serious psychological deformation” (Beutin et al. 207). E.F. Bleiler explains that the doppelgänger is a common and significant motif in his works and that it is associated “with the strange phenomena of the mind, with personality fragments, with multiple personalities” (qtd in Bomarito vol. 2 400). “The Sandman” can be regarded as an example for this since Freud also analyzed it in relation to the interpretation of the double. Additionally, his Die Elixiere des Teufels has the example of a demonic force as a double. The motif of doppelganger does not only appear in German literature. Fyodor Dostoyevsky, one of the most famous Russian authors, writes his novella The Double in 1846. “A troubled clerk [Goliadkin] meets a man who is an exact replica of him, and even shares his name. The nightmare process by which this double supplants him in every aspect of his life, of course, a metaphor for the breakdown of the individual psyche” (Mansfield 100). At the end of the novel, Goliadkin can not overcome this rivalry and conflict with his double and goes mad. As Ernst Grabovszki states, “doubles are essentially quite contrary to the image of the person they refer to by accentuating the person’s bad traits and thus highlighting aspects of the character” (Grabovszki 172). In this novel, Dostoyevsky characterizes the conflicting mind through the image of disintegrated figures. The doppelganger motif also appears or as the phrase goes, gets popular in English Gothic fiction. Mary Shelley, one of the major authors of English Gothic, makes use of it in her widely acclaimed novel Frankenstein (1818). In the novel, the scientist Mr Frankenstein, who craves for getting more powerful in science and learn the secrets of life, represents the conscious mind. Yet, as Mansfield puts forward, this is “an excessive involvement in the conscious mind’s rational processes” and correspondingly, the monster represents “the dangerous and dark domain of the unconscious” (Mansfield 25-6). These two sides can create perfect subjectivity when they come together.

However, it must be noticed that this double is an evil one for Frankenstein. Unlike many doppelganger motifs, it does not necessarily appear as a visual doppelganger; rather it represents the unconscious, irrational desires. In fact, the monster is like a tabula rasa which is filled with negative aspects by the society. Though he attempts to get socialized, the society declares him as the other, and directly the evil. Additionally, Dryden finds the monster character quite interesting since “a murderous evil is couple with a child-like innocence in the orphaned monster” (Dryden 38). However, the destruction the monster creates is a production of Frankenstein’s “over-absorption in the quest for experimental power” (Mansfield 25). The monster might have the capacity of goodness; yet, it represents “the base, egoistical instincts of his creator” (Snodgrass 129). It is as if Frankenstein’s inner desires to be a great power in science are released. He also mentions this in the novel saying “I considered the being whom I had cast among mankind, and endowed with the will and power to effect purposes of horror […] nearly in the light of my own vampire, my own spirit let loose from the grave, and forced to destroy all that was dear to me” (78). It is significant that his own spirit is being released from the grave. The grave is almost like his subconscious where his desires are repressed. In this way, he hints the uncanny return of his repressed desires and their destructiveness. Jackson evaluates the end of the novel as an “undifferentiation at death” and according to her statement, they can never get united and the separation of these two sides is obligatory in human subjectivity (Jackson 100). The doppelganger becomes the uncanny harbinger of death in relation to both Frankenstein’s dear relatives, friends and himself. Another Gothic novel which deals with the subjectivity and the doppelganger motif is Robert Louis Stevenson’s Dr Jekyll and Mr Hyde (1886). The novel depicts a more complex relationship of the self and the other now that it is a fragmented one. Dr. Jekyll, who is a scientist like Frankenstein, manages to make a potion which will enable him to dissociate the double sides of his identity and transform his body to his doppelganger. As Strengell argues, “the other self, Mr Hyde, allows Dr. Jekyll to satisfy his undignified desires untrammeled by moral scruples” (Strengell 71). His doppelganger represents irrational side by existing in the rational mind, which makes the character Dr Jekyll have a split personality. Moreover, “it is not only simply a split that is at issue but a more complex fragmentation of the subject” (Punter & Byron 41).

Interestingly, the significant point in the novel is the fact that there occurs a spontaneity in the transformation between the self and the other. Because as Smith defines in his essay “Gothic Radicalism”, the self crashes into itself and the two sides “contaminate each other” (Smith 8). Later in the essay, he points out the disruption in the unification of the subject and the doppelganger as it happens in other novels with the doppelganger motif. Hyde’s name evokes “to hide” or “hidden”, which is related to Freud’s uncanny and its hidden and unfamiliar feature in the familiar self. Likewise, Hyde is an alter- ego and he represents Dr Jekyll’s repressed desires but since they are threatening for Victorian society, they must be repressed. As well as the impossibility of the unification of the self and the double, the novel ends up with the repression of this uncanny, (un)familiar side in the human subjectivity. Later in the novel, Jekyll “regards his doppelganger as the embodiment of an evil that is, in the normal course events, repressed by his better self” and manages to destroy or suppress it only through the death of himself and his doppelganger (Dryden 100). In Bram Stoker’s Dracula (1897), the doppelganger motif transgresses both the boundary between life - death and the self - the other. Because the vampire invades the human body and mind and contaminates them. Fred Botting does not limit Dracula as a doppelganger or dark double to the Victorian masculinity which is represented through Van Helsing:

Under the unifying and priestly command of Van Helsing the men of middle-class Victorian England reinvigorate their cultural identity and primal masculinity in the sacred values that are reinvoked against the sublimity of the vampiric threat In the face of the voluptuous and violent sexuality loosed by the decadently licentious vampire, a vigorous sense of patriarchal, bourgeois and family values is restored. […] Dracula is the dark double of the brave and unselfish men whose identity is forged in their struggle; he is the regressive in-human otherness lifted from the realm of individual psychopathology into a cultural field as its absolute antithesis. (Botting 97).

Botting defines Dracula as an antithesis of Victorian masculinity or patriarchy and argues that it is an evil figure who transgresses social taboos and emerges as an atrocious character which embodies the selfish desire to transgress the boundaries of the self. He transgresses not only mental borders but also geographical ones; by changing his identity and coming from Transylvania into England. As it mostly

38 happens to other doppelganger motifs who transgress the social taboos, Dracula is doomed to be murdered by Victorian gentlemen who restores both the social order and the repression of the irrational at the end of the novel. The Picture of Dorian Gray (1891), written by Oscar Wilde, can be mentioned in relation to the doppelganger motif even though it does not necessarily belong to Gothic fiction. In response to his wish, Dorian, who is obsessed with pleasure and beauty, remains young while his picture deteriorates with every guilt he commits. Yet, at the end of the novel, he cannot prevent his intensifying sins and guilts and stabs the picture, but this rather concludes with his own death. Jackson defines the picture as Dorian’s “self as perfect other” but as she suggests, “their roles are confused” (Jackson 113). This perfect other is what he gets far away from. However, as Dryden puts forward, Dorian Gray is “inspired by any number of doppelganger tales” (113) and in order to get rid of this “dreadful picture that absorbs and reflects his guilt and corruption, […] as with other tales of duality, the only release is death” (Dryden 39). In the ambiguity of self and other, “the self as other is destroyed” when Dorian stabs the canvas and kills himself in the end (Jackson 114). The Gothic fiction does not coin the beginning of the doppelganger motif, but it is definitely in Gothic fiction that the motif has become popular. Snodgrass argues that the motif was used by many authors such as Edgar Allan Poe, Charlotte Perkins Gilman, Joseph Conrad, William Godwin and Octavia Butler. In their works, the doppelganger motif appears as a “double who is both duplicate and antithesis of the original” (Snodgrass 84). The doppelganger motif is not limited to England. It also appears in American literature in which the double is examined in relation to white and hybrid children (Snodgrass 84). George Washington Cable’s The Grandissimes (1880) is regarded as a major example for American Gothic. In the twentieth century, the authors did not stop using the motif in their works. Henry James’ “The Jolly Corner”, Stephen King’s The Shining (1977) and Canadian female Gothic writer Anne Hebert’s Kamouraska (1970) are introduced by Snodgrass as an example for this category. In conclusion, the doppelganger motif can be observed to be an alter-ego, a visual double or an evil double which is the antithesis or / and the uncanny repressed part of a character. Though the motif of duality, which can have a visual double out of

39 good and evil polarization, dates back to the ancient myths, the doppelganger motif gains a new popularity and meaning especially in Gothic fiction. As Jackson says, fantasy has its roots in Gothic and it is not a surprise to see that the motif appears in fantasy literature, as well. J.K. Rowling keeps the tradition of the self and the other, the subject and the doppelganger by creating a protagonist and an antagonist, who is the doppelganger of him and haunts him coming as an uncanny element from his past and present. This will be analyzed in detail in the following chapters in accordance with the encounter of the self and the other, the dilemma of the self and the destruction of the other.

CHAPTER 3

THE BONDING OF THE SELF AND THE DOPPELGANGER IN THE HARRY POTTER SERIES

3.1. The Harry Potter Series in Fantasy and Children’s Literature The previous chapters have introduced the Freudian interpretation of the double as an introduction to the doppelganger motif. In the second chapter, the theme of duality and its evolution into the doppelganger motif in Gothic literature was presented. However, it must be pointed out that the Harry Potter series does not entirely belong to the Gothic category, although it may have Gothic elements such as haunted houses, violent murders and uncanny confrontations. The series belongs to the category of fantasy and children’s literature, for which the approaches of Tzvetan Todorov and Jackson have been surveyed. Especially Jackson’s approach, it is clear that the fantastic or fantasy literature is an ambiguous genre which cannot be defined clearly; hence, it is rather a mode which can include genres within itself. It can be close to the uncanny or to the marvelous, too; it can include both. In opposition to Todorov’s perspective, it does not have to include only the hesitation “experienced by a person who knows only the laws of nature, confronting an apparently supernatural event” (Todorov 25). Thus, it does not have a strict definition, especially now that it has become an extensive mode. As Matthew Grenby explains, the term can include “the serious and the comic, the scary and the whimsical, the moral and the anarchic” (Grenby 144). It can cover high fantasy, which takes place in alternative realms, or low fantasy – which takes place in our own world. Likewise, it can include both of them as it does in magical realism and the Harry Potter series. It is common to read stories of magic, time travel, dreams, talking animals and superhuman heroes (Grenby 144). Harry’s dreams in GF and OP, the time travel in PA and in the later novels or talking centaurs which have half-beast nature can be regarded as examples of this.

Since these elements are used by many authors in children’s literature, it can be inferred that fantasy literature overlaps with many instances of children’s literature, too. Some (REFS) defend that the major example for this corporation is Lewis Caroll’s Alice’s Adventures in Wonderland, in which the main character Alice goes into a magical realm after falling asleep. Mostly, the works of children’s literature have a main character who is young and who goes through many adventures at the end of which he or she has learned a moral lesson or gained some form of maturation. Likewise, in fantasy literature the main character goes on a journey, mostly to another world or it can be a time travel. The main character who has a specific situation in the society gains a maturation or “a stronger sense of” himself / herself (Grenby 144). In the same manner, Harry Potter, who has a specific name and the particular role of an orphan living with his aunt’s family goes into a fantasy world. In each book, he goes through many dangerous adventures and at the end of each book, he gains a stronger or more mature sense of identity. While he is growing physically, he grows up emotionally and psychologically and attains the age of majority (17 for witches and wizards); furthermore, the series ends with a preview of his life as an adult, all of which clearly place the series in the category of bildungsroman.

3.2. The Self as a Child and The Doppelganger as a Parasite Choosing a young character is a common device in children’s literature so that the readers can associate with the main character who turns into a spiritually mature person. In this way, youth is presented as a kind of ignorance which will be replaced with wisdom later in the story. Likewise, the first book of the series, Harry Potter and The Philosopher’s Stone (1997) introduces the main character Harry Potter and his early life. The Harry Potter series starts when Harry is left in front of his aunt’s front door. Harry Potter is an orphan boy whose parents have died allegedly in a car accident and who lives with his neglecting aunt’s family. He lives in a cupboard under the stairs. This can be interpreted as physical captivity and psychological repression. At the beginning of the novel, Aunt Petunia, with her shrill voice, wakes up Harry by rapping on the door of the cupboard. This scene holds a symbolic meaning in that it foreshadows the spiritual

42 awakening of Harry, or the self. He does not know anything about his identity or family. However, Harry’s subconscious is filled with the repressed memories of that cursed night in which his family died (represented by flashes of a distant memory, and a half-remembered dream of a flying motor bicycle) and he survived:

He’d lived with the Dursleys almost ten years, ten miserable years, as long as he could remember, ever since he’d been a baby and his parents had died in that car crash. He couldn’t remember being in the car when his parents had died. Sometimes, when he strained his memory during long hours in his cupboard, he came up with a strange vision: a blinding flash of green light and a burning pain on his forehead. This, he supposed, was the crash, though he couldn’t remember his parents at all (PS 27).

This vague memory is exactly what is hidden and repressed in his subconscious. These events having occurred when he was just one year old, it is quite normal not to remember anything at all. Nevertheless, these infantile memories surface as uncanny elements from Harry’s past. Later, he will understand that the vision of the green light and burning pain are the remnants of the Killing Curse, and his dreams of a flying motorbycle are memories of an actual event. On his eleventh birthday, he receives a letter from Hogwarts, the School of Witchcraft and Wizardry. In spite of Uncle Vernon and Aunt Petunia’s attempts to prevent him, he finally manages to read this invitation letter owing to Hagrid, who is the Gamekeeper and the Keys and Ground of Hogwarts. Harry, who thinks that he is hated or ignored by everyone and all alone in his miserable life, learns that he is a wizard and that his parents are famous in the wizarding world. Hagrid, who is shocked to learn that Harry has been kept unaware of his past, informs Harry about his first confrontation with Voldemort and his amazing survival:

All anyone knows is, he [Voldemort] turned up in the village where you was all living, on Halloween ten years ago. You was just a year old. He came teryer house an’ – […] You-Know-Who killed ‘em. An’ then – ‘an this is the real myst’ry of the thing – he tried to kill you, too. Wanted ter make a clean job of it, I suppose, or maybe he just liked killin’ by then. But he couldn’t do it. Never wondered how you got that mark on yer forehead? That was no ordinary cut. That’s what yeh get when a powerful, evil curse touches yeh – took care of yer mum an’ dad an’ yer

house, even – but it didn’t work on you, that’s why yer famous, Harry (PS 45).

Even though he is a just a baby of one year old, Harry manages to survive the “Killing Curse” and is named as “The Boy Who Lived”. It is understood that there occurs a polarization of death and life. Harry’s life is constructed on the death of his parents and his survival. In a Freudian perspective, Rowling manages to draw an undeveloped ego or self by making the main character a baby at the beginning of the plot. Harry’s survival from this mortal attack can be interpreted as a survival of the self from the unconscious encounter of the inner drives. Voldemort’s curse rebounds and causes him to lose his powers. However, later in the last novel, it is revealed that Voldemort leaves a part of him in Harry unconsciously by creating Horcruxes. For that reason, Harry’s scar is more than “ordinary cut” but it is a real curse as the sign of harboring Voldemort’s piece of soul. Symbolically, a part of his doppelganger lives within him and the signs of this reveal it throughout the series, which is the main reason of Harry's evil side, confusion or dilemma. Harry is not only enlightened about his parents’ death or his survival, but also he is informed about his doppelganger. At that moment, Harry does not know that Voldemort is his doppelganger. Right at the beginning,Voldemort, or the Dark Lord as his followers call, is associated with evil, destructiveness and death as the other doppelganger motifs such as Frankenstein’s monster or Dracula does. Even his name is forbidden in the wizard society. No one except Albus Dumbledore, the Headmaster of Hogwarts, can dare to pronounce his name because of the fear he creates. Yet, as Dumbledore says to Harry at the end of the book, “fear of a name increases fear of the thing itself” (PS 216). Harry never avoids using the word Voldemort but the others, who are still afraid of pronouncing his name, call him as “You-Know-Who” or “He- Who-Must-Not-Be-Named”. Harry, in company with Hagrid, goes shopping in Diagon Alley, where all school materials are sold. The last shop to do shopping is Ollivanders, the magic-wand shop. That is exactly the time when he foresees that there is an inconceivable bond between him and Voldemort. The owner of the shop, Ollivander, explains him that “it’s really the wand that chooses the wizard” (PS 63). Additionally, no two wands are the same and they are all unique. For that reason, Harry has to try each wand one by

44 one and creates a chaos because all the wands he tries do not match him. Finally, Ollivander gives him a wand which is the “unusual combination” of “holly and phoenix feather”, he feels “a sudden warmth in his fingers” (PS 65). After understanding that this is the “perfect match”, Ollivander makes an explanation of this “curious” situation, which also explains the strong bond between Harry and Voldemort:

“I remember every wand I’ve ever sold, Mr. Potter. Every single wand. It so happens that the phoenix whose tail feather is in your wand, gave another feather – just one other. It is very curious indeed that you should be destined for this wand when its brother – why, its brother gave you the scar” Harry swallowed. “Yes, thirteen-and-a-half inches. Yew. Curious indeed how these things happen. The wand chooses the wizard, remember…. I think we must expect great things from you, Mr Potter…. After all, He-Who-Must- Not-Be-Named did great things – terrible, yes, but great” (PS 65).

It seems that Harry is “destined” to use the wand which is the twin of his doppelganger’s wand (65). “The great things” expected from Harry are nothing but using the power of the wand for the good. Furthermore, the great thing will eventually be revealed to be the defeat of his doppelganger – but not his wand. Harry’s conscience will develop in Hogwarts, which will provide him with a new beginning. Possessing a wand which is made of a phoenix feather is the first sign of it because the phoenix is associated with rebirth. In addition, the journey to the school presents another sign of it, all journeys in literature being potential representations of travelling through life, progress in maturation and so on. This first train trip is then an indication that Harry is starting his own journey of maturation. In addition, only the first year students enter Hogwarts by crossing the lake, and this water imagery may also be taken as supporting the idea of the new beginning, and as Paula Soares Faria puts forward, “birth or rebirth” (Faria 83). Another major theme that emerges over the course of Harry’s travails in the Harry Potter series’ another major point is the importance of the choices made by a free mind, in other words, the exercise of free-will. Even though it is revealed in Book 6 (OP) that there is a prophecy about Harry-Voldemort’s destinies – that is the destinies of the self and the doppelganger – everything is later shown to be determined by free-

45 will. Hence, even at the beginning of the novel, choosing the evil side or good side, or choosing a side at all is presented by the Sorting Hat. The Sorting Hat places each student in one of the four school Houses: Gryffindor, Hufflepuff, Ravenclaw or Slyhterin. The houses provide the pupils with a kind of family or fraternity; the members of each house spend time together and sleep in the same dormitories. Also, as Peter Ciaccio specifies, “there is a deeply intense bond to the House, a strong identity that creates a high spirit of competition, together with, however, a high risk of divisiveness” (Ciaccio 36). However, as the Sorting Hat sings in its song, each student is placed according to their character or virtue. According to these, they are placed in “brave” Gryffindor, “loyal and just” Hufflepuff, “wise” Ravenclaw or “cunning” Slytherin(PS 88). The Sorting Hat is the incarnation of a mind-reading, so this “Thinking Cap” can see everything and for it “there’s nothing hidden in your head” (PS 88). As Ciaccio specifies, the House creates a deep bond and a strong identity as well as a “high risk of divisiness” and “faithfulness to one’s House identity becomes the main influence on students’ behavior: the clearest example is the Gryffindor’s loyalty to Albus Dumbledore and Slytherins’ to Lord Voldemort” (Ciaccio 36). During the Sorting Hat ceremony, Harry fears being placed in Slytherin. The dialogue between him and the Sorting Hat puts forward the self’s resistance to its bad side:

“Hmm,” said a small voice in his ear. “Difficult. Very difficult. Plenty of courage, I see. Not a bad mind either. There’s talent, oh my goodness, yes – and a nice thirst to prove yourself, now that’s interesting… So where shall I put you?” Harry gripped the edges of the stool and thought, Not Slytherin, not Slytherin. “Not Slytherin, eh?” said the small voice. “Are you sure? You could be great, you know, it’s all here in your head, and Slytherin will help you on the way to greatness, no doubt about that – no? Well, if you’re sure – better be GRYFFINDOR!” (PS 90-91).

This scene shows his inner conflict, both the double within him (that he is unaware of but the hat can detect) and his conscious fear of that hidden double. As Terri Doughty explains, “Harry’s fears about his own nature are made clear” (Doughty 247-248). Harry’s free-will surpasses the attempt of his inner evil potential to be replaced in Slytherin and he is placed into Gryffindor, where students have “daring,

46 nerve and chivalry”. Even though he could be successful or achieve “greatness” in Slytherin where students may choose cunning or evil identities (as its snake symbol and snake-like name indicate), Harry chooses the side he associates with goodness and bravery. However, it must be said that the students in Slytherin do not necessarily follow an evil path, they also have free choice; however, their willingness or desire to be in Slytherin shows that they are prepared to choose evil means towards success, as also reflected in the behavior of players in the Slytherin Quidditch team. It is obvious that both in this book and in the others, all the events and the chain of the bond between Harry and Voldemort are revealed piece by piece. The Forest scene in Book I is as important as the last chapters because Harry comes across his doppelganger for the first time. The Forbidden Forest, as its name suggests, is forbidden for students to go at night since it hosts many dangerous creatures within itself. Harry enters it by force and as a punishment for rule-breaking, so even entering the forest is associated with moral-doing. Additionally, “the forest hides many secrets” (PS 185). If the forest symbolizes the mind, then it is shown as a place which is full of secrets, and as a place of increasing impenetrability and darkness. Choosing the forest as the first setting for a confrontation between Harry and the bodiless Voldemort is significant: as Harry goes “deeper and deeper into the forest”, or perhaps deeper and deeper into his unconscious, he comes closer and closer to his doppelganger, the not-I part of himself (PS 186). The beast-like nature of Voldemort is presented in the description of this confrontation:

Harry had taken one step toward it when a slithering sound made him freeze where he stood. A bush on the edge of the clearing quivered.. Then, out of the shadows, a hooded figure came crawling across the ground like some stalking beast. … The cloaked figure reached the unicorn, lowered its head over the wound in the animal’s side, and began to drink its blood. […] Then a pain like he’d never felt before pierced his head; it was as though his scar were on fire. Half blinded, he staggered back. […] The pain in Harry’s head was so bad he fell to his knees. It took a minute or two to pass. When he looked up, the figure had gone (PS 187).

The pain in his scar is significant considering that it was left by Voldemort’s Killing Curse. Throughout the series, the scar will be a sign of danger for him. As Pat Pinsent states, his scar “always alerts him to the presence of evil” (Pinsent 37),

47 although in fact it is just Voldemort’s presence (either in body or thought) that awakes the pain – no other evil does this to him. In addition to this, Voldemort’s snakelike attributes are symbolically significant; His hooded figure is depicted as “slithering” or “crawling”. In addition to the name and symbol of Slytherin House referring to a snake, the motif of a snake will be associated with Voldemort in many different ways throughout this and the following novels. This emphasizes the fallen nature of Voldemort, like Satan in Milton’s Paradise Lost, who enters to the body of a serpent to tempt Eve, and as a punishment is turned permanently into a snake form by God. In Genesis God says to Satan “upon thy belly shalt thou go and dust shalt thou eat all the days of thy life” (Gen. 3.14); as a creature whose head will be bruised by the foot of man he is a much debased figure. We may now consider the disembodied but still snake-like Voldemort in the light of Genesis, and understand Firenze’s explanations in the following passage as having biblical origins:

“That is because it is a monstrous thing, to slay a unicorn,” said Firenze. “Only one who has nothing to lose, and everything to gain, would commit such a crime. The blood of a unicorn will keep you alive, even if you are an inch from death, but at a terrible price. You have slain something pure and defenseless to save yourself, and you will have but a half-life, a cursed life, from the moment it touches your lips” (PS 188).

Firenze points out the monstrosity of Voldemort, who feeds on an innocent and defenseless creature in order to gain his strength back. Yet, the life is already a cursed life caused by his choice of destructive nature and the Killing Curse which rebounded on him when he tried to kill Harry as a baby. Drinking unicorn blood makes it even a more cursed life Moreover, killing a defenseless creature like a unicorn is not his first time. Voldemort has killed many people including Harry’s parents. His choice for destructiveness causes a self-destruction for him. As Shira Wolosky asserts, “Trying to steal life, Voldemort destroys his own. He enters a state not of immortality, but of endless death” (Wolosky 144). Voldemort is a character who represents the evil both in the society and within us. In the series, he is the embodiment of both of these situations. As the inner repressed drives do, he looks for immortality. The main plot of the first book and the series is Voldemort’s search of immortality and Harry’s search of defeating the evil.

For that reason, the first book is the very essential beginning of this challenge and the mirror of the whole series. After this confrontation, especially owing to the help of Firenze, Harry learns that Voldemort is in pursuit of the Philosopher’s Stone, “a legendary substance” which can “transform any metal into pure gold” and produce “the Elixir of Life, which will make the drinker immortal” (PS 161). Drinking the Elixir of Life means being immortal, which is necessary for Voldemort to return. As a matter of fact, Harry figures out Voldemort searches for the Philosopher’s Stone, which is hidden in Hogwarts. Suspecting that Professor Snape, the Head of Slytherin House and the Teacher of Potions will gain the Stone and give it to Voldemort, Harry decides to get the Stone before him. Harry’s bravery and rage towards the doppelganger are observed in his explanation to his best friends Ron and Hermione:

“Don’t you understand? If Snape gets hold of the Stone, Voldemort’s coming back! Haven’t you heard of what it was like when he was trying to take over? There won’t be any Hogwarts to get expelled from! He’ll flatten it, or turn it into a school of Dark Arts! […] If I get caught before I go back to the Dursleys and wait for Voldemort to find me there, it’s only dying a bit later than I would have, because I’m never going over to the Dark Side! I’m going through that trapdoor tonight and nothing you two say is going to stop me! Voldemort killed my parents, remember?” (PS 196-197).

As stated in this passage, Harry uses his free-will once again and asserts his determination in goodness. The forest scene, which pins the first confrontation between Harry and Voldemort, occurs in the forest, which symbolizes going deeper and deeper in the conscience. This is a half-revealed confrontation as Voldemort appears as a hooded figure. The main confrontation happens after Harry goes through that trapdoor and accomplishes the missions to reach the Philosopher’s Stone. Just like Alice’s rabbit-hole, trapdoor requires a downward jump and this symbolizes going deeper and deeper in the mind. The uncanny double will appear out of deep down the memories, the conscious. After accomplishing the last mission, Harry enters the last chamber to find not Voldemort but Professor Quirrell, the teacher of Defense against the Dark Arts. Voldemort uses his body as a parasite use the host. Harry understands this only when

Voldemort, inside Quirrell’s turban, asks to face Harry by himself. As Quirrell begins to “unwrap” his turban, Harry watches him in a “petrified” way (PS 212). According to Freud, the uncanny is the return of the unfamiliar in a strangely familiar way. In the situation of this (un)familiarity, what is hidden is uncovered. Unwrapping the turban is very symbolic at the beginning of the series because Harry discovers or uncovers lots of secrets within and around himself. In the case of Professor Quirrell, he is stunned to see Voldemort for the first time. It is “a face, the most terrible face” Harry has ever seen and it is “chalk white with glaring red eyes and slits for nostrils, like a snake” (PS 212). Voldemort’s description is reminiscent of another doppelganger in Gothic fiction, Dracula, whose eyes flame “red with devilish passion; the great nostrils of white aquiline nose” (Stoker 336).Voldemort is associated with snake once again and his leading parasitic life in Quirrell’s body presents “his descent into the lowest forms of life” (Wolosky 142). Voldemort, who has no body at all, talks to Harry and tells his own descent and intentions by himself:

“See what I have become?” the face said. “Mere shadow and vapor… I have form only when I can share another’s body… but there have always been those willing to let me into their hearts and minds… Unicorn blood has strengthened me, these past weeks… you saw faithful Professor Quirrell drinking it for me in the forest… and once I have the Elixir of Life, I will be able to create a body of my own…” (PS 213).

Since Voldemort is aware of his weak and bodiless form, he wants to create a body of his own. He has gained back his power by drinking the unicorn blood. The main reason for him to do is to attain immortality and to be invincible. The doppelganger becomes the harbinger of death after passing the primary narcissism period where he has the assurance of immortality. Hence, symbolically he wants to go back to that immortal status, where there is no possibility of death. Yet, he does not know that he is associated with death and doomed to die in the end. Because the superego and the ego do not let him prevail. Added to that, as it has been pointed out earlier, the evil is associated with otherness and the doppelganger transgresses all the social taboos. In the case of Voldemort, he even transgresses the borders of body, human integrity. He must be suppressed or killed.

Voldemort fails to kill Harry though he uses Quirrell to do it. What he underestimates is that Harry is still protected by his mother’s love. The moment Quirrell touches Harry, he suffers a terrible pain and blisters. As Harry faints with the pain in his scar, Voldemort leaves Quirrell’s body. Later, Dumbledore explains Harry, “to have been loved so deeply, even though the person who loved us is gone, will gives us protection forever” (PS 216). As Kate Behr puts forward, Rowling “reinforces two things about Voldemort’s character: that he is terrified of death, and that he cannot understand love” (Behr 268). The first book maintains both of these in itself through the search of immortality and underestimation of love. Furthermore, it presents the first confrontation with the doppelganger. According to Dryden, the doppelganger motif can include “slippage of identity”, hidden “dark secrets” (Dryden 40-41). Voldemort is the embodiment of this all and he also foreshadows upcoming evil and struggle for Harry with his first appearance in the first book.

3.3. Opening “the Chamber of Secrets” The second book of the series, Harry Potter and the Chamber of Secrets (2008), is the second step in the construction and the interpretation of the bond between the self and the doppelganger. Harry starts to have nightmares about his confrontation with Voldemort. His nightmares, in Freudian terms, are the reflection of his inner anxieties in the subconscious. By remembering “his livid face, his wide, mad eyes”, he wonders where Voldemort is (CS 14). After going back to Hogwarts for the second year, he finds himself in an utmost danger and confusion. He begins to hear “a voice to chill the bone marrow, a voice of breathtaking, ice-cold venom” and it says “come… come to me… let me rip you… let me tear you… let me kill you…” (CS 132). Harry cannot give it a meaning now that he is the only one who hears the voice. On a symbolic level, it can be interpreted that this is closely related to Harry. Yet, he hears the voice again saying “rip…tear… kill…”, “so hungry… for so long…” and “kill… time to kill” (CS 150). Even though this is the voice of the giant Basilisk in Hogwarts, it is the embodiment or awakening voice of his inner evil drives which are so hungry and which has waited for so long to come out.

Thereupon, after hearing the voice for the second time, Harry and his friends notice that there has been written something on the wall: “The Chamber of Secrets Has Been Opened. Enemies of the Heir, Beware” (CS 151). Throughout the series, there is this secrecy or hiddenness as a leitmotif. Everything starts to be revealed with the unwrapping in the first book and in the second one the Chamber of Secrets is opened. Even the story behind the Chamber has a significance in relation to the hiddenness of the evil, the doppelganger:

The story goes that Slytherin had built a hidden chamber in the castle, of which the other founders knew nothing. Slytherin, according to the legend, sealed the Chamber of Secrets so that none would be able to open it until his own true heir arrived at the school. The heir alone would be able to unseal the Chamber of Secrets, unleash the horror within, and use it to purge the school of all who were unworthy to study magic (CS 165).

Uncanny is the unfamiliar return or the revelation of what is concealed. Hence, the hiddenness starts to dissolve with “wrapping the turban” and goes on with “unsealing” and “unleashing”. Especially, “the horror within” is directly related to the uncanny and the doppelganger. Mansfield points out that the double / the doppelganger “enlarges the character of the hero by bringing out into the open his own dark hidden truth” (Mansfield 100). Harry’s “dark hidden truth” is his being a Horcrux, hosting an evil side within himself. In this way, he functions as a proper character who represents the human being now that all humans have good and evil sides and the free-will is essential to choose which one to reveal and which one to conceal. However, the Chamber of Secrets functions as a metaphor for the revelation of the evil in a sense. In the book, the horror within “is believed to be some sort of monster, which the Heir of Slytherin alone can control” (CS 166). The “monster” is a Basilisk, slithering through the pipes of Hogwarts. The monstrosity of the Basilisk is also a metaphor for the evil slithering through Harry. Hearing that the Heir of Slyhterin can control the monster, Harry remembers the Sorting Hat’s desire to put him into the House of Slytherin. Harry starts to feel suspicious about himself and his relation to Slytherin and this reaches a climax when Harry decides to go to the Duelling Club, where students practise the spells they have learnt. Draco Malfoy, one of the evil characters in the story, casts a spell and a black snake shoots out of his wand. With Professor Lockhart’s wrong spell, the snake

52 gets enraged and starts to slither toward a student. Harry starts to talk to the snake to prevent its attack. The scene reveals his uncanny talent, which is related to his doppelganger:

All he knew was that his legs were carrying him forward as though he was on casters and that he had shouted stupidly at the snake, “Leave him alone!” and miraculously – inexplicably – the snake slumped to the floor, docile as a thick, black garden hose, its eyes now on Harry. Harry felt the fear rain out of him. He knew the snake wouldn’t attack anyone now, though how he knew it, he couldn’t have explained (CS 211).

The fact that he knows but he cannot explain is another sign of his uncanny features coming to the surface. In Philosopher’s Stone, he talks to a boa constrictor and releases him from the zoo unconsciously. Talking to snake is an action done unconsciously. Because speaking Parseltongue, the language of snakes, is associated with Salazar Slytherin, the founder of the House of Slytherin. Voldemort is also a Parselmouth. Carrying a part of Voldemort, a part of evil within himself, Harry can speak Parseltongue. The imagery of snake is maintained both through talking to the snakes and the ability to a debased animal. These support the idea of the descent of the doppelganger. Harry begins to suspect that he is the Heir of Slytherin:

Harry lay awake for hour for hours that night. […] Could he be a descendant of Salazar Slytherin? He didn’t know anything about his father’s family, after all. […] ‘But I’m in Gryiffndor,’ Harry thought. The Sorting Hat wouldn’t have put me in here if I had Slytherin blood…’ ‘Ah’, said a nasty little voice in his brain, ‘But the Sorting Hat wanted to put you in Slytherin, don’t you remember?’ (CS 213-214).

As Taija Piippo indicates, Harry finds himself “in the middle of an identity crisis” and he is “driven by the desire to find out his real heritage and his chances of influencing his involuntary condemnation to the allegedly evil Slytherin house” (Piippo 68-69). His dark double, doppelganer Voldemort belongs to Slyhterin, which all the unwanted features are associated with. Once he sees the Sorting Hat, which is the embodiment of the mind, it says “you were particularly difficulty to place. […] You would have done well in Slytherin” (CS 224). Hearing this, Harry feels “sick (224). Being the Heir of Slytherin or harboring evil is the last thing he wants. This is

53 reminiscent of the scene in which he learns that he is Voldemort’s last Horcrux in Book 7. Gradually, Harry starts to face the uncanny parts of himself and of his doppelganger. He finds a diary with “a shabby black cover”, which belongs to Tom Riddle, young Voldemort. The moment he holds the diary he feels a connection to it. The narrator supports the connection between Harry and the diary, which is a part of Harry:

He couldn’t explain, even to himself, why he didn’t just throw Riddle’s diary away. The fact was that even though he knew the diary was blank, he kept absentmindedly picking it up and turning the pages, as though it were a story he wanted to finish. And while Harry was sure he had never heard the name T.M. Riddle before, it still seemed to mean something to him, almost as though Riddle was a friend he’d had when he was very small and had half-forgotten (CS 253).

This is one of the major uncanny moments in the series. Harry feels a connection, a strange familiarity to the diary. According to Faria, “Harry feels connection with Voldemort from the start. Hero and villain are intrinsically connected and they recognize that the other is an essential part of their journey” (Faria 97). In fact, Harry will be the one to finish the story and Riddle / Voldemort is really a part within him which has been hidden when he was very small. The diary, like a living being, creates a conversation and responds everything Harry writes on it. Moreover, it is the embodiment of Voldemort’s memories. Opening the diary refers to the opening of the Chamber and secrets start to be revealed. In the diary, Tom Riddle / Voldemort writes “I mean that this diary holds memories of terrible things. Things that were covered up. Things that happened at Hogwarts School of Witchcraft and Wizardry” (CS 260). Again the leitmotif of secrecy and covering up is presented through the diary. The terrible things Tom Riddle talks about are the destructive things he has done. As the Heir of Slytherin, Voldemort opens the Chamber of Secrets and kills a girl by using the monster. However, this event is covered up immediately. Now, fifty years later, what is suppressed, what is uncanny comes to the surface. Additionally, Harry manages to learn more about his doppelganger when Tom Riddle takes him into his memory literally and shows his dialogue with Professor Dippet, the Headmaster of Hogwarts during his time. Tom Riddle, like Harry, is a half-

54 blood and orphan. He lives in a Muggle orphanage which he detests. About his parents, Riddle says “My mother died just after I was born, sir. They told me at the orphanage she lived just long enough to name me – Tom after my father, Marvolo after my grandfather” (CS 264). He is a child who is born out of the death of his mother. Even, his birth is constructed on death. Tom Riddle / Voldemort is so manipulative that he manages to direct Harry’s suspect towards Hagrid. Harry thinks that Hagrid is the first student who has opened the room, which leads back to fifty years ago. Even a diary of the 16-year-old self of Voldemort can trick Harry as Satan does in Paradise Lost. In addition, Voldemort wants to control and manipulate time by captivating his soul into a diary. As Wolosky asserts, “what the diary ultimately expresses is Voldemort’s desire to stop the time” and “preserve his own former self forever as it was, as a part of his plan to preserve himself forever against death” (Wolosky 80). After the petrification of many students by the deadly stare of the Basilisk, Harry and Ron learn that Ron’s sister Ginny has been kidnapped by the Basilisk and “her skeleton will lie in the Chamber forever” (CS 316). It is Harry who opens the gate of the Chamber to reach and save Ginny. Through his uncanny side which is the remnant of Voldemort, he speaks Parseltongue to the snaked embossed sink and manages to go to the Chamber to find Giny on the ground and “a tall, black-haired boy” (CS 330). The boy, Tom Riddle, is not a ghost but a memory which is “preserved in a diary for fifty years” (CS 330-331). Tom’s explanation shows the animalistic and parasitic nature of the doppelganger:

“If I say it myself, Harry, I’ve always been able to charm the people I needed. So Ginny poured out her soul to me, and her soul happened exactly what I wanted… I grew stronger and stronger on a diet of her deepest fears, her darkest secrets. I grew powerful, far more powerful than little Miss Weasley. Powerful enough to start feeding Miss Weasley a few of my secrets, to start pouring a little of my soul into her […] Ginny Weasley opened the Chamber of Secrets. […] Of course, she didn’t know what she was doing at first. (CS 333-334).

Tom Riddle / Voldemort is a parasite who feeds on fears and secrets just as he does on Professor Quirrell’s body in Book I. His destructive nature poisons even Ginny Weasley as well as Harry himself. Later, he says “For many months now, my new

55 target has been – you […] I have been waiting for you to appear since we arrived here. I knew you’d come. I have many questions for you, Harry Potter” (CS 336). Being a target and being haunted by doppelganger is a common theme in Gothic fiction. According to Smith, “the return of the past is in fact a return of the same; it represents a return of an Other from which the subject is apparently alienated. This all becomes related to Freud’s wider purpose, which is to explain the feelings generated by an encounter with the double” (Smith, “Gothic Radicalism” 71). Hence, Tom Riddle, who is also a memory coming from the past, is the return of the same for Harry. Of course, Tom Riddle and Harry Potter are not the same person, yet Riddle is at the same age of Harry and this raises the level of that uncanny similarity between them. Harry attracts the doppelganger’s attention and Riddle asks him some questions in relation to his own wonder:

“Well,” said Riddle, smiling pleasantly, “how is it that you – a skinny boy with no extraordinary magical talent – managed to defeat the greatest wizard of all time? How did you escape with nothing but a scar, while Lord Voldemort’s powers were destroyed?” There was an odd red gleam in his hungry eyes now. “Why do you care how I escaped?” said Harry slowly. “Voldemort was after your time…” “Voldemort,” said Riddle softly “is my past, present and future, Harry Potter…” (CS 336 - 337).

Tom Riddle is Voldemort himself so he is his past, present and future. Voldemort, through the diary, transgresses the limits of time indeed. His eyes look like Dracula’s “deep, burning eyes” (Stoker 67). Rowling constantly draws attention to his eyes, to depict his evil stare. Because Harry does not know Tom Riddle is Voldemort’s adolescence, Harry cannot understand what he means. Tom Riddle writes three words on air: Tom Marvolo Riddle, which is his name. And by the spell, the words are rearranged into “I Am Lord Voldemort”. It is seen that Voldemort creates a new name by calling himself “Lord” and does not use the name of his Muggle father whom he despises:

“You see?” he whispered. “It was a name I was already using at Hogwarts, to my most intimate friends only, of course. You think I was going to use my filthy Muggle father’s name forever? I, in whose veins

runs the blood of Salazar Slytherin himself, through my mother’s side? I, keep the name of a foul, common Muggle, who abandoned me even before I was born, just because he found out his wife was a witch? No Harry – I fashioned myself a new name, a name wizards everywhere would one day fear to speak, when I had become the greatest sorcerer in the world!” (CS 337).

Riddle’s pride is reminiscent of Satan in Milton’s Paradise Lost. He wants to be the best sorcerer. Additionally, he praises his pure-blood mother’s side while he detests his Muggle father’s side. According to Piippo’s argument, what Riddle does is creating a new identity to be the powerful person he aspires for and “it is as if he needs a mythical or even supernatural alter ego to hold him up and to emphasize the traits he deems necessary for the leadership of the wizarding world” (Piippo 71). In a way, by creating his own identity based on his own desires, Riddle chooses his own path and starts his own journey. Behr calls this “acting as an agent on his own narrative” (Behr 267), which is true now that Voldemort creates his own narrative as he does in the diary. But it is significant that the main force behind creating a new identity is his desire to make people forget his Muggle origin and rule the world. As Wolosky states, his name is “a mask – not a revelation – a way to hide from himself and others and thus to intimidate and gain power over them” (Wolosky 15). Voldemort is the child of a Muggle father who leaves his wife after learning that she is a witch. But in Book 7, it is learnt that Voldemort’s mother Merope makes him love her by a Love Potion. He is not a child of love but falsehood. He grows up in an orphanage without his parents and he attributes his miserable life to his father. As Colin Manlove calls, he is “no more than old boy with a grudge” (Manlove 190). However, as Dumbledore says, it is our choices which create our identity. Though there are similarities between them, Voldemort chooses the evil side as the representative of the evil side in human nature. Tom Riddle, himself, also talks about the similarities between him and Harry:

“There are stranger likenesses between us, after all. Even you must have noticed. Both half-bloods, orphans, raised by Muggles. Probably the only two Parselmouths to come to Hogwarts since the great Slytherin himself. We even look something alike… but after all, it was merely a lucky chance that saved you from me” (CS 340)

As Ciaccio explains, “these similarities are a great narrative theme in the books. This case study of the genesis of a Dark Lord does not hide the fact that Harry and Tom become two radically different persons at the end” (Ciaccio 42). Harry and Voldemort are two sides of the same coin but it is their choices that define them. When Voldemort learns that Harry is saved by his mother’s love, which is something he lacks and he does not understand, he releases the monster of the Chamber: the Basilisk. The giant serpent which chases Harry represents the evil haunting indeed. It is also another symbol of the doppelganger’s evil, debased nature in a giant form following Harry. Harry manages to kill it with the Sword and destroys the diary with the poisonous fang of the Basilisk. Now that the diary is a Horcrux, a part of Voldemort’s soul, the description of piercing is significant:

“Harry seized the basilisk fang on the floor next to him and plunged it straight into the heart of the book. There was a long, dreadful, piercing scream. Ink spurted out of the diary in torrents, streaming over Harry’s hands, flooding the floor. Riddle was writhing and twisting, screaming and flailing and then – He had gone. […] Silence except for the steady drip drop of ink still oozing from the diary. The basilisk venom had burned a sizzling hole right through it (CS 346).

The diary is more than a notebook which hides memories, it is also a part of Voldemort’s soul in order to gain immortality. The basilisk which is the representative of Voldemort’s bestial and evil nature destroys his part. And Harry is the one who manages to destroy it. Wolosky argues that this is Harry’s struggle against being similar and “this is one of the books’ many images of evil turning against itself, of evil’s self-destructive power” (Wolosky 46). His own evil destroys a part of him and he vanishes by screaming. It is also essential that Harry stabs the fang right “into the heart of the book” leaving “a sizzling hole”. The heart is associated with love and the heart of the diary is left with a hole, which represents Tom Riddle / Voldemort’s hole in his heart. He never loves and is never loved. The only emotion which he wants to create is fear. In opposition to his doppelganger, Harry is full of love and loyal to the people whom he loves. Voldemort is not and will not be capable of loving. He is absolutely the antithesis of Harry.

At the end of the book, Dumbledore says “Unless I’m much mistaken, he transferred some of his own powers to you the night he gave you the scar. Not something he intended to, I’m sure” (CS 357). Voldemort passes some of his talents, indirectly his evil, into Harry. Thus, it can be said that Voldemort is not only the evil in the society but also within the self. About this intrusion of talents, Piippo argues:

“The doppelganger relation between Tom Riddle and Harry along these lines can be seen as complementing. Tom as Voldemort completes Harry, having given him a set of traits that he has not acknowledged or even noticed in himself so far. There is enough similarity that Harry begins to believe in a one-to-one matching possibility, until Dumbledore points out that not all their common features need to be negatively seen” (Piippo 69).

Nick Mansfield says that the doppelganger brings out into the open the self’s “own dark hidden truth” and this is the moment Harry learns that he carries some aspects of Voldemort. In addition, he has some significant similarities with Tom. As Dumbledore points out, what makes Harry different from Voldemort is that his choice in good side. Harry has “qualities Salazar Slytherin prized in his hand-picked students” such as Parseltongue, determination, ingenuity” but as Dumbledore asserts, “it is our choices [Harry] that show what we truly are, far more than abilities” (CS 357 – 358). Hence, it refers to choosing one side and repressing the other side. In conclusion, Harry Potter and The Chamber of Secrets provides many uncanny aspects of the relationship between the self and the doppelganger, such as Parseltongue and the diary. Tom Riddle, who is the adolescent Voldemort, comes back to Hogwarts as a memory through his diary. He manages to open the Chamber of Secrets and allure Harry into it. As Faria puts forwards, “the Chamber of Secrets is a common ground for both of them” (Faria 84). The opening symbolizes the revelation of the (un)familiar and hidden secrets. Though the doppelganger attempts to kill, Harry manages to destroy the diary, directly the doppelganger. For the second time, Harry defeats Voldemort even though it is just a Horcrux and a memory. As Dumbledore asserts, whether it is evil inside or outside, it is the choice which creates the personality and Harry presents his determination in the good side.

3.4. The Revelation of Inner Fears of the Self Undoubtedly that Book III is the only book in which Voldemort does not confront Harry Potter. Yet, it includes many important details about the self more than the doppelganger. Namely, in the previous book, Harry learns that he has some talents which Voldemort has passed to him. Though he does not know that he is a Horcrux, a part of Voldemort, he is uncomfortable with this. Furthemore, in the Prisoner of Azkaban, his inner fears start to come to surface as well as his uncanny memories. A prisoner called Sirius Black escapes from the Prisoner of Azkaban. In order to protect students, Hogwarts is protected by creatures. The significance of Dementors is the effect they create on people. More importantly, the effect they create on Harry is massive and uncanny:

Harry’s eyes rolled up into his head. He couldn’t see. He was drowning in cold. There was a rushing in his ears as though of water. He was being dragged downward, the roaring growing louder […] Someone was screaming, screaming inside his head… a woman… “Not Harry, not Harry, please not Harry!” “Stand aside, you silly girl… stand aside, now…” “Not Harry, please no, take me kill me instead--” […] A shrill voice was laughing, the woman was screaming, and Harry knew no more” (PA 134).

The movement “downward”, just like the trapdoor in Book I or the hole of the Chamber in Book II, signifies the downward movement back to the memories, subconscious. The screaming woman is no one but his mother Lily, who is trying to save his one-year-old son from Voldemort. His uncanny memories that he remembers in a dreamy in Book I come to the surface. While Voldemort feeds on fears and secrets, Dementors feed on happiness:

They infest the darkest, filthiest places, they glory in decay and despair, they drain peace, hope, and happiness out of the air around them. Even Muggles feel their presence, though they can’t see them. Get too near a dementor and every good feeling, every happy memory will be sucked out of you. If it can, the dementor will feed on you long enough to reduce you to something like itself… soul-less and evil (PA 140).

While taking the happiness within Harry out, they drag the uncanny painful memories which Harry suppressed in his mind to the surface. They are the manifestation of inner despair and distress. As Wolosky asserts, “they empty the mind of any positive memories and attachments. In their stead, they leave a person haunted by disappointments, regrets, bitter memories, or a sense of terrible errors or actions” and it can ultimately cause “lose one’s very sense of self” (Wolosky 26). Hence, this is another type of assault on the integrity of the self. To top it all, Harry’s uncanny memories depress him more than lack of happiness. Because this is the first time that he has heard his mother’s voice and it is the moment of her death. To counteract the depression caused by the Dementors, one must use the Patronus, which “is a kind of positive force, a projection of the very things that the dementor feeds upon – hope, happiness, the desire to survive” (PA 176). This desire to survive is symbolically the desire to survive of the inner good drives or the resistance against death. As each Patronus is unique to its conjurer, the desires of each person is unique to him or her. As well as the Dementors, the Boggarts are the manifestation of Harry’s inner fears. These “shape-shifter” creatures “like dark, enclosed spaces”, have no shape and become whatever the self is afraid of (PA 101). They epitomize the subjective fears in each person. They are the fears deep down, in the darkness of our minds. As Wolosky states, “the Boggart is itself an allegorical figure of fear. Like fear, it lurks in dark places we do not want to examine” (Wolosky 24). Facing and beating them supports that there is the development of “self-knowledge”, in Julia Eccleshare’s terms (Eccleshare 28). They are the fears hidden in the mind and in order to gain self- knowledge and develop, the self must define and defeat them. Professor Lupin, the teacher of Defense against the Dark Arts, teaches him the way to defeat the Dementors by using a Boggart. Harry is afraid of losing his happiness. This time he hears his father’s voice:

The dementor glided forward, drawing its breath; one rotting hand was extending toward Harry- “Expectopatronum!” Harry yelled. “Expectopatronum! Expecto pat-- ”

White fog obscured around his senses… big, blurred shapes were moving around him… then came a new voice, a man’s voice shouting, panicking — “Lily, take Harry and go! It’s him! Go! Run! I’ll hold him off--” The sounds of someone stumbling from a room — a door bursting open — a cackle of high-pitched laughter — (PA 178).

This is the first time Harry has heard his father’s voice and these two experiences with the Dementors cause horrible memories suppressed within Harry’s consciousness. Now that he is “afraid to face”, it creates an “extreme trauma” for him (Wolosky 27). He fails to conjure a proper Patronus spell because he wants to hear his parents’ voice and what has happened. But he also must resist and face his inner fears. Lupin says that “the charm might be too advanced for” Harry and “many qualified wizards have difficulty in it” (PA 176). Harry manages to do the Patronus charm only when his godfather Sirius Black is surrounded by the Dementors by the lake. Now that everyone’s Patronus has a shape, he thinks that he has seen his father’s Patronus, a stag. Later, he understands it is him who has done it. It proves that he has come to that advanced level of wizardry in parallel to the self-knowledge. Dumbledore says that Harry has found his father inside himself (PA 313). By producing the shape of his father’s Patronus, he creates and completes his father’s aspect in his personality and manages to face his fears. Moreover, he manages to do it without the help of Dumbledore or his friends. As Doughty points out, “instead of being saved by the ghost of his father, he has saved himself” and discovered the father’s side within him. “Not only does this suggest that Harry has found a connection with his father, but metaphorically he is ready to father himself; the boy is indeed the father to the man” (Doughty 254). The self gets out of the despair caused by the haunting memories and uncanny depressions. Interestingly, Book III is noteworthy now that it notifies the rising of the doppelganger, the evil force within and without the self. In the Divination Lesson, Professor Trelawney goes into a trance and prophesizes:

The Dark Lord lies alone and friendless, abandoned by his followers. His servant has been chained these twelve years. Tonight, before midnight… The servant will break free and set out to rejoin his master. The Dark Lord will rise again with his servant’s aid, greater and more terrible than ever he was (PA 238).

In opposition to the downward movement, rising is an upward movement. This time, the doppelganger will rise and come to the surface. After being suppressed for twelve years, the time that he will rise and face the self will come. It is significant now that it is the sign and warning of this confrontation which happens in the following books. In conclusion, as the first two books focus on the initial confrontation and clash between the self and the doppelganger, Book III focuses on Harry’s inner fears and anxieties. In order to keep his integrity and develop himself, he faces his inner fears and manages to defeat them. However, he is also warned that the doppelganger will rise to his highest power in the future. The following chapter will be on the rising of the doppelganger and his mental connection with Harry. The doppelganger, which will gain a body and a shape, will haunt Harry to death.

CHAPTER 4

THE MERGENCE OF THE SELF AND THE DOPPELGANGER

4.1. The Connection of the Self to The Doppelganger In the first two books of the series, Philosopher’s Stone and the Chamber of Secrets, Harry is confronted with his doppelganger. But the doppelganger is just a parasitic bodiless soul and the memory, which is in fact a Horcrux. These books represent the evil outside Harry and Harry’s confrontation with them in the process of survival and self-development. In Book III, the Prisoner of Azkaban, the perspective goes much more into Harry’s inner struggle. In addition to his being an adolescent, he has to cope with his inner fears which release his uncanny memories about the moment of his parents’ death. In Book IV, Harry Potter and the Goblet of Fire, finally the doppelganger gains a shape to haunt and threat Harry physically. This is the book in which the doppelganger, Harry’s inner fears or “the not-I” of Harry comes to the surface literally. Moreover, it can be said that the unification which leads to the death of one side in the following books starts in Book IV. In this book, Harry gets inside the mind of Voldemort unconsciously. For that reason, he will uncover the mind of his doppelganger. The leitmotif of uncanny uncovering since the unwrapping of the turban in Book I goes on with mind- connection. This connection happens when Harry’s “mind is most relaxed and vulnerable” (OP 469). This vulnerability and relaxation happens mostly when he is asleep or when these visions or connections occur, Harry faints. According to Freud, the unconscious starts to work according to the wishes of the id. In the dreams, the hidden desires, wishes come to the surface now that the super ego does not guard the ego in the unconscious. For that reason, it is significant that Harry has this connection through his dreams, especially when his unconscious is loaded with the desires of the

64 id. Now that Voldemort is associated with the id, the dreams are like a passage to his primal desires, namely his doppelganger. The first chapter of the book is called “The Riddle House”. This is a symbolic name now that it is the house of Tom Riddle’s father. Symbolically, the last name “Riddle” represents Harry’s position as a riddle-solver. He has to figure out the connection between himself and Voldemort, the places Voldemort hides his Horcruxes. Top it all, he has to understand Voldemort. He has to find out his mission in life and his identity. As Wolosky puts forward, “Harry himself is a hero of riddles, not only because of his power to solve him, but also because of who he is and what he (and the reader) discovers about himself” (Wolosky 1). The “riddle” is not only about the doppelganger but also the self. By revealing everything hidden about the “not-I”, the self will be able to figure out “I” and develop a strong identity. In the first chapter, Harry sees a vision in his dream, which is a gateway to Voldemort’s mind. Voldemort is in his father’s house with his servant Peter Pettigrew. The description of the house is quite Gothic:

It stood on a hill overlooking the village, some of its windows boarded, tiles missing from its roof, and ivy spreading unchecked over its face. Once a fine-looking manor, and easily the largest and grandest building for miles around, the Riddle House was now damp, derelict and unoccupied (GF 7).

The description of the house is reminiscent of Gothic settings such as deserted castles and haunted houses. However, it is clear that the house refers to Voldemort’s condition. The roof, which covers the house, has missing tiles and lets the light and air in. Likewise, Voldemort’s secrets are being learnt one by one because they are not protected anymore. Also, his corruption both physically and spiritually is represented by the “derelict and unoccupied” house. Now that he does not have a body and he is “less than a spirit” (GF 566), he does not have that body integrity. Added to that, his soul is divided into seven Horcruxes and his fragmented existence is in ruins. In his dream / vision, Harry sees Voldemort talking to Peter about planning to kill someone. The person they are plotting to kill is nobody but Harry. Voldemort says in his cold, high-pitched voice “I have my reasons for using the boy, as I have already explained to you, and I will use no other. I have waited thirteen years” (GF 14). The

65 reasons are his grudge against Harry and the desire to show that he is the invincible one against “The Boy Who Lived”. On a further level, Voldemort is the harbinger of death waiting to kill Harry. Voldemort’s snake Nagini kills the gardener of the house. The snake is like the manifestation of Voldemort’s destructive power, which will appear many times in the following books. According to Wolosky, it is “both mirror image and extension of her master” (Wolosky 3). Without being able to see Voldemort’s face, Harry wakes up. Voldemort, who is the representative of id, is suppressed by superego and Harry wakes up with a terrible pain in his scar. Harry goes to Quidditch World Cup with the Weasleys. He witnesses a chaos in the Cup now that someone makes the Dark Mark in the sky. The Dark Mark is “a colossal skull, comprised of what looked like emerald stars, with a serpent protruding from its mouth like a tongue” in “a greenish smoke” (GF 115). This creates a massive chaos among people now that it is Voldemort’s sign. He and his followers, which are called Death Eaters, would use it when they killed someone. Mr. Weasley explains “The terror it inspired… you have no idea, you’re too young. Just picture coming home and finding the Dark Mark hovering your house, and knowing what you’re about to find inside […] Everyone’s worst fear… the very worst…” (GF 127). In fact, this scene is the representation of Harry’s inner chaos. He feels rage, a desire to beat Voldemort and his followers. The depiction of the Dark Mark is essential since it refers to the darkness, evil and death. All of these are attributed to Voldemort, who even carries “death” in his name. “Mort”, which means “death” in French, is associated with Voldemort, the doppelganger who is the omen of death. While aiming for Harry’s death, he is unaware that he is the pure evil which must be suppressed by the self. What’s more, Voldemort is always associated with darkness: The Dark Lord, the Dark Arts and the Dark Mark. According to Jackson, the evil is associated with blackness:

Histories of a devil figure in literature point to the supernatural categorization in religious myth, medieval romances, fairy tale: disembodied evil came to be incarnated in a traditional black evil. Blackness, night and darkness always surrounded this ‘other’, this unseen presence, outside the forms and visible confines of the ‘ordinary’ and ‘common (Jackson 54).

In parallel to Jackson’s explanation, Voldemort attributes to darkness as the evil side of Rowling’s polarization. Evil is also “the worst fear” in deep darkness of the consciousness. The doppelganger appears as the dark manifestation of the evil. According to Amanda Cockrell, Harry and Voldemort are also represented by this duality “of dark and light forces, and of tone” (Cockrell 22). Later, Harry sees another vision in which he tortures his servant Peter Pettigrew. It is so real that Harry yells in pain when Peter screams because of the torture. Since he is not able to understand why his scar hurts, he consults Dumbledore:

“I have a theory, no more than that… It is my belief that your scar hurts when Lord Voldemort is near you, and when he is feeling a particularly strong surge of hatred” “But… why?” “Because you and he are connected by the curse that failed,” said Dumbledore. “That is no ordinary scar” (GF 521-522).

This connection is the one between the self and the doppelganger and the scar is the cover of the passage. Whenever they are connected mentally or they are in the same place, it hurts. This can be interpreted as the resistance against the unification of the self and the doppelganger. Meanwhile, Hogwarts hosts the Triwizard Tournament, which requires each representative from each Wizardry School to accomplish some mortal missions. Though Harry is under age, Voldemort’s spy at Hogwarts puts his name in the Goblet and he is chosen as the second representative of Hogwarts. Harry manages to accomplish all those tasks with Cedric Diggory, the representative of Hogwarts. In the final part of the tournament, he holds the Cup with Cedric in order to declare there are two winners. Yet, he is unaware of the fact that the Cup is a Portkey, a magical device which transports the holder to another specific spot. Voldemort’s plot is making Harry one of the representatives and making sure that he wins and holds the cup. Thus, he can reach Harry without being noticed. He will use Harry for his evil purpose. After touching the Portkey, Harry and Cedric find themselves in a graveyard. Surprised that they are not in Hogwarts, they notice a hooded figure carrying in his arms something “like a baby” or “a bundle of robes” (GF 553). Voldemort, who will gain a new body, is depicted as small as a baby. Harry’s scar burns like a fire and does

67 not wish the bundle to be opened. He doesn’t “want that bundle opened” (GF 555). Harry resists against the revelation of what is uncanny, hidden in the bundle. The leitmotif of “unwrapping” goes on with the opening of the bundle. When Peter opens the bundle to reveal what is inside, Harry screams his head off. The description of Voldemort is significant concerning his evil and crippled soul:

It was as though Wormtail [Peter] had flipped a stone and revealed something ugly, slimy, and blind – but worse, a hundred times worse. The thing Wormtail had been carrying had the shape of a crouched human child, except that Harry had never seen anything less like a child. It was hairless and scaly-looking, a dark, raw, reddish black. Its arms and legs were thin and feeble, and its face – no child alive ever had a face like that – flat and snakelike, with gleaming red eyes […] The thing seemed almost helpless; it raised its thin arms, put them around Wormtail’s neck (GF 555 - 556).

According to Marie-Louise Von Franz, “in the archetypal experience of evil, evil powers are seen as a crippled human, or a distorted thing” (Von Franz 179). The appearance of Voldemort is depicted as a weak, deformed figure in an evil and ugly way. Voldemort turns into a shapeless creature after the Killing Curse he has conjured on Harry. His destructive power has turned to himself. This represents the destructiveness of the evil within and outside the self. Voldemort, once again, is associated with the snake, which signifies his inner and bodily corruption. Also Voldemort is like a creature which needs to gain strength or develop. The corruption because of evil causes a decay after the Killing Curse. This reminds Dr. Jekyll’s description of his doppelganger Mr. Hyde’s appearance: “The evil side of my nature […] was less robust and less developed than the good” (Stevenson 63). Voldemort’s development is in the minimum level and he needs a literal rebirth. In the rebirth ceremony, it is observed that the self [Harry] resists the surfacing of the doppelganger [Voldemort]. When Wormtail leaves Voldemort into the potion in the cauldron, Harry thinks “Let it drown […] please… let it drown” (GF 556). According Merriam-Webster Online Dictionary’s definition, drowning is “to die by being underwater too long and unable to breathe”, “to hold (a person or animal) underwater until death occurs” and “to cover (something) with a liquid” (MWD Online). As it has been discussed while analyzing the first book, water is associated

68 with rebirth. In the cauldron, there is a potion, liquid which will provide Voldemort’s rebirth. Hence, there is this water imagery. Harry wants to suppress his doppelganger even before he is reborn. The last meaning of the word is also associated with covering as the id or inner evil desires are covered and suppressed. Additionally, it is stressed that the rebirth occurs in a graveyard, which is associated with death. Another doppelganger in Gothic fiction, Frankenstein’s monster is also associated with the grave. Victor Frankenstein, dabbles “among the unhallowed damps of the grave” (Shelley 55) in order to form a creature out of corpses. When he talks about his doppelganger, he says “my own spirit let loose from the grave” (Shelley 78). Likewise, Voldemort arranges his rebirth in his father’s grave by coming to life among the dead. His parasitic nature is supported with the elements necessary for his rebirth potion: “the bone of the father”, “flesh of the servant” and “blood of the enemy forcibly taken” (GF 557). A dribble of Harry’s blood is put into the cauldron and then Voldemort is reborn by gaining a solid body:

But then, through the mist in front of him, he saw, with an icy surge of terror, the dark outline of a man, tall and skeletally thin, rising slowly from inside the cauldron. “Robe me” said the high, cold voice from behind the steam […] The thin man stepped out of the cauldron, staring at Harry… and Harry stared back into the face that had haunted his nightmares for three years. Whiter than a skull, with wide, livid scarlet eyes and a nose that was flat as a snake’s with slits for nostrils… Lord Voldemort had risen again (GF 557-558).

Until this novel, it is observed that there is a movement downwards into the depth, darkness of physical reality and mind. In the rebirth ceremony, Voldemort “rises” slowly. This is the embodiment of the uncanny, evil desires which are rising as the doppelganger. “The face that had haunted his nightmares” supports the idea that the doppelganger pursues and bothers the self. Furthermore, the appearance of Voldemort after rebirth is both associated with death and snakes. When Voldemort looks at his new body, the animalistic aspects of him are emphasized more:

Voldemort looked away from Harry and began examining his own body. His hands were like large, pale spiders, his long white fingers caressed his own chest, his arms, his face; the red eyes, whose pupils

were slits, like a cat’s, gleamed still more brightly through the darkness (GF 559).

Being compared to a snake, a spider and a cat, Voldemort is the embodiment of the uncivilized, brute desires within human. Once again, it is emphasized that his red eyes are gleaming just like Count Dracula’s eyes flaming “with devilish passion” (Stoker 336). After examining his body, Voldemort starts to talk to Harry and give an insight into his past by himself:

“You stand, Harry Potter, upon the remains of my late father,” he hissed softly. “A Muggle and a fool… very like your dear mother. But they both had their uses, did they not? Your mother died to defend you as a child… and I killed my father, and see how useful he has proved himself, in death […]. My father lived there. My mother, a witch who lived here in his village, fell in love with him. Bur he abandoned her when she told him what she was… He didn’t like magic, my father… He left her and returned to his Muggle parents before I was even born, Potter, and she died giving birth to me, leaving me to be raised in a Muggle orphanage… but I vowed to find him… I revenged myself upon him, that fool who gave me his name… Tom Riddle… (GF 560-561).

As a person who has grown up without love, he has no emotional bond to his parents and he finds everyone beneficial. As Behr suggests, he is characterized by two things: fear of death and lack of love (Behr 268). Additionally, as Wolosky defines, “to him [Voldemort] the only measure of value is utility” and there is no difference between the death of a mother and using a father’s bone as long as both of them have utility (Wolosky 117-118). It is observed that Voldemort detests his father, who has left his mother. Just like Harry, he grows up without parents. However, as Dumbledore has pointed out before, it is our choices that show what we actually are (CS 358). Unlike Harry, Voldemort’s choices are evil. Voldemort’s pride has penetrated his body and discourse since he sees himself as the omnipotent being. He says “how could they have believed I would not rise again? They, who knew the steps I took, long ago, to guard myself against mortal death? They, who had seen proofs of the immensity of my power in the times when I was mightier than any wizard living?” (GF 562). He regards himself as the most powerful wizard and he still has the thirst to prove himself in the eyes of his followers.

His explanation about his return / rebirth to his supporters is of vital importance now that it depicts Voldemort’s journey from the Killing Curse until his parasitic inhabitation and his goal:

“Aaah… pain beyond pain, my friends; nothing could have prepared me for it. I was ripped from my body, I was less than spirit, less than the meanest ghost… but still, I was alive. What I was, even I do not know. I, who have gone further than anybody along the path that leads to immortality. You know my goal – to conquer death. […] Nevertheless, I was as powerless as the weakest creature alive, and without the means to help myself… for I had no body, and every spell that might have helped me require the use of a wand… I remember only forcing myself, sleeplessly, endlessly, second by second, to exist… I settled in a faraway place, in a forest and I waited… Surely, one of my faithful Death Eaters would try and find me… One of them would come and perform the magic I could not, to restore me to a body” (GF 566- 567).

Voldemort represents transgressive and evil desires that are repressed. Becase they are repressed both within the society and the human subjectivity, he barely lives in the unconscious. He is alive somewhere but he cannot be reached. His goal, which is to defeat death and be immortal, is narrated in detail in Book 6 and 7. His settling in the forest is symbolic since it refers to the deep darkness of the psyche. The primitive desires and impulses of the id, represented by Voldemort, can live in a faraway place, in a forest. In addition, he says “Only one power remained to me. I could possess the bodies of others […] I sometimes inhabited animals – snakes, of course, being my preference” (GF 567). He regards this as a kind of power but as Wolosky supports, “here is not his dominion and control” but it is just a descent into the debased form of life (Wolosky 142). He is a shapeshifter like Satan, who enters the bodies of a toad and a snake. Likewise, Voldemort’s preference of “snake” reveals his Satanic nature. On a metaphorical level, he represents the evil nature in human beings now that he can possess the conscious of people by evil desires. In Book I, Harry prevents Voldemort and Quirrell to attain the Philosopher’s Stone. The doppelganger is defeated once again. Voldemort goes to his “hiding place far away” which is “deep in an Albanian forest” (GF 567-568). Once the evil tries to come to the surface or the doppelganger attacks the self, it is repressed. The forest symbolizes the deep down of the conscious and subjectivity.

As Voldemort regards himself the most powerful and the invincible wizard, he wants to assert his position in the eyes of his followers. He explains the reason why he uses Harry’s blood:

“But the blood of a foe… […] But I knew the one I must use, if I was to rise again, more powerful than I had been when I had fallen. I wanted Harry Potter’s blood. I wanted the blood of the one who had stripped me of power thirteen years ago… for the lingering protection his mother once gave him would then reside in my veins too” (GF 569-570).

By using Harry’s blood in his rebirth, Voldemort takes his revenge on him in some way. Showing how vulnerable “the Boy Who Lived” is in opposition to him, Voldemort proves his power to his followers. In Book 7, he will also try to prove his power by demanding to be the one who kills Harry. In his rebirth ceremony, he is clearly on a power trip:

“You see, I think, how foolish it was to suppose that this boy could ever have been stronger than me,” said Voldemort. “But I want there to be no mistake in anybody’s mind. Harry Potter escaped me by a lucky chance. And I am now going to prove my power by killing him, here and now, in front of you all, when there is no Dumbledore to help him, and no mother to die for him. I will give him his chance. He will be allowed to fight” (GF 571).

Voldemort, who is full of pride and ambition, expects to assert his power in front of his loyal followers. As Katherine Grimes states, Voldemort is “an evil person with power who fears losing that power to another and thus attempts to kill the usurper in childhood” (Grimes 113). Because of his fear of losing his power, he plans to kill him, yet he gives Harry a chance to fight against him. In this way, he can prove his power much better. Yet, his vanity and greed for power will cause him to make another mistake. After torturing Harry with Imperio Curse, Harry feels desperate and thinks it is the end of his life. In the final duel, they direct their wands to each other and conjure Charms. Harry’s charm is Expelliarmus, which is a Disarming Spell while Voldemort’s charm is Avada Kedavra, the Killing Curse. Voldemort faces Harry as the destructive force, the omen of death while Harry tries to disarm him. However, something unexpected occurs when their wands use magic against each other:

A jet of green light issued from Voldemort’s wand just as a jet of red light blasted from Harry’s – they met in midair – and suddenly Harry’s wand was vibrating as though an electric charge were surging through it; his hand seized up around it; he couldn’t have released it if he’d wanted to – and a narrow beam of light connected the two wands, neither red nor green, but bright, deep gold. Harry, following the beam with his astonished gaze, saw that Voldemort’s long white fingers too were gripping a wand that was shaking and vibrating (GF 575).

This is the moment the self and the doppelganger unite and oppose at the same time because the wands they are using are made of the twin cores. They are made of the feather of Fawkes, the phoenix of Dumbledore. Accordingly, it is symbolic that he hears the phoenix’s song at that moment. It is like the unification of the twin cores, which is impossible in the end. When the doppelganger tries to attack, the subject suppresses him. Voldemort’s murderous spells and people come out of the wands as shadowy visions. Harry prevents Voldemort’s power and manages to escape using the Portkey to Hogwarts. When he is back at Hogwarts in dismay, Dumbledore explains why the wands have reacted against each other:

“Harry’s wand and Voldemort’s wand share cores. Each of them contains a feather from the tail of the same phoenix. […] They will not work properly against each other […] If, however, the owners of the wands force the wands to do battle… a very rare effect will take place. One of the wands will force the other to regurgitate spells it has performed – in reverse (GF 571).

The same phoenix represents coming from the same core and similar background. Their inability to work against each other supports the idea that neither unification at death or life is possible for them. One side must die while the other survives, as the prophecy says in Book 6. The surviving side must be the one who conforms the morals of the society and who has suppressed the evil: Harry. As well as the accomplishments in the Triwizard Tournament, Harry’s confrontation with Voldemort contributes to his identity development. He manages to escape Voldemort’s Killing Curse, which requires the ability of an advanced wizard. Dumbledore says “You have shouldered a grown wizard’s burden and found yourself

73 equal to it” (GF 606-607). Doughty argues that “Dumbledore marks Harry’s coming into maturity with this battle” (Doughty 254). It is true that Harry performed magic over the expectations and this is an important step in his passage from adolescence to adulthood. It is also a necessary step for Harry to take in order to pursue his doppelganger in return and suppress the evil. The last chapter of Book V is titled “The Beginning”, which is a noteworthy title to finish a novel. On a symbolic level, Book V is the beginning of Lord Voldemort’s ascension and pursuit to kill Harry. It is also the beginning for Harry to wonder his doppelganger and connect to him starting with the first scar vision into the Riddle House. While Harry is a Horcrux carrying a soul, a part of Voldemort, Voldemort’s veins are full of Harry’s blood. They are a part of each other and they carry a part belonging to each other. Still, this is a fragmented unification, which makes the events even worse for both sides in the following books.

4.2. The Evil and The Possession of the Self After the return of Lord Voldemort at the end of the Triwizard Tournament and escape from his Killing Curse, Harry spends the summer with Aunt Petunia, Uncle Vernon and his cousin Dudley. Harry is mentally depressed because of his friend Cedric’s death as well as Voldemort’s rebirth. This is the first time that somebody dies beside Harry. The moment his parents die is just a vague memory suppressed. But Cedric’s death reminds him of the possibility of upcoming destruction by Voldemort. He sleeps in unrest and has “unsettling dreams about long dark corridors, all finishing in dead ends and locked doors” because of his “trapped feeling” (OP 14). In Book 6, Harry Potter and the Order of Phoenix, the focus is mostly in Harry’s psychology: Cedric’s death and loss, fear about Voldemort’s return, his desire to defeat his doppelganger and more. As Roni Natov states, “it is always rooted in the psychological darkness associated with childhood and human development” and he needs guidance now that he does not know how to control his fears, desires and talents (Natov 133). In Book V, Harry has a vision and sees what exactly Voldemort is doing. It is like the initial connection of the self and the doppelganger. In Book VI, Harry starts to

74 see visions getting into the mind of Voldemort unintentionally. His scar hurts more than ever and he feels what Voldemort feels at that moment:

Harry was thinking himself back. He had been looking into Umbridge’s face… His scar had hurt… and he had had that odd feeling in his stomach… a strange, leaping feeling… a happy feeling… But, of course, he had not recognized it for what it was, as he had been feeling so miserable himself… “Last time, it was because he was pleased,” he said. “Really pleased. He thought… something good was going to happen. And the night before we came back to Hogwarts…” He thought back to the moment when his scar had hurt so badly in his and Ron’s bedroom in Grimmauld Place. “He was furiuous…” (OP 338).

Harry does have to sleep in order to see this vision; out of a sudden he gets into a trance-like vision unintentionally. From another perspective, this can seem like a split personality. Because Harry hosts two different sides within by these visions. By these visions, Voldemort inhabits in his consciousness or in other words, he possesses it. Alice Mills supports this idea by relating it to the mutual bond of blood and soul: The possession of the rage and fear can also be caused by this connection and unification. Like one single subjectivity, the feelings of the doppelganger are shared by the self. More precisely, Harry is “getting flashes of what mood he’s in” (OP 339). His scar becomes, according to Behr, “a barometer that registers Voldemort’s anger” (Behr 264). Still, Harry cannot figure out some things. He sees another vision and sees that Voldemort has other plans which are not happening fast. Voldemort is looking for something he could not get before. Though Harry does not know what it is yet, it is revealed that the thing he is looking for is the prophecy about him and Harry. Harry still cannot understand the connection and obsession of Voldemort. “What was this weird connection between them, which Dumbledore had never been able to explain satisfactorily?” (OP 340). The Chapter titled “The Eye of The Snake” is one of the most noteworthy chapters of the book and the whole series in as much as the evil within Harry manifests through the vision:

The dream changed… His body felt smooth, powerful, and flexible. He was gliding between shining metal bars, across dark, cold stone… He was flat against the floor, sliding along on his belly… […] a man was sitting on the floor ahead, his chin drooping onto his chest, his outline gleaming in the dark… Harry put out his tongue… […] Harry longed to bite the man… but he must master the impulse.... […] He reared high from the floor and struck once, twice, three times, plunging his fangs deeply into the man’s flesh, feeling his ribs splinter beneath his jaws, feeling the warm gush of blood… […] Blood was splattering onto the floor… His forehead hurt terribly… It was aching fit to burst… (OP 408-409).

After being connected to his doppelganger telepathically, Harry feels himself inside the evil in this instance. He gets inside the mind of the snake which is slithering on the floor and biting Mr. Weasley. Though the one who attacks is Voldemort’s snake Nagini in reality, Harry thinks that he is the one attacking. This can be interpreted as Harry’s inner struggle against evil. Even the discourse changes from “he” to “I”. When he wakes up, he says “It wasn’t a dream… not an ordinary dream… I was there, I saw it... I did it” (OP 410). Dumbledore inquires Harry about the positioning and Harry’s answer supports his possession by evil:

“I mean… can you remember – er – where you were positioned as you watch this attack happen? Were you perhaps standing beside the victim, or else looking down on the scene from above?” This was such a curious question that Harry gaped at Dumbledore; it was almost as though he knew… “I was the snake,” he said. “I saw it all from the snake’s point of view…” (OP 414).

In fact, Voldemort is the one who is manipulating or possessing the snake. Since Harry gets connected to Voldemort, he sees the event from the snake’s point of view. Metaphorically, this means the evil within is gaining control of Harry. Harry is not an evil character. But, he is under the attack by the evil within and outside. This is like the combination of Jackson’s evil categorization. Furthermore, Voldemort realizes that Harry can get into his mind and he takes advantage of this by possessing Harry intentionally. Harry is possessed by his doppelganger, namely the evil:

Harry looked up at him [Dumbledore] – they were very close together – and Dumbledore’s clear blue gaze moved from the Portkey to Harry’s face. At once, Harry’s scar burned white-hot, as though the old wound had burst open again – and unbidden, unwanted, but terrifyingly strong, there rose within Harry a hatred so powerful he felt, for that instant, that he would like nothing better than to strike – to bite – to sink his fangs into the man before him – (OP 419).

Though he is awake standing in front of Dumbledore, he feels an irresistible urge to strike Dumbledore. This is one of his doppelganger’s biggest wishes. In Book V, it is Harry’s body attacked. Here it is Harry’s mind under attack. His rational faculty and mental integrity are affected by his doppelganger outside. In addition, this slippage from the doppelganger, the alter-ego to his own ego, consciousness is so fast and spontaneous that it reminds of Dr. Jekyll and Mr. Hyde. Dr Jekyll says “I was slowly losing hold of my original and better self, and becoming slowly incorporated with my second and worse” (Stevenson 68). Harry feels “full of horrible, hot bubbling guilt” in his stomach even though he is not the one who has attacked Mr. Weasley (OP 422). This is like the feeling of guilt that Dr Jekyll feels after his doppelganger, Mr Hyde’s malicious deeds. Harry finds himself in a terrible inner struggle:

Don’t be stupid, you haven’t got fangs, he told himself, trying to keep calm, though the hand on his butterbeer bottle was shaking. You were lying in bed, you weren’t attacking anyone… But then, what just happened in Dumbledore’s office? He asked himself. I felt like I wanted to attack Dumbledore, too (OP 422).

Harry cannot figure out what exactly is going on in his mind. He literally feels like mad and he questions himself. The evil inside is creeping within him. While talking to Sirius about what has happened in Dumbledore’s office, he says “It was like something rose up inside me, like there’s a snake inside me” (OP 425). The mergence of the self and the doppelganger creates a confusion. It is discussed whether Harry is possessed by Voldemort, which raises the level of fear inside Harry. Even, he remembers a memory which makes “his inside writhe and squirm like serpents” (OP 435). The evil creeps inside him like a snake and affects his psyche. According to Wolosky, “Harry and Voldemort’s minds begin to merge in ways that Harry does not

77 control, which also represents Harry’s own lack of self-discipline” (Wolosky 33). Harry, who starts to suspect that Voldemort is possessing him, feels panic because he thinks he is “giving a clear view” in the places he’s been (OP 436). His inner anxieties increase tremendously. In order to shut the passage into Harry’s mind, Dumbledore asks Snape to give private classes of Occlumency, “the magical defense of the mind against external penetration” (OP 458). On a symbolic level, this is like the precaution against the penetration of the id. Harry must learn how to close his mind to the Dark Lord. Closing mind is also another way to suppress or repulse the Dark Lord, the evil. Occlumency classes benefit for Harry indeed. He notices that the “windowless corridor ending in a locked door” in his dreams is “the corridor leading to the Department of Mysteries” (OP 474). In Book II, the Chamber of Secrets represents the revelation of secrets. In Book V, this corridor leading to the Department of Mysteries is symbolic since it symbolizes the uncovering of another mystery about the connection between the self and the doppelganger: the Prophecy. After Occlumency classes, his scar prickles less and he dreams about the corridor in the Ministry. He tries to open the black door in his dreams. In Chapter Twenty-six titled “Seen and Unseen”, Harry has another extraordinary dream. Just like the snake-dream, the discourse changes into Harry’s perspective. In this instance, Harry reaches Voldemort and sees from his eyes. He is angry for having been badly advised. When he looks at the mirror in the dream, he is appalled:

Left alone in the dark room, Harry turned toward the wall. A cracked, age-spotted mirror hung on the wall in the shadows. Harry moved toward it. His reflection grew larger amd clearer in the darkness… A face whiter than a skull… red eyes with slits for pupils… “NOOOOOOOOO!” “What?” yelled a voice nearby. Harry flailed around madly, became entangled in the hangings, and fell out of his bed (OP 516).

As Jackson asserts, “frequently, the mirror is employed as a motif or device to introduce a double, or Doppelgänger effect” (Jackson 45). In Dr Jekyll and Mr Hyde, Dr Jekyll says “And yet when I looked upon that ugly idol in the glass, I was conscious

78 of no repugnance, rather a leap of welcome” (Stevenson 63). Yet, in Harry’s case, it creates a traumatic effect. The idea of turning into his doppelganger terrifies him. When he wakes up, he says “I was You-Know-Who” and checks whether he is still “deathly white and long-fingered” (OP 517). He is afraid of turning into his doppelganger since he has lost his self-control. Professor Dumbledore warns Harry about the importance of Occlumency, resistance against Legilimency. Possessed by the evil, Harry has another temporary shift to the doppelganger’s feelings:

“Remember – close your mind-” But as Dumbledore’s fingers closed over Harry’s skin, a pain shot through the scar on his forehead, and he felt again that terrible, snakelike longing to strike Dumbledore, to bite him, to hurt him- “– you will understand,” whispered Dumbledore (OP 549).

It is quite ironic to ask Harry to close his mind because he is not absorbed in Occlumency wondering the end of the windowless corridor. On the other hand, the door of Harry’s consciousness is wide open to his doppelganger. Another night, he falls asleep again and Voldemort directs and manipulates his dream. He is again in the corridor leading to the Department of Mysteries. The door opens and after some other doors, he finds himself in a dimly lit room where there are “rows and rows of towering shelves, each laden with small, dusty, spun-glass spheres” (OP 560). He feels that there is something Voldemort really wants in this room. Likewise, he also wonders what it is. He even lets the connection between Voldemort and himself because he is extremely curious about what is hidden “in that room full of dusty orbs” (OP 601). In this dream, more doors are opened, which means Harry is coming closer to the “Mystery” or the prophecy. Still, Harry has inner conflicts:

He had hurried straight toward row number ninety-seven, turned left, and ran along it… It had probably been then that he had spoken aloud… Just a bit further… for he could feel his conscious self struggling to wake… and before he had reached the end of the row, he had found himself lying in bed again, gazing up at the canopy of his four-poster (OP 601).

His struggle goes on even in his dreams. While his conscious self is trying to wake, Harry craves for reaching the end of row. As Manlove points out, “we may also go inside Harry’s mind for the whole fantasy” and this is one of those moments his mind is revealed literally. On the other hand, his curiosity gets the better of him and he does not resist Voldemort’s penetration into his mind. Consequently, Voldemort deceives and manipulates Harry by connecting him to a fake vision. He pretends to have abducted and taken Sirius Black to the Department of Mysteries so that Harry can go there voluntarily. Thinking that Sirius has really been abducted, Harry and his friends go to the Department of Mysteries. In the dim lit room, they find the orb of prophecy on which Harry’s name is written. It is later understood that since the prophecy is about Harry and Voldemort, Harry can take it. Since he cannot take it, Voldemort entraps Harry so that he can take it for him. Voldemort and his followers, Death Eaters, come to the Ministry. Without being able to listen to it, Harry smashes the prophecy, which makes Voldemort angry. He tries to kill Harry with the Killing Curse but Dumbledore comes to Harry’s rescue. Dumbledore and Voldemort clash each other and Voldemort, uses Harry as a trump. The scene in which Harry is possessed by Voldemort is significant now that it shows the liberation of the self from his doppelganger:

“Kill me now, Dumbledore…” Blinded and dying, every part of him screaming for release, Harry felt the creature use him again… “If death is nothing, Dumbledore, kill the boy…” Let the pain stop, thought Harry… let him kill us… end it, Dumbledore… death is nothing compared to this... And I’ll see Sirius again… And as Harry’s heart filled with emotion, the creature’s coils loosened, the pain was gone (OP 720).

As he loves his late godfather, Sirius Black, Voldemort cannot possess him anymore. In other words, as Wolosky asserts, “the memory of Sirius fills Harry with emotion and makes him a being Voldemort cannot contact with” (Wolosky 59). At the end of the book, Dumbledore explains the Mystery of Harry’s life which he has been hiding for years:

“Voldemort tried to kill you when you were a child because of a prophecy made shortly before your birth. He knew the prophecy had been made, though he did not know its full contents. He set out to kill you when you were still a baby, believing he was fulfilling the terms of the prophecy. He discovered, to his cost, that he was mistaken, when the curse intended to his body, and particularly since your extraordinary escape from him last year, he has been determined to hear that prophecy in its entirety. This is the weapon he has been seeking so assiduously since his return: the knowledge of how to destroy you” The sun had risen fully now. Dumbledore’s office was bathed in it (OP 740).

It is understood that Voldemort is after the prophecy to understand the way to kill Harry. Harry is not some randomly chosen child but he is determined by a prophecy. Symbolically, the sun rises after revelation of this secret. The sun represents the knowledge in that sense. The prophecy itself is the most important element of the series now that it supports the self and the doppelganger relationship. Though Harry has broken the orb of prophecy, Dumbledore takes the memory of prophecy from the Pensieve, the tool to review one’s memories. And the prophecy is:

“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…” (OP 741).

The prophecy gives out the fact that the Dark Lord will choose his usurper as his equal and one side will die in the end. Death is an evitable ending for one side. As Behr mentions, “he and Voldemort are locked in a predestined life-and-death-struggle” (Behr 264). In literature of duality, this struggle is presented and the Harry Potter series is not an exception. Interestingly, the prophecy might not have been about Harry at all. Because two children are born at the end of July that year: Harry and Harry’s friend Neville Longbottom. Voldemort cannot learn the second part of the prophecy, which is “mark him as his equal”. As reported by Wolosky, in order to prevent the realization of the

81 prophecy, “Voldemort rushes into action to destroy Harry, and instead ends up destroying himself. This is a strong reversal against Voldemort himself” (Wolosky 90). The doppelganger’s destructive force ultimately comes back to himself. Acting out according to the prophecy, Voldemort chooses not Neville but Harry and “marks him as his equal”:

“He chose the boy he thought most likely to be a danger to him,” said Dumbledore. “And notice this, Harry. He chose, not the pureblood (which, according to his creed, is the only kind of wizard worth being or knowing), but the half-blood, like himself. He saw himself in you before he had ever seen you, and in marking you with that scar, did not kill you, as he intended, but gave you powers, and a future, which have fitted you to escape him not once, but four times so far – something that neither your parents, nor Neville’s parents, ever achieved” (OP 742).

As stated in the quotation, Voldemort chooses Harry as his equal because he is like himself and he is potentially powerful to defeat Voldemort. Even the prophecy emphasizes the importance of choices and free-will. Precipitately, without hearing the second part of the prophecy, Voldemort chooses to kill the child. Thus, as Wolosky explains, “Harry is not simply fated, but due to Voldemort’s choice” (Wolosky 90). Moreover, the prophecy ends with marking equal of the boy. If Voldemort does choose any child, he does not mark him as his equal. As Behr suggests, “Voldemort literally creates Harry’s narrative through his reaction to the prophecy” (Behr 267). He does not have to kill any child. But by attempting to do it and marking Harry as his equal, he lets the prophecy realize. Voldemort’s choices turn towards himself in a destructive way in the end. With his appearance in the Department of Mysteries, Voldemort’s return is officially declared. The Dark Lord or You-Know-Who returns as the uncanny omen of death. As Serdar Alıç suggests, repetition and returning are used as main principles of the doppelganger motif (Alıç 28). In this sense, Voldemort’s return exemplifies the return of the doppelganger. The last chapter of Book V is titled “The Second War Begins”. After the possession of the doppelganger, the self will declare war against the doppelganger. While the doppelganger is trying to gain immortality and defeat the self, the self is

82 pursuing the doppelganger in order to kill him. Thus, the Second War is the war for both sides. In conclusion, it is observed that Harry’s inner struggle and psychology become the center of Book IV and V. Having witnessed the rebirth of his doppelganger, Harry’s nightmares and fears increase. After a physical attack on his body, his mental integrity gets attacked. Voldemort manipulates his dreams and thoughts. However, after getting rid of Voldemort’s possession, Harry is a more developed character. As the doppelganger motif mostly requires, one side of the duality has to die. As Cockrell asserts, “Voldemort is Harry’s shadow side, his dark twin, and Harry must defeat him” (Cockrell 20). The following and the final chapter will cover the defeat of doppelganger in the last two books of the series.

CHAPTER 5

THE DEATH OF THE DOPPELGANGER

5.1. Familiarizing the Doppelganger With the end of Book IV, it is declared that “The Second War Begins”. The Second War means both the acceptance of Voldemort’s return and Harry’s battle against him after surviving the Killing Curse. The last two books of the series are about the process of acknowledging the doppelganger and the death of him. In order to start the defeat of the doppelganger, the self must identify him. Hence, in the fifth book of the series, Harry Potter and the Half-Blood Prince, Rowling directs attention to Voldemort’s past. This also provides the common ground of dualism showing the similarities and opposition between the self and the doppelganger. After the declaration of the Dark Lord’s return, Harry spends another summer with the Dursleys in the Muggle world. When he comes back to school, everything is in its course except the fear inside people. The fear is the fear of the disruption in the social order as well as death. With regard to Harry, it is the fear of confrontation with his doppelganger who has gained his power back literally. However, he says “it seems as though I always knew I’d have to face him in the end” (HP 97). According to the usage of doppelganger motif in Gothic fiction, facing the doppelganger is inevitable and Harry, likewise, knows that he will face him in the end. Before, facing the doppelganger, Dumbledore thinks that Harry must have full knowledge of Voldemort’s life so that he can take advantage. So he arranges meetings for Harry in his office. He uses Pensieve, which is a “shallow stone basin” which includes a person’s memories in “a bright whitish silver form” (GF 506-507). In order to put memories in the Pensieve, “one simply siphons the excess thoughts from one’s mind, pours them into the basin” (GF 519). It is almost like a concrete form of psychological treatment. In that sense, Harry, Dumbledore and the reader go through Voldemort’s past through other witnesses’ memories. According to Wolosky, this

84 riddle-solving process is “a kind of backwards quest” and a “mental archeology” (Wolosky 70). These memories going backwards will help Harry understand his doppelganger and find a way to destroy him starting with finding the Horcruxes, the parts of his soul. The first memory Harry witnesses belongs to a man called Bob Ogden, who visits Voldemort’s grandparent’s house, the Gaunts’ cottage. Though the memory does not include Voldemort, it gives significant details about the birth of evil in Voldemort. The memory presents Voldemort’s mother Merope as a neglected daughter and his grandfather Marvolo as a neglecting father, who is proud of being a descendant of the pure-blood family of Salazar Slytherin. Under the pressure of her father and her rebellious brother Morfin, Voldemort’s mother is incapable of magic. In addition, though he is poor, Marvolo is so full of pride and arrogance that he gives more importance to the family heirlooms. This type of family does not function now that it lacks of love, family bonds and solidarity. As Alıç states in his thesis, “the doppelganger is characteristically produced in a broken home” (Alıç 29). Thus, Voldemort is no exception. Even, his own family is not founded on the basis of love. His mother Merope falls in a love with a wealthy Muggle, who rides past the Gaunt cottage. It is implied that Merope makes a love potion and makes Tom Riddle Sr. love her. The scandalous love of a tramp’s daughter and a squire’s son ends up with a runaway marriage. After one year of marriage, Merope stops using love potion and Tom Riddle Sr. leaves her and his one-year-old son Tom / Voldemort. Merope, who is in despair, gives up taking care of herself and her baby and dies after leaving Tom / Voldemort to a Muggle orphanage. Because of her sorrow, she gives up on her son. Unlike Harry, who is loved deeply by her parents, Voldemort is a kid who is born in absence of love and family. Still, he is an orphan just like Harry and the polarization of the self and the doppelganger starts even with the type of families. In Chapter Thirteen, which is titled “The Secret Riddle”, more details about Tom’s childhood are revealed. The wordplay in the title of the chapter presents the complexity in Tom’s childhood. Tom is a Riddle to be solved and his childhood is a secret to be revealed. The second Pensieve memory is Dumbledore’s memory, the time when he goes to the Muggle orphanage and invites Tom, who is unaware of his talents, to Hogwarts. The description of Harry’s plunging into Dumbledore’s memory is

85 described as “falling through darkness”. As well as being a literal darkness, this also symbolizes going deep down in the darkness of his doppelganger’s past. When Mrs. Cole, the matron of the orphanage where Tom Riddle lives, describes Tom and her mother’s arrival, it is understood that everything about him is unknown and he is a riddle to be solved:

“New Year’s Eve and bitter cold, snowing, you know. Nasty night. And this girl, not much older than I was myself at the time, came staggering up the front steps. Well, she wasn’t the first. We took her in, and she had the baby within the hour. And she was dead in another hour. […] I remember she said to me, ‘I hope he looks like his papa,” and I won’t lie, she was right to hope it, because she was no beauty – and then she told me he was to be named Tom, for his father, and Marvolo, her father – yes, I know, funny name, isn’t it? We wondered whether she came from a circus – and she said the boy’s surname was to be Riddle. And she died soon after that without another word (HP 249).

The time he is born, New Year’s Eve, is the last day of a year and the beginning of another one. Symbolically, it represents Merope’s death and Voldemort’s birth. Additionally, it represents a new beginning in a challenging environment. Yet, the polarization of the self and the other / doppelganger functions on the aspect of free- will. Tom Riddle is given a brand-new beginning, a life full of opportunities just like Harry when he is left in front of his aunt’s door. When Tom is a little baby, he is full of joy. The change is understood when Mrs. Cole says “he was a funny baby too. He hardly ever cried, you know. And then, when he got a little older, he was… odd” (HP 250). Mrs. Cole mentions she suspects him of hanging his friend’s rabbit from the rafters and another terrible thing in a cave. As he himself points out, Tom can make animals do what he wants them to do or do bad things to the people who annoy him. Starting on a neutral line, Tom chooses the evil way as he grows up. In that sense, it can be said that Dumbledore gives him another chance to find his way by inviting him to Hogwarts, the School of Wizardry and Witchcraft on his eleventh birthday. On one hand, Harry thinks that Hagrid has made a mistake and says “I don’t think I can be a wizard” (PS 47). On the other hand, his doppelganger, “not-I” remarks that he has known that he is special. The features of his “transfigured” face seems “rougher” and “his expression almost bestial” (HP 254). In her book Deconstructing the Hero, Margery Hourihan puts forward “The wild things symbolize both the external ‘other’s

86 and the hero’s inner fears and passions” (Hourihan 107). Now that Harry is a Horcrux, namely a part of Voldemort, Tom Riddle is the other and the antithesis of him as well as the repressed side in his subconscious as a Horcrux. Like his future form, Tom Riddle is associated with wildness and bestiality, which are the features of the id and primal desires. The visit to the orphanage uncover two important aspects of Voldemort. Firstly, he likes collecting things for himself as a trophy. Dumbledore notices Tom is hiding everyday objects which he has stolen from his friends when he takes off the lid of the cardboard he keeps in his wardrobe. Taking off the lid supports the leitmotif of uncanny revealing of hidden things or secrets since the first book. Secondly, Tom refuses Dumbledore’s help to buy his school equipment and mentions his independence. He is an orphan boy, who claims to be self-confident and independent in his deeds. In relation to this, Faria expresses:

The abandoned child is symbolic of abandoned or ignored part of ourselves. It is the hidden potential to be discovered through the Journey. Both Harry and Riddle embody that archetype and that potential. They have in common the Orphan archetype, which composes the Hero Journey. The Orphan longs to be discovered and recognized, to be free to explore and understand his existence (Faria 81).

Even though they have a similar background of an orphan, Faria’s argument supports the importance of the free-will. While Harry is the embodiment of good with his deeds, Tom is the evil one. Although he has a promising future in Hogwarts, he improves himself in the Dark Arts. He even kills his Muggle father and steals his grandfather’s heritage, gold-and-black ring. Dumbledore defines Professor Slughorn’s memory as the most important one since it includes Tom Riddle’s future plans regarding both himself and Harry. Tom Riddle, who is a brilliant student at the time, asks Professor Slughorn what a Horcrux is:

“A Horcrux is the word used for an object in which a person has concealed part of their soul […] you split your soul […] and hide part of it in an object outside your body. Then, even if one’s body is attacked or destroyed, one cannot die, for part of the soul remains earthbound

and undamaged. But of course existence in such a form … […] few would want it, Tom, very few. Death would be preferable.” (HP 465).

As well as representing the deterioration of the soul, Horcruxes represent the fragmentation of the doppelganger. Jackson says “A fantasy of physical fragmentation corresponds […] to a breakdown of rational unity” (Jackson 90). While keeping his irrational and wild crimes, his means to keep his existence cause his disruption and dissolution:

“Well,” said Slughorn uncomfortably, “you must understand that the soul is supposed to remain intact and whole. Splitting it is an act of violation, it is against nature.” “How do you do it?” “By an act of evil – the supreme act of evil. By committing murder. Killing rips the soul apart. The wizard intent upon creating a Horcrux would use the damage to his advantage: He would encase the torn portion – “ “Encase? But how - ? […] What I don’t understand, though – just out of curiosity – I mean, would one Hortcrux be much use? Can you only split your soul once? Wouldn’t it be better, make you stronger, to have your soul in more pieces, I mean, for instance, isn’t seven the most powerfully magical number, wouldn’t seven - ?” “Merlin’s beard, Tom!” yelped Slughorn. “Seven! Isn’t it bad enough to think of killing one person? In any case… bad enough to divide the soul… but to rip it into seven pieces...” (HP 465-466).

Linda Dryden puts forward that “the double is a threat to the integrity of the self, and frequently evidence of a Gothic, supernatural force at large that brings with it death and destruction” (Dryden 38). Voldemort, as a doppelganger figure, is the extreme point of threatening the integrity since it disrupts itself into seven pieces by evil means. His death and destruction begin with his fragmentation. As Wolosky asserts, Horcruxes symbolize “the damage done to the soul by destructive deeds, how one’s destructive deeds injure not only others but also destroy oneself. They rebound back onto the soul, as Voldemort’s Killing Curses against Harry back onto him” (Wolosky 45). Voldemort’s destruction of his soul will cause his vulnerability and death by his doppelganger. Additionally, the doppelganger is frequently associated with evil and monstrosity. With regard to Voldemort, there is a gradual descent in his human being.

Associated with animalistic and bestial features, he is described as losing the integrity of human. After learning how to do Horcruxes, he is full of “wild happiness” but “somehow, less human…” (HP 466). This transformation of “less human” progresses with the passing years. It is revealed that the diary, which helps Ginny Weasley open the Chamber of Secrets, is a Horcrux. According to Dumbledore’s analysis, there are seven Horcruxes now that Voldemort thinks it is the most powerful number. All of them are not revealed at once now that this is a quest for Harry to recognize his doppelganger and thus himself. He has to go back through the memories. Since he is full of pride and arrogance, Tom thinks of putting the fragments of his soul into worthy objects. He takes a job in Borgin and Burkes, a shop selling priceless objects. His job is to persuade people to sell their precious belongings. Dumbledore takes Harry to another Pensieve memory which presents Tom’s visit to Hepzibah Smith, an old wealthy witch. Hepzibah shows her treasure, a secret hidden box:

She opened the lid. Harry edged forward a little to get a better view and saw what looked like a small golden cup with two finely wrought handles. […] Voldemort stretched out a long-fingered hand lifted the cup by one handle out of its snug silken wrappings. Harry thought he saw a red gleam in his dark eyes. His greedy expression was curiously mirrored in Hepzibah’s face, except that her tiny eyes were fixed upon Voldemort’s handsome features (HP 408).

The red gleam in Voldemort’s eyes represents his greed and resembles Dracula in Stoker’s novel. Just like his thirst for blood, Voldemort has a hunger for precious object, if possible with noble roots. The cup belongs to Helga Hufflepuff, one of the founders of Hogwarts. In Hepzibah’s box, there is also a golden locket, which belongs to Salazar Slytherin, another founder of Hogwarts. Since Tom / Voldemort is so proud of descending from Slytherin in his mother’s side, he cannot resist this object and his eyes turn into scarlet. Later, in the series, it is explained that Tom kills Hepzibah and converts these precious objects into his Horcruxes. The last Pensieve memory belongs to Dumbledore. In the memory, Tom / Voldemort comes back to Hogwarts asking for the position of teaching Defense against the Dark Arts. The main reason for this return is understood later, which is to hide his

89 another Horcrux, Ravenclaw’s diadem inside Hogwarts. However, the memory is significant in order to understand the transformation in Voldemort:

Harry let out a hastily stifled gasp. Voldemort had entered the room. His features were not those Harry had seen emerge from the great stone cauldron two years ago: They were not as snakelike, the eyes were not yet scarlet, the face not yet masklike, and yet has no longer handsome Tom Riddle. It was as though his features had been burned and blurred; they were waxy and oddly distorted, and the whites of the eyes now had a permanently bloody look, though the pupils were not yet the slits that Harry knew they would become. He was wearing a long black cloak, and his face was as pale as the snow glistening on his shoulders (HP 413).

At this scene, it is understood that Voldemort has already done some Horcruxes and his spiritual transformation is reflected in his physical appearance. The transformation in him almost resembles the portrait in Oscar Wilde’s The Picture of Dorian Gray. As Snodgrass interprets, the novel can be included in this category because the portrait is an antithesis of the self, as a doppelganger motif and the duality is created by Dorian and his portrait (Snodgrass 84). At the end of the novel, the portrait undergoes a transformation just the way Voldemort does. Dorian Gray, who craves for beauty and aestheticism, is confronted with his sins through his “loathsome” portrait, which has “a look of cunning, and in the mouth the curved wrinkle of the hypocrite” (Wilde 389). Similarly, Voldemort has his eyes on power and immortality and murders people for the sake of them. In parallel to Dorian Gray, his sins and destruction are reflected on his physical appearance. While determining the situation after a memory with Dumbledore, Harry is confronted with another uncanny similarity between himself and his doppelganger:

“He wanted to stay here? Why?” asked Harry, more amazed still. “I believe he had several reasons, though he confided none of them to Professor Dippet,” said Dumbledore. “Firstly, and very importantly, Voldemort was, I believe, more attached to this school than he has ever been to a person. Hogwarts as where he had been happiest; the first and only place he had felt at home.” Harry felt slightly uncomfortable at these words, for this was exactly how he felt about Hogwarts too (HP 403-404).

Both Harry and Voldemort are orphans who have grown up without their parents. In addition, their home is Hogwarts, which is another common point between them. These are uncanny similarities that disturb Harry since the doppelganger is the embodiment of all the disturbing aspects which do not exist in Harry but they are strangely familiar. As Ciaccio argues, “these similarities are a great narrative theme in the books. This case study of the genesis of a Dark Lord does not hide the fact that Harry and Tom become two radically different persons at the end” (Ciaccio 42). Harry and Voldemort are two different persons who come from a similar background but choose different paths. As Jackson defines, Harry is “I” and Voldemort is “not-I” outside him. In fact, now that Harry is also a Horcrux for Voldemort, he can be considered “not-I” for Voldemort, as well. However, the fact that Voldemort chooses the evil side, it is clear that Harry is the self and Voldemort is the doppelganger. While Riddle’s diary is certainly a Horcrux, Salazar Slytherin’s locket, Marvolo Gaunt’s ring and Helga Hufflepuff’s cup are thought to be Horcruxes, as well. Additionally, Dumbledore suspects Nagini, According to Wolosky, the fact that Voldemort puts a part of his soul into a snake “is symbolically linked to Voldemort’s own snakelike appearance, with his flat nose and slit eyes” (Wolosky 48). The ability of talking Parseltongue, being the descendant of Salazar Slytherin and having a serpent-like nature are frequently emphasized features of Voldemort. The snake symbolically represents him and indirectly his primitive nature in opposition to Harry. Harry has to kill his transgressive doppelganger Voldemort, who kills people for pleasure and to gain immortality. Being divided into seven (or eight because he also exists in Quirrell’s body in Book I), Voldemort is more vulnerable. “Without his Horcruxes, Voldemort will be a mortal man with a maimed and diminished soul” (HP 475). The conversation that Harry has with Dumbledore after the Pensieve memories is noteworthy as it emphasizes the doubling relationship between Harry and Voldemort:

“So, when the prophecy says that I’ll have ‘power the Dark Lord knows not’, it just means – love?” asked Harry, feeling a little let down. “Yes – just love,” said Dumbledore. “But Harry, never forget that what the prophecy says is only significant because Voldemort made it so. […] Voldemort singled you out as the person who would be most

dangerous to him – and in doing so, he made you the person who would be most dangerous to him!” (HP 476).

It has already been stated that there is the duality of good and evil. Likewise, there is the duality of love and power. At that point, what the character chooses determines his path and his side. They have “similar talents and similar backgrounds” but as Doughty asserts, these are all “to illustrate the importance of free-will” (Doughty 248). By choosing the evil, Voldemort becomes the ultimate and utmost “other” for society and Harry. Because of his grudge against Harry, he becomes his doppelganger, who haunts him throughout the series. As Dumbledore says, he creates “worst enemy, just as tyrants everywhere do” (HP 477). Likewise, Harry must kill his doppelganger not because of the prophecy but because he wants to stop the evil:

“But, sir,” said Harry, making valiant efforts not to sound argumentative, “it all comes to the same thing, doesn’t it? I’ve got to try and kill him, or - ” “Got to?” said Dumbledore. “Of course you’ve got to! But not because of the prophecy! Because you, yourself, will never rest until you’ve tried! We both know it! Imagine, please, just for a moment, that you had never heard that prophecy! How would you feel about Voldemort? Think!” Harry watched Dumbledore striding up and down in front of him, and thought. He thought of his mother, his father, and Sirius. He thought of Cedric Diggory. He thought of all the terrible deeds he knew Lord Voldemort had done. A flame seemed to leap inside his chest, searing his throat. “I’d want him finished,” said Harry quietly. “And I’d want to do it” “Of course you would!” cried Dumbledore. “You see, the prophecy does not mean you have to do anything! But the prophecy caused Lord Voldemort to mark you as his equal… In other words, you are free to choose your way, quite free to turn your back on the prophecy! But Voldemort continues to set store by the prophecy. He will continue to hunt you… which makes it certain, really, that - ” “That one of us is going to end up killing the other,” said Harry. “Yes.” (HP 478-479).

According to the Gothic tradition of the doppelganger, one or both sides must die at the end of integrity destruction. Dumbledore mentions that Voldemort will keep haunting Harry until he manages to kill Harry. As Vardoulakis points out, “the doppelganger very often will pursue its other, or be pursued by it, or both, which would

92 usually be a prelude to a murder (Vardoulakis 69). Harry’s last sentence in the quotation supports this idea. Either Harry or Voldemort will kill the other. After remembering the beloved ones he has lost, Harry’s determination to kill his doppelganger flares out. He is free to choose his own path and he sides with killing Voldemort, taking his revenge and stopping the evil. This is absolutely similar to Dr. Frankenstein, who has lost his beloved ones and says “They were dead, and I lived; their murderer also lived, and to destroy him I must drag out my weary existence” (Shelley 205). It is already known that Harry has destroyed the first Horcrux, Riddle’s diary and Dumbledore has destroyed the second one, Gaunt’s ring. In search of another Horcrux, the locket, Dumbledore and Harry go to the cave which Tom Riddle has visited with his victims in the orphanage. This hard-to-reach cave represents Tom’s unconscious and his memories. They “need to penetrate the inner place” and pass the entrance “which is concealed” (HP 522). Since the first book, it has been said that there is a revelation about both Harry and Voldemort, which goes as a leitmotif. Wolosky supports this by saying “the cave itself represents a kind of interior space, almost a mind, that harbors secrets and is dangerous to penetrate” (Wolosky 25). The hidden cave is another thing to be concealed for Harry. It is something from Tom’s childhood just like the diary. The cave is full of darkness which is denser than the usual darkness. Putting a fragment of his soul to the cave supports the idea that Tom Riddle is obsessed with his traumatic childhood and his soul is hidden, concealed and suppressed in the depth and darkness of his past. Towards the end of Book 5, Dumbledore is killed by Snape by command of Voldemort. Harry loses another surrogate father after Sirius Black. However, Dumbledore’s death is an important step for the development of Harry’s identity and his position in the Quest. Because Dumbledore leaves him another “riddle”. Harry notices that the locket which they have managed to attain with a heavy heart is a fake one. The note in the locket claims that the real locket has been taken by a man whose name is R.A.B. Harry has a mission to solve the riddle and find the owner of the locket. In addition, like Sir Gawain’s green girdle in “Sir Gawain and the Green Knight”, he decides to carry the fake locket with him everywhere “as a reminder of what it had cost and what had remained still to do” (HP 596).

In fact, the series is all constituted on Harry’s position as a riddle-solver. Even, in the first novel, he is chosen to the wizarding sport, Quidditch team as a Seeker. His goal in the team is to catch the Golden Snitch, which is a tiny ball with wings and hovers in the air. It is so hard to catch the Snitch. Just like the Snitch, the riddles around Harry, especially in relation to himself and his doppelganger, are so hard to catch. He has to seek and find them in order to destroy his doppelganger. Lamenting Dumbledore’s death, Harry’s rage and feeling of revenge against Voldemort reaches the highest level. His choice to kill his doppelganger determines his personality, indirectly the integrity of the self:

“I thought I might go back to Godric’s Hollow,” Harry muttered. He had the idea in his head ever since the night of Dumbledore’s death. “For me, it started there, all of it. I’ve just got a feeling I need to go there. And I can visit my parents’ graves, I’d like that.” “And then what?” said Ron. “Then I’ve got to track down the rest of the Horcruxes, haven’t I?” said Harry, his eyes on Dumbledore’s white tomb, reflected in the water on the other side of the lake. “That’s what he wanted me to do, that’s why he told me all about them. If Dumbledore was right – and I’m sure he was – there are still four of them out there. I’ve got to find them and destroy them, and then I’ve got to go after the seventh bit of Voldemort’s soul, the bit that’s still in his body, and I’m the one who’s going to kill him” (HP 606).

As well as following Dumbledore’s footsteps, Harry is determined to find and kill his doppelganger. Rowling finishes Book V leaving Harry with a determination to kill his doppelganger, just like Dr. Frankenstein who says “I have but one resource; and I devote myself; either in my life or death, to his destruction” (Shelley 204).

5.2. The Death of the Doppelganger and the Survival of the Self The last book of the series, Harry Potter and the Deathly Hallows, is the one which completes the jigsaw of the flow of events. Harry spends his last summer in the Dursleys and leaves the house with the help of the Order of Phoenix, a society which aims to fight against Voldemort and his followers. While going to the safe house on their broomsticks, Harry and the Order understand that somebody has warned Voldemort about their departure. His scar, which “always alerts him to the presence of evil”, burns like fire now that his doppelganger is following him literally (Pinsent 37).

Voldemort is depicted as “flying like smoke on the wind, without broomstick or thestral to hold him, his snakelike face gleaming out of the blackness” (DH 56). In Book IV, Voldemort understands there appears to be a problem between his wand and Harry’s. While chasing Harry in the sky, he uses Lucius Malfoy, a supporter’s wand. Though Harry’s eyes are shut with pain, his wand acts on his own accord and repels Voldemort. The wand is a phallic symbol and represents Harry’s masculinity both as an individual and the self. Harry is doomed to suppress or repel his doppelganger though he loses his control over his conscience and wand. Interestingly, throughout the book, Harry begins to see visions again. From the eyes of Voldemort, he understands that he is after something. Disgusted by this connection, Harry complains about it “I hate, I hate the fact that he can get inside me, that I have to watch him when he’s most dangerous. But I’m going to use it […] This is my choice. Nobody else’s” (DH 193). As Eccleshare points out, Harry is the embodiment of good and has to “lead the fight against evil”, which is his doppelganger (Eccleshare 8). After acknowledging his past and present through Pensieve memories, he understands the uncanny connection between himself and his doppelganger. However, especially after finding the real locket, the next Horcrux, he understands the time is ticking for him and his doppelganger: “Was it his own blood pulsing through his veins that he could feel, or was it something beating inside the locket, like a tiny metal heart?” (DH 227). The uncanny feeling that the end is coming for either of them haunts Harry just like his doppelganger:

Nameless forebodings crept upon him as he sat there in the dark: He tried to resist them, push them away, yet they came at him relentlessly. Neither can live while the other survives. Ron and Hermione, now talking softly behind him in the tent, could walk away if they wanted to: He could not. And it seemed to Harry as he sat there trying to master his own fear and exhaustion,that the Horcrux against his chest was ticking away time he had left… Stupid idea, he told himself, don’t think that… His scar was starting to prickle again. He was afraid that he was making it happen by having these thoughts, and tried to direct them into another channel (DH 229).

The scene is similar to Harry’s internal monologues or side-effects of his visions in Book 5. Here, Harry has another inner struggle and he registers this in an

95 internal monologue. Being haunted by these ideas “in the dark” is a Gothic moment and because of carrying a part of his doppelganger’s soul against his chest, he feels a connection. For sure, he has a fear for his approaching confrontation and the inevitable end. The “ticking away” represents the time approaching indeed. In search of a Horcrux trace, he visits Godric’s Hollow, the village where his parents lived before they died. While searching for a trace of his doppelganger, he goes back to his own past. As Cockrell puts forward, “while Harry Potter is a hero tale of the adolescent’s journey to selfhood, it is also a tale of the search for the family and belonging” (Cockrell 21). It is understandable that Harry is tempted to go back to his parents’ village since the end of Book 5. This is not only a quest for the Horcruxes but also himself. This is a “backwards quest” (Wolosky 70). After visiting his parents’ grave, he is trapped by Nagini, who has shapeshifted as Bathilda Bagshot. Even then Voldemort deceives Harry like Satan. While Voldemort is coming to get Harry, Harry suffers a terrible pain both physically and psychology. He sees the most terrible memory through Voldemort’s eyes, who enters the Potter’s house and kills his parents:

The green light flashed around the room and she dropped like her husband. The child had not cried all this time. He could stand, clutching the bars of his crib, and he looked up into the intruder’s face with a kind of bright interest, perhaps thinking that it was his father who hid beneath the cloak, making more pretty lights, and his mother would pop up any moment, laughing – He pointed the wand very carefully into the boy’s face: He wanted to see it happen, the destruction of this one, inexplicable danger. The child began to cry: It had seen that he was not James. He did not like it crying, he had never been able to stomach the small ones whining in the orphanage – “Avada Kedavra!” And then he broke: He was nothing, nothing but pain and terror, and he must hide himself, not here in the rubble of the ruined house, where the child was trapped and screaming, but far away… far away… […] “Harry, it’s okay, wake up! Wake up!” He was Harry… Harry, not Voldemort… and the thing that was rustling was not a snake… He opened his eyes (DH 281-282).

Harry is deeply traumatized after watching the moment his parents die. In fact, it is also the uncanny feeling of remembering that moment. In Book I, he remembers the green light and screams. This vision is a backwards vision to that moment, which

96 reveals the uncanny feeling in Harry’s past. According to Steven Bruhm, the Gothic has traumatic elements:

The Gothic itself is a narrative of trauma. Its protagonists usually experience some horrifying event that profoundly affects them, destroying (at least temporarily) the norms that structure their lives and identities. Images of haunting, destruction and death, obsessive return to the shattering moment, forgetfulness or unwanted epiphany… (Bruhm 268).

As stated in the quotation, Harry experiences a traumatic moment for himself. It is noteworthy that this happens because of his doppelganger and more importantly, through the eyes of him. When he wakes up, he still gets confused whether he is Harry or Voldemort. It is also symbolic that Harry’s wand is broken. The wand, which represents Harry’s masculinity, is broken down. It is interpreted that the connection between them is beyond the twin cores. As stated by Faria, “they are connected not only by their journey, but by a physical and spiritual bond, as well” (Faria 93). Harry can defeat his doppelganger as a matured hero in the end. In that sense, the broken wand represents the breaking of the dependence on the wand. Chapter Twenty-One, “The Tale of Three Brothers” presents the other subplot and another Quest for Harry. It is understood what Voldemort is after in this chapter. Unable to defeat Harry with neither his nor Lucius’ wand, Voldemort looks for the legendary Elder Wand, which makes its owner invincible. “The Tale of Three Brothers” is an allegorical tale which depicts three brothers who trick Death. Death gives a present for each, which is called the Deathly Hallows. The oldest asks for the Elder Wand, which is invincible. The second asks for a Resurrection Stone, which brings the beloved ones back from death. The youngest one ask for a Cloak of Invisibility. While the oldest and middle brother surrender to Death soon, the youngest hides in the Cloak and accepts Death when the time comes. According to the legend, if one has three of these, he will be the Master of Death. As it can be observed death is the middle ground for Harry and Voldemort. For a second, just like his doppelganger, Harry is tempted by the Hallows and confused whether to look for the Hallows or the Horcruxes. Not literally by his doppelganger, but his temptation, Harry is possessed:

Harry wishes his scar would burn and show him Voldemort’s thoughts, because for the first time ever, he and Voldemort were united in wanting the very same thing […] The idea of the Deathly Hallows had taken possession of him, and he could not rest while agitating thoughts whirled through his mind: the wand, the stone, and the Cloak, if he could just possess them all… (DH 352).

According to Wolosky, this is the moment that the two merge together (Wolosky 119). This convergence, in fact, is the convergence of the self and the doppelganger. Yet, since the self is the representative of good side in the duality, Harry chooses not to use the Elder Wand at the end of the novel. On the other hand, Voldemort still craves for immortality and defeating Harry. In the following chapters, Harry and his friends manage to destroy the Horcruxes through hell and high water. When only Nagini is left as a Horcrux and Voldemort kills Professor Snape, Harry is shocked by the fact that Harry is a Horcrux which Voldemort has created unintentionally. That is, Harry carries a part of Voldemort’s soul within himself. Interestingly, as Dumbledore says, “when he [Harry] does set out to meet his death, it will truly mean the end of Voldemort” (DH 551). The only way Harry can kill Voldemort is killing himself. In order to kill the evil outside, he knows that he has to kill the evil inside. He experiences the fear and the dilemma Dr. Jekyll he is while committing suicide in Stevenson’s Dr. Jekyll and Mr. Hyde:

And indeed the doom that is closing on us both, has already changed and crushed him. Half an hour from now, when I shall again and forever reindue that hated personality, I know how I shall sit shuddering and weeping my chair, or continue, with the most strained and fearstruck ecstasy of listening, to pace up and down this room (my last earthly refuge) and give ear to every sound of menace. […] this is my true hour of death, and what is to follow concerns another than myself. Here then, as I lay down the pen and proceed to seal up my confession, I bring the life of that unhappy Henry Jekyll to an end (Stevenson 76).

This is the moment Dr. Jekyll commits suicide in order to prevent his doppelganger, who is the evil side of his split personality, possess his body. In order to prevent it, he has to kill himself. Likewise, Harry accepts Death as the youngest

98 brother in the tale and sacrifices himself in order to defeat the evil inside himself and the evil in society. The moment he walks to death is quite similar to Dr. Jekyll’s suicide scene:

Harry understood at last that he was not supposed to survive. His job was to walk calmly into Death’s welcoming arms. Along the way, he was to dispose of Voldemort’s remaining links to life, so that when at last he flung himself across Voldemort’s path, and did not raise a wand to defend himself, the end would be clean, and the job that ought to have been done in Godric’s Hollow would be finished: Neither would live, neither could survive. […] It was over, he knew it, and all that was the thing itself: dying (DH 554).

Symbolically, while the narrator presents the inner monologue in this way, Harry is going to the Forbidden Forest, where Voldemort is waiting for him with his supporters. It can be interpreted that the Forest has a significance because it symbolizes the mind, the inner self and roughly unconscious. Harry goes “deeper and deeper into the forest” as though the self goes deeper in unconscious to suppress the primal urges, or the id. Reggie Oliver suggests that “the quest necessarily entails a visit to some deep and dark places” (Oliver 560). Symbolically, Harry’s going deeper and deeper into the forest to face Voldemort is a part of his Quest. The moment of final confrontation between the self and the doppelganger, by all means, the climax of the series:

At that moment he [Harry] felt that nobody mattered but Voldemort. It was just the two of them. […] Voldemort had frozen where he stood, but his red eyes had found Harry, and he stared as Harry moved toward him, with nothing but the fire between them. […] And still, Voldemort and Harry looked at each other, and now Voldemort tilted his head a little to the side, considering the boy standing before him, and a singularly mirthless smile curled the lipless mouth. “Harry Potter,” he said very softly. His voice might have been part of the spitting fire. “The Boy Who Lived” (DH 564).

Harry knows that the only way to defeat his doppelganger is to kill his part within him. His self-sacrifice presents how he is different from his doppelganger. Because Voldemort sacrifices other people for his own desires or exploit them. In this way, Voldemort is definitely the antithesis of Harry.

Unlike it happens in Dr Jekyll or Mr Hyde, Harry Potter does not end with the death of the protagonist. After Voldemort uses the Killing Curse for the second time on Harry, Harry finds himself all naked and all alone in “an otherworldly waiting area”, which resembles King’s Cross Station (Behr 269). However, this can be a interpreted as a coma for Harry from which he will wake soon. In the station, he spots something, which has a symbolic meaning:

He recoiled. He had stopped the thing that was making the noises. It had the form of a small, naked child, curled on the ground, its skin raw and rough, flayed-looking, and it lay shuddering under a seat where it had been left, unwanted, stuffed out of sight, struggling for breath. He was afraid of it. Small and fragile and wounded though it was, he did not want to approach it. Nevertheless he drew slowly nearer, ready to jump back at any moment. Soon he stood near enough to touch it, yet he could not bring himself to do it. He felt like a coward. He ought to comfort it, but it repulsed him. “You cannot help.” He spun around. Albus Dumbledore was walking toward him, sprightly and upright, wearing sweeping robes of midnight blue (DH 566).

This dream-like place, in accordance with Freud’s approach to dreams, represent Harry’s unconscious. Still, it cannot be understood whether this is a kind of purgatory or a coma-state. It can be deduced that the baby-like creature is Voldemort’s soul within Harry. The Curse he conjures comes to his own part in Harry and causes it to be on the edge of vanishing. As Wolosky utters, the distorted, fragmented soul is like “an unbirth” or “almost an abortion” which cannot be helped any more (Wolosky 168). Like a newborn baby, Harry is purified without Voldemort’s evil seed within his body and conscience. As Dumbledore says to him, his soul is completely whole, and completely his own (DH 567). The integrity of the self is provided first with the death of “not-I-“ within the self. In the conversation with Dumbledore, the similarity and the difference between the self and doppelganger is asserted and he discloses some secrets:

“What you must understand, Harry, is that you and Lord Voldemort have journeyed together into the realms of magic hitherto unknown and untested. […] I believe that your wand imbibed some of the power and qualities of Voldemort’s wand that night, which is to say that it contained a little of Voldemort himself. So your wand recognized him

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when he pursued you, recognized a man who was both kin and mortal enemy […] Only toward him was that wand abnormally powerful. Otherwise it was a wand like any other (DH 569-570).

Though they pass through similar paths in their journeys, they have chosen different ways. Beyond the twin cores of their wands, they are connected in a polarized way representing the good and the evil. As the embodiment of good in this polarization, Harry decides to go back / wake up and fight his doppelganger, who is totally vulnerable and close to death. When Harry comes to life, Voldemort still thinks that he is dead. While Voldemort is flaunting and mentioning how invincible he is, Nagini the last Horcrux of him is killed by Neville Longbottom, a friend of Harry. Harry confronts Voldemort as an alive and a strong self. “As Voldemort and Harry looked at each other, and began, at the same moment, to circle each other” (DH 590). The creation of a circle is like the omen of perfection caused by the confrontation between self and the other. Nick Mansfield suggests that the doppelganger “dramatised the confrontation between a protagonist and a counterpart who is his near-identical reflection or complement” (Mansfield 99-100). The circle Voldemort and Harry create represents a symbolic “complement” which must end with the death of one side:

“There are no more Horcruxes. It’s just you and me. Neither can live while the other survives, and one of us is about to leave for good…” “One of us?” jeered Voldemort, and his whole body was taut and his red eyes stared, a snake that was about to strike. “You think it will be you, do you, the boy who has survived by accident, and because Dumbledore was pulling the strings?” (DH 591).

Voldemort, who thinks that he is the owner of the Elder Wand and can kill Harry finally, is overwhelmed by his pride and thirst for power. The Elder Wand he holds in his hand actually belongs to Harry now that Harry has gained that right by overpowering Draco Malfoy. It is for Harry to kill his transgressive doppelganger, who has killed many innocent people for this selfish desires and greed. Curiously enough, the death of “non-I” happens by his consuming destructiveness. Harry does not literally conjure a Killing Curse on Voldemort, he causes Voldemort’s self-destruction. The doppelganger’s death scene is significant in that sense:

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“Avada Kedavra!” [the Killing Curse] “Expelliarmus!” [the Disarming Charm] The bang was like a cannon blast, and the golden flames that erupted between them, at the dead center of the circle they had been treading, marked the point where the spells collided. Harry saw Voldemort’s green jet meet his own spell, saw the Elder Wand fly high, dark against sunrise, spinning across the enchanted ceiling like the head of Nagini, spinning through the air toward the master it would not kill, who had come to take full possession of it at last. And Harry, with the unerring skill of the Seeker, caught the wand in his free hand as Voldemort fell backward, arms splayed, the slit pupils of the scarlet eyes rolling upward. Tom Riddle hit the floor with a mundane finality, his body feeble and shrunken, the white hands empty, the snakelike face vacant and unknowing. Voldemort was dead, killed by his own rebounding curse, and Harry stood with two wands in his hands, staring down at his enemy’s shell (DH 595-596).

Harry is the embodiment of good, ration and conscience and accordingly he does not practice a Killing Curse. It is emphasized that the evil side must be destroyed in the end. Voldemort has murdered people in order to gain immortality and power for destructing the social order. His destruction turns back toward him just like the Elder Wand in his hand. It is also noteworthy that Rowling uses the name “Tom Riddle” instead of Voldemort here. Losing his Lordship and power, he is just an ordinary man who is mortal, like his Muggle father who carries the same name. In conclusion, the last two books of the series get wide coverage of the death of the doppelganger. Gothic fiction is also the literature of duality. The doppelganger appears as the evil twin, who transgresses the social taboos and who is the antithesis of the self. This can represent both the evil outside the self and within it. In Gothic literature, the death of one side or both sides (for the good) is indispensable. The last two books of the Harry Potter series cover the death of the doppelganger after revealing uncanny similarities in their character traits and backgrounds. In order to keep his integrity as well as the welfare of the society, Harry defeats his doppelganger, Voldemort.

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CHAPTER 6

CONCLUSION

This study set out with the aim of analysing the motif of doppelganger, which gained popularity especially in Gothic fiction, in J.K. Rowling’s Harry Potter series. The motif originates from the double motif which has been used in folklore and literature since ancient times. As a reaction to the Age of Reason, the motif appears as a transgressive figure in Gothic novel. The series does not belong to Gothic genre but to fantasy literature. As Rosemary Jackson defines, the fantasy is a mode which can include elements from both the uncanny and the marvelous. In the series, it can be deduced that there are elements from the uncanny (both in Todorov’s and in Freud’s terms) and the marvelous. Freud’s essay titled “The Uncanny” is a key text in the interpretation of the uncanniness in the series. According to him, the uncanny is what is strangely familiar. The uncanniness is presented with the similarities between Harry and Voldemort. Both of them grow up as an orphan in a Muggle-setting and both of them regard Hogwarts as their home. Like Voldemort, Harry can speak Parseltongue, which is a rare ability. As Harry realizes these similarities, he feels uncomfortable. Yet, as Dumbledore explains in Book II (CS), “it is our choices […] that show what we truly are, far more than our abilities” (CS 358). The series emphasizes the importance of these choices from Book I to Book VII, Freud’s essay makes another contribution with regard to the interpretation of the motif of doppelganger. It deals with the double, which is the origin of doppelganger. According to Freud’s argument, the double and the self have a strong spiritual bond. He also brings a psychoanalytic approach by suggesting that the double is first a preservation against extinction and then becomes a harbinger of death (Freud 235). Likewise, in the series, Voldemort comes back to Harry’s life as an omen of death. The omen is both for Harry and Voldemort even though Voldemort is the one

103 who dies at the end of the series. Also, Voldemort wants to gain immortality and this can be interpreted as primal urges which try to come to surface. Apart from the duality of the self and the doppelganger, the series is centered on dualities such as good and evil, life and death. Both of the characters have good and evil sides but choose different paths. Harry destroys the evil side within himself as Voldemort destroys the good side within himself even before going to Hogwarts. In the same way, Voldemort is associated with death as Harry is associated with life. According to Mary Ellen Snodgrass’ definition, the doppelganger can be a “mirroring or duality of a character’s persona”, “the twin, shadow double, evil double and split personality” (Snodgrass 83). In Gothic fiction, it mostly appears either as a (visual double) who haunts the self or a split personality which leads the character to death. It is seen that Rowling uses both these situations. As Harry confronts with the evil outside, he realizes the evil within himself. He is possessed by the evil and feels an urge to do evil deeds after being possessed by his doppelganger. Likewise, he survives the Killing Curse twice and survives. But in the end, it is ensured that the mergence of both sides cannot occur. Rowling makes use of the motif of doppelganger by creating these polarizations and attributing them to Harry [self] and Voldemort [doppelganger]. In the series, Harry goes to Hogwarts the School of Witchcraft and Wizardry without knowing much about his past. In the first book, both he and the reader are given little information about Voldemort. In each book, Harry familiarizes his enemy / doppelganger more and more. The doppelganger is depicted as a parasitic being who feeds on others both physically and spiritually. As he lives in Professor Quirrell’s body in Book II, he feeds on Ginny Weasley’s emotions in order to keep his existence in Book II. Harry confronts not only the childhood reflection of his doppelganger but also “the strange likenesses” between himself and his doppelganger (CS 340). In addition, CS represents the opening the chamber of secrets for both Harry and Voldemort. This is further elaborated in Book III (PA). Harry’s inner anxieties and fears are emphasized more and more. Like conflicting emotions floating in the unconscious, Harry’s fears come to surface when he comes across the Dementors. In order to gain a stronger sense of

104 identity and power to defeat his doppelganger, Harry has to overcome his nightmarish moments and fears with regard to the moment of his parents’ death. While existing in a bodiless form, the doppelganger needs to gain a shape and come to surface. Book IV (GF) marks the rise of the doppelganger both spiritually and physically. It also supports the idea that the connection between Harry and Voldemort is more than similarities between them. The fact that their wands are made of the twin cores (feathers of the same phoenix) contributes to the self / doppelganger relationship. In GF, Harry confronts his doppelganger in a duel and suppresses him with his own wand. This symbolizes the impossibility of the unification of the self and the doppelganger. Voldemort, who represents the primal desires and evil urges, is suppressed temporarily. Rowling presents the possibility of evil within human beings especially in Book V and Book VII. Although Harry is possessed by his doppelganger mentally in BookV, he realizes he carries a part of his doppelganger physically in Book VII. The motif of doppelganger contributes to the theme of internal and external evil. The polarization is not only outside but also within the human beings. This is also supported by the bestial features of the doppelganger. Nagini, the Basilisk and the beast-like features symbolize the primal desires in human beings. As Vardoulakis asserts, the motif of doppelganger include pursuit and death (Vardoulakis 69). Likewise, Rowling presents both the self and the doppelganger in pursuit of each other, which will end in one side’s death. According to the prophecy, “Neither can live while the other survives” (OP 741). The death is inevitable for either side. As it mostly occurs in other Gothic novels, either the self or the doppelganger must die. The pursuit of the doppelganger also emphasizes the pursuit of the self. Namely Harry is not only “the Seeker” of his doppelganger but also himself. He realizes the evil (the Horcrux) within himself. Under the threat of this, he must keep his integrity. Just like Dr. Jekyll, Harry carries both good and evil side and he sacrifices himself in order to be able to destroy the evil force of his doppelganger. Yet Rowling awards the self with a rebirth instead of a death. Although there is an excess of transgression, the conformity and order are provided at the end of the series.

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All in all, Rowling presents the reader an ordinary child who grows into a self- confident adolescent in a fantasy world full of marvelous and uncanny elements. As it occurs in many children’s books, the duality appears in her series. While creating the duality of the good and the evil, she supports this by creating a duality of the protagonist and the antagonist. The series includes the doppelganger motif, which is depicted as an evil double haunting the self. Though he is not a visual twin for Harry, Voldemort appears as an uncanny omen of death who comes from his past and haunts him. As it happens in most Gothic novels, one or both sides must die in order to comply with the society and keep the integrity of the self. Rowling keeps the tradition and the doppelganger is defeated by the self. It can be concluded that the series, which is not a work of Gothic fiction, carries traces from Gothic fiction and keeps the tradition of doppelganger by creating a duality of the self and the doppelganger as well as creating uncanny confrontations and similarities between them in a fantasy world. Another conclusion to be drawn from the series is that the polarization of good and evil in fantasy fiction can be approached from different perspectives. In the case of the Harry Potter series, Rowling may not use the motif of doppelganger deliberately. After analysing the details which also appear in Gothic fiction, it can be interpreted that there is the duality of the self and the doppelganger. It is possible to interpret many other texts in fantasy fiction with different approaches such as Jackson’s approach to the fantasy and Freud’s approach to the uncanny.

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APPENDICES

APPENDIX A: TURKISH SUMMARY

“İKİZ ÇEKİRDEKLER[İN]” ÖTESİNDE: J.K. ROWLING’İN HARRY POTTER SERİSİNDE KÖTÜ İKİZ MOTİFİ

Bu çalışma J.K. Rowling’in Harry Potter serisinde, özellikle Gotik edebiyatta popüler hale gelmiş olan kötü ikiz motifini analiz etmek amacıyla yapılmıştır. Fantastik romanlarında, Rowling benlik ve kötü ikiz arasında iyi ve kötü şeklinde kutuplaşma yaratır. Ana karakter Harry geçmişinden geri dönen kötü ikiziyle sıkı bir bağı vardır. Anne ve babasının katili olan bu kötü ikiz, daha kendi benliği gelişmemiş bir bebekken kendisine de saldırır. İstemeden de olsa bir parçasını Harry’e bırakan Voldemort (kötü ikiz), onu kendisine eşitler. Harry ergenlik öncesi çağa geçince kötü ikizinin biçimsiz ve bedensiz ruhu ile karşılaşır. Kötü ikiziyle olan karşılaşmasındaki tekinsiz duyguyu açıklayabilmek adına, Sigmund Freud’un “Tekinsiz” adlı makalesi oldukça önemlidir. Jentsch’in yorumlamasına geliştirip ileri boyuta taşıyan Freud’a göre, “tekinsiz” kelimesi kendi içerisinde ikiliğe sahiptır. Hem tanıdık hem de tanıdık olmayan anlamlarını barındırmaktadır. Başka bir deyişle, tekinsiz tuhaf bir şekilde tanıdık olandır. Harry Potter serisinde, Harry Voldemort hakkında daha çok şey öğrendikçe kendisi ve Voldemort arasındaki ortak yönler tuhaf bir şekilde tanıdık gelmeye başlar. Muggle (büyücü ya da cadı olmayan) insanlar tarafından yetiştirilmiş bir yetim olmak ve Hogwarts’ı evi gibi hissetmek tekinsiz bir şekilde ortaya çıkan benzerliklerin başında gelir. Freud tekinsiz kavramını “edebiyatı yeniden inceleyerek” örneklendirir (Smith 72). Ona göre, E.T.A. Hoffman’ın “Kum Adam” adlı kısa öyküsü hem tekinsizlik açısından hem de ikiz figürü açısından önemli bir kaynaktır. Hikayedeki tekinsizlik ikiz motifine bağlıdır. Ana karakter Nathaniel’in babası’na karşılık, Coppelius / Coppola ikiz motifi olarak ortaya çıkar ve Freud bu şekilde yorumlar. İkiz

115 motifinin ortaya çıkışını hadım edilme kompleksine bağlar ve bunu hikayedeki tekinsiz öğe olarak yorumlar. Freud’un makalesi, hem tekinsiz kavramını hem de ikiz motifini yorumlamada tercih edilen, sıklıkla başvurulan kaynaklardan biridir. Freud’un yorumladığı ikiz motifi kadar Gotik kurgusundaki kötü ikiz motifi olarak yorumlanmasa da, kötü ikizin benliğe dadanması ve onda tekinsiz duygulara sebebiyet vermesi Freud’un makalesinin önemini belirtir. Harry Potter serisi fantastik edebiyat dalın ait olduğu için, onu yorumlamada ünlü Fransız-Bulgar edebiyat eleştirmeni Tzvetan Todorov’un fantastik ve “tekinsiz”e yaklaşımı faydalı olacaktır. Todorov’a göre fantastik, kurgudaki olayın gerçeksizliğini açıklamaktaki tereddüt anı ya da tereddüt etmedir. Ayrıca, Freud’tan farklı olarak, Todorov “tekinsiz”i tanımlanan olayın açıklanabilmesinin ardından ait olduğu edebiyat tarsi olarak adlandırır. Bu anlamda, Todorov “tekinsiz” kelimesini ya da kavramını Freud’tan farklı olarak, yarattığı duygu açısından değil tür açısından ele alır. Rosemary Jackson Todorov’un bu yaklaşımını genişletir ve fantezinin bir mod ya da üslup olduğunu söyler. Fantezi, hem “tekinsiz”den hem de “olağanüstü”den öğeler barındırabilen bir uygulamadır. Freud’un fikriyle ilişkili olarak, Harry Potter serisinde ikiz motifiyle tekinsizlik arasında bir bağ vardır. Olağanüstü ve tekinsiz öğeler barındıran bir fantezi diyarında, tekinsizlik (Freud’un yorumlamasıyla ilişkili olarak), Harry’nin kötü ikizi Voldemort’la olan tuhaf bir şekilde tanıdık bağdan ortaya çıkar. Freud’un makalesi ikiz motifine faklı bir bakış açısı getirir. Ona göre, kötü ikiz ve benlik arasında ruhani bir bağ vardır. Ayrıca ikizin ilk önce “yok olmaya karşı bir korunma” olarak çıkarken daha sonra “ölümün habercisi” olduğunu savunarak psikanalitik bir boyut getirir (Freud 235). Bu durumu, birincil özseverlik döneminde çoklu benlikler yaratan ve bu dönemi atlattıktan sonra olumsuz özellikleri kötü ikize yükleyen çocuğun ego gelişimine bağlar. Benzer şekilde, seride Voldemort Harry’nin hayatına ölüm alameti olarak gelir. Her ne kadar serinin sonunda ölen Voldemort olsa da, alamet hem Harry hem de Voldemort içindir. Ayrıca Voldemort ölümsüzlüğe ulaşmak ister ve bu da yüzeye çıkmaya çalışan ilkel arzular olarak yorumlanabilir. Mary Ellen Snodgrass’in tanımına göre, kötü ikiz, “bir karakterin yansıması ya da ikiliği”, “ikiz, gölge, kötü ikiz ya da bölünmüş kişilik” olabilir (Snodgrass 83). Gotik edebiyatta, çoğunlukla ya benliğe dadanan (görsel) bir ikiz ya da karakteri ölüme

116 iten bölünmüşlük kişilik olarak ortaya çıkar. Bütün ikizlerin kötü ikiz olduğu söylenemez. Özellikle mitlere, peri masallarına ve dünya folklörüne bakıldığında, ikililiğin eski çağlardan beri kullanılan bir motif olduğu gözlemlenmektedir. Kötü ikiz çeşitlemelerine dair, Rowling’in her iki durumu da kullandığı görülebilir. Harry dışarıdaki kötüyle karşılaşırken kendi içindeki kötünün de farkına varır. Kötülük tarafından ele geçirilir ve kötü ikizi tarafından ele geçirildikten sonra kötülük yapman için arzu duyar. Benzer şekilde kötü iki kere kötü ikizinin Öldürücü Lanet’ine maruz kalır ve hayatta kalır. Ama sonunda iki tarafın birleşiminin olmayacağı sağlanır. Rosemary Jackson’un edebiyatta “ötekilik / kötülük” üzerine yaptığı yorumlama da kötü ikiz motifi ile ilişkilendirilebilir. İkiz hem Mary Shelley’in Frankenstein romanında görüldüğü gibi içimizdeki kötülüğün dışavurumu olarak ortaya çıkabileceği gibi Bram Stoker’ın Dracula adlı romanındaki gibi dışarıdan benliğe gelen kötülük olarak da belirebilir. Daha önce de söylenildiği gibi, Harry Potter serisinde Harry ve Voldemort arasındaki ilişki her iki kategoriye de girebilir. Harry kötü ikiziyle yüzleşmekle birlikte, onun bir parçasını da bedeninde barındırmaktadır. Bir başka deyişle, kötü(lük) hem dışarıdan gelmekte hem de Harry’nin içerisine gizlenmiş bir şekilde barınmaktadır. Özellikle serinin 6. kitabında, Harry kendini bir psikolojik bir ikilem içerisinde bulur. Especially in Book 6, Harry finds himself in a psychological dilemma. Bilinçsizce, kendi bedeninde barınan kötülüğü hisseder. Bu romanda da ilk başta beden istilası olarak yorumlanır. 7. Kitapta kendisinin bir Horcrux (Voldemort’un ruhunun bir parçası) olduğunu öğrendikten sonra, bunun benliğin içerisindeki kötülük olarak çıkarımda bulunulabilir. Mary Ellen Snodgrass’in açıklamasına göre, ikilik motifinin tarihi eski zamanlara kadar dayanmaktadır. Bunun iki önemli örneği Plautus’un “Menaechmi” adlı oyunu ve Yahudi folklöründe rastlanılan “dybbuk”tur. İkiliğin ilk örnekleri göz önünde bulundurulduğunda çoğunlukla kötü bir ikiz olmadığı görülür. Plautus’un oyununda olduğu gibi daha çok görsel bir ikiz olarak ortaya çıkar. Bazı eleştimenler İncil’deki şeytanı bile (kötü) ikiz kategorisine dahil eder. Milica Zivkovic ve Otto Rank’in incelemeleri de göz önünde bulundurulduğunda, ikizin kötülük ve ölüm habercisi olma özelliği sonradan özellikle Hristiyanlık sonrası gözlemlenir. Bu da neredeyse Gotik’teki kullanıldığı şekildir.

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Akıl Çağı’na bir tepki olarak gelişen Gotik edebiyat, sınırları aşma edebiyatıdır. Şöyle ki, sınırları aşma ile ilişkilendirilen kötü ikiz motifinin Gotik edebiyatta daha da gelişmesi ve popüler hala gelmesi tesadüf değildir. Özellikle 19. Yüzyılda benlik oluşumu ile ilgili endişe artar. Gotik edebiyat, benliğin bu iç endişelerinin, korkularının ve de arzularının betimlendiği ya da yansıtıldığı alan olur. Ölü bedenlerden toplanan parçalarla oluşturulan bir canavar (Frankenstein) ya da insan kanı ile beslenen bir vampire bu sınır aşımının en güzel örnekleridir. Benlikte ayrılma ya da ikinci kişilik de ayrıca kötü ikiz motifinin bir başka kullanımı ve tanımıdır. Robert Louis Stevenson’ın Dr. Jekyll ve Mr. Hyde adlı romanı ikinci kişilik anlamında kötü ikiz için önemli bir örnektir. Dr. Jekyll ve Mr. Hyde aslında aynı kişidir. Kötü yanı Mr. Hyde olarak ortaya çıkan Dr. Jekyll, bir müddet sonra bu yanının kontrolünü kaybeder. Onu etkisiz hale getirmek, daha doğrusu yok etmek için kendisinin de ölmesi gerektiğini düşünür ve kendini fena eder. Sonuç olarak, kötü ikiz benliğin içsel arzularının dışavurumu ya da benliğin antitezi (zıtlığı) olarak ortaya çıkabilir. İçsellikle ilgili bu yaklaşım daha sonra farklı şekillerde yorumlandırılır. Freud’un ikizle ilgili hadım edilme korkusu ve kötü özelliklerin ikize yüklenmesi ile ilgili iddiası buna örnek gösterilebilir. Rosemary Jackson bu ilişkiyi “ben” ve “ben- olmayan” arasındaki ilişki olarak nitelendirir ve bu “ben” kelimesinin kullanılmasından ötürü tekinsiz bir şekilde belirir. Kötü ikiz motifi “doppelganger” kelimesi olarak ilk kez Jean Paul Richter olarak isimlendirilir ve motif daha sonra Fyodor Dostoyevsky, Mary Shelley, Robert Louis Stevenson, Bram Stoker, Henry James, Edgar Allan Poe ve William Godwin gibi pek çok seçkin yazar tarafından eserlerinde kullanılır. Harry Potter serisi hem fantastik edebiyat hem de çocuk edebiyatı kategorisine dahil edilebilir. Çocuk edebiyatında ana karakter, çoğunlukla bir çocukluk döneminde ya da ergenlik öncesi dönemdedir ve romandaki süreçte başına gelen maceralar sonucunda bir benlik geliştirir ya da daha olgun hale gelir. Benzer şekilde, Harry Potter serisinin ilk kitabı da Harry’nin 11 yaşında bir çocuk olarak büyücü olmasını öğrenmesi ve ardından gelen maceraları ile ilgilidir. Seri Harry’nin yedi yılını ve bu süreç içerisindekini olgunlaşmasını da ele alır. Bu anlamda, serinin fantastik edebiyat ve çocuk edebiyatının yanısıra bildungsroman (karakterin gelişim sürecinin ele alındığı roman) türüne de ait olduğu söylenebilir.

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Harry Potter ve Felsefe Taşı (1. Kitap) serinin başlangıç romanı olmasının yanısıra, benlik ve kötü ikiz arasındaki ilişkinin başlangıcını içerdiği için önem taşımaktadır. Kitabın başında Petunia teyzenin Harry’i uyandırması benliğin uyanması olarak yorumlanabilir ve ilk kitap Harry’nin ya da benliğine uyanışına dair örnekler içerir. Daha Hogwarts’a ilk gelişinde Harry, özgür iradesini ve tercihlerini öne koyar ve Seçmen Şapka’ya Slytherin’de olmak istemediğini söyler. Voldemort’un olduğu bölümde olmak istememesi, Harry’nin daha serinin ilk başında Voldemort’la aynı tarafta olmak istememesi olarak değerlendirilebilir. Harry daha bebekken maruz kaldığı ve Ölüm Laneti’ne dair çok az şey hatırlasa da Hogwarts’ta hem Şeçmen Şapka Töreni öncesi hem de Yasak Orman’daki kukuletalı figür ile karşılaşması kötü ikiziyle uyanıştan sonra ilk bağlantısıdır. Bu kitapta kötü ikiz, tıpkı Harry’nin mevcut bilgisi ve benliği gibi, henüz beden kazanmamıştır. Ancak Voldemort’un etrafında olduğu anlarda alnındaki yarada meydana gelen acı bunun habercisidir. Harry, Voldemort’un kendisini bir kere öldürmeye kalktığını, güç kaybettiğini ama yok olmadığını bilmektedir. Ayrıca ilk kitap, Voldemort’un (kötü ikizin) başka insanları kendi çıkarı için kullanma konusundaki asalak özelliğini de ortaya koyar. Henüz bir bedeni olmadığı için, tıpkı bir parazit gibi Profesör Quirrell’ın bedeninde konaklamaktadır. Ancak, kitabın sonunda Harry, Voldemort’un ölümsüzlük emellerine engel olurken, onun asalak yaşamına da son verir. Harry Potter ve Sırlar Odası (2. Kitap) sırların açığa kavuşması temasını sunar. Kötü ikiz hem toplum hem de benlik için bir tehdit oluşturduğu için, gizlenir. İkinci kitap, kötü ikizin bir günlük aracılığıyla anısını ya da bir anlamda, bir parçasını geri getirir. Tıpkı Voldemort’un kendisi gibi, onun bir parçası olan günlük, Sırlar Odası’nı açmak için masum bir çocuğu kullanır. Sırlar Odası’ndaki canavar, Basilisk (dev yılan) insanoğlundaki kötü doğayı temsil eder. Seride, Voldemort hem dış görünüş olarak hem de doğasıyla yılanlarla ilişkilendirilmektedir. Büyük bir yılan olan Basilisk de kötü ikizin hayvani ve alçalmış doğasını simgeler. Ayrıca, ikinci kitap Harry ve Tom Riddle (Voldemort’un gerçek adı ve gençlik hali) arasındaki tekinsiz benzerliklerini ve bunların Harry ne kadar rahatsız ettiğini vurgular. Örneğin, Harry tıpkı Voldemort gibi Parseltongue (“Çataldil”) konuşabilmekte ve yılanları yönlendirebilmektedir. Ama Harry kötü ikizi tarafından kandırılmaz ve iyi yöne olan bağlılığını ispatlar. Tom Riddle’ın günlüğünü Basilisk’in dişi ile etkisiz hale getirir. Kötülüğün simgesi

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Basilisk’in dişinin, Voldemort’un bir parçasının ölmesine sebep olması, kötülüğün kendi kendine zarar vermesini ya da kötülüğün kendine dönmesini simgeler. İkinci kitap, Harry’nin kötü ikizi ile olan benzerliklerini öğrenmeye başlayıp kendi sırlarını keşfetmesi açısından önemlidir. Harry Potter ve Azkaban Tutsağı (3. Kitap) ilk iki kitap gibi Harry ve kötü ikizi arasındaki karşılaşmalara odaklanmak yerine Harry’nin ya da benliğin iç korkularına ve endişelerine odaklanır. Karşılaşma, benlik ve kötü ikizi arasında değilse de, benlik ve korkuları arasında gerçekleşir. Boggart adlı yaratıklar, bu korkuların dışavurumu hatta cisimlenmiş hali olarak ortaya çıkar. Bir kişinin en çok korktuğu şey haline dönüşürler. Harry için en korktuğu şey Dementor (“Ruh emici”) adlı varlıklardır. Bu varlıklar kişinin içindeki tüm mutluluğu alırlar. Harry’nin onlarla karşılaşması daha travmatik olur çünkü Harry, anne ve babasının ölmeden önceki konuşmalarını duyar. Harry ilk defa anne babasının sesini bu şekilde duyunca, travmatik anlar yaşar. Bu tekinsiz sesler Harry’nin kabusu haline gelir. Lakin, kitabın sonunda, Harry korkularıyla yüzleşmeyi başarır, onları kabul eder ve ilerleyen romanlarda da sergileyeceği gibi daha güçlü bir benlik kazanır. Harry Potter ve Ateş Kadehi (4. Kitap) Harry ve Voldemort arasındaki bağ açısından dönüm noktası özelliğini taşır. Öncelikle, Harry kendisinin Voldemort’a zihnen bağlanmasını sağlayan düşler görür. Çünkü tam anlamıyla, Voldemort’un gördüklerini görüp, hissettiklerini hissetmektedir. Kötü ikizin önceki romanlardaki çabalarından sonra, 4. Kitap kötü ikiz ve benlik arasındaki ilk akılsal bağlantıyı sergiler. Bu bağlanma, aynı zamanda benlik ve kötü ikizin birleşme çabası olarak da yorumlanabilir ama Gotik romanlarda görüldüğü üzere bu mümkün olmayacaktır. İkinci olarak, Voldemort Harry için bir bilmece (“Riddle”) haline dönüşür. Harry gördüğü öngörülerden anlam çıkarmaya ve onun neyin peşinde olduğunu anlamaya, daha doğrusu kötü ikizini anlamaya çalışmaya başlar. Bu bilmece çözme serideki bir başka önemli temadır. Son olarak, romanın en önemli kısmının en son kısmı olduğu söylenebilir çünkü Karanlık Lord’un, kötü ikizin, yükselişini ve hayata dönüşünü gösterir. Voldemort’un yeniden doğuş sahnesi bir mezarlıkta geçer. Tıpkı Victor Frankenstein’ın mezarlardan topladığı kadavra parçalarından yarattığı canavar gibi, Voldemort’un hayata dönüşü de bir mezarlıkta, ölülerin bulunduğu bir ortamda gerçekleşir. Mezarlıktaki ölüler, bastırılmış ilkel arzular gibi orada hareketsiz

120 bulunmakta ancak Voldemort onların arasından ölmüş babasının kemiğini bile kullanarak bedene kavuşur. Yeniden doğuşunda kullanmak üzere, Voldemort Harry’nin annesi tarafınan büyülenmiş ve korunan kanını da kullanır. Bir diğer deyişle, Harry kötü ikizinin bir parçasını bedeninde taşırken, kötü ikizi de Harry’nin kanını vücudunda taşır. Bu neredeyse bir anlamda benlik ve kötü ikizin birleşmesi veya bütünleşmesi olarak yorumlanabilir. Ancak Gotik romanda da görüldüğü üzere, kötü ikiz motifinin kullanımında ya da tek taraf ya da iki taraf ölür ve bu bütünleşme imkansız hale gelir. Voldemort’un yeniden doğuş sahnesi benliğin [Harry’nin] kötü ikizine karşı direnme çabasını da gözler önüne sermektedir. Çünkü Harry kötü ikizinin yeniden doğduğu kazanda boğulmasını ve ölmesini diler. Harry ve Voldemort’un asalarını birbirlerine karşı kullandığı sahne kötü ikiz ve benlik arasındaki bağı vurgular. Harry ve Voldemor’un asalarını birbirlerine karşı kullandıkları an aralarındaki kuvvetli bağın düşmanlıktan da öte olduğunu gösterir. İki asanın birbirine karşı savaşması mümkün değildir çünkü ikisi de aynı özden, aynı anka kuşunun tüylerinden yapılşmıştır. Voldemort’un Harry bebekken yaptığı Öldürme Laneti, geri sekmiştir. Ama bu kitapta, Harry kendi asasıyla Voldemort’u bozguna uğratır. O yüzden asanın Harry’nin sonradan gelişimi ile elde ettiği fallik bir sembol olduğu yorumu yapılabilir. Voldemor yeniden doğuşu ile güç kazanmıştır ama Harry de artık daha güçlü bir bireydir. Harry’nin Voldemort’u geçici de olsa bastırması, ilkel arzuların ve kötü dürtülerin bastırılmasını simgeler. Ama, Vardoulakis’in de dediği gibi, kötü ikiz motifi takip ve ölümü de içerir (Vardoulakis 69). Voldemort güç kazanıp ölümsüzlük kazanmaya çalıştıkça, Harry de kötü ikizini ya da “ben-olmayan”ı mağlup etmenin yolunu arayacaktır. Harry Potter ve Zümrüdüanka Yoldaşlığı (5. Kitap) Harry’nin hem iyi hem de kötü yönlerinin varlığının farkına varması açısından Stevenson’ın Dr Jekyll ve Mr. Hyde romanını anımsatır. Üçüncü kitapta olduğu gibi, beşinci kitap da Harry’nin psikolojisi ve kendisi ile kötü ikizi arasındaki içsel mücadeleyle ilgilidir. İlk başta, Harry Voldemort’un zihnine istemeden ya da elinde olmadan girmektedir. Ancak daha sonra, Voldemort bu durumu kendi lehine çevirir ve Harry’nin zihnine sızar. Harry’nin içindeki kötücül yan kötü ikizinin sızması ya da zihin istilası ile daha çok tetiklenir. Voldemort, Harry’nin duygularını ve düşüncelerini yönlendirir. Harry kötüye karşı

121 muazzam bir direnme mücadelesi içine girer. Örneğin, Voldemort’un yönlendirmesi ile, Dumbledore’u öldürmek ister. Aslında bu tamamen Voldemort’un hissidir ancak Harry bunlara başta anlam veremediği için, bu mücadele bireyin kötü yana karşı mücadelesi olarak yorumlanabilir. Bunlara ek olarak, bu kitap da sırların açığa çıkması temasını içerir. Sihir Bakanlığı’ndaki Gizem Departmanı Harry ve Voldemort arasındaki ilişkiye dair kehaneti korumaktadır. Kehanete göre, bir taraf yaşarken öbür tarafın hayatta kalması mümkün değildir. Bu anlamda kehanet, kötü ikiz motifine ve onun Gotik edebiyattaki kullanılışına işaret etmektedir. Dr Jekyll ve Mr Hyde’da ya da Frankenstein’da görüldüğü gibi iki taraf, yani hem benlik hem de kötü ikiz aynı anda yaşayamaz. Serinin sonunda da gelenek ve kehanet bozulmaz ve bir taraf [kötü ikiz] ölür. Harry Potter ve Melez Prens (6. Kitap), Shira Wolosky’nin de dediği gibi kötü ikiz açısından “geriye yönelik bir araştırma” sürdürür (Wolosky 13). Albus Dumbledore’un öncülüğünde, Harry başka tanıkların anıları vasıtasıyla Voldemort’un geçmişinden kesitlere şahit olur. Tom Riddle (Voldemort), Harry için çözülmesi gereken bir bilmecedir (riddle) ve kötü ikizini yok etmesi için bu “geriye yönelik araştırma” gereklidir. Anılarda daha derine inip kötü ikizi hakkında daha fazla şey öğrendikçe, Harry kendisi ve kötü ikizi arasındaki bağın ve benzerliklerin daha çok farkına varır. Tıpkı Harry gibi, Tom da Hogwarts’ı evi olarak benimsemiş yetim bir çocuktur. Ama Harry’den farklı olarak, hedeflerine ulaşmak uğruna, kötülüğüü seçmiş ve gücünü o yöne yönlendirmiştir. Zivkovic’in dediği gibi, kötü ikiz motifi benzerliklerin olduğu gibi farklılıkların da motifidir (Zivkovic 16). Harry ve Voldemort arasında da benzerlikler olduğu kadar farklılıklar da vardır. Bu nedenle, zıtlıklar daha çok iyi-kötü gibi kutuplaşmalar ile gösterilir. Kötülüğün temsilcisi olarak Voldemort, ruhunu masum insanları öldürerek 7 ayrı parçaya böler. Fakat, bu yıkıcı arzu, kendi kendine zarar veren veya kendi kendini yok eden bir arzuya dönüşür. ProfessorSlughorn’nun da belirttiği gibi, ruhun bölünmesindense “ölüm tercih edilebilir” (Melez Prens 465). Bedenini parçalara böldükten sonra Voldemort’un bütünlüğünün bozulması, bozuk ve çökmüş dış görünüşü ile betimlenir. Yıkıcı arzuları onu kendi ölümüne daha da yaklaşır. Kitap, bir kez daha özgür iradenin önemini vurgular. Harry, kehanet ne derse desin, kötü ikizini öldürmeyi tercih eder ve bu bir anlamda, Harry’nin daha güçlü bir benliğe sahip olmasının habercisidir.

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Dumbledore’un ölümü, Harry’nin baba figürü kontrolü olmadan, kendi başına yolcuğunu vurgular. Serideki yetişkinlik çağı olan 17 yaşına gelerek, Harry kendi yolcuğuna başlayıp kötü ikizini yok etmelidir. Serinin son kitabı olan, Harry Potter ve Ölüm Yadigarları Harry’nin ve dolayısıyla okuyucunun açısından yapbozundan son parçası niteliğindedir. Harry, sadece Quidditch takımının Arayıcı’sı değil, aynı zamanda Voldemort’un sakladığı parçalarının, kötü ikizinin ve de nihayetinde kendisinin arayıcısıdır. Daha güçlü bir benliğe sahip olabilmek için, görevini tamamlamalı ve kötü ikizini öldürmelidir. Kötü ikizinin tehlikesi altında, bütünlüğünü korumalı ve kötü ikizi tarafından temsil edilen ilkel ve kötücül dürtüleri bastırmalıdır. Üstelik, son kitap Harry’nin sadece kötü ikizinin tehlikesi altında olmadığını aynı zamanda kötü ikizinin bir parçasının da kendi içinde olduğunu ortaya çıkarır. Tıpkı Dr. Jekyll ve Mr Hyde’daki gibi hem iyi hem de kötü yan aynı bedendedir. Bu yüzden Dr. Jekyll gibi, Harry kötü ikizini öldürebilmek adına kendini feda eder. Freud’un ikiz ile ilgili savunmasıyla ilişkili olarak, Harry kendisini öldürmeye çalışan ve ölümün habercisi olan kötü ikizini öldürür. Bu şekilde, serinin sonunda hem Harry’nin hem de toplumun huzuru ve bütünlüğü korunmuş olur. Gotik romanda da olduğu gibi, fazlasıyla sınırlar aşıldığı halde, huzur ve bütünlük sonunda sağlanır. Benlik ve kötü ikiz ikiliğinden başka, seri iyi-kötü ve hayat-ölüm gibi ikiliklere odaklanır. Her iki karakterin de hem iyi hem kötü tarafları vardır ama farklı yollar seçerler. Harry kendi içindeki ve toplumdaki kötüyü yok ederken, Voldemort daha Hogwarts’a gelmeden içindeki iyi yönü yok eder. Harry hayat ile ilişkilendirilirken, Voldemort ölümle ilişkilendirilir. Harry, “Sağ Kalan Çocuk” iken Voldemort karanlıkla ilişkilendirilen, isminde bile ölüm kelimesini barındıran bir karakter olarak ortaya çıkar. Neticede, Rowling okuyucuya olağanüstü ve tekinsiz öğelerle dolu fantastik bir dünyada sıradan kendinden emin bir yetişkene dönüşen sıradan bir çocuk betimler. Çoğu çocuk romanında olduğu gibi, ikilikler onun serisinde de ortaya çıkar. İyi ve kötü ikiliğini yaratırken, kahraman ve düşman ikiliği yaratarak bunu destekler. Seri, benliğe dadanan kötü ikiz olarak ikiz motifini barındırır. Harry’nin görsel ikizi olmasa da Voldemort geçmişinden gelip ona dadanan bir ölüm habercisi olarak ortaya çıkar. Çoğu Gotik romanda olduğu gibi, tek ya da iki taraf topluma uymak ve benliğin

123 bütünlüğünü korumak için ölmelidir. Rowling geleneği korur ve kötü ikiz benlik tarafından öldürülür. Gotik roman türüne ait olmayan serinin Gotik edebiyattan izler taşıdığı ve fantastik bir dünyada tekinsiz yüzleşmeler ve benzerliklerin yanısıra benlik ve kötü ikiz ikilik yaratak geleneği koruduğu sonucuna varılabilir.

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APPENDIX B

TEZ FOTOKOPİSİ İZİN FORMU

ENSTİTÜ

Fen Bilimleri Enstitüsü

Sosyal Bilimler Enstitüsü X

Uygulamalı Matematik Enstitüsü

Enformatik Enstitüsü

Deniz Bilimleri Enstitüsü

YAZARIN

Soyadı : ARSLAN Adı : MURAT Bölümü : İNGİLİZ EDEBİYATI

TEZİN ADI (İngilizce) : BEYOND THE TWIN CORES: THE MOTIF OF DOPPELGANGER IN J.K. ROWLING’S HARRY POTTER SERIES

TEZİN TÜRÜ : Yüksek Lisans X Doktora

1. Tezimin tamamından kaynak gösterilmek şartıyla fotokopi alınabilir.

2. Tezimin içindekiler sayfası, özet, indeks sayfalarından ve/veya bir bölümünden kaynak gösterilmek şartıyla fotokopi alınabilir.

3. Tezimden bir bir (1) yıl süreyle fotokopi alınamaz.

TEZİN KÜTÜPHANEYE TESLİM TARİHİ:

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