45 The Subservient Other in Harry Potter: A Postcolonial Analysis – Jason Harrell

The Subservient Other in Harry Potter: A Postcolonial Analysis

One of the greatest and most pervasive global atrocities and degradations of human identity and potential occurred through the horrific practice of slavery. While the brutality and force of slavery are evident, slavery, the utter control and manipulation of one’s will, has an essential component, colonialism, whose effects are often so persistent and ingrained in society that they outlast slavery itself, even if physical slavery never occurred. Colonialism suggests the entrance of an outside force, the colonizer, who then employs tactics to control, marginalize, and shape the lives and thought processes of the natives, who are eventually regarded as the other. As a literary approach and theory, postcolonialism seeks to examine instances of this characterization of the other in literature and the impacts that figures who are not in authority then face. One example of such literature is the Harry Potter series by J.K. Rowling. Susan Howard, in “‘Slaves No More’: The Harry Potter Series as Postcolonial Slave Narrative,” explores how the characters in Rowling’s series show the reality and results of slave culture and how this happens in varying degrees based on one’s status in the wizarding world. In Harry Potter and the Chamber of Secrets, J.K. Rowling portrays one class of slaves, such as house-elves like Dobby, in a realistic yet sometimes dehumanizing manner, to explain the burden and subservient acceptance of colonialism, which results in self-punishment, self-erasure, and the difficult decisions slaves make.

Harry Potter and the Chamber of Secrets details the protagonist, Harry Potter, and the adventures and challenges he faces when he returns to Hogwarts School of Witchcraft and Wizardry. This return is viewed as ill-advised by the house-elf, Dobby, who admonishes Harry not to return to Hogwarts, as Dobby is aware that danger awaits Harry there. Dobby surprises Harry in his room to alert him of the potential conflict at Hogwarts, and after Harry invites Dobby to sit down, Dobby, described as a “large and very ugly doll,” “burst into tears—very noisy tears” (Rowling 13). Dobby is shocked that Harry has invited him to sit down “like an equal” (Rowling 13). This is the reader’s first introduction into Dobby, but this scene is also a detailed metaphor of the slavery dynamic, how the house-elves are treated, and how they view themselves. With Dobby being described in such seemingly odd and potentially grotesque physical features, Rowling “establishes a new form of the slave narrative that transcends race, but relies on the social aspects of slavery” (Howard 35). Dobby becomes visually unappealing to the reader, and certainly to the characters within the novel, and Rowling “denotes a classification as a beast,” which aligns with how “black African slaves were deemed subhuman … in the U.S.” (Howard 40). Dobby is a creature rather than a being, much like the African slaves were subhuman rather than human.

Despite the clear earnestness of Dobby’s actions, Rowling offers him no virtue in physical appearance, which is symbolic of how natives are portrayed from a colonial lens. These tears, which might cause the reader to empathize with Dobby’s plight prior to learning more about him as a character, are immediately disregarded as noisy and obtrusive, thereby robbing Dobby’s emotional response of full sentimentality. While Rowling is expressing the woes of Dobby’s position, the third-person narrative lends itself to unflattering language and descriptions. Howard notes that “Dobby’s voice becomes the first example of the slave narrative in the Harry Potter series” (Howard 37). The slave narrative is an autobiographical genre, however, and although Harry Potter is written from the third-person, Dobby does not seem to have the desire for freedom that one might expect; instead, he initially seems to desire the minimum in society: respect.  Dobby, who confesses that he has never been extended a seat, considers and interprets the simplest gesture as Harry considering him as an equal. In this world, Dobby, as house-elf, has “bought into and succumbed to his or her role as an inferior or subordinate to the wizard” (Howard 38). This is a distinct departure from the usual premise of the slave narrative, though, which was often retrospective about one’s independence or a factual account of one’s life while one sought freedom. As a narrative, Dobby’s position seems more reliant upon his identity than his independence. Harry’s gesture, followed by Dobby’s tears, then indicates how this is the first time in Dobby’s life that he feels seen, as “house-elves are and are meant to be invisible as is the subject of slavery within the wizarding world” (Howard 36). Dobby is unable to articulate, evidenced by his stuttering in speech, how significant this moment is for him. Again, this is a departure from a typical slave narrative, which accepts but rejects the premise of one’s enslaved condition. While a slave narrative, it is not necessarily inherently abolitionist in concept, at least not from Dobby’s initial introduction and thoughts of his position. It is likely that instead of viewing himself as a full being, Dobby views himself as property. In America, many black African slaves enslaved from “15th century and through much of the 19th likely began to view themselves as “chattel” (Howard 38).

In an effort to uplift Dobby, Harry remarks and jokes how Dobby must not have met many wizards, since he already esteems Harry so highly. Before Dobby can respond,  however, Dobby begins shaking his head and “banging his head furiously on the window” (Rowling 14). Dobby then refers to himself as “bad” and must “punish himself” for almost speaking negatively about “his family” (Rowling 14). A postcolonial examination offers much insight regarding this scene. As a house-elf, Dobby preemptively monitors his thoughts and speech, not based on honesty or his personal truth, but based on the implications his words would have in describing his master(s). There is available irony in this, however, as Dobby refers to the people of whom he clearly has repressed negative feelings as his “family,” whereby he views himself as “bound to serve” (Rowling 14). In America, this family dynamic took place as slaves lost their African names and heritage, and they were given the names of and by their masters.

These binds to which Dobby refers are not literal, but they are certainly real and internalized in Dobby, and he instinctively abides by the confines of this bondage. The literal and figurative self-punishment is also abundant. Dobby has internalized muted language and robbed himself of candid speech, and he justifies his self-torture as necessary. Dobby, who “introduces himself as the commercial property of a wizarding family” instead of as a person, seems unable to see himself beyond the family he serves (Howard 37). This is also evident in how Dobby refers to himself as “Dobby.” Dobby does not experience the “self-consciousness by way of … referring to [himself] as ‘I’” (Howard 43). Rather than see the fullness of himself, he essentially binds his identity to his family and refers to himself in the third person, as if he is a creature instead of an individual. Dobby, “unlike the writers of slave narratives, [has] a tendency to refer to [himself] in the third person, which speaks of [his] own self-objectification” (Howard 44). Since Dobby has not been recognized as a “being,” he finds it difficult to see himself as one. According to Howard, “slavery identity and culture is what makes the elves want to be slaves” (Howard 43). This is an interesting perspective, as the reality and harshness of slavery in America had become so known and expected that a percentage of slaves chose it over the risks of freedom. There are many accounts of abolitionists in America, such as Harriet Tubman, detailing slaves who chose not to escape.

When Harry tells his friends, Fred and George, about Dobby’s warning to him, they think of it as “dodgy” and “fishy” (Rowling 28). This skepticism of Dobby’s legitimacy and accuracy is indicative of colonialism, since Dobby’s advice and actions potentially happen beyond the confines, will, control of the colonizer. Fred informs Harry how “house-elves have powerful magic of their own, but they usually can’t use it without their master’s permission” (Rowling 28). Fred’s words align with the “lack of equality in the wizarding world” (Howard 37). Although Dobby, like other house-elves, has “powerful magic,” he does not truly own it, since it is relegated for use specifically at the permission of the master. This magic is not merely something one does; instead, it is part of one’s identity. By preventing the house-elves from performing magic, the master or colonizer is thereby robbing the house-elves of an identity that exists beyond the master’s control. The “house elf’s will” and magic are “controlled by its master” (Howard 41). Every aspect of one’s life, even inherent abilities such as magic and wizardry, are only allowed at the command of the master. This allegiance of one’s will, skills, and identity to the master aligns with American slavery, such as black African women cooking for the master while being unable to cook for and nurture their own families.

During Harry’s conversation with his friends, George informs Harry that “house-elves come with big old manors and castles and places like that” (Rowling 29). Fred and George’s analysis of house-elves connotes a sense of wealth and privilege, which is an inherent aspect of colonialism. The homes to which George refers literally appear colonial in presence and function, and their inhabitants, house-elves, must perform any duty, regardless of how menial or beneath their full identity, that the master demands. There is irony in George’s summary of house-elves, however, as he notes his mother is “always wishing we had a house-elf to do the ironing” (Rowling 29). House-elves are understood to be powerful beings able to conduct magic, and yet they are relegated to acts as mundane and inconsequential as ironing. If magic is theoretically synonymous with spirituality, then this control aligns further with black African slaves, who were both prevented from continuing their African spiritual traditions and only allowed to convert to Christianity as a method for explaining and rationalizing the necessity and rightness of control of their master. Dobby and other house-elves “come to accept and even condone their fate as slaves” (Howard 42). Dobby has been indoctrinated into slavery, much like many black African slaves began to accept the justness and permanence of their enslavement. It is also possible, as with the black African slaves, that house-elves had been conditioned into submission.

Ironing and self-punishment collide with Dobby during the middle of Chamber of Secrets. Dobby has devised multiple attempts to get Harry to leave the castle, but Harry has proven himself to be determined and resilient. While resting in bed, Harry is awakened by Dobby, who confesses that he was behind the platform barrier with the train. Although Dobby is doing what he feels is protective of Harry, he acknowledges that he “had to iron his hands afterwards” and shows Harry his “ten long, bandaged fingers” (Rowling 176). Dobby has apparently used his magic outside of the permission of his master, and since he does not “own” his magic in these instances, he chooses to punish himself preemptively and powerfully. As a postcolonial perspective, it is clear that Dobby’s mind and will have been so conformed to his master’s control that when he acts outside of his master’s authority, regardless of his intentions, he is to be punished. Despite his contrary actions, his self-punishment reveals that as an enslaved person, he deems it necessary to give himself the punishment that he likely assumes he would receive, and likely deserve, from his master. Dobby has the “internalized oppression” and “self-hatred” that are the “psychology” of oppressed people (Howard 40). As a result, the external, physical abuse Dobby gives himself is based on the internal conflict with which he struggles. While there may not be documented instances of black African slaves whipping themselves, internalized oppression aligns with actions many took.

While in Harry’s room, Harry questions Dobby as to his reasons for wearing a pillowcase, which Dobby describes as “‘a mark of the house elf’s enslavement,’”  since he “‘can only be freed if his masters present him with clothes’” (Rowling 177). This acknowledgment is indicative of the colonizer and the oppressed. In fact, clothing would be recognition of one’s status as a being rather than mere property. This could parallel with slaves who were prevented from reading, as instructing a slave would be an acknowledgment of one’s intelligence and potential. This also aligns with black African slaves, who were only permitted to wear cheap material and certain kinds of fabric, such as “negro cloth” (Wikipedia). By wearing a pillowcase as clothing, when it is not clothing, Dobby can nearly be viewed by others as foreign or savage because he is not dressed in clothes. He will always and intentionally be viewed as an outsider. Dobby is cognizant of this distinction, as he notes that “even a sock” would grant him freedom (Rowling 177). “The equation of clothing with freedom … seems rooted in … the African slave trades that flourished in England, the West Indies, and subsequently, the U.S.” (Howard 39). The sock is an interesting and ironic choice by Dobby, as it is an item of clothing often forgotten, discarded, and unseen. The sock, however, would be valuable enough to grant a slave his freedom. The sock, so easily disregarded and damaged in other instances, essentially has the value of a being’s entire existence and freedom. While slavery in America did not have instances of socks resulting in one’s freedom, the symbolism of one’s humanity having tangibility is the prerequisite for anyone being granted freedom.

As a house-elf, Dobby exists under the constant, persistent fear that his enslavement could always become more severe. It is this fear, in addition to his concern for Harry, that guides his actions. Dobby refers to himself as “enslaved” and part of the “dregs of the magical world” before noting that “life has improved for [his] kind” due to Harry Potter (Rowling 178). In referring to himself as a “dreg,” Dobby has taken on the language of the oppressor to define himself. And in giving Harry such credit for his life’s improvement, he is showing “how house elves adoringly look up to wizards” (Howard 44). The “kind” part of Dobby’s statement is highly indicative of the impacts of colonialism, whereby Dobby sees himself, and all other house-elves, as a “kind” to be regarded and treated differently than others, up to and especially including the wizards. Dobby has “othered” himself in this scenario. Dobby has also accepted his fate as a slave rather than rejected or rebelled against it, and instead of attempting to free himself from the bondage of his oppressor and navigate a path toward freedom, he is simply trying to make a life for himself, and others of his kind, much more bearable. This is confirmed when Dobby notes that he is still treated like “vermin” but reflects how life for other house-elves has improved (Rowling 178). This altruism of Dobby, both for other house-elves and for Harry, aligns with actions enslaved beings take. These actions also indicate the conflicts within the ethical framework in which he operates as an enslaved person. This ethical framework is part of the rationale for some black African slaves choosing not to flee, as it was not always simply a matter of fear.

Dobby tries the difficult balance of adhering to both deontological and utilitarian ethics. From a deontological view, ethics are based on a sense of duty, regardless of the consequences of one’s actions. The rules matter most. In utilitarian ethics, people act based on the happiness or consequences that will benefit the majority of people. As a servant and house-elf of the Malfoy household, Dobby is duty-bound and deontologically feels compelled to follow their rules, regardless of the consequences to himself, Harry, his kind, and others. It is his disobedience to his duty that leads him to torture himself, as the colonizer’s authority and rule have become so established to him that he sees abandoning rules as a form of betrayal; the colonial way has become the right way. Yet, from a utilitarian framework and thinking about most people, he considers protecting Harry Potter to be a way of achieving the greatest good for the greatest number. His duty to the Malfoys then takes a backseat in order for Dobby to do what is best for all the wizarding community. It is these conflicts, which are complex and ethical, that abound in the oppressed. Their oppression, and the rules therein, have become so normalized that any deviation must be rationalized, and sometimes self-torture must occur as a way to cope. Such ethical dilemmas played a role in slaves who escaped, slaves who remained, actions slaves took for their families, and nearly every decision.

In the final chapter of Harry Potter and the Chamber of Secrets, aptly and ironically named “Dobby’s Reward,” Harry takes a diary and places it within his “slimly, disgusting sock” (Rowling 338).  He then gives the sock with the diary to Lucius, who tosses it aside, thereby allowing Dobby to catch it. This seemingly frivolous act, wherein Dobby catches a sock that Lucius discards, grants Dobby his freedom because his master has given him an article of clothing. Black African slaves were often “kept in coarse rags and were allowed just one outfit to wear throughout the year (Howard 41). Clothing is symbolic for freedom. Dobby, in a brief moment of self-identity, understandably refers to himself as “free” (Rowling 338). He then, however, places all credit to Harry instead of his own ingenuity and self-awareness. As an elf, although Dobby has “intelligence, language, magical powers, etc.,” he places himself and his freedom within the context of someone else (Howard 39). This aligns with some black African slaves who often sought to earn their freedom rather than run to seek it. Harry’s wit certainly plays a part in Dobby’s eventual freedom, but the postcolonial perspective examines the limited credit Dobby offers himself, and how little ownership of his identity he exudes here. He leaves the subservience of one master and immediately extends gratitude and nearly pledges himself to another: Harry. He is free, but not in slave narrative, abolitionist sense. While Dobby is now free, Rowling also reminds readers that even post-freedom, there are persistent impacts of oppression and colonialism. She describes his physical features are as an “ugly brown face” (Rowling 339). While Dobby may not be treated as a house-elf  in this instance, he is still physically described as one. The reader wonders, though, if this is the characters’ view of Dobby, Rowling’s herself, or both. Rowling’s description aligns with “obscure accounts about free blacks who were nonetheless treated as slaves (Howard 39). There are some aspects of slavery more arduous to escape. This aligns with the treatment many black Africans experienced after slavery, such as systemic and legal discrimination.

In Dobby’s first act of freedom, he “waves a threatening finger at Lucious Malfoy” and commands Lucious not touch Harry (Howard 46). Malfoy, once the master, is now subject to the commands and instructions of his former slave, Dobby. Dobby’s wizardry also sends Malfoy down the stairs. Dobby, the previously conflicted slave, is now in control. He has chosen an ethical framework. One could suggest, however, that neither the sock nor Harry resulted in Dobby’s freedom. Harry’s action, and the sock, represent a catalyst for Dobby to acknowledge and free himself in his self-awareness and his beliefs. Instead of secretly performing wizardry to protect Harry, he now boldly does so and illustrates how the house-elves’ “own brand of magic can trump that of the wizards that control them” (Howard 46). Dobby’s acknowledgment of his own freedom, without waiting for it to be granted, is essentially a form of slaves who acknowledged their own freedom.

Colonialism has been a powerful tool of controlling minds, wielding power, and shaping how enslaved persons see themselves and their roles in society. Postcolonialism examines all of these aspects, the biases therein, and uncovers truth. In Chamber of Secrets, Rowling shows how house-elves can suffer the brutality and indignity of colonialism. With Dobby, Rowling shows readers that enslaved persons can be more consequential and powerful than they often realize, and once they enter into the fullness of self-realization, their lives, and the lives of their friends and oppressors, can be forever changed.

Works Cited

Howard, Susan.  “‘Slaves No More’: The Harry Potter Series as Postcolonial Slave Narrative.” Harry Potter’s World Wide Influence.  Ed. Diana Patterson. Newcastle upon Tyne: Cambridge Scholars, 2009.  35-47.

Wikipedia contributors. “Negro cloth.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 18 Nov. 2021. Web. 7 Dec. 2021.