heroic friendship – Buffy and Harry

Standard

“Buffy and Harry, unique in their powers and ordinary in their insecurities, have one major strength in common: their friends.” (p.75)

Comparing Harry Potter and Buffy, Rhonda Wilcox points out the importance of friendship in both these tales. She makes a valid point!

Firstly, her comparison: “A young person who has suffered parental loss moves to a new location and enters a new school, at the same time plunging into a world of magic and danger. This young person is forced to accept a role as a uniquely powerful challenger of dark forces, but is aided by an older advisor and both a male and a female friend. Humiliated by the everyday world, the young hero nonetheless grows stronger year by year fighting the dark forces in the hidden world of magic.” (p.66) Yup.

She argues: “Harry and Buffy are both heroes for whom friendship is crucial: Buffy survives in part because of her “Scooby Gang” of friends, and Harry depends on schoolmates Ron and Hermione. Perhaps this is the most important commonality for a hero of our technologically connected but socially strained time.” (p.67)

Furthermore, “the dissension within the Order of the Phoenix, like the seventh-season dissension among the Slayers and Potential Slayers, shows that such cooperation is not simple; it requires labor and self-knowledge, only gradually gained as these long stories progress.
Both of these long stories work with and move beyond traditional forms. Propp’s structures include a category for helpers, but as he defines them, they are often animals or objects. The goal in the structures he describes is marriage. But in the Harry and Buffy stories, friendship is not merely a means to an end (as the helper categorization would suggest); it is an end in itself. Every Harry Potter book thus far has ended with the rejoining of the friends and their subsequent separation for the summer holidays, with Harry’s longing to return to school and friendship. And while Buffy and Angel (and later Buffy and Spike) provide plenty of romantic steam, the series does not end with her matched to either. An examination of the structure of the episodes would show that those with happy endings [-p.76] are most often those which conclude with a group of friends.” (pp.75-76)

“Buffy, despite the voiceover which intones that she is the only one, actually repudiates patriarchal succession and the role of the lonely hero in favor of communal effort. The same can be said of Harry Potter. Put simply, these new heroes value and count on friendship as part of their heroism.” (p.76)

Ref: (emphases in blue mine) Rhonda Wilcox (2005) Why Buffy Matters: the art of Buffy the Vampire Slayer. London IB Tauris.

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