The Scapegoat of Confident Leadership: Hermione Granger & Societal Expectations

The widely-acclaimed book series of Harry Potter has depicted a long-standing fantasy classic for children, teenagers and adults alike. The books are referenced religiously, and individuals often pride in their Hogwarts houses and continue to buy into the enticing Wizarding World that J.K Rowling has created. Despite its charms, however, not everyone considers whether or not the overall themes and characteristics exemplified are all healthy messages to the public. Throughout the series, and quite notably in The Sorcerer’s Stone, Rowling implies that a connected, feedback-centric mode of leadership is ideal, but not to be inherently expected of everyone. This is most notable based on the different reactions to characters who exemplify this leadership; all of the main trio members are originally more separated from society and gradually work to listen to one another. Harry is praised and Ron is congratulated for finding his inner courage. Hermione, on the other hand, is simply regarded with exasperated relief from the audience – relieved that a young woman so autonomous and powerful could possibly return to a more “accepted” position in society.

In my Gender & Leadership class, we discussed the stereotypical roles which women are intended to fulfil as steps for being accepted into mainstream society. One such expectation is for women to choose their side of the argument of goodness versus survival, and that in order for them to be desirable they must decide to look after either themselves or others, not both (Gilligan, Making Connections 8). The argument states that young girls taking charge is viewed negatively, and can follow with the societal expectation for women to be maternal and submissive opposed to dominant and leaders. This trend follows quite smoothly with Hermione’s development within the first book.

Relating to the theories discussed in class, Gilligan states that “[adolescent girls] are sometimes called ‘bossy’” when they state their opinions or shed their prowess in certain subjects, something which does indeed creep up in the acclaimed novels (Making Connections Preface 11). Hermione is portrayed as knowledgeable, intellectual, and  confident at the source, although is characterized by her peers as standoffish, obnoxious, and full of herself in both book and film. After besting Ron with her abilities in charms class, he whispers to Harry that “it’s no wonder no one can stand her… She’s a nightmare, honestly” (314). While the audience presumes that this is more directed towards Hermione’s callous attitude, it can be questioned as to whether there would be as much of an uproar were Hermione a male student who simply knew a thing or two about what they were doing. The presence of this scene in the film allows for one to note its significance to the plot and perpetuate the negative stigma associated with the young witch. The trend only lessens with her character development and progression into the novel.

During the trials preceding the showdown with Lord Voldemort, Harry, Ron and Hermione are required to work together to make their way to the Sorcerer’s Stone. They utilize their abilities wisely, and take on the challenges as a team. In the book, Hermione is vital in uncovering the final task prior to the stone’s recovery, one which “isn’t magic – [but rather]  logic – a puzzle,” and she states that “a lot of the greatest wizards haven’t got an ounce of logic” (515). Hermione proves through working through this task that logic and intellect is important, and that she can unlock the riddle in order to help them progress. She is a strong leader, but at the same time part of a team, willing to take advice and criticism. While this is positive character development and appears to depict a healthy message to female viewers, it seems that her newfound role also has her dumbing herself down quite a bit as she bids Harry luck: “Books! And cleverness! There are more important things – friendship and bravery” (518). In other words, it initially appears that Hermione considers herself important, yet in reality she now views herself in a depreciative light by contrast with the other male characters. Neither of these two scenes are present in the movie, where Hermione is further constricted to gender roles and remains behind to take care for her ailing comrade – fulfilling the notion that women are caretakers and therefore subject to goodness over their own mental survival.

There is no questioning the truth in Gilligan’s analysis of gender’s role in leadership: the themes of goodness and survival, often presented as the toxically common trope of sacrificing oneself for the “greater good,” spread like wildfire throughout popular fantasy and science fiction. Hermione seems at first to be a role model for young women with an affliction for fantasy, although perhaps it is wise to determine how healthy Rowling’s portrayal really is, and what message it projects onto society’s more impressionable young members.

Works Cited

Harry Potter and the Sorcerer’s Stone. Warner Bros. Pictures, 2001.

Rowling, J.K. Harry Potter and the Sorcerer’s Stone. New York: Scholastic, 1999. Print.

Weinstein, Ari, et al. Harry Potter and the Sorcerer’s Stone: J.K. Rowling. Spark Pub., 2002.