Koch 1

Jamie Koch
Dr. Carol Lind
English 100
2 May 2012
Wands and Willies: A Psychoanalytic Look at Phallic Symbols in the Harry Potter Series
The power struggle between men and women seems to have been around forever. Many
poets, scholars, and psychologists alike have pondered the power that often seems to come with a
penis. Phallic symbols have been used and analyzed throughout history. Perhaps the most well
known analysis of the use of phallic symbols is by Dr. Sigmund Freud, the founder of
psychoanalysis. Freuds work discusses the power and status that accompanies a penis and often
makes claims that those lacking a penis draw upon phallic symbols to compensate for their lack
of power. Through the scope of Freudian Psychoanalytic Theory, we will look at these symbols
and how they influence the race relations between the characters in J.K. Rowlings Harry Potter
series.
The jealousy and desire for a wand seen in the Harry Potter series is not unlike Freuds
conversations about penis envy. Penises themselves possess no inherent power, but maintain
elevated power status in many societies both throughout history and into the present. In his
paper Some Psychological Consequences of the Anatomical Distinction between the Sexes,
Freud asserts that as soon as girls become aware of the male genitalia, they at once recognize it
as the superior counterpart of their own small and inconspicuous organ, and from that time
forward fall victim to envy for the penis (qtd. in Gruss 149). Rather than an unbalance of power
between the sexes, an unbalance of power between human and humanoid races can be seen in
Harry Potter, as seen in the unfair oppression on these humanoid races.
Koch 2
Wands are undoubtedly phallic symbols in the series, a fact that is even alluded to by
Hermione Granger: Some wizards just like to boast that theirs [wands] are bigger and better
than other peoples (Rowling Hallows 415). In The Goblet of Fire, students participating in the
Triwizard Tournament even compete using their wandsphallic symbolsto win the Triwizard
Cupa yonic symbol. In addition, the wand is likened to a penis in several instances in the way
it is handled and described. For example, in The Deathly Hallows, Lord Voldemort slowly
drew the Elder Wand between his long fingers while he waits in the Forbidden Forest to finally
kill Harry (Rowling Hallows 702). Voldemort seductively draws his wand the source of his
power through his hands, excited to exert his force over his greatest enemy. When analyzed
through the Freudian lens, the fondling of his wand is undoubtedly a subconscious association to
the penis.
While a wand does not directly provide a witch or a wizard with magical powers and
abilities, it is almost always necessary for a wizard to use one when performing controlled
magic. Witches and wizards form the elite of magical society primarily because they have the
status to possess and use wands. Other intelligent magical beings namely goblins and house
elves are forbidden by law to use or even carry wands (Rowling Goblet 225). If they are
caught breaking this law, they face serious consequences.
As with the power struggle between men and women, wizards do not truly possess any
greater power than goblins and house-elves. In fact, house-elves demonstrate far greater abilities
than wizards without using wands at all in The Chamber of Secrets. Dobby, a house-elf, is able
to perform several displays of very powerful magic, all without the use of a wand (Rowling
Chamber 19-20). However, the powerful magic of house-elves often goes unrecognized. No
wizard would ever recognize, admit, or probably even realize that the powers of house-elves
Koch 3
could be so great. Since house-elves are enslaved and used as servants, the only powers
important to house-elf, in the eyes of wizards, are those that contribute to their servile duties.
The interactions between house-elves and wizards can be compared to Freuds discussion
of the Oedipus complex. Robert Bocock, author of Freud and Modern Society, discusses that
when a girl realizes she does not have a penis, she blames her mother for not giving her one
and transfers her affection to her father (46). House-elves display a similar pattern of self-
blame as is seen in women. While house-elves do not blame others of their kind for their lack of
a wand, they do show great affection to the wizards that they serve.
House-elves revere their wizard masters so much that they even engage in self-harm
when they feel that they have disobeyed or dishonored them in any way. They beat, burn, and
otherwise injure themselves to do penance for their wrongdoings. Even Dobby, a very strong-
willed and independent house-elf, punishes himself harshly for giving Harry warnings without
his masters permission (Rowling Chamber 17). The act of going against their masters, the very
wizards that have oppressed their race for centuries, is so despicable and dishonorable that
house-elves punish and injure themselves to show their true dedication.
The very worst fate a house-elf can face is to receive clothes from his or her master,
freeing the elf from service. A free elf is considered a disgrace because house-elves are usually
only freed when they have brought great shame upon their masters. For example, Winky, Barty
Crouchs elf, is presented with clothes after she is accused of using Harrys wand to cast the
Dark Mark into the sky at the Quidditch World Cup (Rowling Goblet 138). It is highly unnatural
for any house-elf to desire freedom as Dobby does. Other house-elves look down on him and
think its very strange that he would want anything more than to please his masters. House-
elves, like the women discussed in Freuds Oedipus complex, live their lives only to please and
Koch 4
revere their masters (Bocock 46). Since they lack power themselves, they look to the more
powerful people in their lives for meaning. They attach themselves to the powerful, and without
them, their lives are empty. Once her masters free Winky, her life falls to shambles, and she
sinks into a deep depression; her life lacks meaning without a wizard family to serve. House-
elves are more than happy to serve the wizard families to which they are bound, however, not all
of the oppressed are so passively obedient.
Contrary to the yielding nature of house-elves, goblins are openly displeased with their
inability to carry a wand; however, they aim to compensate for their lack. They are very
mysterious and secretive so as not to give any more power to their wizard oppressors. Goblins
run Gringotts, the most grandiose and secure bank known to the magical world and refuse to
divulge any of its protective secrets to the world. Wizards know that the vaults of Gringotts are
just about the safest place to hide something of value (Rowling Stone 63). A sure and painful
death is promised to anyone who dares to break into a Gringotts vault (73), and goblins relish in
the respect and fear that their bank grants them in the magical world. This respect is illustrated
when Hagrid first tells Harry about Gringotts and warns him, Never mess with goblins (63).
Because of their partial control of the money and valuables of the entire magical community,
goblins are able to exert control over wizards.
Goblins also produce some of the most beautiful silverwork in the world, and take care
not to divulge any of the secrets of their success. They are selfish with the secrets of their
silverwork, just as wizards are with wands. Goblin-made objects imbibe only that which
strengthen them, so they never rust or tarnish and are able to absorb the strength of powerful
substances like Basilisk venom (Rowling Hallows 304). Since goblins lack the means to rise up
in magical society, they instead make their silverwork very strong and extraordinarily powerful.
Koch 5
Witches and wizards are drawn to the intricate beauty of the goblins silverwork, and
many of the magical elite own pieces of silver made by goblins. Even if a wizard is lucky
enough to acquire a piece of goblin-made silverwork, goblins are stubborn to relinquish any
ownership of the piece. They expect any goblin-made object to be returned to the maker once
the rightful purchaser has died, persisting that the maker maintains sole ownership of the object
(Rowling Hallows 506). This creates even more tension and confusion between the races and is
just another small way that goblins exert their almost insignificant power over wizards.
It is a piece of this famous goblin-made silverwork that the goblin Griphook asks for in
return for his services (Rowling Hallows 505). Griphook requests the sword of Gryffindor (505),
a relic belonging to one of the most powerful wizards in history, Hogwarts founder Godric
Gryffindor. While he could have asked for (and probably been denied) a wand, he asks for the
sword, a phallic symbol of great importance to the main trios quest, as well as to Griphook
personally, because it is goblin-made. He wishes to possess the sword to be able to exert some
small dominance over the young wizards and witch. Not only does Griphook wish to own the
sword, but also he feels entitled to it since it is goblin-made. He maintains that the sword was
stolen by the wizards, and he wishes to reclaim his rightful property (505). The sword is more
than just a phallic symbol; it is a symbol of great power on its own. It is the only remaining
founders relic that originally belonged to a man. It is also able to destroy Horcruxes, a quality
that few other objects or spells possess. Griphook therefore recognizes the sword as the
dominant relic over Ravenclaws diadem or Hufflepuffs cup.
For the most part, house-elves and goblins are seen as inferior, subhuman, and somewhat
less intelligent and therefore less capable of wand handling. Since the wizards grant themselves
power in society, their elevated status is completely arbitrary and meaningless. There is a
Koch 6
constant power struggle among the races in Harry Potter, creating tension and bringing up
feelings of jealously and helplessness. Like the women described in Freuds analysis, the
oppressed develop different ways to cope with and compensate for their lack of a wand. By
observing this power struggle through the lens of psychoanalysis, we are able to find a deeper
meaning in the relationships in the text.


















Koch 7
Works Cited
Bocock, Robert. Freud and Modern Society: An outline and analysis of Freuds sociology. New
York: Holmes & Meier, 1978. Print.
Gruss, Susanne. "5. Writing Masculinities." GENUS: Gender In Modern Culture 11 (2009): 149-
193. Print.
Lind, Carol Ann. Introduction to English Studies. Illinois State University, Normal, IL. Spring
2012. Lecture.
Rowling, J.K. Harry Potter and the Chamber of Secrets. New York: Scholastic Press, 1999.
Print.
---. Harry Potter and the Deathly Hallows. New York: Scholastic Press, 2007. Print.
---. Harry Potter and the Goblet of Fire. New York: Scholastic Press, 2002. Print.
---. Harry Potter and the Sorcerers Stone. New York: Scholastic Press, 1998. Print.
Westropp, Hodder M. "On Phallic Worship." Journal of the Anthropological Society of London
8 (1871): 136-146. Print.