Chapter 7 - The Oracle

A/N It is very heartening to receive such warm comments and in-depth reviews from reviewers who have emailed me. However, I also seem to be inundated with emails asking for clarification of certain things. Thus, I shall address them here:

(Question 1) I find it hard to believe that Hermione has changed so much in your story. She is so different from canon where she is a perky, know-it-all. I find it difficult to see/understand how Hermione can be so irritable and 'angsty'. I find it difficult to believe that Hermione can change so much. I find it difficult to believe that Hermione can give each of the dead OOTP member a flower in mourning and say that Snape is in a better place, and then shout and fight with Snape.

Answer: I did say that the tale may be a little too AU and OOC for some. Did you read Chapters 1 and 2 carefully? I have never interpreted canon Hermione as perky, but it's your opinion and I shall accept it with good grace. At the end of the war, people whom she respects and cares for die or change for the worse. Dumbledore was musing on "the psychological scars carried by his staff." This means that they changed, both physically and psychologically. They have physical scars and emotional scars. Given these things then, do you expect people to feel the same?

Even Dumbledore has changed. He feels his age and is generally tired. He is no longer the sprightly creature we meet in canon.

You learn in Ch 2 that Ron is a blubbering idiot in St Mungo's (my word was 'unhinged' – translation: stark raving mad, literally). His condition is a little better than Neville's parents and worse than Lockhart's. Imagine this to be one of your best friends – would you be affected and upset?

You also learn in Chapters 2 and 3 that Harry is emotionally unbalanced. It is stated in Dumbledore's musings that Harry mutters nonsense to himself and constantly rocks himself over and over again in the same position. Imagine this to be one of your best friends – would you be affected and upset?

It is also stated in Chapter 2 that Hermione is very much changed. Dumbledore states, "Hermione [was] behaving like Severus, wearing her bitterness on her sleeve like a badge of honour." For the many out there who think Hermione is 'perky' - She is now bitter, do you honestly expect her to be bubbly and cheerful? She has seen her friends, teachers, colleagues &ca die – do you expect her to stay the same and be cheerful and happy?

The change in Hermione and most of my characters are stated explicitly in the text:

It is mentioned in Chapter 2 that Hermione is a "psychologically traumatised woman".

It is mentioned in Chapter 2 that Hermione "...had not been the same after the battle. The truth was none of them were."

It is mentioned in Chapter 2, "Hermione had lost her habitual benevolent streak."

It is mentioned in Chapter 2 that Hermione's "...innate bossiness was no longer tempered with a gentle smile..."

It is mentioned in Chapter 2 that Hermione's "...innate bossiness was... delivered with an astringent dose of logic."

It is mentioned in Chapter 2 that Hermione now comes across as "severe"

It is mentioned in Chapter 2 that Hermione "...had acquired a certain cold hardness in her eyes, which gave her an overall shrewd and tired look."

It is mentioned in Chapter 2 that Hermione "...[chose] to live insulated in her chambers."

There are many such hints in Chapters 1-7; but most of it is in Chapter 2. You must examine the text more carefully.

She has come out of the battle relatively unscathed, whereas Ron is mad and Harry is mentally unstable. Do you think she'll be happy and perky? Professors and other OOTP members she respected died – do you think she'll be happy and perky?

Of course, she's bitter! It's called survivor's guilt. It's a case of "why did these things happen to people I care for but not me? Why must I see them suffer? Why must I who know them very well, reflect on how much they have changed? If I died, I wouldn't have to bear witness to all these painful things?"

She mourns the death of Severus. Yes, she is upset. She can see him for what he is and she accepts him for it. It is a great loss to what's left of the order and Hogwarts. She is upset, not irrational. She knows that he has his psychological hang-ups; those psychological hang-ups won't go away because he doesn't want to be rid of them. And if he lives, he will go through the rest of his life with those psychological hang-ups – bitter, nasty and guilty. Given this then, the rational Hermione knows that he is better off dead. That's why she says he has gone to a better place in Chapter 1.

All right. Put yourself in Hermione's shoes. A friend or someone you respect has died unexpectedly, or so you believe. You are upset, yes? You mourn, yes? Did you expect the person to die? No. Did you want the person to die? No. You are in shock, yes? Pretend, it turns out that your friend didn't really die. You are shocked, yes? You are enraged, yes? You are annoyed, yes? You are irritable, yes?

Now, let us fill in the case study with the characters. Severus is dead and Hermione is made potions mistress in his place. She is upset because Hogwarts has lost a good teacher whom she believes she will not surpass. She mourns for his passing but is glad for him in that he will no longer have to suffer on earth. Preparations are made for his funeral. Then, he comes back as a ghost and turns her shattered life (which she is trying to rebuild) and her new life (which she is trying to adjust to) and turns it upside down. She is in shock.

He barges into her lessons and all but orders her out. She is cross.

He questions her suitability as a teacher in potions. She is livid

He questions her adequacy as a teacher. She becomes irritable and lashes out at him.

I am only following the natural order of things. Sociologists have proven the following: after an unexpected death, a person (the survivor) goes through the stages of (a) shock, (b) denial – some people do not go through this, (c) anguish/pain, and (d) anger, (e) realisation, (f) acceptance, (g) copying, (h) remembering, and (i) letting go.

(Question 2) Why are your paragraphs so long and formal?

Answer: I follow the basic rule of writing as I have always known: one idea, one paragraph. If you think it is formal, that is your opinion and I respect that. I do not feel that it is formal. I have written this with more structure in mind and it's a plot of thought progression rather than pure dialogue for all 20 chapters.

(Question 3) Why is your grammar and spelling different?

Answer: British English has a different set of spelling and grammatical rules. I do not take to people saying that my betas did not do their jobs.

(Question 4) Why are there so many references to books and dead writers? Do they have any relevance to the story?

Answer: It is very astute of you to notice this. I did not mean for the plot to turn out didactic. When I wrote it, it was meant to be dialectic. When I wrote this, I was delivering two lecture series on Ancient Western Political Thought and Modern Western Political Thought. As I characterised my Severus, I realised that even in canon, it's what he doesn't say that's more important. This is very a la Xenophon (a contemporary of Plato and disciple/follower of Socrates). Hence, my hero has the name Severus Xenophon Snape. And yes, these elements have some bearing on the plot.

(Question 5) Why didn't Snape recover if he was out for a week before he died?

Answer: Let me see. If you read Chapter 3 carefully, you will realise there was nothing, absolutely nothing that could be done to save him. At my version of the final battle, he did not realise how gravely wounded he was. He was so badly "mangled" that he slipped into unconsciousness. He never recovered and he died.

(Question 6) How come Snape didn't fight to live? If Hermione, Dumbledore and McGonagall were keeping vigil by his bed and caring for him, why didn't he fight to live? Why didn't he come round? Why couldn't he feel their presence and be moved back to life?

Answer: A set of interesting questions but everything is in the text. You have to read the text slowly and carefully. I may say a lot in the story, but it's what I hint at and leave out that is interesting (at least to me). One suggestion: Read between the lines.

At the final battle, Severus was gravely wounded and then due to loss of blood became unconscious. It is stated in Ch 1 that Severus suffered from "severe internal injuries and irremediable damage to his organs. ". There was really nothing to be done to save him. No skele-grow or organ-grow could help him; he was a dying wizard. One may have the willpower to live if there is something for you to live for. What does Severus have to live for now that the Voldemort is dead? He will feel that he no longer has any purpose as he will no longer be a spy. He will still be bitter and astringent because his biggest psychological hang-up is not being able to let go of his past – being bullied by the people in school, abused at home, and his mother is dead. He will continue treating his students callously as an outlet for his guilt and self-revulsion.

I know I've been getting a lot of negative mail for killing Severus not making him fight for his life. Dear readers, think logically - One's organs are irremediably damaged, how can one survive? Even if one has the will to live, one will still die because one's organs are beyond repair.

Believe me, when you are unconscious (not comatose – there is a difference), you will not be aware of your surroundings and the people around you. I suffer from epilepsy and frequent fainting spells/fits. This means that I tend to get blackouts and spells of unconsciousness. I don't know who is around me; how long I have been unconscious and so on. My mother claims that she sits by me and reads to me during my spells of grand mals, but do I really know that? I can hear nothing while unconsciousness. On waking, I am disoriented. Trust me, one does not know a thing of what goes on around one when one is unconscious. You don't even dream or think – nothing – it's a perfect black. How can one fight then? You won't know anything until you have recovered from the fit.

Beyond Time and Space

Chapter 7 – The Oracle

It was almost dark and the sky was an array of rich yellows, reds and oranges. Hermione saw that at the end of the horizon where it was almost deep purple, there was a construction of sorts. If she squinted hard enough, she could almost be sure of it being Grecian or Roman in style. Curious as to this structure and its purpose, she moved towards it and in so doing went against the cool evening breeze. As she approached the edifice, she had a dual sense of awe and trepidation, emotions which were heightened by the increased intensity of the wind. The wind whipped her fluttering gold-rimmed white robe about her while sharply biting her features. The dried leaves arose around her, engulfing her in a mad crescendo of autumnal colours and half-heard whispers. When Hermione regained the use of her faculties, she found herself safely deposited at the foot of the majestic building. It looked like a temple of sorts with towering ivory pillars and heads of the Greek pantheon craved at the top of the cornices. As she ventured up the cold marble stairs, a suspended basin lit up enveloping the immediate surroundings with a soft white light. The door at the top flung open, awaiting her entrance. She entered the temple proper with fear and anxiety at what she would find.

"Welcome to Delphi," resounded a lilting feminine voice that slowly materialised into a beautiful raven-haired woman reclining on a divan.

"I'm sorry to intrude; I should not be here," said Hermione backing away calmly.

"No, my dear, I have waited long enough. Come closer," commanded the woman, causing the doors to slam shut and lights to flicker around a basin and the altar before her. "Approach," she said, persevering in her invitation and Hermione found herself transported to the basin and altar. "You wish to consult the Oracle," commented the woman as she elegantly raised herself on her elbow. It was a statement that did not encourage an answer; accordingly, Hermione gave none. It was just as well for she felt her throat suddenly constricted and parched. "What do you have in exchange?" asked the woman as she sat up brushing away some powder on her black toga.

"Sorry?" enquired Hermione bewilderedly as she rummaged through her memory to place this semi-familiar woman.

The woman glared, curling her lips into a patronising smile. "Which would you prefer – making a goat sacrifice or paying four obols?"

"Erhm...I don't seem to have any money with me and I don't believe in the slaughter of innocent animals," Hermione said, nervously rubbing her arms.

"And yet, you approve of the mercy killing of other politic animals?" challenged the woman testily, narrowing her eyes. "I have already performed the goat sacrifice this evening. Four obols. You have a purse on your wrist, child; four obols then."

Hermione looked to her right wrist and saw a reticule favoured by ladies during the Regency period. Thoroughly bemused, she opened the purse to find it filled with an assortment of sickles, knuts and galleons. "Will knuts do, madam?" she asked shyly as if she were eleven again.

"Knuts, obols, kopecks – they're all the same to me," shrugged the woman disinterestedly, staring down her aquiline nose at Hermione as she swung her head gracefully to the left.

Following the woman's indication, Hermione deposited the knuts into a ceramic bowl that had materialised to her right.

"Paideia catharsis," intoned the woman before seemingly slipping into a trance. "Kalos hairesis," boomed the woman's echoing voice as if a sonorous charm had been cast. The lights of the temple gradually grew to a blind light before flickering twice and fading away. "Interesting," she commented, tapping a long finger on her cheek. Before Hermione could pose an enquiry, the woman continued her ritual. "Horismos," she commanded before frowning deeply. "Anankaios hamartia".

Then, as abruptly as she had gone into her trance, the woman regained her normal speaking voice. The woman gave Hermione a calculative mysterious look that could be read as almost a smile. "It seems, my dear, the Gods mean for you acquire a virtue that you lack. They have advised me to tell you this: Lion in front, serpent behind, in the middle a goat."

"I don't understand," said Hermione, biting her lower lip in consternation. "You've just described a Chimaera."

"There is a certain type of human being," explained the woman in great annoyance, "who constantly experiences, sees, hears, suspects, hopes and dreams extraordinary things. This type of human is struck by his own thought as from outside, as from above and below, as by his type of experiences and lightning bolts; who is perhaps himself a storm, pregnant with new lightning. He is a fatal one around whom there are constant rumblings and growlings, crevices and uncanny doings. This being is in your acquaintance. This being – alas – is a being that often runs away from itself, often is afraid of itself – but too inquisitive not to 'come to' again – always back to himself. Forsake him not, this one."

Though disturbed by the woman's words, Hermione did not flee. She chose, instead, to frown at the enigmatic explanation. "Doesn't that mean this whom you speak of is merely an inexorable opponent?"

"My dear, you have forgotten..." answered the woman, studying her in a leisurely bored manner. Catching Hermione's colour at the scrutiny, she looked directly into her eyes. "Fear not, something will evoke it...eventually," sneered the woman in a sharp commanding tone as she rose. "The Gods have spoken. Acquire the lacking virtue and consider the lion in front, the serpent behind and the goat middle. Now leave!"

Before Hermione could venture any further clarification on the matter, she found herself swallowed by thick white mist. Then, she woke with a start.

Upon opening her eyes, Hermione immediately ran a hand across her forehead. Relief, however, proved too short-lived, for she realised that she had broken into a cold sweat. Her hair bangs latched on to her forehead like creeping ivy. Her back was wet with perspiration and she was cold – extremely cold. What a disturbing dream! The woman had given her a strange prophecy! Hermione, being the sensible creature that she was, did not accord the study of divination with any respect. No doubt the woman was a fraud like Trelawney. But if so, she would not have used the Iliad's reference to a chimaera ad verbatim. Just who or what was the Chimaera? What was its significance? More importantly, who was the being the woman described? It certainly did not resemble anyone Hermione knew. She scowled as she drew her knees to her chest in deep thought – why was this dream so important? How was it possible that it could perturb her so? Frustrated, inexplicably irate and psychologically distressed, she summoned her empty tea things and hurled them at the door.

"Stop it, Granger!" she scolded, trembling in spite of herself. "Be calm, be bold, be resolute, be rational. This is just another one of those dreams of self-affirmation that you used to have as a girl. You have dealt with the chips on your shoulder before, you can deal with this one too."

"Are you insane, Miss Granger!" growled a dangerously low voice outside the door.

"I'm all right, sir – nightmare," she responded, sounding very much like a teenaged self again.

"See that it does not happen again! I am having enough trouble resting as it is!" hollered Severus's vitriolic voice.

Hermione lay back on her chaise fully awake, analysing her dream. It was not a nightmare; that was certain. There were no monsters or strange apparitions; just the temple at Delphi. She had only seen the Oracle. Why then did it frighten her? Moreover, Severus wasn't helping. He had not even been vaguely concerned! The selfish pig was only being himself – the crime was hers – she had interrupted his attempt to rest. She smirked her satisfaction at that thought. Severus Snape could neither rest nor eat and he still did not realise it. What an inattentive fellow he was – so much for his methodical mind!

"Merlin, no!" she exclaimed in a whimper, her hands flying to her mouth. The woman had described a philosopher – not simply any philosopher, but one who was a philosopher in the ancient sense of the word. She had described the most feared philosopher – she had described the logician. The logician and philosopher was none other than Professor Severus Snape! He saw, heard, suspected, hoped and dreamed extraordinary things! He viewed everything not concerning himself in an aloof manner 'from the outside' as the woman had said. Furthermore, he has always been regarded as a brilliant scholar 'a storm with new lightnings' and as intimated by the woman, Severus Snape was indeed the same being that 'often runs away from itself; often afraid of itself'; he was truly 'too inquisitive not to return to himself'. Hermione gasped in shock and terror. Who was this woman? She seemed almost like – NO, it cannot be!

"Could it be?" Hermione gasped in horror. "Could it be a reflection of what I've become? Am I like that now? Have I become that which I swore not to become if I should enter academia? Have I become like Professor Snape?" She sat up again, frightened yet pleased with herself. Now that she had unravelled the woman's cryptic explanation, she strove to extrapolate the meaning behind the reference to the Greek Chimaera.

"Hmm..." she muttered, moving to her desk before pausing to stroke the sleeping orange ball there. "The head of a lion, the tail of a serpent and the middle of a goat." She slapped her forehead as the first two pieces fell into place. The head of the lion presented Gryffindor. Good Merlin! Did it mean she had become a serpent?

"No," she cried in sudden realisation. "It refers to both Professor Snape and I! I have become like him. I've turned from a Gryffindor lioness into a Slytherin serpent. And Professor Snape – he's the serpent with the head of a lion. His actions throughout his years at Hogwarts spoke for themselves. And his mind is certainly worthy of Gryffindor bravery. However, his ineffable mind has achieved the greatness promised to the Slytherins. How does the goat fit in?" she asked to the library, pacing nervously. "How does the goat link the lion and the serpent?"

After an indeterminable lapse of time, she snapped her fingers waking Crookshanks who stared lazily at his inimitable mistress. "Of course!" she exclaimed to her nonchalantly yawning pet. One obtained the bezoar from the stomach of the goat. Goats are naturally resistant to all kinds of poison; goats were the only creatures capable of eating arsenic without harm. The goat mitigated the excesses of both the lion and the serpent. It meant that she and Severus had to find a middle ground if he is to come to his senses and realise the truth of his death. Hermione strode to one of the shelves and pulled out a book. After much desperate page flipping, she came to what she had been seeking, namely, the words 'prosthe Platōn opithen te Platōn messē te Chimaira'.

"Plato in front and Plato behind and in the middle Chimaera," she translated thoughtfully biting her index finger. It made perfect sense now – the middle, the goat, in other words, represented the enigma that was at the heart of both the lion and the serpent. It is mysterious precisely because it appears incongruous between Hermione and Severus. The enigma, therefore, referred to that something that they were both hiding from – the chips on their shoulders. However, as with all such chips, they always became more apparent when one hide them.

"It's all Homeric!" Hermione exclaimed with a light smile, her heart quietening considerably. "The Plato-Socrates dynamic! I will use cruelty to temper my kindness to the Professor and help him through this. Perhaps I will heal this hate in me. I will quell this irrational harping on losses!" With that exultation, Hermione found that she was able to sleep soundly for the rest of the night.

Footnotes:

The reference to "politic animals" is a double entendre. It can mean (1) man is the only political animal, and (2) cunning and devious creatures, for in Shakespeare's time, the word 'politic' referred to someone that was sly and conniving.

The Regency referred to is the English Regency, not the French Regency.

My classical Greek is still very shaky, so forgive me if this glossary is lacking:

Iron obols performed important functions in Ancient Greece in that they were set up as sacred objects in two of the most important sanctuaries. In order to query the Oracle, one needed to make either a goat sacrifice or pay obols.

If you follow the classical Greeks, the Pythia was the priestess at Apollo's oracle at Delphi. She is the medium through which Apollo's will to be known to those on earth. A believer would make a sacrifice and present a question to a male priest. The male priest would in turn present the question to the Pythia. Seated on her bronze tripod in the adytum, or inner chamber of Apollo's temple, the spirit of Apollo overcame the Pythia in this sacred chamber and inspired the prophecy. After the prediction has been made, the priest would interpret the Pythia's response for the questioner.

However, I have combined the role of the Pythia and the Priest in my reinterpretation of Apollo's oracle. Hence, the woman in black in Hermione's dream is both the medium and the interpreter of the vision.

Paideia stands for the education or culture of man in general.

Kalos refers to something that is morally or physically beautiful, noble, fine and right.

Hairesis can be loosely understood as choice.

Horismos can be understood as definition.

Anankaios loosely means necessary.

Hamartia loosely means compulsory error.