Since he had fallen ill, Sean had been keeping himself going purely by willpower. Potions could cure his cold and fever, but they couldn't restore his exhausted spirit.
He grew increasingly drowsy, sometimes feeling dizzy after just a few quick steps.
But in contrast, his Transfiguration skills had already reached—
\[Transfiguration: Adept Level (5900/9000)]
This "Adept" rank allowed him to flexibly transform "inanimate objects" into "living creatures." According to the description on his status panel, this counted as "advanced intermediate Transfiguration."
Sean guessed that true advanced Transfiguration must involve changing "living creatures" into other "living creatures."
Of course, Professor McGonagall had also introduced him to a spell of an even higher level: the Vanishing Spell.
The incantation was Evanesco.
It was one of the most difficult spells in the Ordinary Wizarding Level exams. In the fifth book, Professor McGonagall had the students practice it on snails.
Because snails are invertebrates, the challenge wasn't too great. If it had been mammals, the difficulty would have risen dramatically.
The fire in the hearth crackled brightly. Professor McGonagall held a steaming cup of tea, while Sean, seated in front of her, scribbled furiously on an essay she had assigned him as extra work—"The Fetch."
The vast scope of Transfiguration still surprised Sean, even though he had long suspected its complexity.
Normally, turning a "living creature" into a "non-living object" was intermediate Transfiguration. Transforming a "non-living object" into a "living creature" counted as advanced intermediate.
But transforming one's "self" into a non-living object was exponentially harder.
For instance, when the Death Eater Yaxley once tried to kidnap Professor Slughorn under cover of night, Slughorn had transformed himself into an armchair and successfully evaded him.
That, too, was advanced Transfiguration, because it involved a dangerous principle stated in Adalbert Waffling's Magical Theory, First Axiom:
"Tampering with the deepest secrets—life's origin, the essence of self—requires readiness to face the most extreme and perilous consequences."
This "essence of self," or self-form, was something Sean had previously connected only with Horcruxes. To realize it also applied to Transfiguration was eye-opening.
Advanced Transfiguration also included changing one's "self" into another "living creature," such as Viktor Krum transforming his head into a shark's during the Triwizard Tournament.
Or changing "magic" into "objects," as when Dumbledore's fiery rope was transformed by Tom Riddle into a snake.
Conversely, it could mean turning "objects" into "magic," such as when Dumbledore transformed a pool of water into a prison.
All of these fell under advanced Transfiguration.
This made Sean realize that Transfiguration might be the most powerful branch of magic—it could accomplish nearly anything.
Take the Unlocking Charm, for example. If Sean transfigured a lock into a stick, wouldn't that effectively be unlocking it?
It was no wonder that nearly all powerful wizards mastered advanced Transfiguration. When a witch or wizard didn't know a specific spell, Transfiguration could often achieve the same effect.
At Hogwarts, the Transfiguration professor was practically the headmaster-in-waiting.
And so, Sean forced his weary mind to focus once more, continuing to write his essay on the Fetch:
\\"The Fetch, found in Norse pagan traditions, is the belief that each person possesses a duplicate self. This fetch is not only spiritual but can also manifest physically—often in animal form. In Old Norse understanding, this was its peculiarity.
'The fetch carries our hamr (outer shape) and follows us as our hugr (inner consciousness).'
Thus, there is not only one fetch but at least two: a physical fetch, sometimes in the form of an animal, and a spiritual fetch, which may also appear as an animal."\\
Sean immediately thought of Animagi and Patronuses.
Beside him, a mountain of books piled high: Intermediate Transfiguration, A Guide to Advanced Transfiguration, The Magic of Transformation.
"For a ritual, a deep understanding of history is often just as important…"
McGonagall sipped her tea quietly, her gaze heavy as she studied Sean.
She sighed. Even in writing an essay, this boy gave one hundred percent of himself. He hadn't rested properly in far too long—he was running purely on grit.
"Mr. Green, come here."
Sean looked up, dazed, realizing it was already six in the evening.
After dinner, Professor Flitwick was expecting him for a lesson on the Banishing Charm.
Sean packed his books into his small bag, tidied his desk, and tucked his quill into a cat-shaped holder.
"Goodbye, Professor."
He bowed lightly. Then, suddenly, he felt himself surrounded by gentle warmth. A pleasant scent filled his nose, and in his fading consciousness, he heard her voice:
"Never give up your determination, Mr. Green… but do get a good night's sleep, and prepare for your Friday…"
---
Inside the Transfiguration office,
Sean slept soundly. Yet, strangely, time seemed to shift back to the start of the afternoon.
"You're cheating for him, Minerva."
Albus spoke with a cheerful smile as the clock turned back to midday.
"I was not aware Hogwarts had such a rule," McGonagall replied, her tone steady.
"Albus, if you have no other business, please leave my office."
"Oh—"
Dumbledore's face remained kind.
"I just didn't expect you'd apply for a Time-Turner simply for… well, very well, Minerva. At least let me look once more upon my old office, hm?"
Though his words suggested he was admiring the office, his wise eyes never left Sean—or the steaming turtle Sean had transfigured earlier.
"Mr. Green's Transfiguration seems to be coming along nicely, I see."
---
When Sean awoke, he felt as if half his fatigue had been lifted. McGonagall's office seemed to have some quiet magic that relaxed his tense spirit.
Most importantly, although he had rested for what felt like hours, only a short time had passed.
He understood what this meant—and walked with renewed resolve into the classroom.
Professor Flitwick looked at him curiously, a spark of surprise in his eyes.
"It seems you're ready to learn the Banishing Charm. You've kept your mental state sharp—excellent, Mr. Green. It looks like Friday—"
The professor stopped abruptly, realizing he'd said too much, and quickly changed the subject.
"Let's talk about Dark magic instead. Mr. Green, tell me—what do you think Dark magic is?"
"Dark magic, or the Dark Arts, refers to spells that harm, control, or even kill people or creatures.
For example, the three Unforgivable Curses, brewing Dark potions, and the breeding of Dark creatures."
Sean answered.
"A thorough definition," Flitwick praised, giving Sean an admiring look.