The Flying Curse

Chapter 52 The Flying Curse

Professor Flitwick was already standing at the classroom door at some point. Perhaps because he was too short, his figure was almost completely obscured by Andre and Ivy, so much so that Ian did not even notice his arrival.

"Being small is an advantage; no wonder he won a world-class duel," Ian thought to himself, secretly chuckling.

But jokes aside, he knew his headmaster's strength very well. Even though Ian's magic had awakened a second time, he still felt a considerable sense of pressure when facing Headmaster Flitwick.

Therefore, he roughly guessed that Professor Flitwick's level of development of his own bloodline should also be very high. Even if the other party did not have three awakenings, he was infinitely close to the third, which was far beyond what he could compare to now.

In fact, given Professor Flitwick's abilities, he's almost reached the ceiling of power in the current magical world.

According to the book "The Origins of Wizarding", apart from the legendary wizard Merlin who achieved 50% development of the Nightmare bloodline, no other wizard, not even the four founders of Hogwarts, has ever set foot in this realm.

Therefore, Ian estimates that 40% bloodline development, or what is called a fourth awakening, is already a living legend in the wizarding world, such as the four founders, as well as the current headmaster Dumbledore.

Even Voldemort at his peak nearly reached this threshold, but later he chose to create Horcruxes, and after a series of bizarre actions, he completely cut off his path to further advancement.

This is only looking at the issue from a historical perspective. Looking at the magic world today, especially in modern times, people like Ian who have experienced a second awakening of magic are extremely rare, let alone others.

This is also the fundamental reason why Voldemort, who was once very close to awakening four times, was able to have absolute power and cause chaos in the British Isles, because apart from Dumbledore, no one else could control Tom.

Closer to home.

Watching the two disheveled figures obediently return to their seats, Professor Flitwick slowly walked to the podium, stood on his personal high chair, and began today's Charms lesson.

With a gentle wave of the wand, the chalk flew into the air and wrote a word on the blackboard: (Accio) Summoning Charm.

This is Professor Flitwick's teaching habit: the first step is to write down the name of the spell to be learned today, and only after that will he begin to explain the origin, history, and related content of the spell.

"This is a spell invented in modern times. In fact, modern spells are more derived from Latin than from earlier ancient languages ​​such as Nehemiah and ancient Hebrew..."

"...The spell to summon an object is (Accersere) in Latin, which means 'to fetch'..."

"...Generally, when we use the Summoning Spell, we add the specific item name to the end of the spell to summon the item more accurately. However, it's not recommended to use this in duels, as it will reveal your intentions to your opponent. So, you just need to remember the item you want to summon in your mind; you don't need to say the item name, and it will have the same effect, plus it will be more surprising..."

"Now we don't need a wand. Use a quill pen and practice the hand gestures for the Summoning Charm with me. Turn it half a circle clockwise, then lift it high and quickly lower it while chanting the spell."

Professor Flitwick spends 60% of the class explaining the taboos and origins of the Spell, 20% of the time guiding the young wizards through the hand gestures and intonation of the spell, and only the last bit of time is left for the students to practice freely.

In fact, the most useful part for Ian was the theoretical knowledge in the first half, since much of the content was not recorded in textbooks, but rather Professor Frivy's own insights and years of accumulated experience.

The subsequent exercises in gestures and intonation, which would have been very helpful to the young wizard, were of no use to Ian.

The development of his bloodline brought not only an accumulation of magical power, but also a change in his physique, making him more adaptable to magic. And like a bodily instinct, he became increasingly adept at casting spells.

The gestures and pauses in tone are merely a byproduct of helping young wizards adapt to spells more quickly. Once they've truly adapted, such elaborate techniques won't be necessary when casting spells.

The most obvious example is Professor Flitwick. We never saw him "swing and shake" every time he cast the Levitation Charm, nor did we see him deliberately pause and lengthen syllables when chanting the spell...

"Alright, everyone can practice freely now, and you can also identify any problems in time."

Professor Frivi has essentially completed all of today's lecture content.

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(End of this chapter)