Medc 6000 bailey, ronda - harry potter thesis - sp2-06

Harry Potter: A Modern Day Hero
By
Ronda Anita Phillips Bailey
A thesis submitted to the School of Communications of Webster University in partial
fulfillment of the requirements for the Degree of
Media Communications (M.A.)
17 May, 2006
St. Louis, Missouri
© Copyright by
ALL RIGHTS RESERVED
(2006)
The author hereby grants to Webster University permission to reproduce and distribute
publicly paper and electronic copies of this thesis document in whole or in part for
educational purposes.

I would like to thank Dan,
Valerie, Ronnie, Sheila, Margaret, Terry, Holly and Clint
For their never ending encouragement, support, and love.
Mythologies are in fact the public dreams that move and shape societies.
Joseph Campbell
The Mythic Image
Bailey, Ronda Harry Potter: A Modern Hero ii

Abstract
Harry Potter: A Modern Day Media Hero
By
“Pottermania” grows stronger and stronger with every new movie and every new
book, leaving many asking what makes the Harry Potter series so magical. Millions of
people have been bewitched by the young wizard named Harry Potter along with his
friends, Ronald Weasley and Hermione Granger. Viewers can escape into a realm where
they learn that circumstances do not have to make them victims and they too can beat the
odds. The fantastical world of Harry Potter meets the viewer’s basic need for
transcendence. Once viewers enter into the magical world they can rise above their
circumstances and stop focusing on their limitations.
The Potter series is a fantasy created world where myth-made heroes have been
embraced by popular culture. The premise of this thesis is to examine the complexities of
heroes and heroines in the Harry Potter films, along with a survey, as the primary data.
Harry Potter’s success is due in part to the main character’s ability to remain humble
while overcoming challenges that seem completely unstoppable, and often unbeatable.
The series has pushed Harry Potter into mainstream popular culture where “Potterism”
has turned the characters into modern day heroes for both children and adults.
Bailey, Ronda Harry Potter: A Modern Hero iii

Table of Contents
Acknowledgements ii
Abstract iii
Table of Contents iv
Introduction 1
Premise Statement and Limitations 3
Statement of Problem 4
Methodology 6
Literature Review 8
Harry Potter: A Modern Day Hero 12
• J.K. Rowling 14
• Harry Potter: Plot Background 18
• Cultural Importance of Fantasy Themed Stories 21
• The Mythological Development of Oral 24
Interpretation to the Hollywood Screen
• Claude Levi-Strauss 26
• Carl Jung 29
• Joseph Campbell 31
• Myth, Imagination, and Fantasy 51
• A Modern Hero 56
• The Morality of Harry Potter 59
Data Analysis 62
Recommendations 72
Conclusions 74
Appendices
I. Thesis Survey 79
II. Survey Results 81
III. E-Mail Interview with Reverend Ron Monteith 83
IV. Personal Interview with Dr. Sean Day 87
V. Thesis Outline 89
VI. Film Information 90
VII. Joseph Campbell’s Monomyth Pie Chart 91
Bailey, Ronda Harry Potter: A Modern Hero iv

Introduction
“Pottermania” and “Potterism” are two words created by journalist to describe the
sensational reaction caused by J.K. Rowling’s Harry Potter series. The characters
represent archetypal heroes reminiscent of those in Greek mythology. Harry Potter’s
success is due in part to the main character’s ability to remain humble while overcoming
challenges that seem completely unstoppable, and often unbeatable. The series has
pushed Harry Potter into mainstream popular culture giving fantasy themed stories a new
and birth turning the characters into modern day heroes for children and adults alike.
After six books, four movies, video games, toys, and collectibles being sold at an
exceedingly rapid rate, there is no doubt J.K. Rowling’s Harry Potter has become a
popular phenomenon. The first two movies are listed in the top 10 World Wide Box
Office of all time, bringing in a combined total of $10.6 billion
(http://www.imdb.com/boxoffice/alltimegross?region=world-wide). The appeal of the
Harry Potter movies was not lost with the release of the fourth movie, which had the
fourth largest weekend opening in movie history, topping $101.4 million in North
America alone.
The intended audience for these books and movies was children, but adults and
children of all ages have fallen in love with the characters portrayed within the text.
Harry Potter has sparked an interest in reading among an entire generation of youth,
where reading was thought to no longer exist in a highly electronic world. The books
have been translated into 55 languages, and the movies continue to be a world-wide
success. The movies have encouraged people who normally do not read to pick up the
books as well. As with anything in popular culture, Harry Potter does not come without
Bailey, Ronda Harry Potter: A Modern Hero 1

critics who examine everything from the moral aspects of the book to the literary genius
of the author.
What has made the Harry Potter books and movies such a phenomenon with
global appeal? The answer can be found in the main characters of the Harry Potter
context; Harry Potter, Ron Weasley, and Hermione Granger, who are the underdogs that
continue to prove themselves by overcoming everyday obstacles, making them the heroes
in the end of each fable. From the Iliad to Lord of the Rings, cultural producers describe
the adventures of heroes that become metaphors for contemporary life. In the 21st
century where books are brought to life through film, heroes and heroines can be
introduced to a global population can turn the subject matter into an international
phenomenon. Such is the case with J.K. Rowling’s Harry Potter series. The myth made
hero found in Harry Potter has come alive on the big screen and in turn has been
embraced by children and adults who have found a way to connect to these modern day
heroes.
Rupert Grint, Daniel Radcliff, and Emma
Watson portray Ron Weasley, Harry Potter
and Hermione Granger in Harry Potter.
http://movies.warnerbros.com/harrypotter/cmp/newsflash-fr.html

Premise Statement
The premise of this thesis is to examine the complexities of heroes and heroines
in the Harry Potter films, along with a survey as the primary data. With the continuing
controversy of the novels and movies, this thesis intends to prove "Harry Potter" provides
society with moral choices and provides genuine heroes for children of all ages, which is
important in society.
Limitations
I chose this topic because I immensely enjoy watching all the movies, and have
read all six Harry Potter books; therefore my limitation is my preexisting bias to prove to
others that these characters are modern day heroes. In spite of the criticisms surrounding
Harry Potter these movies and characters are portrayed through a modern form of
storytelling the big screen. I have a preexisting fondness for the characters and the
movies, because I find them to be more than simple entertainment but valuable characters
in teaching society about moral choices, friendships, loyalty, and truths in both good and
evil.
Other limitations in this research include secondary research for side-kicks, and
trying to stick solely to discussing the movies without intertwining the books. There are
few resources to be found in support of side-kick characters, such as Ron and Hermione,
who are essential characters and very relevant in helping Harry succeed. There parts are
larger than the part of a minor character, and are essentially Harry’s side-kicks, someone
who is in support of the hero.

Statement of Problem
Harry Potter has stirred the waters of controversy while provoking thoughts of
morality and societal norms. The fantasy themed books and movies have caused a great
moral debate among critics, parents, and the fans that have come to embrace the
characters created in J.K. Rowling’s mythically magical storyline. The Harry Potter
series, which includes movies and books, combines fantasy, mystery, suspense, and
horror mixed with the realities people face on a day to day basis. However, because
witchcraft is part of the storyline, people have threatened book burnings, pulled children
from schools where Harry is on the reading list, and have protested the moral degradation
of society because the series is said to be influencing children to become a part of the
occult. Popular culture has not embraced this occultist idea, and Harry Potter continues
to thrive in print and on film.
Men, women, and children are drawn to Harry Potter because, despite the magic,
the characters are ordinary people and today’s children are overcoming many of the same
challenges faced by the main characters in the movie. Children see the main characters
as their friends, and adults admire the characters for their strength to overcome adversity
(Schafer 13). The Potter series is a fantasy created world where myth made heroes have
been embraced by popular culture. The premise of this study is to research the
complexities of heroes and heroines in the Harry Potter films, along with a survey, as the
primary data. With the continuing controversy of the novels and movies, I intend to
prove Harry Potter provides society with moral choices and provides genuine heroes for
children of all ages, which is important in society.

Prior research on this topic has been studied and written about by the following
authors: Edmund Kern, Joseph Campbell, Elizabeth Schafer, Richard Abanes, Julia
Eccleshare, Francis Bridger, and Richard Campbell. Harry Potter has become a product
of our popular culture. The Harry Potter stories encourage society by developing a
modern day classical narrative where good triumphs over evil and the characters are left
to make morally challenging and even heroic decisions. A New York Times reporter
wrote the following in reference to the life lessons learned through Harry Potter:
“If Harry Potter is a reminder that not even magic
can solve everything, it is also a promise of hope, sustaining
the fundamental childhood belief that in the end, good really
does triumph over evil, and justice is meted out to those who
deserve it. Harry is an endearingly normal hero, enduring the
same romantic insecurities, friendship pressures and temper
tantrums that I encounter all the time, and it is oddly comforting
to think that such a seemingly ordinary boy could achieve the
extraordinary.” (New York Times July, 2005).
“Pottermania” in full force as fans attend the
Premier of the fourth Harry Potter movie.
Wild About Harry
Fans crowd the sidewalk at the Warner Bros. Pictures premier of Harry Potter & the
Goblet of Fire on Nov. 12, 2005, in New York. (Photo: GETTY IMAGES/Andrew H.
Walker) (CBSNews.com)
http://www.cbsnews.com/stories/2003/06/20/earlyshow/leisure/books/main559574.shtml

Methodology
The premise of this study is to research the complexities of heroes and heroines in
the Harry Potter films, along with a survey, as the primary data. With the continuing
controversy of the novels and movies, this thesis intends to prove that Harry Potter
provides society with moral choices and provides genuine heroes for children of all ages,
which is vital to our society.
In search for topics related to this proposal, the following topics were investigated
using the following key words: fantasy heroes, media created heroes, Harry Potter, J.K.
Rowling, narrative theory, witchcraft, children’s literature, controversy and Harry Potter,
mythology, heroes, heroines, and popular culture. Research studies for this paper lead to
reviews from authors such as; Edmund M. Kern, Michael O’Shaughnessy, Joseph
Campbell, Julia Eccleshare, Bill Moyers, Claude Levi-Strauss, and J.K. Rowling. All of
these authors have put in a considerable amount of time and research into studying the
Harry Potter phenomenon and criticism surrounding the text and film, their work will be
a valuable citation in this research paper.
In order to examine the heroes and heroines in Harry Potter, this thesis will
benefit from researching the works of Joseph Campbell, an American professor known
for his research in comparative mythology. Another important figure in this research
would include Lévi-Strauss; he argued that myths served an important function in
society. Carl Jung, an analytical psychologist who influenced Campbell, is known in
media studies to have analyzed the common characteristics of fairy tales. These two men
can contribute important background research related to mythology studies
(O’Shaughnessy 137).

Filmmakers understand the lure of the narrative, “which includes two basic
components: the story (what happens to whom) and the discourse (how the story is told)”
(Campbell, Martin 235). Harry Potter provides moviegoers with the familiar narrative
principles of problems, heroes, villains, conflicts, and resolutions.
Studios adapting literature narratives into a film narrative is certainly nothing
new. The style of storytelling depends on the narrative, the genre (i.e. fantasy themed),
and a good director who can translate the literary narrative into a successful film narrative
without losing the original translation (Campbell, Martin 235). Hollywood has been
using pre-sold story ideas with an already built in audience to create blockbuster hits,
such as Harry Potter and Lord of the Rings for decades (Dominick 233).
While Harry Potter became popular in textbook form, the first movie was an
unexpected phenomenal hit generating enthusiasm from critics and fans alike. Harry
Potter has been deemed morally corruptible for society, and hailed as hero for
encouraging children of the digital age to actually pick up a book and read. The moral
corruption stems from the witchcraft surrounding the text, be it in literature or movie
form; however, the stories are written in a fantastical themed world no different than
many of the stories produced by Walt Disney, where good conquers evil and magic is
often used to help the heroes in these stories defeat their nemeses. Harry Potter provides
mythical modern day heroes to a community of individuals who want to believe in the
extraordinary, and who want to believe they too can conquer the evils in their daily lives.

Literature Review
Whether good or bad, the controversy surrounding Harry Potter continues to be a
hot topic in all parts of the world. Many call the main character(s) a hero, while others
condemn the books and movies for encouraging occultism, and witchcraft. This
represents two different ends of the moral spectrum where popular culture has embraced
J.K. Rowling’s series for being a fantasy film with heroes and heroines, who conquer not
only the bad guys, but the same everyday challenges muggles (non-magical folk), have to
overcome themselves. However, a hero in fantasy films surrounded by magic is not new
to our society, and the story-telling technique used by J.K. Rowling has been used by
authors and film makers long before Harry Potter. C.S. Lewis, the author of Narnia and
J.R.R. Tolkien, the author of Lord of the Rings and The Hobbit, all of which were born in
a literary genre, have made their way into film thereby exposing society to the fantasy
film hero.
Fantasy films usually involve some form of magic. They may also include
mythical creatures and will allow the main story line to take place in a fantasy themed
world; i.e. middle earth, Hogsmead, a community made up entirely of witches and
completely unknown to non-magical folk. Fantasy themed movies span several decades
which include the following movies: Bell, Book and Candle (1920), The Wizard of Oz
(1939), The Dark Crystal (1982), Labyrinth (1986), The Lord of the Rings (2001-2003),
The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe (2005), and the Harry
Potter movies (2001-2005) (Dirks). Every society has hero figures, and though these
figures may appear different depending on the culture, all are defined by certain aspects
of their life’s journeys and their places in society. In an interview with Bill Moyers,

Joseph Campbell says, in response to Bill Moyers the imminent timeliness of
mythological stories, “The themes are timeless, and the inflection is to the culture. The
story lines remain the same throughout time and space; it is the way the story is perceived
by the existing generation” (Moyers 42). J.K. Rowling’s storyline is not new to the
cultures who have embraced the text, but the way it is perceived is dependent upon the
cultural landscape it is introduced into.
In The Hero with a Thousand Faces, Campbell analyzes and explains the
commonalties shared by heroes, focusing on the classical Greek hero figure (Campbell,
Joseph 319). J.K. Rowling’s Harry Potter series brings to life the classical hero figure in
the young wizard known as Harry Potter. Rowling’s child hero is appealing because he
undergoes the same life cycle that every person undergoes: friendships, adolescences, and
the moral choice to choose right from wrong. Examining the narrative structure of the
movies will lead to a better understanding of the meaning of fantasy heroes in society.
The origin of storytelling is ancient, one of the most well known stories is the epic
tale of Gilgamesh, which relates the story of a Sumerian king, and is frequently cited in
history texts as our oldest surviving epic tale. While the nature of stories has changed
over the centuries, from oral interpretations to the big screen, the narrative of myths,
legends, fairy tales, and heroes still exist. These stories often play an important role in
teaching those in society right from wrong, the importance of moral values, and
encouraging religious beliefs. Myths often reflect the feelings, needs, and conflicts that
people acquire as a result of their culture (Ember 464-465).
Joseph Campbell is well known for his work in mythology and Hollywood has
come to rely on Campbell’s formula. George Lucas, creator of Star Wars, credits

Campbell’s twelve-step mythic story structure in helping him finish his epic series.
“Lucas’ infamous indebtedness to Campbell has introduced film-makers, screenwriters,
and movie buffs the world over of Campbell’s mythological tome, The Hero with a
Thousand Faces, which distills all stories down to a single mythic story structure”
(Bancks). According to Bancks, The Hero with a Thousand Faces has become the typical
structure for Hollywood movies.
Harry Potter has become a part of culture through film and print, and continues to
reflect society’s need for a hero, even a myth media inspired hero. This research will
continue to examine the mythical modern day hero, and the moral choices provided
through the films narrative.
It is important to define certain terms which will be used throughout this research,
and we will first define the following:
Fantasy (noun) - a capricious or fantastic idea; fiction characterized by highly fanciful or
supernatural elements
Myth (noun) - a traditional story dealing with supernatural beings, ancestors, or heroes
that serves as a fundamental type in the worldview of a people, as by explaining aspects
of the natural world or delineating the customs, or ideals of society; a fictitious story,
person, or thing.
Hero (noun) - a person noted for feats of courage or nobility of purpose, especially one
who has risked or sacrificed his or her life; <Further definition and example will be
provided throughout the research>
Heroine (noun) – a woman noted for courage and daring action; the principal female
character in a novel.

Witchcraft (noun) – Magic, sorcery; Wicca; a magical or irresistible influence, attraction,
or charm.
Magic (noun) - The practice of using charms, spells, or rituals to attempt to produce
supernatural effects or control events in nature. (verb) - To produce or make by or as if by
magic (American Heritage Dictionary).
Muggle(s) – nonmagic folk (1 Rowling 80).
The aforementioned definitions are relevant for a more comprehensive knowledge
of the research presented in this paper. Some definitions will be expounded upon
depending on the depth of the research and the necessary need for further comprehension.
Character Reference:
The Dursley’s - Harry’s relatives with whom he lives, his mother’s sister, her husband
and their son, Dudley.
Harry Potter - the boy wizard, also known as, “the boy who lived”
Ronald Weasley – Harry Potter’s best friend. He also comes from a pure wizarding
family, his entire family is wizards.
Hermione Granger – Harry’s other best friend. She is the first in her family to become a
witch, her parents are dentists.
Albus Dumbledore – Headmaster at Hogwarts and many say the greatest wizard of his
time.
Hagrid – Gamekeeper at Hogwarts and Harry, Ron, and Hermione’s friend.
The aforementioned characters are most widely used and the need for knowing
who they are will be critical throughout the context of this thesis.

Harry Potter: A Modern Day Hero
The Harry Potter series has become a publishing phenomenon and has also made
the movie industry billions. Many have called Harry Potter the hero of media publishing,
because the series has breathed new life into the print industry. Others have called Harry
Potter a hero for encouraging an entire generation of technology fed children to pick up a
book and read. The movies have even inspired those who did not initially read the series
to go back and read the books. Perhaps Harry Potter has magically transformed the
publishing industry, but the boy hero has truly given the world a modern day hero in a
fast paced world of high-tech gadgets and never ending schedules. Harry Potter has
given readers and viewers the opportunity to slow down, sit back, and escape into another
realm; a realm where the hero continues to learn, teach, and inspire Potter fans
everywhere to use their imaginations.
Harry Potter is a fantasy-themed story exploring the typical journey of any hero.
The text is full of magical creatures from centaurs to sphinx; as well as, unicorns, flying
cars, dragons, and ghosts who live amongst mortals and are all brought to life on the big
screen as viewers discover the truths about loyalty, bravery, death, choice, and the power
of love. Harry is a hero with the same qualities and traits all humans possess, this makes
him accessible to viewers and readers alike. Good versus evil is essential in any
mythical, fantasy-themed storyline, and Harry Potter certainly provides character conflict
allowing the hero the opportunity to prove him self while overcoming great odds.
The classical fantasy formula is used in Rowling’s text as well, moving from the
real world to the fantasy world, and then returning to the real world. Other story lines
that followed this pattern include: Peter Pan, The Hobbit, and The Lion, The Witch and

The Wardrobe. The world of Harry Potter exists alongside the everyday world, witches
and wizards exist alongside muggles who remain unaware of this magical world. In
Harry Potter the two worlds exist simultaneously and the characters from the wizarding
world mingle in and out of both worlds with relative ease.
Harry Potter is a text steeped in mythology with a desire for the young heroes to
succeed and conquer all obstacles placed in their way. Harry Potter has become a well
known modern day hero whose story has been brought to life on the big screen where he
and his friends are seen and loved by millions of adoring fans. Harry Potter is popular
because it is a story in which everyone can identify. The storyline produces empathy in
millions of people around the world as it recounts the tale everyone enjoys, the tale of a
hero.
Heroes embody a spiritual manifestation with God, which is the design of
humanity’s desire. Human beings desire a relationship with a higher power, a
relationship with God (Rev. Monteith). Gilgamesh, King Arthur, Luke Skywalker, the
four children in Narnia are representations of people’s fascination with the heroic and
endorses the belief of an individual standing out, able to save their world from evil. The
heroic myth develops a message which is brought forth through the characters maturity.
Harry Potter represents the hero of today because, although timeless, his story is
developed to take place in the cultural society of the twenty-first century where today’s
people can relate and do understand his journey, for they too are on one themselves.

J.K. RowlingJ.K. Rowling
Harry Potter has been called a publishing phenomenon.
The book series has sold more than 300 million copies
worldwide, translated into over 55 languages, and has made
Rowling the first person to ever become a billionaire by w
books. “Her welfare-to-billionaire status is a true Cinderel
story, all happening within a ten year time period” (Watson).
Background knowledge on Rowling is important in understanding the Pottermania
well as the characters in Harry Potter, especially since many of the characters and sc
share some of the same traits as the author herself.
riting
la
, as
enes
Rowling was born on July 31, 1966; Harry Potter shares the same birthday but
mystery and speculation surround the year in which he was born. Rowling was born in
England, and so it is natural for the stories to take place in the surrounding area. Rowling
describes herself as being petite, with busy red hair, freckles, and glasses; much like her
character Hermione Granger. Rowling’s love for animals can be seen in her gamekeeper
character, Hagrid (Kirk 12-13). Rowling’s childhood friend’s surname was Potter, and
when she began to write her novels she chose this name for her main character simply
because she “liked it and had fond memories of playing with the Potters as a young child”
(Kirk 14). Friendship plays a crucial role in the text, as Harry, Ron, and Hermione
continue to prove the importance of true friendship continually throughout the six novels
and four films. Although Rowling was an adult when her mother died, the love of her
mother is very important to her, and the scene from Harry Potter and the Sorcerer’s Stone
when Harry discovers the Mirror of Erised—desire spelled backwards - is the author’s

favorite scene and was inspired by the loss of her own mother. The love of Harry’s
mother and the loss of his parents are the crux of the plot, the emotional center. The
death of Rowling’s own mother was an artistic outlet which drove her to continue writing
(Kirk 53).
J.K. Rowling, the wizard behind Harry Potter admits to being influenced by text
steeped in mythology such as Lord of the Rings authored by J.R.R. Tolkien; Narnia
authored by C.S. Lewis; The Little White Horse authored by Elizabeth Goudge; and by
author and journalist Jessica Mitford. Since childhood Rowling has always been
interested in writing and exploring fantasy themed worlds, writing her first story around
the age of six titled “Rabbit.” The story was about a rabbit that had developed measles
and was visited by friends, which included a pig, a fox, and Miss Bee. As Rowling grew
and developed during her school years she focused her studies in French and English
languages, and received her degree from Exeter University (Kirk 16).
Upon receiving her degree she worked a number of jobs, quitting or getting fired
from many, because all she really wanted to do was write. In 1990 while traveling via
train to London, the idea of a boy wizard attending a boarding school to perfect his craft
developed and she began to write Harry Potter. Rowling’s mother died the same year.
October 16, 1992, while still working on Harry Potter, Rowling was married. She has
confessed that it was not a happy event for her, and married in black. In her third book
she includes the date as a warning for one of Harry’s classmates, Lavender Brown,
predicting the thing she most dreads will occur. Once again Rowling mirror’s her own
life in the text (Kirk 56). By 1993, Rowling gave birth to her first daughter, divorced her
husband, and had to accept government aide (the equivalent to welfare in America). It

took five years after her London train trip to finish the first book, which she typed on a
manual typewriter (Kirk 51). She worked as a French instructor while waiting to hear
back from publishers.
In June of 1997, Harry Potter and the Philosopher’s Stone was
published. The novel was renamed for American audiences to Harry
Potter and the Sorcerer’s Stone due to the fact that the sorcerer’s stone
is more common in American mythology. Three months after the first
book went to press, Scholastic books purchased the rights to the first text for $105,000
making publishing history for a children’s book (Kirk 77). The first book was a huge
success, and Rowling won literary awards in England, but she continued to work and had
already started on book two.
By the third book, Harry Potter and the Prisoner of Azkaban, Rowling and Potter
were a global success. Pottermania had begun and a scramble to produce a movie was
underway. In 2001, the first book was turned into a movie, and the Harry Potter hype
continued to grow, soon placing Rowling on Forbes 2004 World’s Richest People list
(Forbes 2004). No one could have predicted the success Harry Potter would bring
Rowling, not even she could have predicted the success, and has said simply, “I just
wrote the sort of thing I liked reading. I didn’t expect lots of people to like them, in fact,
I never really thought much past getting them published” (Gaines 27). The movies have
proven to be a success and part of this can be attributed to Rowling, who has maintained
creative control so as to ensure the film remains as close to the print version as possible.
Rowling’s own mythical journey is not much different than that of her fictional
characters: loss, rejection, success; and the journey continues for both her and her

characters. Every culture has hero figures, and although these figures may ostensibly
differ from one another all are defined by certain aspects of their life’s journeys and their
places within society. While society has recently dubbed Harry Potter a hero, only time
can determine if he will remain a hero for future generations.
Warner Brother Movie Posters:
The Sorcerer’s Stone The Chamber of Secrets
The Prisoner of Azkaban The Goblet of Fire
http://en.wikipedia.org
For movie release information see Appendix VI.

Harry Potter: Plot Background
Harry Potter is the name of a book series, of which six out of seven books have
been published. The first book proved popular enough that Warner Brothers bought the
rights and has began making the books into movies. The movies and books represent a
world of witches and wizards, the main character being a young wizard named Harry
Potter. Each movie chronicles a year of Harry’s life at Hogwarts, the Wizarding School
where he learns about magic and life, his life.
Harry Potter is not an ordinary boy. He was born to two great wizards, James
Potter and Lily (Evans) Potter. His parents were killed when an evil wizard, Lord
Voldemort, was empowered by the fear he instilled in witches and wizards in the
wizarding community. Lord Voldemort reigned with a group of followers called Death
Eaters. Harry’s father and mother died while trying to protect their infant son. Harry was
sent to live with his maternal mother’s sister, Aunt Petunia, Uncle Vernon, and their son
Dursley. When Harry turns 11, he is invited to attend Hogwarts. His relatives are
completely against anything that is not considered normal and forbids him to attend.
Hagrid, the Hogwarts’ gamekeeper, intercedes and Harry leaves for school. Harry makes
friends and enemies instantly upon arrival. Draco Malfoy quickly becomes Harry’s
archenemy when Malfoy introduces himself by sneering at Ronald Weasley, who is
standing near to Harry, and tells him he can help him figure out, “who the right wizarding
families are Harry replies, “I think I can tell the wrong sort for myself.” This bonds his
friendship with Ron. The two boys form a close friendship with Hermione after they
save her from a troll. The three soon learn about the sorcerer’s stone hidden in the vaults

below the school and must combine their talents in order to save the stone and the
wizarding community from Voldemort’s possible return to power.
In Harry's 2nd year at Hogwarts he is confronted with a magical and mysterious
elf. He learns that his gift to speak to snakes is a dark wizard’s trait which turns his
friends away from him. But when he learns about the Chamber of Secrets, a supposed
myth of tunnels under Hogwarts where an evil monster is thought to live and has awoken
putting students in danger, Harry must find a way to help save his friends and his school.
In order to save Hogwarts Harry will have to have the help of his best friends, Ron and
Hermione.
In Harry's 3rd year Harry is haunted by the grim, a large black dog that represents
death. A convicted killer is on the loose and is said to be coming for Harry, his name
Sirius Black. Black is an animagus and can turn himself into a large black dog-the grim.
For the first time Harry is not safe, not even within the walls of Hogwarts. His new
Defense against the Dark Arts professor, Remus Lupin is a werewolf, he learns about his
father and what he was like when he was a student at Hogwarts, and meets his father’s
inner circle of friends, Remus Lupin, Sirius Black and Peter Pettigrew. Harry, Ron, and
Hermione soon find themselves trying to save Sirius and capture Peter Pettigrew, the real
killer, and one of Voldemort’s Death Eaters, whom escapes.
In Harry's 4th year, he is entered in to the Tri-Wizard Tournament unbeknownst
to him. The tournament is reserved only for wizards and witches 17 years of age and
older, and Harry finds he has no choice but to participate when his name emerges from
the Goblet of Fire. During the tournament challenges Harry is forced to confront
dragons, maintain friendships, fight water demons, and battle Lord Voldemort.

Each movie grows darker and finds Harry, Ron, and Hermione leaving childhood
behind while continuing to develop life-long friendships in their heroic journeys together.
Warner Brothers DVD Jackets:
The Sorcerer’s Stone The Chamber of Secrets
The Prisoner of Azkaban The Goblet of Fire

Cultural Importance of Fantasy Themed Stories
For centuries, cultures have created myths, stories, and folklore to teach societal
rules. These stories were told to children to teach them about conformity, and the rules
expected within their culture. Cultures still use myths and stories to teach societal
lessons, only the method has changed; instead of oral interpretation people in the twenty-
first century turn to narrative movies. The process of story-telling manifests the mythic
explanations of the world while providing cultures with a model of what is accepted
within the boundaries of society (Day Interview).
“All cultures, both past and present, love myths” (Hirschman 3). Although myths
have a new outlet through movies and television, they continue to teach society about the
origin of the universe, the role of science and technology, how men and women should
behave towards one another, how to fight and overcome obstacles, and always good from
evil (Hirschman 4). Mythological movies, like Harry Potter, give society a mythical
explanation of the world while providing a cultural template for those in society. Harry
Potter confronts real life issues such as death, heartache, hope, friendships, international
cooperation, and moral integrity. Although Rowling does not always give an explanation
as to why these things are relevant, she opens a door allowing her characters and viewers
to contemplate life’s consequences. Viewers don’t always want a why; because they
know there isn’t always an explanation to answer the why. Viewers like knowing that the
heroes don’t always know why either (Day Interview).
Mythological stories have deep roots in all cultures, continuing to pass on vital
knowledge and wisdom to those within society, as well as succeeding generations. These

mythological stories provide an intellectual framework which can be integrated into
existing and learned experiences. Preserving, embracing, and defining these
mythological stories is important to the storytellers, and those who gain or continue to
gain knowledge learn to assimilate and make sense of internal and external experiences
(Abanes 66). Cultures use mythological stories to set boundaries, to create and establish
rules, and to develop and grow as a society.
What is society learning from Harry Potter? What is this mythological story
teaching cultures today? Harry Potter provides a moral code which upholds family
values, genuine warmth towards all people, and social values with rules and hierarchies
based on order and control. Schafer writes, “Harry confronts adversity in an honest and
honorable manner, he strives to help those in need, and he seeks to live by a code of
conduct that is just as good” (234). Hermione, Ron, Hagrid, Dumbledore, and other
characters within the text of the movies also portray many of these attributes, which in
turn allows the viewer to learn from the mythological story.
Harry Potter is a mythological story teaching society how to develop friendships,
and how to justly and fairly live with those whom you will not always agree. J.K.
Rowling does not shy away from controversial social topics which are relevant to today.
For example in movie two, The Chamber of Secrets, racism is an issue that has to be
dealt with by the three main characters. An informal hierarchy is revealed to exist among
the wizarding community separating pure-bloods from muggle born. Pure bloods are
born to pure wizarding families and are considered the best within this hierarchy.
Muggle blood witches may have one or more muggle born parent. Derogatory labels are
introduced, for example mudblood is used to describe those of a mixed heritage. Ron is

seen immediately defending Hermione when Malfoy, their archenemy, begins to call
Hermione a mudblood. Viewers learn that racism is unacceptable and should not be
tolerated within society, and that the heroes will not tolerate this degradation on any
level.
In the fourth movie, The Goblet of Fire, viewers are introduced to an international
wizarding community where the students of Hogwarts have to learn to communicate and
tolerate those with backgrounds, dialects, and belief systems different from their own.
International Cooperation becomes an apparent theme throughout the movie. With
students from different countries where all characters within the text must learn to accept
the cultural differences of others. Issues of tolerance, diversity, wealth, and race are
apparent in the fourth movie as it attempts to teach social equality.
Harry, Ron, and Hermione do not intentionally set out to teach but because of
their innate goodness and desire to improve their own lives and the lives of those around
them, they become good role models and good teachers from which today’s society can
learn valuable lessons. Joseph Campbell believes that man typically celebrates tales of
heroes and their deeds in order to understand his own place in the universe (11). The
Greeks, Romans, and the middle ages all created mythological heroes and today’s
cultural societies are no different creating heroes for society on the big screen. Heroes
still must take arduous journeys, confront dragons, and change the world with their
courageous acts. They become symbolic figures in whom the rest of society can look to
as an example of how to live life.

The Mythological development from Oral Interpretation to the Hollywood Screen
Albert Cook, author of Myth and Language, writes, “The oral-aural, as Marshall
McLuhan has taught us, tribalizes a society. The individual in such a society lacks what
we think of as a special personal identity; he is defined wholly and comprehensively by
his membership in a group” (6). We become a part of that group when we share a
commonality which often comes in the form of an anecdote.
Narratives help individuals to make sense of their experiences, their surroundings,
and even their lives. People within cultures put their experiences into story form when
sharing the ordeal with others, “this seems to be a cultural process shared by all societies;
humans tend to relate experience through stories” (O’Shaughnessy 106). The evolution
of technology has extended from oral interpretation to Hollywood’s big screen. Stories
are still told, but now they are translated onto the big screen, which has proven to be an
efficient means of distributing cultural values. Mythical stories are often categorized as
escapism, and entertainment, but this belittles the integrity of those who find great
strength, courage, and hope when they engage in watching mythical movies like Harry
Potter.
These stories are well developed and structured using a basic structural pattern.
Harry Potter follows the same narrative structure seen in other mythological themed
movies where the hero has to make a life journey, face challenges, and make conquest.
Viewers relate this to their own lives and understand this is mythology but see a utopian
of hope. Campbell says, “Mythology teaches you about your own life. It’s a great,
exciting, life-nourishing subject. Mythology has a great deal to do with the stages of life,
the initiation ceremonies as you move from childhood to adult responsibilities. All of

those rituals are mythological rites (Moyers 11). Harry Potter is set on a ritualistic path
and must follow his own journey in finding himself while facing the obstacles placed
before him Viewers can relate to such a journey, and this is what makes Harry so
popular.
If a small boy can overcome Lord Voldemort, the most powerful and evil wizard
of all time, then viewers can also overcome his or her problems as well. O’Shaughnessy
writes, “Many cultural products have a utopian element to them: they point to the
possibilities of a better world” (138). Viewers want to relate and they want to see a light
at the end of the tunnel. Millions have found this in Harry Potter.
In the first movie Harry defeats Lord Voldemort twice; once in the beginning as a
baby and then again proving to himself and to others that, even though he doesn’t know
how or why he was able to defeat Lord Voldemort the first time, he has an inner strength
to overcome obstacles that seem greater and bigger than him, “just Harry” (Radcliffe The
Sorcerer’s Stone). Viewers identify with this defeat because they too often face the
unconquerable, and if someone who sees himself as an individual with no special talent,
and no special gifts, which is how Harry sees himself in the first movie, can do it, then
the viewer thinks he or she can also defeat the unconquerable myths in his or her own
life.
Viewers have learned from the characters to be brave and to believe in
themselves. Even if the viewer cannot face their own challenge immediately, they can
find comfort in knowing there is an archetype, a hero battling evil and good will conquer
in the end. As human beings we want to believe good will ultimately conquer evil in the
end.

Lévi-Strauss and Myth
Lévi-Strauss is a structural anthropologist who is known for his studies in
mythology. Structural anthropology is based on Levi-Strauss’s ideas that people think
about the world twofold—ins and outs, highs and lows, life and death; every culture can
relate to these concepts. Levi-Strauss studied and wrote a four volume work on
mythology titled Mythologique. He believes that myths are strongly structured stories
(Strenski 130). According to Strauss, “Some claim that human societies merely express,
through their mythology, fundamental feelings common to the whole of mankind, or they
use it to explain phenomenon which they can not understand” (206). Strauss believes
that myths give solutions to cultural problems, providing a framework of how to live.
In "The Structural Study of Myth," Levi-Strauss is interested in explaining why
myths from different cultures from all over the world seem so similar. Given that myths
could contain anything--they aren't bound by rules of accuracy, or probability--why is
there an astounding similarity among so many myths from so many widely separated
cultures? (Strauss 208). One of the discussions surrounding Harry Potter is the
transcending of all cultural borders, and why and how this has happened. Levi-Strauss
gives the answer in his study of mythology by placing it in his structuralized ideals.
Levi-Strauss says that structural analysis should only approach “that which can be so
explained” and only the following fields are open to structural study—mathematics,
music, natural languages, and myths (Strauss 626). Myths are important stories within a
structural framework that often repeat. The story line in Harry Potter is not new in

cultural societies and is one that is synonymous with other mythological stories told
within and among civilized cultures.
Levi-Strauss insists that myth is a language because myth has to be told in order
to exist. “Myths deal with the central problems and contradictions felt by a culture; in
story-form (they were often about gods and heroes) they played these conflicts out to a
resolution giving societies a framework for how to live their lives” (O’Shaughnessy 137).
In Harry Potter, the author presents many social complexities that the viewer faces either
on a daily basis or at some point in his or her life. Some of the issues brought forth in the
text include: racism, class hierarchy, abandonment, wealth and poverty, loyalty,
friendship, and bravery. Myths can and do serve a utilitarian function for many societies.
Levi-Strauss looks at the structure of the myth and not the content. While the
content can change from culture to culture the structure of the myth generally remains the
same. For example, the hero is defined, the hero undergoes trials and tribulations, usually
with success, and completes a journey. Regardless of the storyline, the cultural need is
the same; societies need and develop myths in order to learn, teach, and grow in everyday
life. The structural method of the myth is to bring order to chaos (Klages). Levi-Strauss
would argue the popularity of Harry Potter lies in the structure of a well developed
mythological story in which all audiences can continue to grow and learn from the
characters within the storyline, because the structure has not changed.
The mythological narrative is a structural narrative following a basic pattern often
seen in fantasy themed stories. Harry Potter’s narrative structure is nothing new, but
what makes this story so interesting for viewers is that the characters don’t exist in a
parallel worlds, they interact between two worlds, magical and non-magical, while

confronting the same everyday challenges viewers often find themselves facing. The
Harry Potter series fits the Levi-Strauss paradigm in that the plot line is a rebirth of
classical mythological stories. Although the story line changes the structure of the myth
remains the same. The story is told in repetitive layers allowing the myth to grow while
maintaining the structure, which can be seen in the Harry Potter movies. Levi-Strauss
structuralist approach in examining mythological stories is proven helpful in determining
Harry Potter’s heroic relevance in society, which according to the structuralist theory of
Levi-Strauss, Harry Potter is relevant in cultural societies because the narratives provide
a framework for how to live (O’Shaughnessy 137).
While Levi-Strauss makes a valid contribution, there are other theorists who have
a strong input in defining the societal need for mythological story telling including Carl
Jung and Joseph Campbell. Jung will briefly be examined here because of his influence
on Joseph Campbell, who is held in high regards throughout Hollywood for his
monomyth formula.

Carl Jung: Archetypes
Carl Jung developed the psychological framework for archetypes, which he
describes as genetic blueprints for ideal types of behavior. “Jung argues that archetypes
or archetypal figures and behaviors are inscribed in mythological figures, these figures
are to guide and teach us how to act in certain ways” (O’Shaughnessy 148). Carl Jung
believed that myths were collective dreams which the human subconscious used to help
direct an individual in his or her day to day life. Jung considered myths to be collective
dreams, personal myths stored in the collective unconscious part of the human mind
where memories are stored. Dr. William Indick writes,
“They are the individual expression of personal unconscious
issues, amplified into visions and projected onto a screen in the
‘theater of the mind,’ in the form of a personal movie.
Experiencing a modern myth in the form of a film is, in a Jungian
sense, a transcendent experience, because when we identify with
the hero and vicariously experience his journey, we transcend our
own private conscious existence and integrate a collective cultural
archetype. Furthermore, as a function of the film-going
experience, we transcend our own individual neuroses, allowing
ourselves to commune with the rest of the audience through a
shared understanding, integrating the collective encounter on a
personal level” (Journal of Medical Psychology Volume 9).
The audience conforms to a collective culture that shares and believes in the same
ideals, which gives them a sense of validation and belongingness into a cultural entity,
while raising up the archetype. O’Shaughnessy writes, “The hero who journeys
successfully through his or her tests and trials is the most obvious archetype” (148). The
collective audiences of Harry Potter see Harry, Ron, and Hermione as the heroes and
collectively have elevated them to hero status.

Strauss and Jung both concentrated their efforts in discerning the role and
meanings of myths and stories within the human society. Joseph Campbell, however,
suggests that universal human patterns and truths exist in myths. Campbell’s model is
structured around Jung’s model of the archetype hero. In The Hero with a Thousand
Faces, written by Joseph Campbell, he explains and analyzes the commonalities shared
by almost every hero, and though these archetypes may differ all are defined by their
life’s journey and their place within society.

Joseph Campbell: An authoritarian on mythological heroes
“Joseph Campbell is my Yoda” (George Lucas).
George Lucas is one of the most well known storytellers in movie making history.
He credits Joseph Campbell’s knowledge in mythology for helping him to finish his epic
masterpiece Star Wars. Whether or not J.K. Rowling has read any of Joseph Campbell’s
work or not is not known; nevertheless, her hero, Harry Potter, follows the same
mythological heroic path as described by Joseph Campbell in his book, The Hero With A
Thousand Faces. Critics have said that Rowling’s books seem to be written for the big
screen, because the books fit into Campbell’s structure of the hero’s journey so well.
Campbell’s guidelines for mythological storytelling have become synonymous in
filmmaking.
In his own study of the archetype hero Campbell discovered that all stories
basically tell the same tale, retold in infinite variations. This is how Campbell developed
the monomyth, a chart or map that shows the common stages through a story, most
commonly known as the hero’s journey. Dr. Indick writes, “The monomyth refers to the
basic elements of myth, the archetypal qualities of all legends and heroes, which
transcend individual cultures and specific periods of time; the monomyth is universal and
timeless” (6). Hollywood writers have become strong believers, and many stories are
written around Campbell’s monomyth pattern. Appendix VII has a copy of Campbell’s
monomyth wheel. It is believed that if the writer or viewer understands how to decipher
this chart then he or she can write or depict the hero’s journey.

Campbell explains that man celebrates the tales of heroes and their deeds in order
to explain his or her own place in the universe (11). In other words, Campbell sees the
primary hero as a symbol of the individual and his adventure as the symbol of his life.
Heroes innately represent modern man and the different phases of life in which everyone
must pass: childhood to adolescence, adolescence to adulthood, and adulthood to old age.
The hero symbolizes growth, wisdom, and maturity through all stages of life, which is
what men do as well. Harry Potter fans have watched him cyclically grow in every phase
of the movie, as each movie represents one year of Harry’s life. Viewers have seen Harry
grow from an innocent child into a young mature teenager, and the movies have
cyclically shown the growth of the hero. Producers have not been afraid to show portray
the darker images in the hero’s journey. Each movie has progressively become darker,
unafraid to show or touch on more sinister themes, which are common in mythological
story lines.
In Campbell’s research he has encountered the same storyline framework
throughout the world; basically all stories tell the same tale. The stories commence with
a hero’s birth, Campbell states “hero hood is predestined, rather than simply achieved”
(319). Many heroes arise from humble origins to command the respect of others. The
hero comes into the world as an innocent only to quickly find himself orphaned due to the
evil or the force that he must one day confront. He then must wander alone for days,
months, and even years in order to learn about survival and self-sufficiency, childhood
exile. The story begins when the hero living among ordinary men receives the call to
adventure. He reluctantly accepts, and often needs a magical aide to encourage him onto
the path. Once the hero crosses the threshold, the tests and trials begin. The hero will

then descend into an abyss of uncertainty, become resurrected, and finally return
victorious.
To better understand Campbell’s monomyth process the following pages include
Campbell’s monomyth structure next to the Harry Potter storyline in order to compare the
structural framework of Rowling’s text in order to prove that Harry Potter is a modern
hero. Since Harry is the most prominent character his mythic chart stands along, Ron and
Hermione’s chart will come after Harry’s analysis.
The Birth of the Hero
Campbell Harry Potter
Rank:
Class of high-ranking parents Harry’s parents were wealthy, well-known,
and both considered to be very talented
witches
Birth preceded by difficulties Before Harry stopped Voldemort, “these were
the hardest times in the wizarding
community.” Good battling Evil where evil
seems unstoppable.
During pregnancy there is a
prophecy threatening danger to the
father
Almost one year after Harry’s birth, his parents
are killed by Lord Voldemort.
He is cast into the water Harry is removed from the wizarding
community and left to be cared for by his Aunt
and Uncle until he becomes of age, eleven
when he can return and attend school.
Saved by poor people Harry’s relatives are English middle class, but
Harry is poor. They share nothing with him,
give him old clothes that are too big for him,
he receives no birthday or Christmas gifts and
is often treated like a servant.
Grows up and finds his high-
ranking parents or world to which
he belongs.
On his eleventh birthday Harry finds out he is
a wizard and belongs to the family of the
wizarding community.

The Heroic Adventure
Campbell Harry Potter
I: Departure
The call to adventure- the heroic
figure is made aware of a place
beyond the world he has known his
whole life.
Harry’s Letter to attend Hogwarts
Refusal of the call-The call is
ignored or denied.
The Dursley’s intercept Harry’s letter and
refuse to let him attend
Supernatural aid-magical
intervention is needed to encourage
the hero, or assist the hero in starting
the journey.
Hagrid delivers the letter personally and takes
Harry to the train station
Crossing the first threshold-A portal
or threshold represents the transition
into the world of adventure.
Trial 1- Harry Potter and the Sorcerer’s Stone
Harry’s first trial is crossing Platform 9¾
which sets him on the path of his heroic
journey. Harry must prevent an evil force
from obtaining the Sorcerer’s Stone. The
gateway to proceed with the adventure
presents itself when encountering Cerberus-the
gate guardian, a three-headed dog owned by
Hagrid named Fluffy.
Trial 2 – The Chamber of Secrets
In the second movie Harry must enter into the
bowels of the school in order to save Genny
Weasley and the school from Lord
Voldermort’s younger self, Tom Riddle who
has opened the chamber. The trial is locating
the doorway – which is located in Moaning
Myrtle’s Bathroom. Myrtle herself was the
‘key’ to opening the gate.
Trial 3 –
Harry Potter and the Prisoner of Azkaban
Harry begins to learn more about his past – the
story of his parent’s death, and he begins
meeting his father’s circle of friends. A key
threshold is the ‘opening’ of the Whomping
Willow entrance by Crookshanks, Hermione’s

Cat. The more dramatic threshold is when
Harry joins Hermione in defying time by use
of the Time Turner, in order to save the life of
his godfather, Sirius Black and Buckbeak (a
mythical creature).
Trial 4 – Tri-wizard Championship
Harry Potter and the Goblet of Fire
Harry never crossed the threshold around the
Goblet of Fire to enter the contest, he was an
unwilling participant. His new adventure is
launched by entering the room off the Great
Hall, where the participants gathered and his
name is called. Due to the rules of the Tri-
Wizard cup Harry is forced to participate in
the tournament.
The belly of the whale-The hero
finds themselves in some sort of trial
where they must use their abilities
(and develop their unrealized
abilities) in order to progress.
Harry Potter and the Sorcerer’s Stone: Harry
has to jump through the trap door into the
schools vault in order to find the stone.
Harry Potter and the Chamber of Secrets: in
the bowels of Hogwarts when searching for
Ginny Weasley.
Harry Potter and the Prisoner of Azkaban:
when Harry goes into the whomping willow to
save Ron.
Harry Potter and the Goblet of Fire: when
Harry travels through a time portal and ends
up in a graveyard with Lord Voldemort.
II: Initiation
The road of trials-Each task prepares
the hero to pursue the ultimate
mythological goal. These trials show
the hero as moving from childish
behaviors to self-reliance. This is his
personal evolution from personal
limitations to unrealized potential
The Sorcerer’s Stone: Learning to fit into a
new world while learning about a past that had
been hidden from Harry for eleven years. The
troll in the bathroom, the three headed dog, the
night in the forbidden forest, entering the
vaults.
The Chamber Of Secret’s: Harry learns about
Lord Voldemort and the inherent
characteristics shared by the two; i.e. they both
speak parcel tongue-a language used only by
dark wizards to talk to snakes.

The Prisoner of Azkaban: Harry becomes
acquainted with his father, James, closest
friends and must accept the true identity of his
father. He must also decide the fate of a friend
who betrayed his father thus leading to his
father and mother’s death.
The Goblet of Fire: Harry is forced to
participate in the Tri-Wizarding games. He
battles dragons, water demons, and an
enchanted maze in order to save his life. When
Harry is transported to a graveyard via a
portkey at the end of the maze he must duel
Lord Voldemort and return his friend, Cedric
who died upon entering the graveyard, back to
Hogwarts before the portkey closes.
The meeting with the goddess-The
goddess figure is representative of the
Earth Mother or source of life. She
may be approachable, as the hero’s
mother, sister, and beloved.
Harry has only participated in casual
acquaintances with the opposite sex and a soul
goddess has not fully emerged. Although there
are several women in the series, many either
take on the motherly role, or a friendly role.
Professor McGonagall and Hermione are
currently the two constant figures in Harry’s
life.
Temptation away from the true
path-The hero is tempted to by evil
and asked to join the dark side.
Harry is constantly being invited to join forces
with Lord Voldemort.
The Sorcerer’s Stone
Draco Malfoy tells Harry he can help him
make friends with the ‘right’ wizarding
families.
The Chamber of Secret’s
Tom Riddle, Lord Voldemort in his youth
through an enchanted diary, invites Harry to
join him and his legions in darkness.
The Prisoner of Azkaban:
Harry must decide the fate of the man who
betrayed his family ultimately leading to their
deaths.
The Goblet of Fire:
When Harry is fighting Lord Voldemort in the
graveyard he is once again given the chance

by Voldemort himself to join him.
Atonement with the Father-a
parental figure is responsible for
guiding the hero through the journey
There are many father like figures in Harry’s
life, some better than others. We first meet
Harry’s Uncle, Vernon Dursley who is cruel
and unkind to him in all regards. We are then
introduced to Professor Dumbledore who
protects Harry from afar and develops a great
fondness for Harry. There is also his
godfather Sirius Black who is introduced to
viewers in movie three, The Prisoner of
Azkaban. His father James Potter whom he
learns about more and more with each passing
year at Hogwarts. And the evil Lord
Voldemort who kills Harry’s parents and
curses the young boy creating his destiny.
When Harry faces Lord Voldemort in movie
three while learning about his past, his father,
and their commonalities.
Apotheosis (becoming god-like)-a
realization of the essence of life. This
may be achieved through conquering
an enemy.
When Harry truly defeats Lord Voldemort.
This has yet to take place either, but I believe
that this will take place when Harry leaves
Hogwarts and becomes of age-a mature wizard
which is at the age of 17 in the wizarding
world (this is leading up to the final
movie/book 7.)
The ultimate boon-a blessing
bestowed upon the hero.
This will come when Lord Voldemort is
defeated, if he is defeated. Redemption of the
magical world
III: Return
Refusal of the return-The hero is
reluctant to return to his other world
because he is afraid others will not be
able to comprehend, or understand
what he has been through.
This has not yet happened in the movies, but
does happen in book six; so it is yet to come.
The magic flight-Once the hero has
received his blessing, or obtained the
necessary treasure (information)
needed to inform or heal others he is
to return and share this with the
community.
The Sorcerer’s Stone:
Harry comes back from the vaults to share
with admirers that the Sorcerer’s Stone is safe,
and Voldemort was unable to return to power.
The Chamber of Secret’s:
Harry returns from the school vaults with
Ginny after having rescued Ginny Weasley.

Harry returns from this journey unable to share
the good he had done on this journey, because
Sirius Black is thought to be a murderer,
wrongly accused but the proof escaped when
Peter Pettigrew ran into the forest. Therefore
Harry is unable to share the good deeds from
this adventure with anyone except for Ron,
Hermione, and Dumbledore who guided his
path from the beginning. Harry can only relate
that Voldemort’s rise to power may happen
soon.
The Goblet of Fire:
Harry returns from the end of the Tri-
Wizarding challenge with Cedric Diggory’s
body. Cedric and Harry are both competitor’s
in the tournament, but when the trophy turned
into a portkey and transported them to a
graveyard Cedric was instantly killed. Harry
returns the body to his family, so that they
may grieve and heal. This time Harry can
confirm that Voldemort has risen to power.
Rescue from without- The hero
requires the outside world to pull him
back from the adventure.
Dumbledore rescues Harry from the vault just
in time. Harry was fighting Professor Quirrel,
the body inhabited by Voldemort.
The Chamber of Secrets:
Dumbledore sends his Phoenix, a
mythological bird with healing powers, to help
Harry in the Chambers defeat a Basilisk,
extremely large snake hatched from a chicken
egg. The Phoenix, Fawkes, has healing
powers and is able to heal Harry after he has
been bitten by the snake.
Dumbledore advises Hermione and Harry on
what they need to do in order to save his
godfather and the winged creature Buckbeak
form death.

The Goblet of Fire:
Dumbledore rescues Harry after the
tournament from Barty Crouch Jr. who is
about to kill Harry.
Crossing the return threshold-The
hero must return to the real world
after his adventure.
At the end of every term Harry must return to
the Dursley’s for the summer, via train, the
Hogwarts Express.
Master of the two worlds-The hero
must come to an understanding that
the two worlds exist simultaneously,
they are one. The hero must examine
and explore and learn how to bring
the two worlds together.
The magical world and the muggle world.
Harry is coming to understand the two worlds
in which he currently goes between, but has
not quite mastered them together.
The train away from Hogwarts gives Harry,
Ron & Hermione a time to reflect on the years
events.
Freedom to live-The hero must learn
to live between the two worlds and
bring them together. This is the final
threshold of the hero’s journey. He
can pass freely through the two
realms.
Is an initial adjustment. Learning the
wizarding community and their rules versus
the non-wizarding community. But because
Harry is humble and grateful to be away from
the Dursley’s he does his best to adjust to his
new world.
Chamber of Secrets:
Harry has a little difficulty returning to the
Dursley’s because they continue to stifle him
and treat him poorly. He is rescued from his
room by the Ron Weasley and his brothers
using a flying car.
Harry loses his temper and blows Vernon
Dursley’s sister into a blimp; she begins to
grow larger and larger until she floats away.
The Goblet of Fire:
By the fourth movie Harry seems to be
transcending between the two worlds with
ease.
White magic is victorious over dark.
Common Mythic Elements
Two Worlds (mundane and special) Non-magical Community vs. The Magical
Community
The Mentor Sirius Black
The Oracle Professor Dumbledore, Ministry of Magic

The Prophecy Harry must defeat Lord Voldemort
Wearing
Enemy's Skin
In The Chamber of Secret’s Ron and Harry
drink poly juice potion and turn into Crab and
Goyle, in order to ask Draco Malfoy who the
heir of Slytherin might be and how to open the
chamber. And Harry bears a lightening bolt
scar left by Voldemort’s first attack; it hurts
Harry when he is near. Under the invisibility
cloak.
Shape-shifter (the Hero isn't sure if
he can trust this character)
Doby the house elf, and Professor Snape, Rita
Skeeter, Mad-Eye Moody
Animal familiar Doby, a house elf
Hedgewick, Harry’s Owl
Crookshanks- Hermione’s Cat,
Scabbers, Ron’s rat, which turns out to be
Peter Pettigrew the friend who betrayed
Harry’s family.
Chasing a lone animal into the
enchanted wood (and the animal
gets away)
Brennan, Kristen.
http://www.jitterbug.com/origins/myt
h.html
Lord Voldemort’s spirit escapes from the
chamber while Harry and Professor Quirrel are
left fighting. The Unicorn’s adventure in the
forbidden forest.
Chamber of Secret’s:
Harry is chasing after the heir of Slytherin, and
the basilisk which continues to escape into the
chambers of the schools.
Sirius Black, who morphs into a dog, watches
Harry from the forbidden forest and escapes
into the woods every time Harry tries to find
him or confront him. Pettigrew, Ron’s rat
turned back into a man, escapes into the woods
to Lord Voldemort.
The Goblet of Fire:
During the Quidditch World Cup Harry sees a
man project the dark mark, Lord Voldemort’s
mark with a wand, calling the Death Eaters,
Voldemort’s follower’s to gather. Before
Harry can see who the man is he escapes into
the woods.

Harry is a hero set apart at birth due to the horrific murder of his parents by Lord
Voldemort, who Harry will one day have to confront. Harry demonstrates his chosen
status when he, as only an infant, defeats one of the most powerful wizards of the day,
Lord Voldemort. Not even the most accomplished wizards have been able to stop
Voldemort. A prophecy is not directly stated, but hinted by the centaurs in the forbidden
forest when they are seen reading the stars. The hint of a prophecy in Harry Potter links
his story to the same framework of the heroes of yesteryear.
The death of Harry’s parent lead to a magical protection over the child as his
mother sacrifices herself for the life of her infant son. Her loving sacrifice places a
powerful and eternal protection over the infant whom Voldemort cannot defeat because it
is “old magic,” a mother’s eternal love for her child. Voldemort became nothing but a
shadow and Harry is considered a savior in the wizarding community. This solidifies
Harry’s character as a force above evil, a mythical hero descended from gods. The event
links Harry to Voldemort forever, who eventually regains power. Harry is then cast out
of the magical world for his own protection and sent to live with relatives. Once it is
made known that Harry is destined for greatness, he must undergo a difficult childhood,
during which time his status as a hero has faded from the minds of those who hail him as
a hero (Campbell 321-334).
Harry’s childhood is dismal and described by Campbell as the “long period of
obscurity,” the first stage of the heroes journey (326). Once it is time for the hero to
begin his journey, he may need assistance crossing the threshold. In Harry’s case, his
Uncle Vernon was prohibiting him from opening his letter and being allowed to leave for
Hogwarts, a boarding school within the wizarding community. This is where Harry’s

magical or spiritual assistance comes into the mythology. Hagrid, a combination of witch
and giant, has to go and get Harry from the Dursley’s, “the hero is covertly aided by the
advice, amulets, and secret agents of the supernatural helper whom he met before his
entrance” (Campbell 97). Hagrid takes Harry to Diagon Alley, a portal that connects the
wizarding world with muggle world. Once Harry arrives at Hogwarts Hagrid meets him
once again to take him and all the other first years to the school,
“The fleet of little boats moved off all at once, gliding across the
lake, which was as smooth as glass. They were carried along a
dark tunnel, which seemed to be taking them right underneath the
castle, until they reached a kind of underground harbor” (Rowling
112).
Campbell writes, “Beyond the first threshold are darkness, the unknown, and danger”
(77). Harry Potter has now crossed the first threshold of his adventure where dragons,
elves, three headed dogs, spiders who can talk, trolls, and other dark and mysterious
creatures, along with Lord Voldemort, await their confrontations with the boy who lived.
Harry Potter does differ from many past heroes in that he becomes the guardian in
his new world. Campbell describes the hero’s adventure when he leaves his home the
“parental watch or protection of his society” (77). Yet at the end of the first movie, The
Sorcerer’s Stone, Harry tells his friends “I’m not going home, not really” implying that
his home is at Hogwarts and within the wizarding community. His return to his aunt and
uncle’s home is merely a short vacation for him; Hogwarts is his home.
After Harry crosses the first threshold, crossing into the wizarding community, he
must meet and assimilate his opposite, unsuspecting self (Campbell 108). Upon arriving
at Hogwarts each student must be sorted into one of four houses. This is done by placing
the sorting hat, a magical hat on the head of each student. The hat then places each

student into their perspective house, which could be any one of four: Gryffindor,
Slytherin, Hufflepuff, or Ravenclaw. Gryffindor, known for its honorable and brave
occupants and Slytherin known for cunning, ambitious, power-hungry, and mean
occupants are the two most popular houses in the school. When Harry puts the hat on his
head he asks not to be put in Slytherin, “the hero discovers and assimilates his opposite”
(108). Harry’s innate goodness places him in Gryffindor, whose alumni include
Professor Dumbledore, Hagrid, Professor McGonagall, and Harry’s dad, James.
Once Harry has crossed into these initial thresholds, he is on the path of a hero’s
journey. Perhaps unaware of it himself; others in the wizarding community certainly
recognize and see him as the hero. Harry is humbled every time he leaves the wizarding
community to return to his aunt and uncle’s home. No one there thinks of him as a hero,
and they don’t care what happens to him while at school. Perhaps this is to build his
courage and self reliance so that when he does face evil he can sustain himself by calling
on the power from within. Harry’s trials center around defeating Lord Voldemort, saving
his friends, and saving himself; the battle between good and evil is timeless and one in
which audiences can identify.
Harry chooses good over evil and his selfless and courageous nature enables him
to win the ultimate boon, “the ease with which the adventure is here accomplished
signifies that the hero is a superior man” (Campbell 173). Bridger writes, “Potter’s story
is an old one and the most basic: good versus evil, the stories are, at heart, moral tales”
(43). Campbell writes, “The usual person is more than content, he is even proud, to
remain within the indicated bounds,” but the hero is heroic, he does what everyone else
either will not or cannot do (78). Harry Potter defeated Voldemort as an infant; he went

into the schools vaults after the stone; he went into the chambers to save Genny, he faced
his father’s true enemy and rescued a magical creature and his godfather, fought
Voldemort in the cemetery and brought his friends body back, all characteristics of a true
hero. Harry’s path is that of the typical hero, but a hero usually has friends along with
way who intercede and help along the way, Harry is no different. Ronald Weasley and
Hermione Granger assist Harry in his epic journey as equals. They are on the same level
as Harry: the same age, the same amount of wizardry training, and their strengths fill in
Harry’s weaknesses; they complete him.
Ron is from a pure wizarding family, no muggle relations whatsoever. He lives in
the wizarding community and his father works for the ministry of magic. He is the sixth
of seven children, and the youngest boy. Ron feels as though he must prove himself
because he is the sixth to attend Hogwarts and all five of his brothers have been
extraordinary in their own way, and he feels as though he cannot do anything they have
not done before him. Ron values his friendship with Harry and Hermione above all else,
this encourages his strengths and makes him a valuable hero throughout the series.
Hermione is muggle born, very studious, curious, and loyal to Harry and Ron.
She is the top witch in her year, which proves to be helpful as her logic and wit are often
what helps in working out the clues during each epic. Hermione is often encouraging
Ron and Harry both to do the right things, to study hard, and to use a little logic before
jumping into the fire. Her loyalty, bravery, and friendship prove to be valuable assets in
her own heroic journey.

Campbell Ronald Weasley Hermione Granger
I: Departure
The call to adventure Leaving for Hogwarts Leaving for Hogwarts
Refusal of the call Ready to go Ready to go
Supernatural aid Hagrid, Dumbledore Hagrid, Dumbledore
The Magical World The Magical World
Crossing the first
threshold
M1: Conquerors a Troll to
save Hermione; going into
the vault
M2: Defending Harry
when no one else Falling
into the Chambers
M3: Being sucked into the
Whomping Willow
M4: Defending Harry
when no one else will
M1: Upon receiving the “Daily
Prophet” and putting together the
clues to what is in hiding beneath
the schools vaults; and going into
the vault
M2: Falling into the Chambers
M3: Jumping into the hole of the
Whomping Willow
M4: Helping Harry learn Charms
and Spells in order to successfully
compete in each match
The belly of the
whale
M1:School Vaults, the
game of chess
M2: Entering the Chamber
M3: Ron’s rat, Scabbers is
an animagi and turns into
Peter Pettigrew
M4: His own selfishness
in learning to accept that
Harry does not want to be
the chosen hero and the
fame that he has attained
is a burden for him.
M1: School Vaults, escaping from
the Dragons Snare & calculating
which potion to take
M2: Being called a mudblood, and
having to accept that it is okay to
be a muggleborn witch. Also,
going to the library, learning
about the basilisk and going back
to tell Ron and Harry when she is
petrified
M3: Using the time-turner, so that
her and Harry can save Buckbeak
& Sirius.
M4: Working through the clues
and helping Harry learn charms in
order to help him succeed
II: Initiation
The road of trials M1: The troll in the
bathroom, the three
headed dog, entering the
vaults, Dragons Snare the
game of Chess.
M2: The Whomping
Willow, Standing up to
M1: The troll in the bathroom, the
three headed dog, the night in the
forbidden forest, entering the
vaults, Dragons Snare, and the
potion room.
M2: Being called a Mudblood,
Polyjuice potion, being petrified

Malfoy, Polyjuice potion,
Aragog (the spider in the
woods), entering the
chamber
M3: The Dementors, The
Boggart, Attacked in the
middle night, while
asleep, by Sirius Black,
Being swallowed by the
Whomping Willow,
Watching his rat Scabbers
turn into Peter Pettigrew
M4: The Quidditch World
Cup, helping Harry in the
tournament
by the basilisk.
M3: The Dementors, The Time-
turner, attempting to legally save
Buckbeak, entering the whomping
willow, facing Sirius Black,
Facing a werewolf, using the
time-turner to save Buckbeak, and
Sirius
M4: The Quidditch World Cup,
helping Harry learn charms and
spells in order to properly
compete (Plays a bigger role in
the book here rather than the
movie)
The meeting with the
goddess/god
Fleur Delacour Victor Krum
Temptation away
from the true path
Ron is tempted only is his
occasional jealousy of
Harry and the fame he has.
Hermione is a non-conformist,
although she is constantly trying
to prove that she does follow the
rules. She has not been truly
tempted up to this point.
Atonement with the
Father
Hagrid, Sirius and
Dumbledore
Hagrid, Sirius, and Dumbledore
Apotheosis
(becoming god-like)
Defeating Lord Voldemort Defeating Lord Voldemort
Redemption of the
magical world
Redemption of the magical world.The ultimate boon
III: Return
Refusal of the return Is yet to come Is yet to come
The magic flight M1: Ron is embarrassed
but sheepishly accepts the
praise for his game of
chess played in the vaults
M2: Returns with Harry
from out of the chambers
to bear witness of the
events in Dumbledore’s
office
M3: Ron, Harry, and
Hermione quietly discuss
their triumphant.
M1: Hermione is praised for her
“cool use of intellect” while in the
vaults in the potion room of the
vaults
M2: In hospital wing
M3: Ron, Harry, and Hermione
quietly discuss their triumphant.

Rescue from without M1: Hermione brings Ron
around after the Chess
game and takes him back
up into the castle.
M2: Ron, Harry, & Genny
return out of the Chambers
with Fawkes
M3: Ron is taken to the
hospital wing by Snape
M1: Hermione returns to the
castle with Ron
M2: Awakes from her petrified
state
M4: Ron realizes the
importance of friendship,
when Harry’s third task is
to save Ron from the
merpeople at the bottom
of the lake.
M3: Hermione and Harry return
via the time-turner
M4: Hermione has a true
understanding of International
Cooperation and a better
understanding of those closer to
home.
Crossing the return
threshold
The train away from
Hogwarts
The train away from Hogwarts
Master of the two
worlds
Ron remains in the
magical world, but has
little understanding for the
muggle world
Hermione crosses between the
two worlds, and seems to have a
good understanding of how to
function between both
Common Mythic Elements
Two Worlds
(mundane and
special)
Real world vs. magic,
good vs. evil
Real world vs. magic, good vs.
evil
The Mentor Dumbledore Dumbledore, Professor
McGonagall
The Oracle Ministry of Magic Ministry of Magic
Harry is the chose one to
defeat Voldemort
Harry is the chosen one to defeat
Voldemort
The Prophecy
Drinking Polyjuice potion
to become Goyle.
Peter Pettigrew, an
animagus disguised as a
rat. Under the invisibility
cloak.
Wearing
Enemy's Skin
Under the invisibility Cloak
Shape-shifter (the Professor Snape, Professor Snape, Rita Skeeter,

Scabbers, Crookshanks,
Victor Crum, Rita Skeeter,
Moody
MoodyHero isn't sure if he
can trust this
character)
Animal familiar Basilisk, Animagus: Sirius
Black, Professor Lupin- a
werewolf, and Peter
Pettigrew, Crookshanks
Crookshanks, Professor Lupin-
werewolf, basilisk
Aragon in the Forbidden
Forest
Unicorn in the Forbidden ForestChasing a lone
animal into the
enchanted wood
(and the animal gets
away)
M1: The Sorcerer’s Stone, M2: The Chamber of Secret’s, M3: The Prisoner of Azkaban, M4: The Goblet of Fire
While Ron and Hermione may not be one hundred percent on the typical heroes’
journey, both have proven themselves to be heroes on the same journey as Harry.
Argument and speculation could be made that these two would probably never have been
put on the path if they had not befriended Harry, but they did and they have proven
themselves heroically admirable time and again. Ron and Hermione bring their own
strengths and weaknesses to Harry Potter, and are both eager to prove their loyalty,
honor, and courage to themselves as well as the wizarding community.
While Ron plays the secondary hero in Harry Potter, he is still a crucial character.
His ability to play, “The best game of chess Hogwarts has ever seen,” proves crucial in
order for Harry to move forward in the vaults to save the stone (Dumbledore, Sorcerer’s
Stone). Ron is protective of Harry and Hermione and heroically defends them both, as
can be seen in the second movie when he stands up to Malfoy for calling Hermione a
mudblood, which is a derogatory term in the wizarding world. In the third movie, Ron
proves his loyalty during Harry's confrontation with then-supposed-murderer Sirius
Black, Ron declares while trying to stand on his broken leg, "If you want to kill Harry,

you'll have to kill us too!" This is a strong statement showing viewers Ron's steadfast
loyalty to his friends and his heroic bravery to not back down in a tough situation.
Hermione is known as the “brightest wizard of her year,” and uses her knowledge
and wit to help Harry. Ron, Harry, and Hermione become friends after Ron and Harry
save her from a troll, and she in turns takes the blame and punishment so that the boys do
not get in trouble. This permanently seals their friendship and makes Hermione also a
secondary hero. Hermione helps Harry in saving the sorcerer’s stone, not through magic
but through logic. When they are in the vaults, they enter into a potion room where her
wit and logic help her to decipher which bottles are poisonous and which are not. In the
second movie, it is Hermione who brews the Polyjuice potion allowing the boys to
change into Grab and Goyle, Malfoy’s best friends, so that they can interview Malfoy
about the chamber of secrets. She is also the one who identifies the monster in the
chamber as a basilisk. In the third movie, Hermione uses her time-turner to help Harry
go back in time to save Sirius Black and the hippogriff, Buckbeak. In the fourth movie,
Hermione punches Malfoy in the face for his threats, proving her strength and courage to
not back down from a tough situation. Hermione also spends time teaching Harry charms
and spells that will help him in the tournament tasks. Hermione proves herself through
her knowledge, loyalty, bravery, and courage to face difficult and unsuspecting
challenges.
Although Ron and Hermione did not start out directly on Campbell’s path, they
are nevertheless on the path and proving themselves to be strong, reliable heroes through
their own bravery and heroic deeds. According to Campbell:
The standard path of the mythological adventure of the
hero is magnification of the formula represented in the rites

of passage: separation-initiation-return: … A hero ventures
forth from the world of common day into a region of
supernatural wonder: fabulous forces are there encountered
and a decisive victory is won: the hero comes back from
this mysterious adventure with the power to bestow boons
on his fellow man (30).
Harry, Ron, and Hermione have all experienced the separation, the initiation, and the
return of the hero’s journey. All three entered the Hogwarts Express leaving behind their
families and venturing forth alone into the magical, unexpected world of Hogwarts. All
three have faced the trials and separations that no ordinary person would venture to face,
and all three have returned to share the boon. These modern day heroes are proving that
the hero’s journey is still strong and still must be taken, regardless of the path.
Although Rowling says she did not write the Harry Potter series for the big
screen, her writing style transfers easily into Campbell’s paradigm of a classic hero,
which is a writing style on which Hollywood has become dependant on, it is a sure
method with block buster hits that include: Star Wars, Spider-Man, The Lord of the
Rings, and of course Harry Potter. Harry Potter is on the standard path of the
mythological hero, and his journey is well represented in Campbell’s monomyth
paradigm: separation/departure, initiation, and return, and this translate into a modern day
hero whose story is being told on movie screens the world over. O’Shaughnessy implies
that the media uses Campbell’s ideals in essentialist view—approaching human nature as
universally the same throughout culture and throughout history—and reflecting this
essential nature (154). The popular success of Harry Potter resonates with the already
existing beliefs and ideals of the audience, which in the case of Harry Potter would be
billions of fans, this is one of the reasons it is popular, people can relate to the heroes
within.

Myth, Imagination, History and Fantasy
Harry Potter is steeped in mythological allusions ranging from the archetype hero
to the mythological creatures like the Centaurs, the unicorns, mermaids, trolls, and giants.
Harry Potter is a modern day hero, so how can these things exist in a modern world?
This is also part of the Harry Potter charm; once again it is not explained away, it simply
exist. Of course, in the series, it is justified by Hermione who tells Ron and Harry over
and over again that the magical world has enchantments and spells working to protect and
keep the mythical world hidden from muggles.
The allure of Potterworld stems from the magnificent imagination, rich detail, and
visual imagery provided by Rowling and exceptionally translated onto the big screen.
Campbell says, “There is something magical about films” (Moyers 17). In The Power of
Myth, Moyers asks Campbell about myths and how they will translate in a modern
medium, and he replied, “I see the possibility of new metaphors, automobiles have gotten
into mythology, into dreams” (18). What would Campbell have to say about the flying
car in The Chamber of Secrets? Perhaps he would confirm that myths are the realities in
an individual’s dreams, and this makes for good story telling and for great movies.
Dreams are a part of one’s imagination and can only be interpreted by an analogy
through a myth. “Jung speaks of two orders of dream, the personal dream and the
archetypal dream, or the dream of mythic dimensions” (Moyers 42). Some dreams have
a clear interpretation; whereas other dreams have a deeper meaning and often come from

the archetypal person within our subconscious (Moyers 42). Harry Potter lives in a
fictitious mythical world, a place that exists in dreams for many of its viewers.
Most myths stem from Greek and Roman mythology, and heroes are born from
the gods and goddesses who were connected to their civilizations. In creating the child
hero, Rowling uses many of the ancient hero archetypes found in mythology. These
archetypes make the story universally appealing because they are idealized versions of
the cycles that every person must experience in life—childhood, adolescence, the
departure from one’s parents and the reintegration into adulthood.
Because myths and stories are the subconscious of an individual’s mind, there are
often realities and bits of history entwined, thus making it easy to use the myth in order to
influence cultural norms. The fantasy world is combined with what the audience knows
is real. Kern writes, “The writers draw upon human history to comment upon the human
condition. In doing so, they elaborate upon age-old themes and illustrate how they still
inform today’s world” (191). There are many real elements in the Harry Potter text that
draw on historical and past mythology.
For example, Platform 9 ¾ is not an actual platform, but it does have a significant
meaning. When workers of the train station go beneath the surface the columns below
are marked as they are above, used as markers so the workers will know where they are,
9 ¾ is marked. Beneath the station, between platforms 9 and 10, so the story goes: there
was once a good queen who fought off the Romans trying to protect the women of her
tribe from being beaten and raped, she died in battle and is buried at 9 ¾ below the train
station. Workers have said they have seen or felt her presence (Trevisick). Whether or
not this is true, it is a legend told in and around England, a familiar story combined to

embroil the myth in mystery and intrigue for those who live in England, and those who
are familiar with the story.
In the first movie, The Sorcerer’s Stone, Rowling uses the story of Nicholas
Flammel and the philosopher’s stone as the background for Harry’s first adventure.
Whether or not the viewer knew about the stone it did not matter. A brief background or
history was provided within the text. Nicolas Flammel was a 14th
century alchemist,
which is another strong topic throughout the Potter series-alchemy, who was born in
Paris. He was always searching ancient knowledge and studying the art of alchemy. It is
believed he discovered the sorcerer’s stone, which is believed to provide eternal life.
Question and mystery surround Flammel’s research and death to this day. Two hundred
years after his death his tomb was exhumed to reveal only an empty tomb. The real quest
of alchemy is to find one’s true self (Trevisick). Did Flammel create a stone that allows
one to cheat death? Another intriguing mystery surrounded in legends and mythological
tales.
Kern implies that Rowling uses the past to make her stories more appealing. The
realistic feel of the narrative comes from the suburban qualities of Little Whinging, where
Harry’s relatives live and where he lived on a regular basis until he turned eleven. Kern
writes, “The characters are so clearly the products of past events and display an acute
awareness of them should suggest to readers/viewers how important a historical
sensibility is to the narrative” (194-195). Rowling combines history, legend, and myth in
an epic fantasy which conveys moral lessons.
The creatures of mythology cannot be left out because they often play an
important role in the narrative. There are many mythical creatures in the Harry Potter

series which include: a three headed dog named Fluffy, a hippogriff, a basilisk, centaurs,
sphinx’s, unicorns, mermaids, trolls, giants, fairies, elves, and werewolves. In movie
three, The Prisoner of Azkaban, audiences are introduced to an animagi, a person who
can transform themselves into an animal while retaining a human’s intellect; however,
they do loose a sense of right from wrong, hence the werewolves who try to remain good.
While this is something students and viewers witness in the first movie, The Sorcerer’s
Stone, the most defined characters who practice the skill most often is strongly
represented in the third movie. These characters are used to convey moral lessons from
which the hero and the audience can learn.
In the third movie, the hero learns how to conqueror fear when he is put in the
path of dementors, creatures who symbolize the debilitating effects of depression and
madness. Fear is a very human emotion which all humans face. Harry teaches society
that in order to conqueror ones fear one must face that fear (Kern 201). Some of the
mythical pests, such as the grindylow, hinkypunk, kappa, pixie, and poltergeist, “are
symbolic of the unexpected difficulties and uncertainties that life so indifferently places
in an individual’s way,” as in real life the hero and the viewer often have to face
unexpected difficulties and how to pick and choose one’s battle (Kern 200). Using these
legendary creatures to communicate moral lessons in a clever hidden way makes the
lesson apparent to the viewer without making the audience feel as though morality is
being thrust at them.
Two important mythological symbols which should not be ignored, because they
too often represent the hero and his nemesis, are the lion and the snake; these two animals
often represent good and evil and do in Harry Potter as well. The lion is interpreted as

brave, courageous, and strong, all the qualities of a hero. The snake represents evil,
danger, untrustworthy, and sneaky, all the characteristics of evil. Each house at
Hogwarts is represented by an animal, the lion is the house of Gryffindor, Harry, Ron,
and Hermione’s house, and the snake is the house of Slytherin, Voldemort’s and Draco
Malfoy’s house. Kern writes, “By placing the two related pairs in conflict, she structures
the epic struggle at the core of Harry’s adventures” (203). Using these mythological
symbols in which audiences can and will relate to as good and evil for they have
appeared in mythological stories throughout time. In Genesis, of the Bible, it is the
serpent that tempts Eve and forever changes the relationship between God, who
represents all things good, and man. In C.S. Lewis’s Narnia, Aslan is a lion who
represent all things good. The lion and the serpent have a long history in mythology and
are symbols in which people can easily relate, naming the lion a hero and the serpent a
darkness of evil.
In examining the past, Rowling is able to place the heroes in a world that
promotes morality and conveys virtues. The images, animals, and history allows the
narratives to take the heroes on a mythological journey where good struggles against evil.
“Rowling’s makes him the product of a past and gives him the
intellect to recognize it’s shaping influence upon the future. And
she place shim in a near-contemporary world, resembling our own,
which combines numerous elements, both familiar and fantastic,
drawn from history, legend, and myth” (Kern 207).
By placing the series in a “near-contemporary” world it becomes appealing to the viewer
and makes the hero more realistic to the audience, thus the success of Harry Potter.

Harry Potter, a Modern Hero
Harry Potter is the protagonist in a series of seven books, of which six have been
published and four films have been created for the big screen. According to a news
report from the BBC, Harry Potter has been named the greatest screen fantasy hero of all
time according to a 2005 UK Sci-Fi Channel poll. The boy wizard competed against well
known contenders such as Buffy the Vampire Slayer, Spider-Man, and Terminator II.
The poll was created to highlight the tenth anniversary of UK Sci-Fi and included heroes
and villains from fantasy, sci-fi, and superhero comic books (BBC News).
Set in England, the books and the movies chronicle the life of a young boy by the
name of Harry Potter, whose wizard parents were killed by the evil Lord Voldemort.
Harry escaped death with a lightening bolt scar on his forehead. A powerful, but good
wizard in the magical community, Albus Dumbledore, felt Harry would be safer if he
were raised by his muggle relatives and this is where the story begins. On his eleventh
birthday, Harry learns of his magical heritage when he is invited to attend the school of
Hogwarts.
In The Hero with a Thousand Faces, Campbell explains and analyzes the
commonalities shared by almost every hero, focusing on the classical Greek hero figure,
beginning with the hero’s birth where “hero hood is predestined, rather than simply
achieved” (Campbell 319). Campbell also delineates the archetype of the hero’s
existence as “a separation from the world, a penetration to some source of power, and a
life-enchanting return” (35). Rowling’s main hero, Harry Potter, is almost killed shortly
after birth, but escapes the death curse with only a lightening bolt scar to his forehead.

Medc 6000 bailey, ronda - harry potter thesis - sp2-06

Medc 6000 bailey, ronda - harry potter thesis - sp2-06

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