DOCUMENT RESUME ED 479 487 CS 512 393 AUTHOR Evans, Allen D. Discovering the Archetypes of "Harry Potter." TITLE 2003-03-10 PUB DATE 27p.; Paper presented at the West Regional Conference of the NOTE International Reading Association (17th, Portland, OR, March 9-11, 2003). Opinion Papers (120) PUB TYPE Speeches/Meeting Papers (150) EDRS Price MF01/PCO2 Plus Postage. EDRS PRICE Characterization; *Childrens Literature; *Literary Criticism; DESCRIPTORS Literary Devices; *Novels; Reader Response; Reading Interests; *Reading Material Selection; *Recreational Reading IDENTIFIERS *Archetypes; *Harry Potter; Series Books ABSTRACT The "Harry Potter" series has become a phenomenal success with children. "Harry Potter" books in print worldwide is in excess of 116 million, and they have been translated into 47 languages. What might account for this huge popularity? While the characters and events are certainly engaging, funny, original, and creative, they also illuminate another dimension of interpretation that may explain their appeal and popularity: that of the archetype. This paper explores the concept of the archetype as viewed through the characters in J.K. Rowling's "Harry Potter" stories. The paper discusses definitions and examples of archetypes. Finally, it offers selected comments, noting that Harry is an evolving archetype, essentially still a work-in-progress, and that as such, readers across the globe can only speculate as to the eventual outcome. (Contains 2 table and 15 references.) (NKA) Reproductions supplied by EDRS are the best that can be made from the original document. Archetypes of Harry Potter 1 Discovering the Archetypes Of Harry Potter A Paper Presented at the International Reading Association 17th West Regional Conference March 10, 2003 Portland, OR PERMISSION TO REPRODUCE AND DISSEMINATE THIS MATERIAL HAS BEEN GRANTED BY A.b, Evam_s TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) 1 U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) This document has been reproduced as received from the person or organization originating it. Minor changes have been made to improve reproduction quality. Points of view or opinions stated in this Allen D. Evans document do not necessarily represent official OERI position or policy. Eastern Oregon University BEST COPY MAI LA LE fa 2 Archetypes of Harry Potter 2 He has been described as "very smart," "talented with magic," "very nice," "wise," a "master wizard," and "cool." He is a "protector" and a "leader." He is "caring" and he has "interesting gadgets." At times he can be "secretive," but he is also "very understanding." He "seems to know more than is shown." And yes, he "wears glasses." These are all comments provided by a group of middle school students in our community when they were asked to write brief descriptions of the characters in J.K.Rowling's popular Harry Potter series. But whom do the above comments refer to? The male gender reference suggests that it isn't Hermione Granger, the friend of Harry that is often at the top of the class. Could they refer to Ron Weasley, Harry's best friend? Perhaps they refer to Hagrid, the groundskeeper of Hogwarts School? Or do they possibly refer to Draco Malfoy, Harry's rival and often nemesis? Then again, they might all be descriptive of Harry Potter himself; the boy wizard with the mysterious past that seems destined for wizzarding greatness, provided the evil Lord Voldemort doesn't stop him. The answer is that the comments offered above all refer to Professor Albus Dumbledore, the headmaster of Hogwarts School of Magic. When the students were asked for unsolicited descriptions of Dumbledore, students provided all of the above, plus addition physical characteristics such as being "old," and having a long white beard. But clearly the predominant response was that Dumbledore is "wise." It is a well-established fact that the Harry Potter series has become a phenomenal success with children. Scholastic Children's Books has ordered a first printing of 6.8 million copies of the newest installment, Harry Potter and the Order of the Phoenix, due for release on June 21, 2003, and advance sales have been "phenomenal." 3 Archetypes of Harry Potter 3 (Seattletimes.com). This figure easily exceeds the 5 million copy first print-run of the last installment Harry Potter and the Goblet of Fire. To date the total number of Harry Potter books in print worldwide is in excess of 116 million, and they have been translated into 47 languages (Forbes.com). The movie versions of the books have enjoyed equal success, holding top US box office rankings for opening day, opening weekend, and single day receipts (Movietimes.com). Furthermore, a web-based poll conducted by the National Education Association between November 1999 and February 2000 listed the Harry Potter series as the top choice among children (NEA.org). Clearly, Harry Potter has been a smashing success. What might account for this huge popularity, particularly among children? While the characters and events are certainly engaging, funny, original, and creative, they also illuminate another dimension of interpretation that may explain their appeal and popularity: that of the archetype. This paper intends to explore the concept of archetype as viewed through the characters in the Harry Potter stories. Definitions and examples of archetypes will be discussed. Finally, selected student comments will be offered. Archetypes defined When discussing archetypes one may be first tempted to consider a "dictionary definition." "Archetype" is derived from the Greek words "archos" meaning "first," and "typos" meaning "a mark." Thus in a very literal sense, an archetype is the "first mark," and therefore most dictionaries define it to mean "an original pattern or model; a prototype." Psychologist Karl Jung explained archetypes as the images, patterns or symbols that are contained in the collective unconscious. Archetypes may be thought of as blueprints, 4 Archetypes of Harry Potter 4 deeply imbedded within the psyche of the individual, and responsible for the foundations of human behavior, and perhaps genetically inherited over many generations of human existence (Moore & Gillette, 1990). Archetypes are the "content of the collective unconscious" (Jung/Hull, 1959/1972, p. 4). But in a deeper sense, archetypes are more than just original patterns or prototypes to be copied. As Rohr and Martos (1996) define them, archetypes are subconscious images or fundamental patterns that often guide a person's life. They state it in the following manner: "Archetypes are filled with generative power. They lead us into 'sacred space' where we 'see' for the first time. We understand, we know what we must do, and somehow in the fascination we even find the energy to do it. When you are in the grip of an archetype, you have vision and a deep sense of meaning for your life, even if it is just to be the best break-dancer in Brooklyn." (pp198-199). Archetypes have been examined in a number of areas, including architecture (Thiis- Evensen, 1987), film (Barrett, 1989), advertising and marketing (Mark & Pearson, 2001), religion/spirituality (Roehr, 1996; O'Malley, 1999) and men's' studies (Absher, 1990; Moore and Gillette, 1990). Archetype has been explored in the realm of literary theory and analysis (Frye, 1951; Werker, 1998). More specifically, the role of archetype has been explored in children's and young adult literature. Albritton (1994) looked at Cynthia Voigt's Dicey's Song from the standpoint of archetype. Brozo (2002) has suggested that archetype provides an entry point into literacy for boys, particularly those that do not typically engage in literacy activities. This paper proposes to specifically examine one application of archetype to the characters found in J.K. Rowling's Harry Pottter books. 5 Archetypes of Harry Potter 5 Examples of Archetypes In attempting to identify, label, and describe specific archetypes, no "standard" listing exists. Indeed the specific number, labels, and descriptive identities of archetypes varies depending on the source. For example, Rohr and Martos (1996), working with archetypes related to men's spirituality, identifies four male images: King, Warrior, Magician, Lover. Werker, in her analysis of the novels of Jane Austin (1998) identifies several female images, among which are the Mother, Daughter, Sister, Romantic, and Rationalist. Cowden, LaFever and Viders (2000) have identified sixteen archetypical images, divided into two broad categories of "Heroes and Heroines". Brozo (2002) identifies ten archetypical images related to teen and pre-teen boys. Clearly, no single or definitive list of archetypes exists. Pearson (1991) provides one of the most useful listings of archetypical identities. She lists twelve general archetypes as follows: Innocent, Warrior, Orphan, Caregiver, Seeker, Lover, Destroyer, Creator, Ruler, Magician, Sage, and Fool. Each archetype has its particular goal, fear, problem, response, and virtue. For example, the Innocent has as his or her primary goal that of remaining in safety. The Innocent's greatest fear is that of abandonment. When confronted with a problem or challenge (either internal of external, what Pearson calls the "dragon"), the Innocent's typical response is either to deny it or to attempt rescuing it. The Innocent's typical pattern of response to the task-at-hand is to demonstrate fidelity, or to exhibit discernment. And finally, the true gifts or virtues of the Innocent are those of trust and optimism. Pearson's categories of archetype are summarized in Table 1. 6 Archetypes of Harry Potter 6 Table 1 Pearson's Archetypes Response to Archetype Gift / Virtue Greatest Goal "the Dragon" Fear The Innocent Remain in Abandon- Deny it or Trust and rescue it optimism safety ment The Orphan Remain in Exploration Interdepend- Feel victimized ence and safety realism by it Confront or Courage and Winning Weakness The Warrior discipline slay it Take care of it Compassion, Helping The Caregiver Selfishness or those it harms generosity others Flee from it Autonomy and Search for a Conformity The Seeker ambition better life Passion and To love it Bliss Loss of love The Lover commitment Allow the "dragon" Humility Annihilation The Destroyer Change to slay it Inauthenticity Claim it as part of Individuality, The Creator Identity sense of the self vocation Find its constructive Responsibility The Ruler Order Chaos and control uses Transform it The Magician Transforma Personal Evil power sorcery -tion Transcend it The Sage Truth Deception Wisdom and detachment Enjoyment Non- Play tricks on it The Fool Joy and "aliveness" freedom 7 Archetypes of Harry Potter Regardless of the various archetypal labels, certain commonalities are seen in the major characters in the Harry Potter series. Professor Dumbledore, Hagrid, Hermione Granger, Ron Weasley, Draco Malfoy, and certainly Harry Potter, can all be identified as exemplars of selected archetypes. While no single lists of archetypes, such as those previously noted, completely identifies every major character in the books, by combining and comparing lists it is possible gain a more complete identification of the individual archetypes of the main characters. This paper will now move into discussion of these exemplars. Professor Albus Dumbledore: The Patriarch One of the earliest characters introduced in the series is that of Albus Dumbledore, the Headmaster of Hogwarts School of Witchcraft and Wizardry. When he makes his first appearance in Harry Potter and the Sorcerer's Stone (Rowling, 1997) he is described as "tall, thin, and very old, judging by the silver of his hair and beard." He was dressed in "long robes, a purple cloak that swept the ground, and high-heeled, buckled boots." .." (p.8) But beyond his Furthermore, "[h]is blue eyes were light, bright, and sparkling . . physical appearance, it is his demeanor that initially provides insight into his character. He teasingly addresses Professor McGonagall, who has spent the day disguised as a cat, by telling her that he knew it was her because he had "never seen a cat sit so stiffly" (p.9), clearly a gentle tease at thd more prim and proper Professor McGonagall. A short bit later in the middle of a somewhat serious conversation about the rumored disappearance of the evil and dangerous Voldemort (a character not yet revealed to the reader at this point in the story), Dumbledore calmly offers Professor McGonagall some lemon drops, a muggle sweet that he is "rather fond of," again a gentle tease at Professor McGonagall. 8 Archetypes of Harry Potter 8 In this brief initial introduction we get a picture of Dumbledore as someone of distinguished demeanor, not easily ruffled, with a subtle and sly sense of humor, but also with a deeper sense of wisdom. Albus Dumbledore exemplifies the archetype of Patriarch. The Patriarch represents a particular type of male caring. (The female counterpart would be the Matriarch.) The Patriarch embodies emotional stability, sturdiness, firm correction, worldly wisdom, constructive criticism, moral and ethical principles, and also a sense of fun and play. Although he makes few direct appearances in Harry Potter and the Sorcerer's Stone, and much of what the reader knows about him comes from description provided by other characters, Dumbledore is clearly revealed as exemplifying the patriarch pattern. Consider the following selected examples: * After deciding that the orphaned infant Harry would be better-off being raised by his aunt and uncle, the Dursleys, he explains to Professor McGonagall that growing up with muggles (non-magical humans) would be the best thing for Harry. If Harry were to be raised by wizards and witches, he would grow up to be famous for something he wouldn't even remember (the "something" being the fact that he survived being killed by Voldemort, a circumstance that could not be explained), and that he would be better off being away from all that until he was old enough to understand for himself. Professor McGonagall agrees that Dumbledore is indeed correct in his decision. * When young Harry is taken shopping by Hagrid for his initial wizarding supplies, he purchases a pack of Chocolate Frogs. Each pack contains a collectable card featuring a famous wizard or witch, and Harry's pack contains an Albus Dumbledore card. The card describes Dumbledore as "the greatest wizard of modern times" and indicates that he "enjoys chamber music and tenpin bowling." (pp. 102-103) 9 Archetypes of Harry Potter 9 * At the students' initiation and banquet in the Hogwarts Great Hall, following Harry's sorting ceremony, Dumbldore rises to his feet behind the head table, arms wide open to greet the incoming and returning students. He proceeds to "say a few words," and they are "nitwit, blubber, oddment, and tweak," after which he promptly thanks the audience and sits down. Clearly, a playful sense of humor. Harry, not knowing whether to laugh, asks whether Dumbledore is mad, to which one of the older students responds "He's a genius. Best wizard in the world. But he is a bit mad, yes." * At the end of that same banquet, Dumbledore rises to give some final words to the assembled students. This time his tone is serious, but still with a gentle sense of wisdom and authority, as he reminds the students of the school rules--"a few of the older students would do well to remember that as well"--coupled with a warning about the third-floor corridor being off-limits to everyone, a warning that the students take seriously even though no explanation is offered by Professor Dumbledore, a practice that is not characteristic of him. "He usually gives us a reason why we're not allowed to do somewhere .." The tone is one of mutual respect--headmaster and students. But, in . . playful manner, the banquet concludes with the entire assembly singing the school song, but in whatever tune each individual chooses! Serious, respectful, but playful indeed. Perhaps the most revealing encounter of Dumbledore's character comes at the very end of the first book. It is the conversation between Harry and Dumbledore as Harry lies in the hospital wing of Hogwarts recovering from his near-fatal struggle with Professor Quirrell/Voldemort. Dumbledore greets Harry with a smile and a manner that is calm: "Good morning, Harry. He is self-effacing: "Harry, please relax, or Madam Pomfrey [the school physician] will have me thrown out." He is light-hearted and teasing: "What