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Harry Potter – A New World Mythology?
By Lynne Milum
Copyright © 2003, 2007 by Lynne Milum. All
rights reserved.
In our modern world, where news is
instantaneous, language is of minor limitation, and technology allows us to go
where no one has gone before – boundaries take on a new nature. Where do our
human limitations end? Each person is on a hero’s journey to contend with his
mortality (as measured by the passage of time) and his selfish human nature. Our
hope and salvation is in overcoming these limitations.
Near the end of his life, Joseph Campbell refocused his work in mythology
on the alignment of humanity in our common purpose. He felt that a new set of
narratives was needed to address the world as we come to know it. This new "world
mythology" can elevate us above our former tribal and sectarian
separations that heretofore societies have leveraged for survival.
Specifically, George Lucas was influenced by Campbell and developed the original
Star Wars trilogy based on this concept of world mythology. More recently, the
narratives created in J.K. Rowling’s Harry Potter series appear to carry on
this tradition. This world mythology framework provides a new means for enjoying
and experiencing these new "great" stories – Mythology continues to
rewrite itself just as nature renews itself.
The first criterion for a world mythology is one of general accessibility
and understanding. At the risk of sounding "Euro-centric" in the
discussion of the English language, a personal experience is warranted for
example:
I was attending a business meeting in
Frankfurt/Main Germany; of the 14 attendees, about half were French, half were
German and I was the sole attendee who spoke English as a native tongue. I
remember gazing around the room and listening to some very animated
discussions in English. In that moment, I realized that even if I had not
attended, English would still be the language of choice for it is the world
language of business —
a true lingua franca.
In a similar manner, a world audience
not content to wait for native-tongue translations is nonetheless rabidly
absorbing J.K. Rowling’s writings. So many of these world citizens have read
the English versions, absorbing what they can and discussing with others. And
the ever-plodding translations gradually fill in the language gaps for those not
comfortable with English. So the world is hearing the Harry Potter story in
numbers that few other stories can match.
A second criterion for a world mythology is the
development of universal ideas common to all humanity. This type of mythology
does not select one religious or societal focus, but seeks unifying themes that
supercede sectarianism and gently touch all of humanity. J.K. Rowling (JKR)
develops many of these themes in the Harry Potter series, often but not
exclusively through Professor Dumbledore’s advice to Harry. We know that Harry’s
ultimate means of ‘conquering’ Voldemort (the evil wizard of the series) is
through the power of Love and Unity, rather than through physical
conquest. JKR also has consistently emphasized that each person is responsible
for his or her choices – and by their choices alone should they be judged. JKR
has also emphasized that even in a magical world, there are prejudices rampant — terms such as "Mudblood" and "Squib,"
are
offensive labels that should be rebuked.
The third and final criterion for a world mythology is to remove boundaries
that separate person from person (and, taken to another level, one element of
creation from another). In a world mythology, the ideal is that there is only
one world. Unity goes beyond perceptions of good and evil. Boundaries
to be overcome are no longer necessarily geocentric (e.g., Star Wars introduced
the idea of interstellar "race" relations – human and
otherwise). And those that are earthbound are artificial – created by the
psyche of man to separate tribe from tribe; nation from nation; race from race.
A world mythology recognizes that there is just one race – a human race. There
is just one physical world, and existing resources are all that we have. There
is but one body of water, ever in cycle. One atmosphere. One land mass. One sun.
A world mythology illuminates the falsehood in the barriers. Muggle vs. Magical.
Nation vs. Nation. Beasts vs. Beings. And most radically, Good vs. Evil.
Yes, the world myth truly flirts with breaking all barriers. What separates
Harry from Voldemort? And what brings them together? Doesn’t Harry think that
evil originates from himself in the Order of the Phoenix? These thoughts are
inside his brain. And he truly has difficulty with his own darker nature in the
Phoenix episode. We now know that his life is inextricably linked to Voldemort
– and his choice is positioned as destroy or be destroyed. But there is
a third choice – far less satisfying for many entrenched in the Good
Conquers Evil motif. But for those ready to be Peacemakers,
Harry’s
potential to redeem Voldemort would be the greatest victory of all. After
all, what created the hatred in Tom Riddle (Voldemort’s true identity) to
start with? Why can’t he accept who he really is? Even in this
characterization of overwhelming evil, there is an opening. Tom has been
overcome by the Ultimate in selfish behavior. He sees himself as Supreme over
all others and is justified in his own actions. In essence, the rebirth of Tom
Riddle is the death of Voldemort and the end of Harry’s obligation to the
world. So the reader now knows this author’s hope for Harry’s destiny, life
and the series finale!
Regardless of how Harry Potter ends, this unique series clearly meets the first
two criteria for a world mythology
— (1)
broad accessibility and (2)
universality of theme. J.K. Rowling may be on the path to recasting the
traditional myth of good conquering evil, with an entire generation of
children (of all ages!) actively participating in its unfoldment. Or, Rowling
may be pursuing a new outcome for our age, fully a world mythology. This outcome
recognizes the only true battle of good vs. evil is within our
"selves," such that each person must come to terms with the reality
that is humanity itself.
Postscript 2007
At 1 minute past midnight (local time)
on July 21, 2007, the world witnessed a cultural event that rivaled (and perhaps
surpassed) the global fervor The Beatles must have experienced - the introduction of Harry
Potter and the Deathly Hallows. In it, the last episode of the
Harry Potter saga was unveiled.
Jo Rowling successfully recasts the traditional myth of good conquering
evil in this closure to the series. While the ending is decidedly Christian in
nature with strong parallels to C.S. Lewis's Aslan character, it remains a
valuable narrative on agape love to all readers who hold hope for the human
race.
Harry is a christ, a bodhisattva, a buddha in
multiple senses whose story transcends religious dogma. Harry observes
serious flaws in those he loves dearly, and observes love and compassion in
those he has learned to despise. This realization becomes his trump card.
Harry does not fear death, rather, resigned to his fate, he faces it directly
while surrounded by the love of those who went before.
In the end, Harry calls on Tom Riddle to feel
remorse for his actions - for he knows what Tom will become if he doesn't seek
forgiveness. Harry's last spell is one of compassionate disarmament - and
Voldemort's last spell cast his own karmic fate.
While there is no
unification of Muggle and Magical worlds, there is an acceptance of
co-existence and self-determination of those worlds. Similarly there is a
distinct rejection of imperialism and objectification so desired by
Voldemort, Grindelwald and even Dumbledore himself. All houses of
Hogwarts ultimately collaborated in the overthrow of evil, and several
individuals previously deemed as "bad" were redeemed by their
actions, by Harry's forgiveness or both.
Thank you Jo for allowing
us to live in this world you imagined, and for preserving hopes and pitfalls
in pursuing a life well-lived.
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