Wednesday 20 March 2019

9 Christianity and Harry Potter

9 Christianity and Harry Potter.

Most of the criticism of Harry Potter is from fundamentalist evangelical Christian groups, who believe the series' depiction of witchcraft is dangerous to children. Paul Hetrick, spokesman for Focus on the Family, an American Evangelical Christian group based in Colorado Springs, Colorado, outlined the reasons for his opposition to them: "[They contain] some powerful and valuable lessons about love and courage and the ultimate victory of good over evil; however, the positive messages are packaged in a medium – witchcraft – that is directly denounced in Scripture." Harry Potter has been the subject of at least six book burnings in the U.S.In 2002, Chick Publications produced a comic book tract titled "The Nervous Witch" that declared "the Potter books open a doorway that will put untold millions of kids into hell." In 2007 Jacqui Komschlies wrote an article in Christianity Today comparing Harry Potter to "rat poison mixed with orange soda," and said, "We're taking something deadly from our world and turning it into what some are calling 'merely a literary device.'"
A common belief among fundamentalist Christians is that Harry Potter promotes the religion of Wicca, and so keeping the books in public schools violates the separation of church and state in the United States.In her response to Laura Mallory's court case, education attorney Victoria Sweeny said that if schools were to remove all books containing reference to witches, they would have to ban Macbeth and Cinderella.Jeremiah Films, a Christian video company largely known for its Clinton Chroniclesrelease, also released a DVD entitled Harry Potter: Witchcraft Repackaged, which stated that "Harry's world says that drinking dead animal blood gives power, a satanic human sacrifice and Harry's powerful blood brings new life, demon possession is not spiritually dangerous, and that passing through fire, contacting the dead, and conversing with ghosts, others in the spirit world, and more, is normal and acceptable."
In 2001, Evangelical journalist Richard Abanes, who has written several books arguing against new religions and Mormonism, published a polemical text that made similar allegations to the video: Harry Potter and the Bible: The Menace Behind the Magick. Later editions incorporated comparisons and contrasts between Harry Potter and the more overtly Christian works of C. S. Lewis and J. R. R. Tolkien. In an interview with CBN.com, Abanes remarked that, "One of the easiest ways to know whether a fantasy book or film has real world magick in it is to just ask a simple question, 'Can my child find information in a library or bookstore that will enable them to replicate what they are seeing in the film or the book?' If you go to The Chronicles of Narnia and The Lord of the Rings what you see in, story magic and imagination, it is not real. You can't replicate it. But if you go to something like Harry Potter, you can find references to astrologyclairvoyance, and numerology. It takes seconds to go into a bookstore or library and get books on that and start investigating it, researching it, and doing it."
Abanes writes: "The classic passage dealing with divination, along with several other forms of occultism, is Deuteronomy 
There shall not be found among you any one that maketh his son or his daughter pass through the fire, or that useth divination, or an observer of times, or an enchanter, or a witch, or a charmer, or a consulter with familiar spirits, or a wizard, or a necromancer. For all that do these thing are an abomination unto the LORD.


8 Mythical and Magical creatures in Harry Potter

 8 Mythical and Magical creatures in Harry Potter.

There are quite a few mythical creatures featured within the Harry Potter series. From Hippogriffs to a Phoenix, the series has it all. 

For an in-depth list, author JK Rowling wrote the book Fantastic Beasts and Where To Find Them. This book is usually sold paired with Quidditch Through the Ages, and is well worth buying.



7 Moral and Philosophical reading of Harry Potter

7 Moral and Philosophical reading of Harry Potter

What is the meaning of life? It’s an age-old question theorized in a place one may not expect: within the pages of Harry Potter. A perspective on love and death are major themes in JK Rowling’s Harry Potter books. The popular book series urges us to accept our mortality so we can fully experience human virtues, particularly the virtue of love.
Every individual has a choice to accept or deny their mortality. This choice is exhibited through the actions of the main protagonists, Harry and Voldemort. The two had a very similar upbringings, both were brought up as orphans cut off from the wizarding world; both were poorly treated by their guardians and made out to be outcast by societal standards; both went to Hogwarts hoping to find a new and real place to call home; both find happiness at Hogwarts; both are intelligent and gifted wizards.
They were so similar that Harry feared he would become too much like Voldemort, who is portrayed as the evil villain within the world of wizardry.
The two had such similar upbringings yet are vastly different moral characters. They are ultimately in perfect moral contrast.

Understanding Choice

But let’s look at the conception of choice. More specifically how choices and actions define our moral character. Not social roles, wealth, ancestry — those don’t add anything to our moral character. They don’t make us more morally worthy. No, a choice is how we demonstrate who we really are. Choice and action are how we express our moral worth.
Take the choices made by Tom Riddle, aka Voldemort. During his youth, he makes decisions that ultimately leads him to become a dark wizard that the wizarding world comes to fear. Tom chooses to vent his anger and frustration at the world with vexation. He points this anger towards others.
Like Harry, Dumbledore plays the role of mentor to Tom. He tries to lead him in the right direction. Having him go to Hogwarts — pushing him towards a life of virtue instead of violence and hate. At first, Tom seemed to be going down the right path. He was a successful student, winning awards, and leadership positions — on the road to becoming a successful wizard. Yet, he finds himself down the path of dark magic, destroying anyone in his way to power. Why?
What ultimately marks the tipping point, the difference that draws one to a virtuous life and the other to wickedness?

Accepting Death

The contrast between Harry and Voldemort boils down to the different response both have in the face of the inevitable destiny for all of us: death. The choice to accept or deny death.
See, Voldemort doesn’t trust anyone, he doesn’t love anyone, his only real desire seems to be finding immortality. Once we understand his refusal to accept is inevitable death, we can then follow his path towards evil.
He’s obsessed with death. He sees death as a human weakness — something to be overcome by a mighty wizard. Something that nobody has been able to overcome — even powerful wizards. We see his obsession when he wants the Sorcerer’s stone for bringing him back to life and learning about the splitting of his soul in the Horcruxes.
Voldemort sees magic as a mere means to avoid death.
We learn that to succeed at becoming immortal, the splitting of the soul in the Horcruxes, you must commit a cruel act: murder. This symbolizes that to become immortal, you must lose your humanity, by doing the most inhumane thing: killing your fellow human.
The tragedy is in what Voldemort’s choice ultimately does to him. He sacrifices his humanity. In that sacrifice is his ability to love. For what? A chance at eternal existence. Empty everlasting life. Only to be feared, and never to be loved.
See, the entire serious is demonstrating the importance of accepting our ultimate death. Embrace it. Its part of life and leads to the ability to find the joys of life. Once we embrace our inevitable death — accept the finite time we have — we can then begin to experience life, recognize the importance of our choices and actions.
Without recognizing death, you can’t comprehend the meaning of life. Considering the most fundamental truth of our human condition is we are alive, and death is inevitable. This is a fundamental truth. This basic truth sets up the foundational understanding of morality. How our actions and choices relate to our knowledge of the finite time we live here.
Once we understand this truth, we can begin to understand the importance of our choices and their relation to life’s meaning. We recognize that we don’t have eternity, this gives meaning and urgency to our choices. We begin to realize that our decisions have consequences for ourselves and others — and the ability to understand how those choices affect those we love.
You see, we recognize that Voldemort does not love. He cares for himself and only himself. His denial of mortality leads him to deny any reason for love. Our mortality gives us a reason to love.
Love acts as a spark that provides that connection between two individuals. The understanding of our impending demise motivates us to seek out relationships with other individuals to share in the time we have here in the universe. Us mortal beings see relationships as essential to forming those life experiences while we still can.
Voldemort lacks the motivation to pursue those relationships and understand love because he doesn’t understand the concept of death itself.

History and Symbolism

Aristotle helps make this connection with his idea of friendship. Where a perfect friend is like a second self for Aristotle. For him, friendship is only possible between two virtuous people. Where you understand your own good, and you see that goodness in others — like a reflection. That’s how you experience goodness and virtue: with your fellow human being.
As Aristotle said: “in order to love, one must accept who one is” by rejecting death you are denying the reality of the existence of life and love. Voldemort looks at love and understands that by accepting the love he’s accepting death — a fundamental truth he’s unwilling to accept.
You see, with friendship — a good loving friendship — that reflection of virtue can help provide moral guidance and improvement.
We see this symbolized in the bible when Jesus experiences the death of his friend Lazarus, as a regular mortal being Jesus weeps his death. He experiences grief, sadness, the feeling of a lost loved one like you or I would — like a mere mortal.
But Jesus then raises his friend from the dead. You might be thinking doesn’t this contradict, in that Jesus himself is denying death. Well, I’m using a story example for its symbolism here. That symbolism is that love is more powerful than death. Love is the crucial point. You see, what do we need more than anything in life? To be loved. Without it, we feel empty.
We even see this in ancient mythology. The Gods, the immortal beings, were often childish and petty. They were often jealous of humans. You see humans have the conscious ability to know their own morality — comprehend that mortality — something immortal gods could never understand. With this knowledge came an understanding of love and kindness. Something the ancient Gods failed to follow because they could not understand death.

6 The theme of Love and Death Harry Potter


6 The theme of Love and Death Harry Potter.

This article focusses on the key theme’s of love, death and friendship in Harry Potter, mainly focussing on Harry Potter and the Deathly Hallows however it can be used as an overview for the whole series of books. In introducing the article Killinger states:
“After thousands of pages of harry Potter’s story, it is clear now that this has been J. K. Rowling’s theme from the beginning: love, friendship, sacrifice, and eventually life. For it is life that springs out of harry’s gift of him- self: the life of self-sacrifice, the life that defeats death, the life of ongoing friendship.”
Showing that the main aim of this article by John Killinger is the sacrifice of Harry himself and how this reflects on life and defeating death.  Killinger looks at these themes in the Harry Potter series from a Christian perspective as he is an Executive Minister as well as a Theologian at the Marble Collegiate Church in New York. However the article itself is rather informal as Killinger opens the article by saying “Friends. Amigos. Chums. Companions. Mates. Buddies.” If this article was written for educational purposes and for the use of scholars at the Marble Collegiate Church, terms such as “chums” and “buddies” wouldn’t be used to address the readership. The use of these informal terms would suggest that the article was written with a more informal purpose, possibly to inform those attending the Church of the connections between Christianity and Harry Potter, therefore making Christianity more accessible to those of a younger generation.
Killinger then reinforces his belief that the Harry Potter books relate greatly to the sacrifice of Christ by comparing quotes and scenes from the children’s books to those of events in the Bible. For example the article displays how Harry Potter is ‘the chosen one’, Killinger states:
“If there was any doubt about Harry’s being created in the image of Christ, it is surely dispelled in The DeaThly hallows volume, where he is repeatedly called ‘the Chosen one’.
The article also uses references to Jesus’ disciples via Ron Weasley, Hermione Grainger and Neville Longbottom. Killinger also likens Dumbledore and Professor McCongial to God and Sophia, God’s female counterpart. However for my research the most relevant part of the article occurs when Killinger suggests:
“Harry would eventually die like Christ. And indeed, in the final novel, he does. He dies voluntarily, as Christ did, literally presenting himself to Voldemort for execution. And then, as Christ did, he returns from death, this time to deal a mortal blow to the prince of darkness himself.”
Here is where Killinger makes his article relevant to the theme which I am researching, the theme of death. It is stated that Harry’s death at the end of the series is based upon the sacrifice Jesus made in order to save his friends, and the rest of humanity from sin. In Harry Potter and the Deathly Hallows Harry presents himself to Voldemort as a sacrifice in order to save his friends, students and teachers of Hogwarts and once again the rest of humanity from the dark ways of Voldemort. Death becomes the ultimate sacrifice.
The audience of this article is clearly Christians and those interested in how Christianity is relatable to contemporary art such as literature. However the easy access to the writing makes it accessible to anyone interested in the links between Harry Potter and the sacrifice, as I found this piece of writing by searching “Harry Potter and the theme of death”. No academic login or identification is required, therefore making the audience to be anyone who is interested, however, as said earlier, I do believe the main readership would be those who are interested in Christianity.
I believe this article to be useful during my research into how the theme of death is represented in the Potter books, as said before many links are made between scripture and the series of books. However in comparison to a literary criticism it is not as useful, no theories or theorists are explored in relation to Harry Potter and Christianity/the theme of death. Although outside of literary criticism this article could help the Christian readership deal with the idea that death is inevitable and that the main focusses in life, and the main focusses in the Harry Potter series, are those of love, life and friendship.

5 The theme of Choice and Chance Harry Potter

5 The theme of Choice and Chance Harry Potter.

The Harry Potter series is esteemed and loved for many reasons: the rich fantasy world, the beloved characters, the humor, the suspense-driven plots, the meaningful choices... and the way the plot fits together like a tightly constructed jigsaw puzzle. The endings of the Harry Potter novels are filled with "oh, yeah!" moments in which everything suddenly fits together in new and unexpected ways: the revelation of Tom Riddle as Voldemort in Harry Potter and the Chamber of Secrets, the unmasking of Peter Pettigrew in Harry Potter and the Prisoner of Azkaban,and the true identity of the Prince in Harry Potter and the Half-Blood Prince. At the end of each Potter novel a final resolution is reached and the loose ends are neatly tied up.
Except in Harry Potter and the Deathly Hallows.
Deathly Hallows includes a full resolution for many issues, and Rowling's post-publication interviews provided closure for more details, for example with the very welcome (to me) news that Dolores Umbridge was finally made to pay for her crimes.However, the climax of the Deathly Hallows ’ the final confrontation between Harry and Voldemort ’ seems to leave several loose ends and ambiguities.
The climax of Deathly Hallows occurs when Harry sets off to sacrifice himself and allows Voldemort to hit him with the Killing Curse. The Horcrux within Harry is destroyed, Harry survives through his blood connection with Voldemort, and Voldemort's power is broken as a result.
This is the way I read it, but it leaves many unanswered questions. What exactly is the role of Harry's final sacrifice, and how did it defeat Voldemort in the end? Is the outcome the result of Harry's choice, or is it due to the chance acquisition of the Elder Wand? Harry's self-sacrifice seems to be the critical point at which Voldemort's power is broken, but the story of the Elder Wand points towards a resolution in which the outcome is determined mainly by chance. The following is an attempt to identify the loose ends in this, the most important final piece of the Harry Potter puzzle, and give my view that choice, not chance determines the outcome. Perhaps Rowling will provide help at some future date!
The question of choice versus chance runs throughout the Harry Potter series. The question appears first at the end of Chamber of Secrets, when Riddle/Voldemort tells Harry that "it was merely a lucky chance that saved you" after he is told that Lily's sacrifice was the reason he had not been able to kill baby Harry. Dumbledore subsequently tells Harry that "it is our choices [¦] that show what we truly are, far more than our abilities."  Throughout the series, Voldemort continues to insist on chance as the cause of his downfall, right up to the bitter end. Dumbledore, by contrast, insists on the importance of personal choice in determining outcomes, rather than either chance or fate. Rowling has said that Dumbledore often speaks for her (and Voldemort certainly does not), so it seems that she would also believe in choice rather than chance. Although Harry Potter is a magical world in which fate (such as the house assignments made by a magical hat) at first appears to be dominant, Rowling is clear that hers is not a fate-dominated world. Professor Trelawney, the bumbling Divination teacher, almost always gets it wrong, and even though the world of Harry Potter contains magical prophecies, the prophecies come true only because people choose to act on them. Even the magical hat takes people's choices into account, as Harry reminds his son in the epilogue. Rowling herself has written that she does not believe in fate, but in "hard work and luck, and that the first often leads to the second."  Not fate, then ’ but is the outcome due to choice or chance in the end?
In piecing together the puzzle that is the conclusion of the series, it is first necessary to consider the history of the Elder Wand. The story of the Elder Wand (which is critical to Voldemort's downfall) provides the type of tightly-fitting resolution in which everything is explained. The Elder Wand is a uniquely powerful wand, but its special powers are only available to its true owner. For all others it is just a wand like any other. The Wand recognizes as its true owner only the one who has conquered its previous owner. Many Dark wizards have thought that it is necessary to kill the previous owner to gain the Elder Wand, but this is apparently not correct: Grindelwald, Dumbledore, Draco Malfoy and Harryall gained true possession of the Wand without killing the previous owner. According to legend, the past owners of the invincible Elder Wand met their downfall because they boasted about the Wand and thus attracted attention to it.Gregorovich made this mistake, leading Grindelwald to steal the Wand and defeat Gregorovich in the process. Dumbledore then gained the Wand by defeating Grindelwald.
Dumbledore was clever enough to keep his ownership of the Elder Wand secret and planned to die undefeated, so that the Wand would have no master and would no longer confer such deadly power upon an owner. Unfortunately, that "did not work as [he] intended."  Voldemort eventually found out that Dumbledore had the Elder Wand, and naturally thought that Snape, Dumbledore's killer, had become its master. However, Snape's murder of Dumbledore was arranged by Dumbledore and represented no defeat. In fact, it was Draco Malfoy ’ who had earlier disarmed Dumbledore ’ who had become the Wand's owner, though he never knew it and never actually possessed the Wand. Then, because Harry accidentally defeated Draco, Harry became the Wand's master. This lead to Voldemort's final downfall: Voldemort used the Elder Wand against Harry and was killed by the backfire of the spell as "Harry [¦] saw the Elder Wand fly high [¦] spinning through the air towards the master it would not kill." 
Voldemort's mistake in thinking that Snape rather than Draco was the master of the Wand may have been a mental lapse (overlooking Draco's disarming of Dumbledore), or it may have followed from Voldemort's Dark thinking that the Wand only recognizes the one who killed its previous owner. Even if he had known about Draco, it would not have mattered: Harry had already disarmed Draco when Voldemort found the Wand. Thus, in the end, the ownership of the Elder Wand was determined when Harry accidentally snatched Draco's wand out of his hands.

4 The discourse of Power and Politics in Harry Potter

4 The discourse of Power and Politics in Harry Potter

We take it for granted that if the State does something to harm our interests that we can often appeal against that decision somehow, whether to the department involved or to the courts.
State censorship & freedom of speechWe assume that we can vote for our representative in the national Parliament, that any time we are accused of a crime that the State will give us a fair hearing and that if we are found guilty the punishment will be reasonable. This is the norm across most of the world now, but it is not unfortunately the position for someone we all know very well. In JK Rowling’s famous books, the Ministry of Magic has an incredible amount of power with very few ways of ensuring it is used properly. This lack of control on the Ministry is arguably what makes it so easy to infiltrate and take over without the wizarding community realising or having an opportunity to protest, but is also a problem much earlier in the Harry Potter series. It is a good study in how not to organise a state, and it’s through using examples from the series that we can really begin to understand how important it is that executive and legislative power is controlled by and accountable to the people, and that there are limits on what power it can have over us.
““All right, Fudge is leaning on the Prophet…””
Image shows a pile of Daily Prophet newspapers, with the headline, 'Dumbledore's Dark Secrets Revealed.'
Rita Skeeter’s means of getting information would surely have been condemned by the Leveson Report.
The First Amendment of the USA, the Article 10 of the European Convention of Human Rights, Article 10 of the UK’s Human Rights Act, Article 5 of the German Basic Law… there’s hardly a constitution, human rights Act or international agreement on human rights that doesn’t fiercely protect freedom of expression. The ability to contribute to debate in society is the foundation of democracy, and protecting everybody’s right to publish their views is the surest way to make sure that the voices of minorities are heard. Obviously most states put some limits on this freedom for reasons of state security or to prevent the encouragement of crimes, but these limits are strictly monitored by constitutional or international courts – and of course the people. And political expression is the most heavily protected of all, since it is so incredibly important for democracy and for being able to criticise the government. It is actually impossible to bring any type of claim in the UK against somebody for something they said in Parliament, because the courts refuse to question anything said there.
Image shows the front cover of the Quibbler.
The Quibbler appears to be the Daily Prophet’s only real competition.
Contrast the Daily Prophet. For one, it seems to be the only newspaper anybody takes seriously, at least to begin with. This is a real problem for different political views being represented in the wizarding world and for ensuring there is proper scrutiny of government. Secondly, it seems to be under significant control from the Ministry of Magic throughout much of the books, especially when many wizards – including Fudge – doubt the truth of Harry and Dumbledore’s story that Voldemort has returned and are determined to ignore the signs that he is back. It makes publicly contradicting the Ministry very difficult if the one well-known paper is being censored – Harry is in fact only left with the Quibbler, which is then immediately banned from Hogwarts. There aren’t any of the protections of free speech we would expect from our own governments.
We see undue interference with Hogwarts too, during Umbridge’s time as High Inquisitor at Hogwarts. Of course the State has to ensure that the education of its young people is up to scratch, but it doesn’t justify many of the Educational Decrees passed that year- or the refusal to teach Harry and his fellow students how to combat Dark Magic. The UK might be worried about the government giving too much autonomy to free schools, but too much control is just as much of a problem.

Democracy & Accountability

Almost everyone in the wizarding world, and most of JK Rowling’s readers, agree that Dumbledore would have made an infinitely better Minister for Magic than Cornelius Fudge. After the mistake of appointing Fudge, you would hope that choosing the new Minister would be done carefully and by at least consulting the wizarding community – after all, Voldemort is back. And yet we are simply introduced to Scrimgeour, and equally to Thicknesse when Voldemort manages to infiltrate the Ministry. As there had never been an open election or even discussion about a new Minister it’s easy enough for Thicknesse simply to be presented as the new Minister without anyone daring to speak out.
Image shows Harry and Ron in the flying Ford Anglia.
Even Arthur Weasley, presented as a thoroughly moral character, uses his position in government to further his own ends. Film still from Harry Potter and the Chamber of Secrets (C. Columbus, 2002).
It’s this way in which the Ministry simply decides what it is going to do in near secrecy and then presents it to the people which makes it so easy for things to go wrong very quickly. There seem to be enough Muggle-born wizards and witches that the Muggle-Born Registration Committee would not have come into place so very easily if there had been a way to oppose or block the initiative publicly (remember, Voldemort is trying not to draw attention to the fact that he is running the Ministry so he does everything within the Ministry’s usual powers). Without a Parliament, which must approve legislation and can ask the Minister how his policies are working, it’s much harder to stop abhorrent policies being introduced. And without political parties, which can argue about new policies, even the simplest decision is out of the hands of the people – who’s to say that the wizarding population wouldn’t like Ali Bashir to be able to sell flying carpets in the UK? Instead legislation is left to the Ministry, and even individual members of specific Departments. We know Arthur Weasley wrote the Misuse of Muggle Artefacts Act, because he put in a loophole specifically designed to allow him to perform magic on his Ford Anglia.
Just as worrying is the complete secrecy surrounding the Department of Mysteries. Whatever we might think our governments wrongly keep secret in the name of national security, it doesn’t involve prophecies about us that we don’t have the right to see, instruments which can turn back time and brains in jars (hopefully!).
And of course, any discussion of accountability in the wizarding world has to take note of Lucius Malfoy’s influence over the Ministry – from Buckbeak’s trial to being given prime Quidditch World Cup tickets as a thank you for a charitable donation.  We have so many worries about lobbyists, political donations and those with a direct line to the President’s/ Prime Minister’s office in the real world that it shouldn’t be surprising that a Ministry with much less accountability has the same problems, but it is concerning all the same.

Due process

“‘Oh, so that’s why he wasn’t prosecuted for setting up all those regurgitating toilets! What an interesting insight into our justice system!’”
Image shows the Wizengamot.
The Wizengamot is deeply corrupt. Film still from Harry Potter and the Order of the Phoenix (D. Yates, 2007).
When the government makes a mistake or acts illegally, the first point of call is the courts. And we also depend upon the courts to dispense criminal justice fairly and consistently. In a significant part of the world at least, we know we can depend upon the impartiality of the courts in enforcing the law against both us and the government. And yet in Harry Potter’s world we see that even if there is a judiciary – the Wizengamot – the proceedings are presided over by the Minister for Magic. This violates the hallowed principle of the separation of powers – that the three branches of the State (judiciary, legislature, executive) should have separate roles and be able to hold one another to account.
We also see instances where ‘justice’ isn’t exactly consistent. Harry receives a warning letter for a spell being performed by Dobby in the Dursleys’ house, is not even told off for blowing up his aunt and is temporarily expelled for performing defensive magic. We also see inconsistent law enforcement when Willy Widdershins escapes prosecution for turning in the DA. Whilst we might allow plea bargains with gang members in the real world, and so Karkaroff’s release makes some sense, turning spy for the Ministry on a completely different issue is somewhat different and much less justified because it’s irrelevant to his crime.

3 Confronting reality by reading fantasy

3 Confronting reality by reading fantasy

It was a quarter of a century ago that Bruno Bettelheim, the child psychologist, accounted for what may be the most impressive and otherwise mysterious publishing phenomenon of the season: the fact that the Harry Potter mysteries by the previously unknown J. K. Rowling are turning out to be among the best-selling books in history.
In his classic study of children's literature, ''The Uses of Enchantment,'' Bettelheim denigrated most children's books as mere entertainments, lacking in psychological meaning. The great exception to this rule was fairy tales, to which Bettelheim attributed something close to magical power. ''More can be learned from them about the inner problems of human beings,'' he wrote, ''and of the right solutions to their predicaments in any society than from any other type of story within a child's comprehension.''
That was quite a statement at the time, applied as it was to a form of literature that depicted fantastical worlds, seemed unnecessarily scary, depended on unrealistically happy endings and had very little claim on high literary culture.
But Bettelheim's main idea was that children live with greater terrors than most adults can understand, and fairy tales both give uncanny expression to that terror and show a way to a better future. The same can be said of the Harry Potter books, and that could well be the reason why the three published so far occupy the first, second and third places on the New York Times hardcover fiction best-seller list, something that no other author in living memory has achieved before.
Ms. Rowling's books are not fairy tales in the conventional Grimm Brothers sense, and they are not as good either. They lack the primal, brutal terror of the Grimm stories, and it was the expression given to that terror that was at the heart of their emotional usefulness for Bettelheim. The Harry Potter stories are light, modern tales, Indiana Jones-like fantasies for children.
Continue reading the main story
When I began to read them, having heard how great they were from my several addicted nephews, it was hard for me to understand what all the sensation was about. Conservative Christians have criticized the Harry Potter books, saying they lead their young readers in the direction of paganism. For me the problem was that Ms. Rowling's world of sorcerers, gravity-defying broomsticks, spells, potions, unicorns and centaurs, goblins, trolls, three-headed dogs and other monstrous and magical creations seemed so divorced from any reality as to kill off the narrative excitement. But whereas adults see in Harry Potter a fairly conventional supernatural adventure story -- one not nearly as brilliant or literary as, say, ''The Hobbit'' or the ''Alice in Wonderland'' books -- something more fundamental evidently reverberates in the minds of children, something as powerful as the witch of ''Hansel and Gretel.'' And read from this point of view, the Harry Potter books do indeed contain many of the elements that Bettelheim identified in the Grimm tales. Ms. Rowling's success in this sense may show the continued power of the form and the archetypes that those long-ago Germans perfected.
The key here is, not surprisingly, the hero, Harry himself, who is 10 years old in Ms. Rowling's first book. One of the first things we learn about him is that his parents died when he was an infant; he is being raised by an aunt and uncle who are dumb, stiff and uncomprehending and who treat him with stingy cruelty. Following Bettelheim's model, this would be very similar to the archetype of the evil stepmother as a representative of the ''bad'' parent who frighteningly and uncontrollably replaces the ''good'' parent. What children see at the outset in the Harry Potter books is a lonely boy being raised by evil people, and all parents seem evil to their children at least some of the time.
Unknown to Harry is that his real mother and father, who died when he was a baby, were important sorcerers who were killed by a certain Voldemort, the evil genius of this story, who has been trying to seize power for eons. Here Ms. Rowling's adventure takes on a primal quality that links it with many classic tales, from ''Great Expectations'' to ''Star Wars'': there are a family secret and a family struggle passed down from one generation to another, and a lot of meaning comes when the true nature of that struggle is revealed.
What is important in the fairy tale scheme is that Harry's situation contains many of the inchoate fears of childhood, not just the parental abandonment fear. Harry is skinny and weak and wears glasses patched together with tape, and in this sense he seems to stand in for the vulnerability, the powerlessness that children feel. He lives in a cupboard under the stairs, since his spoiled cousin has both of the children's bedrooms upstairs, so in a sense he is expelled, like Hansel and Gretel, even from the evil home he has.
Most conspicuously, Harry is picked on by his cousin, Dudley, the son of Harry's guardians, who treat Dudley with blatant favoritism. There could hardly be a stronger echo of another common fairy tale theme, exemplified by Cinderella's evil stepsisters.
To Bettelheim the conflict between Cinderella and her stepsisters represents the intense sibling rivalries that children feel and the fears that these rivalries give rise to. Fairy tales, with their eventual happy endings, point a way out for the child who otherwise, Bettelheim said, has no hope ''that he will be rescued, that those who he is convinced despise him and have power over him will come to recognize his superiority.''
In the early stages of Harry's story the disadvantages he feels are partly recapitulated outside his home. After he learns that he is somebody, the son of famous sorcerers, Harry goes off to Hogwart's School of Witchcraft and Wizardry. There he discovers that other students all seem to know more than he does, that they are insiders while he is the quintessential outsider.
One boy in particular is the head of a small gang that picks on him. A teacher seems intensely and for no reason to dislike him. But gradually Harry emerges as an independent figure whose talents and skills are widely recognized. The rest of Ms. Rowling's first volume shows Harry assuming his true identity, gaining the courage to overcome obstacles and winning a battle against the adversaries of his ancestors.


Web Resources
1) 
https://mind-hacks.wonderhowto.com/how-to/reading-fantasy-books-could-make-you-better-person-0158479/

2) https://www.nytimes.com/1999/11/30/books/critic-s-notebook-the-reality-of-the-fantasy-in-the-harry-potter-stories.html


3) https://www.nytimes.com/1999/11/30/books/critic-s-notebook-the-reality-of-the-fantasy-in-the-harry-potter-stories.html

2 Discourse on the purity of Blood and Harry Potter


2 Discourse on the purity of Blood and Harry Potter

The term 'pure-blood' refers to a family or individual without Muggle (non-magic) blood. The concept is generally associated with Salazar Slytherin, one of the four founders of Hogwarts School of Witchcraft and Wizardry, whose aversion to teaching anybody of Muggle parentage eventually led to a breach with his three fellow founders, and his resignation from the school.WHERE THE TERM 'PURE-BLOOD' ORIGINATED FROM
Pure-blood is the term for wizards and witches who claim to have no Muggle or Muggle-borns in their family tree; however, when traced back far enough, nearly every family tree had some non-magical ancestors.
By 1995, the number of pure-blood families were declining. Most pure-blood families were related by then in an effort, by some, to retain their status by marrying only other pure-blood families, but it had eventually led to inbreeding. While some families, such as the Malfoys, had allowed for marrying half-bloods, others such as the GauntsLestranges, and Blacks, required their family to only marry pure-blood individuals, or those with no Muggle or Muggle-born ancestors. This refusal of marrying Muggles or Muggle-borns had led to difficulty in propagating their families.
The pure-blood families are all interrelated. If you’re only going to let your sons and daughters marry pure-bloods, your choice is very limited; there are hardly any of us left.SIRIUS BLACK'S OVERVIEW OF BLOOD PURITY
Pure-blood individuals are people who have no Muggles or Muggle-borns as parents or grandparents. Traditionalist pure-bloods like to keep the generations "pure" by breeding with other pure-bloods and are generally the ones who use the term 'Mudblood', a term considered derogatory by the wizarding world. Families of pure-blood status are often avoiding marrying their heirs off to Muggle-Borns and Half-Bloods, believing that the next generation could lose their capability to perform magic. Mudblood means Muggle-born, suggesting they have dirty blood and thus have no right to be a witch/wizard. Pure-bloods who do not share these prejudices are considered "blood traitors" by the ones that do.
In the 1930s, a wizard, commonly believed to be Cantankerus Nott, published a Pure-Blood Directory featuring twenty-eight families he believed to be pure-blooded, though many objected to this designation.
So-called pure-blood families maintain their alleged purity by disowning, banishing, or lying about Muggles or Muggle-borns on their family trees. Then they attempt to foist their hypocrisy upon the rest of us by asking us to ban works dealing with the truths they deny. There is not a witch or wizard in existence whose blood has not mingled with that of Muggles...

Black Family Tapestry
Some pure-blood families can trace their pure-blood status through many generations of magical ancestors and deny ever having any Muggles within the family, such as the House of Black, the motto of which is "Toujours pur", meaning "Always (or Still) Pure". However, the truth is that if they ever did exist in the past, true pure-blood wizards and witches do not exist today. They merely erase SquibsMuggle-borns, and Muggles from their family trees.
Half-bloods who consider blood purity very important also hide their Muggle ancestry, clinging to the magical heritage they do have.Many Death Eaters are believed to have done this, and their leader himself took on the name Lord Voldemort out of a desire to not keep the name of his "filthy Muggle father".It is likely that Voldemort told his followers he was a pure-blood, or that most of the Death Eaters knew better than to question Riddle's blood status, given the reaction of Bellatrix Lestrange to Harry's "accusation" that he was in fact a half-blood.

Web Resources

1)https://en.m.wikibooks.org/wiki/Muggles%27_Guide_to_Harry_Potter/Magic/Half-blood
2) https://harrypotter.fandom.com/wiki/Pure-blood
3) 
https://dharabarayjada.blogspot.com/2019/03/discourse-on-purity-of-blood-in-harry.html?m=1

2.1

  2.1 it's not only words wps office from Goswami Mahirpari