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Harry Potter and the Classical World: Greek and Roman Allusions in J.K. Rowling's Modern Epic
J.K. Rowling has drawn deeply from classical sources to inform and color her Harry Potter novels, with allusions ranging from the obvious to the obscure. "Fluffy," the vicious three-headed dog in Harry Potter and the Sorcerer's Stone , is clearly a repackaging of Cerberus, the hellhound of Greek and Roman mythology. But the significance of Rowling's quotation from Aeschylus at the front of Harry Potter and the Deathly Hallows is a matter of speculation. Her use of classical material is often presented with irony and humor. This extensive analysis of the Harry Potter series examines Rowling's wide range of allusion to classical characters and themes and her varied use of classical languages. Chapters discuss Harry and Narcissus, Dumbledore's many classical predecessors, Lord Voldemort's likeness to mythical figures, and magic in Harry Potter and classical antiquity--among many topics.
324 pages, Paperback
First published July 6, 2015
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Displaying 1 - 4 of 4 reviews
March 10, 2016
Given my affection for the Harry Potter series and for Greek and Roman literature, I expected to love this. Classical allusions are ubiquitous in the HP series, and I was looking forward to having some things I'd missed pointed out to me. Sigh. The best I can say is that my utter disgust during the first half shifted to mild interest in the second. And the cover is really nice. And the bibliography is excellent!
Richard A. Spencer is a professor at Appalachian State University who, according to the Acknowledgments and Preface, teaches courses in biblical studies, Latin, classical mythology, and Greek. And, he says, “For three years I offered a course on classical culture and classical mythology in Harry Potter at Appalachian State University.” I assume he uses this book, or drafts of it, as a class text (“Their (his students) enthusiasm for the appearance of this volume has provided me with constant motivation to bring it to completion.”), and I can see how, in a classroom setting, some of the claims he makes would be fine jumping-off points for animated discussions. His assertion that Harry Potter is an Odysseus figure, for instance, had me quite animated. In fact, my family found my animation about various of his claims becoming rather tiresome, and they were grateful when I got past the more outrageous first half of the book.
I'll let the author explain his set up.
I stopped wanting to throw the book across the room at the chapters dealing “with the function and craft of magic” (Chapter 8, pg 180), so I guess it was really only the last third that I found tolerable. But he leaves out mention of the nice little Appendix that he provides, on “'Ring Composition' in Classical Sources and in Harry Potter.” Plus that fine bibliography I mentioned.
“So,” you are saying. “You liked the cover, you liked the bibliography. How, exactly, did Mr. Spencer go wrong between those two wins?”
Actually, we got off to a rough start when, in Chapter 1, he claimed that
Nope. J.K. Rowling did not write folktales. Her “Tales of Beedle the Bard,” which features in HP and the Deathly Hallows, has a folktale-like quality, but the HP stories are not folktales. My confidence in the author was shaken early on.
Then there was the idea of HP as a “quest story.” I was willing to go along with this, but then he explained that
Again, nope. I hardly know where to start, but... HP is not in any way even remotely like Odysseus. Odysseus is a compulsive liar, is always on the lookout for his own glory and profit, and certainly would never sacrifice himself for his friends. And Harry's years at Hogwarts as a “quest”? Not unless every kids who goes to school, or adult who goes to work, etc. is on a quest. At which point the word “quest” has become meaningless.
The next part of his argument for HP being a Homeric-style epic is that “the quest does appear to introduce itself to us in the epic fashion, by jumping into the story “in the middle (of) things.” He then spends some time talking about how the Iliad opens in the ninth year of the Trojan War, then says,
Etc. Okay. Where to begin? How Harry stands head and shoulders above all other characters when he is physically and personally undistinguished seems a little mysterious. And how can we say that the story begins “in medias res” when it begins when Harry is a year old? That seems pretty early on in things to me. And so on. It would take a lot more convincing than Spencer offers for me to see HP as an epic hero, or the stories (elevated language? Epithets? Invocation of a muse?) as an epic.
Spencer continues comparing Harry to Odysseus, citing the fact that they both have scars, ignoring that Odysseus got his from a boar, not his nemesis, Poseidon, and that Odysseus's scar is the key to proving his identity, while Harry's scar forms a connection with his enemy, Voldemort, and is never needed for proof of who he is. Then the argument gets even more stretched when Spencer compares Odysseus's ploy to hear the song of the Sirens with Harry's experience with the veela at the Quidditch World Cup match. This would work a whole lot better if Harry actually Did listen to the veela singing, which is the point of the Odysseus story, instead of, as Mr. Weasley advises, sticking his fingers in his ears.
The next chapter, “Harry Potter as Savior” is more of the same, only with HP compared with Hercules, then Achilles. The arguments continue to be weak. Another issue with this book is that the writing, while generally serviceable, is plodding, at best. Often the style is about what I would expect from a competent ninth grader. This, for instance, is from Chapter II, in a section on friendships in classical mythology.
This is followed by a chapter of HP and Narcissus, one on Albus Dumbledore and Zeus, and one on Voldemort and Cronus/Hades/Medea/Prometheus! All half-baked, if that. (Voldemort and Prometheus? Heck, I've read it and I still have no idea how he got there!) In the chapter on “Other Major Characters with Classical Kin” we get such mind-boggling comparisons as Hermione and Helen of Troy (because Hermione has that time turner and there is a legend that Helen was at two places at once because it was really a phantom of Helen that went to Troy) and Hagrid as Hermes.
Chapter VII, Cast of Supporting Characters, is mix of a little random but mildly interesting trivia and a lot of completely pointless filler. This is one of the longer chapters, at sixty pages, and it consists of an alphabetical listing of minor characters from the HP books with brief discussions of how they relate to classical literature. The links are often very tenuous. For example
I found Chapter VIII, “The Two Worlds of Magic: Beings, Materials, and Resources” (I added the Oxford comma), which is an odd collection of stories and information about Greek/Roman magical traditions, to be the best the book has to offer. He talks about things like birds, wands, blood, magical numbers, etc., and there were a few interesting bits. Only a few, unfortunately.
Anyway, I've gone on quite long enough for you to get the idea. I can imagine that this might possibly be of interest to a HP crazy middle school or junior high school student, if only because they might get a kick out of calling the author out on his outrageous claims (Ginny Weasley as a Persephone character? You mean, Voldemort wanted to make her Queen of the Death Eaters? Really?). Otherwise I have a hard time imagining who would actually enjoy this. But it's got a pretty cover!
I received this book from LibraryThing through their Early Reviewers program with the understanding that the content of my review would not affect my likelihood of receiving books through the program in the future. Many thanks to McFarland & Company, Inc. Publishers and LibraryThing!
Richard A. Spencer is a professor at Appalachian State University who, according to the Acknowledgments and Preface, teaches courses in biblical studies, Latin, classical mythology, and Greek. And, he says, “For three years I offered a course on classical culture and classical mythology in Harry Potter at Appalachian State University.” I assume he uses this book, or drafts of it, as a class text (“Their (his students) enthusiasm for the appearance of this volume has provided me with constant motivation to bring it to completion.”), and I can see how, in a classroom setting, some of the claims he makes would be fine jumping-off points for animated discussions. His assertion that Harry Potter is an Odysseus figure, for instance, had me quite animated. In fact, my family found my animation about various of his claims becoming rather tiresome, and they were grateful when I got past the more outrageous first half of the book.
I'll let the author explain his set up.
“In the first chapters, we consider the over-arching type of hero story which is at work (the quest story), the principal types of hero which are used to create the character Harry Potter (Seeker and Savior), and the main figures whose roles offer the most frequent echoes of antiquity (Harry, Dumbledore, and Voldemort). Next, we turn to other important characters who present suggestive classical connections (Draco Malfoy, Ginny Weasley, et al.). Then, we examine a number of other supporting characters who have linguistic or typological predecessors in the Greek and Roman world. The two remaining chapters deal with the function and craft of magic which is common to the classical world and the Wizarding world, and Rowling's various uses of the classical language.”
I stopped wanting to throw the book across the room at the chapters dealing “with the function and craft of magic” (Chapter 8, pg 180), so I guess it was really only the last third that I found tolerable. But he leaves out mention of the nice little Appendix that he provides, on “'Ring Composition' in Classical Sources and in Harry Potter.” Plus that fine bibliography I mentioned.
“So,” you are saying. “You liked the cover, you liked the bibliography. How, exactly, did Mr. Spencer go wrong between those two wins?”
Actually, we got off to a rough start when, in Chapter 1, he claimed that
“The Harry Potter stories belong to the type of traditional material known as “folktales,” stories about the adventures of a person who represents the common people, but whose ingenuity and daring in the face of extraordinary trials – often involving fantastic beasts or enormous odds – make his stories worthy to be passed along to teach others about bravery, character, and intellect. More specifically, the Potter stories are folktales of the “quest” type.”
Nope. J.K. Rowling did not write folktales. Her “Tales of Beedle the Bard,” which features in HP and the Deathly Hallows, has a folktale-like quality, but the HP stories are not folktales. My confidence in the author was shaken early on.
Then there was the idea of HP as a “quest story.” I was willing to go along with this, but then he explained that
“The classic model of quest stories in mythology is Homer's Odyssey, the tale of Odysseus's ten-year-long journey home to his kingdom in Ithaca after the Trojan War. Harry is comparable to Odysseus in several ways. First, Odysseus has been away from his rightful kingdom for ten years during the Trojan War. Harry endures ten years of agony with the Dursleys before he can begin to seek his rightful home, place, and destiny...”
Again, nope. I hardly know where to start, but... HP is not in any way even remotely like Odysseus. Odysseus is a compulsive liar, is always on the lookout for his own glory and profit, and certainly would never sacrifice himself for his friends. And Harry's years at Hogwarts as a “quest”? Not unless every kids who goes to school, or adult who goes to work, etc. is on a quest. At which point the word “quest” has become meaningless.
The next part of his argument for HP being a Homeric-style epic is that “the quest does appear to introduce itself to us in the epic fashion, by jumping into the story “in the middle (of) things.” He then spends some time talking about how the Iliad opens in the ninth year of the Trojan War, then says,
”Rowling also adds standard components of classical epic to the novels. The canvas on which the story is presented is grand, including the entire wizarding world and eventually, the entire Muggle world. The hero, as The Boy Who Lived, the most famous of all wizards, is head and shoulders above all other characters (though humanized and made accessible by his rather undistinguished physical and personal characteristics). In his quest, Harry undergoes a number of separate dangerous and trying episodes which require exceptional courage and commitment to a grand goal. Supernatural powers affect, assist, and impede some of the characters and their actions. The story beings “in medias res.” There are encounters with the dead. The hero has to undergo journeys into and out of an “Underworld.”...”
Etc. Okay. Where to begin? How Harry stands head and shoulders above all other characters when he is physically and personally undistinguished seems a little mysterious. And how can we say that the story begins “in medias res” when it begins when Harry is a year old? That seems pretty early on in things to me. And so on. It would take a lot more convincing than Spencer offers for me to see HP as an epic hero, or the stories (elevated language? Epithets? Invocation of a muse?) as an epic.
Spencer continues comparing Harry to Odysseus, citing the fact that they both have scars, ignoring that Odysseus got his from a boar, not his nemesis, Poseidon, and that Odysseus's scar is the key to proving his identity, while Harry's scar forms a connection with his enemy, Voldemort, and is never needed for proof of who he is. Then the argument gets even more stretched when Spencer compares Odysseus's ploy to hear the song of the Sirens with Harry's experience with the veela at the Quidditch World Cup match. This would work a whole lot better if Harry actually Did listen to the veela singing, which is the point of the Odysseus story, instead of, as Mr. Weasley advises, sticking his fingers in his ears.
The next chapter, “Harry Potter as Savior” is more of the same, only with HP compared with Hercules, then Achilles. The arguments continue to be weak. Another issue with this book is that the writing, while generally serviceable, is plodding, at best. Often the style is about what I would expect from a competent ninth grader. This, for instance, is from Chapter II, in a section on friendships in classical mythology.
”These two legendary kings (Theseus and Pirithous) make an agreement to help each other obtain an appropriate wife. They abduct young Helen of Sparta for Theseus of Athens, who eventually loses her when she returns to her home. Then, they go to the Underworld to get Persephone, queen on the Hades, to be the bride of the Lapith king, Pirithous. The companions are caught and forced to sit in the Chair of Forgetfulness. Heracles ventures to Hades to rescue them. He is able to secure the release of Theseus, but has to leave Pirithous there forever. The extent to which the kings went for each other, even risking their lives, has made their friendship a timeless tale.”
This is followed by a chapter of HP and Narcissus, one on Albus Dumbledore and Zeus, and one on Voldemort and Cronus/Hades/Medea/Prometheus! All half-baked, if that. (Voldemort and Prometheus? Heck, I've read it and I still have no idea how he got there!) In the chapter on “Other Major Characters with Classical Kin” we get such mind-boggling comparisons as Hermione and Helen of Troy (because Hermione has that time turner and there is a legend that Helen was at two places at once because it was really a phantom of Helen that went to Troy) and Hagrid as Hermes.
Chapter VII, Cast of Supporting Characters, is mix of a little random but mildly interesting trivia and a lot of completely pointless filler. This is one of the longer chapters, at sixty pages, and it consists of an alphabetical listing of minor characters from the HP books with brief discussions of how they relate to classical literature. The links are often very tenuous. For example
Agatha Timms: A witch who, during the Quidditch World Cup tournament, makes a heavy bet with Ludo Bagman on the outcome of the games. The wager is half of the shares in her eel farm. Nothing else is known of her in the novels; but her name derives from a Greek adjective [agathos, agathe, agathon], which means “good, noble, gentle,” or “well-born.” How curious it is that the entrepreneur of eels, and a gambling woman to boot, has such a refined name as “Agatha,” “the noble woman.””
I found Chapter VIII, “The Two Worlds of Magic: Beings, Materials, and Resources” (I added the Oxford comma), which is an odd collection of stories and information about Greek/Roman magical traditions, to be the best the book has to offer. He talks about things like birds, wands, blood, magical numbers, etc., and there were a few interesting bits. Only a few, unfortunately.
Anyway, I've gone on quite long enough for you to get the idea. I can imagine that this might possibly be of interest to a HP crazy middle school or junior high school student, if only because they might get a kick out of calling the author out on his outrageous claims (Ginny Weasley as a Persephone character? You mean, Voldemort wanted to make her Queen of the Death Eaters? Really?). Otherwise I have a hard time imagining who would actually enjoy this. But it's got a pretty cover!
I received this book from LibraryThing through their Early Reviewers program with the understanding that the content of my review would not affect my likelihood of receiving books through the program in the future. Many thanks to McFarland & Company, Inc. Publishers and LibraryThing!
April 7, 2016
If you're at all familiar with Harry Potter and are interested in the Greeks and Romans, then chances are something in this book will make you think, "Huh, that's cool." Spencer makes some interesting comparisons (although some are a bit of a stretch), and covers a wide breadth of topics. I particularly enjoyed the names section—it's yet more proof that J.K. Rowling really did her research when she wrote the Harry Potter books.
However, at times the book felt like it had both too much information and not enough. Often, Spencer would bring up a theory and, rather than expounding on it, he would just list the places in the HP series where it occurs. (And if you're at all familiar with literary theory, don't bother reading the intro—just a bunch of stuff you already know.)
Think of this book as a condensed research tool to enhance your Harry Potter reading experience. If you want to learn the Latin root of a spell or browse through some of the literary heroes people are comparing Harry Potter to, then this is a good place to start.
However, at times the book felt like it had both too much information and not enough. Often, Spencer would bring up a theory and, rather than expounding on it, he would just list the places in the HP series where it occurs. (And if you're at all familiar with literary theory, don't bother reading the intro—just a bunch of stuff you already know.)
Think of this book as a condensed research tool to enhance your Harry Potter reading experience. If you want to learn the Latin root of a spell or browse through some of the literary heroes people are comparing Harry Potter to, then this is a good place to start.
May 8, 2016
Now I need to go back and reread the series with bullfinch's mythology at my side.
April 26, 2017
The book gives a comprehensive overview of all the classical themes, motifs, and allusions in the Harry Potter series. However, it can be quite repetitive when reading from cover to cover as it was written so every chapter can stand on its own.
Displaying 1 - 4 of 4 reviews