With Harry Potter and the Philosopher's Stone (Bloomsbury, 1997), J.K. Rowling launched the Harry Potter series of fiction books. Although literary critics may view this series as little more than light entertainment, adults all across the world have found this series to be of unheard-of appeal. Underneath the surface of a tale about an orphaned child who becomes a wizard is a deeper, symbolically based narrative that has captivated the public's attention. The symbolism and significance of literature are examined by structuralist philosophy. This essay will demonstrate how the storyline, themes, characters, and symbols in Harry Potter reflect structuralism's conviction that broader forces, particularly sociological ones, shape human behavior (Mambrol, 2016).
Harry Potter's main character, Harry, and his uniqueness are at the heart of the story. The Dursleys are the callous relatives that force Harry to dwell under the stairs while preferring their indulgent kid. Harry is an orphan living with them. Harry discovers at the juvenile age of eleven that he is a wizard and that both of his parents were wizards who were killed by Voldemort. Nietzsche, a structuralist philosopher, argued that fate determines our fates, and that life is misery (Richter, 1988). Harry is undoubtedly suffering below the stairs, all by himself, poor, and surrounded by family members who view him as a burden. After that, a series of mysterious letters from an owl encouraging him to enroll at Hogwarts prompt him to move on and embrace his destiny. Even though Harry is unsure whether he is a wizard and doubts if he belongs at Hogwarts, a terrifying prophecy that he will slay Voldemort compels him to continue. One of the many themes of Harry Potter—that Harry is unique—has previously been discussed. To his Muggle-born family, he is an outcast, and at Hogwarts, he is the boy with the scar left by Voldemort, the lad of legend, which makes him stand out.
Common themes run through the entire series. Harry was the one to slay Voldemort, symbolizing Christ's victory over death, and there is a theme of good and evil that incorporates prophecy (Christ was predicted), the conflict between light (Harry) and darkness (Voldemort), and these elements. The concept of death is another major element. Numerous individuals in the novel pass away, including Harry's parents, allowing readers to experience the agony of death. Another prominent motif is love. When Harry's mother gives herself up to rescue the infant, Harry is spared.
The notion of friendship is also wonderful. At Hogwarts, Harry—who has never had a loving family—discovers a community of encouraging and welcoming peers. His instructors, notably instructors Dumbledore and McGonagall, provide him with excellent counsel; this may be another theme—that of wisdom vs falsehood. The dark personalities of Professor Snape and Draco Malfoy, who plays the deceiving force, are associated with the House of Slytherin. According to structuralists Chase, Fiedler, Hoffman, and Wheelright (Mambrol, 2016), myths, rituals, and folktales may revive a culture's lost spirituality. Perhaps for Harry Potter readers, these novels achieved just that. The goal of structuralism is not to interpret specific literary works. Instead, it focuses on how literature may be used to better understand wider societal processes. The symbols and characters of Harry Potter are replete with hidden meanings that may be decoded.
Ron, Hermoine, Draco, Professors Dumbledore, McGonagall, Snape, and Hagrid are some of Harry Potter's important characters. Ron Weasley, Harry's devoted buddy, is the youngest son of a big family and lives in poverty. He is the quiet child who is frequently "overlooked," therefore by being associated with Harry, he feels significant. If we adopt a structuralist interpretation, Ron's persona may stand in for the "blue collar" person who is trying to advance in society.
Despite coming from a "Muggle" household, Hermoine Granger is already polite and intelligent by the time she enrolls in Hogwarts. Hermoine's persona can be a representation of the intelligent or gifted who strive for perfection and want to please. She is a pleasant person who is constantly seeking ways to support the underdog (often Harry). According to a structuralist perspective, educated people, like educators, are better equipped to assist the underprivileged.
Harry's dark and cunning foe is a persona known as Draco Malfoy. He is ruthless and aggressive, and all he wants is for Voldemort to get rid of Harry. According to a structuralist view, Draco represents the narcissistic elite, the ruling class that will do anything to maintain its power and must succeed at all costs.
A well-known magician known as the hierophant, Professor Dumbledoor. Dumbeldoor is a euphemism for the priest, Shaman, medicine man, or wise elder. He may be portrayed by structuralism as the mystic or cleric who possesses spiritual abilities, is a force for good, and is privy to cosmic mysteries.
Professor McGonagall is a wise, elderly single woman who takes the younger generation under her wing and both corrects and inspires them to bring out the best in them. She is a spinster. She too functions as a bulwark in the community. She may be compared by structuralists to the matriarchs of society who keep families together by fostering a feeling of "tribe" where everyone is welcome.
Professor Severus Snape is a bright yet evil man who specializes in potions. People are tricked into doing things by potions, and Snape has a hint of deception about him; he shouldn't always be believed. Structuralism may compare him to scientists, professors, or medical professionals who have sold their souls. These are the scientists who have erred on the side of power yet are still largely moral.
Ruebus Hagrid is a lumbering, kind, yet streetwise half-giant, half-human who adores Harry and the creatures he enjoys collecting, including his pet dragon who burned his beard. He has a simple mind and has entire faith in Harry. Hagrid is a symbol for the kindness we all have for both people and animals. According to structuralists, Hagrid stands for those who help others, including teachers, nurses, physicians, and counselors.
Harry Potter utilized a ton of symbols, finally. Harry's scar serves as a striking, constant reminder of his individuality and his everlasting struggle with evil. Additionally, Harry possessed the ability to communicate in a tongue that snakes can only use; this was a sign that revealed Harry's shadow self. Harry's scar serves as a reminder that the hero must constantly be on guard against his "shadow self," or the dark side of his own personality. According to structuralist theory, Harry's scar stands for individuals in positions of authority, such as politicians, who have a duty to do right yet are vulnerable to corruption.
The Quidditch was a fun symbol. The flying brooms and buzzing Quidditch ball brought magic to life, a team sport like football. The significance? We can create magic and achieve great success when we work together. This, according to structuralism, is a message for democracy. People are creating a better society when they work together.
Harry was able to communicate with his past—his parents—and see his deepest wishes thanks to the enchanted mirror known as the Mirror of Erised. Harry was able to learn about self-efficacy with the use of this self-reflection technique. The Mirror represented a person's readiness to examine oneself objectively, taking into account both the past and the future. According to structuralists, The Mirror is equivalent to any group or person who aids in a person's moral growth and understanding, such as: Alcoholics Anonymous, psychotherapy, nonprofit organizations, and the like.
The Harry Potter books are entertaining, but I contend that they have also influenced how society views differences, the nature of good and evil, death, love, friendship, and the moral growth of civilization. The symbolism and meanings of Harry Potter shine and are relevant to our social structures when seen through the perspective of literary structuralism. Perhaps the literary critics ought to reevaluate the significance of this series' contribution.
Works Cited
Nietzsche, F. The Birth of Tragedy. In the Critical Tradition: Classic Texts and Contemporary Trends, 2nd ed., edited by David Richter. Boston: Bedford/St. Martin’s. 1988.
Rowling,
J.K. Harry Potter and the Philosopher’s Stone. 1997. Bloomsbury, London.
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