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THE ELEMENTS OF NEOMYTHOLOGISM IN THE HARRY POTTER
NOVEL SERIES BY J.K.ROWLING
Zayniddinova Maftuna Faxriddin qizi
National University of Uzbekistan named after Mirzo Ulugbek,
3rd year.
E-mail address: maftunazayniddinova9@gmail.com
Research advisor: Fayziyeva M. S.
Senior teacher, PhD
Abstract.
This article explores the mythological and folkloric roots that permeate J.K.
Rowling’s
Harry Potter
series, highlighting the author’s deep engagement with ancient
literary traditions across various cultures. By examining the origins of character names and
thematic elements, the article demonstrates how Rowling integrates motifs from Greek,
Roman, Norse, Celtic, Egyptian, and Indian mythology to enrich her fantasy world.
Characters such as Hermione Granger and Nagini are shown to emdiv attributes of their
mythological counterparts, while legendary figures like Merlin and Morgana anchor the
magical universe in well-known folklore. The study emphasizes that Rowling’s fusion of
ancient myths with contemporary storytelling not only enhances the depth and resonance
of her characters but also serves as a bridge between classical literature and modern fantasy.
Ultimately, this analysis underlines the timeless relevance of myth and its vital role in
shaping the narrative and symbolic structure of Rowling’s work.
Keywords:
mythology, folklore, Harry Potter, character, neomythologism.
Аннотация:
В этой статье исследуются мифологические и фольклорные корни
серии книг Джоан Роулинг о Гарри Поттере, подчеркивается глубокое знакомство
автора с древними литературными традициями различных культур. Исследуя
происхождение имен персонажей и тематических элементов, статья демонстрирует,
как Роулинг объединяет мотивы из греческой, римской, скандинавской, кельтской,
египетской и индийской мифологии, чтобы обогатить свой фантастический мир.
Такие персонажи, как Гермиона Грейнджер и Нагини, воплощают атрибуты своих
мифологических собратьев, в то время как легендарные личности, такие как Мерлин
и Моргана, закрепляют магическую вселенную в хорошо известном фольклоре. В
исследовании подчеркивается, что сочетание древних мифов Роулинг с современным
повествованием не только усиливает глубину и резонанс ее персонажей, но и служит
связующим звеном между классической литературой и современным фэнтези. В
конечном счете, этот анализ подчеркивает непреходящую актуальность мифа и его
жизненно важную роль в формировании культуры.
Ключевые слова:
мифология, фольклор, Гарри Поттер, персонаж,
неомифологизм.
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One of the most prominent figures English fantasy is, obviously, Joan Kathleen
Rowling. She is known as the only writer who became a billionaire by writing books. While
the work shows an unmatched level of creativity and a unique style of delivery, it also
contains a great deal of inspirations by various
mythological and folklore stories
of
several countries. And, as it is one of the main features of fantasy, the crumbs of ancient
literature are going to be discussed in the following chapter.
The first mention is Harry’s best friend, Hermione Jean Granger. Her name is taken
by Shakespeare's classic play
The Winter Tale,
from the queen Hermione of Sicily [1. 269-
346]. Shakespeare, in turn, took the name from the Ancient Greek mythology, the legend
of Troyan war, Hermione. She was the daughter of Helen of Troy and the King Menelaus
of Sparta. Her namesake was not that significant character in the
Odyssey
who is known
for her marriages and sending three ships after her runaway mother [2. 14]
,
but author chose
this name for her boss witch because it was unique and had classical ring to it. Rowling
said that Hermione’s parents chose this name after watching Shakespeare's romance
comedy
The Winter Tale
.
Even though the names are not directly mentioned, some charaters and scenes have
been inspired by one or the other tale in some way. Some of the characters that were
originally from different myth and tales include:
1.
Greek Mythology
Minerva McGonagall
- the strict Transfiguration teacher, the head of the Griffindor
house and a mother-like figure to Harry. Named after Minerva, the Roman counterpart of
Athena, the goddess of wisdom and strategic warfare. Like her namesake, McGonagall is
intelligent, wise, and a formidable leader.
Argus Filch
- janitor and guardian of the Hogwarts castle. Shares his name with Argus
Panoptes [3. 783], the many-eyed giant from Greek mythology who was a watchful
guardian and a servant of Hera, just like Filch himself: monitoring Hogwarts students and
cleaning up after them.
Draco Malfoy
- “Draco” means “dragon” in Latin and Greek. Dragons in mythology
symbolize power, greed, and danger - traits associated with Draco’s character.
Andromeda Tonks (née Black)
- Named after Andromeda, a princess in Greek
mythology who was chained to a rock as a sacrifice but later rescued by Perseus [4. 60–
69].
Narcissa Malfoy
- mother of Draco Malfoy, a trophy wife of the wealthy wizarding
family’s sole heir Lucious Malfoy. Inspired by
Narcissus
, who was obsessed with his own
beauty [5. 389–411].
2.
Roman Mythology
Remus Lupin
- Harry’s favourite DADA (Defence Against the Dark Arts) teacher.
His name references Romulus and Remus [6. 13], the legendary founders of Rome who
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were raised by a she-wolf. “Lupin” comes from
lupus
(Latin for “wolf”), alluding to his
werewolf condition.
Sirius Black
- Harry’s godfather. Named after Sirius, the brightest star in the night
sky, also known as the Dog Star, fitting his ability to transform into a black dog.
Regulus Arcturus Black
- “Regulus” means “little king” in Latin, and “Arcturus” is
another bright star in astronomy. Regulus Black, like his celestial namesake, is associated
with leadership and nobility.
3.
Norse Mythology
Fenrir Greyback.
Named after Fenrir [7. 148-150], the monstrous wolf in Norse
mythology who is destined to bring destruction during Ragnarok. Greyback is a feared
werewolf who catches the trio in
Deathly Hallows
and nearly brings the wizarding world
down, aligning with Fenrir’s role in myths.
Ragnarok in the Tale of the Three Brothers.
The
Deathly Hallows
tale has
similarities to Ragnarok [8. 259], the Norse end-of-the-world prophecy, in which three
brothers (akin to the Peverell brothers) face death in different ways.
4.
Celtic and Arthurean mythology
Although they are not the actual characters of the series, the main wizards of Arthurian
legends Merlin and Morgana show up often during the series of events. First we get to know
about them from the choco-frog cards, which children collect [9. 94]. Throughout the
books, we see Merlin quite a lot: the order named after him is the greatest achievement of
power in the wizarding society [9. 54] and his name is used as an exclamation, like
christians use Jesus in a similar way: “Merlin’s beard”, said Amos Diggory, his eyes
widening, “Harry Potter!” [9. 1007].
5.
Egyptian and Indian mythology.
Amos Diggory -
a loving and proud father of Cedric Diggory, Harry’s friend in
Hogwarts. The name is associated with Amon, the ancient Egyptian god which was seen as
the king of the gods [10. 20]. The god was seen as the champion and the helper of the poor
and the troubled. The character Amos diggory is also introduced as a very kind fella who
was ready to help anyone he can.
Nagini
- Voldemort’s snake companion. “Nagini” in Sanskrit means “female naga”,
referring to a female member of the Naga, a class of semi-divine cobra snakes in
Hinduism/Indian mythology [11.
423-539
]. Nagas can take human form if they want to
and are seen as a race of human-serpent or a human with snake’s blood. Voldemort’s
Nagini is known to have lived as a human/witch in her past life [12. 69].
In conclusion, J.K. Rowling’s
Harry Potter
series is a testament to the enduring power
of mythology and folklore in shaping modern fantasy literature. By weaving together
names, symbols, and themes from a wide array of cultural traditions - including Greek,
Roman, Norse, Celtic, Egyptian, and Indian myths - Rowling creates a rich,
multidimensional world that resonates with readers of all backgrounds. These mythological
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references not only deepen the characters and their arcs but also establish a connection
between the magical and the historical, the imaginative and the timeless. Through this blend
of the ancient and the modern, Rowling invites readers to explore universal truths about
heroism, identity, morality, and the human condition, proving that fantasy, far from being
mere escapism, is a powerful vehicle for cultural continuity and literary innovation.
References.
1.
William Shakespeare.
The Plays and Poems of William Shakespeare in Ten Volumes.
Eds. Samuel Johnson and George Steevens. 2nd ed. London, 1778, Vol. I.
2.
. Odyssey. Vol. 4.
3.
4.
Harold C. Knutson. Andromeda. In Brunel, Pierre (ed.). Companion to Literary Myths,
Heroes, and Archetypes.
, New York. 1992.
5.
. American Imago. 41 (4).
6.
Dio Cassius; Cary Earnest; Herbert Baldwin Foster.
. Cambridge,
MA 1914: Harvard University Press.
7.
Russell Poole, Ursula Dronke (Ed.)
. The Poetic Edda: Volume II: Mythological Poems.
Oxford University Press 1997.
8.
Rudolf Simek
. Dictionary of Northern Mythology. translated by Angela Hall.
. 2007.
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J.K.Rowling. Harry Potter series full edition. Bloomsbury, London. 32
nd
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10.
Vincent Arieh Tobin, Donald B. Redfort (ed.). The Essential Guide to Egyptian
Mythology. Oxford Guides. Berkley Books 2003.
11.
The student's English-Sanskrit dictionary
Delhi: Motilal Banarsidass.1997.
12.
J.K.Rowling. Fantastic Beasts: The Crimes of Grindelwald - The Original Screenplay,
Pottermore Limited. 2018.
