Relocating the Renaissance in Rowling’s "Harry Potter"

Ever since the publication of Harry Potter and the philosopher’s stone in 1997, Rowling's books are being subjected to a lot of speculations, controversies and criticisms. But it is to her credit and literary merit that Harry Potter books are the best sellers today and perhaps the most popular child fiction. Rowling chooses to write upon the conventional theme of children's literature- the battle between good and evil, and the ultimate triumph of good overcoming all adverse situations of life, but in an unconventional way. The world of fantasy on which the story is being built upon has been minutely designed by Rowling, by drawing upon references from ancient Greek and Roman myths, and the Renaissance traditions. Incorporating the work of several 15th and 16th century thinkers, the seven part series examines important ethical topics such as the desire for infinite knowledge, the effects of prejudice, and the responsibility that comes with power. Unlike other works of fantasy, Harry Potter contains graver subjects, under a thinly veiled guise of a child's fiction, and has its roots in renaissance magic, science and medicine. It has thus transcended the boundaries of ‘Child Fiction’ and is being widely read today by children and adults alike.

From the very inception of the story, Rowling harps onto the various elements of renaissance beliefs. Book I deals with Harry and Lord Voldemort’s quest for the Philosopher’s Stone, which supposedly turns all metals into Gold and produces an elixir for eternal life. The philosopher’s stone concept is an old one and dates back to the 14^th and 15^th century. Rowling even incorporates the character of Nicholas Flamel in the story, who is a renaissance sceptic, scholar and scribe, and who supposedly the creator of this magical stone.

Lord Voldemort, the antagonist of the series, is projected by Rowling as a renaissance overreacher, who launches on a quest for infinite knowledge and eternal life, but brings about his own damnation, just as Marlowe’s character ‘Dr. Faustus’. Like Faustus, Voldemort’s chief character flaw is that he wants limits of knowledge and life to be expanded beyond what is reasonable. In Rowling’s words, he has “pushed the boundaries of magic farther than they had ever before”. The author portrays him as a meritorious student that Hogwarts has ever seen. Voldemort’s pathetic childhood may arouse sympathy in us, but unlike Faustus, he cannot be recognized as a tragic hero, as the ‘hero’ tag is generally being associated with Potter. In this regard, Voldemort can also be compared to Milton’s ‘Satan’, who inspite of possessing enormous skills and qualities, indulge in mean and diabolic act, and experiences a fall from grace as an acclaimed scholar to a depraved personality. Just as Satan went against his authority, God, aiming to secure the throne of heaven; Voldemort also revolts against the ministry of magic, with the aim of becoming the sole dictator of the wizarding world, facing the similar kind of doom that Satan faced. Over the twelve books of Paradise lost, Milton paints the gradual deflation and degradation of Satan- from the brightest archangel ‘Lucifer’ to a ‘serpent’ in book XII, who is made to ‘crawl on his belly’. Voldemort also changes throughout the books- first being a handsome and perfect man, then slowly and gradually becoming more like a serpent as his soul gets fragmented. In Milton’s manner Rowling traces the degradation of Voldemort, from a brilliant young pupil, Tom Riddle, to a perilous dark wizard, Lord Voldemort. The ‘death eaters’ in the poem are portrayed in the manner of the ‘fallen angels’- they are duped by the false logic of Voldemort and continues to suffer in a similar manner. Therefore, it is evident that Rowling borrows a great deal from renaissance writers like Christopher Marlowe and John Milton, for creating the character of Lord Voldemort, who is an excellent blend of Faustian and Satanic attributes. Rowling ends the novel in the manner of Marlowe, with a note of warning for its audience- “…perhaps those who are best suited to power are those who never sought for it…” This echoes Marlowe’s chorus, where he says-

“Cut is the branch that might have grown full
straight,
And burned is Apollo's laurel bough,
That sometime grew within this learned man.
Faustus is gone. Regard his hellish fall,
Whose fiendful fortune may exhort the wise
Only to wonder at unlawful things,
Whose deepness doth entice such forward wits,
To practise more than heavenly power permits."

Just as Rowling portrayed the character of Lord Voldemort as a renaissance sceptic and overreacher, she built the character of Harry Potter as an ethical, responsible, and pragmatic individual, in the light of Heinrich Cornelius Agrippa von Nettesheim, a noted 16^th century occulist, alchemist, physician, and magician. Like Agrippa, Harry believes that only those with respect for nature could successfully control it and that those who used magic for selfish or immoral reasons would risk their very souls.

Throughout the seven books, Rowling introduces various renaissance elements in the story. As Latin was the chief language for all official purposes during the renaissance, most of the spells and charms used by the students of Hogwarts are Latin words. Even the motto of Hogwarts is in Latin: “Draco dormiens nunquam titillandus”(Never tickle a sleeping dragon). It is therefore quite evident that Rowling was deeply influenced by the renaissance writers, and was inspired by the trends and traits of the age. She freely borrowed ideas and concepts from eminent writers like Marlowe and Shakespeare, though she also revealed her own imagination and literary craftsmanship by creating different creatures and beasts of fantasy, and by lending a tinge of reality into the lives of these characters, which enables the readers to relate themselves with them. Her successful blend of magic with emotion and love is something, which is unique, and has not been dealt before by any author. It is thus something more than a mere fantasy tale, which is although designed for children, but is universally read today as a popular text.