Introduction
In the literary works of J.K. Rowling, many magical narratives have been handed on to new generations. In the Harry Potter series, the author has produced one of the most well-known and eye-catching storylines in which mythical entities only found in myths are real (Potter, 1998). J.K. Rowling’s Harry Potter books have a variety of topics, but magic is the key one. It is possible for the characters to break the rules of nature and perform things that can only be imagined by the human’s brain. This paper examines the concept of magic from J.K. Rowling’s Harry Potter books its consequence, manifestations and impacts.
The Harry Potter Books
Harry Potter’s book features a significant amount of magical scenes that spur reactions to the readers. Muggle and magical worlds are introduced in this novel by J.K. Rowling. There are, nevertheless, some striking parallels between the two universes that need further investigation. Here, we will take a look at some examples of how magic is presented in popular culture. Rowling goes into great length on the game of Quidditch, which is similar to football but is played in the air, on broomsticks, and with four balls. In this game, we see Harry as a talented and skilled player. His talent has made him a household name, and he is only getting better.
Another instance of magic is depicted by J.K. Rowling in the wizard chess sport and the measuring tape. While it is a lot like traditional chess, the pieces have life to them, making it feel more like a game of military strategy, and Ron is seen here instructing Harry (Rowling, 2000). Although Harry was born a great magician, he still had the opportunity to learn from his best buddy Ron in this occasion. In other places, readers witness a measuring tape that measures by itself (Rowling 2000), a hat that sings, a pudding that disappears, Hermione pronouncing “Wingardium Leviosa” to have a feather rise from the desk and hover approximately four feet above their heads (Rowling, 2000). Ron became enraged because Hermione was trying to correct him, and the episode serves to highlight the regular student-teacher dynamic. In the case of Hermonie’s triumph, Professor Flitwick’s congratulatory remarks are typical of any instructor. This demonstrates that student life at Hogwarts is not unlike to that of students in the current (muggle) world in every respect.
Magic is a major theme that has been brought out throughout the novel based on how characters interact. To learn how to utilize magic, wizards and witches had to attend school, which is how they start to learn about Hogwarts. Hogwarts is a school for wizards and witches where they may study and practice their magical abilities. It is discovered that youthful manifestations of magic begin to develop when a child’s feelings are overwhelmed, especially when they are full of emotions. The author takes us inside Harry Potter’s mind as she inflates his Aunt Marge to gigantic proportions and throws a boa at his obnoxious cousin Dudley. When they go to school, they learn about wands, which are a regular sight among witches, not just in Harry Potter but throughout the mythology world. Rowling reports that Potter emphasizes the importance of a magic wand in her work.
Additionally, the author has focused on the concept of casting spells as an element and physical manifestation of magic. Spells are one of the most significant items in a witch’s or wizard’s toolbox since they are considered their most versatile tool. Spells are quick bursts of magic used by wizards and witches to accomplish certain purposes, such as the production of smoke, fire, or even the unlocking of locks. In order for a witch or wizard to cast a spell, they need a certain collection of words, known as an incarnation (Potter, 2003). Even while the wand is not always necessary for casting spells, its precision makes it more potent, which is why it is included with the kit. Students in the sixth year of Hogwarts are trained to cast non-verbal spells, in which a wizard or a witch simply uses their wand. In spells when there are no incarnations, users must focus on the incarnation of the spell they want to execute. Despite the fact that much of the book’s magic necessitates the use of verbal incarnations, Dumbledore occasionally casts spells without them. A duel between Dumbledore and Lord Voldemort is an example of an instance where no spoken incarnations were used.
Consequently, magical bounds in the book are linked to every bad act, just like there are in the real world. It is not uncommon for boundaries to be pushed when using magic. In J.K. Rowling’s Harry Potter series, death is one of the most prominent and recurring themes. Without death, it would have been difficult to discover the context for Harry Potter’s acts, power and magical theme (Potter, 1998). Death in the narrative has mostly triumphed against magic, despite magic’s great strength (Rowling, 2010). There is no magic that can bring the dead back to life, Dumbledore explains in Harry Potter and the Goblet of Fire. The dead can be brought back to life by a witch, but they lose their souls and become more like zombies, only following the witch’s orders. When this happens, the corpse is referred to as an Infer.
In Rowling’s work, magic is shown as a craft that can be acquired and refined, where gifts are distributed unequally, just as they are in our own world. Magic, like other experimental disciplines like physics and chemistry, may be seen in this light as a tool for manipulating the physical universe. While technology can make aircraft fly and fridges cool air and criminals move, magic works just as well in the hands of a competent magician. Using magic, J.K. Rowling creates a world that is distinct from our own. In the same way that contemporary technology may be deadly when misused, magic can be enjoyable, unexpected, and exhilarating when utilized correctly. Children’s imaginations are stoked by Harry Potter’s wizardry (Potter, 2003). Numerous children’s works, including cartoons, paintings, poetry, and stories, have been published to share their thoughts on Harry Potter.
Magics in the book is thought to enable communication with the dead, but only in limited circumstances. For example, the portraits of Hogwarts’ deceased headmasters can serve as conduits for communication, and the resurrection stone can be used to bring back the dead, but the consequences of doing so are fatal, as even those who have passed away refuse to be disturbed (Rowling, 1997). Immortality is likewise an impossibility that can only be achieved by possessing the Horcruxes or the Philosopher’s Stone, which are artifacts of such immense power that they can maintain life (Potter, 1999). One must first recognize that death is inevitable and possess the three deathly hallows in order to do so (Rowling, 2010). However, magic in the book indicates that drinking unicorn blood may enhance a person’s life expectancy, but the repercussions are grave (Potter, 2005). The author makes a point to stress that her art relies heavily on magic wands. The wand’s goal is to focus the magicians’ power towards one specific target, however this does not rule out the use of magic without a wand (Rowling, 2000). A spell may not be as useful if it is cast using another witch or wizard’s wand as if it is cast with one’s own.
Conclusion
In conclusion, the Harry Potter books all have one shared similarity, and that is the concept of magic, its manifestation and significance. The novel clearly illustrates the concept of magic through quidditch game, wizard chase game and the tape measure. In a review, the significance of magic from the books entail creating an alternative world and being a craft that can be learnt. Although the school of magic is imaginary, the book gives readers a first-person account of Harry Potter’s experiences there, giving them a sense of immersion in the magical world.
References
Potter, H. (1998). The chamber of secrets. London: Bloomsbury, 20102, 368. Web.
Potter, H. (1999). The prisoner of Azkaban. London: Bloomsbury, 317, 23. Web.
Potter, H. (2003). The order of the Phoenix. London: Bloomsbury, 16. Web.
Potter, H. (2005). The half-blood prince. London: Bloomsbury, 608.
Rowling, J. K. (2000). Harry Potter and the goblet of fire. Newsweek, 136(3), 57-61. Web.
Rowling, J. K. (2010). Harry Potter and the deathly hallows. 2007. London: Bloomsbury.
Rowling, J. K. (1997). Harry Potter and The Philosopher’s Stone: Bringing life back to Hogwarts! (Book I). JK Rowling. Web.