Farewell

This blog is finally closing down. After three years. We did great things here that mirrored the great things we did in class. But nothing lasts forever and now this teacher (i.e: me) is moving somewhere else where he can wear trainers unmolested. I had started to upload essays before the summer break and had in mind to continue, but that task will remain unfinished. Anyway, the essays uploaded are a good sample of the student's terrific work during these years. I'm proud of the many experiences and explorations we went through here and in class. We did build knowledge, and that's more than most of us expected before this adventure started.

For the passing visitor, here are a couple of shortcuts to some of the things we did here:

• Students' contributions (find a list of the students with links to their articles and papers)
• Some essays (read some of the papers written by students for this subject)
• Forum discussions (link to the different online discussions we engaged in)
• Online classes 1, 2 and 3 (the A-flu paranoia sent us home for a month--we took the opportunity and explored new ways of exchanging knowledge) 
• More online projects by TTC and secondary school students.

For the rest, farewell, and the best of luck to all!

Islamic Slavery in Robinson Crusoe

Student: Cecilia Weiman

Year: 2010

Robinson Crusoe is a novel written by Daniel Defoe in 1719. It tells the story of a merchant who shipwrecks on a desolate island and stays there twenty-eight years. During one of his early voyages he is captured and taken as a slave by Moors.

By the seventeenth century, slavery had increased and become an accepted and very common practice almost everywhere. This paper attempts to contrast the presence of Islamic Slavery in ¨Robinson Crusoe¨ with the historical information available. 

Slavery in Islamic Religion

Slavery can broadly be described as the ownership, buying and selling of human beings for the purpose of forced and unpaid labour. Many societies throughout history have practiced slavery. For instance, the Greeks and Romans kept slaves as soldiers, servants and labourers; the Mayans and Aztecs kept slaves in the Americas, and even religious texts in Judaism and Christianity recognize slaves. Muslim societies were no exception. 

According to the Oxford Advanced Learner´s Dictionary “The word Muslim refers to a person whose religion is Islam. This religion is based on the belief in one God and revealed through Muhammad as the prophet of Allah.”

With reference to the prophet of Allah, Ibrahim remarks, 

¨Muhammad was born in Makkah in the year 570… at the age of forty; Muhammad received his first revelation from God through the Angel Gabriel.  The revelations continued for twenty-three years, and they are collectively known as the Quran.¨ 

¨A Brief Illustrated Guide to Understanding Islam¨, L. A. Ibrahim 2004 

The Quran makes numerous references to slaves and slavery. It does not explicitly condemn slavery or attempt to abolish it. Nonetheless it does provide a number of regulations. The traditional Islamic law elaborates significantly on the Quranic material concerning slavery. In this sense, Kurzman argues, ¨During the formative stages of sharia (Islamic law) there was no conception of universal human rights anywhere in the world …¨   Charles Kurzman, 1998. 

 Islamic law recognizes slavery as an institution within society and attempts to regulate and restrict it in various ways. 

Under Islamic law people can only be legally enslaved in two circumstances:

-If they are born as the child of two slave parents.

-As a result of being defeated in a lawful jihad, that is a holly war fought by Muslims against those who rejected Islam.

David Brion Davis, professor of History states, 

¨The millennium of warfare between Christians and Muslims took place in the Mediterranean and Atlantic and piracy and kidnapping went along with it…¨

During the sixteenth and seventeenth centuries there was a large –scale enslavement of Europeans. Davis continues saying,

¨In 1617 Muslim pirates … enslaved Christians along the coast of Spain, France, Italy, and even Ireland… By 1624 the Barbary States held at least 1.500 English slaves, mostly sailors captured in the Mediterranean or Atlantic.¨ 

Robinson Crusoe and Xury under Islamic Slavery 

Certainly, it was within this context that Robinson Crusoe was chased and captured by ¨a Turkish rover of Salle¨. Crusoe explains, ¨the pirate gained upon us … we prepare to fight … we were obliged to yield, and were carried all prisoners into Salle.” (page 22-23)

According to Islamic law, it was legal for the Moors to take Robinson Crusoe as a slave because he was conquered in legitimate warfare.

While in America slave trade only involved black Africans, Muslims slavery involved many racial groups. 

Other point to consider is the regulation which forbade Muslims from enslaving other Muslims. But Islamic law established that non-Muslims converted to Islam after enslavement remained slaves. Therefore, they might be legally purchased and sold. 

It is possible to look for instances of this regulation in Defoe´s novel. While escaping from the port of Salle, Robinson Crusoe wonders whether he should take Xury, a young slave, with him or throw him into the sea. Crusoe turns to the boy and threats him saying,

¨Xury, if you will be faithful to me, I’ll make you a great man; but if you will not stroke your face to be true to me, ¨ that is, swear by Mahomet and his father’s beard, ¨I must throw you into the sea too. The boy smiled and swore to be faithful to me.¨  (Page 28)

As Robinson Crusoe makes Xury swear by Muhammad, it might be inferred that Xury was a Muslim, perhaps a converted one, since he was also called ¨the young Maresco¨ and Maresco is a surname whose origin is Spanish. It might be said that Xury was a non-Muslim converted to Islam after being enslaved.

Usual Tasks Performed by Slaves

Another matter of importance has to do with the tasks slaves used to complete. It may be claimed that European and American slavery was motivated by economic reasons. Indeed, people were enslaved to provide a cheap and disposable workforce in plantations. By comparison, “Muslims historically did not used slaves as an engine of economic production, …” although “…some Muslims played a significant role in the slave trade itself as providers of slaves for others” (BBC, 2010). In the Islamic trade, slaves had a variety of roles,

“Servile labour was common in workshops, constructions, mining, water control, transport by land and sea, and the extraction of marine resources.” 

William Gervase Clarence-Smith quoted in (BBC, 2010)

Slaves were also used in domestic work, military service and civil administration.

As for Daniel Defoe´s novel, Robinson Crusoe also describes the tasks he and other slaves had to do in Salle. The following excerpt shows it clearly. Robinson Crusoe explains, 

“He [the master] left me on shore to look after his little garden and do the common drudgery of slaves about his house; and when he came home again from his cruise, he ordered me to lie in the cabin to look after his ship.” (page 24)

Then, he continues saying, 

“He [the master] took me with him to row the boat… I proved very dexterous in catching fish… sometimes he would send me with a Moor… to catch a dish of fish for him.”

Crusoe also mentions the task of another slave. He tells, “The carpenter of the ship, who was also an English slave…”

These excerpts show that the slaves in Salle used to do the tasks which were common and typical in the Islamic Slavery. 

Conclusion

Crusoe´s descriptions of his staying in Salle as slave coincide with the historical information connected to slavery in Islam. In the novel it was possible to find instances of Islamic slavery which show the circumstances under which Robinson Crusoe was captured, some regulations within Islamic law and the tasks Robinson Crusoe and other slaves performed.

Bibliography 

• Ethics and slavery, bbc.co.uk http://www.bbc.co.uk/ethics/slavery/ethics/intro_1.shtml
• Slavery in Islam, bbc.co.uk, Last updated 2009-09-07. http://www.bbc.co.uk/religion/religions/islam/history/slavery_1.shtml
• The Feminist Sexual Ethics Project, Special Focus: Islam, Islam and Slavery; Kecia Ali; Brandeis University; Revised 2 February 2004. http://www.brandeis.edu/projects/fse/Pages/islamandslavery.html
• Slavery White, Black, Muslim, Christian; Davis Brion Davis; The New York Review of Books; 2001
• http://www.nybooks.com/articles/archives/2001/jul/05/slaverywhite-black-muslim-christian/
• Oxford Advanced Learner´s Dictionary; Oxford University press;
• A Brief Illustrated Guide To Understanding  Islam; I.A Ibraim;  2010. http://www.islam-guide.com/

Analysis and Comparison of Arthurian Mythical Elements Present in Martin Luther King’s Speech 'I Have Dream'

Student: Cristina Hoppenthal

Year: 2008

“I say to you today,  my friends,  that in spite of the difficulties and frustrations of the moment,  I still have a dream. It is a dream deeply rooted in the American dream” (Luther King,  Martin.1963)

In 1963, Martin Luther King, a Baptist minister struggling for racial and religious equality in the United States of America, mobilized  a mass of supporters  from the Washington Monument to the Lincoln Memorial, where he delivered his famous speech: I Have a Dream. His public declaration bore a strong objection against injustice and social segregation in the United States of America.

Basing his beliefs on the principles of the Emancipation Proclamation of 1863 promoted by Abraham Lincoln against slavery and for equality of rights for the black people in the United States, King aimed his struggle at the recovery of these past principles by prosecuting a corrective action towards the future of the socio-political system of the American Nation.

King’s I Have a Dream, inspired in the principles of the past traditional America of the midst 1800’s, seems to comprise some of the mythical elements of the Arthurian folklore. In King´s allocution, the concept of the defense of the system and the figure of the outsider can be realized as relevant elements from Medieval culture and taken as a basis to understand the principles that gave ground to American people’s ideology and how they were reflected in King’s talk. 

The purpose of this paper will be to examine the presence of mythical Arthurian elements of the defense of the system and the figure of the outsider, taking as a starting point some significant parts of Luther King’s I Have a Dream speech and contrasting them with the traditional mythical elements of Arthuriana.

The development of this work will be carried out by considering some of the texts by Gary Engel, Sally Slocum and Alan Maccoll about Arthurian tradition as well as further informative texts obtained by personal research.

The Defense of the System

“The Arthurian Mythos is part and parcel of American culture. The Arthurian mythos is the ideology of the American political system.” (Slocum, Sally. 1992)

In this initial quote by Sally Slocum from her work Popular Arthurian Traditions,  the author makes reference to one of the most relevant ideological elements –the defense  of the system- in Arthurian folklore and its strong influence in American culture. 

In that respect, we could say that Arthurian romance refers to the deeds of knights and heroes committed with the defense and maintenance of a certain social order represented by their system, a system which relied on their beliefs, governmental and social organization and values, and which had to be preserved from any threat likely to undermine their way of life and culture.  In Arthurian romance, this is exemplified by the character of Arthur who, first as a knight and later as a king , aimed his fights and battles at defending the English Kingdom from the recurrent attacks of the Saxons, being his main objective to recover and maintain the stability of his country. 

Thomas Green (1998), an expert in medieval literary tradition, highlights the significant role of adventurous knights and kings in their pursuit for peace and governmental balance of their territory. He portrays Arthur as “peerless warrior who functioned as a monster-hunting protector of Britain from all internal and external threats”. In Green’s description, Arthur takes up the challenge not only of defending the system, but also of recovering it. It was perhaps his ideal of system of the past which made him carry out his adventurous enterprise  with personal commitment and strong determination despite the dangers and effort his fight may involve. With similar spirit and enthusiasm, Luther King fought  to preserve the mythical ideal of system bestowed by former generations to the twentieth century American society. In this specific case, King’s struggle was aimed at preserving the ideal legislative system of his country from an internal threat: the alienation of a part of American society due to the neglect of the laws once considered by the Emancipation Proclamation, but still disregarded by the 1960’s Legislative Power of the American government. In relation to this matter, it is interesting to mention that one of the executive orders contained in the Emancipation Proclamation declared the freedom of all slaves of the Confederate States of America as well as the immediate application of this law in all states. Eventually, and although the former slaves’ civil rights were ratified and granted by the Thirteenth Amendment on December 18, 1865, this socio-political law was actually neither fully considered nor applied by the American governments during the following decades. Deeply worried by the neglect of the Government of the United States of America, Martin Luther King founded the Southern Christian Leadership Conference in 1957, with the aim of recovering and maintaining the original spirit of the Emancipation Proclamation of 1863.

The realization of ambiguity in Luther King´s declamation

Provided we could apply the Arthurian category of system to King’s speech, a certain ambiguity is perceived from the examination of its content when compared with the ideal system in Arthurian literature. A possible source for this ambiguity may be constituted by the fact that, although being a supporter of the governmental system of the United States during the 1960’s,  King’s beliefs together with  the  current social situation of the time as regards segregation, made him strongly disagree with its current socio-political scheme, particularly with the deviation of part of the social policies which, although being formally considered by the legal framework,  had not been materialized as a part of everyday social praxis. Luther King believed that the contingent social policies of the United States had to be corrected so as to allow the actual integration of minor ethnical or religious groups in American society . Thus,  the recovery of the “ideal system” expressed in the law would permit the realization of  the American Dream, for which social equality and rights were essential requirements. In a part of his speech, King claims for the urgency of this realization:

“ […]We have also come to this  hallowed spot to remind America of the fierce urgency of Now. This is no time to engage in the luxury of cooling off or take the tranquilizing drug of gradualism. Now is the time to make real the promises of democracy.”

The past to serve the future of the system

It is interesting to notice how the idea of the recovery of the system present in Middle Age folklore not only remained in American people’s ideas, but also became a key factor of the social struggle of the twentieth century American society. In that sense, it could have been  this set of beliefs of a traditional, mythical America which gave ground to King’s social movement aimed at retrieving and restoring the American social system one hundred years later.  Consequently, it may be concluded that Luther King aimed his struggle at bringing back the principles of an ideal Legislative System of the past to restore equality, liberty and social rights which were, from the outset, contained in Lincoln’s Emancipation Proclamation and which were ideally represented by the law. This is clearly exemplified in the following lines: 

“Five score years ago, a great American, in whose symbolic shadow we stand signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice […] But one hundred years later, we must face the tragic fact that the Negro is still not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. […] I have a dream that my four children will one day live in a nation  where they will not be judged by the color of their skin but by the content of their character”

The concept of the Outsider

Immigrants and blood ties

“Then Arthur along with the kings of Britain fought against them in those days, but Arthur himself was the military commander” (Nennius, ca 800 AD)

These introductory lines by Nennius -a ninth century Welsh monk and historian devoted to the recollection of facts and narration of Arthurian romance- portray King Arthur as a transcendental figure who embodies many of the characteristic of knights, such as bravery, faith and prowess. This legendary leader was  acknowledged by his success in defeating the Saxons in twelve memorable battles,  which enabled him to ascend to the throne . What is more, the fact of being an outsider with blood ties to the monarchy of England highlights his personal commitment to the peace and unity of his country, since he performed his struggle in the name of his origin and his people.

In this sense, the figure of the mythical outsider in traditional  Arthuriana seems to resemble Martin Luther King’s characteristics and deeds. Being born in the city of Atlanta and with Afro-American blood ties, King was an outsider in two senses: because of his colour, and due to his origin. As for his deeds, his personal fight was for the black people and in the name of his ethnic roots which tied him not only to his ancestors, but also to their original motive of emancipation. Consequently, it may be said that the mythical Arthur as well as the revolutionary Luther King are both outsiders in                                                                                                    their respective societies. In the following lines, King´s origin and color are realized in relation to what he calls his “white brothers” in the struggle for social justice:

“One hundred years later, the Negro is still languished in the corners of American society and finds himself an exile in his own land.[…] The marvelous new militancy which has engulfed the Negro community must not lead us to a distrust of all white people, for many of our white brothers, as evidence by their presence here today, have come to realize that their destiny is tied up with our destiny.”

Martin Luther King´s speech and the chivalric virtues

When it comes to stating a parallelism between Martin Luther King’s characteristics and those of a mythical Middle Age knight, the legendary character of the anonimously written Sir Gawain and the Green Knight  is just one example of Medieval literatue which provides a wide range of concepts, ideals and virtues which make of knights models of moral integrity, determination and faith. Brian Price (1997) explains that “a knight must have faith in his beliefs, for faith roots him and gives hope against the dispair that human failings create”. The following lines of Luther King´s speech reflect the chivalric virtue of faith:

“Continue to work with the faith that unearned suffering is redemptive.[…] This is the faith with which I return to the South. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand for freedom together, knowing that we will be free one day”

In his work, Price enumerates a set of duties and ideals by which knights were admired,  and explains that, although there has never been a formally written “code” of chivalry, knightly values and beliefs can be found throughout Arthurian literature, from which justice, faith, prowess and courage are perhaps the most representatives of the character of  knightly Middle Age warriors. 

Providing that we allow the aforementioned parallel between King´s speech and Arthurian knights, it could be deduced that it was precisely in their deep religious faith where knightly warriors found the strenght to  fight for their ideals 

But it was perhaps the courage to face the frustrations and difficulties of the struggle, what made of knights  brave and virtuous warriors in their pursuit of their dreams.

Price refers to the virtue of courage saying that “ being a knight often means choosing the more difficult path, the personally expensive one. Be prepared to make personal sacrifices in service of the precepts and people you value”. Conceptually speaking, the ideal courageous knight of the Arthurian myth could be pictured in the following lines of King´s words, where suffering and dispair are presented as a heavy burden to be endured by those who fight in the pursuit of an ideal: 

“I am not unmindful that some of you (his followers) have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. And some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality”.

In Luther King´s strict case, his  strive in the attempt to achieve a definitely just social policy for his people was dramatically interrupted by his assassination due to conspiracy of his opposers, what may be interpreted as the heroic end of the knight who readily offers his life in the defense of his ideals adding a special signification to his life and struggle. One striking example of outstanding bravery and determination from Sir Gawain and the Green Knight may serve to illustrate a knight´s devotion and honour: it is the case of Sir Gawain who, having made a pact with the Green Knight, holds his promise up to the last consequences and despite he knows that his life is at risk, takes up the challenge to encounter his enemy with courage and faith .

Eventually, and due to King´s prowess in political and social matters, his struggle finally met its dearest aim: the 1964 Civil Rights Act of the Constitution of the United States of America.

Conclusion

As a conclusion, it may be said that the mythical ideal of the recovery and defence of the system found in Arthurian folklore proved to be not only a major theme in Arthurian romance, but also considerably influential in twentieth century American people. Consequently, this influence, which became deeply rooted in American culture,  gave ground to Martin Luther King´s strive to bring back the traditional ideals of the past Emancipation Proclamation, carry out the necessary corrective actions, and restore a particular social order by means of a concrete social policy one hundred years later. 

It is precisely in his speech  I Have A Dream where the concept of the defence of the system becomes specially meaningful as, although being in favour of the American system, King recognized its contingent social policies as an internal threat likely to undermine the set of beliefs, values and social order of the American people, for whose recovery he was determined to fight.

As far as the Arthurian concept of the outsider is concerned, and provided a parallelism may be drawn between King Arthur´s and Luther King´s spirit and conviction, both took up challenges and carried out their struggle in the name of their origin and their roots.

Similarly, some the knightly virtues such as faith, courage and prowess can be realized in King´s speech, underpinning Arthurian warriors’ chivalric characteristics which made of those mythical heroes models of bravery and personal sacrifice.

Bibliography

• Arthurian Legends. From Encyclopedia of Myths :: Ar-Be  . http://www.mythencyclopedia.com/Ar-Be/Arthurian-Legends.html 
• Arthurian Legends. Encyclopedia of Myths::Ar-Be
• http://www.mythencyclopedia.com/Ar-Be/Arthurian-Legend.html
• Dent, J.M. Monmouth, Geoffrey. Histories of the Kings of Britain. London, 1912
• Emancipation Proclamation. From Wikipedia, the free encyclopediahttp://en.wikipedia.org/wiki/Emancipation_Proclamation
• Engle, Gary (1992) What makes superman so darned American? Popular culture: An Introductory Text. Jack Nachbar and Kevin Lause (eds.) Bowling Green, OH: Bowling Green State University Popular Press
• Green, Thomas (1998), "The Historicity and Historicisation of Arthur", Thomas Green's Arthurian Resources, . Retrieved on 22 May 2008.
• King Arthur. Medieval Literary Traditions. From Wikipedia, the free encyclopedia
• http://en.wikipedia.org/wiki/King_Arthur#Medieval_literary_traditions
• Maccoll, Alan. King Arthur and the Making of an English Britain. History Today, Vol 49, Issue3. History Todat Ltd.
• Monmouth, Geoffrey. Histories of the Kings of Britain. Chapters IV and XII
• Nennius. Excerpts from the Historia Brittonum http://www.britannia.com/history/docs/nennius.html
• Price, Brian R. A Code of Chivalry. April, 1997
• http://www.chronique.com/Library/Chivalry/code.htm
• Sir Gawain and the Green Knight. Brian Stone (Translator).Penguin Classics.London,1974.
• Slocum, Sally (ed). (1992) Popular Arthurian Traditions. Bowlinh Gree, OH:Bowling Green State University Popular Press
• The I Have a Dream Speech – The U.S. Constitution Online – USConstitution.net                   http://www.usconstitution.net/dream.html

Arthurian Elements in Rocky IV

Student: Ronaldo Rodríguez

Year: 2008

Introduction to Arthurian Romance

In his chronicles, known as Historia Brittonum, Geoffrey of Monmouth gave birth to the Arthurian Story. Arthurian romance, thus, is the name given to the literary genre that exalts the figure of the courageous hero whose endeavors achieve impossible adventures. Its name derives from the figure of King Arthur, (conqueror of Britain during the c. 500 AD) upon whom Geoffrey bestows all the attributes that, with time, would become the essence of Arthurian legend. Based slenderly on historical facts, these medieval chronicles depict, as J. M. Dent has observed,

 “The mystery, prowess, love and enchantment, where valorous heroes achieve impossible adventures and messengers from fairyland appear easily and naturally on marvelous errands.” 

The Arthurian myth is a Christian one. Ultimately, the figure of the hero who brings salvation to all through personal sacrifice is that of Jesus Christ. As the Knigts of the Round Table, he serves someone whose power is higher than his. “I do nothing of myself,” records the gospel of John, “but as my father hath taught me [1]” He portraits all the attributes of perfection and he fights against evil and for the meek and lowly. 

The purposes of this brief introduction is just to account for the origin of a set of values and elements that, as stated above, became legend and were (and still are) taken by and reproduced in western literature and other artist expressions. As Norris J. Lacy has observed:

"The popular notion of Arthur appears to be limited, not surprisingly, to a few motifs and names, but there can be no doubt of the extent to which a legend born many centuries ago is profoundly embedded in modern culture at every level [2] " 

In an attempt to illustrate this phenomenon, this paper will deal with the presence of such elements and values in an American film of 1985, Rocky IV.

Rocky IV: a glimpse 

Rocky IV is fourth movie of the Rocky franchise. Rocky Balboa (played by Sylvester Stallone), who plans to retire from professional boxing, is challenged by an amateur boxer from the Soviet Union, named Ivan Drago (played by Dolph Lundgren), who has killed Rocky’s friend, Apollo Creed, during an exhibition match. After a personal struggle in which Rocky debates himself between the need to retire and the need to revenge his friend, he decides to accept the challenge. 

The bout is set on Christmas day in the Soviet Union. The American boxer, now coached by Creed former coach, Tony “Duke” Evers, travels to the USSR where is given a log cabin and where is jealously watched by KGB agents.

The day of the match, Rocky faces not only an almost undefeatable opponent but also a very hostile public. The very head of the Russian government is also present. However, and in spite of being pounded relentlessly, Rocky’s immovable determination allows him to endure to the last round and to defeat Drago by knock out. 

Right after the ordeal, Rocky, now with the whole arena shouting for him, pronounces an emotive talk were he says: "If I can change and you can change, everybody can change!" 

Three basic Arthurian elements

The spirit of Arthurian legend is the spirit of heroic resistance against desperate odds. Three basic elements can relatively easily be found in Arthurian films and books. Firstly, and idea which is not exclusively Arthurian, that is to say, a notion of good, represented by a system and a notion of that which is evil, whatsoever thing that system fights against or it is victim of attack from. Secondly, the presence of the knight as he who defends the system from the evil aspirations of its opponents showing unspeakable courage throughout the process. In order to be genuinely Arthurian, the knight has to go through sore affliction and he has to either defeat an opponent which is stronger than him or to give his life in the attempt. Because of its religious influence, the figure of the hero embeds Christ-like attributes of perfection such as loyalty, charity, personal sacrifice, wisdom and truthfulness among many others. 

Arthurian elements in the film

The notion of good and evil

The notion of good, in the case of the film Rocky IV, is represented by the American system (although its presence it is not explicit but only possible to elide through the presence of its antithesis, the USSR government). Such system includes the ideas of freedom, change and growth. Capitalism is also one of the main features of the American system.  In opposition and consequently playing the role of evil, the USSR’s system is portrayed as not human and hostile. The head of the Communist government on whom there is a close up on the scene of the last match, resembles the face of the former Russian Primer Minister Mikhail Gorvachev.

The knight

Rocky Balboa represents the knight for he fights against the American system’s main opponent, the communist Soviet Union. As a hero, Rocky Balboa portrays some Christ-like attributes. He is an outsider of Italian ancestors; he is meek and humble although by the time of his fight against the Russian boxer he has become a true celebrity. He is close to nature and this is shown when he trains in the cabin log of the country side using natural elements (a mountain to climb, wood to cut, etc.) The idea of overcoming insurmountable odds is constructed by means of the opponent. Drago’s highly advance training along with his faultless physical complexion and the sharp contrast with Rocky’s humble circumstances combine to create the feeling that he cannot be defeated. Even his last name, Drago, brings about the image of middle-ages evil creatures. 

Rocky’s heroic nature is constructed from the very beginning of the movie. After, Apollo’s death, the American boxer faces the tension of retirement or going back to the square to revenge his friend’s death. Rocky’s wife, who strives to get his husband out of the ring from the very first part of the saga and seeing the danger that challenging the Russian means, decides to make whatever it takes to get Rocky out of professional boxing perpetually. It is in the context in which Rocky faces the question “What am I?” to acknowledge with resignation that he is a boxer and consequently he has to face fear and danger for his friend and for the sake of the United States of America

Weeks later, the day of the bout comes and Rocky is ready to fight the Russian. After a few rounds in which Rocky receives more punches that what any other human could possibly resist, he no only manages to endure but he also begins to hit back and even hurt Drago. The Russian’s bounds are seen by his couch and others assistants as something never seen before. In the end, and is spite of the fact that Drago controlled the whole match, Rocky will be stronger in the last round and will make the ordeal come true.

Conclusion

Arthuriana elements can be frequently found in artistic modern products. In the case of Rocky IV, the antagonistic notions of good and evil are represented by the American and Russian government respectively. Rocky Balboa, the movie’s main character, represents the knight who chooses defend the system by overcoming and insurmountable opponent. In the figure of the Rocky, the attributes of honour, sacrifice and perfection are portrayed in order to increase the legend of the typical Arthurian hero. 

[1] John 8:28

[2] Wikipedia, The Free Encyclopedia

Bibliography

Monmouth, Geoffrey: Geoffrey Monmouth’s Histories of the Kings of Britain

“The Holy Bible” Authorized King James Version. The Church of Jesus Christ of Latter-Day  Saints,  Salt Lake City, Utah, 1979

Wikipedia, The Free Encyclopedia:  http://en.wikipedia.org/wiki/King_Arthur

Arthurian Myth in Popular Culture: Analysing “V for Vendetta”, the 2005 Movie

Student: Martín M. Gómez   

2008                                                                          

“We are told to remember the idea, not the man, because a man can fail. He can be caught, he can be killed and forgotten, but 400 years later, an idea can still change the world”. 

Thus verse the first words of 2005 movie V for Vendetta, an adaptation of a graphic novel by Alan Moore carrying the same title. Can such an abstract entity as an idea truly prevail for 400 years? 

“(…) you cannot kiss an idea, cannot touch it, or hold it... ideas do not bleed, they do not feel pain, they do not love...”, continues to express a cathartic Natalie Portman in the skin of Evey Hammond, the main character’s abettor in the film. Yet ideas do remain. And albeit apparently true, the opening quotation may fail to convey the incommensurable extent to which an idea can persist, for the mythical legend of King Arthur has undergone at least fifteen centuries of history. And it is precisely what Arthur and his knights symbolize what has prevailed: a dream-like picture of dauntless knights in shiny armor fighting with uncomparable braveness for a common cause. The mere figure of King Arthur is still capable of evoking feelings of honour and pride.

Moreover, the legend of Sir Lancelot and his king has set the basis for most ‘heroes-centred’ stories to come in a mysteriously subtle way. Therefore, it is possible to trace what in this paper will be referred to as ‘Arthurian elements’ in numerous modern and also post-modern works, although the latter is not of relevance here. The aforementioned V for Vendetta is not an exception. And while some discrepancies are likely to be found between the components and characteristics of the classic myth and those of the film in question there are similarities which are worth pondering upon.

King Arthur’s legacy

The myth of King Arthur tells of an extraordinarily courageous Romano-British leader who defeated the Anglo-Saxon invaders that were raiding Britain around the end of the 5th century. However, more than a single victory is presumably needed to make a legend out of a name. Nennius, a historian of Welsh origin, acknowledges Arthur’s engagement in at least 12 battles in his Historia Brittonum: “(…) the magnanimous Arthur … fought against the Saxons. And though there were many more noble than himself, yet he was twelve times chosen their commander, and was as often conqueror…” However, Nennius’ work is not considered true by most modern historians. Neither is the mere existence of the king himself. Actually, most of what is known about the legend – if not all of it - has come from Geoffrey of Monmouth’s 12th century narrative account, Historia Regum Britanniae (History of the Kings of Britain), and Sir Thomas Malory’s Le Morte d’Arthur (1485), both pieces generally disregarded as factual information. With respect to this, Alan MacColl (1999), a lecturer from the University of Aberdeen, expresses in History Today magazine, “(…) Arthur and the hotly-contested topic of his historical reality are no longer the subject of serious academic study…”. And he proceeds:

“It has been suggested that the proliferation of such narratives in the eleventh and twelfth centuries is related to the emergence of the nation state (…). Originality was not a medieval virtue, and invention was often made respectable by the invocation of a fictitious authority…” 

Nonetheless, neither the existence of the head of Camelot nor further details of the popular myth in lieu of bare information are to be developed here. Instead, the focus is redirected towards the legacy of King Arthur and the Knights of the Round Table: a powerful romantic ‘picture’ onto which multiple ideological purposes can be formulated, for it is the idea (or the ‘picture’) what has survived, and not the men. As Allan McColl writes, “(…) the ideological uses to which the legendary hero has been put are important…”. In 1300, for instance, Pope Boniface VIII tried to induce Edward I to abandon the war in Scotland, but the King’s reply reiterated the claim over Scottish land pointing out, among other arguments, that Geoffrey had written about an Arthurian conquest of Scotland; James IV of Scotland and I of England and Ireland, for his part, believed himself to be a second King Arthur in charge of reuniting Britannia; and even the Scottish Conservatives invoked Arthur’s figure during 1997 General Election… 

But what exactly does the previously referred surviving image display? Although sources differ in their retelling of King Arthur’s life (and particularly his death), some elements can be identified as common denominators:

•The presence of a powerful leader – or rather the powerful presence of a leading figure.

•A widely unified and prosper British Empire.

•An ever-growing wish for defending and fighting for a common cause.

King Arthur is invariably depicted as a mighty leader with an innate capacity for motivating people, invigorating souls all over his Arthurian Empire. According to Geoffrey of Monmouth, besides repelling the Saxons, Arthur’s achievements are outstanding: he defeated the confederation of tribes called Picts and the Scots; he conquered Ireland, the Orkney Islands and Iceland; eventually, he overcame Norway, Denmark, and he even defeated the Roman Emperor Lucius Tiberius in Gaul. In any case, Arthur had apparently had people’s support since he was able to withdraw the magic sword Excalibur from a rock, just as wizard Merlin had prophesied:  

“And at the feast of Pentecost all manner of men assayed to pull at the sword that would assay; but none might prevail but Arthur, and pulled it out afore all the lords and commons that were there, wherefore all the commons cried at once, We will have Arthur unto our king, we will put him no more in delay…” (Le Morte d’Arthur; Sir Thomas Malory - 1485)

Once crowned, Arthur gathered a court of nobles consisting of valiant knights willing to accept their King’s commands and twice as eager to fight in his name and for his cause. Knights did not dare questioning Arthur’s decisions for he was seen as a trustworthy leader, and after several years, the ‘once and future king’ proved those noblemen to be right: thanks to his many conquests and the aid of the laborious hands of the Knights of the Round Table, Arthur made an empire out of Britain. This deed covered his name with honour and mysticism. And this flourishing British Empire, product of a gigantic effort, all Britons had to defend.

Arthurian presence in V for Vendetta film

V for Vendetta is set in England in the year 2048. In this fictional reality democracy has fallen, to the distaste of the leading character of the film, V. A totalitarian party called Norsefire rules over the country. Thus, the democratic system is threatened to such an extent as to arise V’s anger. Sick of the authoritarianism exercised by PM Alan Sutler and his militia, V plans to blow up the English Parliament on November 5th. There is a reason why he has chosen this particular date: on November 5th, back in 1605, a man called Guy Fawkes tried to achieve the same goal in order to show his discontent and rejection towards religious oppression. He failed. He was caught, imprisoned, and eventually killed. But just as King Arthur’s legacy, Guy Fawkes ideas prevailed over time, and V planned to use them. 

For such purpose, V has a carefully designed plan that allocates no space for mistakes and which involves an active participation of the citizens of London. By raiding the government’s emergence broadcasting channel, V reminds people that they are ruled by an absolute dictator, and tries to convince them that the fact that they are under such condition is not good for anyone since freedom cannot exist within the given current parameters. “(…) truth be told,” V continues, “if you're looking for the guilty, you need only look into a mirror”; his message is imparted in a cautiously yet harsh manner. He then acknowledges that fear lead people to become silent and obedient in excess, and invites them to revert the situation by facing the parliament the 5th of November the following year. Attending to the claims of the charismatic V, who, by then, has become a leader, people pour into the streets to confront the oppressive militia while their inspiring figure takes personal revenge on Adam Sutler and ends up blowing the Parliament under the attentive look of his followers.

But what moves V to perpetuate such a deed? Apart from his personal reasons, V is moved by a strong regard for the buried democratic ideals. This deeply rooted esteem for democracy seems to attain the same effect King Arthur had on people and, in particular, () knights: V’s ideals (which in the movie match those of democracy) motivate him to act the way he does as much as Arthur inspired his knights’ actions. With respect to this, it is possible to state that V for Vendetta features a ‘domino’ effect: whilst V is incited to fight by the ideals of that system which he believes in, he himself revolutionizes people in an unprecedented way – at least during Sutler’s government. Thus, abstract ideas can be found mobilizing concrete subjects, and this is another coincidence with the Arthurian myth: as exemplified before, the name of King Arthur has been evoked along history with different purposes, of which mobilizing people is certainly one of the most common. 

Seemingly, all the elements which inform the Arthurian myth integrate the plot of V for Vendetta: the role of King Arthur as the charismatic leader is played, in the first place, by the ideals of democracy which propel V’s actions, and, secondly, by V himself, who induces people to confront Adam Sutler’s authoritarian party. This, of course, presupposes the presence of people whom can be influenced: in the case of Arthur, this space was occupied by the brave knights who wished to fight at their King’s side and perhaps depicted in the Knights of the Round Table, the King’s closest comrades. In the case of V, it is ordinary people who, motivated by V, gather willingly to fight in the name of democracy and against a common ‘evil’. This, in time, leads to a third element: the evil within the existing system. The British Empire had to defend itself from raiders, while the democratic system is endangered by the totalitarian government in V for Vendetta. This analysis may be summarized as in the figures below. The first graphic displays King Arthur’s epitome, whereas the second is intended to reflect the situation proposed in V for Vendetta:

   

Conclusion

It appears that King Arthur’s paradigm is still imitated in artifacts of popular culture, either consciously or without awareness. The fact that the Arthurian myth persists as an inspiring legend, shaping the work of hundreds of artists event in recent times, speaks for the peculiar capability of propelling people with which it was formerly informed. Likening the plot of V for Vendetta to the Arthurian elements antecedently mentioned leads to a striking matching of ideas between Arthur’s and V’s stories: the existence of a system being threatened somehow by an evil, the wish for defending the system, the presence of a charismatic leader who induces people to fight for the system, and many other similarities which may have passed unnoticed

Personally, I believe that the apparently ever-lasting quality of the Arthurian Myth resides, at least partly, in humans’ constant need for identification with a higher being. Curiously, after the departure of the leading figure in V for Vendetta, Mr. Finch (an investigator who tries to capture V) asks Evey who the man who has just died is, to which she replies:

“He was Edmond Dantés... and he was my father. And my mother... my brother... my friend. He was you... and me. He was all of us.”   

Could it be a mere coincidence? 

From the Arthurian Legend to “Saint Seiya: Hades – Ova 31”.

Alumna: Cecilia Acosta                                                                                                                 

August 2009      

Introduction

In the 15th century, Sir Thomas Malory writes “Le Morte Darthur,” a book which was divided into twenty- one volumes, chaptered and imprinted by Vida Scudder in the year 1485. The book depicts the adventures of King Arthur, the legendary hero of the Britons, and of his noble knights of the Round Table. Arthur’s deeds are told in this book as well as in Geoffrey of Monmouth’s History of the Kings of Britain (1138) and as in many other sources of British History. The king’s stories play a key part in the development of the English history and in people’s identification with his country by creating a sense of national unity (MacColl, A. 1999).

However, as stated by Sally K. Slocum in the book “Popular Arthurian Traditions” (1992), “Arthurian themes and symbolism continue to be widely disseminated throughout popular culture,” that is to say, that some of the motifs and artifacts from the Arthurian legend can still be detected in nowadays’ films, novels, comic strips or cartoons. One ex-ample of this is “Knights of the Zodiac,” a contemporary Japanese manga series written and illustrated by Masami Kurumada, and later adapted to anime. As this manga series suggests a number of allusions to the Arthurian mythos, this paper will attempt to show how the elements from the traditional legend remain present in the 20th century series “Knights of the Zodiac.”

Overview of Malory’s adaptation of the Arthurian Myth and the series “Saint Seiya: Hades- Ova  31”

The Arthurian legend tells the story of King Arthur, son of Uther, who was raised in the countryside by Sir Ector and grew up together with his brother Kay. When his father dies, Arthur takes the crown and becomes the king of Britain by pulling an enchanted sword out of a stone. He rules over the country with the help of Merlin, the wizard, and his noble knights and lords of the Round Table. Arthur defends his country by the use of Excalibur, the enchanted sword, against the invaders who try to conquer his country.

Generally speaking, this legend can be analyzed within a system, whose outer boundaries might be represented by Britain, the country in which the legend takes place. This system is composed by three main elements. As a first element, it is possible to dis-tinguish the head of the system, King Arthur, the leading figure for whom the knights fight for against the evils. The second element is the figure of the knights, who fight to-gether for their king. Finally, the third element is the evil that frightens the country. Ac-cording to Malory’s adaptation, this element is presented as “The Romans” (Le Morte Dar-thur, Book V- Chap II), among other invaders, who break the order by trying to enter by force to corrupt and attack the system.

The following graphic may be applied to represent the Arthurian System:

On the other hand, the manga series “Saint Seiya: Hades,” tells the story of Phoenix Ikki, Cygnus Hyoga, Andromeda Shun, Dragon Shiryu and Pegasus Seiya, five knights who fight against Hades, Zeus’ brother. Hades, the Underworld god, fights together with his allies, the 108 spectres, the god Hypnos, who is the personification of sleep, and his twin brother Thanatos, god of death. Every 243 years, this evil god incarnates into a hu-man being and tries to cover the world with darkness. Throughout the saga, Athena, the goddess of wisdom and daughter of Zeus, tries to bring back peace and hope to the Earth. Apart from being protected by the five main knights, she is also secured by other knights. These are the Gold Saints (Aries Shion, Aries Mu, Taurus Aldebaran, Gemini Saga, Gemini Kanon, Cancer Deathmask, Leo Aiolia, Virgo Shaka, Libra Dohko, Scorpion Milo, Sagittarius Aiolos, Capricorn Shura, Aquarius Camus and Pisces Aphrodite), the Sil-ver Saints, the Bronze Saints and the Steel Saints. Athena and her knights fight against Hades and his allies in the Elysian Fields. 

According to the Britannica Enciclopedia, in the Greek tradition, the Elysium was:

“The paradise to which heroes on whom the gods conferred immortality were sent. It probably was retained from Minoan religion. In Homer’s writings the Elysian Plain was a land of perfect happiness at the end of the earth, on the banks of the Oceanus River. (…) In the earlier authors, only those specially favoured by the gods entered Elysium and were made immortal. (…) Later writers made it a particular part of Hades, as in Virgil, Aeneid, Book VI.”

As in the Arthurian legend, “Saint Seiya: Hades” can be analyzed within a system, which is “Good,” because the threat is Hades expanding evilness throughout the world and over people. This system is also composed by three main elements. As a first ele-ment, in the saga there are five main knights, named Ikki, Hyoga, Shun, Shiryu and Seiya, who fight against other knights to protect the Earth from the mischievous Hades. As the second element, it is possible to find some evil forces, presented as the 108 spec-tres, Thanatos and Hypnos, and the god Hades, who want to kill the goddess Athena, her noble knights, and spread their evilness throughout the entire planet. Finally, the third element is the head of the system, goddess Athena, who is a young woman, untrained for battle. However, her “cosmo ” is huge and exceeds human cosmos infinitely. Her inten-tion is to protect Earth and its living creatures.

The following graphic may be used to represent the System of “Saint Seiya: Hades”:

Comparison between the Arthurian System and that of “Saint Seiya: Hades” 

When referring to both systems, the differences can be more easily perceived than the similarities. In the Arthurian legend, the system is Briain, a nation, while in the manga series, it is a virtue. This is important because having as a structured system a nation, which includes particular customs, religion, language and history is not the same as having as a system a virtue. Virtues are proper of human beings; however, in this se-ries, positive and negative virtues become also part of the spiritual word. 

In the series, the equivalent to Arthur as a head of the system is Athena. The main difference between Arthur and Athena is that the first is human and a man, while Athena is the goddess of heroic endeavour, courage, love and compassion, and is portrayed as a woman. However, one similitude is that although Athena is a goddess, she is presented as a sensitive young girl, characterized by innocence and kindness. She also has human reactions and feelings, because, for example, it is possible to see in the series when she laughs and cries. Arthur’s emotions and feeling are also shown in Malory’s adaptation when the author describes how honest he was when confessing that he took the sword out of the stone, how considerate he was when he decided to look for his brother lost sword or how courageous he was when he undoubtedly accepted his enemies’ challenges. Also, he can be compared with a goddess because although Arthur is human, he might be considered as having a divine nature. This divine nature is shown in Malory’s text when, in chapter VII, it is told that King Arthur “is not dead, but had by the will of our Lord Jesu into another place”

Another similitude that can be found between the legend and the series is the pres-ence of a group of knights who fight together to reach a particular objective.  In this case, both groups of knights are human beings who have the same denomination, that is to say, “knights”, and who are courageous, brave and spirited. In the Arthurian legend, a group of noble knights advise the king and act as councillors in particular meetings. These are known as “The Knights of the Round Table.” Apart from this, the knights fight in battles to protect their king and nation. In the manga series, apart from the five main bronze knights, the gold, silver and steel knights fight to protect their goddess Athena, the Earth and to honour the values of love, goodness and friendship. However, it is pos-sible to find the difference that not all the knights in the manga series are human beings. The gold knights are Saints of the Zodiac, saints from particular constellations, with hu-man feature. 

The evil figures in both systems are completely different. In the Arthurian myth pre-sented by Malory, the evil figures are the invaders that want to conquer Britain or defeat King Arthur. These are humans, and most of the times, leaders of an army also com-posed by loyal knights. In the manga series, the evil is represented by the Underworld king, Hades, and his followers, a group of 108 black spectres; the god of the death, Thanatos, and the god of sleep, Hypnos. They want to kill Athena and her knights to take the control of the Earth and all the living creatures on it by spreading their evilness. The enemies, in this case, are dark gods and the souls of traitorous knights who prowl on Earth.

More elements in common

Apart from the previously mentioned elements in common, it is probable to find more similarities and differences. Firstly, it is important to mention the presence of armour, swords and shields when the knights attack other troops in the case of the Arthurian leg-end, for example Arthur’s sword “Excalibur." In the saga, and specially when they attack evil spirits, the knights in “Saint Seiya” use swords, and shiny armours to defend them-selves. 

Secondly, magic elements are present in both, the myth and the series. The Arthurian myth incorporates Merlin, the wizard, who enchants a sword. Also, Gawaine’s ghost and the ladies who follow him appear in the legend. Another magic element may be seen when a hand comes out of the water and grabs Excalibur and vanishes. The latter ap-pears in Malory’s work when Arthur asks Sir Bedivere to throw his sword into the water to see if something strange happens. In the manga series, each knight casts a different spell. For example, one of Hyoga’s powers is “Diamond Dust,” a rain of diamonds; Seiya’s technique is “Pegasus Meteor Fist,” Shiryu’s is “Rozan One Hundred Dragons Force,” Shun’s is “Nebula Chain” and Ikki’s technique is “Phoenix Illusion Demonic Fist.” 

Conclusion

All in all, in can be said that many characteristics of the system and elements from the Arthurian legend remain present in nowadays’ sagas like “Saint Seiya: Hades.” Popu-lar culture still accepts knights fighting for justice and protecting the world from evil forces. As analyzed in this paper, “Saint Seiya: Hades” is a clear example of a modern piece which includes features of the traditional legend. Through this manga series, and many other works, the adventures of King Arthur will remain alive and the positive values of friendship, cooperation, honesty, wisdom and goodness will be spread out through the new generations.

Bibliography

•Britannica Enciclopedia (2001) Nicholas Carr (ed.) [online] 

http://www.britannica.com/EBchecked/topic/185418/Elysium

•Maccoll, Alan (March 1999) “King Arthur and the Making of an English Britain.” History Today. Vol 49, Issue 3. History Today Ltd.

•Malory, Sir Thomas (1485) Le Morte Darthur: Sir Thomas Malory’s Book of King Arthur and of his Noble Knights of the Round Table, Volume 1 and 2. [online] Kel-ler, Charles (ed.) University of Virginia (1994) 

     http://etext.virginia.edu/toc/modeng/public/Mal1Mor.html

     http://etext.virginia.edu/toc/modeng/public/Mal2Mor.html

•Scudder, Vida (1917) Le Morte Darthur of Sir Thomas Malory & Its Sources. New York: E.P. Dutton

•Slocum, Sally (ed.) (1992) Popular Arthurian Traditions. Bowling Green, OH: Bowl-ing Green State University Popular Press.

Similarities between the film 'Harry Potter and the Philosopher's Stone' and the myth of King Arthur

Student: Yanina Helvig

Year: 2009

Introduction  

Le Morte Darthur (1485) is a well-known book written by Thomas Malory, where the author tells the adventures of the legendary King Arthur, focusing on the spirit of the English Renascence rather than describing the elements of romance that were very well-known in the epoch (Scudder, Vida 1917). Modern authors resort to elements of the Arthurian legend with frequency as a source for their literary works, films, TV programmes, comic books and others (Slocum, Sally, 1992). The film “Harry Potter and the Philosopher’s Stone” (2001), based on the novel of the same name by J. K. Rowling (1997), may present elements from the myth of King Arthur. The movie tells the story of Harry Potter, a young wizard who arrives at a world parallel to the Earth, in order to enter Hogwarts, the school of Witchcraft and Wizardry. In the school, Harry and his friends try to prevent Voldemort, an evil magician, from stealing the Philosopher’s stone, an elixir of life. 

This paper will attempt to show similarities between the film “Harry Potter and the Philosopher’s Stone” and the myth of King Arthur. For this objective, different elements appearing in both pieces of work will be compared.   

An Overview of Malory’s adaptation of the Arthurian Myth and the Film “Harry Potter and the Philosopher’s Stone”

According to Malory’s version, Arthur is a legendary British king who obtains the throne after pulling an enchanted sword from a stone. When he takes the crown, he rules and takes decisions under the guidance and support of the Knights of the Round Table, who swear loyalty to him. Arthur fights numerous battles with great courage and bravery using Excalibur, the enchanted sword, to defeat invaders who want to alter the order of the British Empire. 

Arthur’s valor and prowess can be perceived in the following example where the king is in a battle with the Romans.

“But in especial, King Arthur rode in the battle exhorting his knights to do well (…) he drew out Excalibur his sword, and awaited ever whereas the Romans were thickest and most grieved his people (…) and hew and slew down right, and rescued his people (…)” (Malory, Sir Thomas 1485)

This short passage may show Arthur’s heroism and bravery since he decides to fight where there are more enemies in number to save the life of his knights.

Besides, the presence of supernatural forces may be found in the Arthurian legend, such as the enchanted sword that chooses Arthur as the British King. Other magical elements may include ghosts, like the spirit of Sir Gawain, one of his knights, who warns him from death, and giants and monsters killed by the king and his knights. Arthur’s death may be also connected with a powerful magical element. The king is caught and placed in a boat by a group of queens at the sea water, and from that moment nobody sees King Arthur again. 

The legend of King Arthur may be analyzed within a system represented by the British Empire. This system is composed by a powerful leader, King Arthur, a group of knights who fight in the name of the leading figure and the evil that frightens the system and attempts to alter it.      

The film “Harry Potter and the Philosopher’s Stone” tells the story of Harry Potter, who learns he is destined to become a powerful wizard in Hogwarts and that he is considered a legend because he could survive from Voldemort. This malevolent wizard aimed at killing Harry when he was a baby but he failed, leaving a scar on Harry’s forehead. In The School of Witchcraft and Wizardry, Harry and his friends have a great adventure. They fight against terrible monsters when they try to prevent Voldemort from recovering his body since it was destroyed the moment he tried to kill Harry. 

The film can also be analyzed within a system represented by Hogwarts. Some elements may be identified in this system as in the Arthurian myth. Such elements are: the head of the system, Dumbledore, the headmaster of the school of Witchcraft and Wizardry, a group of students who act in the name of Dumbledore, and the evil, Voldemort, who aims at stealing the philosopher’s stone to recover his body and thus, to take control of Hogwarts.   

A Comparison between the Arthurian system and the film “Harry Potter and the Philosopher’s stone”

By comparing the legend of King Arthur and the film “Harry Potter and the Philosopher’s stone”, some similarities can be perceived since the magical world in the film may be influenced by the Arthurian system.

One common denominator may be the presence of a powerful leader. In the Arthurian myth, King Arthur is the head of the British Empire. That is to say, he is a symbol for the nation he represents. The equivalent of Arthur in the film may be Dumbledore. He is an iconic figure who acts as the head of the school of Witchcraft and Wizardry.   

Another similarity that can be identified may be the existence of a group of knights who fight to defend a common cause in the name of the leader. In the Arthurian myth, the Knights of the Round Table offer support to the king and fight to defeat invaders who want to alter the British system. In the film, Harry and his friends attempt to prevent the robbery of the philosopher’s stone. They fight in the name of Dumbledore to protect Hogwarts from the malignant and powerful Voldemort. 

However, it is possible to identify a difference between the Knights of the Round Table and Harry and his friends. In the myth, the knights are loyal, which means that they obey their king. In the film, the concept of faithfulness seems to be transformed because Harry and his friends question and judge the rules every time they find it necessary to defend Hogwarts. Although they break the rules, this may not imply that they are disloyal to Dumbledore because what they do is to analyze the regulations and act upon their own view. 

Arthurian Elements in the film “Harry Potter and the Philosopher’s stone”

There may be other Arthurian elements that persist in the film.  The presence of supernatural forces is one element that the legend of King Arthur and the film “Harry Potter and the Philosopher’s Stone” have in common. 

Such fantastic elements may be monsters, ghosts, spirits, wizards and magical weapons. For example, in the myth, Excalibur, the magical sword that chooses Arthur to become the British King, may be the equivalent of the magical wand that chooses Harry Potter in the film.

Moreover, it may be possible to find a connection between Arthur and Harry since both of them are predestined to become a legend. On the one hand, Arthur is considered a myth because he was the one predestined by an enchanted sword to rule the British nation. On the other hand, Harry is a well-known child in Hogwarts due to the fact that he was the only one who could survive from the evil Voldemort and destroyed him.

Arthur’s and Harry´s early age may also present similarities. Both characters were not raised by their parents in their early days. King Arthur, son of Uther, was brought up by Sir Ector. Merlin takes the decision of hiding the baby from the king’s enemies when he notices that the king is about to die.  Harry was raised by his relatives, the Dursleys, after his parents´ death. Hagrid, the gamekeeper, is the one who carries Harry to his relatives´ house.    

Conclusion

Malory’s adaptation of the adventures of King Arthur may be found in different works by many modern authors. The film “Harry Potter and the Philosopher’s Stone” is an example of a popular culture artifact where Arthurian elements may remain present.  By comparing both the legend of King Arthur and the film “Harry Potter and the Philosopher’s Stone”, it may be perceived that this popular culture artifact may be influenced by certain Arthurian elements and its system. 

Bibliography

Chris Columbus (2001) Harry Potter and the Philosopher’s Stone 

Malory, Sir Thomas (1994) Le Morte Dathur: Sir Thomas Malory´s Book of King Arthur and of his Noble Knights of the Round Table, Volume 1 and 2. Keller, Charles (ed.) University of Virginia (1994)

Scudder, Vida (1917) Le Morte Darthur of Sir Thomas Malory & Its Sources. New York: E.P. Dutton. 

Slocum, Sally (ed.) (1992) Popular Arthurian Traditions. Bowling Green, OH: Bowling Green State University Popular Press