Exploring Harry Potter and Peter Pan and the Ties Between Them - Skemman
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University of Iceland
School of Humanities
English Department
Exploring Harry Potter and Peter Pan
and the Ties Between Them
A Study of Mothers and Motherless Heroes in J. K. Rowling‘s
Harry Potter series and J. M. Barrie‘s Peter and Wendy
B.A. Essay
Lára Dawn Michelsen
Kt.: 020996-2349
Supervisor: Anna Heiða Pálsdóttir
May 2020Abstract Among Carl Jung’s twelve archetypes adapted to literary analysis is the Orphan, who for centuries has remained an endearing and relatable character in literature. The archetype’s popularity has grown over time, particularly in children’s and young adult fantasy fiction, with some of the genre’s most famous and beloved stories having orphaned protagonists. An archetype that is arguably not as famous or celebrated in children’s literature is that of the Mother. Despite being a crucial figure in many orphan tales who carry strong themes regarding mothers, the archetype’s influence remains relatively underrated. In this thesis, the role of the Mother in J. K. Rowling’s fantasy book series Harry Potter (1997-2007) and J. M. Barrie’s Peter and Wendy (1911) is examined. It also explores the ties between the protagonists of these novels in the context of the two being motherless heroes to establish the archetype’s influence in their stories. In order to properly examine the impact the role of the Mother has on these novels, the essay first explores the archetype’s history and its importance in the genre of children’s literature. Secondly, it analyses the recurring topics and themes amongst motherless heroes, that is to say, orphaned protagonists whose stories have strong themes regarding mothers. This is to establish the characteristics in tales where the protagonist is an orphan, and the archetype of the Mother is prevalent. Thirdly, the essay analyses and compares the Harry Potter series to Peter and Wendy to establish similarities between the two in the relevant context. By exploring these two novels and mothers in children’s literature, it is evident that the Mother archetype is influential in shaping the orphaned protagonist and their tale.
Table of Contents
1. Introduction ...................................................................................................................1
2. Mothers in Children’s Fantasy Literature ......................................................................4
2.1. History of Mothers in Children‘s Fantasy .............................................................. 6
2.2. Features of Motherless heroes in Fantasy Novels ..................................................9
3. Main Themes in Select Fantasy Novels with Motherless Heroes ............................... 12
3.1. Self-Worth, Rebellion, Selflessness, and Sacrificial Tendencies in J. K.
Rowling’s Harry Potter series ..................................................................................... 12
3.2. Insecurity, Loneliness, Facades and Selfishness in J.M. Barrie‘s Peter and Wendy
.....................................................................................................................................14
4. The Motherly Ties Between Peter Pan and Harry Potter ............................................17
4.1. Absent Mothers and Orphanhood .........................................................................17
4.2. Motherly Figures ..................................................................................................19
4.3. Villains and Immortality....................................................................................... 22
5. Conclusion ................................................................................................................... 25
Works Cited ..................................................................................................................... 27Michelsen 1
1. Introduction
Claudia Mills points out that “[a]s long as there have been novels about children, there
have been novels about orphans” (227). The Orphan archetype has been a beloved
figure in storytelling for hundreds of years, and their plight has fascinated generations of
readers. In these tales, it is through their orphanhood that, unlike children with parents,
they can brave any adventure the author has in store for them. The Orphan’s
opportunities are seemingly endless, and their stories often speak out on social
situations, teach moral lessons, and even inspire. Readers cry and rejoice as they follow
the protagonist on their journey from lonely Orphan to brave hero. However, it is
important to note that many of these Orphans do not overcome the struggles in their
story alone. They receive help from not only their friends but often also adults who
serve as parental figures. Many orphan tales feature motherly figures, and their stories
even have prominent themes regarding mothers. According to Lisa Rowe Fraustino and
Karen Coats, “whether living or dead, present or absent, sadly dysfunctional or happily
good enough, the figure of the Mother carried an enormous amount of freight across the
emotional and intellectual life of a child” (2-3). Therefore, it can be said that the
archetype of the Mother yields incredible influence over child-aged protagonists,
particularly orphaned main characters, as they are frequently much more vulnerable
than children with parents. Despite many orphan tales featuring strong “Mother”
themes, their importance in those tales has often been understated. The influence of the
Mother, her absence, her death, and the motherly figures that come in her stead in the
lives of these motherless heroes have a powerful impact on the protagonist and the plot.
This is evident in many of the most well-known and adored orphan stories in the fantasy
genre of children’s literature, such as the novels about Harry Potter and Peter Pan.
Therefore, the aim of this thesis is three-fold: to examine the archetype and
theme of mothers in children’s literature, explore recurring traits and topics in the
stories of the two famous motherless heroes, Harry Potter and Peter Pan, and establish
the ties between them in the context of the two being motherless heroes. It is
demonstrated that despite the many differences in each story, both protagonists are
deeply affected by their mother‘s absence, and her absence also enables the challenges
in their life to occur. In order to demonstrate, this thesis relies on two of Carl Jung‘s
archetypes: Mother and Orphan, as well as Marjorie McCormick‘s and MelanieMichelsen 2
Kimball‘s interpretation of the two concepts. Interestingly, apart from sharing elements
of strong themes of the Mother and Orphan archetypes, both series have another
distinctive feature in common: the main character is a male who unconsciously searches
for a motherly figure in the women around him. The books featured in this thesis are the
Harry Potter series (1997-2007) by J. K. Rowling and Peter and Wendy (1911) by J. M.
Barrie. The focus of this thesis is on the seven books of the Harry Potter series, namely:
Harry Potter and the Philosopher’s Stone (1997)
Harry Potter and the Chamber of Secrets (1998)
Harry Potter and the Prisoner of Azkaban (1999)
Harry Potter and the Goblet of Fire (2000)
Harry Potter and the Order of the Phoenix (2003)
Harry Potter and the Half-Blood Prince (2005)
Harry Potter and the Deathly Hallows (2007)
References will be made to all seven books, and they will be referred to as follows:
Harry Potter and the Philosopher’s Stone (1997) will be Philosopher’s Stone and Harry
Potter and the Chamber of Secrets (1998) will be Chamber of Secrets, etc.
According to Anita C. Tarr and Donna R. White, the character of Peter Pan
initially appeared in several chapters entitled Peter Pan in Kensington Garden in
Barrie’s adult novel The Little White Bird, which was published in 1902 (vii). As the
Orphan and his story grew in popularity, the more Barrie wrote about him. In 1904, two
years after the publication of The Little White Bird, Peter’s story was adapted into a play
entitled Peter Pan (ix). The play was then novelised in 1911 with the publication of
Peter and Wendy with the novel differing considerably in comparison with the play,
containing much more in-depth information regarding the characters and author
commentary. The focus of this thesis is on the 1911 novel Peter and Wendy.
Harry Potter and Peter Pan have many similarities, aside from living quite
magical lives, with the Mother archetype having a powerful impact on them both. By
examining the Mother’s significance in children’s fantasy fiction, establishing theMichelsen 3 characteristics of the motherless hero, and exploring the similarities between Harry and Peter –the importance of the archetype’s role in these novels can be seen.
Michelsen 4
2. Mothers in Children’s Fantasy Literature
According to Carl Jung, “children are educated by what the grownup is and not by what
he says” (293). What he means by this is that children are primarily shaped by the
behaviours of the adults around them, rather than the formal education which they are
provided. For most children, these adults are their parents who crucially serve as
authority figures and advisers and provide them the guidance they are in dire need of.
Traditionally, the Mother spends the most time with the child while the father works
outside the home to provide the family with an income. As fiction is frequently shaped
by reality, the Mother often plays a crucial yet underrated role in children’s literature.
Through the centuries, the role of the Mother in many children’s fantasy tales has
resulted in her becoming an archetype, called the Mother. One of the twelve Jungian
archetypes adapted to literary analysis, joined by the likes of the Orphan, the Mother
appears as “the personal mother and grandmother, stepmother and mother-in-law; then
any woman with whom a relationship exists” (Jung 156). In children’s fantasy literary
tradition, she is an influential parental figure whose presence and absence has a strong
impact on the protagonist and the plot.
The role of the Mother has been a figure of enduring importance in the genre of
children’s fantasy, so much so that various stereotypes have arisen within the archetype.
As stated above, the Mother archetype plays a crucial role in influencing the main
protagonist and the plot in J. K. Rowling’s Harry Potter series as well as J. M. Barrie’s
Peter and Wendy. It has also been crucial in classic fairy tales such as Cinderella,
Rapunzel, and Sleeping Beauty. In children’s literature, the Mother figure is the
character who provides either mental or physical protection or nurturing for other
characters. According to Jungian scholar Erich Neumann, the archetype of the Great
Mother, who is the natural force and power behind every human mother, is a fusion of
three forms: The Good Mother, the Terrible Mother, and the Good-Bad Mother (21).
The Good Mother is arguably configured by “the good feminine (and masculine)
elements,” meaning she carries mainly positive attributes, whereas the Terrible Mother
contains mainly “negative elements” (21). The third form, the Good-Bad Mother, is
then a “union of positive and negative attributes” (21). In literature, these three forms
have become standalone stereotypical depictions of mothers, particularly in children’s
fantasy. Furthermore, within the genre, the three forms have become stereotypes of theirMichelsen 5
own, as well as more stereotypes of mothers arising and becoming equally prevalent.
The Terrible Mother in children’s fantasy takes the form of what is called “the Evil
Stepmother” stereotype; a motherly figure who is forced to care for a child (the story’s
protagonist) she does not care for and perhaps even loathe (McCormick 30-31). This
stereotype fulfils Neuman’s classification of the Terrible Mother, who carries attributes
that have a negative influence on others (4;21). As for the Good-Bad Mother, two
stereotypes have arisen; the Absent Mother and Deceased Mother. They are often good
mothers who have flaws that negatively affect the story’s protagonist (McCormick 17-
19). Thereby fulfilling Neuman’s classification that Good-Bad mothers carry both
positive and negative attributes (21). According to Marjorie McCormick, there are four
main stereotypical depictions of mothers in literature: the Evil Stepmother, the Good
Mother, the Absent Mother, and the Deceased Mother (17-19;30-31).
To elaborate, the Evil Stepmother is a Terrible Mother who is the protagonists’
legal guardian, either “projected into the tale by means of the father’s remarriage” or
simply left in their care (McCormick 30). The Evil Stepmother figure harbours negative
emotions towards the hero and treats him or her poorly, dancing the line between
neglect and abuse. Details regarding these mothers “differ from tale to tale (she may be
a hag, a witch or a cruel stepmother), but her function is the same: to machinate the ruin
of the young and innocent protagonist…” (McCormick 30-31). This mother figure is
prominent in fairy tales such as Cinderella, where the heroine’s stepmother is the
embodiment of the Evil Stepmother as she is the villain preventing Cinderella from
leading a happy life. After the death of Cinderella’s father, her stepmother forces her to
be the house servant (Craft). Whereas the Evil Stepmother tests “all of the heroine’s
strength and perseverance,” the Good Mother is “actively useful” to the heroine and
helps them. By contrast, she is everything one hopes a mother to be; loving, nurturing,
understanding, and selfless (McCormick 3). These mother figures are depicted as
“gentle angels, wellsprings of devotion, wisdom and compassion” (3). Mrs. Darling in
Peter and Wendy is an excellent example of the Good Mother as she loves her children
unconditionally, dotes on them, and later in the story, waits patiently by the window for
her children to return from Neverland. Finally, there are the Absent and Deceased
Mothers whose absence allows for misfortune to fall upon their children. “The mother
who innocently sends her children into the forest does not do direct harm, but becauseMichelsen 6
the children are separated from her, she is unable to intervene in a crisis” (30). Where
the Absent Mother becomes absent, and the Deceased Mother dies, both are removed
from their children’s lives before his or her adventure is to begin (Schanoes 15;
McCormick 30). The absence of the Mother, if not because of death, can be due to
several reasons; however, a common trope is for it to remain unexplained throughout
the story like in The Beauty and the Beast (Barbot de Villeneuve). A possible reason is
that the hero ran away from her and later was unable to return, like Peter, with his
mother in Peter and Wendy. Another example is Rapunzel’s mother; despite loving her
daughter with all her heart, she is absent throughout her childhood and early
adolescence due to being kidnapped by a sorceress (Zelinsky).
Despite the various depictions of the Mother archetype within the literary
tradition of children’s stories, one attribute remains the same: the theme of motherly
love, affection, and wisdom. Whether any of these are available to the main protagonist
if judged by the literary works taken as an example above, significantly affect children
and their stories. Beauty and the Beast is the perfect example of the lack of motherly
wisdom. The absence of Bell’s mother enables her tale to occur at all because she “does
not have a mother to protect her from her foolish father and his dealings with the beast”
(Schanoes 15). Therefore, it can be argued that the Mother yields incredible influence
over the protagonist and his or her story. The archetype is present in many different
forms within the genre of children’s fantasy, and each of these forms has a specific
influence in the story. The various depictions of the Mother show, in multiple ways,
how the archetype’s love and affection, is crucial.
2.1. History of Mothers in Children‘s Fantasy
Initially, in children’s fantasy, the Mother appeared as a character consistently lacking
depth or relatability. Additionally, she was often depicted in extremes as either an
almost angelically positive figure or so negative she was pure evil. These extremes are
evident in many classic fantasy tales such as Cinderella, Snow White, and Hansel and
Gretel by the Brothers Grimm, to name a few. As cultural and societal expectations
towards women change, so does their depiction in literature. In more contemporary fairy
tales such as Neil Gaiman’s Coraline (2002) and the Harry Potter series, the Mother isMichelsen 7
depicted more like a real person with her own struggles and desires. Since fiction often
mirrors reality, as women in society began to be recognised for their individuality rather
than their role in the home – so did their literary counterparts.
Ever since the development of children’s literature, specifically the fantasy
genre, settled on childhood as its principal setting and the adults in the child’s
environment as its principal actors, mothers were assured a prominent role in the genre.
In Mothers in the English Novel: From Stereotype to Archetype, Marjorie McCormick
observes,
[T]he mothers in these early novels all do essentially the same thing. They are an
obstruction to the hero or heroine’s growth, welfare, and/or happiness. That is
their primary role, handed down to them from generations of Good and Terrible
Mothers.
(3)
McCormick’s observations establish that mothers in literature were initially portrayed as
obstacles: one either the hero must overcome, or the author had to write off. Ruth
Bienstock Anolik argues that the reason for this is because mother figures in the literary
genre are perceived to exert social control and order, which is unfavourable for the
narrative (27). By exerting social control, in other words, provide safety, order, and
being present as a Good Mother, the figure of the Mother then inhibits the child from
experiencing the necessary trauma, pain, and danger necessary to become a hero or
heroine. A popular solution for this dilemma was to either render the Mother deceased
or mysteriously absent. This is common in many fantasy tales, such as Peter and Wendy
(1911). Once Peter and Wendy leave their mothers, they can experience an adventure in
Neverland. In these early works of children’s literature, only a Terrible Mother can
successfully be present in a hero or heroine’s life as they then stand as an obstacle
which they must overcome in order to acquire their happily ever after. In Snow White,
for example, Snow White’s stepmother, the Evil Queen, is jealous of her beauty and
desires to once again be the fairest woman in all the land. Consequently, she orders a
huntsman to kill Snow, therefore becoming the villain the heroine must defeat so she
may live happily ever after (Grimm). Although the Mother archetype has been
guaranteed a prominent role in children’s fiction, she has historically lacked
individuality and been primarily defined by her role as a mother.Michelsen 8
The traditional role of women in the home, as housewives and mothers, in
society, left their literary counterparts to initially be depicted and viewed primarily
through such a lens. As Judith Rowbotham points out, historically, women were
considered to belong in “the more passive, private sphere of the household and home
where their inborn emotional talents would serve them best” (6). Additionally, it is
important to note that men were considered to belong to the public sphere, “the active
and aggressive world of politics, the military services and commerce, for instance,
where they could use their capacity for logical thought to best effect” (6). Thereby
creating a social, political, and cultural dynamic in which women were subservient to
men, leaving women’s identity to be primarily viewed in relation to a man, as a
daughter, a wife, or a mother. Consequently, early literary works modelled reality and
rendered the archetype of the Mother absent of a personality, or any individuality,
outside of motherhood. “The nature of this ‘problem’ is suggested by as apparently
innocuous as how they are labelled” (McCormick xiv). As mothers are almost always
addressed as Mrs., “the absence of a personal name reinforces the fact that the identity
of a mother as an individual tends to be subsumed by her identity as a mother” (xiv). In
Peter and Wendy, for instance, Mrs. Darling is always referred to as Mrs. Darling and
her character is depicted as simply a mother. In more recent works, this has changed as
expectations towards women and consequently motherhood, which contributes to the
gendered nature of the archetype’s narrative, have evolved. Maggie Parish points out
that literature often models contemporary paradigms and in contemporary fiction
mothers “are shown to be human beings struggling” (101). Modern fantasy works such
as Coraline and the Harry Potter series are great examples of this, depicting mothers as
flawed human beings.
Most mothers in classic fairy tales such as Cinderella, Snow White and Beauty
and the Beast are one dimensional, either dead, mysteriously absent, or the epitome of
the Good Mother, the idealised mother. According to Alexandra Kotanko, over time,
this has changed as the predicament of the Good Mother fantasy has been recognised
and is actively being shattered (170-171). In Western culture the Good Mother is often
portrayed as the embodiment of sacrifice and “must sacrifice her own individuality,
sexuality, personal ambitions and childhood in order to nurture these same qualities in
her child” (170). However, a study conducted by LeMasters proved that women wereMichelsen 9 not experiencing this romanticised view of motherhood, rather were struggling with balancing their life and motherhood (171). Consequently, in contemporary fiction, mothers have become dynamic and three-dimensional as their struggles as human beings, individuals, balancing life, and motherhood is recognised and depicted (Parish 101-102). For instance, in Neil Gaiman’s novel Coraline (2002) the titular main character fantasises about the ideal mother, who prepares her favourite meals and is available to Coraline all the time. She is ignored by her mother and wanders around the home, bored and restless, before entering an alternate reality where she finds exact doubles of her parents. In that reality, her mother is in charge and although it is perfect, she is evil, and it is through this journey, battling the evil double of her mother, that Coraline learns to accept her mother’s flaws. In the end, she comes to terms with the fact that her mother will never be the idealised Good Mother she has fantasised. In contemporary fiction, mothers have evolved to be dynamic characters, portrayed as people with their own struggles as women’s role in society expands from the home to the outside world. 2.2. Features of Motherless heroes in Fantasy Novels Defining the role that the archetype of the Mother plays in the stories of motherless heroes in fantasy novels is crucial in determining her importance in those tales. The archetype’s presence or absence influences the story of motherless heroes in ways that separate it from other orphan tales, where the loss of both parents is more equally felt. Therefore, motherless heroes are a certain depiction/stereotype of the Orphan archetype and their stories have strong themes regarding mothers. Furthermore, as numerous and diverse as orphan narratives are, there are certain themes found in most stories featuring an orphaned protagonist (Kimball 558). These themes encompass how the role of the Mother affects the motherless hero and their story. Through the protagonist’s journey from pitiful Orphan to brave hero, the archetype embodies “the hope that whatever the present situation, it can change for the better” (Kimball 559). The motherless hero, unlike most Orphans, feels the loss of the mother more deeply than that of the father, which affects not only the trauma they endure but also their journey in overcoming the struggles before them. Through her absence and sacrifice and the motherless hero’s
Michelsen 10
burning desire for a mother, the archetype of the Mother manages to play a crucial role
in shaping the hero and their story.
A central theme within the archetype’s narrative is the lack of parents and good
parental figures within their immediate environment. Without parents or supportive
parental figures, they are not provided with the necessary nurturing, support and
affection that children need. According to Dr. Ludmila M. Shipitsyna, it is harmful to a
child to be deprived of a parent’s love and care as it adversely impacts their self-esteem,
self-image and their relationship with others (15). “Psychoanalysis suggests that […] the
usual coping mechanisms are self- effacement, withdrawal or aggression” (McCormick
81). Furthermore, Melanie A. Kimball points out that as a result, the Orphan is rendered
“the eternal other” in a society where most children in their environment either have
parents or at least supportive parental figures (559). Unlike other archetypes, orphaned
protagonists are simultaneously pitiful and noble characters, “[t]hey are a manifestation
of loneliness” (559). As Sybille Birkhauser-Oeri states, since “fairy tales express an
inner psychological reality rather than an external one. The same is true of the mother
figures […] They represent motherhood in its various aspects; not particular mothers,
but symbols or archetypes of mothers” (13). Hence, the trauma and subsequent struggles
the Orphan experiences in children’s fantasy after losing their parents, specifically their
mother can be said to be symbolic. “Orphans are a tangible reflection of the fear of
abandonment that all humans experience” and they are also “separated from society
since they have no familial structure to help define them as individuals (Kimball 559).
“[M]en and women who are, symbolically speaking, motherless children, fatherless
waifs, emotionally abandoned from infancy onward…have no real self because they had
no love objects to internalize” (Schneiderman 216). Moreover, the attributes of courage,
selflessness and sacrificial tendencies are evident throughout the stories of Orphans, as
well as motherless heroes.
Another common theme within the Orphan’s narrative is that they are faced with
challenges in their journey that forces them to grow up and become the heroes their
stories need them to be. “Because orphans are without the natural protection of family,
they must stand on their own to conquer problems” (Kimball 564). Within the
archetype’s narrative, the motherless hero comes up against many obstacles in the
pursuit of their quest and is eventually shaped into the hero their story requires them toMichelsen 11
be. In addition, by overcoming the adversity before them, the orphaned protagonist,
consequently, grows up more quickly than their non-orphaned counterparts and
becomes resilient (Villate 2). Although their orphanhood allows them to experience
grand adventures, in their journey, obstacles often arise where a maternal figure presents
herself. The motherly figure either stands as an obstacle as the stereotypical Terrible
Mother or provides the essential love and support as the Good Mother. The Harry
Potter series, for example, depicts the duality of the Evil Stepmother and the Good
Mother. One the one hand, the titular character’s cruel aunt Petunia allows the jealousy
and spite she feels for her deceased sister, Harry’s mother, to spill over to her feelings
and treatment of her nephew (The Philosopher’s Stone 44). On the other hand, the
mother of Harry’s best friend, Mrs. Weasley, is the stereotypical Good Mother who
provides him with the motherly love that he desperately needs (The Goblet of Fire 714).
While Petunia is an obstacle for Harry, Mrs. Weasley is the Good Mother who takes
care of him and provides him with love and affection when the evil wizard, Voldemort
returns. Thus, in their journey from zero to hero, the lonely Orphan proves themselves
to be courageous and selfless as they conquer the adversities before them.
Growing up without a mother yet desiring one means that the Orphan must learn
to handle themselves; as a result, they become incredibly independent and resourceful,
which is another common theme in the narrative of the motherless hero. According to
McCormick, “psychoanalysis suggests that when someone is denied nurturance,
acceptance, or love, the usual coping mechanisms are self- effacement, withdrawal or
aggression” (81). Therefore, these responses to a mother’s absence or “poor mothering
are extraordinarily perceptive and psychologically realistic” (81). Mothers, in a
patriarchal society, have been assigned the role of the primary caregiver; to cook, clean
as well as provide the child with nurture, support and guidance. As a result, her absence
in the Orphan’s life has a dramatic effect on him or her since freedom from parental
supervision and authority alongside learning to live with hardship is a contributing
factor to the Orphan’s development. It is a driving force in the character’s storyline,
creating an archetype with its own unique set of traits. Additionally, through the loss
and hardships motherless heroes face and the love provided to them by the supportive
motherly figure in their lives, do they learn the true value of mother’s love and
independence.Michelsen 12
3. Main Themes in Select Fantasy Novels with Motherless Heroes
Having surveyed the Mother in literature and the common features of the motherless
hero narrative in fantasy novels, this chapter examines the following novels, J. K.
Rowling’s Harry Potter series (1997-2007), and J. M. Barrie’s Peter and Wendy (1911).
These novels are crucial in showcasing the characteristics of motherless heroes, in
addition to the influence of the Mother in the themes of their stories.
3.1. Self-Worth, Rebellion, Selflessness, and Sacrificial Tendencies in J. K.
Rowling’s Harry Potter series
The Harry Potter series is arguably among the most beloved children’s books/young
adult books in contemporary fantasy fiction. There are seven novels in the series,
published in the span of ten years, 1997-2007 by author J. K. Rowling. The series
follows a young wizard as he comes of age, facing not only the challenges of growing
up but also his need to face the dark and powerful wizard who murdered his parents.
Each book in the series chronicles a year in the protagonist’s life. The first eleven years
of Harry’s life is a bit of a Cinderella story, as he is treated cruelly by his relatives, the
Dursley family. On his eleventh birthday, his life changes dramatically as a half-giant
named Rubeus Hagrid reveals that Harry is a wizard. Additionally, he has also been
accepted to the magical school Hogwarts School of Witchcraft and Wizardry where
Hagrid works as a groundskeeper. As Harry develops through his adolescence,
attending Hogwarts and spending his summers with his aunt and uncle, he learns to
overcome the challenges that face him: common adolescent problems such as
friendships, love, schoolwork, depression, anxiety, stress and fighting the Dark Lord
Voldemort and his evil allies. Navigating the challenges of growing up, doing well in
school and fighting evil wizards, Harry’s story shows several notable topics observed in
motherless heroes, from self-worth to selflessness.
The first book of the series, The Philosopher’s Stone, introduces a pessimistic
and insecure eleven-year-old Harry Potter. For the first eleven years of his life, Harry’s
only motherly figure was his cruel aunt Petunia, who unfortunately was the
stereotypical Evil Stepmother. As previously mentioned, a child’s self-worth is shaped
by his environment. Therefore, his exposure to harsh experiences and uncaringMichelsen 13
grownups is a common feature. Growing up at the Dursley residence, their treatment of
him is cruel and borderline abusive, as Harry’s bedroom is a cupboard under the stairs,
and he is treated like their servant (19-20). Even his cousin Dudley, bullies and torments
him (20). This is further highlighted as the Dursley’s only supply Harry with the bare
necessities to keep him alive, such as clothes from Dudley that have grown too small for
him. This has severely affected Harry’s sense of self-worth, or lack thereof, resulting in
him having a rather pessimistic outlook on life (26). This is evident when Harry meets
Hagrid and finally learns that he is a wizard and has been accepted to “the very best
school of witchcraft there is” (79). Harry’s insecurities cause him to feel mixed
emotions, torn between feeling like the news is too good to be true, and the moment is
the happiest one of his life. His low self-esteem and feelings of loneliness negatively
affect his confidence within himself; however, at Hogwarts, he is able to begin
overcoming those struggles. Although Hogwarts has a positive effect on his self-worth,
it does not erase Harry’s insecurities, which are almost ingrained into his character. His
insecurities, such as low self-esteem, in combination with his inherently good nature
and sense of justice, push him towards rebellious, and even reckless acts of heroism.
In Harry’s quest to defeat the man responsible for his parent’s death, along with
balancing the common challenges imposed by coming of age, Harry becomes
disobedient and impetuous. Over the course of Harry’s seven years at Hogwarts, he and
his best friends, Ron Weasley and Hermione Granger, rebelliously break a plethora of
the school’s strict rules for the sake of the greater good. In Harry’s second year at
Hogwarts, he and his friends investigate a series of attacks and threats left on the walls
of the corridor of the school (The Chamber of Secrets 138-139). In their pursuit of the
individual responsible, they break several rules such as breaking into Professor Snape’s
potion room and giving other students magically laced food, to name a few instances
(185-186;214-215). This behaviour highlights Harry’s heroic yet impetuous nature,
which is notable throughout the series. Another instance is when Harry is in his fifth
year at Hogwarts, and he competes in the dangerous Triwizarding Tournament. As he
tries to complete the task of saving Ron underwater, he fears for the rest tied in the
water may drown as the other competitors struggle to reach them (The Goblet of Fire
501-502). Consequently, Harry nearly drowns trying to rescue them due to his selfless
and heroic nature (503). Later, this turns out to be unnecessary as there was a magicalMichelsen 14
spell protecting them from danger. Harry’s tendency to break the rules for the sake of
the greater good ultimately helps him defeat Voldemort, which in turn justifies his
rebellious yet somewhat reckless actions.
Harry’s tendency to disregard both school and wizarding government rules, even
to the point of risking his life, in favour of the greater good shows his willingness to
sacrifice himself for the sake of others. A quality that he learns from his parents, notably
his mother, who died saving his life (The Philosopher’s Stone 216). His altruistic traits
shine through his tendency to do whatever he can to help those he cares for. This can be
seen in the last book, The Deathly Hollows, when he surrenders himself to Voldemort
during the Battle of Hogwarts. He does this after learning that he himself is a Horcrux
(an object enchanted with a wizard’s soul enabling said wizard to be immortal) and
believing he must die for Voldemort to ever be defeated (704). He tells his long-time
friend and fellow classmate, Neville Longbottom, that Voldemort’s pet snake, Nagini, is
also a Horcrux before going to Voldemort (695). These acts show that, much like his
mother, Harry is willing to go to any length to save and protect those he cares for and
ensure that no harm comes to anyone. The themes of selflessness and sacrifice are
strong within the series. To do whatever it takes, so that good triumphs over evil is
something the series and the titular character share with other fantasy motherless heroes.
3.2. Insecurity, Loneliness, Facades and Selfishness in J.M. Barrie‘s Peter and
Wendy
Among the most beloved versions of Peter Pan’s tale is the 1911 novel by J. M. Barrie,
Peter and Wendy. It is important to note that in the novelised version of Peter’s tale, the
main protagonist is Wendy Darling, the famous motherly figure to the boy who never
grew up. Due to the topic of this thesis, the focus will be on the motherless hero Peter
Pan. His story is that of a stubborn child who fears growing up and entering adulthood.
This fear emerged in infancy when he overheard his parents speak of what he should be
when he grew up. Fearful of adulthood, he ran away from home to live with fairies in
Kensington Gardens, who eventually brought him to Neverland. After spending an
unknown amount of time living with magical creatures, Indians, and other orphan boys
in Neverland fighting pirates, Peter begins to yearn for his mother. This eventually leadsMichelsen 15
him to return to her; however, after being unable to do so, Peter eventually finds a
mother in little Wendy Darling. Peter’s journey, from running away from home to be a
child forever in Neverland to search for a mother figure in Wendy, shows several
notable topics observed in motherless heroes, from insecurity to selfishness.
Although Peter presents himself as a brave and self-assured boy, through his
interactions with Wendy, we soon discover that it is nothing more than an act. The
novel begins by introducing the Darling family, Mr. and Mrs. Darling, and their three
children, Wendy, John, and Michael. One night, Peter enters the Darling children’s
nursery in search of his shadow, which he had forgotten the last time he was there
(Barrie 35). He and Wendy meet for the first time, and through their interactions, it
becomes evident that Peter’s arrogant demeanour is his attempt to hide his insecurities.
For instance, his insecurities become evident when Wendy asks Peter his age and it is
said that “It was not really a happy question to ask him; it was like an examination
paper that asks grammar, when what you want to be asked is Kings of England” (42).
He is then described as to have “replied uneasily” and that he does not know but
proceeds to tell the story of how he ran away from home the day he was born. This
shows the insecurity that lies beneath his arrogant exterior. Additionally, Peter’s deepest
insecurity is revealed when he tells Wendy he ran away from home because he did not
want to grow up: fear of aging. Moreover, as Wendy learns, Peter has frequently visited
her window to hear her tell her stories despite having the Lost Boys to hang out with in
Neverland, which suggests that Peter is also experiencing loneliness. This is further
highlighted when Peter contradicts himself by inviting Wendy to come with him to
Neverland to be a mother to him and the Lost Boys (49-50). Although Peter does not
have uncaring guardians like most orphaned heroes, he nevertheless grew up lacking
parental guidance.
Wendy’s time in Neverland acting as his mother shows that Peter’s image as a
fearless and arrogant hero is nothing more than a façade hiding an insecure and lonely
child. In addition, it reveals his hidden desire for a mother in his life. For instance,
Peter’s insecurity regarding mothers is suggested when the reader learns that the Lost
Boys are forbidden from talking about them in his presence (84). This is particularly
evident during one evening when Peter, the Darling children, and the Lost Boys all
gather to hear Wendy tell a story. She tells the story of three children who leave home toMichelsen 16
experience an adventure in Neverland, and when they return home, they find their
parents patiently waiting for them (164-166). This upsets Peter, and he tells her she is
“wrong about mothers,” revealing he used to think the same before he returned home
one day to find his bedroom window shut (167). Furthermore, Peter’s desire for a
mother and the love and support one provides is evident when Wendy decides to return
home with her brothers (168). Shortly after Wendy leaves, Peter flies to the Darling’s
nursery window with Tinkerbell and orders her to close the window (243). He does this
hoping that Wendy will think her mother has forgotten about her and would be forced to
return with him to Neverland. His selfish behaviour reveals his insecurities and how
torn he is between desiring a mother and wanting to remain a child forever, which
renders him his own worst enemy. It is the reason he lost his mother and is willing to
sabotage his relationship with Wendy, which highlights her importance to Peter as a
motherly figure.
Peter’s main struggle is to overcome his fears of growing up, both physically but
most importantly, mentally, and through Wendy, he can to an extent overcome it. As
Tinkerbell closes the nursery window, he notices Mrs. Darling sitting close by, clearly
waiting for the return of her children (241-242). Watching her, Peter experiences
sympathy for the first time and this is due to Wendy’s influence as a motherly figure,
who provides him with nurturing affection in the form of regular mealtimes and bedtime
stories (152;164; 243). He sympathises with Mrs. Darling, and experiences guilt with
what he is doing: “But the lady would not make the best of it, and he was unhappy”
(243). This guilt results in him ordering Tinkerbell to re-open the window, and him
hiding from sight as the Darlings and the Lost Boys arrive (243-244). After the Darlings
embrace the Lost Boys into their family, they notice Peter outside and invite him to join
them, which he declines (248-252). Peter suggests that Wendy come back with him
instead; however, Mrs. Darling comes up with another arrangement; for a week every
year, Wendy may go to Neverland and do his spring cleaning (253). However, since
Peter has no sense of time, he comes sporadically until one day Wendy is too old to fly
and instead a tradition is born in which he takes Wendy’s daughter, then her grand-
daughter, etc. (267). This shows us that although he is not able to truly overcome his
fear of growing up, Wendy helps him learn how to love and behave selflessly.Michelsen 17
4. The Motherly Ties Between Peter Pan and Harry Potter
Having examined the existing characteristics of motherless heroes within Peter and
Harry’s stories, this chapter will explore how the archetype of the Mother and her role
in their stories ties them together. Arguably there are five aspects of Peter and Harry’s
stories that share similarities through the role that the Mother archetype plays in them:
Absent Mothers and Orphanhood, Motherly Figures, and Villains and Immortality.
4.1. Absent Mothers and Orphanhood
Although the circumstances behind the absence of their mothers may be worlds apart,
the trauma of her loss and subsequent orphanhood is similar for Peter and Harry. In her
absence, the boys are left practically alone in the world, which consequently results in
the two of them developing insecurities that affect their life. Furthermore, the lack of a
loving and nurturing motherly figure shapes Peter and Harry from vulnerable children to
the motherless heroes their stories need them to be.
For Peter, the absence of his mother from his life and subsequent orphanhood is
self-inflicted and is driven by a deeply rooted fear of aging, which is crucial for his
story to occur. Despite running away from home in infancy, his attempt to later return is
significant. This is evident when Peter tells Wendy that her view of a mother’s love is
wrong,
‘Long ago,’ he said, ‘I thought like you that my mother would always keep
the window open for me, so I stayed away for moons and moons and moons, and
then flew back; but the window was barred, for mother had forgotten all about
me, and there was another little boy sleeping in my bed.’
(Barrie 167)
Finding his bedroom window to be closed and another boy lying in his bed upon his
return affects him greatly and is evident in his sentiments towards mothers throughout
the story. It leads him to, figuratively speaking, bear on a mask for the world and appear
as a brave, arrogant hero to hide how abandoned he feels by his mother (167). For
instance, after Wendy sharply asks him to “make the necessary arrangements” so she
and her brothers can return to their parents, he immediately puts on his mask - “If she
did not mind the parting, he was going to show her, was Peter, that neither did he. ButMichelsen 18
of course he cared very much” (168-169). Moreover, the absence of Peter’s mother
contributes to a contradiction in his life; his unwillingness to grow up yet desperately
desires a mother. By succumbing to his fears, he runs away from home and becomes an
orphan (42). However, his desire for a mother eventually draws him back to London to
visit Wendy’s bedroom window and to listen to her stories. Therefore, his mother’s
absence and Peter’s subsequent orphanhood not only tie together in this regard, but they
are also crucial for his story to develop as it does. Arguably, if his mother had left the
window open for him then his story would not have occurred as he would have most
likely ended up becoming an adult.
Much like with Peter’s mother, Lily Potter is rendered absent from her son’s life
not by choice, rather by the will of another and is central to Harry’s life developing into
the adventure it is. In Harry’s case, his mother is killed by Voldemort. This occurred as
he was desperate to vanquish Harry before a prophecy could be fulfilled. A prophecy
which foretold “[t]he one with the power to vanquish the Dark Lord approaches... born
to those who have thrice defied him, born as the seventh month dies” (The Order of the
Phoenix 841). Due to Harry’s parents being members of an order determined to stand
against Voldemort, and him being born near the end of the July, he was considered the
child the prophecy foretold. Although his father was also murdered by the Dark Lord it
is his mother’s death that is considered significant throughout the series. Lily’s motherly
love for Harry led her to sacrifice herself, which resulted in a powerful protection spell
to be cast over him. This magic saves his life on numerous occasions throughout the
series (The Philosopher’s Stone 216). Much like with Peter, it is the absence of Harry’s
mother and his subsequent orphanhood that leaves him vulnerable and alone to
experience challenges that arise in his life. While Peter’s obstacles internal, Harry’s are
more external as he faces antagonists who desire to cause him misery. After his parents’
death, he is left in the care of the uncaring Dursleys; his aunt Petunia allows her
resentment towards her sister affects how she treats him (44). Furthermore, although
Lily’s death saved Harry’s life, it also cursed him as Harry was accidentally turned into
a living Horcrux for the evil wizard Voldemort (The Deathly Hallows 686). Therefore,
Lily’s absence arguably paves the way for Harry’s suffering to occur, from living with
cruel relatives to experiencing assassination attempts by one of the most powerful
wizards of all time. Consequently, Harry is forced to quickly grow up from an insecureMichelsen 19
little boy to a selfless hero that must protect the people he cares for from the Dark Lord.
Thus, Lily’s absence and Harry’s subsequent orphanhood not only leave him
vulnerable, but they also enable his story to occur and for him to be shaped into a hero.
The absence of Lily Potter and Peter’s mother plays a crucial, albeit slightly
different, role in enabling their stories to occur and for them to become the hero. Firstly,
the absence of their mothers allows the villain of their tale to cause them misery. For
Peter, as both the protagonist and villain, he leaves himself torn between two desires
that can never truly be united: wanting to be loved and nurtured by a mother and
succumbing to his fears and remaining a child forever. For Harry, he is left alone to deal
with cruel relatives and an evil wizard and his allies, who cause him great misery.
Furthermore, their orphanhood allows them to experience adventures other children can
only dream of, such as fighting pirates or evil wizards. Through these adventures, the
boys learn a great deal and combined with the trauma left by their mothers’ absence,
they become the heroes of their story.
4.2. Motherly Figures
The motherly figures who embody stereotypes of the Mother archetype and influence
the lives of Peter and Harry is another aspect that ties them together. These figures, in
their own unique way, help their story’s protagonist overcome their struggles and grow
as a person. Despite Peter’s inability to overcome his greatest fear, aging, he learns to
love and sympathise with a fellow human being. Therefore, Peter’s Wendy and Harry’s
Mrs. Weasley and Professor McGonagall provide the respective heroes the motherly
love, support, and nurturing they need to overcome the insecurity and trauma they have
suffered.
Through her gentle, caring, and attentive nature, Wendy helps Peter, to an
extent, mature mentally and emotionally by teaching him how to love. Unlike most
motherly figures, Wendy Darling is unique as she is a child herself when she plays the
role of mother to Peter and the Lost Boys. Nevertheless, she is the most directly
influential motherly figure in Peter and Wendy and is the stereotypical Good Mother.
This is evident throughout the story as she cares for Peter and the Lost Boys by giving
them regular meals and bedtime stories, as well a drop of medicine, which is simplyMichelsen 20
water (Barrie 152;164;172-173). Wendy’s influence on Peter is subtle, and this can be
seen when “they all got into bed for Wendy’s story, the story they loved best, the story
Peter hated” (161). Peter tolerating something he hates, which everyone enjoys, is a
subtle indication of his changed behavior, as earlier in the novel, it has been established
that he usually always has his way. The slight maturity in his actions and control over
his sentiments becomes particularly evident when he tries to manipulate Wendy to
return to Neverland by barring the window of her bedroom (242-243). Due to Wendy’s
influence, the sight of Mrs. Darling sitting by the nursery window causes him to feel
guilty, “as if she were inside him, knocking” (243). Although Mrs. Darling is the only
mother depicted in the tale, she plays a minor role in in-directly influencing Peter in this
scene by being the embodiment of the Good Mother stereotype; she is the mother who
loves her children unconditionally, waiting patiently by the window for their return.
Furthermore, Peter’s slight maturity can also be seen when Mrs. Darling refuses to
allow Wendy to live with Peter in Neverland – “’Oh, all right,’ Peter said, as if he had
asked her from politeness” (253). Despite being unhappy that Wendy will not be living
with him in Neverland, he does not complain or try to beg her any further, rather accepts
Mrs. Darling's offer that Wendy may visit every year. Through her role as a nurturing
and loving motherly figure, Wendy helps Peter mentally and emotionally mature
enough, so he learns to respect others.
Harry Potter, by contrast, has two motherly figures, Mrs. Molly Weasley and
Professor Minerva McGonagall, who provide him with the nurturing, love, guidance,
and support he needs to overcome his struggles and vanquish his enemies. Professor
McGonagall and Mrs. Weasley, through the duality of discipline and nurturing love,
embody the Good Mother and play a crucial role in not only shaping Harry but also his
story throughout the series. Mrs. Weasley is always kind and cares for Harry and has
done so from the moment she helps him on platform nine and three-quarters in
Philosopher’s Stone. Throughout the series she provides him with a family by treating
him as if he were her own son (70). In The Goblet of Fire, during the last task at the
Triwizarding Tournament, Harry witnesses the return of Lord Voldemort and the death
of Cedric Diggory (638-643). Afterward, Harry is traumatised and in shock at the
Hogwarts hospital wing, where Mrs. Weasley gives him a hug (714). The fact that
Harry “had no memory of ever being hugged like this, as though by a mother,” showsMichelsen 21
the importance of Mrs. Weasley’s loving and nurturing motherly presence (714). This is
important because, throughout Goblet of Fire, where Harry needs family more than ever
to support him through the gruelling tournament, it is Mrs. Weasley who shows up to
support him through the final task, when Harry is expecting no one (615). Additionally,
whereas Mrs. Weasley embodies the loving side of the motherly figure, Professor
McGonagall provides Harry with the discipline, the tough yet protective love he needs.
For instance, Professor McGonagall was protective of him even as a baby and
questioned Dumbledore’s decision to leave Harry with the Dursleys (The Philosopher’s
Stone 15). Her subtle protective affection for Harry is prominent in The Order of the
Phoenix, when the cruel Dolores Umbridge, who loathes Harry, becomes a professor at
Hogwarts. For instance, when Harry attempts to explain why he had a row with
Professor Umbridge, McGonagall quietly supports him by offering him a biscuit and
merely warns him that Umbridge is dangerous (248). This act of protective affection
becomes even more evident when Harry expresses his desire to become an Auror after
graduating Hogwarts, which Dolores immediately discourages (662). Professor
McGonagall responds to Harry by vocally promising him that he will find no untoward
obstacle to the career of his choice (664). Therefore, the strict yet protectively
affectionate Professor McGonagall and the loving and nurturing Mrs. Weasley crucially
help Harry overcome the obstacles and struggles that appear along his journey.
Whereas Wendy helps Peter emotionally grow, Harry’s Professor McGonagall
and Mrs. Weasley help provide protection and nurturing affection when he is most
vulnerable, nevertheless both motherly figures influence the respective heroes. For both
protagonists, the motherly figure present in their story is there for them when they are
most vulnerable and, in those moments, help them slowly overcome the internal
struggles that each hero is facing. For Peter, he needs a mother throughout his entire
story to provide him with nurturing love and affection to combat his insecurities.
Unfortunately, in the end he is unable to overcome his greatest insecurity of all, fear of
aging. By contrast, Harry successfully overcomes his insecurities and, in the end,
vanquish his greatest nemesis, Voldemort because Professor McGonagall and Mrs.
Weasley are there for him in his most vulnerable moments.Michelsen 22
4.3. Villains and Immortality
The third and final aspect of Peter and Harry’s stories that tie them together is the
shared fear of mortality between the villains of each tale, respectively. Both Voldemort
and Peter fear aging, whereas Voldemort specifically fears death – Peter fears and
dislikes adulthood. In this sense, the role the archetype of the Mother plays in the
respective stories of Harry and Peter then shows to influence not only the hero but also
the villain as well. Similar to the protagonists, the Mother archetype influences the
antagonists of these tales and the fears that drive them to seek immortality.
When analysed, Peter’s fear of adulthood may be interpreted as a subconscious
fear of mortality as growing up and into adulthood is a steppingstone that eventually
leads to old age and death. Throughout the novel, Peter’s forgetfulness is spoken about,
and how he “had no sense of time” (Barrie 253). This is indicated when Wendy meets
him for the first time and asks Peter his age and he replies, “I don’t know” (42). His
forgetfulness and inability to sense time are indicated again when Peter talks about the
time he tried to return home (167). This is later confirmed when Peter promises to return
for Wendy to have her do his spring cleaning (253). This speaks volumes into Peter’s
character; his forgetfulness is the embodiment of childhood innocence and his desire to
remain a child forever inhibits his own emotional and mental growth. Without his
mother and the existence of Neverland, Peter can fully succumb to his fears and become
the embodiment of childhood. However, eventually, the monotony of childhood free
from parental authority finally catches up to him and Peter yearns for a mother’s love
and care. This is evident in his attempt to return home, finding a mother figure in
Wendy and becoming desperate to keep her when she tries to return home. Furthermore,
Peter saying that, “To die will be an awfully big adventure” (143), is ironic and another
instance of him concealing his insecurities. Therefore, one may argue that without a
mother or a mother figure in his life to influence him, Peter acts as the main antagonist
in his life, succumbing to his deepest fears, running away from his mother and losing
her forever and even almost sabotaging his relationship with Wendy by trying to
manipulate her. Without a mother figure to guide him, he behaves like a child who will
never grow up. However, with Wendy in his life, he is able to mature enough to
sympathise with Mrs. Darling and behaves selflessly.You can also read
