Why Harry Potter still feels victorian?
More than two decades after its debut, Harry Potter continues to enchant readers across generations. While its storytelling and memorable characters are widely celebrated, its enduring appeal also lies in its deep roots in Victorian fiction. From orphan heroes and boarding schools to Gothic mysteries, J.K. Rowling reimagines familiar nineteenth-century literary traditions for a modern global audience.
Ever since J.K. Rowling's Harry Potter and the Philosopher's Stone burst onto the literary scene in 1997, readers and critics alike have tried to explain the series' extraordinary popularity. Attempts have been made to dismiss the phenomenon created by the bespectacled boy wizard as a fluke, temporary infatuation or downright stupidity, but with HBO now announcing a new television series based on Rowling's books, the craze still seems to be going as strong as ever.
J.K. Rowling's writing style draws upon literary greats such as Jane Austen and Charles Dickens, and she incorporates elements from classic myths like the Arthurian legend (much like Arthur, young Harry is sent away to live with his relatives for his survival, and does not know his true identity until Hagrid, like Merlin, turns up on his doorstep and tells him about it) and the Bible (Tom Riddle is the wayward Lucifer who revolted against the god-like 'control' of Albus Dumbledore and lured away a number of Death Eaters with him, though Rowling pulls off a subversive stunt by giving the Biblical scar to Harry instead of Voldemort). While these influences undoubtedly contribute to the global appeal of the series, this article focuses on a different aspect: the influence of Victorian fiction on Harry Potter.
With the gradual rise of individualism and middle-class values, one of the most popular literary genres in nineteenth-century England was the bildungsroman, or coming-of-age novel, tracing the journey of a person from childhood to gradual establishment within the social order. Very often, the protagonist was shown as an orphan by the author, since this provided them with a greater variety of situations to throw the character into. Much like the protagonists of Charles Dickens' Oliver Twist and David Copperfield, Harry Potter is also an orphan whose parents were killed by Voldemort when he was no more than an infant, and the novels trace his development from a wide-eyed first-year student to the leading figure in the battle against the Dark Lord.
Another unmistakable Victorian influence appears in the setting itself. The Harry Potter narratives mostly take place within the walls of Hogwarts Castle and therefore fall within the tradition of Victorian boarding-school stories such as Tom Brown's Schooldays by Thomas Hughes and later works like the Malory Towers series by Enid Blyton. The Victorian education system boasted prestigious public schools such as Eton, Harrow and Rugby School, whose emphasis on discipline and character-building is reflected in Hogwarts School of Witchcraft and Wizardry. Much like the public schools' fascination with football and cricket, Hogwarts has Quidditch, a game that requires teamwork, discipline, physical prowess and quick thinking.
Rowling also borrows heavily from Victorian Gothic fiction. The period produced classics such as Dracula by Bram Stoker, The Beetle by Richard Marsh and 'The Mark of the Beast' by Rudyard Kipling. With the towering Hogwarts Castle, ghosts and spirits roaming the corridors, hidden chambers (the second book in the series is titled Harry Potter and the Chamber of Secrets) and dark truths uncovered from the past, the Harry Potter stories repeatedly exhibit recognisable Gothic tropes.
Victorian children's literature is remembered for inventing the figure of the mischievous young protagonist who provided a welcome break from the overly obedient and innocent children featured in didactic works like Goody Two-Shoes. Much like the protagonists of Alice's Adventures in Wonderland, Through the Looking-Glass and Treasure Island, the trio of Harry, Ron and Hermione is not afraid to bend or break rules in order to achieve its purpose during adventures, often resulting in the loss of house points. As Hermione acknowledges towards the end of the first book, heroism is not defined by mere intelligence and academic excellence but by a courageous heart and a willingness to stand up for others.
As the British expanded their empire to various corners of the world during the Victorian period, they also began the task of systematic cultural colonisation by imposing Western education and philosophies of living upon the colonised. As a result, reading Victorian British literature gradually came to be seen as a matter of prestige for educated readers across Africa, India, Australia and the Caribbean. Even after political independence, English language and literature continue to exercise significant influence in many former British colonies. The continuing popularity of Victorian literature and its integral presence in bookshops and school syllabi mean that its tropes hold an instant recognition and appeal for readers and viewers across the globe.
This is precisely what the Harry Potter series achieves. Rowling revives familiar Victorian settings and storytelling conventions—from orphan heroes and boarding schools to Gothic mysteries and steam trains leaving from Platform 9¾—while making them accessible to modern readers. Victorian nostalgia, compelling storytelling and shrewd marketing together help explain the series' enduring appeal.
