Leave a comment. However, a mysterious fellow, who also happens to live beneath the Paris Opera House, is hired by it's owners to dispatch the Opera Ghost once and for all.

However, he has to leave the city for the same reason he left Mazenderan: he knows too much. [11] David Punter and Glennis Byron, The Gothic.

The Cambridge Edition to: The Brontës. He even builds himself a house in the cellars of the Opera where he could live far from man's cruelty. This may also be why Heathcliff has to die as he has no life without her. He tells her he will teach her how to become one with the music. Both characters, however, present an alter-ego of themselves where they adopt discreet, shadow-like and dignified personas. The Paradox of Self-Deception in “The Sun, the Moon, the Stars” What is evident is that Brontë uses pathetic fallacy of the “deeply set” narrow windows, the “stormy weather” and the gothic elements of the buildings combined with the repetition of ‘H’ names of the “heights characters”, like Hindley, Hareton, Heathcliff, which imply that they are “reflections of the others” to “increase the aura of strangeness” and ambiguity surrounding Heathcliff’s character which confirm his presentation as a Byronic Hero. Their manners mirror each other’s in terms of structure, however, one may argue that Leroux instils in Erik a much harsher behaviour, particularly in his character’s relationship with Christine, and thus he is labelled as a murderer. CHRISTINE IS DEAD. Erik of the Phantom of the Opera and Heathcliff of Wuthering Heights as Byronic Heroes. (Oxford: Blackwell Publishing, 2004).Heather Glen (ed. [Mystery Legends: Phantom of the Opera] The once grand Paris opera house is little more than a burnt out shell. [4] Ibid. ... No, for Raoul heard her murmur: "Poor Erik!" Get the proper attire. Stevie Davies[6] asserts that alter-ego is a theme in Wuthering Heights that contributes to Brontë’s “critique of so-called civilised behaviour” where other characters continue to reject Heathcliff even though his “manner was even dignified: quite divested of roughness.” Whereas Heathcliff’s character becomes “disinclined to society” and “increasingly otherworldly, lost in the land of ghosts”[7] after Cathy’s death, in the second half of the novel Erik’s becomes more passionate, his “emotion … so great”, conflicting with his shadow-like manner at the start of the novel where he “followed behind them” adopting a ghostly manner.

In The Pianist directed by Roman Polanski setting was used to develop the viewer’s […]“The Most Dangerous Game” is a short story and thriller by Richard Connell, which takes place after World War II on a remote island. Unlike his counterpart, who is portrayed in a much more sympathetic and tragic way, this phantom is an evil serial killer, who is much more evil and violent then the original phantom. The Paradox of Self-Deception in “The Sun, the Moon, the Stars” Erik himself laments the fact that his mother was horrified by his appearance and that his father, a master mason, never saw him. The Byronic Hero is a variant of the Romantic Hero who possesses an “expression which indicates a mixture of contempt and gloom”[1] and whose behaviour is unpredictable, “moodily taciturn and violently explosive.”[2] However, the Byronic Hero has a redeeming characteristic or quality that earns him the title ‘hero.’ Leslie Fielder defines the “hero-villain as indeed an invention of the gothic form” and thus links to the gothic as his “temptation, suffering, the beauty and terror of his bondage to evil are amongst its major themes.”[3] The Byronic hero originated from the archetypal eighteenth-century “man of feeling,” Lord Byron. It is, however, this later emotion displayed towards Christine’s character that some may argue is his redeeming quality for he sets her free and thus is a hero, although arguably his actions are presented as Satanic as he imprisoned her originally. ERIK HAS DEFEATED YOU.

In the Leroux novel, Erik is described as corpse-like with no nose; sunken eyes and cheeks; yellow, parchment-like skin; and only a few wisps of ink-black hair covering his head. Erik, aka The Phantom, the Opera Ghost, the Trap-Door Lover, is one of the main characters and main antagonist in the franchise and is often depicted as an introverted genius with a mask. He also seems to have traveled to Southeast Asia, since he claims to have learned to breathe underwater using a hollow reed from the "Tonkin pirates". The logo featuring a full mask was publicized before the change. However, Satan only promised to make Eric's music famous, not Eric himself.

Biography Edit.

Lon Chaney, Sr.'s characterization of Erik in the silent film (released in 1925) remains closest to the book in content, in that Erik's face resembles a skull with an elongated nose slit and protruding, crooked teeth. Several movies based on the novel also vary the deformities (or in the case of Dario Argento's film, the lack thereof, where Erik was a normal, handsome man raised by rats). The Devil mutilated Eric's face and told him that while people would love his music, no one could ever love Eric himself again. The Handbook of the Gothic.

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