), The Cambridge Companion to: The Brontës. Conversely, some may argue that they take on the role of a Gothic antagonist, particularly Erik, and therefore is presented as a Satanic Hero through his actions and appearance. The relationships between the protagonists and the female characters have a significant impact on the reader’s reception of them as to whether they are Byronic Heroes who earn “the reader’s sympathies.”[8] Brontë uses the character pairing of Heathcliff and Cathy to illustrate a relationship which “reveals a strong desire for the dissolution of the self,” where Catherine declares, “I am Heathcliff” and Heathcliff asserts that Catherine is “his soul, his life.”[9] This implies that without her he has no soul and no life and suggests that after her death, Heathcliff will become soulless and lifeless and an antagonist without a moral conscience – a villain. But then, huzzah! The framed narrative of the story, however, suggests that Erik’s appearance as a villain may be extensively exaggerated by the narrator as was stereotypically done by theatre folk. But seriously, I do want to know. Get tips and ideas in OUTLINE. 2nd Edition. The landscape in Wuthering Heights is described as “artfully personified.” This may be due to Brontë’s use of contrasting pairs between her settings, which inwardly reveal more about the characters that are associated with them. But first, I researched and developed on my own, because I'm a busy little bee like that. In the areas of music, composition, and vocal training, he is a True Genius. He is especially gifted at the ambush attack when he must kill. It looks a lot like a gigantic, possibly not-too-bright calculator. Sympathy is a significant response to Byronic Heroes and as modern readers feel sympathy towards their exclusion from society, both characters are responded to as Byronic Heroes. [1] David Punter and Glennis Byron, The Gothic. My greatest sadness is that, since apparently John's and my powers combined are still not enough to get us through the opera house to actually confront Erik himself, I will never know what his representation in the game itself looks like, or whether there is anything interesting going on in the inevitable lair scene at the end of the game. It looks a lot like a gigantic, possibly not-too-bright calculator. Special offer for LiteratureEssaySamples.com readers. He can go anywhere within, and neither walls nor locked doors can stop him. Christine’s character thus becomes the damsel in distress and as Erik is restricting her freedom, Leroux presents him as the villain, whom the hero needs to defeat. Then it's suddenly bombs - what. [5] Marie-Mulvey-Roberts (ed.) It’s over now, the Music of the Night…”. He can use the Schtick to be able to enter any room in the Opera House, locked or not — and to quickly move from place to place almost as if by teleportation. However, in correspondence with the description of a Byronic Hero’s actions as “violently explosive”, Erik’s attributed actions are dramatised fantastically by Leroux using grotesque and pitiful imagery where he “twist[ed] his dead fingers into [Christine’s] hair.” The use of the word “dead” also implies that Erik is robbed of his feeling and senses and therefore is presented as an antagonist. The sound is awful and the graphics, in all their spell-binding four-color glory, are extremely primitive, but those things are constraints of the time period, so it's hard to really knock the game over them. Yay! REVIEW: WORST GAME EVER, THE END. Thus one would question their objectivity. No compassion anywhere ! After nearly ten years of quiet obsession with the delicate, ethereal voice of Christine Daaé and the beautiful young soprano herself, he plots to place his protégé at center stage. Inside the Opéra House he is almost literally a Phantom. 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. Erik, a.k.a. No problem. Enemy [Raoul, Viscomte Chagny], Secret [His existence inside the Opera House], Voluntary Exile, Innocent, MIA (Taunting his Enemies, Playing Jokes/Tricks), SIA (Christine), MIF (Showing his True Face), Mistrust, Minor Rage, VERY Secret Identity, Strange Appearance, Socially Inept, Background. Seems like something he'd do. ", "Presumably the Phantom is throwing them at you. The reader is introduced to Heathcliff’s background story from the start of the novel, where their response may be pity or empathy. 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. Raoul and I got back up again, made it up the stairs, and were chased to our dooms by a battalion of ghosts. Both characters, however, present an alter-ego of themselves where they adopt discreet, shadow-like and dignified personas. Absolutely, positively THE WORST GAME. She can't go walking with you on Sundays if you kill her, you asshole. Christine: “This haunted face holds no horror for me now… It’s in your *soul* that the true distortion lies…”, Phantom/Christine: (singing together) “Past the point of no return. ", "No game beats John! Of course, in this age of supercomputers that can calculate sine, like, way faster than that, the Spectrum and other machines of its ilk are completely obsolete, but it had a very large following back in the day. ), he settled in to investigate. However, modern readers and contemporaries who embraced the Enlightenment period would strive to find reason and logic behind the fantastical, sublime and revenant settings and therefore the aura of strangeness and mystery is lost. It is unsure of what composition Leroux was referring to, although it is most commonly accepted that he is referring to the Resurrection of Lazarus (Die Auferweckung des Lazarus) by Carl Loewe. If you disable this cookie, we will not be able to save your preferences. [2] Marie Mulvey-Roberts (ed. (Spoilers: we totally are. Thus Leroux is enabled to introduce him as the “Opera ghost” and make evident his connection to the supernatural, a feature common in that of a gothic protagonist. So far, so good! And is that a lamppost growing out of the Garnier? [9] David Punter and Glennis Byron, The Gothic. He is well versed (and self-educated) in many and varied subjects, including but not limited to: He uses his many talents to promote the idea that he really is a supernatural creature, and honesty, he has even the most skeptical inhabitants of the Opéra Populaire convinced. Why ? Marvel already has a Phantom in the guise of Mysterio… I actually like the version on Spectacular Spider-Man who convinced people he was a sorcerer. It is spell-binding. Link to germane writeups.org articles on the web (your blog, online forums, comments areas…). By continuing to use our website, you agree to our use of cookies – explained on our cookies info page. The final threshold ! Extremes of love and hatred. Unfortunately, while I'm not what I would call bad at games, I'm also probably not spectacular at them. (Cambridge UK: Cambridge University Press, 2002). Erik’s murder of Joseph Buquet is an example of such an act and the image of him as a “snake … dragging himself about on the floor” and “hissing mad, incoherent words” alludes to the serpent in Paradise Lost, a classic Satanic Hero, and illustrates Erik’s feelings of torment and pain. After a few minutes of complaining about the counter-intuitive controls (it wasn't designed for a modern keyboard! Sure, why not? Did you see that bullshit? Did you think that I would harm her ? That's not my fault! The pistol is for shooting the many things that Erik begins throwing at poor Raoul the moment he starts moving away from his starting position, while you try to run around and find the six pieces of the key that you need to get into Erik's lair and free the distressed singer. John: Why does he have an axe? ”, Phantom: “That fate which condemns me to wallow in blood has also denied me the joys of the flesh. [4] Ibid. Group Affiliation: None, formerly part of a Romani circus, employee of the Shah of Persia. Unfortunately Erik and the Phantasm are very similar in M.O… But perhaps in the DCU Erik actually *is* a supernatural entity such as a sorcerer, a ghost, a Lord of Order, or even a member of the Endless who fell in love with a human. “Slowly, gently, night unfurls its splendor. Erik is also a master of stage illusions and traps… Using the Schtick, he can place traps for pursuers or nosey individuals (As he did for both Raoul and for Joseph Buget), or redirect people away from his lair with secret doors (Raoul again), intimidating illusions, or mechanisms (Meg Giry). About masked men in opera houses! It resents me and it wants me to know it. Source of Character: Andrew Lloyd Webber’s Phantom of the Opera, played primarily by Michael Crawford, Colm Wilkinson and Gerard Butler. Le Fantôme de l’Opéra was one of Gaston Leroux’s thrillers, published in 1910. Such struggles are evident in the novel “Jasmine,” Bharati Mukherjee’s richly descriptive and emotionally powerful novel […], Reflecting back on Shane, life in the West was fairly isolated compared to the way that we live now when many people will pass by our houses throughout the day. Jealous and possessive, the Phantom plots to make Christine his. Such a creature would not necessarily be so concerned with human life, and might dispose of a number of obstacles if trifled with… and would be a much nastier opponent for any super who was investigating the deaths at the Opera House. [8] Heather Glen (ed.) He doesn’t necessarily have to know he is being followed to make use of them. Anne: I have no idea, but I think I'm delighted. the Trapdoor Lover, and the Angel of Music. The Cambridge Edition to: The Brontës. Erik – The Phantom of the Opera: Finally, we come to the Phantom. Then it's skulls and large, grinning theatre masks. He is also the antagonist of many film adaptations of the novel, notably the 1925 film adaptation starring Lon Chaney, Sr., and Andrew Lloyd Webber's West End musical. Brontë uses structures with gothic elements to “mirror states of psychological stress and release in the characters.”[12] The same technique is used by Leroux. Sometimes, when you say right, my computer decides you go left. The Opera House has been Erik’s playground and his Sanctum since early childhood… He knows its every turn and passage, every room, door, window, and especially its secrets. Of course, play it he did, folks, because I made him. News of Yunior’s infidelity had […], Although Hannah Webster Foster names her book The Coquette, there is ambiguity in who the true coquette of the story is. [12] Marie Mulvey-Roberts (ed. Not for any mortal sin, but the wickedness of my abhorrent FACE ! See more ideas about Phantom of the opera, Phantom, Erik. [10] Stevie Davis, The Cambridge Companion to: The Brontës.

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