For the sake of furthering discussion can we agree on a definition for the word ‘redemption’? And can that definition be: to repair or atone for error or crime. Certainly a fictional character doesn’t need redemption, he doesn’t really exist; the author rightly just ends the story at a point of his choosing. But Leroux invites us, based on what he’s written, to guess (or invent) the rest. He also gives us this intriguing sentence about Erik’s big heartedness. The Phantom has a heart to fill, not Paris or France, but the entire planet. Quite a statement.
Now, a criminally insane person is not in their right mind and therefore not accountable for his misdeeds. They do, however, need confinement to prevent them from committing further aggressive acts against society. (No one I’m aware of has written this scenario in a sequel.) But a sane man is culpable for his wrong doing, and if Erik is in his right mind, simply releasing his victim is not redemption. He has not repaired the psychological and physical harm he’s caused to her and to others, nor has he been punished under the law.
Leroux says that Erik felt himself so rejected and ostracized by society that he considered himself outside its boundaries. Their punishment was too cruel, too unjust. In the final chapter of his book the author tells us that Erik created this enormous underground dwelling to live out mankind’s declaration that his ugliness be removed from their sight. Hidden in forced seclusion, apart from their eyes, Erik consoles his genius by creating music and playing tricks. And Leroux flatly asks his readers, “Do you curse him? Pity him?” Throughout the piece we hear the author saying over and over, “Is anything what it seems?” Even the use of the word ‘Phantom’ in his title, (which means something apparent to the senses but not substantial), cries out for us to unmask the illusion.
Imagine a person extends you a quarter in their palm. “Here, it’s a quarter,” they say. “It has two sides and that’s the extent of it.” But we know it’s not. The quarter has a third side, a circular ridge that has dimension and capability. Spun on its side the quarter can entertain…and if hidden and magically drawn from the ear of a child, it can be a delight.
In The Return of the Phantom, I offer a down-to-earth Erik who suffers and has joys like everyone else, but has a metaphysical reason for existing in that space and time. And I was happy to discover that Leroux used the metaphysical in many of his other works. I have been told I write surprises…I certainly hope so.