In the literary world, there are few villains and monsters as sympathetic and as human as Erik, the Phantom of the Opera. The man behind the monster has been labeled as the villain of Gaston Leroux’s novel just as often as he has been named a misunderstood protagonist. He was the ghost that haunted the halls of the Opera Populaire, terrorizing the diva Carlotta and several other performers who were housed there, as they clashed with his artistic sensibilities. In almost all incarnations of the character outside of the novel, there is almost always only a small measure of sympathy accorded to the deformed and persecuted Erik. The focus had always been on the horrifying visage he presents before the public, and less on Angel of Music persona he bore when he trained the young ingnue, Christine Daae.
However, behind the mask was, ultimately, a man. Erik was not the overwhelming force of evil that people had portrayed him to be. Indeed, along with many of his contemporaries, Erik shared traits and attributes that were all too human. He needed to feel loved by the ones he believed he loved… he craved for recognition for his achievements… and desperately...
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