It’s pre-order day!
This is the time I get excited for my readers. I love hearing from them before a release and learning about their excitement for their favorite story to be continued. In honor of Pursued By The Phantom’s pre-order. I thought I would do a quick Phantom related post.
This… is hangman’s noose.
It is not the “Punjab lasso,” at least not in this author’s book.
The lasso is Erik’s signature weapon, and I use it frequently throughout my books. Through the years and the many interpretations of Leroux’s Phantom, the lasso has changed as much as Erik’s hideous deformity (which in many adaptations isn’t a deformity at all). Webber popularized the image of a lariat and a hangman’s noose, which is very different from what Leroux may have had in mind for his “Punjab lasso.”
In Leroux’s original novel, he emphasizes the amount of time Erik spent in India learning how to use this weapon:
Erik had lived in India and acquired an incredible skill in the art of strangulation. He would make them lock him into a courtyard to which they brought a warrior — usually, a man condemned to death — armed with a long pike and broadsword. Erik had only his lasso; and it was always just when the warrior thought that he was going to fell Erik with a tremendous blow that we heard the lasso whistle through the air. With a turn of the wrist, Erik tightened the noose round his adversary’s neck and, in this fashion, dragged him before the little sultana and her women, who sat looking from a window and applauding.
Leroux’s terminology describes’s this lasso as fil du Pendjab, which means “Punjab thread” or depending on your translation, “cord” or “wire.” In my novels, I describe it as a thin length of silk. It is in all likelihood that Leroux was referring to the Thuggee tribes in India that killed by the manner of strangulation as described in the quote above. These “Stranglers” were feared and sensationalized in French culture during the time of Leroux’s writings.
The idea of, “Keep your hand at the level of your eyes,” would do little good against a hangman’s noose, which serves to snap the neck with the aid of gravity. I would imagine doing so may break your wrist as well. I don’t know. I’ve never been hanged….
However, the hand at the level of the eyes defense works wonders against the Punjab lasso:
My pistols could serve no purpose, for Erik was not likely to show himself; but Erik could always strangle us. I had no time to explain all this to the viscount; besides, there was nothing to be gained by complicating the position. I simply told M. de Chagny to keep his hand at the level of his eyes, with the arm bent, as though waiting for the command to fire. With his victim in this attitude, it is impossible even for the most expert strangler to throw the lasso with advantage. It catches you not only round the neck, but also round the arm or hand. This enables you easily to unloose the lasso, which then becomes harmless.
So, there you have it. A bit of gruesome insight to the way our beloved Erik preferred to kill.
Ah… Happy Valentine’s Day? Speaking of Valentine’s Day, if you are new to my series, pick up a copy of Desired by the Phantom at a special price for a limited time only!
Our black-masked Phantom is a rather dark character, physically and mentally. Various colors are used in different ways throughout The Phantom of the Opera. What’s the symbolism behind them? The primary colors in various versions are black, white, pink, red and yellow.
People associate color with two things, natural and psychological reactions.
Naturally we associate black with night and darkness. Psychologically black is the evil color, the color of villains in old westerns, the color of Death and bad omens. Black expresses the unknown and the underworld where daylight does not reach… just like in Leroux and Erik’s lair. Black can represent bad luck or misfortune. Across the various versions, black is prevalent in Phantom. Leroux lets the reader know how steeped in death Erik is and at one point writes that people shouted at Erik: “There goes the Grim Reaper.” We see Erik in his black mask and funeral clothing depicting him as a shadowy figure and the anti-hero. Black, in conjunction with Erik, is a color to instill suspicion, fear and mistrust.
White is naturally seen as light. Psychologically it evokes purity, cleanliness and a soul passing to heaven. White becomes our hero-unscathed and perfect. In Webber’s 2004 movie version of Phantom, Raoul dashes off in a white shirt upon a white horse to save Christine– a blatant cliché if I ever saw one. In Leroux, Raoul wears the white domino, showing the reader not his heroism, but his innocence and sexual naivety. Erik and Christine are the ones wearing the manipulative and menacing black.
Red draws our mind toward many things, love, passion, blood, infatuation. Red symbolizes strong emotions such as excitement, strength, danger, and aggression. I love the use of infatuation here in terms of Leroux as Erik was driven by this emotion-not love. We lean toward passion as it relates to death in the original novel. Think of Erik as the Red Death and the red brocade fabric surrounding his coffin and the stave of the Dies Irae. These things connected to death make us discontent and passionate. In Webber we see it mostly in terms love. Think of all those red roses Erik leaves…
Yellow we naturally associate with heat, sun, etc. Psychologically, like with green, we lean toward gold and wealth. It can symbolize optimism and idealism verses dishonesty, cowardice, deceit, illness, and hazard. In Phantom, yellow can be seen as the ‘other’ color; the color that represents the outside world of Erik and one that makes him an outcast among nobles. His yellow skin is associated with oriental themes prevalent during Leroux’s time making Erik and outcast among a ‘normal’ population.
Pink… Webber shoved that down our throats! (The flowers in the dressing room, all of Christine’s pink dresses, etc) Pink is automatically associated with girls, though it was used for boys for centuries. Pink is the color of innocence, good health and good life. Think of the term ‘tickled pink’ and the hue brought to faces when we laugh or blush. It is symbolic of sexual innocence, something Webber wanted to drive forth in the theme of Christine v. Erik, as well as ‘pure love’.