Morality and Civil Obedience in Conflict: A Comparative Analysis of Arsène Lupin and Inspector Guerchard
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Introductory
Note to the Reader Throughout my life, I have read
literature from many different countries, both in Spanish and in English.
This reading journey was not initially guided by a clear professional plan,
but rather by curiosity and intellectual enjoyment. Eventually, however,
circumstances led me to teach literature at the university level, largely
because there were no other colleagues either willing or eligible to take on
the task of working with a new cohort of students whose exposure to literary
studies during high school had often been limited or uneven. It was during one of those moments of
casual browsing, this time through books stored on my Kindle tablet, that I
came across Maurice Leblanc. With no strong expectations, I decided to give Arsène
Lupin a try. What began as light reading quickly turned into genuine
fascination, particularly with the figure of Arsène Lupin himself and his
intellectual rival, Inspector Guerchard. Firmly situated in early
twentieth-century French literature, Leblanc’s work offers far more than an
entertaining detective story. It invites the reader to reflect on questions
of morality, justice, and civil obedience, all while presenting characters who
challenge conventional divisions between criminal and law-abiding citizens.
Lupin’s playful transgressions and Guerchard’s rigid devotion to duty create
a moral tension that remains surprisingly relevant today. I do not claim the authority of a
specialist in French literature. Rather, I approach this text as an
enthusiastic reader and literary analyst who believes that certain works, Arsène
Lupin among them, reward careful reading and thoughtful discussion. It is
precisely this combination of narrative pleasure and ethical inquiry that
makes Leblanc’s novel well worth the reader’s time. |
Morality and Civil Obedience in Conflict: A
Comparative Analysis of Arsène Lupin and Inspector Guerchard
in Maurice Leblanc’s Arsène
Lupin
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Abstract This
paper explores Maurice Leblanc’s Arsène Lupin, Gentleman Burglar as a
literary space in which morality and civil obedience are placed in deliberate
tension. Focusing on the characters of Arsène Lupin, Inspector Guerchard, and
Sonia Krichnoff, the analysis examines how individual ethics, legal duty, and
human compassion intersect and conflict. Drawing on a character analysis
framework, the study highlights how Lupin embodies aesthetic and
individualist morality, Guerchard represents institutional obedience, and
Sonia functions as a moral mediator between both extremes. The paper argues
that Leblanc’s narrative invites readers to question whether justice is best
understood as obedience to law or as an ethical responsibility grounded in
empathy. |
Keywords: Arsène
Lupin, Morality, Civil Obedience, Literary Ethics, Character Analysis, French
Literature |
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Resumen Este trabajo analiza Arsène Lupin, caballero
ladrón de Maurice Leblanc como un espacio literario donde la moralidad y
la obediencia civil entran en conflicto. A partir del estudio de los
personajes Arsène Lupin, el inspector Guerchard y Sonia Krichnoff, se examina
cómo se contraponen la ética individual, el deber legal y la compasión
humana. Mediante un enfoque de análisis de personajes, se muestra cómo Lupin
encarna una moral estética e individualista, Guerchard representa la
obediencia institucional y Sonia actúa como mediadora moral entre ambos extremos.
El estudio sostiene que la obra invita al lector a reflexionar sobre si la
justicia debe entenderse como obediencia a la ley o como una responsabilidad
ética basada en la empatía. |
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Resumo Este trabalho analisa
Arsène Lupin, ladrão cavalheiro, de Maurice Leblanc, como um espaço
literário onde moralidade e obediência civil entram em tensão. A partir da
análise das personagens Arsène Lupin, Inspetor Guerchard e Sonia Krichnoff, o
estudo examina o confronto entre ética individual, dever legal e compaixão
humana. Utilizando um quadro de análise de personagens, argumenta-se que
Lupin representa uma moral estética e individualista, Guerchard simboliza a
obediência institucional, e Sonia funciona como mediadora moral entre ambos.
A obra convida o leitor a refletir se a justiça deve ser entendida como
obediência à lei ou como uma responsabilidade ética fundamentada na empatia. |
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Introduction
Maurice
Leblanc’s Arsène Lupin, Gentleman Burglar dramatizes a profound conflict
between two moral archetypes: Arsène Lupin, the gentleman thief who redefines
morality through intellect and aesthetic rebellion, and Inspector Guerchard,
the embodiment of rational authority and social obedience. Both men are
products of early 20th century France’s fascination with justice,
class, and freedom. Yet their moral worlds intersect through Sonia Krichnoff,
the compassionate and virtuous young Russian orphan who becomes the ethical
mirror reflecting their humanity. Following the Character Analysis Worksheet
(Acuña Solano, 2018), this essay examines Lupin and Guerchard through their
physical, social, and psychological traits, interpreting their conflicting
moral codes and their contrasting perceptions of Sonia as a symbol of
redemption and moral truth.
Arsène Lupin: The Aesthetic Moralist
Arsène
Lupin, as the protagonist, is a paradox of refinement and rebellion against the
status quo. The author describes him as “a man of thirty, distinguished,
clean-shaven, dressed with quiet elegance” (Leblanc, 1907, p. 45), an image
that conceals the intellect of a criminal philosopher. His moral standards are
guided not by law but by a personal code of justice; “I steal only from those
who can afford to lose—and never without style” (Leblanc, 1907, p. 83). Lupin’s
philosophy aligns with Nietzsche’s (1887/1998) notion of the Übermensch,
one who transcends social morality to create his own values.
Psychologically,
Arsène Lupin views crime as art and intellect as freedom. His ambitions reflect
self-actualization rather than greed; he “plays with fate as others play with
cards” (Leblanc, 1907). Yet Sonia Krichnoff’s presence introduces emotional
vulnerability into his iron self-control. To Lupin, Sonia represents purity
uncorrupted by greed. Her moral goodness unsettles his self-image: “She alone
makes me doubt whether the game is worth the candle” (Leblanc, 1907, p. 101).
Through Sonia, Lupin glimpses a moral order rooted in empathy rather than
domination, marking one of the few moments when Leblanc’s antihero confronts
his own conscience.
Character Analysis: Arsène Lupin
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I. |
Character
Description |
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A.
Physical |
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1. Sex: |
Male
Approximately |
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2. Age: |
30
years old |
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3. Health: |
Excellent;
athletic, agile, and physically disciplined. |
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4. Clothing:
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Elegant
and refined, often dressed in tailored suits or disguises suited to his
current role (aristocrat, detective, or sailor). |
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5. Appearance:
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Handsome,
poised, and confident; carries himself with grace and irony. |
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6. Props/Hand-held
items: |
Walking
stick, gloves, monocle, false papers, and symbolic calling card signed
“Arsène Lupin, Gentleman Burglar.” |
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B.
Social |
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1. Class:
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Operates
in upper-class circles despite his criminal identity; impersonates nobles and
professionals. |
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2. Occupation:
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Gentleman
thief, master of disguise, amateur detective, and adventurer. |
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3. Education:
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Highly
educated; fluent in several languages, knowledgeable in law, art, and
science. |
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4. Place
in community: |
Both
feared and admired; a folk hero to some, a criminal mastermind to others. |
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5. Amusements:
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Chess,
fencing, puzzles, fine art, and elaborate heists planned for aesthetic
satisfaction. |
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C.
Psychological |
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1. Moral
Standards: |
Guided
by personal ethics—steals from the corrupt or wealthy, avoids harming
innocents. |
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2. Philosophy: |
“Life
is a game of intelligence and daring.” He values wit, self-mastery, and
poetic justice above obedience to law. |
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3. Ambitions: |
To
test the limits of intellect and imagination; to prove superiority over
social hypocrisy. |
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4. Disappointments: |
The
moral decay of society and the failure of law to protect the weak. |
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5. Complexes:
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A
latent need to justify crime as moral rebellion; a desire for recognition as
an artist of life. |
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6. Abilities:
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Disguise, strategy, persuasion, and psychological
manipulation. |
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7. Peculiarities:
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Vanity
mixed with altruism; theatrical in speech and action; often leaves clues for
the police intentionally. |
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II. |
Character’s
Objectives |
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A.
Desire: |
To
achieve mastery over society through intellect and artistry; to expose
corruption by transgressing its norms. |
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B.
Will: |
Extremely
strong—his confidence and daring allow him to transform any setback into
triumph. |
Inspector Guerchard: The Servant of Civic Order
In
contrast, Inspector Guerchard’s identity revolves around duty and rational
morality. Physically unremarkable yet imposing in presence, he “stood with the
weight of law behind him, as unyielding as the code he served” (Leblanc, 1907,
p. 59). His moral standards derive from Kant’s categorical imperative:
“Act only according to that maxim by which you can at the same time will that
it should become a universal law” (Kant, 1785/1993). Guerchard believes that
justice is inseparable from obedience, and he sacrifices personal emotion for
institutional integrity.
However,
Sonia awakens in Guerchard a moral tenderness that complicates his rigid
worldview. To him, she embodies innocence and the ethical clarity that Lupin
has forfeited. Guerchard’s perception of Sonia as morally redemptive heightens
his envy of Lupin’s charm and autonomy. In one revealing passage, he admits,
“If she looks at him that way again, I shall forget what side I am on”
(Leblanc, 1907, p. 118). Guerchard’s professionalism crumbles momentarily
before Sonia’s compassion, suggesting that even the representative of the law
yearns for moral warmth beyond codified justice.
Character Analysis: Inspector Guerchard
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I. |
Character
Description |
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A.
Physical |
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1. Sex: |
Male |
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2. Age: |
Mid-forties |
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3. Health: |
Strong
but worn; years of police service have made him methodical rather than agile. |
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4. Clothing: |
Practical
uniform or plain coat, reflecting discipline and modesty. |
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5. Appearance: |
Square-jawed,
keen-eyed, with a reserved, serious demeanor. |
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6. Props/Hand-held
items: |
Notebooks,
warrants, revolver, handcuffs—symbols of the law. |
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B.
Social |
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1. Class: |
Middle-class
civil servant. |
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2. Occupation: |
Chief
Inspector at the Sûreté; devoted to public order. |
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3. Education: |
Formally
trained in criminal investigation; self-educated in criminology and logic. |
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4. Place
in community: |
Respected
representative of the law; both feared and ridiculed for his obsession with
Lupin. |
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5. Amusements: |
Strategy
games, detective work, reading case reports—his leisure mirrors his duty. |
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C.
Psychological |
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1. Moral
Standards: |
Rooted
in legality and duty; believes morality equals obedience to law. |
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2. Philosophy: |
“Law
is reason free from passion.” He values discipline and service above
self-expression. |
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3. Ambitions: |
To
capture Lupin and reaffirm society’s faith in justice. |
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4. Disappointments: |
Repeated
failures to apprehend Lupin despite diligence; recognition of Lupin’s
superior wit. |
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5. Complexes: |
Struggles
with admiration for Lupin; represses envy and fascination with criminal
genius. |
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6. Abilities: |
Observation,
logic, interrogation, and procedural rigor. |
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7. Peculiarities: |
Obsessed
with control; emotionally detached; experiences moral unease when justice
conflicts with empathy. |
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II. |
Character’s
Objectives |
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A.
Desire: |
To
restore moral and civic order by capturing Arsène Lupin. |
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B.
Will: |
Strong
but conflicted, driven by integrity, yet internally divided by admiration for
his adversary. |
Sonia as Moral Intermediary
Sonia
functions as the novel’s moral center, bridging Lupin’s creative defiance and
Guerchard’s lawful duty. She perceives Lupin with empathy rather than
condemnation: “He is not wicked; he is only wounded by the world’s injustice”
(Leblanc, 1907, p. 95). To Guerchard, she becomes the conscience he suppresses
in his quest for order. Her compassion exposes the humanity in both men,
revealing the futility of viewing morality solely through legality or
rebellion.
From a
psychological perspective, Sonia destabilizes both male egos: Lupin’s
Nietzschean pride and Guerchard’s Kantian rigor. Through her perception, the
two men’s moral systems collapse into introspection. Durkheim’s (1893/1997)
view of morality as social solidarity finds its literary echo in Sonia’s
mediating compassion—she restores the possibility of moral unity between
individual freedom and societal order.
Character Analysis: Sonia Krichnoff
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I. |
Character
Description |
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A.
Physical |
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1. Sex: |
Female |
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2. Age: |
Approximately
20–22 years old |
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3. Health: |
Generally
healthy, though often described as delicate, pale, or fragile due to stress,
poverty, and emotional turmoil. |
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4. Clothing: |
Simple,
modest, and conservative clothing reflecting her impoverished background;
often wears outdated dresses or garments repaired multiple times. Nothing
ostentatious. |
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5. Appearance: |
Beautiful
in a quiet, almost ethereal way; soft facial features, expressive eyes, and a
composed, gentle demeanor. Her calm presence conveys dignity despite
hardship. |
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6. Props/Hand-held
items: |
A
small handbag or worn satchel; personal letters tied to her past; sentimental
mementos rather than functional tools. |
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B.
Social |
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1. Class: |
Lower-middle
class or impoverished outsider; socially vulnerable due to her immigrant and
political refugee background. |
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2. Occupation: |
Companion,
governess, or paid attendant to a wealthy household; her role varies but
consistently places her in subordinate social positions. |
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3. Education: |
Modest
but solid education; capable of reading, writing, and conversing with
refinement. Likely educated in a Russian provincial school before exile. |
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4. Place
in community: |
Seen
as an outsider and object of curiosity; admired for her gentleness but pitied
for her circumstances. She often becomes the moral center in rooms full of
corruption. |
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5. Amusements: |
Reading,
playing simple piano pieces, sewing, or quiet reflection. Her amusements are
introspective and rooted in tradition, not luxury. |
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C.
Psychological |
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1. Moral
Standards: |
High,
compassionate, and rooted in empathy. She believes in honesty and human
dignity and avoids judgment even when confronted with deceit or crime. |
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2. Philosophy: |
Life’s
purpose is to endure hardship with grace and to protect others from
suffering. She values kindness over power. She believes redemption is
possible even for the morally ambiguous. |
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3. Ambitions: |
To
find stability, emotional safety, and a place where she is no longer
threatened by political violence or poverty. She also hopes to help those she
cares about find their better selves. |
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4. Disappointments: |
The
tragedies of her past in Russia, the destruction of her family, and the
cruelty she witnesses in society. Her displacement and lack of agency weigh
heavily on her. |
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5. Complexes: |
A
tendency toward self-sacrifice; fear of causing harm; distrust in authority
rooted in traumatic displacement. She is especially vulnerable to male
authority and manipulation. |
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6. Abilities: |
Emotional
intelligence, compassion, calming influence, intuition, and the ability to
earn trust even from morally complex characters such as Lupin. |
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7. Peculiarities: |
A
quiet strength masked by timidity; an innate ability to humanize those around
her; a unique moral force that softens both criminals and lawmen. |
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II. |
Character’s
Objectives |
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A.
Desire: |
To
survive with dignity, protect those she cares about, and avoid being used as
a pawn in conflicts of morality, crime, and law. She longs for a stable life
free of fear. |
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B.
Will: |
Moderate
but resilient. Though gentle, she possesses inner fortitude. Her will is
strongest when defending someone she believes is fundamentally good
(especially Lupin). |
Moral Conflict and Civil Disobedience
Through
the lens of the Character Analysis Worksheet, Lupin’s desire for
artistic mastery and Guerchard’s desire for civic order reveal the
philosophical split between moral autonomy and collective obedience. Lupin’s
disobedience echoes Thoreau’s (1849/1993) insistence that “the only obligation
which I have a right to assume is to do at any time what I think right.”
Guerchard’s counterpoint embodies Kant’s moral absolutism: action has value
only when it conforms to duty. Sonia’s perspective reveals both men’s humanity;
Lupin’s creative morality seeks justice without obedience, while Guerchard’s
civic morality seeks obedience without compassion.
Their
conflict, therefore, is not merely legal but metaphysical: the struggle between
the heart’s freedom and the law’s necessity. Sonia’s empathy becomes the
ethical equilibrium that neither man can sustain alone.
Summary of Contrast
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Category |
Arsène Lupin |
Inspector Guerchard |
Sonia Krichnoff |
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Moral Code |
Personal, aesthetic ethics rooted in individual justice |
Legalistic, duty-based morality grounded in social order |
Compassion-centered ethics grounded in empathy, dignity,
and human connection |
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View of Law |
Sees the law as restrictive, hypocritical, and often
unjust |
Regards the law as sacred, rational, and the foundation
of civil society |
Views the law with caution; respects justice but
distrusts systems that harm the vulnerable |
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Philosophical Type |
Nietzschean individualist and creative rebel |
Kantian moralist committed to universal duty |
Moral humanist; guided by emotional wisdom, ethical
intuition, and lived suffering |
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Symbolic Role |
Freedom, imagination, subversive brilliance |
Order, obedience, institutional stability |
Compassion, moral equilibrium, and the humanizing force
between extremes |
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Conflict Essence |
Creative transgression vs. civic conformity |
Civic conformity vs. creative transgression |
Mediation and moral balance between transgression and
obedience; exposes humanity in both men |
Conclusion
In Arsène Lupin, Leblanc constructs a moral dialectic embodied in the figures of Lupin, Guerchard, and Sonia. Lupin’s aesthetic morality challenges bourgeois hypocrisy, while Guerchard’s lawful morality defends civic cohesion. Yet both find themselves morally illuminated—and humanized—by Sonia’s presence. She reveals that true morality transcends both rebellion and obedience, arising instead from empathy and human understanding. Viewed through the Character Analysis Worksheet framework, the novel thus stages an enduring question: is morality a matter of law, will, or compassion?
San José, Costa Rica
Tuesday, January 6,
2026
📚 References
Acuña-Solano, J. (2018). Character Analysis Worksheet.
Unpublished manuscript.
Durkheim, É. (1997). The division of labor in society
(W. D. Halls, Trans.). Free Press. (Original work published 1893)
Kant, I. (1993). Grounding for the metaphysics of morals
(J. W. Ellington, Trans.). Hackett. (Original work published 1785)
Leblanc, M. (1907). Arsène Lupin, gentleman burglar.
Pierre Lafitte.
Nietzsche, F. (1998). On the genealogy of morals (C.
Diethe, Trans.). Cambridge University Press. (Original work published 1887)
Thoreau, H. D. (1993). Civil disobedience. Dover Publications. (Original work published 1849)
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