As Hugo set to work on the novel in 1848 after a long interruption, his anti-clerical son Charles objected to presenting Myriel as "a prototype of perfection and intelligence", suggesting instead someone from "a liberal, modern profession, like a doctor".

In 1821, Valjean, while serving as a mayor under the name Monsieur Madeleine, learns from a local newspaper of Myriel's death at 82, and wears mourning attire for some time.

The voice is not identified, but the passage implies that it is the recently deceased Myriel as it concludes with Valjean asking who is there:[9] There was some one; but the person who was there was of those whom the human eye cannot see.

[11] Writing in The Contemporary Review in 1885, Margaret Oliphant welcomed Hugo's portrait of Myriel as a refreshing change from his depiction of religious life in The Hunchback of Notre Dame, a "surprise of sweetness and relief".

Calling Myriel "the keynote of the wonderful tale", she considered all the adventures of Valjean and Javert "on a much lower level of art than the opening".

She continued:[12] All the after-struggle is secondary to the great event of the beginning, which is the salvation of Jean Valjean, not from the law or the prejudices of society, but from the power of evil.

It is the redemption of a soul; it is the struggle, first of the dominating sin with the dim risings of a better life [...]Kathryn M. Grossman describes Myriel's work in transforming the lives of the poor as a moral "investment".

She continues:[13] By his theft, Jean Valjean shows that he is still chained to hatred and anger; by his generosity, Myriel operates a spiritual purchase (achète) that substitutes "goodwill, gentleness, and peace"—in other words, "God"—for this satanic mentality.

Sublime fiction opens the way, as in Simplice's case, to a higher truth.The Catholic writer Theresa Malcolm says that after Valjean leaves, "Monseigneur Myriel never again appears in the story, but he is the soul of the novel, he who sowed love where there was hatred, light where there was darkness.

"[14] Since the original publication of Les Misérables in 1862, the character of Bishop Myriel has been in a large number of adaptations in numerous types of media based on the novel, such as books, films,[15] musicals, plays and games.

When the police can take no action against him, "He had a charming ball and chain made, affixed to his leg, and wore it the rest of his life.

He appears in the show's prologue and after Valjean is caught with his possessions having taken him in from the street he sees the opportunity to impart his values unto the protagonist.

At the end of the 2012 film (and recent stage revivals of the musical), he and Fantine are shown in the embrace of God and welcome Valjean into life after death.

In support of the Bishop's gracious posture and commission toward's Jean Valjean, Hugo goes on to quote this powerful line in the epilogue: To love another person is to see the face of God.