Phantom Of The Opera Conflict Essay

The Fantastical Elements of Leroux's The Phantom of the Opera

1214 Words5 Pages

The Fantastical Elements of Leroux's The Phantom of the Opera

In Gaston Leroux's The Phantom of the Opera fantastic literature is displayed at its best. Originally published in 1911, this French writer produced one of the most famous novels in French history. Created into a play and a musical produced by Andrew Lloyd Webber, this story has touched millions. However, this transition from a novel to a theatrical performance has caused much of the story to be left out of the production. When viewed in its entirety, the novel exhibits many fantastical elements. Leroux's The Phantom of the Opera meets all of the requirements of fantastic literature. These characteristics do not resemble those of Magical Realism extensively.

The…show more content…

The relationships that exist between the characters display the realistic qualities of friendship, love, and jealousy. The managers of the opera begin to question first the ghost, prohibiting the idea of any use of magical realism, and then each other in their quest for an acceptable explanation of the "ghost's" existence. The romantic aspect that flourishes between Christine and Raoul displays the very human emotion of love. And where love is found, many times jealousy is not far away. Raoul's feelings of jealousy and envy of Erik mirror Erik's feelings of jealousy and envy of Raoul. They each want all of Christine not simply a part. To Erik she gives her pity and commitment, but not the love he desires. And to Raoul she gives her love, but not the commitment he wishes of her. That she was virtually an unknown girl just six months before seems to be completely forgotten. Every young girl's dream, including Christine herself, is to suddenly be considered beautiful by that ever changing description of what is and is not beautiful. Once Christine reaches this dream of being in the spotlight, she realizes this dream is not what she had in mind. This realization puts into other words the old saying "be careful what one wishes for, or one may get it." This phrase and idea are used a great deal in society and is, therefore, another display of realistic quality found in the novel.

Many people

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The Phantom of the Opera Essay

1375 Words6 Pages

The Phantom of the Opera is a novel written by Gaston Leroux. The novel takes

place in Paris. The exact time is unknown but would be around 1910. The reviews from

the critics are very different. Although Gaston Leroux's The Phantom of the Opera has

not generally been highly commended by critics, many would agree that there are several

elements that prove Leroux to be a talented writer. One of the strongest elements in the

novel is the narrator's voice. The narrator is on a quest, starting out with the question of

whether the opera ghost was real and is trying to find evidence in order to reach a

conclusion. He takes the reader behind the scenes of the opera. He does this with the

themes of appearance and…show more content…

Horror is another important theme. “The

most distinct horror device is Erik’s face. Though he is described as having a disease, its

manifestation gives him the exact semblance of a skull, so that even as a young man he

was able to travel to county fairs and bill himself as the living dead man” (Newark). The

last theme is innocence. “The phantom’s anger with the society that has rejected him is

balanced in this novel with the simple innocence of the love between Christine Daae and

Raoul de Chagny” (Newark).

The narration of a novel is also any important part of a novel. The narrator is

never known but it can be assumed that what he describes is accurate from the story he is

telling, even though he was never there when the events occurred. Leroux is pretending

that the story is being reconstructed from a variety of sources - newspaper articles,

memoirs, interviews with witnesses and archives. The narrator tells how he researched

the legend of the phantom for many years. The narration is roughly thirty years after the

events conveyed in the novel. At the beginning, the narrator insists, “The Opera ghost

really existed. He was not, as was long believed, a creature of the imagination of the

artist, the superstition of the managers, or a product of the absurd and

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