#I also wanted to draw him with cat eyes because Leroux makes it sound like he has them with the perfect night vision and glow and color | Explore Tumblr Posts and Blogs

thephantomessoftheopera · 3 years

Text

Notes on Gaston Leroux’s “The Phantom of the Opera” - Chapter 14: “A Masterstroke by the Lover of Trapdoors”

<< Previous chapter

Raoul and Christine are still running away from the shadow on the rooftop when they encounter the Persian, who tells them to run in the opposite direction. Raoul makes another try at getting Christine to run away with him on the spot, but once again, she refuses and repeats that Raoul will probably need to make her go against her will if he wants to elope with her (what is he supposed to do though? Drag a screaming and kicking Christine through the opera house? Drug her or knock her unconscious and roll her up in a carpet?).

She tries to convince him that Erik has not overheard their conversation on the rooftop because he is working on „Don Juan Triumphant“, but doesn’t seem to quite believe it herself. When Raoul bitterly says how brave she was to play his fiancée, Christine reveals that she had actually told Erik all about the engagement game she was playing with Raoul, and that he was willing to tolerate it under the assumption that Raoul would be leaving for the North Pole soon.

It is also obvious that despite the kiss Christine has given him in the preceding chapter, Raoul is still unsure of her feelings, which might also be due to her speaking of it like a one-time thing:

“Are people unhappy when they’re in love?” “Yes, when they’re in love and aren’t sure of being loved.” “Are you saying that for Erik?” “For Erik and for myself”, answered Raoul, shaking his head with a thoughtful, forlorn expression.”

To a certain degree, Christine might be asking that first question for herself, too, since she is obviously unhappy and has shown signs of crying before. Keep in mind that this is the last interaction we see between Raoul and Christine before her abduction. Raoul is still uncertain at this point if Christine actually loves him, which means that he is soon going to risk his life for a girl whose feelings remain a mystery to him. We’ve got to give him some credit for that…

In her conversation with Raoul, Christine calls Erik a “man of heaven and earth” - not a ghost, monster or demon. She has seen his face, and even though she feels horror, she apparently also sees him as a man here. Raoul is once again taken aback by how Christine talks about Erik, making him question her determination to leave. She also tells him that no matter where she calls, Erik will always hear her. This is certainly due to the acoustics of the building and its secret passageways, since Erik apparently used similar techniques in the palace he built in Persia. On a deeper level, this is a symbol of how strongly they are still bound together, and seems to extend into the supernatural.

We also learn that Erik has promised Christine to stay away from her dressing room and her bedroom in his house, and that she trusts what he says. It is quite poignant to see how far Erik and Christine apparently trust each other, and how each of them is not fully deserving of the trust put into them even if they seem to be trying. In „Apollo‘s Lyre“, Christine also mentions how she instinctively trusted Erik.

Erik has given Christine a key to his house, which must be a pretty big thing for him as he puts his own safety into her hands with this. Christine shows Raoul the key but refuses to give it to him when he demands it because it “would be a betrayal” (apparently, she doesn‘t consider what happened on the rooftop a „betrayal“ and is also unwilling to betray Erik). But then she realises that she has lost Erik’s gold ring, probably while she gave Raoul the kiss on the rooftop - which is symbolic, of course. When Erik gave her the ring, he told her that she would be safe as long as she wore it - but if she parted with it, he would take revenge. She is greatly distressed, fearing what Erik might do to both of them - but even that is not enough to get her to run away. As she seems to have lost the ring on the rooftop, and Erik has it back in his possession two days later, saying that he had found it, it is likely that he directly picked it up after Christine and Raoul left the rooftop.

Raoul then goes home, cursing Erik and resolving to save Christine while he goes to bed. In the darkness, he thinks he sees Erik’s glowing eyes watching him from the balcony, and turns on the light to see if the eyes disappear. He takes his pistol and fires a shot at Erik’s eyes, which wakes the entire household including Philippe. Philippe thinks Raoul, who is rambling incoherently, has gone completely mad and asks him who this „Erik“ is that Raoul seems to be so obsessed with. Raoul states:

“He’s my rival!”

That statement is significant because it shows that Raoul views Erik primarily as a romantic threat to himself - not just as a threat to Christine’s safety or a general nuisance that he needs to get rid of, but as a serious contender for Christine’s hand. Raoul considering him his rival also puts them on more or less equal footing. Raoul also starts to worry that he should not have been so rash because if it really was Erik, Christine might not forgive Raoul for hurting him after all.

From Raoul’s description of his glowing eyes and the fact that there really is blood on the balcony and the drainpipe, we can conclude that it was indeed Erik standing there, and that he has been wounded by Raoul’s shot to a significant degree, considering there was enough blood to have seeped through his clothing and dripped onto the balcony in a very short time. The explanation of Raoul having shot at a cat doesn’t sound very likely, given that cats wouldn’t usually slide down drainpipes to get off a balcony.

Raoul and Philippe go on to quarrel over Raoul’s plan to elope with Christine. Philippe will not tolerate Raoul marrying a girl from the opera, but Raoul seems to be determined to go through with his plan anyway and defy Philippe’s wishes.

The next morning, there is an article in the newspaper “L’Époque” revealing that Raoul and Christine are engaged and about to marry. It is somewhat strange though because we never see Raoul and Christine actually getting engaged in a serious fashion. There’s the “engagement game” of course, but it cannot be considered the same as a serious marriage proposal. In addition to that, the last time we saw Raoul and Christine discussing their elopement, there were distinctly no plans of marriage included, as Raoul promised to take Christine away and then leave her to herself, as she has decided *not* to marry. It is not clear when that plan changed, or if Christine is even aware that his plans have changed. Philippe is very much embarrassed by Raoul’s behaviour, and swears that he will stop Raoul if he still plans to go through with his plans of elopement with Christine. Raoul leaves without saying anything more to Philippe, and spends the day making preparations for the elopement until 9 pm.

There is a curious detail that Leroux draws attention to, but I’m unsure about why he mentions it at all: Raoul’s carriage is driven by a coachman “whose face was largely hidden by the long scarf he wore” (They might have picked up on this in the 2004 movie). It cannot be Erik here though, as he now appears on scene to observe the carriage while the coachman is still sitting on it. In this scene, Erik is wearing the attire we have come to associate with him because of the musical mostly - the black cloak and felt hat.

During that night’s performance of Faust, Christine appears in the role of Marguerite again, but this time, the rumours about her engagement from the morning paper cause the audience to react with hostility to her since they see her as a social climber. This gives her (and us) an idea of how Parisian society would have reacted to her if she had ever become the Viscountess (or Countess, if Philippe is dead) de Chagny (and it would most likely have been far worse if she had married the man suspected of having killed his brother over her in public). Christine is quickly losing confidence when she suddenly sees Carlotta appear in one of the boxes, and her defiant nature is awakened. Not wishing to appear weak and succumb before her enemy, she regains her confidence and sings with all her soul again.

In the final scene of „Faust“, Faust and Mephisto come to rescue an insane Marguerite from her prison cell, but even though she and Faust confess their love for each other, she refuses to escape and asks the angels to take her soul to heaven instead (you can watch it here, for example: https://youtu.be/i2C4ezHUF1I).

Final scene from „Faust“ performance at the Metropolitan Opera (image from bruzanemediabase.com)

When Christine pleads with the angels in the final prison scene, Leroux makes use of the ambiguity of the „angel“. Raoul stands up from where he has been sitting in the amphitheater (not the de Chagny box where Philippe is sitting), but the Angel of Music is quicker: the entire stage is plunged into darkness, and when the lights return, Christine is gone. A great commotion ensues, with everybody trying to explain where Christine could be, but her co-star Carolus Fonta then announces publicly that she has disappeared, and that no one knows what has really happened.

Erik’s action here is both daring and desperate. From his perspective, he needs to act now before Christine will be out of his reach forever. He has overheard the escape plan, and I guess he also saw the newspaper speculating about her impending marriage, and now sees his hand forced before it’s too late for him. The chapter‘s title calling it a „masterstroke“ („coup de maître“) highlights the extraordinary skill and boldness that were necessary to stage his abduction of Christine in the fashion that he chose. The „lover of trapdoors“ is a nickname that was given to him in Persia, as we will later learn from the Persian.

Image from wikipedia

Next chapter >>

#phantom of the opera #leroux phantom #lerouxreadingguide #the phantom of the opera #poto #erik the phantom #erik x christine #christine daae #raoul de chagny #raoul shoots erik #gaston leroux #classic literature

11 notes · View notes