音楽の天使

*speechless because someone has finally understood*

Erik and Christine - The Seduction of the Soul

Ever since I first saw (and then read) “Phantom”, I - like many others - have been fascinated by the relationship between Erik and Christine. There was something incredibly touching, moving, earth-shattering about them in both their ALW and Leroux portrayals. Both narratives are comparable in the degree of ambiguity they afford to their relationship. But why exactly are Erik and Christine so compelling as a couple? They probably mean different things to everyone, but I have tried digging a bit more into the reasons why I personally love this tragic pair so much…

One of the reasons their relationship holds such a huge appeal for me lies in the deep symbolism it carries. Throughout the narrative, Erik and Christine are presented as opposites - angel and demon, black and white, beauty and ugliness, underground and aboveground. They represent the dualism of the human condition, embodying extremes that complement each other. Just as there is no light without darkness, either is incomplete without the other. That symbolism brings a universal, almost transcendental quality to their relationship. Visually, the „yin and yang“ symbol sums them up perfectly:

They are not only opposites - they also mirror each other. It is no surprise that the mirror is such an important symbol in their story, literally turning them into mirror images of each other. They are two sides of the same coin, both representing a part of dualistic world. And just as Erik shows Christine her own darkness, she brings out the light in his soul.

They also have quite a few features in common: Both have a past of being travelling performers. Both are each other’s „angels“. They are also both enormously talented and passionate musicians. The soul-deep connection they share through music is incredibly intimate, passionate and spiritually erotic - and it is the core that lends an almost otherworldly quality to their relationship. Through music, Erik and Christine seem to unite as one being, creating their private world where nothing matters but their hearts and souls:

„Music has the power to abolish everything in the world except its sounds, which go straight to the heart.“ (Christine Daaé)

Emotions are heightened and pushed to the limits here, resulting in what Christine repeatedly describes as „ecstasy“. This transcendental experience of going „beyond themselves“, of transcending the limits of their own being to connect with another, is a deeply Romantic concept.  But just as too much passion can become overwhelming and consuming, resulting in a loss of control, Christine’s connection to Erik becomes both necessary and terrifying as she fears losing herself in it, both fascinated by him and equally afraid of his potentially destructive power. Erik and Christine are in equal parts moth and flame to each other. They are helplessly drawn to each other despite knowing that the other holds the power to destroy them.

But perhaps the most important reason why I love Erik and Christine together is the fact that Erik is so utterly, completely, head over ears in love with her. What might appear as just an obsession at first glance is proven to be the truest kind of love in the end - a selfless love that puts Christine’s needs first and makes Erik sacrifice everything for her, “calmly cutting his own heart to pieces”. His love is like a searing light in the darkness, beautiful and pure. In the end, it does not even matter if Christine returns it because his love for her is so powerful that it alone redeems him. It also helps him grow and become a better person. He recognizes that his behaviour has been wrong, that love mustn’t be forced, and that he must give her up if he really loves her:

„In the end, most of the Phantoms, including Leroux’s, sacrifice their desires for a woman‘s and honor her choice. […] This sacrifice is the true aphrodisiac of most Phantom narratives: women‘s desires are upheld, no matter how conventional. It is this moment that earns the Phantom narrative its audience‘s loyalty, not the unseen „happily ever after“ promised to Christine by her conventional Raoul.“ (Ann C. Hall, “Phantom Variations”).

It is not certain though just how happy the „happily ever after“ will turn out for Raoul and Christine because we never even get to see it. Both Leroux (with his allusion to Christine’s „solitary singing“ and her return of the wedding ring to him) and ALW (implying that a solitary Raoul seeks closure by buying the Phantom‘s music box for Christine as an old man) insinuate that the loss of Christine’s almost symbiotic artistic relationship with Erik means that her soul will be missing an important piece for the rest of her life. And this is the extended tragedy of it, because Raoul also really loves Christine and would be willing to give up his life for her - the difference between him and Erik being mostly that Raoul is never required to go through with that sacrifice.

And even if Erik‘s love for Christine might not be entirely unrequited, it still remains unfulfilled in life. It is no surprise that Leroux links them to Romeo and Juliet - they are, in a sense, also star-crossed lovers whose love is doomed, both by wrong choices and by circumstances outside their control. Raoul, who is quite perceptive, sums it up in his fateful question in „Apollo‘s Lyre“:

„If Erik were handsome, would you love me?“

Christine’s reply of „ Why tempt fate? Why ask me about things I hide deep within my conscience, the way one would hide a sin?“ was not included in the widespread de Mattos translation - possibly because it is the most telling expression of her harbouring deeper, forbidden feelings for Erik that she can’t admit, since she is clearly unwilling to answer Raoul’s question. In Leroux, the narrator also implies that after Erik‘s death, Christine returned to him and put the gold wedding ring he had given her on his finger, ultimately fulfilling their impossible love in death.

If things were different, if Erik had been born with a normal face and lived a different life because of it, Erik and Christine might have had a chance at happiness. But this is left to the audience‘s imagination and wishful thinking, perpetuating the fascination with their tragic tale of unfulfilled love.

Artwork by @elfinmirror

Thinking about Her again

Darkling I listen; and, for many a time

         I have been half in love with easeful Death,

Call'd him soft names in many a mused rhyme,

         To take into the air my quiet breath;

                Now more than ever seems it rich to die,

         To cease upon the midnight with no pain,

                While thou art pouring forth thy soul abroad

                        In such an ecstasy!

         Still wouldst thou sing, and I have ears in vain—

                   To thy high requiem become a sod.

-Ode to a Nightingale, John Keats

If you get it, be my friend. Seriously please be my friend.

“The Phantom of the Opera really existed…”

The REAL People Behind Phantom of the Opera

I’ve always been into Phantom of the Opera and have always wondered if there was any truth behind Leroux’s story. Well, after some light research, I’ve found the real people who (possibly) inspired the characters in the story.

Christina Nilsson - Christine Daae

Probably the most well known within the phantom community, Christine Nilsson grew up in Sweden. She was born in 1843 and died 1921 and performed from 1860 - 1885. It was said she had a beautiful voice and was known for being “rivals” with Adelina Patti.

Adelina Patti - Carlotta Giudicelli

Adelina Patti was the first inspiration for Carlotta’s character. As stated before, she was the rival of Christina Nilsson. She was born 1843 and died 1919. Patti came from a family of musicians and performers and performed from 1869 - 1914.

Carlotta Patti - Carlotta Giudicelli

Carlotta Patti was the older sister of Adelina Patti and the inspiration for Carlotta Giudicelli’s name. There are various sources for her birthdate, stating it was either 1835, 1840, or 1842. She died in 1889.

Cecile Sorel - Sorelli

Cecile Sorel was born 1873 and died 1966. She began her career in 1899 and continued until 1944. She performed on stage as a comedy actress, but also appeared in a few French films during this time. In 1950 she took vows as a Third-order Franciscan.

Adelaide Valerius-Leuhusen - Mama Valerius

Adelaide was born either 1826 or 1828 and died 1923. She was a painter and concert singer and was also the benefactor of Christina Nilsson, being the first one to introduce her to Paris. In 1870, she became a singing teacher.

Mahomed Ismael-Khan - The Persian/Daroga

Mahomed Ismael-Khan was born somewhere around 1786 and died 1868. He settled in Paris in 1842 and was commonly noticed hanging out around the opera, where he kept the same box for himself. He was nicknamed “the Persian” by local Parisians.

Claude Ambroise Seurat - Erik

Possibly one of the inspirations for the opera ghost himself. Claude Ambroise Seurat was born either 1797 or 1798 and died somewhere around 1833. He toured around Europe and was known as “the living skeleton” or “the anatomical man” due to his very low body weight. People noted he had a parchment-like quality to his skin. His last recorded performance was in 1833, but he may have lived longer.

The Carpentiers de Changy - The Chagnys

The Carpentiers were possible inspirations for the Chagnys. While I wasn’t able to find definitive dates and names, I know a man named Francois was the inspiration for Philippe. Francois had a younger brother named Raoul who inspired… Raoul. There was also a young man a few generations later named Philippe, which is where the name came from.

Oddly enough, there was a young man named Eric Carpentier, though he never had the “de Changy” title. Some sources call him the son of Francois, others say he was born 3 generations after Francois. Either way. Eric was possibly an inspirations for Erik’s name in the novel.

Christine Dahe - Christine Daae

While this one isn’t as clear and is much less well known, there was a woman named Christine Dahe who was born in 1895. While Christina Nilsson was definitely the main inspiration for Christine Daae, you must admit that Dahe and Daae are very similar names, and Dahe may have inspired the name for Leroux’s character. She’s at the end of this list because this may just be a coincidence.

I hope you found this interesting, it’s so cool to think these people actually existed. If anyone knows more people who inspired the characters in the book, feel free to add them!

“know that I am built up of death from head to foot and that it is a corpse that loves you and adores you and will never,never leave you!”

Famous authors talking about Dostoevsky

I noticed this the other day and it made me sad.

At the end of All I Ask Of You, Christine says she must go and is about to leave when Raoul sings "Christine, I love you" and she turns back and goes to him, they end up leaving the scene together all happy and in love.

Phantom tried to do that at the end of Final Lair, his "Christine, I love you" is an attempt at making Christine stay the same way he saw Raoul do in the rooftop :(

Perfection🖤

Yes, in fact

you ever just going about your day and then the weight of 'he had a heart that could have held the entire empire of the world and, in the end, he had to content himself with a cellar' hits you and you want to launch yourself over a cliff due to the sheer emotion