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

True love’s path is paved with every step. Through the assistance of fanciful elements as well as characters Puck and Oberon, the true message of love in William Shakespeare’s A Midsummer Night’s Dream is revealed. The four lovers know the direction in which their hearts are inclined to turn, but when the love potion is administered, the bounds of their rectangle are thrashed without knowledge or consent. The rapid shifts in affection between the play’s “four lovers” is representative of the idea that love isn’t a conscious choice, but a cruel game in which we are the figurines, being controlled by whomever the player may be, relating the characters’ karmic fates.

verses reality. The flower’s love juice is causing lovers to blindly fall in love, with the

In 1984 Andrew Lloyd Webber, transformed the original The Phantom of the Opera novel (written in 1911 by Gaston Leroux) into a dialogic, emotional masterpiece. The prologue starts at the end of the story, in an auction in the Paris Opera House, in 1905. Raoul, the Vicomte de Chagny is buying a papier-mâché music box,

Love comes with many complications and faces many obstacles. Shakespeare clearly portrays illustrates these difficulties this them through various relationships in his play, ‘A Midsummer Night's Dream’. The characters face different obstacles which affect their relationships negatively. In the play, ‘A Midsummer Night’s Dream,’ the main obstacles that cause negative effects on love are the use of magic, the law, and misunderstandings as well as and false assumptions.

He hurts people, and does not want Christine to marry Raoul. The relationship between the Phantom and Christine is a conflict that affects how she acts towards Raoul. The phantom has instilled fear in her, for example, after the fight at the graveyard, the Phantom declared “Now let it be war upon you both!” The Phantom also had killed other people up into this point, during the production of Don Juan, the Phantom crashed the chandelier upon the audience, and then set fire to the theatre. Also, due to fear, Christine keeps their engagement secret from the world, and then upon the Phantom finding out, he reacts in a rage of fear and hatred, If she chooses Raoul, she has reasonable evidence to believe that they both should die. If the Phantom had not instilled this fear in her before, and they had not formed a rather (mean, abusive, dating) relationship, they could have reasonably worked this out between the three of them. Christine also has a relationship with Raoul, and then proceeds to become engaged to him. Their engagement becomes a source of fury to the Phantom that caused him to go into solitude and set fire to the theatre. The Phantom made her choose, to prove that she still “belonged” to the Phantom, even after her engagement to

Through studying and analyzing ‘Maestro’ ,written by Peter Goldsworthy, and by viewing and analyzing the film ‘Edward Scissorhands’ directed by Tim Burton, it is evident that the composers of these texts allow the audience to see distinctive experiences with our eyes as well as with our minds through distinctively visual. The many visual, written and literary techniques have the ability to create a significant and impacting visual.

While many works of fiction portray love through a utopian perspective where true love is easy to achieve, the story of Cyrano follows a failed quest for intimacy, where Cyrano’s own tragic flaws stop him from achieving the romance he dreams of. It is these same tragic flaws that help to define Cyrano as a tragic hero in Edmond Rostand’s Cyrano de Bergerac, and it is these same flaws that eventually lead to Cyrano’s tragic fall. However, some of these flaws are also the admirable traits of the large-nosed hero’s character that also help to define him as hero. Due to this fact, Cyrano is able to gain respect from others, but never truly reaches his ultimate goal of having Roxane’s love. While Cyrano never truly experiences Roxane’s

In the play, evil intentions destroy what we know of a pure heart as well as trust and genuine honesty by this falsehearted deception. The agony of the tragic play is captured in a nutshell when Othello admits to Desdemona “when I love thee not/chaos is come again.” There is some misunderstanding of tragedy of love between the two characters. Trust is misplaced, honesty smeared out and finally, lives are ruined by denigrating fabrications and outright lies (Lupu, Jeffrey and Westmaas-Jones 12). The tragic cautionary of Shakespeare offers a supreme warning over jealousy which is referred as “the green eyed monster with doth mock the meat it feeds on.”

In addition, Shakespeare intermingles the play with the idea of appearance versus reality, highlighting how truelove can exist within even the curst and is absent amongst even the most attractive. As the play progresses, we see how true this is, as Bianca and Katherina contrast one another on the interior as well, yet Katherina?s true love underneath, allows her to dwell in an effective relationship. As we know, Petruchio?s love is obvious yet Katherina?s shrewish nature masks her true love for Petruchio - proving the deceptiveness of appearances. On the other hand, even though Bianca has many desperate suitors we see how shrewish she really is as she questions, ?Am I your bird? (5.1)?. Bianca?s rhetorical question and indignant tone towards Petruchio highlights her lack of respect and her internal shrewish personality. Moreover, Bianca?s interior personality

Gothic literature is the genre known as a mix of horror, death, mysteries, and love. This kind of literature is still well known to this day with its use of intriguing the reader to reading vile romance stories. In the book The Night Circus, the gothic elements portrayed would be a magical romance with death, and darkness of architecture. These elements compare to the short stories “Masque of Red Death”, “Dr. Heidegger’s Experiment”, and “A Rose for Emily”, by sharing the same theme as the outside reading book.

Many love stories end with happy endings, while others lead to tragedy. A forbidden love story is displayed in the play Cyrano de Bergerac by Edmond Rostand where a love triangle is created between the main characters. This is shown specifically shown in the balcony scene with the characters Roxane, Christian, and Cyrano. The balcony scene is a representation of how the characters hide their true feelings towards one another to protect the truth. Obstacles prevent those to show true feelings and affections to the ones who mean most.

Many people love romantic comedies. Some of these stories are based around misunderstandings, which add humor to the plot. This, of course is similar to Rostand’s play Cyrano De Bergerac, but Ibsen’s play, A Doll’s House, is centered around a relationship full of deceit. It has a pleasant facade, but when the viewer digs deeper into it, they find out the dark reality of the relationship of the main couple. Communication is vital to any relationship. A group of friends need to communicate openly in order to remain friends. The same thing applies to spouses. For the purpose of this essay, Cyrano and Roxane from Rostand’s Cyrano de Bergerac, and Nora and Torvald from Ibsen’s “A Doll’s House” will be compared. The relationships of Nora and Torvald, and Roxane and Cyrano are different in many ways but they have one thing in common, a lack of communication. Thus, by this

In actuality, Adele is intelligent and perceptive; she knows that Edna is struggling and sees that Robert must “let” (Chopin 64) Edna alone. Moreover, Adele knows that Edna is not “like” (63) her and Robert, saying that Edna takes Robert “seriously” (64). Despite Adele’s abilities to perceive the circumstances around her, Adele does not make decisions for her family. Instead, Adele focuses on being a “dream” (52) mother and wife, “blindly” (79) following what her husband wishes in order to make the home more “attractive” (69) for Mr. Ratignolle and their children. Adele feigns her naivety in order to conform to the standard of a perfect woman, being “submissive” (77) to her

The Phantom of the Opera started out as a book written by Gaston Leroux, published January 8th in 1910 (Haining, 1). There have been several adaptations since then, including Andrew Lloyd Webber’s musical. The other adaptations were Das Phantom der Opera, which is also known as Das Gespent im Opernhaus produced during 1916 in Germany as a silent drama film, this is known as a lost film due to no known copies existing at this time. A silent drama horror was produced on November 15th, 1925, a drama thriller was produced during August 27th in 1943, a horror film was produced June 25th during 1962, and an indie thriller, called Phantom of the Paradise was adapted from Phantom of the Opera and then produced in October 31st of 1974.

Throughout the play Cyrano de Bergerac written by Edmond Rostand, the audience comes to hold dearly the heart of the protagonist, Cyrano a strong man with a rather gargantuan nose. It is through discussions and insults concerning his physical attributes that the audience discovers he is in fact in love with the woman he has held close to his heart for many friendly years, his cousin Roxane. Completely unbeknownst to Roxane, Cyrano’s love and admiration for her is not simply on a relative scale as she perceives it to be, but rather the much more drastic level of physical, emotional, and intellectual attraction. As the play is centered on the life of Cyrano, the audience comes to understand the sincerity of the love he feels and devotion he has for his relative and ultimately concludes that he is in fact worthy of the affection from the woman he truly adores. However, is Roxane truly worthy of such a man’s adulation, when in fact her unattainability ever steadily nibbles at Cyrano’s heart making him ultimately feel undeserving of her?