The Phantom of the Opera [Paperback]

Erik has the voice of an angel, but the face of a monster. When he takes off his mask, people scream and run away. So he hides himself away in the darkness below an opera house. There, he falls in love with a beautiful singer. But will she be able to return his love?"The story of the monster man whose horrible deformities cause fear and terror, his search for love and acceptance, and his haunting of the opera house in Paris is told in very simple language. Beautifully adapted, the story flows along so easily that readers will be immediately caught up in the tangle of events and emotions. McMullan conveys all of the anger, grief, joy, and love that make the phantom a truly believable character. Will attract reluctant readers."--School Library Journal.Anne Perry, the Edgar Award–winning author of more than thirty novels, is best known for her two Victorian mystery series. Her recent books includeDeath of a Stranger,The Whitechapel Conspiracy, andFuneral in Blue. She lives in Scotland.

1. 1. Some modern critics feel the characters inThe Phantom of the Operaare static and shallow, that Christine is too innocent, Raoul too noble, and Erik’s obsession with Christine never fully explained. Do you think Leroux purposely did this, and if so, why?

2. 2. The Phantom of the Operawas published as the romantic movement was slowly turning into the gothic movement. How would you classify it?

3. 3. Leroux wroteThe Phantom of the Operain a time when there was widespread French interest in Freudian psychoanalysis and particularly the libidinal/infantile/mother-seeking unconscious. How does Leroux work this into his novel? Are there characters that fit the infant or mother role?

4. 4. Some critics see thePhantomas simply the unconscious, the Freudian superego. Do you believe this is what Leroux was truly writing about, or did he give his monster more depth?