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Good and evil in literature
The phantom of the opera character analysis
The phantom of the opera character analysis
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Recommended: Good and evil in literature
Phantom of the opera journal entries
The Phantom of the Opera by Gaston Leroux was a gothic novel written in 1910 (add historical context) The main protagonist in the story her name is Christine Daaé and she is an actress. After lessons with a mysterious figure she calls the “angel of music,” she acquires a beautiful singing voice. The main antagonist of the novel is the phantom of the Opera a man who when he was young ran away from home because of his deformities. Now he lives within the Opera house and terrorizes the people within its walls. The main plot of this story involves the protagonist Christine Daaé and the antagonist phantom of the opera or also known as Erik. Christine is an actress at the opera house of Paris and a mysterious
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Throughout the beginning of the novel Phantom is this mysterious figure who the reader learns more and more information about as the book goes on. A few traits that Phantom possesses are discreet and mischievous. Phantom is a discreet person. This is proven by the fact that he always wears a mask. Although it may be because his face “looks like a dried-up skull” (Leroux), it still covers his face and Christine so far is the only character to see him in person. Another way Phantom is discreet is he will only meet with Christine during obscure hours of the day and night to ensure that he is seen by nobody. Not only can phantom be discreet but his character is also known for being mischievous. Phantom so desperately wanted for Christine to get the lead role of Marguerite in “the Faust” but it did not happen. Phantom being the man that he is and considering the past he had decides he needs to get revenge on everyone so ultimately, he can get his way. Therefore, when another actress named Carlotta is singing a song as Marguerite phantom decides to embarrass her in front of the entire audience of people by making her croak when she sings. Another example the reader comes across while reading is the incident of the chandelier. Phantom likes to get his way and if things don’t go his way he may take things a little too far. During the same show where Carlotta was croaking in the audience was the concierge of director Richard. The words “her singing is enough to bring down the chandelier” (Leroux) and thus the chandelier falls from the ceiling killing the concierge of Richard. Some additional background information that I’ve learned while reading this book is Phantom from a young age was never loved by his mother and was a disappointment to his father so he ran away. While running away he became part of a circus freak show displaying
Gothic literature, such as The Night Circus, “The Devil and Tom Walker”, “Dr. Heidegger’s Experiment”, and “Masque of the Red Death”, are known for incorporating gothic elements such as the supernatural, death, and fascination with the past.
How people interact with others is largely influenced by how they perceive the world. In The Tragedy of Macbeth written by William Shakespeare, characters’ thoughts and impressions are clearly demonstrated to have major impacts on their actions. The behavior and words of others motivate characters to act. Emotions play a strong role in creating the conflicts and Macbeth and the way they unfold. Some views are supported by reality while others are the products of emotion and faulty logic. A lot of the perceptions possessed by Macbeth are affected by the supernatural. Macbeth’s actions are a result of the heavy influence the witches have over him:
Lloyd Webber’s widely regarded masterpiece Phantom Of The Opera uses key motifs and themes throughout the musical to establish its characters and scenes in an effective manner. Throughout the production the motifs, themes and songs all develop to reflect the changes their respective characters undergo. This is particularly evident when analysing The Phantom, his motifs and songs, and how they develop throughout the story.
Wearing a mask helps create a hidden identity. When wearing one, you disclose who you truly are. Your social status can no longer be revealed. Your family is unknown. You are able to act freely. Throughout centuries Venetian masks have been used on many occasions for such purposes. The mask wearer can carry about freely and interact with others without the boundaries of their identity and social structure to keep them apart. The mask has an extensive history in Venice, Italy. There are several designs, all serving different purposes. Shakespeare often incorporated masks into his plays, including Romeo and Juliet and Othello. In Othello, Shakespeare uses the concept of a mask throughout the play to reveal the different identities of Iago and his true intentions. In Romeo and Juliet, however, actual masks are worn to conceal the identity of Romeo at the Capulet Ball and Juliet metaphorically wears a mask to create a façade about her relationship with Romeo. The tradition of the mask is one that still lives on in Venice today with the annual celebration of Carnival.
Appearance verses reality of deception is a strong theme present in the play. Deception is perceived as a powerful and destructive force. In one of the first scenes of the film, it becomes the main source of tension between the protagonists, and continues to degenerate their metal state throughout the film. Eventually a web of deception crafted by Iago leads to the final downfall of the main characters.
While we all may be shown different faces and persona’s each day, it never becomes clear which a true personality is and which is just a mask. Joyce Carol Oates demonstrates the need for her characters to disguise themselves from the rest of society in order to either be accepted by others or to be seen in a more pleasant manner. However, these characters who conceals themselves are ultimately hurt because of their inability to shed their false fronts and accept who they truly are.
Have you ever worn a mask before? Maybe the mask wasn't a costume mask, but it was a mask to make you seem happy, or seem cool, or anything that made you feel like something than you are not normally. Chances are you have. Trying to fit in with the crowd, a mask is used to obtain the things we cannot reach on our own. Masks are especially common today because of the pressures to belong to the 'in'; group, or the pressures to succeed. Books, using masks, commonly show the many connotations of masks. They are used to find out what people are for real, on the inside of the mask. The imagery of masks is used throughout the book of Twelfth Night. Shakespeare uses the imagery of masks to reveal characters true emotions and to express the power of raw beauty. Shakespeare uses this imagery through all of his characters in the play, but especially the two characters of Viola and Feste.
As in most comedies, William Shakespeare's Twelfth Night extensively. uses disguises, masks and mistaken identities to add to the comical nature of. the play. Viola's disguise as Orsino's page, Cesario, becomes crucial to the action in the play. Without this important element, the action in the play would slow down dramatically, making the story much less intriguing.
Sound is what brings movies to life, but, not many viewers really notice. A film can be shot with mediocre quality, but, can be intriguing if it has the most effective foley, sound effects, underscore, etc. Sound in movies band together and unfold the meaning of the scenes. When actors are speaking, the dialogue can bring emotion to the audience, or, it can be used as the ambient sound. Music is one of the main things to have when filmmaking. The use of Claudia Gorbman’s Seven Principles of Composition, Mixing and Editing in Classical Film gives audiences a perspective of sound, and, how it can have an impact on them.
The Phantom of the Opera directed by Joel Schumacher is the 2004 adaptation of Andrew Lloyd Webber’s 1986 musical of the same name. The Phantom of the Opera stars Gerard Butler as the Phantom, Emmy Rossum as Christine Daaé, and Patrick Wilson as Raoul, the Vicomte de Chagny, who are embroiled in a love triangle. The film was met with generally mixed and negative reviews: Schumacher’s use of mise-en-scène, cinematography and editing, as well as symbolism contributes to the production of The Phantom of the Opera.
Twelfth Night or What You Will is one of Shakespeare’s most famous comedies. It has been performed hundreds of times and adapted into a number of modern films. The main plot of the play follows Viola, a girl who is rescued from a shipwreck and enters into the service of the Duke Orsino disguised as a man. Rising quickly in his estimation, Viola begins delivering messages of love on his behalf to Olivia, a noble woman who has no interest in Orsino’s advances. Over the course of the play Olivia falls in love with the disguised Viola, Viola falls in love with Orsino, and Viola’s twin brother Sebastian, who supposedly died in the shipwreck, returns. Following Sebastian’s return the twins are mistaken for each other, leading to both misunderstanding and marriage in the final scenes of the play. Alongside the main plot of Twelfth Night is an almost equally prominent subplot involving Malvolio, a servant of Olivia, who falls in love with her and who falls prey to a prank planned by the other members of the household who despise his abhorrence of fun. In the article “The Design of Twelfth Night” by L.G. Salingar, Salingar examines the plot and structure of the play and addresses the significance of the subplot. The purpose of this essay is to examine both evidence from the play and articles from other authors, with a focus on Salingar, who have written on the subject in order to determine the purpose of the subplot. In his article, Salingar comes to the conclusion that the purpose of the subplot is to provide a comic mirror of the main plot while amplifying the main themes of delusion, misrule and festivity. Salingar presents a solid argument, however he has neglected another lesser but significant element of the sub-plot which illustrate...
In a story, there will always be a villain or a protagonist, which makes the story what it is. Without the conflicts or problems that the villains start, there really wouldn’t be any stories, or if there were they would be boring because nothing dramatic would happen in them. William Shakespeare wrote many plays that had villains or protagonists in them, and because of this his plays were very appealing to the audience to sit and watch them. Some of the plays that Shakespeare wrote include the texts Othello, Midsummer Night’s Dream, and Hamlet, all which have a villain or protagonist in the story line.
William Shakespeare's, Twelfth Night has many themes, but appearance vs. reality is the theme that illustrates a different picture from two perspectives, there are many characters behind their masks and disguises. Some are hiding love behind these disguises and some are trying to show their love through a different disguise. They both still being servants are using disguise differently. Malvolio, servant of Olivia, falls in love with the trap (the letter) thinking his lady likes him, and to show his love he uses a different appearance to express it. Viola, servant of Orsino, falls in love with him, but secretly, not wanting to express her love for him, because of her disguise as her barrier for that case. Viola/Ceasario is wearing a disguise and secretly loves Orsino. Malvolio, on the other hand, is also a servant but still changes his appearance to express love for the great lady Olivia. This essay will prove that disguises and appearances are symbolic of the characters named Viola and Malvolio and are differently used for both.
Tragic heroes tend to have very pre-determined paths; usually making the most virtuous of characters destined to suffer. The hamartia or ‘tragic flaw’ is the typical reason the hero falls. Shakespeare was noted to be one of the best writers of tragedies, one of his most prominent to be Othello. In Othello, we find a number of tragic flaws two including pride and ambition. In William Shakespeare’s play, Othello, pride and ambition are used to identify the outcomes for the main characters in the play when seeing the resolution of the play, perceiving those who survive and those who don’t, and considering each character’s role in the turn of events.
Throughout Twelfth Night, disguise and mistaken identity works as a catalyst for confusion and disorder which consistently contributes towards the dramatic comic genre of the play. Many characters in Twelfth Night assume disguises, beginning with Viola, who disguises herself as a man in order to serve Orsino, the Duke. By dressing his protagonist in male garments, Shakespeare creates ongoing sexual confusion with characters, which include Olivia, Viola and Orsino, who create a ‘love triangle’ between them. Implicitly, there is homoerotic subtext here: Olivia is in love with a woman, despite believing her to be a man, and Orsino often comments on Cesario’s beauty, which implies that he is attracted to Viola even before her male disguise is removed. However, even subsequent to the revealing of Viola’s true identity, Orsino’s declares his love to Viola implying that he enjoys lengthening the pretence of Vio...