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Chapter 19
Themes
Key
LitCharts assigns a color and icon to each theme in The Phantom of the Opera, which you can use to track the themes throughout the work.
The Natural vs. the Supernatural
Love vs. Jealousy
Violence, Revenge, and Redemption
Beauty vs. Ugliness
Summary
Analysis
The Persian tells Raoul that he hopes Raoul has not revealed Erik’s secret, since that could put Christine’s life in danger. Raoul shows impatience, wanting to pursue Philippe, but the Persian asserts that Christine must be in the Opera, since no one but Erik—whom he calls a “monstrous fiend”—could have organized such an ingenious kidnapping. He offers to help Raoul search for both of them and, when Raoul accepts, realizing that it is unlikely his brother could have organized such an abduction, the Persian says they must not refer to Erik by name, so that he might not grow suspicious. The Persian tells Raoul to leave his hat in Christine’s dressing-room, which he opens with a master key.
Although the Persian has helped Raoul and Christine escape from Erik’s grasp in the past, he remains a mysterious figure, whom some people believe to be associated with the Opera ghost. His sudden appearance, at such an opportune moment, makes him seem suspicious—even if his condemnation of Erik’s actions and his logical reasoning gives him some credibility. The Persian’s sudden appearance thus creates tension and suspense, making his true allegiance ambiguous, since he could also be trying to distract Raoul and keep him away from the right path.
Themes
The Persian tells Raoul that his servant has brought him two pistols so that they might defeat Erik. After he hands one to Raoul, Raoul wonders if hatred might explain the Persian’s willingness to put his life in danger—since, unlike Raoul, he is not in love. However, the Persian replies that he does not in fact hate Erik, having long forgiven him. In Christine’s dressing-room, the Persian presses his hand against Christine’s mirror, explaining that a counterweight allows for a mechanism to turn the mirror, shifting it to the other side of the wall.
Although the Persian’s lack of hatred toward Erik might make him seem less trustworthy, as it remains possible that he is trying to trick Raoul, it later becomes apparent that he is moved by a desire for justice and, most pressingly, the need to stop Erik for causing harm to others. His explanations and his visible efforts to turn the mirror make him seem a bit more credible, although Raoul still only follows him based on blind trust.
Themes
The Persian explains that, in his country, Erik is called “the Master of the Traps” because of his extraordinary skills with walls and secret entrances. He notes that Erik once took part in building the walls of the Paris Opera House himself. Finally, the Persian succeeds in making the mirror revolve, after first warning Erik to hold his pistol ready.
The Persian’s explanations about Erik’s involvement with the Opera House provides a rational explanation for Erik’s capacity to move around unnoticed, and thus suggests that one need not be a ghost to perform Erik’s tricks and misdeeds.
Themes
Literary Devices
