The Phantom of the Opera

by

Gaston Leroux

The Phantom of the Opera: Chapter 22 Summary & Analysis

Summary
Analysis
In the next few chapters, the narrator transcribes Daroga the Persian’s written narrative about his relationship with Erik and the later, mysterious events taking place at the Opera. Apprehensive about some of Erik’s somber, violent comments, yet knowing that Erik would not let him enter his retreat, Daroga (the Persian term for “chief of police”) resolves to see Erik’s abode in secret. Therefore, he describes once trying to enter Erik’s retreat through the lake
Daroga’s intuition of Erik’s desire to create a violent scenario that would harm and kill people comes true at the end of the novel. Through his narrative, Daroga shows his good will, as he demonstrates that his goal has always been to stop Erik from causing harm to others.
Themes
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Taking the boat to cross the lake, Daroga suddenly hears enchanting singing all around him. He fears that he might be under the spell of a siren but also knows that Erik is capable of many tricks, and that this might be one of them. However, irresistibly attracted by the sound, he leans out of the boat and is soon caught by two giant arms, which drag him into the water. Erik then hears the Daroga’s cry and, recognizing his voice, saves him from certain death. He warns the Daroga not to try his patience again, saying that his gratefulness to the Daroga for once saving his life might fade one day, as not even Erik has control over his own violent impulses.
Daroga’s ability to separate supernatural occurrences from Erik’s tricks reveals his intimate knowledge of Erik as a man, before he pretended to be the Phantom or ghost at the Opera. However, the particularity of Erik’s tricks is that they can be successful even if the victim knows that they might be a mere mechanical trick—as the torture room will soon reveal. Erik’s willingness to save Daroga shows that he is not as callous as he seems, and that he is capable of kindness and gratitude.
Themes
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Violence, Revenge, and Redemption Theme Icon
Beauty vs. Ugliness Theme Icon
Admitting that Erik is undoubtedly a “fiend,” the Daroga adds that Erik is also proud and arrogant. This leads Erik to show Daroga how he uses a reed and hides under water to lure his visitors, thus imitating a siren. The Daroga then reminds Erik of his promise not to murder any more people, but Erik says that the Daroga must know Erik never keeps his promises. Daroga interrogates him about the chandelier and, laughing in a sinister manner, Erik dismisses the issue, saying that it was old and fell down on its own. Erik concludes their conversation by telling Daroga never to enter his abode again, or he might have to sing the Requiem Mass for him.
In his description of Erik, Daroga is aware of his murderous instincts as well as other defects and qualities, such as his intelligence and his pride. This provides a complex depiction of Erik as a human being moved by sometimes contradictory desires and painful emotions. However, Erik’s supposed inability to keep promises presents him as a treacherous being. This potential unreliability is capable to cast doubt on all of Erik’s actions—such as his promise to have freed Christine at the end of the novel.
Themes
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From that day on, Daroga gives up on the idea of reaching the inside of Erik’s lair through the lake. However, the Daroga still worries about Erik’s misdeeds, which could prove fatal to others. At the same time, Erik claims that he has changed because he is now “loved for himself.” Knowing that this is highly unlikely, given Erik’s appearance, the Persian fears disastrous consequences. Having noticed Erik’s interactions with Christine Daaé, he assumes that, however enraptured Christine might be with Erik’s singing, she will probably change her mind about him once she sees his true face.
Erik’s illusion and optimism about his relationship with Christine suggests that, despite his hardened attitude, he is capable of hope and innocence. The tragic ending of this love story—in which Christine admits that she loves Raoul—suggests that Erik is doomed never to find true love. At the same time, it also highlights Erik’s lack of awareness that seducing someone is best achieved through mutual communication, not Erik’s one-sided efforts to deceive and abduct Christine.
Themes
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Violence, Revenge, and Redemption Theme Icon
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A few days later, still spying on Erik, Daroga sees him take an unconscious Christine Daaé to his abode, using César the horse to transport her to the lake. Hours later, Erik returns alone and angrily tells the Persian that he knew he was there—and that, instead of following Erik, Erik was the one following the Daroga. Enraged, Erik warns Daroga that, if ever his personal secrets are revealed, all of humanity will suffer. However, Daroga retorts that he is simply trying to find Christine, as she has not chosen to follow Erik out of love but is being kept there against her will. Annoyed by Daroga’s assertions, Erik assures him that Christine will later choose to return on her own and thus prove her love for him.
Despite his apparent love for Christine, Erik does not understand that he cannot instill love in Christine by force—for example, by kidnapping her and keeping her underground against her will. At the same time, he is correct in assuming that his beautiful voice might make Christine want to stay with him for a while. However, Erik’s reference to his plan to make more people suffer suggests that he has not abandoned his violent ways, and is still keen to seek brutal revenge on those who offend him.
Themes
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Violence, Revenge, and Redemption Theme Icon
Although Erik is later proven right, since Christine does return to him, Daroga cannot help but feel anguished about Erik’s threats against humanity. After days of trying to uncover Erik’s comings and goings, Daroga finally sees him enter the Opera through a hole behind the Roi de Lahore backdrop. He examines the wall himself and is able to find an opening. After more days of investigation, Daroga discovers that Christine does not love Erik but Raoul. He fears that, if Erik ever discovers this, this situation might turn into a disaster.
Christine’s mixed admiration and pity for Erik does not replace love, although Erik does not yet understand this himself. Daroga’s intuition about Erik’s violent behavior suggests that even the feeling of love for another human being cannot change Erik’s brutal ways, since Erik is more inclined to force Christine to obey him than to let her express her emotions freely and build a relationship based on mutual trust.
Themes
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Violence, Revenge, and Redemption Theme Icon
Beauty vs. Ugliness Theme Icon
Literary Devices
On the day on which the newspapers announce Christine’s engagement to Raoul, Daroga considers denouncing Erik to the authorities but concludes that this could lead to further problems. Arriving at the Opera, he is glad to see that it has not been destroyed. After Christine’s abduction, however, Daroga concluded that her life and that of many others is probably at stake. He seeks Raoul’s help, although he knows that this will be no ordinary duel, since they will be fighting an expert illusionist.
Authorities’ inability to handle this situation highlights the fact that, even though the mysterious occurrences at the Opera can be explained rationally, their connection to a mysterious ghost or Phantom renders them incredible to officers who deal with ordinary crimes. The fact that the Persian is later considered a madman confirms his intuition that traditional justice will be of no help.
Themes
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When Daroga later found the Punjab cord, he remembers Erik’s talent with it. In particular, he recalls the painful period of Rosy Hours of Mazenderan, in which the young sultans asked for entertainment, which consisted of a duel between Erik and a man condemned to death armed with dangerous weapons. Using only the Punjab cord, Erik could kill the man when spectators least expected it, which prompted enthusiastic applause from the public. The sultana also learned to use the cord and used it against some of her companions and friends.
Despite Erik’s skeletal appearance, he is evidently capable of impressive physical feats, in addition to the design of intelligent traps and tricks. This highlights Erik’s training as a murderer, which undoubtedly impacted his vision of life, turning him into a cold-blooded assassin, used to considering other people’s deaths a potential source of entertainment.
Themes
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Unwilling to reflect any longer on this distressing topic, the Persian focuses on his role at the Opera. Aware of Erik’s talents, he knows that he and Raoul will have to protect their necks at all costs, so that the cord will surround the protective arm as well as the neck. The Persian notes that Erik’s knowledge of the building derives from the work he performed as one of the chief contractors for the Opera, which also allowed him to build secret passages for himself.
The Persian’s technical explanation about his advice to Erik shows that it did have clear logic (despite his seemingly absurd suggestion that they put their pistol in their pocket) and was based on an intimate understanding of Erik’s killing techniques. Erik’s role as a builder serves as the final, most convincing explanation for Erik’s extremely detailed knowledge of the Opera.
Themes
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When Raoul and the Persian finally enter the torture room, a replica of the torture chamber in the Rosy Hours of Mazenderan, the Persian panics. Recalling that torture chambers are meant to attack any intruder, the Persian concludes that the torture in this room could begin automatically.
The automatic nature of the torture room proves that it is indeed made to ward off intruders—although it does so in an extremely violent, cruel way, inspired by an understanding of murder as a form of entertainment.
Themes
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