Phantom Of The Opera Analysis

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Masked in Mistreatment The Phantom of the Opera Can mistreatment alter one’s identity? An unkind word, a rude deed, a neglectful act, or all the above can scar someone for a lifetime. One character who certainly felt these pains, the mysterious Phantom of the Opera, changed his entire appearance after an abused childhood. Due to a facial deformity, he became a target for much unkind, unaffectionate treatment early in his life. From the afflicted, ugly-faced, circus spectacle to the brilliant, authoritative, opera ghost, the Phantom transformed his boyhood identity completely only to have a sudden change of heart at the show’s climax. However, the question regarding the reason for this change remains unanswered. On of many fascinating characters …show more content…

Instead of merely opening the musical during its set period, the curtain rolls up to sometime thirty years after those events have taken place, only to flash back to the past after a brief encounter with the future. This fascinating opening captures audiences’ attention from the start, and leaves them hungering for more. One form of conflict seen in The Phantom of the Opera, the Phantom’s obsession with Christine, results in many problems for various characters. However, Christine and Raoul’s seemingly destined love for each other complicate the Phantom’s deep love concerning Christine. Maintaining a successful opera house challenges Firmin and André to consider the public’s contentment when making decisions. Also, the growing suspicions about the mysterious opera ghost, his identity and his motives throw the employees into a state of confusion. Seeming to lurk in every corner, the Phantom must not be displeased; consequences can be …show more content…

After the musical’s climactic end, the reason behind the Phantom’s sudden change remains unclear. Had he felt a sudden pity for Raoul and Christine, or did he realize the rash decisions had gone too far? However, the real reason behind this alteration seems quite simple after some consideration. His heart had been melted, not scolded, by Christine’s act of compassion and kindness, a foreign sensation to the lonely opera ghost. He who was hated into hating, had been loved into loving. Similarly, as the Phantom’s heart changed from Christine’s act of love, the Lord’s ultimate act of love elicits the same reaction from his children. 1 John 4:19/10 states: We love him because he first loved us, and this is love that he loved us and sent his son. Knowing of this incredible love our father has for us, we will want to please him, and love others with that some love. We are merely masked in our sins awaiting our angel of music; the one who makes our souls take

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