A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF THE OF THE OPERA BY

by ALLEN KROMER SERIES EDITORS: JEANNE M. McGLINN AND JAMES E. McGLINN TEACHER’S GUIDE 2 A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s of the Opera

TABLE OF CONTENTS

INTRODUCTION...... 3

LIST OF MAIN CHARACTERS...... 3

SYNOPSIS OF THE ...... 4

PREREADING ACTIVITIES...... 6

I. BUILDING BACKGROUND KNOWLEDGE OF HISTORY AND CULTURE.....6

II. BUILDING BACKGROUND KNOWLEDGE OF LITERARY ELEMENTS...... 8

III. BUILDING BACKGROUND KNOWLEDGE THROUGH INITIAL EXPLORATION OF THEMES...... 9

DURING READING ACTIVITIES...... 10

I. WHOLE TEXT ACTIVITIES...... 10

II. DISCUSSION QUESTIONS AND DEEPENING UNDERSTANDING...... 12

AFTER READING ACTIVITIES...... 18

I. TOPICS FOR DISCUSSION AND ESSAYS...... 18

II. GROUP AND INDIVIDUAL PROJECTS...... 19

ABOUT THE AUTHOR OF THIS GUIDE...... 22

ABOUT THE EDITORS OF THIS GUIDE ...... 22

FREE TEACHER’S GUIDES...... 23

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Printed in the United States of America A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s 3

INTRODUCTION

Published a century ago in 1911, Gaston today’s students: the creative kids whose pas- Leroux’s The Phantom of the Opera might best sions lie in self-expression, the shy youths who be considered a forerunner of much of what yearn for the affection of a peer, the thrill- makes adolescent popular culture tick. Its seekers who populate the theaters that screen seemingly-supernatural elements rival those horror films. At one point in the novel Leroux found in horror films that today’s teens flock likens the Opera House to a little empire, to see; the tragic love triangle that comprises and for teen readers his seems a world that such a vital part of the novel seems a blueprint holds delights for all. for the heartache depicted in Stephenie Mey- The content and activities in this guide er’s Bella, Edward, and Jacob; the episodes and should be considered as a resource for teach- events whirl by like clips from music videos. ing the novel. The Pre-reading activities In short, Leroux’s novel contains elements that establish an awareness of the historical and interest many adolescents. However, as many cultural underpinnings of Leroux’s novel, the literature teachers know, getting some stu- literary techniques he employs in his narra- dents to recognize that a text has appealing tive, and some of the thematic content that elements is a labor unto itself. Fortunately, the empowers his tale. The During-reading con- complexity and fertility of Leroux’s story tent helps students focus on specific elements make accessible many of the elements that and events in the text. The Post-reading should resonate with teens. The struggles and activities promote a holistic review of the triumphs that occur within a love triangle are novel and the opportunity to establish and easily grasped. Then too, through class discus- debate meanings. These activities can be used sions and activities students can reflect on to address curricular requirements, reinforce some of the powerful themes and characters preferred teaching styles, and promote aca- Leroux creates and recognize that an enter- demic success for students. The best approach taining story can convey profound ideas. The is one that is selective, adaptive, and creative. Phantom of the Opera is a novel well-suited for LIST OF MAIN CHARACTERS Erik Disfigured composer who lives in the cellars beneath the House, frequently referred to as “the Opera Ghost” Christine Daaé Budding young opera star, Erik’s student and Raoul’s love interest Raoul Phillipe’s younger brother and Christine’s childhood friend Phillipe The Comte de Chagny, a handsome and wealthy aristocrat Debienne and Poligny Managers of the Paris Opera House who sell the institution early in the novel Montcharmin and Richard New managers of the Paris Opera House, both initially skeptical of the existence of the Opera Ghost Madame (Mame) Giry The peraO House boxkeeper (similar to contemporary ushers) Carlotta A prima donna, a renowned singer at the Paris Opera House A popular scene shifter responsible for moving and adjusting sets during the opera’s productions Professor and Mme. Valerius Christine’s benefactors who raise her after her father dies Mysterious Opera House resident, formerly of Iran, sometimes referred to as “the daroga” Mifroid Commissary of police, a Parisian law enforcement officer 4 A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera

SYNOPSIS OF THE NOVEL

Leroux’s narrative in The Phantom of the events of her girlhood including the death of Opera follows a sinuous course—different her father and his vow to send her an “Angel narrative voices, flashbacks, chapters of of Music” after he gets to Heaven. In the widely varying lengths—thus, the synopsis graveyard Christine and Raoul hear “The here breaks the novel into sections and also Resurrection of Lazarus” played on her dead focuses specifically on two chapters, Chapter father’s violin; later, Raoul pursues the ghost VII and Chapter XII. These two chapters who escapes after Raoul loses consciousness. comprise pivotal parts of the story and Chapter VII: “Faust and convey the heart of the plot: the machina- What Followed” tions and actions of the Phantom and the compelling interplay between Christine The managers receive a note from the Opera Daaé, Erik, and Raoul. Ghost with additional requirements (rehiring Prologue through Chapter VI: the dismissed Mame Giry as boxkeeper and casting Christine as Margarita) and the threat Introduction and Intrigue that if his demands are not met, the Opera In the Prologue, the author asserts that the House will be cursed. In a similar missive, he Opera Ghost really did exist, supporting his threatens Carlotta with disaster if she per- claims with allusions to and excerpts from forms as Margarita. Montcharmin and Rich- different documents. His principle evidence ard seat themselves in Box Five for the is the discovery of what he claims are the evening’s performance of Faust. Having Opera Ghost’s remains. The story opens at received a letter from Christine telling him to the farewell performance and party for Debi- never see her again, Raoul despairs during enne and Poligny, the retiring managers of the performance. Carlotta enters after the the Opera. Rumors abound about sightings second act and upon singing begins to croak of a ghost prowling the building which seems like a toad. The two managers tremble when confirmed when Joseph Buquet, the scene- the Ghost makes his presence known to shifter, is found hanged. At the evening’s them, and as the performance continues, the supper, the Opera Ghost appears and says Opera House’s massive chandelier plummets that Buquet’s death was not natural. After from the ceiling into the audience, killing the hearing of the Opera Ghost’s demands woman hired to take Mame Giry’s place. (reserving Box Five exclusively for him and Chapters VIII through Chapter XI: paying him twenty thousand francs a month), A Tragic Triangle the new managers conclude that the Opera Ghost is an elaborate joke. After thoroughly After the chandelier disaster, Christine disap- examining Box Five, where a series of myste- pears from the Opera House for two weeks. rious events have been reported, Montchar- When Raoul visits Mamma Valerius search- min and Richard conclude that there is no ing for Christine, the old woman recounts the ghost and the members of the Opera House story of the Angel of Music and that the are trying to make fools of them. Angel forbids Christine to marry. Raoul is The greatest success of the evening’s perfor- distraught when he sees Christine in a car- mance is the debut of Christine Daaé who riage which speeds off. Later, she writes to gets the opportunity after diva Carlotta falls request that he meet her at an upcoming ill. Smitten by her performance, Raoul goes masquerade ball. The Opera Ghost stalks to comfort the girl after she swoons. Chris- through the ball dressed as the Red Death. tine leaves a note for Raoul stating that she is Raoul wishes to confront him but is prevented bound for Perros to visit her father’s grave on by Christine, whom he then sharply criticizes the anniversary of his death. She tells Raoul as being dishonest. After a tormented-looking that she remembers him and recounts the Christine removes her mask and describes her A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera 5 situation as a tragedy, Raoul wishes to retract signify her freedom; upon its loss, Erik will his words. Later when he hides in Christine’s supposedly have his revenge. When Raoul dressing room, he hears the ghost’s beautiful returns to his apartment that night, Erik music, notes that Christine calls him “Erik,” appears outside his window but disappears and watches in amazement as she disappears when Raoul shoots at him with a revolver. At through the mirror at the back of her room. that night’s performance, Christine disap- The next day he finds Christine at the house pears when the lights are inexplicably extin- of Mamma Valerius. When pressed for details guished. Montcharmin and Richard are about the man’s voice in her dressing room, criticized for acting oddly during the perfor- Christine refuses to disclose information. mance by Opera House employees—they Raoul agrees to let it go after Christine prom- remain locked in their office despite the ises to send for him the next day. When they mysterious events taking place. Mame Giry meet, Raoul and Christine bind themselves in gives an extended account of her experiences a secret engagement. During this idyllic time, with the Opera Ghost, and Montcharmin the couple tours the Opera House together, and Richard attempt to determine what hap- but Christine grows increasingly nervous and pened to the twenty thousand francs they refuses to take Raoul to the regions beneath gave to the Opera Ghost. They accuse Giry of the stage. After he vows to remove her from the theft. To secure additional notes from Erik’s power, Christine leads him to the being taken, the envelope is safety- pinned Opera House rooftop. into one of Richard’s pockets; nevertheless, Chapter XII: “Apollo’s Lyre” the notes disappear without the safety pin being removed. Raoul discloses what he On the rooftop, Christine recounts her knows of the Opera Ghost to Mifroid, but experiences with Erik, the Angel of Music, the listeners discount his story and consider whom she characterizes as a demon. She says him crazy. When he hears that his brother has she returns to him only to protect others. She taken Christine, Raoul sets out in pursuit but first heard his voice in her dressing room, is intercepted by the Persian. Raoul asks for believed him to be the Angel of Music, and his assistance in finding Erik and Christine. received vocal training from him. When told Chapter XIX through Chapter XXV: of her budding relationship with Raoul, the Pursuit and Conflict voice threatened to go back to Heaven. She then tells of her first meeting with Erik and The Persian agrees to help Raoul, arming him the visit to his subterranean realm, a place with a pistol and cautioning him to keep his characterized by its vastness, an underground hand at eye level. The two enter into a secret lake, and Erik’s ornate residence. Christine passage via Christine’s dressing room. also describes her conflicted feelings for Erik Hidden, they pass by Mifroid and opera and his unwavering devotion towards her. employees discussing the newly-discovered, The only things Erik forbids Christine to do drugged bodies of the gas man and his assis- are to look upon his unmasked visage or to tants and witness the fearsome visage of the hear his composition “ Trium- rat catcher, a man who appears to be a float- phant.” When she can’t stop herself and pulls ing, burning head pursuing them. After away his mask, Erik is enraged. Since then entering into a secret passage near where Christine is more and more terrified each Buquet was found hanged, the Persian and time she sees Erik. Raoul find themselves in what the Persian Chapter XIII through Chapter XVIII: calls “the torture chamber.” Mysteries and Solutions The narrative then shifts to an account taken verbatim from the Persian’s manuscript. The The Persian appears to warn Christine and Persian tells of his harrowing first visit to Raoul to flee. Later Christine discovers that Erik’s subterranean home, of his experiences she has lost the ring that Erik gave her to with Erik before they arrived in Paris, and 6 A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera

Erik’s relationship with Christine. The Persian Chapter XXVI and Epilogue: then describes what happened to Raoul and Redemption and Release himself in Erik’s house. From the next room, Raoul and the Persian are revived to find Christine tells the pair that Erik has gone mad Christine married to Erik who returns the with love and has threatened to kill himself two men to their respective homes. Erik then and everyone unless she agrees to marry him. visits the Persian at his home to inform him Christine’s fruitless efforts to free the Persian that he is dying of love. He tells the Persian and Raoul end in their torture. Visions of the how Christine showed sympathy towards African savannah and forests appear and dis- him, allowed him to kiss her, and agreed to be appear in the mirrors of the torture chamber, his wife, overcome with emotions, Erik and heating elements elevate the temperature released Christine so that she could marry until the two hapless men nearly despair. The Raoul. Erik says that after he dies, he will send Persian then finds the catch to a trap door Christine’s possessions to the Persian. Three that leads to Erik’s cellars; upon their escape weeks later, the Persian learns that Erik, the there, the Persian discovers barrels of gun- Opera Ghost, has died. In the epilogue, the powder that Erik has cached to destroy the author offers additional evidence to convince Opera House. Given a choice to flood the readers of the existence of the Opera Ghost. gunpowder chamber or blow it up with the whole Opera House, Christine chooses the flood and in so doing submerges the Persian and Raoul who lose consciousness.

PREREADING ACTIVITIES

These activities are designed to build stu- phy of Leroux. As a class, make a list of his- dents’ background knowledge and prepare torical events that were taking place at the them to understand the novel’s themes and time Leroux was writing the novel. Post this appreciate its artistry. list so that students can refer back to it while I. BUILDING BACKGROUND reading the novel. KNOWLEDGE OF HISTORY Survey the students about the texts that par- AND CULTURE allel the novel. If you determine that a major- Drawing Inspiration ity of the students have read one of the works, from the “Introduction” ask students to brainstorm the main themes or motifs in that work. Again post this list for John L. Flynn’s “Introduction” in the Signet students to come back to and edit as they Classics edition explains how The Phantom of read the novel. If students are not familiar the Opera fits in the broader fabric of popular with any of the texts, ask them to read Haw- and literary culture. He provides a catalog of thorne’s “The Birthmark” and together list titles that teachers might use as parallel texts the themes of the short story. Discuss what to serve as points of reference before begin- the protagonist is trying to do and why. ning to read the novel. The titles include: What is Hawthorne saying about obsession? Dracula, The Strange Case of Dr. Jekyll and The Paris Opera House Mr. Hyde, The Adventures of Sherlock Holmes, Hawthorne’s “The Birthmark,” The Beauty With a few exceptions, The Phantom of the and the Beast, and Dr. Faustus or other Faust Opera occurs within the confines of Le Relais legends. Flynn also provides a biographical Paris Opéra, or the Paris Opera House. Ler- sketch of Gaston Leroux. oux’s contemporaries no doubt knew of (and were impressed by) Charles Garnier’s design. A Ask students to read the “Introduction,” great resource to help students understand making a list of key points about the biogra- more fully the novel’s setting and appreciate A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera 7

Leroux’s choice of that edifice for his story is Following is a list of web sites that might also the “Publisher’s Note on the Paris Opera serve as resources for this activity: House, from the Original American Edition of http://www.oobject.com/physical-cutaway- The Phantom of the Opera (1911) that appears models/famous-paris-opera-cutaway/1830/ in the Signet Classics edition (pp. 263-267). features a cutaway model of the building that Ask students to read the note in pairs and to illustrates its many levels, size, and complex- make a list of key points to share with the ity. Clicking on the image will link to an whole class. Discuss: What details about the additional perspective of the model. building stand out to the students and why? http://www.cs.yale.edu/homes/shah/pics- Two useful resources to help orient students OP/2009-07-Switzerland/slides/75- include Google Earth and Google Maps, for Inside%20the%20Paris%20Opera%20 while they allow students to see Paris’s loca- House%20for%20a%20ballet.html features tion relative to their own classroom, both two high-resolution photographs of the provide features that allow students to travel Opera House, including a modern shot of around the Opera House virtually. To locate the building’s interior. Clicking on the the building, open the application or navigate bottom center of the image will enlarge a to the site and search using “Le Relais Paris detail; clicking the back button will link to Opera.” Google Earth, a free downloadable an exterior shot of the building. application from http://www.google.com/ earth/index.html, features a three dimen- http://www.oneonta.edu/faculty/farberas/ sional model accessed by clicking on the arth/ARTH_220/social_space.html offers actual building once users have sufficiently additional images of the building and shows zoomed in. If zooming in results in becoming examples how the Paris Opera House has disoriented, users can click on the sidebar appeared in French art. link to “Le Relais Paris Opéra” and the map http://www.saylor.org/site/wp-content/ will identify the building. Users can also uploads/2011/06/Palais-Garnier.pdf provides “enter in” to panoramic photographs that considerable content about the building and initially appear as spheres onscreen that allow an overview of its history. closer views of the building. In Google Maps, users can utilize the Street View feature to go Classical Music: Hearing the Novel on a virtual walking tour around the building From the very public performances of opera to experience it from different perspectives. on stage to the intimate performances After students have explored the Opera between Erik and Christine, music permeates House, ask them to analyze the building to nearly every aspect of Leroux’s tale. An over- identify those traits that make it an effective view or primer of the style of music Leroux’s choice of setting for a novel that features contemporaries would have been familiar mystery and horror. Ask students to consider with will allow students to understand his the building’s size, complexity, ornate decora- allusions more fully. You may wish to check tion, differing levels, and storied history. with music teachers within the school or in Discuss the benefits of using a famous build- the community to locate resources to provide ing as a setting for a novel. Ask students to examples of the types of music that Leroux consider how familiarity begets believability, alludes to or to give a live performance. The how personal connection often heightens web offers a broad range of resources to help audience response, or how personal experi- students hear some of the music that Leroux ence sharpens imagery. incorporates into his story. The following links, from the Library of Congress Web site, provide online examples of three of the songs the author mentions when he recounts the farewell concert for Debienne and Poligny. 8 A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera

Guonod’s “Funeral March of a Marionette.” often appeals to teen readers is the creepy http://www.loc.gov/jukebox/recordings/ substage settings- the Phantom’s realm. This detail/id/1916/ activity asks students to reflect on why an Guonod’s “Funeral March of a Marionette.” audience would willingly submit itself to http://www.loc.gov/jukebox/recordings/ frightening images and concepts. It uses the detail/id/9139 works of to understand how setting can contribute to that sense of uneasi- Guonod’s “Funeral March of a Marionette.” ness since Leroux’s novel is reminiscent of http://www.loc.gov/jukebox/recordings/ Poe in its macabre story and settings. detail/id/4680 Begin by sharing the following sources with Teachers can play selections as students enter students and discussing ideas about the pop- the class or work independently. The music ularity of the horror genre: can serve as a focusing activity by asking stu- dents to journal about how they react as they http://www.cbsnews.com/8301- listen to the music. During reading when 501465_162-20021204-501465.html discusses students encounter song titles in the text, ask some of the psychological theories behind them to analyze why Leroux would have horror movies’ popularity and identifies chosen these particular titles. For instance, horror movie fans’ most popular traits. why would the songs listed above have been http://www.telegraph.co.uk/news/2535221/ appropriate for a farewell party? Horror-film-gene-that-makes-some-scream- Can’t Tell An Aria From Vibrato? while-others-laugh.html examines the possi- Opera for Beginners bility of genetics affecting one’s tendency to want to view horror films. Exploring opera can help students understand Using the understanding of how horror can Leroux’s novel more fully, for the characters appeal to an audience as a starting point, often concern themselves with staging, share the Poe stories linked below with stu- rehearsing, and performing operas. Opera Col- dents. Ask them to annotate or take notes on orado’s Opera for Beginners guidebook (http:// the stories’ settings. Then, after they have www.operacolorado.org/education/guide- generated ideas about each story’s content, books/) provides a basic, accessible text to help hold a class discussion to identify those ele- students understand the concepts, terminol- ments of setting that might create apprehen- ogy, and techniques of opera. After reviewing sion or uneasiness in an audience. Are the this resource, draw from it those elements that settings themselves unsettling, or are the students would benefit from knowing prior to events that occur in those settings what reading The Phantom of the Opera. scares? While the catacombs in “The Cask of A second option available to some teachers Amontillado” are eerie, the broader setting of would be to invite local performers to sing a plague-ravaged countryside in “The Masque excerpts from operas for their classes and of the Red Death” is equally unsettling. Ask provide an overview of the medium. In some students to consider what the author might schools, music teachers or music classes have been trying to get at through the might be able to provide such performances. descriptions. Then, after students have iden- II. BUILDING BACKGROUND tified scary elements, discuss how those ele- KNOWLEDGE OF ments function to create uneasiness. Do they LITERARY ELEMENTS put characters at risk? Do they contain char- acters or elements that would harm most Setting human beings? Do they create conflict in the In popular culture, though often critically plot? After they have thought critically about panned, horror films are a popular draw for setting, consider with the students the impact adolescents. One of the novel’s aspects that of the confined space of the Opera House. A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera 9

What feelings did the author want the setting http://www.youtube.com/ to elicit in the reader? watch?v=82CYNj7noic is the Youtube video http://www.gutenberg.org/files/2148/2148- of the band’s performance of “Ohio.” h/2148-h.htm#2H_4_0009 is the e-text of Imagery Edgar Allen Poe’s The Works of Edgar Allen Poe, Some of the images in The Phantom of the Volume II. Both stories can be located using Opera linger in readers’ minds long after they the Contents links near the top of the page. have finished the book. To practice the skills Narration needed to understand the complexity of The novel’s narrative style includes letters, images, students can interpret a series of excerpts from memoirs, first person and third paintings, analyzing them on general and person narration, and lyrics. To prepare stu- specific levels. While the medium is different, dents for this complex style and to allow the skills necessary for analyzing visual them to think critically about its merits and images and literary images are similar. drawbacks, ask students to compare differing Ask students, in pairs, to look at a painting accounts of the same event. Choose a histori- and describe in general what they see or what cal or contemporary event that appeals to is happening. Then have students make a list students. Following is one example. of the particular elements that they see in the The Kent State University shootings that painting, identifying ideas conveyed by these occurred in 1970 served as a cultural touch- details. Pairs of students can share their reac- stone for the Vietnam era in America. Sur- tions to the same paintings. While many rounded by controversy, the shootings paintings will work, those linked here are Phantom spawned a social and cultural outpouring for similar to visually or thematically. years afterward. After reading and viewing Edouard Manet’s The Dead Toreador the resources below, in a discussion or chart http://www.wikipaintings.org/en/edouard- have students define first-person narration, manet/the-dead-toreador-1865#supersized- third-person narration, and artistic interpre- artistPaintings-192152 tation. Then, using the examples as a basis for Mary Cassatt’s The Opera1878 exploration and discussion, ask students to http://www.wikipaintings.org/en/mary- share or record their ideas on their charts cassatt/the-opera-1878#supersized-artist- about the strengths, weaknesses, and reliabil- Paintings-190390 ity of each narrative approach. Finally, have students individually identify and defend the Mary Cassatt’s In the Box 1879 single narrative approach that they believe http://www.wikipaintings.org/en/mary- most effectively conveys the event. cassatt/in-the-box#supersized-artistPaintings- 190193 http://www.usatoday.com/news/ nation/2010-05-03-kent-state_N.htm offers III. BUILDING BACKGROUND a first-hand video account by Alan Confora KNOWLEDGE THROUGH INITIAL and a third-person journalistic version. EXPLORATION OF THEMES http://www.alancanfora.com/?q=node/5 is an One of the novel’s strengths is its complexity. account of the shootings and the days that Leroux presents a range of themes that reso- preceded them. nate with most readers: http://human-highway.com/lyrics/lyrics-04. • The individual against society, html#103 presents the lyrics to Neil Young’s • Man’s inhumanity to man “Ohio,” a song written in response to the • Judging character based on appearances shootings and recorded by Crosby, Stills, (Beauty and the Beast) Nash & Young. • Romantic love • Giving into one’s obsessions. 10 A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera

Using shorter works of fiction can help stu- Beauty is in the Eye of the Beholder dents practice identifying and communicating Ask students to consider the importance of convincingly about theme. After discussing appearances and what people attracts people the themes above, have students read three or to each other. Have students read and analyze four short stories that contain thematic con- one or more of the articles linked below on tent similar to Leroux’s. Then, have students contemporary research on physical attrac- work individually to identify each story’s the- tion. Ask students to take notes, using a notes matic content and compose a statement that organizer such as Cornell notes. Ask students accurately interprets the artist’s message on to consider two guiding questions as they that content. They should note those textual read: According to researchers, what traits are elements that contribute to the story’s theme. important in creating attraction? and What Remind students that acceptable answers kinds of evidence support these claims? must be textually supported. Once students have completed their statements of theme, USA Today’s Sharon Jayson investigates a collect them and lead a discussion that requires range of variables that can affect attraction in students to evaluate which statements best this article: http://www.usatoday.com/news/ convey a story’s theme. A small group might health/2009-02-10-attraction_N.htm arrange the statements of theme for a particu- Jayson provides evidence that brain scans lar story at the front of the room according to indicate that romantic love can endure: effectiveness as a starting point for the discus- http://www.usatoday.com/news/ sion; if their opinions differ, subsequent health/2008-11-16-brain-love_N.htm groups might rearrange the statements. National Geographic’s Christine Dell’Amore The following texts are well suited as resources summarizes research about attractiveness because they convey themes similar to Leroux’s: based on skin tones: http://news.national William Faulkner’s “Barn Burning,” Ralph geographic.com/news/2010/11/101103- Ellison’s “Battle Royal,” Colette’s “The Hand,” attractive-women-men-faces-skin-color- Gish Jen’s “In the American Society,” Flan- evolution-diet-health/ nery O’Connor’s “Good Country People” Once students have completed their investi- and “A Good Man is Hard To Find,” Edgar gations, have a class discussion to create and Allan Poe’s “Hop Frog,” Leo Tolstoy’s “How post a catalog of different ideas about attrac- Much Land Does A Man Need?” and O. tion. Refer back to this research when stu- Henry’s “The Gift of the Magi.” dents are analyzing the novel.

DURING READING ACTIVITIES

I. WHOLE TEXT ACTIVITIES might be the source of the common concep- tion of Heaven being “up” and Hell being Designed to deepen understanding of the “down.” This concept is useful for analyzing novel, these activities are best completed as the Paris Opera House in Leroux’s novel, for students read the novel. Instructors might the author uses figurative language to associ- collect works in progress to gauge students’ ate different levels of the Opera House with understanding, monitor appropriate comple- Heaven, Hell, or realms in between. Analyz- tion of the reading schedule, and provide ing and noting such references can help stu- feedback and clarification to reinforce com- dents understand more fully the characters prehension and encourage learners. associated with the respective regions, under- Heaven and Hell stand the conflicts within the novel, or The Great Chain of Being, a scheme devised simply appreciate Leroux’s compelling use of to rank all sentient beings in the Universe, figurative language. A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera 11

Start by having students look at and analyze an class, their characterization and presence image of the Great Chain such as the example plays a significant role in the novel. here created in 1579 by Didacus Valades: http: The Phantom and Christine: //www.stanford.edu/class/engl174b/chain.html Charting Characters’ Complexities As students read, have them record references The two central characters in the novel, Erik to Heaven or Hell and consider concepts or and Christine, are at once round and dynamic, things associated with the respective realms going beyond stereotypes of a “beauty and the as well. The novel resonates with allusions to beast” story. Leroux develops these characters angels and demons. In addition to listing fully and documents the changes that they references, have students analyze and record undergo. Erik changes from paramour to the functions that the allusions perform. In demon to martyr; Christine transforms from some instances, for example, a reference to novice to prima donna to heroine. Erik as “the Angel of Music” might help read- ers see the scope of his talents and his attrac- To review characterization, go back to stories tiveness to Christine and her devout or characters students have already discussed. benefactress, Mamma Valerius. After stu- Or, read with the class Eudora Welty’s “A dents have created a list of allusions, discuss Worn Path,” which provides fertile ground to how the imagery serves to describe a charac- consider the ways authors create people. In ter’s transformations or feelings. this story Phoenix Jackson develops on literal A Contrast of Classes and figurative levels as she makes the arduous trip towards town. Characterization of social classes affects read- Using online resources like those linked here ers’ interpretation of the people and events in can also provide concise definitions and the text and can help students grasp the useful resources to help students remember novel’s meaning on a global level. Ask stu- how writers create their characters. dents to complete a reading journal or graphic organizers like bubble maps or clus- http://udleditions.cast.org/craft_elm_char- ter maps that detail the novel’s content as acterization.html provides an accessible, they read. Ask students to consider the classes comprehensive resource on characterization. in the novel as aristocratic/wealthy and work- http://www.readwritethink.org/files/resources/ ing class/poor. In addition to identifying lesson_images/lesson800/Characterization.pdf characters by their class, have students list provides graphic organizers to help readers traits and connotations assigned to those record information. characters and classes. A starting focus might be to examine the characterizations of Phil- After reviewing characterization, have stu- lipe, Comte de Chagny, (p. 19) and Mame dents fold two sheets of typing paper in half Giry, box-keeper (bottom of pp. 155 to 159). vertically, one each for Erik and Christine. In Students can then use the class characteriza- the first column, have students list character tions to consider some of the novel’s themes. traits of each person as they read. Remind For instance, some of the aristocratic charac- students to keep entries for the two characters ters act considerably less than noble; separate on the respective sheets. In the Montcharmin and Richard are buffoons second column, have students record their whereas Mame Giry is loyal and honest analysis of that trait—what does the infor- despite the derision she typically faces from mation tell readers about the characters? Is her “superiors.” Such instances underscore the trait new in the novel’s context? Does the the concepts of appearance versus reality or new information change the way the reader judging character using physical appearances. views the character? Use students’ individual Remind students to think even about minor perceptions to create a class chart for each of characters like the door-shutters, corps de the characters which can be used for review ballet, and firemen, for when considered as a and discussion during reading. 12 A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera

II. DISCUSSION QUESTIONS AND readers? Which character does the death DEEPENING UNDERSTANDING seem to affect most significantly? Discussion questions represent an opportu- 6. What sorts of words does Leroux nity to assess understanding and to strengthen employ to describe Christine’s first comprehension of the novel and its literary performance as Margarita in Faust (p. elements. Students can answer the questions 18)? What adjectives would you use to individually, they can work as groups to describe this diction? What effect do answer a series of questions to refine their these words have on readers? understanding of a section, or one student 7. After reading the first description of the can work exclusively on a single question to Comte de Chagny (p. 19), how would become the class expert who then shares his/ you characterize him? What kinds of her expertise with peers and the instructor. traits and beliefs does the description Prologue through Chapter VI imply rather than overtly stating? 1. In the Prologue, the text indicates that 8. How does Raoul compare to his brother Leroux “acquired the certainty that the in the descriptive passages on pages 19 Opera Ghost was more than a mere and 20? In what ways do the descriptions shade” (p. 2). What types of evidence of the aristocracy differ from the does Leroux cite in his efforts to convince descriptions of the working class in the readers? What evidence do you find early stages of the novel? most compelling? Does the Prologue 9. Christine tells the Opera Ghost, “Oh, convince you of the existence of a ghost? to-night I gave you my soul and I am 2. Early in the Prologue Leroux alludes to dead!” He replies, “Your soul is a “the most extraordinary and fantastic beautiful thing, child…No emperor tragedy that ever excited the Paris upper ever received so fair a gift. The angels classes … the kidnapping of Christine wept to-night” (p. 24). What associations Daaé, the disappearance of the Vicomte might most readers make based on this de Chagny and the death of his elder exchange? How would you characterize brother, Count Phillipe . . .” (p. 1). the tone of the Opera Ghost’s words? What effect does this hyperbole have on 10. What attitude do Montcharmin and readers? Why would Leroux allude to Richard adopt towards the Ghost in these crimes so early on? Chapter III? Given the events that have 3. Chapter I contains several details that occurred at this point in the narrative, do depict workers at the Opera as supersti- you believe that their conclusions are wise? tious. How does the credibility of the What are the reasons for their decision? characters contrast with the presenta- 11. In the first two letters from the Opera tion Leroux provides in the Prologue? Ghost in Chapter IV, what tone does he 4. As the first chapter proceeds, different use towards the new managers? Do these characters provide a broad range of attitudes seem consistent with your feelings descriptions of the Opera Ghost. What about the Ghost? Why or why not? do the descriptions have in common? 12. When Leroux recounts Christine’s Do they lend credibility to the existence girlhood (Chapter V), what elements and of the ghost, or do they elicit skepticism literary techniques does he incorporate to in readers? elicit sympathy from readers? In what 5. On pages 14-15, Leroux foreshadows ways do his efforts succeed? What Buquet’s death; then, different shortcomings did you identify? characters recount his demise. What 13. At this point in the novel, what is effects does this repetition have on Christine’s attitude towards the Angel A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera 13

of Music? What is Raoul’s? What 5. During this night’s performance, evidence and ideas would you use to Christine gives a poor performance— account for these differences in attitude? one of Carlotta’s friends says that the 14. In Chapter V, Leroux uses the format of young singer is “bleating.” To what do “an official report” to describe what you attribute Christine’s sub par happened to Raoul in the churchyard. performance? Do you think that the Why do you think he uses this format? reasons for her performing poorly are Some of the elements in the passage reasonable? seem exciting—do you think the format Charting the Acts heightens or decreases the level of At the beginning of the chapter, the Opera excitement for readers? Ghost writes, “So it is to be war between us?” 15. In the extended paragraph that begins at Much of the chapter consists of acts of the bottom of page 63, Leroux describes aggression between the Ghost and the new the setting in the Opera House as managers. This activity will allow students to Richard and Montcharmin approach see more clearly the antipathy between the Box V. What types of imagery does the managers and the Ghost, a vital tension to author use in the paragraph? What understand the book in its entirety. Using a effects do these images have on readers? two-column chart or other graphic organizer, Chapter VII: A Closer Look have students list the acts that the Ghost and the managers execute towards each other. 1. In his first letter to the new managers, the The Ghost clearly specifies his wishes in the Opera Ghost issues an ultimatum and first letter. How do the managers respond to threatens that if his demands are not met, his demands? What is the Ghost’s response? “[the managers] will give Faust to-night Once students have generated actions by in a house with a curse upon it” (p. 67). both parties, ask them to analyze the events How does the Ghost’s lack of specificity within the context of what they know about in his threat affect readers? In this the book so far. After analysis, have students instance, is a general threat more effective write a brief passage or participate in a class than a specific threat? Why or why not? discussion to determine who is acting within 2. Richard responds to the letter with a their rights in this instance: the Opera Ghost shout. In the conversation that runs from or Montcharmin and Richard? the top of page 67 to the top of page 69, Figuring Out Faust identify the verbs that Leroux uses to show how the characters communicate: “roared,” Understanding the Faust legend will help “repeated,” and so on. Analyze the diction students appreciate the novel more fully to identify the different attitudes that the because of its thematic similarities and pres- characters have. Remember, as the talk ence throughout the novel. Leroux’s novel proceeds, the emotions often change. features the opera adaptation of the work. A good starting point is to view a synopsis of 3. In the passage identified in question 2, Gounod’s Faust (http://www.metoperafam- what frustrates or angers Richard and ily.org/metopera/history/stories/synopsis. Montcharmin? Do the new managers aspx?id=12) to get some sense of the overall seem to be in control of their enterprise? plot and to allow students to reflect on the 4. Perhaps to build sympathy for themes of the story. Christine, Leroux characterizes Carlotta Ask students to look for parallels between in less-than-flattering terms in this Christine and Margarita (the character chapter. What attitudes, actions, and Christine is supposed to depict on the night words does the prima donna use that of the disaster), Raoul and Valentine (both depict her in a negative light? earnest youths concerned with female honor 14 A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera and victimized by more powerful characters), the event’s unpredictability or the perceived and the Opera Ghost/Erik and Faust or safety of the venue make such an event more Mephistopheles. (Note: some teachers might terrifying? Then, review Chapter VII to see prefer to share the Faust content here and how the chandelier’s fall fits into the broader wait until students have finished reading the events of the plot. How does the falling novel to lead students through the compari- chandelier compare to the other events that son of characters.) the Opera Ghost has perpetrated? Is there To further the understanding of Faust and any escalation leading up to the event? How the medium of opera, share a clip from a does the event function metaphorically? videotaped production available online to What are possible figurative meanings for the give students the virtual experience of seeing fall of the chandelier? Finally, review again a live, professional opera production. The the last two pages of the chapter (pp. 78-79) version linked below works very well to show and have students identify the events for students the emotion, special effects, meth- which the Opera Ghost is responsible. Do ods of characterization, and the ability of the events occur simultaneously, or do they music to move an audience. occur in rapid succession? What might stu- dents be able to infer about the Opera http://www.youtube.com/watch?v=jFwYQr Ghost’s abilities based on the events that HVNaA&feature=related conclude the chapter? The excerpt (14:36 to 24:50) depicts Faust’s Chapter VIII through Chapter XI recognition of his unfulfilled desires and his decision to serve Satan in return for renewed 1. In Chapter VIII, what pieces of youth. The agreement is signed in blood, and evidence lead Raoul to believe that Faust is rejuvenated. Christine is susceptible to “the malevolent designs of some mysterious The Night the Lights Went Out and unscrupulous person” (p. 81)? The chandelier’s plummeting from the Opera 2. How does Mamma Valérius’s attitude House ceiling resonates with readers, but the towards the Angel of Music differ from event spans only two brief paragraphs at the Raoul’s? Why do you think that the end of Chapter VII. Learning about the real elderly woman believes so fervently? life inspiration and analyzing the event’s sig- 3. At the masked ball in Chapter IX, nificance within the novel will help deepen Raoul asks Christine, “For what hell are students’ understanding of the Opera Ghost’s you leaving, mysterious lady . . . or for abilities. what paradise?” (p. 93). Based on your In May 1896 a huge counterweight that sup- understanding of the novel through this ported the Opera House’s massive chandelier point, do you feel that Christine’s broke free and fell into the audience, killing relationship with Erik is more hellish or one woman and injuring others. This account heavenly? Why? from the New York Times provides a brief, 4. In the passage that begins at the bottom contemporary account: of page 95, what effect does hearing the http://query.nytimes.com/gst/abstract.html? “voice without a body” have on Raoul? res=9902E1DE153BEE33A25752C2A9639 5. In Chapter X, what motivations does C94679ED7CF Raoul have to discover the identity of First, have students read Leroux’s version and the Angel of Music? Consider noble the source above. Then, lead a class discus- and petty reasons behind his quest. sion to gauge how students rate the fearful- 6. When Christine proposes a “secret ness of the accident. Why would audience engagement” to Raoul in Chapter XI, members be particularly susceptible? Would what conclusions can you draw about A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera 15

her character? What are her reasons for doors . . .” (p. 121). Do you think her proposing such an arrangement? Does assertion is correct? Why or why not? she seem more worldly or innocent? What might careful readers infer from 7. Erik insinuates to Raoul, “She is wearing her statement about her character? the ring again to-night; and you did not 4. After listening to some of Christine’s give it to her …. you must go and ask account, Raoul exclaims, “Why, you Erik!” (p. 106). What are Erik’s love him! Your fear, your terror, all of motivations for uttering this to Raoul? that is just love and love of the most What does he hope to accomplish? exquisite kind, the kind which people What character traits might one infer do not admit even to themselves . . . . from these words and action? The kind that gives you a thrill, when 8. During their secret engagement, you think of it . . . .” (p. 122). Using the Christine and Raoul tour throughout evidence in the balance of Chapter XII, the Opera House, an edifice that Leroux defend or refute Raoul’s claim. Does likens to an empire (pp. 105-107). Christine love Erik? What literary techniques does the 5. The final image of the chapter is “an author use to develop the idea of Opera immense night-bird that stared at them House as kingdom? What tone does with its blazing eyes and seemed to this tour set in this section of the novel? cling to the string of Apollo’s lyre” (p. 9. Throughout the novel and particularly in 130), an image that contrasts the earlier Chapter XI, Leroux details the different idyllic setting at the chapter’s start. levels of the Opera House. Erik occupies What are the central events in the the realm underneath the stage; others chapter that might warrant such a occupy the upper reaches. What types of brooding image? imagery does Leroux use to round out Beauty and the Beast the setting of the Opera House? And Many students may attribute most of Chris- what associations might readers make tine’s revulsion towards Erik to his ghastly with the different levels based on the appearance and conclude that the Ghost’s details Leroux uses in his depiction? appearance is the chief strike against his Chapter XII: A Closer Look chances of wooing Christine. Have students While Chapter VII represents the mystery, create a two column chart (perhaps using the suspense, and motivations behind Erik’s ter- template posted at http://www.eduplace. rorizing the Opera House, Chapter XII best com/graphicorganizer/pdf/tchart_eng.pdf) to exemplifies the relationships between Chris- list Erik’s traits, words, and actions in this tine, Erik, and Raoul. chapter that are either attractive or repulsive to Christine. Once students have compiled 1. Leroux sets this chapter on a beautiful their evidence, discuss whether or not they spring evening. What mood does this believe Erik could ever win Christine’s love. set for the ensuing conversation? Is the After reaching consensus about that topic, ask mood sustained? Or consistent? students to discuss what their conclusion sug- 2. What recollections does Christine share gests about how they view Christine. Is she that support her early belief in the superficial? Or is her revulsion merely human? existence of the Angel of Music? Is her Legends of the Fall faith based more on selfless reasons or on selfish reasons? Western culture resonates with tales of indi- viduals whose curiosity overcame them; 3. Christine tells Raoul, “We have nothing obsession typically results in dire conse- to fear except the trap-doors, dear, and quences. In Leroux’s novel, Christine suc- here we are miles away from the trap- 16 A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera cumbs to the temptation to view Erik’s three central characters by drawing a triangle appearance; in turn, the unmasking radically and listing each character’s name at the dif- changes her attitude towards her mentor and ferent points. Then using Chapter XII, ask captor. In this activity students will reflect on students to note the emotions, attitudes, and several traditional stories to understand more actions of each of the characters for the other fully what happens before and after pivotal two. For instance, Raoul feels fear, jealousy, decisions. Ask students to read Book 3 of and uncertainty towards Erik, while Erik Genesis and the story of Pandora’s Box. Then feels jealousy, animosity, and superiority have students analyze the world before and towards the young aristocrat. after the characters succumb to temptation Chapter XIII through Chapter XVIII and eat from the tree and open the box respectively. What is the nature of the change 1. In Chapter XIII Christine calls Erik “a in each case? Are there influences beyond very curious genius” who “does things simple curiosity that inspire each woman to that no other man could do . . .” (p. act? Are the changes reversible? 133). What effect does her description have on your impressions of Erik? Do http://www.biblica.com/bibles/chapter/?vers her words change your impression of e=Genesis+3&version=niv Genesis, Book 3 Christine? How? (New International Version) 2. When Raoul thinks that Erik visits his https://www.msu.edu/user/richa457/ apartment (p. 135), he attempts to shoot fengeraa/handouts/MythFolkLegend/ him. How are his actions in this section Pandora.pdf different from those he has demonstrated Pandora’s Box before? Would his attempts endear him to Christine? Why or why not? Then, have students consider Erik’s attitude towards Christine before and after his 3. When Christine disappears, the managers unmasking. Similarly, analyze her changing are engaged in absurd behavior that none attitude towards him. Ask students to reread of the other Opera House workers Chapter XII to identify the characters’ understand. Thinking back over the changing states of mind. In the examples section, do the absurd managers’ comic above, most readers consider succumbing to actions decrease the overall tension? temptation as a mistake. Is Christine’s What effect does the comic section have unmasking Erik a mistake or not? on the balance of the section? Show students the unmasking scene from the 4. Analyze Raoul’s behavior and attitudes 1925 film adaptation of The in the first pages of Chapter XV. In what Phantom of the Opera. Ask students to com- ways do they contrast Erik’s typical pare the depiction of Erik in the film to that mien? Does Raoul seem a worthy in the text. How faithful is the screen version adversary to Erik? Why or why not? to the novel? 5. Raoul wonders, “Why, in a final access http://www.youtube.com/ of pity, had she insisted on flinging, as watch?v=sa3bHKWZoJg focuses exclusively a last sop to that demon’s soul, her on the unmasking. divine song: ‘Holy angel, in Heaven blessed/My spirit longs with thee to Charting the Tragic Triangle rest!’” (p. 149). What are some possible Christine’s wavering affection, Raoul’s devo- reasons for Christine’s singing this to tion, and the rivalry between Erik and Raoul Erik at this point in the novel? for Christine’s love highlight the love triangle 6. In Chapter XVI, Leroux depicts Mame in the novel. Have students create a chart Giry as a dedicated ally to the Opera that illustrates the relationships between the Ghost. What motivations does she have A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera 17

to serve him with such devotion? In 3. In the last chapters of the book, Leroux what ways does the section underscore uses footnotes to explain or clarify Erik’s masterful ability to manipulate aspects of the story. Do you think that individuals psychologically? the footnotes interfere with the 7. Montcharmin and Richard scheme and narrative? Do the footnotes lend fret about the allowance they have paid credibility to Leroux’s story? Why or to the Opera Ghost. How does this why not? characterization compare to the chief 4. The two men are passed by “a shade . . . motivations of others in the novel? Are carrying no light, just a shade in the the main characters concerned about shade . . .” (p. 192). The Persian is unclear worldly gain to the same degree? How as to the identity of this threat. Who does this affect your attitude towards might this mysterious individual be? the two managers? 5. Leroux increases the tension soon after 8. In Chapter XVII, the two managers with the appearance of the rat catcher, obsess over keeping their money away who appears to the Persian and Raoul as from Erik. After reviewing the chapter, “a whole, fiery face” (pp. 193-195). analyze the changes that Erik has led What varied types of sensory imagery Montcharmin and Richard to make. In does the author use to create suspense what ways have Erik’s efforts weakened in readers? Which of the characters’ or changed the two men? senses are affected? 9. When Raoul discloses his knowledge of 6. Beginning with Chapter XXI, Leroux Erik to Mifroid, the commissary suspects incorporates what he calls “The Persian’s that the young aristocrat is a mad man. Narrative,” an account allegedly taken What conclusions does Mifroid rely on from a memorandum composed by the as he discounts Raoul’s information? Persian. Why does the nature of the 10. At this point in the novel, Erik seems to story make this borrowing necessary? be the most competent at devising What elements does the Persian’s plans and executing them. In what ways account have that lend believability to do his abilities increase the tension in the entire tale? the novel? Are there characters in the 7. As he recounts his experiences with novel who seem to be able to thwart his Erik, the Persian discloses many details plans or quash his desires? that were unknown to Christine, Raoul, Chapter XIX through Chapter XXV or any other character in the novel. After analyzing the new information, 1. At the start of Chapter XIX, what do you think of Erik in a more positive information does the Persian use to or more negative way? Why? gain Raoul’s confidence? Do you think 8. In the Persian’s narrative, he describes the Persian’s experiences inspire similar the character of “the little Sultana,” the confidence in readers? Why or why not? daughter of a high-ranking official. 2. As this section progresses, Leroux How would you characterize this young discloses some of the secrets behind girl? How does her evil nature compare Erik’s actions that were considered by to that of Erik? Is she better than the characters in the book as mysteries. Opera Ghost? As bad? Or worse? How does the revealed information 9. During their torture in Erik’s chamber, about how Erik executed his deeds what obstacles do the Persian and Raoul affect your attitude towards Erik? How face? What physical ordeals do they do you view him differently now that undergo? To what psychological duress some of his tactics are known? 18 A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera

are they exposed? Which of the types of 2. When Erik visits the Persian, he retells torture is greater—the physical or the the events that led to the captives’ psychological? release. As his story unfolds, how does 10. In Chapter XXV, why does Christine Leroux use elements of style like agree to marry Erik? structure, diction, and characterization to make the story more effective? 11. At the end of Chapter XXV, what has happened to Raoul and the Persian? What 3. How did Christine move Erik to save Raoul and the Persian from drowning? do you think will happen to them next? Chapter XXVI and Epilogue 4. Why does the Persian weep on p. 251 as Christine had wept with Erik? Do they 1. In Chapter XXVI, Leroux shifts from weep for similar reasons? the Persian’s memorandum account to a 5. Does Erik’s change of heart about version that he alleges to have received allowing Christine and Raoul to marry first-hand from the Persian. While first- seem in keeping with what has been hand accounts are typically viewed as revealed about his character? solid sources, what aspects of the Persian’s retelling might affect its 6. In the Epilogue, Leroux uses evidence credibility? Think about how long after similar to what he shared in the the actual events the story took place, Prologue to prove the existence of the the ability of the author to record Opera Ghost. What is the most effective accurately, or similar elements as you new evidence that he cites to convince consider your answer. readers of Erik’s existence?

AFTER READING ACTIVITIES

These activities provide opportunities for 2. In his novel, Gaston Leroux employs a students to deepen their understanding of range of stylistic and narrative the text, to apply their learning to elements techniques. Excerpts, song lyrics, and concepts that supplement the novel, and transcripts, footnotes, and other devices to draw from their beliefs and life experiences combine to convey the tale of the to appreciate the novel more fully. Most can Phantom who haunts the environs of be adapted for completion by individual stu- the Paris Opera House. Review the text dents or small groups of students. and identify those techniques that are I. TOPICS FOR DISCUSSION most successfully employed to convey AND ESSAYS the story. After you have identified the elements, share three or four ways the 1. In his introduction to the Signet techniques you identified make Leroux’s Classics’ The Phantom of the Opera, story more compelling. John L. Flynn asserts that Erik’s “acts of 3. In some ways, The Phantom of the violence are committed solely for the Opera is a study on the nature of beauty woman he loves and to protect his and ugliness; the novel’s characters and world of anonymity” (p. viii). Using plot seem to underscore the idea that your understanding of Erik’s character appearances are a poor foundation for and actions, defend or refute Flynn’s judging character. While Erik is cursed assertion. As you consider your response, with a gruesome visage, some of his acts identify and incorporate the best textual are inspiringly positive. And some of evidence to support your argument. the “beautiful people” in the novel act in less than admirable ways. Reflect on A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera 19

your understanding of Erik. Then 7. As they search the catacombs for Erik, decide whether or not you think his Raoul exclaims to the Persian, “I do not appearance reflects his nature. After you understand you. You treat him as a reach your conclusion, identify the best monster, you speak of his crime, he has examples and arguments to support done you harm and I find in you the your claim. same inexplicable pity that drove me to 4. Leroux consistently depicts women in despair when I saw it in Christine!” (p. his novel in unflattering terms: some 182). Like Christine, the Persian knows are unintelligent, others superstitious or Erik intimately. After reflecting on your naive, some vain, others vulnerable. knowledge of Erik, identify some of his Perhaps the only exception to this traits that might inspire pity or positive generalization is the character of feelings. What about this “monster” Christine Daaé. Review your notes and inspires pity in those who know him the novel to strengthen your best? As you prepare to share your ideas, understanding of the character of incorporate three or four positive Christine. Then, using textual support, character traits in Erik’s personality. argue whether or not you believe that 8. At the end when Christine says she will Christine is a strong female character. be Erik’s “living wife,” he is transformed 5. One of the central reasons that and releases the Persian, Raoul, and, Christine falls under Erik’s sway is that eventually, Christine. Is her agreement she believes that he is the Angel of noble? Or self-serving? Write a response Music, an entity introduced to her by that presents your opinion and provides her deceased father. In the Opera evidence from the text as support. House, Erik’s power grows because the 9. At the novel’s conclusion, Erik is superstitions of many of the employees transformed after a single kiss, releases make his feats more impressive. his three captives, and resigns himself to Although he seems to be in control for die from love. Having reflected on the much of the text, Erik is susceptible to novel, weigh Erik’s flaws against his comparable misguided beliefs, those merits. Then, decide whether the that represent self-delusion never come redemptive power of love can the to fruition. After reflecting on your acts of a lifetime. As you think, identify understanding of Erik, identify what those characters in the novel who would you consider to be the most flawed of agree with this assertion. Which would his beliefs. Once you have identified disagree and condemn Erik? When you two or three of his misguided beliefs, share your ideas, explain which group explain how these beliefs contribute to you think is correct. his suffering or downfall. II. GROUP AND 6. In his afterword to the novel, J. R. INDIVIDUAL PROJECTS Ward claims that “the story . . . is a “Things I Wish I Could Tell You” classic tale of good versus evil: Raoul is the fine young man . . . Erik . . . is the In literature and in life, much goes unsaid. deformed madman . . .”(p. 268). Using Sometimes individuals are afraid to voice your understanding of the novel, their thoughts; others fail to seize an oppor- consider whether or not you think tunity to speak; in other instances, a loved Ward’s assertion is accurate. As you one might die before innermost feelings are work, compare the two characters to aired. By considering the things that charac- identify any exceptions to the writer’s ters in The Phantom of the Operamight like to premise. Is Ward wholly correct? Or say, students can gain a clearer understanding should her interpretation be qualified? of characters, their aspirations, their motives, 20 A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera their fears. Have students compose letters review the idea of the tragic hero: http:// from one character to another to communi- www.csus.edu/indiv/s/santorar/engl190v/ cate those ideas or feelings that are left unsaid trag.hero.htm describes the essential ele- in the novel. Letters might be evaluated on ments defining the tragic hero. accuracy to story elements, accuracy of voice, http://www.class.uidaho.edu/engl257/Clas- scope of content, and creativity. Possible sical/tragic_heroism.htm gives more detail letter topics might include: defining the classical tragic hero. • Erik writing to Christine after she and Then have students review Erik’s life story, Raoul have left to express his regrets, the main events in his life, his actions, his his hopes for the couple, or to explain attitudes, and other pertinent elements to his motivations for acting as he did. defend or refute whether or not Erik should • Christine to Raoul to clarify the reasons be considered a tragic hero. Students might behind her actions (many times she work individually or in small groups. In some simply disappears or sends cryptic classroom settings, dividing the class into notes), to express her feelings towards halves and having one half argue one premise Raoul, and to provide a contrast while the other counters can provoke spirited between him and Erik. discussion and afford students the opportu- • Raoul to Erik to plea for Christine’s nity to apply and test their understanding of release, to express his outrage at the Erik’s character with their peers. Another Ghost’s treatment of his beloved, or to assessment option would be for students to thank him for eventually releasing him. write written responses to assert their views. In any case, requiring specific details or quo- • Mame Giry to the Phantom to protest tations will require students to return to the against her treatment at the hands of text and to review it critically. Montcharmin and Richard, to inquire Phantom Goes Hollywood: about the likelihood of ’s ever Planning A Film Adaptation becoming Empress, or to share how the Opera Ghost’s good treatment fills her Since many adolescents appreciate and with gratitude and pride. understand modern films, this activity draws Letters to the Author on their expertise to develop a deeper under- standing of the novel. As a whole class, iden- This activity allows students to voice their tify those elements that a film must have: cast, appreciation or criticism of the novel by writ- setting, director, special effects, cinematogra- ing a letter to Gaston Leroux. In the planning phy, and other film elements. Then, ask stu- stages, have students brainstorm those ele- dents to cast characters, choose a suitable ments that they liked the most and those they director, choose an appropriate place to film, liked the least; then, have students compose select music appropriate for a soundtrack, letters to the author to share their ideas. These and the like for a film adaptation of the novel. letters can also include questions to the As they work, remind students that they must author about his life, novel elements, or to make creative decisions that are appropriate ask him to respond to criticism of his novel. for the novel and that they must provide jus- Erik as Tragic Hero? tification for their choices. Once the individ- ual or group has completed the thought By the novel’s end, students will have seen process, have students create and present their the many different faces of Erik, the Phantom ideas as a publicity packet with film informa- of the Opera. To develop a deeper under- tion, a poster that advertises the movie, a standing of his character, ask students to cover letter that explains why their film would determine whether or not Erik is a tragic be most likely to succeed, and other suitable hero. First review the idea of the tragic hero. elements. In some cases having students The following web sites may be useful to A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera 21 create a storyboard rendition of a central The Movie Is Never scene produces good results both in improv- As Good As The Book! ing a project and helping students understand In adapting most literary works for film, a pivotal event in the novel more fully. scriptwriters and directors must adapt the Not Guilty by Reason of Insanity? original works so that they can be retold within Erik on Trial the confines of a couple of hours. While there In today’s courtroom, some lawyers might are many adaptations available of Leroux’s The attempt to defend Erik by using the insanity Phantom of the Opera, perhaps the most popu- defense. Ask students to first review and list as lar and publicized, was the 2004 film adapta- a class what they know about a plea of insanity. tion of ’s musical. While Then students can review these online resources the film is visually stunning and musically to add details to their initial list. http://www. moving, the production takes license with the law.cornell.edu/background/insane/ original novel. Allowing students to contrast insanity.html explains the evolution of the the novel with the film will allow them to defense hosted by Cornell University. think critically about both media and weigh the merits of Leroux’s original story. Use or http://www.pbs.org/wgbh/pages/frontline/ adapt one of the following strategies. shows/crime/trial/faqs.html offers a FAQs page about the insanity plea. Clip Comparison To put Erik on trail, start by identifying the Preview the film to identify those scenes that most serious charge against him. Divide the are most central to its success. Possibilities class and assign one half the role of the pros- might include the chandelier scene, the roof- ecution and the other the defense. Then top scene, or the concluding scenes. Then, divide each half into smaller working groups ask students to identify the elements that are where students will compose opening state- unique to each depiction. After students have ments. Using the text for support, ask stu- reflected on each version, ask them to identify dents to draft their thesis statements about the strengths of both versions either in discus- whether Erik is guilty of the charge or not sion or through a written response. A second and include some of the support for their possibility might be to ask students to iden- position in the body of their argument. tify the elements from the novel that would Employing small groups for this process strengthen the film version. ensures that more students will participate Book Versus Movie and contribute in central roles and that later One approach when viewing the entire film they will hear three or four opening state- is to have students analyze the film version to ments for their side of the issue. identify those elements that appear in the First the prosecution and then the defense pres- novel that do not appear in the film. Omis- ent their opening statements. Then, an open sions of plot events, characters, or images are floor discussion follows with groups, in turn, fairly frequent in many film adaptations. In elaborating on their ideas in order to convince the 2004 adaptation, for instance, the Persian the class of their position. The teacher as mod- and torture chamber do not appear. Once erator manages the exchanges and ensures students have identified those elements that broad participation. At the end of the open are missing in the film, have them analyze floor period, groups reconvene to reflect on the whether or not the missing elements detract evidence, consider their stance once again, and from the movie version. Some students will compose closing statements that they then read be disappointed that elements in the novel to the whole class. The teacher can serve as the that held their attention do not appear in the judge to determine whose arguments and sup- film and criticize the film. Others may con- port are more effective, or student jurors can clude that the novel element was superfluous cast votes to decide the trial’s outcome. and not necessary for the narrative’s success. 22 A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera

A second approach is to consider two film have already viewed the 2004 Schumacher versions’ depiction of Erik. If students have version. Have students pay close attention to already completed the During Reading char- the intertitles that convey the spoken word acterization of Erik, they might complete a and textual content in silent films. Then, comparable investigation of the movie ver- have students write a series of original inter- sion. Then, they could analyze which version titles using the novel as a guide to convey the contains the characterization that results in information in the scene they have selected. the most believable character. The Phantom of the Opera. Dir. Joel Schum- To extend this activity, show students clips or acher. Perf. Gerard Butler, Emmy Rossum, the entirety of the 1925 Lon Chaney version and Patrick Wilson. Warner Brother Pictures, of Phantom: http://video.google.com/videop 2004. lay?docid=-5224364451553593147 The Phantom of the Opera. Dir. Rupert Julian. Showing excerpts of the pivotal scenes might Perf. Lon Chaney, Mary Philbin, and be the best approach particularly if students Norman Kerry. Universal Studios, 1925.

ABOUT THE AUTHOR OF THIS GUIDE

ALLEN KROMER is a High School Media classes with LearnNC. His current interests Coordinator in Asheville, North Carolina. include professional learning communities, Before becoming a librarian, he taught high using media center collaboration to facilitate school English to seniors for fourteen years successful classroom instruction, and helping and also designed an online AP Literature his students find quality books that they and Composition course and taught online want to read.

ABOUT THE EDITORS OF THIS GUIDE

JEANNE M. McGLINN, Professor in the JAMES E. McGLINN, Professor of Educa- Department of Education at the University tion at the University of North Carolina at of North Carolina at Asheville, teaches Chil- Asheville, has taught high school English and dren’s and Adolescent Literature and directs developmental reading at all levels, elemen- the field experiences of 9-12 English licen- tary through adult. His research interests sure candidates. She serves on various edito- focus on motivating and increasing the read- rial and professional boards, and is the chair ing achievement of students in high school elect of the Language Experience Special and college. He is the author and editor of Interest Group of the International Reading numerous Signet Classics Teachers’ Guides. Association. She has written extensively in the area of adolescent literature, including a critical book on the historical fiction of ado- lescent writer Ann Rinaldi for Scarecrow Press Young Adult Writers series. A Teacher’s Guide to the Signet Classics Edition of Gaston Leroux’s The Phantom of the Opera 23 FREE TEACHER ’ S G U I D E S

A full list of Teacher’s Guides and Teacher’s Guides for the Signet Classic Shakespeare Series is available on Penguin’s website at: us.penguingroup.com/tguides TEACHER’S GUIDES Adventures of Ethan Frome A Narrative of the Life The Scarlet Letter Huckleberry Finn The Fountainhead of Frederick Douglass, The Scarlet Pimpernel Animal Farm An American Slave Frankenstein Nectar in a Sieve The Secret Life of Bees Anthem The Grapes of Wrath Silas Marner n 1984 Atlas Shrugged Great Expectations Sophocles: n The Odyssey The Awakening n Heart of Darkness The Complete Plays Beowulf Of Mice and Men A Streetcar Named Desire Incidents in the One Day in the Life The Call of the Wild Life of a Slave Girl of Ivan Denisovich A Tale of Two Cities Cannery Row Jane Eyre The Pearl A Thousand Splendid Suns n Chekhov’s Major Plays A Journey to the Center The Time Machine of the Earth Persuasion City of God n The Phantom Treasure Island The Country of the Pointed The Jungle of the Opera Two Years Before the Mast Firs and Other Stories The Kite Runner n Plays of Sophocles Up from Slavery The Crucible Listening is an Act of Love n Poems by Robert Frost The Wal-Mart Effect Dear Zoe Looking Backward Pride and Prejudice Washington Square Death of a Salesman Lysistrata The Prince and the Pauper We the Living Doctor Faustus Main Street Pygmalion The Women of A Doll’s House The Mousetrap Ragged Dick Brewster Place Dr. Jekyll and Mr. Hyde and Other Plays Wuthering Heights My Ántonia A Raisin in the Sun Dubliners The Red Pony TEACHER’S GUIDES FOR THE SIGNET CLASSIC SHAKESPEARE SERIES Antony and Cleopatra Julius Caesar A Midsummer Richard III As You Like It King Lear Night’s Dream Romeo and Juliet Hamlet Macbeth The Merchant of Venice The Taming of the Shrew Henry IV Part I Measure for Measure Much Ado About Nothing The Tempest Henry V Othello Twelfth Night n New Titles PENGUIN GROUP (USA) INC. Academic Marketing Department 375 Hudson Street New York, NY 10014-3657

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