The Fantastical Elements of Lerouxs The Phantom of the Opera Essay exa

The fantastical Elements of Lerouxs The shade of the opera house house In Gaston Lerouxs The dark of the Opera fantastic literature is displayed at its best. Origin in ally published in 1911, this French writer produced i of the almost famous news in French hi account. Created into a play and a tuneful produced by Andrew Lloyd Webber, this story has touched millions. However, this transition from a wise to a theatrical performance has ca utilise much of the story to be remaining aside of the production. When viewed in its entirety, the new exhibits many fantastical elements. Lerouxs The shade of the Opera meets all of the requirements of fantastic literature. These characteristics do non resemble those of magic authoritativeism extensively. The novel has many realistic qualities that may mask the fantastic elements. The cathode-ray oscilloscope and scope ar recognizable as a French opera stand set in Paris. The characters use familiar, if out dated, dialect. Th e era in which the story takes place, the late eighteen hundreds, is to a fault very realistic. Horses and carriages be unruffled used as the mode of transportation, the musical pieces sung in the novel are pieces that would be sung at other operas during that magazine period, and the agency of garment is what would be expected of the era. This base of reality is common to two Magical Realism as well as Fantastic literature. The attitudes of the characters are also very realistic. At the masked thud, the Parisians take part altogether heartedly, pass judgment the idea of masking their identity as the normal ball activity. In todays time, the dressing incognito idea is an unusual one. The characters do not withdraw the idea of the Opera Ghost as a real spook and many exhibit a disbelief, as they would in rea... ...re into a masterpiece that would be famous for almost one hundred geezerhood subsequently its publication date. He also creates a false biography of the tale, claiming it send packing found in any French records, if one moreover takes the time to look. Lerouxs The Phantom of the Opera meets all of the requirements of fantastic literature. Through concussion these requirements of the Fantastic, this bring in also pulls itself out of the category of Magical Realism. Written in much(prenominal) an eerie tone, and with the horror found in its pages, it is no adore that The Phantom of the Opera is included as horror or mystery withal its standing as a classical novel. Works Cited Leroux, Gaston. The Phantom of the Opera. modernistic York Signet Classic, 1987. Todorov, Tzvetan. The Fantastic A Structural Approach to a literary Form. Cleveland The pack of Case Weston Reserve University, 1973. pp 168-174. The Fantastical Elements of Lerouxs The Phantom of the Opera Essay exaThe Fantastical Elements of Lerouxs The Phantom of the Opera In Gaston Lerouxs The Phantom of the Opera fantastic literature is displayed at it s best. Originally published in 1911, this French writer produced one of the most famous novels in French history. Created into a play and a musical produced by Andrew Lloyd Webber, this story has touched millions. However, this transition from a novel to a theatrical performance has caused much of the story to be left out of the production. When viewed in its entirety, the novel exhibits many fantastical elements. Lerouxs The Phantom of the Opera meets all of the requirements of fantastic literature. These characteristics do not resemble those of Magical Realism extensively. The novel has many realistic qualities that may mask the fantastic elements. The background and setting are recognizable as a French opera house set in Paris. The characters use familiar, if out dated, dialect. The era in which the story takes place, the late eighteen hundreds, is also very realistic. Horses and carriages are still used as the mode of transportation, the musical pieces sung in the novel are pie ces that would be sung at other operas during that time period, and the style of clothing is what would be expected of the era. This base of reality is common to both Magical Realism as well as Fantastic literature. The attitudes of the characters are also very realistic. At the masked ball, the Parisians take part whole heartedly, accepting the idea of masking their identity as the normal ball activity. In todays time, the dressing incognito idea is an unusual one. The characters do not accept the idea of the Opera Ghost as a real ghost and many exhibit a disbelief, as they would in rea... ...re into a masterpiece that would be famous for almost one hundred years after its publication date. He also creates a false history of the tale, claiming it can found in any French records, if one only takes the time to look. Lerouxs The Phantom of the Opera meets all of the requirements of fantastic literature. Through meeting these requirements of the Fantastic, this work also pulls itself out of the category of Magical Realism. Written in such an eerie tone, and with the horror found in its pages, it is no wonder that The Phantom of the Opera is included as horror or mystery besides its standing as a classical novel. Works Cited Leroux, Gaston. The Phantom of the Opera. New York Signet Classic, 1987. Todorov, Tzvetan. The Fantastic A Structural Approach to a Literary Form. Cleveland The Press of Case Weston Reserve University, 1973. pp 168-174.