The Phantom of the Opera: Chapter 22 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

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.

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.

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.

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.

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.

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.

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.

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.

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.