The Phantom of the Opera: Epilogue Summary & Analysis

After telling the end of the story of the Phantom of the Opera, the narrator concludes that it should be sufficient to prove the Phantom’s existence and his role in the tragic events of that time. Although people have often mused about Christine’s disappearance, the narrator notes that no one ever suspected that she had run away with her fiancé Raoul. He says that he might one day go in search of them and hear Christine sing. He also notes that Mme Valerius disappeared around the same time.

Reading Moncharmin’s Memoirs, the narrator also learned that the Phantom ultimately returned all the money he had ever received from Richard and Moncharmin. This convinced Moncharmin that they were indeed the victims of a prank, and that the Phantom did not necessarily exist.

The narrator notes that he will leave the corroborating evidence he has found about the Phantom’s deeds in the archives of the Paris Opera House. He tells readers to enter Box Five and tap the pillar there. This will allow them to realize that it is hollow, and thus big enough to fit a grown man such as Erik, who could then project his voice anywhere in the room.

The narrator also found a trap by the desk chair in the directors’ room, big enough for a hand to fit in. This, the narrator concludes, must explain how the Phantom could steal from Richard’s coat. When he asked the Persian about Erik’s financial motives, Daroga simply explained that Erik probably needed money, and used his tricks to obtain it, since he could never use his talents in ordinary society in any profitable way. When his marriage with Christine dissolved, however, he must have realized that he no longer needed so much money.

The Persian explained to the narrator that Erik grew up near Rouen but soon ran away from his parents, who were horrified by him and did not treat him well. After being exhibited in fairs as a “living corpse,” Erik lived with gypsies before reaching the Mazenderan Palace in Persia where, once people discovered his talents, he became popular in court. Following Erik’s instructions, the Shah built his palace as a building full of tricks. However, concluding that Erik now knew too much, the Shah resolved to execute him. The Daroga, who enjoyed Erik’s amusements, decided to save his life. Because of this, the Daroga himself was banished from his own country and fled to Paris.

Erik then left for Constantinople, where he entertained the Sultan. However, like the Shah, the Sultan also ultimately threatened his life, saying that he knew too much. Tired and longing for an ordinary life, Erik settled in Paris. There, however, he became excited about creating new tricks and illusions and thus became known as the Phantom of the Opera, while hiding from the rest of humanity.

The narrator concludes that, despite Erik’s various crimes, everyone should pity him. He argues that Erik suffered from injustice, since he was kept from expressing his artistic talents in any productive manner, instead being forced to develop them in violent, harmful ways. By contrast, if he had been beautiful, he could probably have had a successful career as an extraordinary artist. The narrator prays to God to forgive Erik, since God himself is responsible for giving Erik such a hideous body.

The narrator notes that, when he discovered Erik’s body in the underground section of the Opera, he looked just like any other human corpse—thus finally achieving normality in death. However, the narrator knew it was Erik because of the ring around his finger, which Christine must have put there, as she had promised. The narrator argues that, given Erik’s unique status, his bones should be taken to the archives of the National Academy of Music, instead of being buried in a public grave.