The Phantom of the Opera
by Gaston Leroux
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The Phantom of the Opera: Allusions 3 key examples

Definition of Allusion

In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals, historical events, or philosophical ideas... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to other literary works, famous individuals... read full definition
In literature, an allusion is an unexplained reference to someone or something outside of the text. Writers commonly allude to... read full definition

Key Examples in The Phantom of the Opera

Chapter 8
Explanation and Analysis—Faust:

Johann Wolfgang von Goethe published Faust in 1808, nearly a century before Leroux wrote The Phantom of the Opera. Goethe's Faust is the story of a scholar who sells his soul to the devil in exchange for worldly pleasures and knowledge. The story is loosely based on the life of Johann Faust, an alchemist and necromancer. Charles Gounod wrote Faust (the opera), which premiered in 1859. 

Chapter 13
Explanation and Analysis—Don Juan :

Don Juan is a fictional character who first appeared in 1630 in the tragic drama El burlador de Sevilla ("The Trickster of Seville") by Tirso de Molina. In this tragedy, Don Juan seduces a noble girl and kills her father. Much to his surprise, the father's ghost returns as a harbinger of Don Juan's death. In 1787, Mozart wrote an opera called Don Giovanni, which secured the story's place in modern film and media.

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Explanation and Analysis—Lazarus:

After Carlotta's fatal performance, Christine begs the Phantom to reveal himself to her. She fears that he was killed by the falling chandelier and desires to know if he is still alive. The name Lazarus appears in Chapter 13 in her plea as an allusive metaphor:

The Voice did not reply, but suddenly I heard a long, exquisite lament, which I knew well. It was the plaint of Lazarus when, at the sound of Jesus’ voice, he begins to open his eyes and see the light of day. It was my father’s violin weeping; I even recognized his bowing stroke. It was the sound that made us, you and me, stop in our tracks as children – the sound that cast its spell over the graveyard that night at Perros. The invisible, triumphant violin played again the joyous cry of Life and at long last I heard the overwhelming, sovereign call of the Voice singing the words: “Come! And believe in me! He that believeth in me, though he were dead, yet shall he live!"

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