Raoul/Christine (Phantom of the Opera)

[audaciously.livejournal.com]

Title: From Apollo's Lyre
Author: bohemianrose
Fandom: Phantom of the Opera
Pairing: Raoul/Christine
Spoilers: Leroux's novel, ALW's musical, the 2004 movie, etc.
Notes: This was written because I was sick of seeing people bash Raoul/Christine shippers. A huge thanks goes out to the girls over at the R.A.O.U.L yahoo group for sending me links and just for being wonderful people. This is for all of you!



From Apollo’s Lyre: The Love of Christine Daae and Raoul de Chagny

I. Introduction

I was very hesitant to write something on Christine and Raoul because the shippers in the Phantom of the Opera fandom – ah, excuse me, phandom – are very adamant in their hatred of Raoul. Part of this is due to the fact that his character has been treated horrendously by many authors, critics, and fans who seem to think of him as nothing more than a mindless fop.

Now, don’t get me wrong, I love Erik as much as the next girl, but I love him as the crazed psycho he is. In all reality, a relationship between him and Christine would not have worked, and for more reasons than one. Believe me, I do not even want to get into the Freudian kinks between them.

But, this essay isn’t about them. Yes, there will be a bit of background on Christine’s relationship with Erik, but merely because it played a large part in her life. This essay, however, is on the dynamic of Raoul and Christine and what makes their relationship tick – and it will try to bring out the merits of both characters, especially Raoul, for the non-believers.

I hope that I don’t come across as harsh, and if I do, I really don’t mean to. The Raoul/Christine shippers in this fandom get so much flack and it gets tiring to hear how idiotic our views are because we like a different pairing than the majority of the fans in the fandom. Ironically, most of the R/C fans I’ve talked to are great fans of Erik, whereas many of the Erik/Christine fans hate Raoul with a passion. So, let me state this right now: there will be no bashing of Erik in this essay. Whatever I say here is my honest opinion and adheres to canon facts, society of the time period, and the psychological analysis of the characters. Also, if you read this and happen not to agree with me, please don’t bash Raoul in the comments. If there’s one thing I hate more than anything else in this fandom, it’s the guiltless torture the poor boy goes through.

Also, the main source used in this essay will be the original novel by Gaston Leroux. Andrew Lloyd Webber’s musical will be referred to on occasion, but I prefer to keep him out of it, as he tends to destroy some of the characterization and details from the books, as well as the correct order of events in regard to the story. Susan Kay’s Phantom, while entirely wonderful for a background of Erik, is nothing more than published fanfiction and will hardly be mentioned. While the majority of fandom adores the book, I think that it does not do justice to Leroux’s portrayal of Christine and Raoul, and I would rather stick to canon facts at the moment.

Ok, I believe I gave you enough of an rant introduction, didn’t I? Sorry ‘bout that.

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II. Christine Daae

“Her face was as fresh and as pink as a strawberry grown in the shade. Without a doubt, the young girl was flushed from having walked so quickly. Her breast, which contained the sincerest of hearts, rose and fell gently. Her eyes, clear mirrors of pale blue, the color of the lakes that dream quietly at the top of the world, those eyes, tranquilly reflected her guileless soul. Her fur coat was parted, revealing a slender waist and the harmonious lines of her graceful young body” (Leroux 107).



Christine Daae is the only child of a poor Swedish violinist. Her mother (a cripple) died when she was six years old, leaving Christine in the care of her father. Her early years were spent going from country to country with her father as he tried to earn a living through his music. Eventually a Professor Valerius took Christine and her father into his care, laying the setting for the majority of Christine’s childhood. Her father, despite his luck with Professor Valerius, spent much of his time alone in his room making up the most elaborate stories to tell Christine. He often told her the story of the Angel of Music, a guardian who would bestow his gift of music and song to good boys and girls.

Christine and her father had a strong relationship, for they were the world to each other. Christine clearly idolized her father and he in turn idolized her, wishing that she would never grow up, always keeping some semblance of innocence. Whatever he told her, she believed with all her heart. Sometime before he died, he promised to send her the Angel of Music, saying: “You my child, you will hear him one day! When I'm in Heaven, I'll send him to you. I promise!" (102). Christine obviously took this promise to heart.

After his death Christine and Mamma Valerius (the wife of the Professor) move to Paris where Christine’s story begins. She joins the corps de ballet at the Paris Opera House, beginning her theatrical training. Sometime after she joins the theatre, she is visited by a mysterious voice that comes through her dressing room mirror. The voice tells her that it is the Angel of Music, sent to her by her father.

Christine, innocently swayed by this “guide and guardian”, automatically believes that Erik is her Angel of Music. The loss of her father seems to be replaced by Erik, who has taken over her father’s role of idolization and comfort. At this point in time, Christine is almost delusional, going so far as to confuse fantasy with reality, for she believes that Erik is not a mortal man, but an angel of heaven. She is a naïve child who, at the most, would like nothing more than for her father to come back and protect her.

ALW’s Christine is portrayed as both a stronger and smarter character than Leroux’s version is. While the musical version of Christine may be the most familiar it is not actually the most accurate characterization. The original concept of Christine was for her to be a frightened and reckless girl who acts before she thinks. Christine has always believed the stories her father told her and her worship of her father and his tales has clouded her judgment. It is due to this innocence that Christine willingly believes Erik when he says he is her Angel and it is only when she sees Erik’s true nature that she learns that her diagnosis of him was wrong, thus shattering all of her illusions.

When it comes to the two men in her life, Christine is seen as having two different personalities. With Raoul, her childhood friend, she is able to be the innocent, dreamy girl she was as a child, while with Erik she turns into a flighty, dazed girl who is overly anxious to see what will unfurl next in her life. With both men, however, she is a deceptive minx, convincing both of them that they have her undying love. She does it with Erik and she does it with Raoul. This may be one of Christine’s biggest flaws – the fact that she is so easily able to manipulate Erik and Raoul’s emotions. Despite the fact that she can be a deceiving flirt, in the end Christine is nothing more than a scared, dreamy, and kind-hearted girl who would like to return to her happy land of fairy tales.

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III. Raoul de Chagny

“The shyness of this sailor, I am almost tempted to say his innocence, was remarkable. He seemed to have only just come out from under the wing of a purely female influence. The fact is, having been pampered by his two sisters and his old aunt, he had thus far managed, as a result of that feminine upbringing, to maintain almost guileless manners and a charm that had so far remained entirely untarnished. At that time, he was little more than twenty-one years old and looked eighteen. He had a little blond moustache, handsome blue eyes and a girlish complexion” (Leroux 41).



Raoul de Chagny is essentially the clichéd knight in shining armor and the subsequent hero of the story. He was raised by his sisters and his aunt, and when he was of age, his elder brother Philippe sent him off to the Navy. He is a shy boy whose innocence almost equals Christine’s. Despite his shyness, he is brave, loyal, kind, and utterly in love with Christine.

Raoul was a friend of Christine’s from their childhood in Perros and their affection for each other started from the moment he rushed into the sea to retrieve her red scarf - much to the chagrin of his governess and to the delight of Christine. He and Christine would go around Perros asking the villagers to tell them stories and more often than not, Christine and Raoul would be found listening to the tales that Christine’s father wove.

Three years after their initial meeting, Raoul returns to Perros hoping to find Christine and her father. He begins to feel the stirrings of love in his heart and before he and Christine part ways again he says, “Mademoiselle, I shall never forget you” (71). Raoul leaves Perros slightly heartbroken, for he knows that he will never be able to wed Christine due to their different social standings.

When he happens upon Christine in Paris, at the Opera House, Raoul’s love is even stronger than before. Unfortunately for Raoul, society at the time frowned upon a Vicomte marrying a chorus girl, for it was not deemed a suitable match. Despite the mocking whispers and rumors directed at him because of his love for Christine, Raoul’s heart still belongs to Christine and he defies society’s rules and chases after her.

It is Raoul’s undying love for Christine that makes him the perfect hero. It is not his status, his looks, or his money that makes him so endearing. He would gladly give it all away if it meant he could be with Christine. He is, if anything, the opposite of the foppish nobleman that he is often accused of being. Raoul is more understanding towards Christine and her plight than any man in his right mind should be. Yes, some of his actions are rash, but his actions are founded on his love for Christine and his concern for her wellbeing.

Raoul’s character is often bashed by many critics and fans of PoTO. ALW’s portrayal of Raoul makes him more arrogant and demanding of Christine, which is the exact opposite of his original characterization in Leroux’s novel. In the novel, unlike the musical, not once does Raoul forbid Christine to see Erik. He merely expresses concern over her visiting him, and his concern is heightened after she reveals the events of the unmasking. He is also the one who tells Christine that he thinks “someone is making a game of her” by pretending to be the Angel of Music. His concern for her is evident and he goes to great lengths to try and convince Christine that her “angel” is dangerous and that she should leave – for her sake rather than his.

When it comes to Christine, Raoul is helpless. He is willing to give up everything to ensure Christine’s happiness and safety, just as any young man in love would do. While his character may seem slightly childish and worrisome at times, it must be remembered that Raoul is a shy, innocent boy who wants nothing more than to whisk Christine off to safety. His compassion towards Christine is his greatest attribute and it is his compassion and devotion to her that makes him so worthy of loving her and of receiving the happy ending.

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IV. One Love, One Lifetime



In any fandom out there, it’d be difficult to find two characters who have the same sweet understanding that Raoul and Christine have. Their love is innocent and pure, much like the characters themselves. In a story of passion and fire, their story is the one solid point that never wavers. They have both proven their love for each other by willingly risking their life in order to save the other’s, no matter how much that love is tested. If that’s not true love, I don’t know what is.

When they were younger, they shared a common affection for each other that had gradually begun to grow into something more. However, their respective duties to their families kept them apart, prohibiting their love from forming further. Years later when they meet again in Paris, Raoul’s love for Christine is as strong as ever and it is confirmed by his reaction after he hears her sing. “Raoul suffered, for she was very beautiful and he was shy and dared not confess his love, even to himself. And then came the lightening-flash of the gala performance: the heavens torn asunder and an angel’s voice heard upon earth for the delight of mankind and the utter capture of his heart” (71-2).

Christine, at this point in time, had already met Erik, and her emotions for Raoul are described as being “affectionately distressed”. She does not know of Erik’s true nature yet – that he is a man and not an angel – and she is torn between her loyalty to her “angel” and her growing emotions for Raoul.

Soon after Raoul’s appearance in Paris, Christine appears in Faust, playing the part of Siebel. The performance is the fated scene of Carlotta’s croaking, as well as the chandelier crash. It is in all the commotion over Carlotta and the chandelier that Christine disappears to her dressing room, only to be whisked away by Erik. Notice, however, that the chandelier incident happens before Christine’s disappearance and not after, despite what ALW had them do in the musical.

In both the musical and the novel, Raoul is frantic with worry over Christine’s wellbeing. He confronts the managers, demanding answers to Christine’s whereabouts. The managers have no information to give him, so he finds Mamma Valerius, who tells Raoul that Christine is with her “good genius”. It is here that he learns more information about Erik – and of the hold that he has over Christine. Hearing this, Raoul comes to the conclusion that it is not an angel Christine is seeing, but a man to whom she has given her heart away to. Desolate, he returns home, only to find a letter from Christine telling him to go to the Opera House’s masked ball, dressed in a white domino.

The masquerade ball is yet another point in the story where ALW goes wrong. Christine and Raoul are not engaged at this point, as Raoul doesn’t even know the true story of Erik yet. The masquerade is where Christine confirms her love to an unbelieving Raoul, all the while trying to get Raoul out of view of Erik, who has appeared in his Red Death costume. In the novel, this scene makes one sympathize with Raoul, for Christine’s actions have left him confused. He is at a loss, thinking that Christine is playing him for a fool as she declares her love to him at the same time that she withholds information about Erik.

After this scene, Christine plays two roles. She has promised her love to both men and when in the presence of one she has to appear indifferent about the other. She is playing a dangerous game as she strings along the emotions of both men. She delves even deeper into her game when she declares that she and Raoul can have a secret engagement, known only to them. She knows that declaring their love publicly would bring Erik’s wrath upon both of them – especially Raoul.

After her declaration she and Raoul ascend to the roof of the Opera House and under the statue of Apollo she tells Raoul of her experience with Erik. Christine recounts, in detail, her journey to Erik’s house on the lake and her horror upon seeing Erik’s true form, finding that he was indeed a man and not an angel.

Raoul comforts her, as she worries frantically over what Erik would do if he found out about her relationship with Raoul. The two eventually make plans to run away together, leaving the memory of Paris behind, enabling them to start anew and live in peace. They kiss and confess their love, unaware that Erik has been watching them the whole time.

This scene shows the pure love and understanding between Raoul and Christine. He is there to comfort her and to draw her out of darkness and back into the light. In the musical, Raoul and Christine share one of the most beautiful love duets ever written, All I Ask of You in which he sings:


“No more talk of darkness,
Forget these wide-eyed fears.
I'm here, nothing can harm you -
My words will warm and calm you.
Let me be your freedom,
let daylight dry -your tears.
I'm here, with you, beside you,
To guard you and to guide you”

Christine replies, a couple of verses later:

“All I want is freedom,
A world with no more night;
And you always beside me
To hold me and to hide me”

Their love is declared on top of the Opera House and both know that the other will be there, no matter what may be thrown at them in the next couple of hours. They are both at the height of their love and the strong emotions of comfort and passion between them are what allow them to ready themselves for what’s to come. Raoul’s love provides Christine with the comfort she had been seeking since her father died. With him she is able to put her demons to rest and find peace and complete happiness. All they want is to be there for each other, saying: ”Anywhere you go let me go too/Love me - that's all I ask of you.” All they want is their happy ending.

However, they aren’t to receive their happy ending yet. Christine appears again in Faust, but this time as Marguerite. In the musical, this part is represented by the performance of Don Juan Triumphant in which Erik kills Piangi and appears onstage to sing The Point of No Return (which, ironically, is my favorite song in the musical despite my love for R/C), only to have Christine expose his face, causing him to disappear with her through a trap door in the stage. In the novel, the lights merely blackout for a second and when they reappear, Christine has disappeared, most likely pulled through a trap door by Erik.

She is, without a doubt, taken to Erik’s lair and Raoul panics in his search to try and find her. The Persian takes him down to Erik’s lair and they unfortunately end up in the torture chamber. Raoul, fearing for Christine’s safety, is almost mad in his desire to save Christine, saying at one point: “If you can do nothing for Christine, at least let me die for her” (261).

In both versions of the story, Raoul happens to end up at the mercy of Erik. In the musical, it is the Punjab lasso which restrains him and he cries out to Christine: ”Christine, forgive me, please forgive me /I did it all for you, and all for nothing…” In the novel, Raoul ends up in the torture-chamber and has to speak through the walls to Christine, urging her to find some way to escape.

Christine, knowing that both her and Raoul’s lives are at stake, is at her wits end after being kidnapped by Erik. “I tried to commit suicide,” she tells Raoul through the walls of the torture-chamber, her agony evident. “I had tried to kill myself by striking my forehead against the walls” (290). It is the thought of Raoul’s death at Erik’s hands that makes Christine steady herself in a desperate attempt to save him. Tormented, they are both willing to risk their own life in order to secure the other’s safety.

The pain between the two is evident, as Raoul worries about Erik’s treatment of Christine and as she worries about his impending death. Everything Christine has known and believed in has been shattered and she holds the fate of her lover in her hands. It is a moment that makes one hold their breath, waiting for Christine’s decision. In a moment of understanding towards Erik and of pure, sacrificial love for Raoul that Christine makes the choice to marry Erik in order to try and save Raoul’s life.

In the end, however, Erik lets them both go. It is Christine’s willingness to give herself up to save Raoul’s life that saves them both. The love between Christine and Raoul is sincere and though it may lack the passion and intensity of Christine’s relationship with Erik, the bond she has with Raoul is one that is unbreakable. While she may have felt sympathy, and some form of friendship towards Erik, it is Raoul who has both her heart and soul. Raoul gives her the understanding, comfort, and devotion that she needs and Christine gives Raoul the same devotion and happiness, proving that the love they have is real.

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V. Why Ship Raoul/Christine?



Also known as, how can you claim to be a true “phan” if you even claim to like Raoul?

Personally, I ship Raoul/Christine because at the close of a story I am a sucker for the happy ending. Phantom of the Opera is a magnificently tragic show and it just wouldn’t have the same emotional effect if Christine had stayed with Erik. It’s meant to be a tragic story and Christine was meant to leave with Raoul.

Also, in the terms of societal standards of the day, Christine benefits more from living with Raoul than she would from living with Erik. An underground house on a lake is not the best place for a young girl to live, let alone raise a family. She is much better suited to live with a Vicomte who can provide for her and give her a better social standing.

But, the point of this ‘ship is not to compare who can provide what for Christine – it is about who she loves. She loves Raoul, plain and simple. It says so in Leroux’s novel, and as that was the original work, I will stick by that. No matter how much I love the musical or any other version, none of them capture the exact emotions and personalities of the characters – nor do they capture the exact extent of the relationships between characters, which obviously is a crucial part of the story.

I ship Raoul/Christine because they form a sweet, loving pair and because it is evident in the novel and the musical that they really do love each other. Their love goes through so much and in the end, their love is the same, if not stronger. Their relationship gets so much hatred from fans and I am still baffled as to why. I’ve noticed that in many fandoms, a lot of the ‘ships that end up "happily ever after" in canon are the ships that are usually despised. The closest example I can think of is the Marius/Cosette relationship in Hugo’s Les Miserables. Cosette gets the same treatment as Raoul does and all because she merely loved Marius. It must be something in the tragedy genre, huh? Hell, pair up Eponine and Erik and let them have a major angst fest – just leave the happy couples alone. Please.

But, truthfully, I love the “true love” ideal and that is probably the main reason I ship Raoul and Christine. Yes, I love all the characters and I would like to see Erik have a happy ending, but I don’t think Christine is his happy ending. Raoul loved Christine with all of his heart and proved it countless times. Christine chose Raoul in the end, because she was happy with him – not because he forced her away or stole her love from Erik. They are together because they are meant to be.

Even if you don’t like the pairing and hate Raoul with a passion (as so many unfortunately do), what reason do you have to bash his character? Why fault him for ending up with Christine? It was her choice and really, all he did was love her.

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VI. Recs

There is a distinct lack of fanfiction for Raoul/Christine in the fandom, but I am trying to make do with what I’ve found. Please, if anyone has any stories I forgot, let me know and I’ll add them to the list.

Fics:
Do You Ever Think of Him, Christine? by sparklyscorpion. A fluffy one-shot conversation about Erik between Christine and Raoul.
Heart and Soul by orianna. Raoul reflects on what Christine gave him in life, as well as what she didn’t. Slight Erik/Christine, but it’s justified. This is a beautifully written fic and I highly suggest it.
Lost Things Found by lourdesmont. History revisits itself in the form of Raoul and Christine’s youngest child and only daughter. A delightful chaptered fic that has much Raoul/Christine love and original characters who are interesting and far from Mary Sue’s. Erik is present in the story and his role in the story is wonderful - this story is, by far, one of the best in the fandom.
Fairy Tales by Manon. Raoul and Christine differ on parenting. I’ve always enjoyed Manon’s writing (she’s excellent with characterizations) and this story, as short as it is, has always been one of my favorites.
Snow by Mage O’Dell. Fluff set way in the future and in the snow. A charming piece that will warm your insides.
Always, I Promise by Crystallized Rose. A short, sweet fic in which Christine has a nightmare and Raoul comforts her.
Fragments by Azelma. One-shot. In the aftermath of the incident at the opera house, Raoul and Christine try and move on with their lives. This is actually one of my stories (under my pen name and in my writing journal) and I figure there’s no harm in a little self promotion, right?

Fic Sites:
Meg’s (a.k.a. Shandethe Sanders) stories. Meg is the most amazing R/C fan I’ve talked to. She is so ardent in her love for the ‘ship and her stories are all brilliant. She’s also the founder of R.A.O.U.L – I highly suggest reading her stuff.
Project Vicomte - a collection of R/C fics for Project Vicomte. Project Victome’s aim is to portray Raoul as a good person and not a fop. Many great fics are archived here.
The Rescued Red Scarf - contains fic that is both Erik friendly and Raoul friendly. Not much is there yet, but what is there has a bit of everything.

Fanlistings:
All I Ask of You - the official R/C fanlisting
Freedom - fanlisting for Christine and Raoul’s duet, All I Ask of You

Websites:
PoTO Novel - the full text of Gaston Leroux’s novel.
Raoul Defense - various fans comments defending the R/C pairing.
The Society of R.A.O.U.L - The title stands for Rabid Admirers Of Underrated Lovers and it a site comprised to show love for Raoul's character.
Society of R.A.O.U.L yahoo group - same as the site, only it’s a yahoo group to talk about love of Raoul. The girl’s there are wonderful and definitely people you want to get to know!
Raoul’s Realm - a site dedicated to all things Raoul.
Erik V. Raoul A page from the Lair of the Opera Ghost on how Raoul was actually better for Christine.
_vicomte_love_ - LJ community for lovers of Raoul.

And just for laughs…. http://www.deviantart.com/view/15633607/



Overall, remember that you do not need to hate Raoul in order to love Erik. Hell, I love Erik to pieces, but I stand strong in my support of Raoul and Christine. Stand strong, fellow shippers. There shall be a day when we are recognized and not ridiculed!

To end this I am quoting The Persian by saying: “[Erik] filled Christine’s mind, through the terror with which he inspired her, but the dear child’s heart belonged wholly to the Vicomte Raoul de Chagny” (279).

Comments

[audaciously.livejournal.com]

Hee, thank you!