The agitation is no longer, the memory is empty. However, the music in the play is still reverberating in my head, the words are still warm, and the scene is vivid in my mind - all of which seem to be able to pull people back to that era and that splendid theater at any time.
Christine's voice is ethereal and pure, showing a fragile, helpless, pure and gentle soul, perhaps with a trace of confusion and confusion that even she has not noticed (but the young eldest sister is still dazed from beginning to end with her mouth slightly open. The voice of "Ghost" is mysterious and charming, full of desire for control and power, but lonely and hopeless inside. Although Viscount Raul is infatuated and firm, his role modeling is a little weak, and he lacks a deep bond with Christine. He was a protector, a safe haven, a solid and dependable home; yet the spiritual attraction, resonance, and close bond that was destined to arise only between Ghost and Christine, was something he could never achieve.
From the first level, this is a story that makes people understand love. Love is not possession and control, but respect and companionship. Unaware of love at first, "Ghost" sees Christine's behavior as a betrayal and is enraged. Raul challenges authority and is also an instigator. Then with the progress of the plot, the "ghost" also changed in his heart. Anger turns to jealousy, and once deep love is realized, despair ensues.
It was Christine's kiss that made "Ghost" feel loved and relieved. Yet he is still sad and hopeless because he sees that this is Christine's sacrifice for another love.
Everyone has the need to love and be loved, to be appreciated and valued. People who are full of insecurities often display a strong desire for control, compensating psychologically through the certainty of what is in control. This is both an expression of inferiority and a desperate love. It's a pity that no one is really controlled, and surrender is just a compromise that combines respect and awe. This is the inevitability of tragedy.
However, in addition to this, I have another feeling - that is, what the "ghost" shows and invokes is the "original sin" deeply rooted in human nature, the desires and cravings that are deeply hidden in the id.
That is the ultimate temptation innate, which cannot be avoided or ignored as a human being. His music evoked a sense of trembling, euphoria, and pleasure in the soul, so how could ordinary sensuality, security, and commitment be compared? This kind of call from the soul is naturally irresistible to Christine.
It's hard to imagine that the innocent and dazed Christine could become so enchanting and active in "Don Juan" and the song "The Point Of No Return", that he almost stood on the position of "ghost".
This cannot be explained by reason. Even if the reason resists fiercely, the heart has already agreed. This pleasure is so great and profound that it has become a dreadful sin, an intolerable thing on earth—what a misfortune it is.
And when the wind and rain stopped, the calmness or sadness displayed by the "ghost" singing was less intense, but enough to make one cry.
How secretly and intensely does this soul, beaten by anger and despair, and tortured by hellfire, yearn for heaven secretly and intensely. He resists and ignores the cruelty and malice of the world, but you know that no matter how disdainful or sneering he may be about it, he is the first and most strongly despised and detested himself.
I think that's the second layer of metaphor that The Phantom of the Opera has, and that's where its real charm lies. There is a peculiar tension in "Ghost": it is both a ghost and an "angel", bloodthirsty but pure, despair but secretly hopeful, ugly but has a genius mind... What he has when facing Christine The sincere eyes are both "stunning" and "charming", not only "containing the sadness of the whole world", but also with fiery desire and persistence.
He is destined to be a memorable figure in the history of musical theatre.
In addition, I think the drama also shows the Electra complex (totally).
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