Analysis of Erik, Phantom of the Opera Using Two Contrasting Personality Theories

The colossally mainstream and notable Andrew Lloyd Webber’s 1986 melodic creation of The Phantom of the Opera depended on the French tale Le Fantome de l'Opera composed by Gaston Leroux in1910 (Leroux, 1910/1990). The first novel gave minimal direct subtleties as for Erik’s past; what was copious anyway were insights and suggestions about the character’s life history all through the book (Leroux, 1910/1990).Erik was really not his original name yet rather a name given to him unintentionally, and Leroux had just called him â€Å"the man’s voice† in the novel; Erik, be that as it may, had alluded himself as â€Å"the drama ghost† and â€Å"the blessed messenger of music† all through the writings (Leroux, 1910/1990). The historical backdrop of Erik was uncovered in the novel generally by the character Persia (otherwise called the Persian or the daroga), a nearby police boss in Persia that followed Erik to Paris.The character Erik will be portrayed underneath dependent on the deciphered work of Leroux (1910/1990), trailed by an examination of his character utilizing ideas got from (1) the Freudian hypothesis of analysis, and (2) the Skinnerian radical behaviorism idea. These two scholars were picked on the grounds that they speak to perfect inverses on how character is seen. While Freud kept up that the oblivious is the fundamental main impetus from which character creates, Skinner dismissed all non-perceptible parameters, for example, considerations, sentiments, feelings, and the oblivious in his logical investigation of human behavior.Freud’s accentuation on character advancement was on the persistent battle between the id and the superego, and how effectively the inner self can deal with a sound harmony between them. Freud additionally decided 5 psychosexual stages that must be arranged and fulfilled during youth advancement, disappointment on doing so will bring about unusual character characteristics. Ski nner, be that as it may, accepted that all conduct, and consequently character, are found out as an element of natural factors.A conduct that is strengthened will liable to be rehashed, one that is rebuffed will doubtlessly not. He kept up that hereditary inclinations permit people to respond to upgrades inside a specific range, and where inside that extend our conduct falls is controlled by how we are molded by the impact of nature we get ourselves. In this paper, the significant contrasts in how those two scholars may decipher Erik’s character will be talked about. The Character Erik was conceived in a modest community on the edges of Rouen, France.Hideously disfigured during childbirth, his mom was shocked by his appearance and his dad wouldn't take a gander at him. Tormented by criticizes and show disdain toward from his own mom, he fled as a little fellow and was received by a band of voyaging Gypsies. He earned his living by acting in crack shows, where he was marked as the living passing. Regardless of his tremendous appearance, Erik was an amazingly capable person. Notwithstanding having a generally spooky and powerful performing voice, he increased extraordinary aptitudes as an illusionist, performer, and ventriloquist.A hide dealer perceived Erik’s talented capacities and referenced it to the Shah of Persia, who at that point requested to have him brought to his castle. Erik before long demonstrated to the Shah his insight in engineering, and the Shah appointed him to structure and fabricate Mazenderan, a detailed royal residence brimming with trap entryways, concealed entries, and mystery rooms to such an extent that nobody could be sure of his/her protection: somebody would tune in or spying at whenever and anyplace. The Shah could for all intents and purposes disappear from a room in a moment and return somewhere else in absolute secrecy.During Erik’s residency with the Shah, he was additionally utilized as a political profess ional killer, completing the Shah’s arranges by choking his casualties utilizing an exceptional noose known as the Punjab Lasso. Satisfied with his work yet confirmed that no other such royal residences ought to be manufactured and possessed by any other individual (also Erik and his laborers were the main ones that had close information on the palace’s format), the Shah initially requested Erik and his laborers be blinded however then acknowledged he could construct another even without his vision, requested their executions.By the intercession of the neighborhood police boss (the Persian), Erik ran away to Constantinople and was utilized by its’ administering Sultan to assemble his fabulous castle of a comparable plan. Oh dear, he was later compelled to get away from Constantinople for a similar explanation he fled Persia. Erik’s next goal was well on the way to be some place in Southeast Asia, where he concluded that he was worn out on his migrant way of life. In the end, he came back to Paris and effectively awaited on an agreement to help construct the Paris Opera. Utilizing his broad encounters from an earlier time, the venue was constructed withtrap entryways and mystery ways all through. What's more, Erik constructed himself a royal residence, or a playhouse, of a sort profound inside the basement of the drama house with the goal that he didn't need to live among the cold-bloodedness of mankind. He went through the following 20 years or so in his â€Å"home† composing and making music out of different sorts. At about a similar time, an excellent and actually capable chorale young lady by the name of Christine Daae, who had lost all energy to sing and perform because of her father’s passing, by one way or another heard Erik’s singing and music in her changing area at late nights.Thinking that more likely than not been a â€Å"angel† sent by her dad, Christine took singing exercises from the â€Å" Angel of Music† during the evenings and later rose as a virtuoso artist better than she at any point was. At this point, Erik was covertly infatuated with Christine, and one night he uncovered himself to her from behind a mirror in her changing area, wearing a veil, and drove her through the labyrinths and mazes into his space in the basement of the theater.It turned out that Erik had been making his perfect work of art throughout the previous 20 years, and understanding his virtuoso, Christine inquired as to whether he would have an influence from the magnum opus for her, and Erik rejected as the piece was at this point deficient. Erik’s unique arrangement upon the fulfillment of his showstopper was to go to his bed, which was in truth a final resting place, and fall into an endless rest. Feeling the conspicuous torment from Erik and longing to see his face, Christine ripped the cover off, and saw the frightful deformation. Someone else competing for Christine’s warmth was the Vicomte Raoul de Chagney.A beloved companion of Christine, he was enamored by her newly discovered voice, so ridiculous energetic that drove Raoul to fall frantically infatuated with her. In the last parts of Leroux’s tale, Erik seized Christine directly from the phase during one of the exhibitions, indicated her the finished artful culmination, and solicited her to wed him rather from the Vicomte with the goal that both of them can carry on with an upbeat life, as opposed to him just slip path into his â€Å"bed† and bites the dust. If she somehow happened to cannot, in any case, Erik would explode the monstrous measure of black powder he had furtively aggregated under the show house over the years.Christine submitted to his solicitation so as to spare herself, unconscious Raoul had fallen incidentally into Erik’s dungeon while scanning the drama house for her with the assistance of the Persian and the drama house staffs. Recognizing her acknowl edgment, Erik gave Christine a gold ring and kissed her cheek. He was so overpowered with delight that he tumbled to his knees and cried wildly. Seeing the virtuoso with a tormented soul discovering bliss finally, Christine cried with Erik. Erik then amazed Christine by saying that he is currently ready to release her, and she was allowed to wed Raoul.Erik liberated Raoul and let them both leave the cell, however not before making Christine guarantee to return and cover him upon his passing. Christine kissed Erik on his temple, and vanished into the night with Raoul. Conveying his most appreciated belonging, the journal kept by Christine enumerating everything that had occurred between them, Erik went to the Persian and disclosed to him the entire story, with the manually written journal as evidence. Erik passed on three weeks subsequently. Christine stayed faithful to her obligation and came back to the show house, yet before the internment, she slipped the gold ring Erik had given to her three weeks sooner onto his finger.Sigmund Freud’s Psychoanalytic Approach to Erik’s Personality The center idea of therapy created by Sigmund Freud (1856 †1939) is the huge impact the oblivious brain has on the cognizant (Burkitt, 2010; Freud, 1923/1990). The oblivious is an immense supply of inert musings and recollections (genuine, stifled, or bogus) that are not related with the exercises of the cognizant brain, yet those exercises intentionally executed are in certainty coordinated and driven by the oblivious (Burkitt, 2010; Freud, 1923/1990).In the novel, Erik had the option to use this intensity of the oblivious to deliberately put himself in the psyche of Christine, letting her to accept that he was sent by her expired dad and therefore taking on the appearance of the â€Å"Angel of Music†. As indicated by Freud, the oral stage is the primary phase of psychosexual turn of events (Freud, 1923/1990; van Beekum, 2009). Notwithstanding giving su stenance, the mother’s bosoms give a wellspring of affection, joy, and security to the baby (Freud, 1923/1990; Wagg and Pridmore, 2004).Weaning would in this way make an upsetting circumstance for the newborn child: surrendering the solace sentiments the mother’s bosoms have given. A few newborn children are simpler than others to prevail with regards to arranging and settling this contention between the id and the inner self (Freud, 1923/1990; van Beekum, 2009) by diverting their psychosexual vitality (drive) toward different difficulties. For those newborn children that don't, the psychosexual advancement hypothesis certifies they will form into orally focused grown-ups (Freud, 1923/1990; van Beekum,