Charnas -- I thought that sounded familar! https://www.phantomlibrary.com/beauty-and-the-opera-or-the-phantom (Not a story, I have to say, that sounded as if it would ever appeal to me, but then I'm simply not *interested* in endless Phantom-angst analysis and Christine hating herself for (of course) loving him...)
A very powerful essay, and she is right in that the Beast turning back into a boring ordinary human usually comes as a let-down, not least because that effectively turns him into a total stranger rather than the character with whom we had gradually become familiar. Hmm, it really ought to be *possible* to construct a story that avoids this undesirable effect... maybe by starting off with the audience getting to know him in his natural form before his Beasthood, so that we experience the transformation as being as much of an outrage as he does? But then the storyline tends to be that he became a Beast as retribution for not being a terribly nice human in the first place :-(
Also an intriguing concept that women don't *want* their Beast to be 'fixed', because then they might have rivals; they want to be his only option :-O
And her analysis of the proverbial teenage love for horses makes a lot more sense than the trite Freudian claim that 'girls just want something big between their legs'. Although interestingly, in some of the older pony-books that I've read, there are significant numbers of competitive *boys* attending the riding school/pony club, and not necessarily as antagonists to the plucky heroine either; the cast have friendships and quarrels equally between the sexes. The love of a Boy and his Horse used to be quite a common trope (The Black Stallion, The Red Pony, My Friend Flicka, Black Hunting Whip, and of course Black Beauty); I'm not sure when love of horses became feminised. Of course once the sex ratio becomes massively skewed in favour of the girls in any context the boys just opt out...
Since Raoul's love is messy, complicated, confusing (including to him), and not always the most dignified, there's no power fantasy aspect to "taming" him.
Confusing *especially* to him, I think -- and certainly undignified ;-) And there is no power fantasy aspect to handling someone who is already throwing himself at you, and whom you can always out-argue; Raoul isn't trying to order Christine around (the only time he attempts to use 'authority' on her, it is to try to get her to promise not to disappear suddenly again, and since she isn't in a position to promise anything of the sort she takes the counter-offensive of pointing out that he has no social or legal authority over her whatsoever, which is all too true!) I mean, Christine *has* tamed Raoul pretty much from the start; he pursues in vain, she leaves him repeatedly at a loss and then calls him back on her conditions and only at her bidding (to Perros, to the masquerade, to her dressing-room, to her dressing-room again after he oversteps the mark and she walks out on him). Whatever his nominal social position -- which might theoretically make him a good 'catch', if it didn't also throw up a barrier between them -- she is definitely in the driving seat of that relationship.
Of course Erik is also throwing himself at her, but he is actually dangerous both in potentia and in practice -- Raoul has no control over what Christine does, but Erik can and does both threaten, blackmail and physically restrain her to his will.
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branchandroot
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Date: 2023-08-04 12:24 pm (UTC)https://www.phantomlibrary.com/beauty-and-the-opera-or-the-phantom
(Not a story, I have to say, that sounded as if it would ever appeal to me, but then I'm simply not *interested* in endless Phantom-angst analysis and Christine hating herself for (of course) loving him...)
A very powerful essay, and she is right in that the Beast turning back into a boring ordinary human usually comes as a let-down, not least because that effectively turns him into a total stranger rather than the character with whom we had gradually become familiar. Hmm, it really ought to be *possible* to construct a story that avoids this undesirable effect... maybe by starting off with the audience getting to know him in his natural form before his Beasthood, so that we experience the transformation as being as much of an outrage as he does? But then the storyline tends to be that he became a Beast as retribution for not being a terribly nice human in the first place :-(
Also an intriguing concept that women don't *want* their Beast to be 'fixed', because then they might have rivals; they want to be his only option :-O
And her analysis of the proverbial teenage love for horses makes a lot more sense than the trite Freudian claim that 'girls just want something big between their legs'. Although interestingly, in some of the older pony-books that I've read, there are significant numbers of competitive *boys* attending the riding school/pony club, and not necessarily as antagonists to the plucky heroine either; the cast have friendships and quarrels equally between the sexes. The love of a Boy and his Horse used to be quite a common trope (The Black Stallion, The Red Pony, My Friend Flicka, Black Hunting Whip, and of course Black Beauty); I'm not sure when love of horses became feminised. Of course once the sex ratio becomes massively skewed in favour of the girls in any context the boys just opt out...
Confusing *especially* to him, I think -- and certainly undignified ;-)
And there is no power fantasy aspect to handling someone who is already throwing himself at you, and whom you can always out-argue; Raoul isn't trying to order Christine around (the only time he attempts to use 'authority' on her, it is to try to get her to promise not to disappear suddenly again, and since she isn't in a position to promise anything of the sort she takes the counter-offensive of pointing out that he has no social or legal authority over her whatsoever, which is all too true!)
I mean, Christine *has* tamed Raoul pretty much from the start; he pursues in vain, she leaves him repeatedly at a loss and then calls him back on her conditions and only at her bidding (to Perros, to the masquerade, to her dressing-room, to her dressing-room again after he oversteps the mark and she walks out on him). Whatever his nominal social position -- which might theoretically make him a good 'catch', if it didn't also throw up a barrier between them -- she is definitely in the driving seat of that relationship.
Of course Erik is also throwing himself at her, but he is actually dangerous both in potentia and in practice -- Raoul has no control over what Christine does, but Erik can and does both threaten, blackmail and physically restrain her to his will.