1. 1. Some modern critics feel the characters inThe Phantom of the Operaare static and shallow, that Christine is too innocent, Raoul too noble, and Erik's obsession with Christine never fully explained. Do you think Leroux purposely did this, and if so, why?2. 2. The Phantom of the Operawas published as the romantic movement was slowly turning into the gothic movement. How would you classify it?3. 3. Leroux wroteThe Phantom of the Operain a time when there was widespread French interest in Freudian psychoanalysis and particularly the libidinal/infantile/mother-seeking unconscious. How does Leroux work this into his novel? Are there characters that fit the infant or mother role?4. 4. Some critics see thePhantomas simply the unconscious, the Freudian superego. Do you believe this is what Leroux was truly writing about, or did he give his monster more depth?5. 5. Some see Erik as not shifting his class status, the theme of many gothic novels, but instead shifting his race. What scenes in the text help, or hinder, this assessment? Why would Leroux write of something so controversial?6. 6. One of Leroux's major themes in this novel is the changing of one's class. Consider Christine, the daughter of a fairground fiddle player, now besting the most talented opera singer in Paris and winning the heart of a viscount. What is Leroux saying here? Is it meant to simply be a happy ending?Leroux, Gaston is the author of 'Phantom of the Opera', published 2002 under ISBN 9780375761133 and ISBN 0375761136.