1830s furniture

stranezzaportamivia-deactivated  asked:

Hi! I thought of a headcanon where Erik notices Christine and Dad Daaè in the fair of Nijin Novgorod . One day, he is punched by some boys,but then Dad Daaè comes and stops them,then invites Erik to his house to eat something and get warm. When Dad Daaè takes the violin to play,Erik plays the resurruction of Lazarus,and Dad Daaè learns it by Erik. Then Gustave tells him as a reward the tale of the angel of music. But that day Christine wasn't at home. -continues-

so he invites Erik to come over the day after so that he meets his daughter, but unfortunately the day after a man from the shah arrives and commands Erik to go to Persia with him. So he never actually met and became friend of Christine,he only saw her, but he knew the tale of the angel of music. And since that day Gustave Always played the melody Erik taught him,so the ‘touch of Daaè’ in Perros night is actually Erik’s touch. Could this be coherent with what Leroux wrote? Thank you,you’re great

Hi there! Thanks for your question. :)

Your headcanon is actually somewhat in line with what Gaston Leroux *originally* wrote in The Phantom of the Opera … though perhaps not for the reason you may think it is. See below.

Now, in terms of what Leroux *published* (both in the Gaulois serialization and in his 1st edition), Christine and Erik led completely separate lives until they met at the Opera House.

Also, their paths couldn’t have crossed at Nijni-Novgorod if we’re following Leroux’s narrative, because 1) Christine never traveled to Russia (she was born in Sweden, and then moved to France as a child), and 2) she wasn’t born yet.

Based on the internal chronology of Leroux’s novel, Erik was born in the early 1830s (his mother’s furniture is in the Louis-Philippe style, which began in 1830 with the ascension of King Louis-Philippe I). Erik ran away from home at an early age (probably around nine or ten), and was displayed in Gypsy fairs for several years.

Erik eventually left the Gypsies and, as a teenager, he traveled to India where he learned the art of throwing the “Punjab Cord“ (fil du Pendjab) from the Thuggees. The Thuggee cult strangled people in sacrifice to their goddess, Bhowanee (Kali), and used weighted sashes to do so. Erik modified this design, using a length of catgut (a string made of sheep’s intestine, the same cord used for violin and harp strings) with a weight attached to the end of it, which when thrown would wrap itself around the victim’s neck, thereby garrotting them (de Mattos mistranslated "fil du Pendjab” as “Punjab lasso,” which gives the incorrect impression that this device was a noose). The British Government targeted the Thuggees for eradication between the mid-1830s and the late 1840s, so Erik was probably in India no later than 1848 or so.

After his sojourn in India, Erik wended his way West, and by the mid-1850s, he was a regular performer at the great Nijni-Novgorod Fair. His act caught the attention of a certain Samarkand fur merchant, whose tales of Erik’s magic eventually reached the ears of the “petite sultane” (Little Sultana) in Persia. The Daroga of Mazenderan was ordered to question the fur merchant for more information, and then was sent out in search of Erik. The Daroga found Erik and brought him back to Persia, and for some time Erik had the run of the palace.

All of this took place prior to 1856, since Leroux indicates that Erik was in Persia during the Anglo-Persian War, which lasted from 1856-1857. At that time, Erik would have been in his mid-twenties.

Fun fact: Sometime prior to Erik’s stay in Persia, he changed his name to Erik (a Scandinavian name meaning “Eternal Ruler”), since that is the only name that the Daroga knows him by (aside from the appellation given to him in Persia: “l’amateur de trappes,” or “the Trapdoor Master”). His actual name was most likely something typically French, like Marcel or Pierre.

Now, Christine Daaé was twenty or twenty-one at the time of the main events of the novel, which took place sometime between 1879 and 1884. This puts her birth between 1858 and 1864, several years after Erik appeared at the Nijni-Novgorod Fair.

Christine was born in Sweden, in a town outside the city of Uppsala. When she was five years old, her mother died, and she and Daddy Daaé moved to the city to try and find fame and fortune, but they only found desperate poverty. Christine and her father moved back to the country, and, similar to Erik’s upbringing, they traversed the countryside, going from fair to fair, playing violin and singing. At the fair at Ljimby, Professor Valerius heard them, and insisted on taking them with him to Gothenburg (again, there is a parallel here to Erik being brought to Persia after being discovered at the fair). Shortly thereafter, Professor Valerius and his wife were obliged to move to Paris, bringing Christine and Daddy Daaé with them. Daddy Daaé began to wither away from homesickness, growing stronger only in the summer when the extended family would vacation at Perros-Guirec, where the sea reminded him of home. It was there, when Christine was about eleven years old, that she met young Raoul de Chagny, who was visiting his aunt in nearby Lannion. And the rest, as they say, is history.

But as to your headcanon of having Erik meet Daddy Daaé, in the original manuscript for The Phantom of the Opera, Leroux initially intended for Erik to originate in Uppsala, near where Christine grew up. He then changed his mind, instead making Erik’s birthplace a town outside of Rouen (the city where Leroux’s parents were married). This may explain how Leroux originally intended Erik to be familiar with Daddy Daaé’s violin bowing technique, as well as with “The Resurrection of Lazarus” (Erik wasn’t necessarily familiar with the tale of the Angel of Music; he simply answered “yes” when Christine asked the Voice if he were the Angel). In the original narrative, Erik may have actually known Daddy Daaé. And, of course, in this first scenario, Erik would have been Swedish, thus making his Scandinavian name much more logical.

Here is the part of Leroux’s manuscript where he makes the decision to have Erik originate in Rouen, and not in Uppsala. I have circled “Uppsala” (“Upsal” in French) and “Christine Daaé” and have underlined “Rouen”: