The Night Circus

As kids, we often are told that we will soon have to grow up and abandon the fantasy worlds we once immersed ourselves in, and that as adults, one cannot simply go escaping into fantasy land. However, we would be mistaken to assume that these worlds hold no value, for they are not so unlike our real world. In truth, it is these fantastical stories that inform our behavior and straighten our moral compass, commenting on universal themes which remain relevant as adults while subtly explaining the moral complexities of life and relationships. In her novel The Night Circus, Erin Morgenstern does this precisely, exploring the complex topics of love, loyalty, and rivalry through the tale of two young magicians, Marco and Celia, bound by fate to compete to the death.

At a young age, Celia and Marco are thrust into battle by their instructors, Celia’s father, Prospero, and Marco’s teacher, Alexander. Though the two children are innocent and know nothing of the other nor the challenge that would define their life, the rivalry between Prospero and Alexander has long been established in history. It corrupted them, each more than willing to sacrifice their own child, and would soon threaten the good nature of Marco and Celia. Prospero is a cruel and controlling father, becoming a source of Celia’s grief due to her lack of choices, whereas Alexander is a nearly absent teacher altogether, infuriating Marco for he never knows his true purpose. Though their parenting and teaching styles are opposites, both result in two young adults devoid of a healthy parental relationship and role model. Ironically, though both teachers employed these tactics in the pursuit of victory, it is the nature of these extremes that lead to their students rebellion, neither wanting to play their game nor be like their teachers. In fact, the two had practically already fallen in love prior to even realizing they were each others’ opponents. Perhaps if Prospero and Alexander had given them more control and information, they would have been more willing to complete their task, rather than just becoming unfocused as they originally surmised. From this, it is clear that the intensity of this rivalry ensured a negative effect on everything it touched, thus revealing the destructive nature competition may pose when taken to the extreme, regardless of one’s vast magical power. It is apparent too, then, as can be seen by the supposed “death” of Prospero, that magic has its own toll.

Occupying a leading position in the story, magic is what defines the relationship between Marco and Celia. On the surface level, it is what their lives revolve around due to the competition. Their venture to learn and excel at it in order to outdo the other is never ending. Yet magic also poses an interesting question for the circus goers who remain fascinated and equally scared by its effects. Instead of believing in the existence of magic, they often “see what they wish to see,” terrified of the idea that something exists in the world which they cannot see nor explain. This speaks to the closed-mindedness of adults, often scared of the mysteries life holds. Rather than risk venturing into the unknown, they explain it away as best they can while, contrastingly, kids rejoice in its possibilities. Such inflexibility closes them off to the boundless opportunities life, or magic, may hold. In this sense, the novel supports the fantasies we immersed ourselves in as children in addition to encouraging having faith in the unknown, further reflecting the idea that such fantasies have universal meanings. After all, it is from this faith that Marco and Celia were able to continue living along with the circus, perpetually bringing joy to others, for not only does magic open up possibilities for improvement, but also for love.

Throughout the novel, Marco and Celia are driven by the success of the other. While at first this is because of their parents fear of losing, sooner than later this stems from the inspiration both receive from experiencing the work of the other. Hence, their magic serves as the foundation on which the other can build off of, cyclically providing them with new opportunities. Additionally, although they are technically competing, the majesty they see in their work ultimately leads to their appreciation and love for each other. This is exemplified by Celia’s many trips to the ice palace Marco built, for in it she found peace and inspiration. On the other hand, Celia’s magic is also what holds the circus together, solidifying the group’s family and place in the world while bringing joy to their audiences, particularly Bailey. However, not only does it help them feel alive, but it also enables them to solve a problem once insoluble: the fatality of the competition. In the end, it is only Marco and Celia’s passion for each other and their trust in magic that allows them to succeed, rendering the battle’s result invalid while they continue living. Thus, from the energy love gives them, they draw strength. This speaks to the many facets of love, apparent in the bonds between romantic partners, friends, and coworkers, but also crucial for the challenges one may face and for life itself. In this sense, love is the most valuable thing in their lives. It is through this positive and complex take on the nature of love that the reader begins understand its importance, for even in the most dire of circumstances when conventional wisdom fails, love still finds a way, and from a brutal competition devoid of hope, a wondrous circus emerges to provide love for many.

Overall, The Night Circus takes a new look on old themes, presenting them through the lens of magic in a way that appeals to both young and old audiences alike. In doing so, Morgenstern warns of the corruptive nature of rivalry, illustrates the possibilities of the unknown, and revels in the versatility of love, daring us to imagine a better world, united and free. However, one must first be willing to believe in its potential before delighting in its benefits. Perhaps we shouldn’t forgo our “childish” fantasies after all.