This novel itself is a proponent for individualism, as it is a fantastically inventive fusion of various genres. Many of the characters defy the conventional gender and social roles of their century and remain true to their individual selves. The women in the novel do not stick to their oppressive nineteenth century gender roles nor do the animals stick to their standard roles. Carter puts a magical twist on most aspects of her book, making it difficult for any object or person to remain conventional. Just as Mignon eventually discovers her strengths and escapes her abusive past, Walser finds himself through his journey in examining the phenomenon that is the aerialiste. Additionally, Fevvers' image as half swan and half human is ambiguous throughout the novel and Walser's quest for the truth behind her famous wings further emphasizes the value of true identity and self-reliance over facades and the dependence upon any external forces. Lizzie and the other women in the brothel support the concept of individualism, as they remain self-reliant and look down upon marriage as a social impediment. The idea of appearance versus reality is found throughout the whole story. The truth about Fevvers' wings is the crux of this concept in the novel, although further doubts are raised by Fevvers' final celebratory cry. The reader is left questioning whether the real deception relates to Fevvers' wings or to her much-lauded virginity. Though Fevvers appears human, she claims to in fact carry the wings of her avian ancestors. Similarly, though the women in the brothel work as prostitutes, they are simultaneously self-sufficient, forward thinking women whom Lizzie compares to suffragists. Nothing is as it seems in this novel, as even the animals are endowed with magical features and are taken out of their conventional boxes. Through these magical elements, Carter is able to test the reader's perception of reality and challenges all to question their surroundings. The issue of social class is also apparent in "Nights at the Circus". Fevvers, Lizzie and even Walser are in a no man's land of celebrity and performance, outside traditional class structures, and Fevvers' recent wealth is rendered tawdry through its ostentation. The remaining characters, such as the prostitutes and circus performers, have no such pretensions and firmly inhabit a lower tier of society. Carter draws particular attention to the class dynamics in Chapter Five of Book Two where she describes the poor living conditions of the clowns in the circus.