HAROLD B. LEE LI8RAFIY
BRIGHAM YOUNG UtJSVERSITY
PROVO, UTAH
/
VXXr
, ■ ^NTOM THE OPERA
BY
GASTON LEROUX
Author of The Mystery of the Yellow Roor;' The Perfume of the Laav in Black
ILLUSTRATED BY
ANDRE CASTAIGNK
ROSSE
JPUBLISHEl
NHW J ORK
THE PHANTOM OF THE OPERA
GASTON LEROUX
Author of The Mystery of the Yellow Room and The Perfume of the Lady in Black
ILLUSTRATED BY
ANDRE CASTAIGNE
GROSSET & DUNLAP
PUBLISHERS : : NEW YORK
Copyright 1911 THE BOBES-MERRILL COMPANY
THE LIBRARY
BjySHAM YOUNG UNIVERSITY:
PROVO. UTAH
CONTENTS
Prologue
I Is It the Ghost?
II The New Margarita .
III The Mysterious Reason
IV Box Five . V The Enchanted Violin
VI A Visit to Box Five
VII Faust and What Followed
VIII The Mysterious Brougham
IX At the Masked Ball
X Forget the Name of the Man's Voice 129
XI Above the Trap-Doors XII Apollo's Lyre ....
XIII A Master-Stroke of the Trap-Door Lover ......
XIV The Singular Attitude of a Safety Pin
XV Christine! Christine!
XA'I Mme. Giry's Revelations
XVII The Safety-Pin Again
XVIII The Commissary, the Viscount and the Persian . . . , .
PAGE
I
8 21 34 44 61 82 86 105 116
136 146
172
187 196 203 217
226
CONTENTS
CHAPTER PAGE
XIX The Viscount and the Persian . 234
XX In the Cellars of the Opera . . 243
XXI Interesting Vicissitudes . . . 264
XXII In the Torture Chamber . . . 282
XXIII The Tortures Begin . . . .291
XXIV Barrels! Barrels! . . . .300
XXV The Scorpion or the Grasshopper:
Which? 315
XXVI The End of the Ghost's Love Story 325 Epilogue ...... 337
THE PHANTOM OF THE OPERA
The Phantom of the Opera
PROLOGUE
IN WHICH THE AUTHOR OF THIS SINGULAR WORK
INFORMS THE READER HOW HE ACQUIRED
THE CERTAINTY THAT THE OPERA
GHOST REALLY EXISTED
THE Opera ghost really existed. He was not, as was long believed, a creature of the imagina- tion of the artists, the superstition of the managers, or a product of the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants or the con- cierge. Yes, he existed in flesh and blood, although he assumed the complete appearance of a real phan- tom; that is to say, of a spectral shade.
When I began to ransack the archives of the National Academy of Music I was at once struck by the surprising coincidences between the phenomena ascribed to the "ghost" and the most extraordinary and fantastic tragedy that ever excited the Paris upper classes ; and I soon conceived the Idea that this tragedy might reasonably be explained by the phe- nomena in question. The events do not date more than thirty years back; and it would not be dlificult to find at the present day, In the foyer of the ballet, I
2 THE PHANTOM OF THE OPERA
old men of the highest respectability, men upon whose word one could absolutely rely, who would remember as though they happened yesterday the mysterious and dramatic conditions that attended the kidnapping of Christine Daae, the disappearance of the Vicomte de Chagny and the death of his elder brother, Count Philippe, whose body was found on the bank of the lake that exists in the lower cellars of the Opera on the Rue-Scribe side. But none of those witnesses had until that day thought that there was any reason for connecting the more or less leg- endary figure of the Opera ghost with that terrible story.
The truth was slow to enter my mind, puzzled by an inquiry that at every moment was complicated by events which, at first sight, might be looked upon as superhuman ; and more than once I was within an ace of abandoning a task in which I was exhausting myself in the hopeless pursuit of a vain image. At last, I received the proof that my presentiments had not deceived me, and I was rewarded for all my ef- forts on the day when I acquired the certainty that the Opera ghost was more than a mere shade.
On that day, I had spent long hours over The ^Memoirs of a Manager, the light and frivolous work of the too-skeptical Moncharmin, who, during his term at the Opera, understood nothing of the mysteri- ous behavior of the ghost and who was making all the fun of it that he could at the very moment when he became the first victim of the curious financial oper- ation that went on Inside the "magic envelope."
PROLOGUE 3
I had just left the library in despair, when I met the delightful acting-manager of our National Acad- emy, who stood chatting on a landing with a lively and well-groomed little old man, to whom he intro- duced me gaily. The acting-manager knew all about my investigations and how eagerly and unsuccess- fully I had been trying to discover the whereabouts of the examining magistrate in the famous Chagny case, M. Faure. Nobody knew what had become of him, alive or dead; and here he was back from Can- ada, where he had spent fifteen years, and the first thing he had done, on his return to Paris, was to come to the secretarial offices at the Opera and ask for a free seat. The little old man was M. Faure himself.
We spent a good part of the evening together and he told me the whole Chagny case as he had under- stood it at the time. He was bound to conclude in favor of the madness of the viscount and the acci- dental death of the elder brother, for lack of evi- dence to the contrary; but he was nevertheless persuaded that a terrible tragedy had taken place be- tween the two brothers in connection with Christine Daae. He could not tell me what became of Chris- tine or the viscount. When I mentioned the ghost, he only laughed. He, too, had been told of the curious manifestations that seemed to point to the existence of an abnormal being, residing in one of the most mysterious corners of the Opera, and he knew the story of the envelope ; but he had never seen anything in it worthy of his attention as magistrate in charge o|
4 THE PHANTOM OF THE OPERA
the Chagny case, and it was as much as he had done to listen to the evidence of a witness who appeared of his own accord and declared that he had often met the ghost. This witness was none other than the man whom all Paris called the "Persian" and who was well-known to every subscriber to the Opera. The magistrate took him for a visionary.
I was immensely interested by this story of the Persian. I wanted, if there were still time, to find this valuable and eccentric witness. My luck began to improve and I discovered him in his little flat in the Rue de Rivoli, where he had lived ever since and where he died five months after my visit. I was at first inclined to be suspicious; but when the Persian had told me, with child-like candor, all that he knew about the ghost and had handed me the proofs of the ghost's existence — including the strange correspond- ence of Christine Daae — to do as I pleased with, I was no longer able to doubt. No, the ghost was not a myth !
I have, I know, been told that this correspondence may have been forged from first to last by a man whose imagination had certainly been fed on the most seductive tales; but fortunately I discovered some of Christine's writing outside the famous bundle of let- ters and, on a comparison between the two, all my doubts were removed. I also went into the past history of the Persian and found that he was an up- right man, incapable of inventing a story that might have defeated the ends of justice.
This, moreover, was the opinion of the more ser-
PROLOGUE 5i
ious people who, at one time or other, were mixed up in the Chagny case, who were friends of the Chagny family, to whom I showed all my documents and set forth all my inferences. In this connection, I should like to print a few lines which I received from Gen- eral D :
Sir:
I can not urge you too strongly to publish the re- sults of your inquiry. I remember perfectly that, a few weeks before the disappearance of that great singer, Christine Daae, and the tragedy which threw the whole of the Faubourg Saint-Germain into mourning, there was a great deal of talk, in the foyer of the ballet, on the subject of the "ghost;" and I believe that it only ceased to be discussed in conse- quence of the later affair that excited us all so great- ly. But, if it be possible — as, after hearing you, I believe — to explain the tragedy through the ghost, then I beg you, sir, to talk to us about the ghost again. Mysterious though the ghost may at first appear, he will ahvays be more easily explained than the dis- mal story in which malevolent people have tried to picture two brothers killing each other who had wor- shiped each other all their lives.
Believe me, etc.
Lastly, with my bundle of papers in hand, I once more went over the ghost's vast domain, the huge building which he had made his kingdom. All that my eyes saw, all that my mind perceived, corrobor- ated the Persian's documents precisely; and a won- derful discovery crowned my labors in a very definite fashion. It will be remembered that, later, when
6 THE PHANTOM OF THE OPERA
digging in the substructure of the Opera, before burying the phonographic records of the artist's voice, the workmen laid bare a corpse. Well, I was at once able to prove that this corpse was that of the Opera ghost. I made the acting-manager put this proof to the test with his own hand; and it is now a matter of supreme indifference to me if the papers pretend that the body was that of a victim of the Commune.
The wretches who were massacred, under the Commune, in the cellars of the Opera, were not bur- ied on this side; I will tell where their skeletons can be found in a spot not very far from that immense crypt which was stocked during the siege with all sorts of provisions. I came upon this track just when I was looking for the remains of the Opera ghost, which I should never have discovered but for the unheard-of chance described above.
But we will return to the corpse and what ought to be done with it. For the present, I must conclude this very necessary introduction by thanking M. Mifroid (who was the commissary of police called in for the first investigations after the disappearance of Christine Daae), M. Remy, the late secretary, M. Mercier, the late acting-manager, M. Gabriel, the late chonis-master, and more particularly Mme. la Baronne de Castelot-Barbezac, who was once the "little Meg" of the story (and who is not ashamed of it), the most charming star of our admirable corps de ballet, the eldest daughter of the worthy Mme. Giry, now deceased, who had charge of the
PROLOGUE 7
ghost's private box. All these were of the greatest assistance to me; and, thanks to them, I shall be able to reproduce those hours of sheer love and terror, in their smallest details, before the reader's eyes.
And I should be ungrateful indeed if I omitted, while standing on the threshold of this dreadful and veracious story, to thank the present management of the Opera, which has so kindly assisted me in all my inquiries, and M. Messager in particular, together with M. Gabion, the acting-manager, and that most amiable of men, the architect intrusted with the pres- ervation of the building, who did not hesitate to lend me the works of Charles Gamier, although he was almost sure that I would never return them to him. Lastly, I must pay a public tribute to the generosity of my friend and former collaborator, M. J. Le Croze, who allowed me to dip into his splendid the- atrical library and to borrow the rarest editions of books by which he set great store.
Gaston Leroux.
CHAPTER I
IS IT THE GHOST?
IT was the evening on which MM. Deblenne and Poligny, the managers of the Opera, were giv- ing a last gala performance to mark their retirement. Suddenly the dressing-room of La Sorelli, one of the principal dancers, was invaded by half-a-dozen young ladies of the ballet, who had come up from the stage after "dancing" Polyeiicte. They rushed in amid great confusion, some giving vent to forced and un- natural laughter, others to cries of terror. Sorelli, who wished to be alone for a moment to "run through" the speech which she was to make to the resigning managers, looked around angrily at the mad and tumultuous crowd. It was little Jammes — the girl with the tip-tilted nose, the forget-me-not eyes, the rose-red cheeks and the lily-white neck and shoulders — who gave the explanation in a trembling voice :
"It's the ghost!" And she locked the door.
Sorelli's dressing-room was fitted up with official, commonplace elegance. A pier-glass, a sofa, a dress- ing-table and a cupboard or two provided the neces- sary furniture. On the walls hung a few engravings, relics of the mother, who had known the glories of the old Opera in the Rue le Peletier; portraits of 8
IS IT THE GHOST? . 9
Vestris, Gardel, Dupont, Bigottini. But the room seemed a palace to the brats of the corps de ballet, who were lodged In common dressing-rooms where they spent their time singing, quarreling, smacking the dressers and hair-dressers and buying one another glasses of cassis, beer, or even rhum, until the call- boy's bell rang.
Sorelli was very superstitious. She shuddered when she heard little Jammes speak, of the ghost, called her a "silly little fool" and then, as she was the first to believe in ghosts in general, and the Opera ghost in particular, at once asked for details :
"Have you seen him?"
"As plainly as I see you now!" said little Jammes, whose legs were giving way beneath her, and she dropped with a moan into a chair.
Thereupon little Giry — the girl with eyes black as sloes, hair black as ink, a swarthy complexion and a poor little skin stretched over poor little bones — < little Giry added:
"If that's the ghost, he's very ugly!"
"Oh, yes !' cried the chorus of ballet-girls.
And they all began to talk together. The ghost had appeared to them in the shape of a gentleman in dress-clothes, who had suddenly stood before them In the passage, without their knowing where he came from. He seemed to have come straight through the wall.
"Pooh !" said one of them, who had more or less kept her head. "You see the ghost everywhere !"
And It was true. For several months, there had
lo THE PHANTOM OF THE OPERA
been nothing discussed at the Opera but this ghost in dress-clothes who stalked about the building, from top to bottom, like a shadow, who spoke to nobody, to whom nobody dared speak and who vanished as soon as he was seen, no one knowing how or where. As became a real ghost, he made no noise in walking. People began by laughing and making fun of this specter dressed like a man of fashion or an under- taker; but the ghost legend soon swelled to enor- mous proportions among the corps de ballet. All the girls pretended to have met this supernatural being more or less often. And those who laughed the loudest were not the most at ease. When he did not show himself, he betrayed his presence or his passing by accident, comic or serious, for which the general superstition held him responsible. Had any one met with a fall, or suffered a practical joke at the hands of one of the other girls, or lost a powder- puff, it was at once the fault of the ghost, of the Opera ghost.
After all, who had seen him? You meet so many men in dress-clothes at the Opera who are not ghosts. But this dress-suit had a peculiarity of its own. It covered a skeleton. At least, so the ballet-girls said. And, of course, it had a death's head.
Was all this serious? The truth is that the idea of the skeleton came from the description of the ghost given by Joseph Buquet, the chief scene-shifter, who had really seen the ghost. He had run up against the ghost on the little staircase, by the foot- lights, which leads to "the cellars." He had seen
IS IT THE GHOST? ii
him for a second — for the ghost had fled — and to any one who cared to listen to him he said:
"He is extraordinarily thin and his dress-coat hangs on a skeleton frame. His eyes are so deep that you can hardly see the fixed pupils. You just see t-wo big black holes, as in a dead man's skull. His skin, which is stretched across his bones like a drumhead, is not white, but a nasty yellow. His nose is so little worth talking about that you can't see it side-face; and the absence of that nose is a horrible thing to look at. All the hair he has is three or four long dark locks on his forehead and behind his ears."
This chief scene-shifter was a serious, sober, steady man, very slow at imagining things. His words were received with interest and amazement; and soon there were other people to say that they too had met a man in dress-clothes with a death's head on his shoulders. Sensible men who had wind of the story began by saying that Joseph Buquet had been the victim of a joke played by one of his assist- ants. And then, one after the other, there came a series of incidents so curious and so inexplicable that the very shrewdest people began to feel uneasy.
For instance, a fireman is a brave fellow! He fears nothing, least of all fire! Well, the fireman in question, who had gone to make a round of inspec- tion in the cellars and who, it seems, had ventured a little farther than usual, suddenly reappeared on the stage, pale, scared, trembling, with his eyes start- ing out of his head, and practically fainted in the
12 THE PHANTOM OF THE OPERA
arms of the proud mother of little Jammes.* And why? Because he had seen coming toward him, at the level of his head, but without a body attached to it, a head of fire! And, as I said, a fireman is not afraid of fire.
The fireman's name was Pampin.
The corps de ballet was flung into consternation. At first sight, this fiery head in no way corresponded with Joseph Buquet's description of the ghost. But the young ladies soon persuaded themselves that the ghost had several heads, which he changed about as he pleased. And, of course, they at once imagined that they were in the greatest danger. Once a fire- man did not hesitate to faint, leaders and front-row and back-row girls alike had plenty of excuses for the fright that made them quicken their pace when passing some dark corner or ill-lighted corridor. Sorelli herself, on the day after the adventure of the fireman, placed a horse-shoe on the table in front of the stage-door-keeper's box, which every one who en- tered the Opera otherwise than as a spectator must touch before setting foot on the first tread of the staircase. This horse-shoe was not invented by me — any more than any other part of this story, alas! — and may still be seen on the table in the passage out- side the stage-door-keeper's box, when you enter the Opera through the court known as the Cour de I'Ad- ministration.
*I have the anecdote, which is quite authentic, from M. ^Pedro Gailhard himself, the late manager of the Opera.
IS IT THE GHOST? 13
To return to the evening in question.
"It's the ghost!" little Jammes had cried.
An agonizing silence now reigned in the dressing- room. Nothing was heard but the hard breathing of the girls. At last, Jammes, flinging herself upon the farthest corner of the wall, with every mark of real terror on her face, whispered :
"Listen 1"
Everybody seemed to hear a rustling outside the door. There was no sound of footsteps. It was like light silk sliding over the panel. Then it stopped.
Sorelli tried to show more pluck than the others. She went up to the door and, in a quavering voice, asked :
"Who's there?"
But nobody answered. Then feeling all eyes upon her, watching her last movement, she made an effort to show courage, and said very loudly :
"Is there any one behind the door?"
"Oh, yes, yes! Of course there is I" cried that little dried plum of a Meg Giry, heroically holding Sorelli back by her gauze skirt. "Whatever you do, don't open the door! Oh, Lord, don't open the door!"
But Sorelli, armed with a dagger that never left her, turned the key and drew back the door, while the ballet-girls retreated to the inner dressing-room and Meg Giry sighed:
"Mother! Mother!"
Sorelli looked into the passage bravely. It was empty; a gas-flame, in its glass prison, cast a red and
14 THE PHANTOM OF THE OPERA
suspicious light into the surrounding darkness, with- out succeeding in dispelling it. And the dancer' slammed the door again, with a deep sigh.
"No," she said, "there is no one there."
"Still, we saw him!" Jammes declared, returning with timid little steps to her place beside Sorelli. "He must be somewhere prowling about. I shan't go back to dress. We had better all go down to the foyer together, at once, for the 'speech,' and we will come up again together."
And the child reverently touched the little coral finger-ring which she wore as a charm against bad luck, while Sorelli, stealthily, with the tip of her pink right thumb-nail, made a St. Andrew's cross on the wooden ring which adorned the fourth finger of her left hand. She said to the little ballet-girls :
"Come, children, pull yourselves together! I dare say no one has ever seen the ghost."
"Yes, yes, we saw him — we saw him just now!" cried the girls. "He had his death's head and his dress-coat, just as when he appeared to Joseph Buquet!"
"And Gabriel saw him too !" said Jammes. "Only yesterday! Yesterday afternoon — in broad day- light "
"Gabriel, the chorus-master?"
"Why, yes, didn't you know?"
"And he was wearing his dr^ss-clothes, in broad daylight?"
"Who? Gabriel?"
"Why, no, the ghost!''
IS IT THE GHOST? 15
"Certainly! Gabriel told me so himself. That's what he knew him by. Gabriel was in the stage- manager's office. Suddenly the door opened and the Persian entered. You know the Persian has the evil eye "
"Oh, yes!" answered the little ballet-girls in chorus, warding off ill-luck by pointing their fore- finger and little finger at the absent Persian, while their second and third fingers were bent on the palm and held down by the thumb.
"x\nd you know how superstitious Gabriel is," con- tinued Jammes. "However, he is always polite. When he meets the Persian, he just puts his hand in his pocket and touches his keys. Well, the moment the Persian appeared in the doorway, Gabriel gave one jump from his chair to the lock of the cupboard, so as to touch iron ! In doing so, he tore a whole skirt of his overcoat on a nail. Hurrying to get out of the room, he banged his forehead against a hat-peg and gave himself a huge bump; then, suddenly stepping back, he skinned his arm on the screen, near the piano; he tried to lean on the piano, but the lid fell on his hands and crushed his fingers; he rushed out of the office like a madman, slipped on the staircase and came down the whole of the first flight on his back. I was just passing with mother. We picked him up. He was covered with bruises and his face was all over blood. We were frightened out of our lives, but, all at once, he began to thank Providence that he had got off so cheaply. Then he told us what had frightened him. He had seen the ghost behind
1 6 THE PHANTOM OF THE OPERA
the Persian, the ghost with the death's head, just like Joseph Buquet's description!"
Jammes had told her story ever so quickly, as though the ghost were at her heels, and was quite out of breath at the finish. A silence followed, while Sorelli polished her nails in great excitement. It was broken by little Giry, who said:
"Joseph Buquet would do better to hold his tongue."
"Why should he hold his tongue?" asked some- body.
"That's mother's opinion," replied Meg, lower- ing her voice and looking all about her as though fearing lest other ears than those present might overhear.
"And why is it your mother's opinion?"
"Hush ! Mother says the ghost doesn't like being talked about."
"And why does your mother say so?"
"Because — because — nothing "
This reticence exasperated the curiosity of the young ladies, who crowded round little Giry, begging her to explain herself. They were there, side by side, leaning forward simultaneously in one move- ment of entreaty and fear, communicating their ter- ror to one another, taking a keen pleasure in feeling their blood freeze in their veins.
"I swore not to tell!" gasped Meg.
But they left her no peace and promised to keep the secret, until Meg, burning to say all she knew, began, with her eyes fixed on the door:
IS IT THE GHOST? 17
"Well, it's because of the private box.'*
"What private box?"
"The ghost's box !"
"Has the ghost a box? Oh, do tell us, do tell us!"
"Not so loud!" said Meg. "It's Box Five, you know, the box on the grand tier, next to the stage- box, on the left."
"Oh, nonsense !"
"I tell you it is. Mother has charge of it. But you swear you won't say a word?"
"Of course, of course."
"Well, that's the ghost's box. No one has had it for over a month, except the ghost, and orders have been given at the box-office that it must never be sold."
"And does the ghost really come there?"
"Yes."
"Then somebody does come?"
"Why, no! The ghost comes, but there is no- body there."
The little ballet-girls exchanged glances. If the ghost came to the box, he must be seen, because he wore a dress-coat and a death's head. This was what they tried to make Meg understand, but she replied :
"That's just it! The ghost is not seen. And he has no dress-coat and no head ! All that talk about his death's head and his head of fire is nonsense! There's nothing in it. You only hear him when he is in the box. Mother has never seen him, but she
1 8 THE PHANTOM OF THE OPERA
has heard him. Mother knows, because she gives him his program."
Sorelli interfered.
*'Giry, child, you're getting at us!"
Thereupon little Giry began to cry.
*'I ought to have held my tongue — if mother ever came to know! But I was quite right, Joseph Bu- quet had no business to talk of things that don't con- cern him — it will bring him bad luck — mother was saying so last night "
There was a sound of hurried and heavy footsteps in the passage and a breathless voice cried:
"Cecile! Cecile! Are you there?"
"It's mother's voice," said Jammes. "What's the matter?"
She opened the door. A respectable lady, built on the lines of a Pomeranian grenadier, burst into the dressing-room and dropped groaning into a va- cant arm-chair. Her eyes rolled madly in her brick- dust colored face.
"How awful!" she said. "How awful!"
"What? What?"
"Joseph Buquet '*
"What about him?"
"Joseph Buquet is dead!"
The room became filled with exclamations, with astonished outcries, with scared requests for explana- tions.
"Yes, he was found hanging in the third-floor cel- lar!"
"It's the ghost !" little Giry blurted, as though in
IS IT THE GHOST? 19
spite of herself; but she at once corrected herself, with her hands pressed to her mouth: "No, no! — I didn't say It ! — I didn't say It ! "
All around her, her panic-stricken companions re- peated under their breaths :
"Yes — It must be the ghost!"
Sorelll was very pale.
*'I shall never be able to recite my speech," she said.
Ma Jammes gave her opinion, while she emptied a glass of liqueur that happened to be standing on a table; the ghost must have something to do with it.
The truth is that no one ever knew how Joseph Buquet met his death. The verdict at the inquest was "natural suicide." In his Memoirs of a Mana- ger, M. Moncharmin, one of the joint managers who succeeded MM. Debienne and Poligny, describes the incident as follows :
"A grievous accident spoiled the little party which MM. Debienne and Poligny gave to celebrate their retirement. I was in the manager's office, when Mer- cier, the acting-manager, suddenly came darting in. He seemed half mad and told me that the body of a scene-shifter had been found hanging In the third cellar under the stage, between a farm-house and a scene from the Roi de Lahore. I shouted:
" 'Come and cut him down !'
"By the time I had rushed down the staircase and the Jacob's ladder, the man was no longer hanging from his rope!"
So this Is an event which M. Moncharmin thinks natural. A man hangs at the end of a rope ; they go
20 THE PHANTOM OF THE OPERA
to cut him down; the rop'" has disappeared. Oh, M. Moncharmin found a very simple explanation! Listen to him:
"It was just after the ballet; and leaders and dancing-girls lost no time in taking their precautions against the evil eye." 1
There you are! Picture the corps de ballet scut- tling down the Jacob's ladder and dividing the sui- cide's rope among themselves in less time than it takes to write! When, on the other hand, I think of the exact spot where the body was discovered — the third cellar underneath the stage — I imagine that somebody must have been interested in seeing that the rope disappeared after it had effected its purpose; and time will show if I am wrong.
The horrid news soon spread all over the Opera, where Joseph Buquet was very popular. The dress- ing-rooms emptied and the ballet-girls, crowding around Sorelli like timid sheep around their shep- herdess, made for the foyer through the ill-lit pas- sages and staircases, trotting as fast as their little pink legs could carry them.
CHAPTER II
THE NEW MARGARITA
ON the first landing, Sorelll ran against the Comte de Chagny, who was coming up-stairs. The count, who was generally so calm, seemed greatly ex- cited.
"I was just going to you," he said, taking off his hat. "Oh, Sorelll, what an evening! And Chris- tine Daae : Vv^hat a triumph !"
"Impossible !" said Meg GIry. "Six months ago, she used to sing like a crock! But do let us get by, my dear count," continues the brat, with a saucy curt- sey. "We are going to Inquire after a poor man who was found hanging by the neck."
Just then the acting-manager came fussing past and stopped when he heard this remark.
"What!" he exclaimed roughly. "Have you girls heard already? Well, please forget about It for to- night— and above all don't let M. Debierrne and M. Poligny hear; it would upset them too much on their last day."
They all went on to the foyer of the ballet, which was already full of people. The Comte de Chagny was right; no gala performance ever equalled this one. All the great composers of the day had con- ducted their own works in turns. Faure and Krauss
21
22 THE PHANTOM OF THE OPERA
had sung; and, on that evening, Christine Daae had revealed her true self, for the first time, to the aston- ished and enthusiastic audience. Gounod had con- ducted the Funeral March of a Marionnette; Reyer, his beautiful overture to Si guar; Saint Saens, the Danse Macabre and a Reverie Orientale; Massenet, an unpublished Hungarian march; Guiraud, his Car- naval; Delibes, the False lente from Sylvia and the Pizzicati from Coppelia. Mile. Krauss had sung the bolero in the Vespri Siciliani; and Mile. Denise Bloch the drinking song in Lucrezia Borgia.
But the real triumph was reserved for Christine Daae, who had begun by singing a few passages from Romeo and Juliet. It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was re- vived at the Opera Comique after it had been pro- duced at the old Theatre Lyrique by Mme. Car- valho. Those who heard her say that her voice, in these passages, was seraphic; but this was nothing to the superhuman notes that she gave forth in the prison scene and the final trio In Faust, which she sang In the place of La Carlotta, who was III. No one had ever heard or seen anything like it.
Daae revealed a new Margarita that night, a Mar- garita of a splendor, a radiance hitherto unsuspected. The whole house went mad, rising to Its feet, shout- ing, cheering, clapping, while Christine sobbed and fainted In the arms of her fellow-singers and had to be carried to her dressing-room. A few subscribers, however, protested. Why had so great a treasure
THE NEW MARGARITA 23
been kept from them all that time ? Till then, Chris- tine Daae had played a good Siebel to Carlotta's rather too splendidly material Margarita. And it had needed Carlotta's incomprehensible and inexcus- able absence from this gala night for the little Daae, at a moment's warning, to show all that she could do in a part of the program reserved for the Spanish diva! Well, what the subscribers wanted to know was, why had Debienne and Poligny applied to Daae, when Carlotta was taken ill? Did they know of her hidden genius? And, if they knew of it, why had they kept it hidden ? And why had she kept it hid- den? Oddly enough, she was not known to have a professor of singing at that moment. She had often said she meant to practise alone for the future. The whole thing was a mystery.
The Comte de Chagny, standing up in his box, listened to all this frenzy and took part in it by loudly applauding. Philippe Georges Marie Comte de Chagny was just forty-one years of age. He was a great aristocrat and a good-looking man, above middle height and with attractive features, in spite of his hard forehead and his rather cold eyes. He was exquisitely polite to the women and a little haughty to the men, who did not always forgive him for his successes in society. He had an excellent heart and an irreproachable conscience. On the death of old Count Phihbert, he became the head of one of the oldest and most distinguished families In France, whose arms dated back to the fourteenth century. The Chagnys owned a great deal of property; and^
24 THE PHANTOM OF THE OPERA
when the old count, who was a widower, died, it was no easy task for Philippe to accept the management of so large an estate. His two sisters and his brother, Raoul, would not hear of a division and waived their clairn to their shares, leaving themselves entirely in Philippe's hands, as though the right of primogeni- ture had never ceased to exist. When the two sis- ters married, on the same day, they received their por- tion from their brother, not as a thing rightfully belonging to them, but as a dowry for which they thanked him.
The Comtesse de Chagny, nee de Moerogis de La Martyniere, had died in giving birth to Raoul, who was born twenty years after his elder brother. At the time of the old count's death, Raoul was twelve years of age. Philippe busied himself actively with the youngster*s education. He was admirably as- sisted in this work first by his sisters and afterward by an old aunt, the widow of a naval officer, who lived at Brest and gave young Raoul a taste for the sea. The lad entered the Borda training-ship, fin- ished his course with honors and quietly made his trip round the world. Thanks to powerful influence, he had just been appointed a member of the official expedition on board the Reqidn, which was to be sent to the Arctic Circle in search of the survivors of the D'Artoi's expedition, of whom nothing had been heard for three years. Meanwhile, he was enjoying a long furlough which would not be over for six months; and already the dowagers of the Faubourg Saint-Germain were pitying the handsome and appar-
THE NEW MARGARITi^ 25:
cntly delicate stripling for the hard work in store for him.
The shyness of the sailor-lad — I was almost saying his innocence — was remarkable. He seemed to have but just left the women's apron-strings. As a mat- ter of fact, petted as he was by his two sisters and his old aunt, he had retained from this purely feminine education manners that were almost candid and stamped with a charm that nothing had yet been able to sully. He was a little over twenty-one years of age and looked eighteen. He had a small, fair mustache, beautiful blue eyes and a complexion like a girl's.
Philippe spoiled Raoul. To begin with, he was very proud of him and pleased to foresee a glorious career for his junior in the navy in which one of their ancestors, the famous Chagny de La Roche, had held the rank of admiral. He took advantage of the young man's leave of absence to show him Paris, with all its luxurious and artistic delights. The count considered that, at Raoul's age, it is not good to be too good. Philippe himself had a character that was very well-balanced in work and pleasure alike; his demeanor was always faultless ; and he was incap- able of setting his brother a bad example. He took him with him wherever he went. He even intro- duced him to the foyer of the ballet. I know that the count was said to be "on terms" with Sorelli. But it could hardly be reckoned as a crime for this nobleman, a bachelor, with plenty of leisure, especially since his sisters were settled, to come and spend an
26 THE PHANTOM OF THE OPERA
hour or two after dinner in the company of a dancer, who, though not so very, very witty, had the finest eyes that ever were seen! And, besides, there are places where a true Parisian, when he has the rank of the Comte de Chagny, is bound to show himself; and at that time the foyer of the ballet at the Opera was one of those places.
Lastly, Philippe would perhaps not have taken his brother behind the scenes of the Opera if Raoul had not been the first to ask him, repeatedly renew- ing his request with a gentle obstinacy which the count remembered at a later date.
On that evening, Philippe, after applauding the Daae, turned to Raoul and saw that he was quite pale.
"Don't you see," said Raoul, "that the woman's fainting?"
"You look like fainting yourself," said the count. "What's the matter?"
But Raoul had recovered himself and was stand- ing up.
"Let's go and see," he said, "she never sang hke that before."
The count gave his brother a curious smiling glance and seemed quite pleased. They were soon at the door leading from the house to the stage. Numbers of subscribers were slowly making their way through. Raoul tore his gloves without knowing what he was doing and Philippe had much too kind a heart to laugh at him for his impatience. But he now under- stood why Raoul was absent-minded when spoken to
THE NEW MARGARITA 27
and why he always tried to turn every conversation to the subject of the Opera.
They reached the stage and pushed through the crowd of gentlemen, scene-shifters, supers and chor- us-girls, Raoul leading the way, feeling that his heart no longer belonged to him, his face set with passion, while Count Philippe followed him with difficulty and continued to smile. At the back of the stage, Raoul had to stop before the inrush of the little troop of ballet-girls who blocked the passage which he was trying to enter. More than one chaffing phrase darted from little made-up lips, to which he did not reply; and at last he was able to pass, and dived into the semi-darkness of a corridor ringing with the name of "Daae! Daae!" The count was surprised to find that Raoul knew the way. He had never taken him to Christine's himself and came to the conclusion that Raoul must have gone there alone while the count stayed talking in the foyer with So- relli, who often asked him to wait until it was her time to "go on" and sometimes handed him the little gaiters in which she ran down from her dressing- room to preserve the spotlessness of her satin danc- ing-shoes and her flesh-colored tights. Sorelli had an excuse; she had lost her mother.
Postponing his usual visit to Sorelli for a few min- utes, the count followed his brother dovm the passage that led to Daae's dressing-room and saw that it had never been so crammed as on that evening, when the whole house seemed excited by her success and also by her fainting fit. For the girl had not yet come to ;
28 THE PHANTOM OF THE OPERA
and the doctor of the theater had just arrived at the moment when Raoul entered at his heels. Christine, therefore, received the first aid of the one, while opening her eyes In the arms of the other. The count and many more remained crowding In the doorway.
"Don't you think. Doctor, that those gentlemen had better clear the room?" asked Raoul coolly. "There's no breathing here."
"You're quite right," said the doctor.
And he sent every one away, except Raoul and the maid, who looked at Raoul with eyes of the most un- disguised astonishment. She had never seen him be- fore and yet dared not question him; and the doctor imagined that the young man was only acting as he did because he had the right to. The viscount, there- fore, remained In the room watching Christine as she slowly returned to life, while even the joint managers, Deblenne and Pollgny, who had come to offer their sympathy and congratulations, found themselves thrust Into the passage among the crowd of dandles. The Comte de Chagny, who was one of those stand- ing outside, laughed:
"Oh, the rogue, the rogue !" And he added, under his breath : "Those youngsters with their school-girl , airs! So he's a Chagny after all!"
He turned to go to Sorelll's dressing-room, but met her on the way, with her little troop of trembling ballet-girls, as we have seen.
Meanwhile, Christine Daae uttered a deep sigh, which was answered by a groan. She turned her head, saw Raoul and started. She looked at the doc-
THE NEW MARGARITA 29
tor, on whom she bestowed a smile, then at her maid, then at Raoul again.
"Monsieur," she said, In a voice not much above a whisper, "who are you?"
"Mademoiselle," replied the young man, kneeling on one knee and pressing a fervent kiss. on the diva's hand, "I am the little boy who went into the sea to rescue your scarf."
Christine again looked at the doctor and the maid; and all three began to laugh.
Raoul turned very red and stood up.
"Mademoiselle," he said, "since you are pleased not to recognize me, I should like to say something to you in private, something very Important."
"When I am better, do you mind?" And her voice shook. "You have been very good."
"Yes, you must go," said the doctor, with his pleasantest smile. "Leave me to attend to mademoi- selle."
"I am not ill now," said Christine suddenly, with strange and unexpected energy.
She rose and passed her hand over her eyelids.
"Thank you. Doctor. I should like to be alone. Please go away, all of you. Leave me. I feel very restless this evening."
The doctor tried to make a short protest, but, per- ceiving the girl's evident agitation, he thought the best remedy was not to thwart her. And he went away, saying to Raoul, outside :
"She is not herself to-night. She is usually so gentle."
30 THE PHANTOM OF THE OPERA
Then he said good night and Raoul was left alone. The whole of this part of the theater was now de- serted. The farewell ceremony was no doubt taking plac6 in the foyer of the ballet. Raoul thought that Daae might go to it and he waited in the silent soli- tude, even hiding in the favoring shadow of a door- way. He felt a terrible pain at his heart and it was of this that he wanted to speak, to Daae without delay.
Suddenly the dressing-room door opened and the maid came out by herself, carrying bundles. He stopped her and asked how her mistress was. The woman laughed and said that she was quite well, but that he must not disturb her, for she wished to be left alone. And she passed on. One idea alone filled Raoul's burning brain : of course, Daae wished to be left alone for him! Had he not told her that he wanted to speak to her privately?
Hardly breathing, he went up to the dressing-room and, with his ear to the door to catch her reply, pre- pared to knock. But his hand dropped. He had heard a man's voice in the dressing-room, saying, in a curiously masterful tone :
"Christine, you must love me!" " And Christine's voice, Infinitely sad and trembling, as though accompanied by tears, replied:
"How can you talk like that? JFhen I sing only for you!"
Raoul leaned against the panel to ease his pain. His heart, which had seemed gone for ever, returned to his breast and was throbbing loudly. The whole
THE NEW MARGARITA 311
passage echoed with its beating and Raoul's ears were deafened. Surely, if his heart continued to make such a noise, they would hear it inside, they would open the door and the young man would be turned away in disgrace. What a position for a Chagny! To be caught listening behind a door! He took his heart in his two hands to make it stop.
The man's voice spoke again :
"Are you very tired?"
"Oh, to-night I gave you my soul and I am dead I" Christine replied.
"Your soul is a beautiful thing, child," replied the grave man's voice, "and I thank you. No emperor ever received so fair a gift. The angels wept to- night."
Raoul heard nothing after that. Nevertheless, he did not go away, but, as though he feared lest he should be caught, he returned to his dark corner, de- termined to wait for the man to leave the room. At one and the same time, he had learned what love meant, and hatred. He knew that he loved. He wanted to know whom he hated. To his great aston- ishment, the door opened and Christine Daae ap- peared, wrapped in furs, with her face hidden In a lace veil, alone. She closed the door behind her, but Raoul observed that she did not lock it. She passed , him. He did not even follow her with his eyes, for his eyes were fixed on the door, which did not open again.
When the passage was once more deserted, he crossed it, opened the door of the dresslng-roomj,
32 THE PHANTOM OF THE OPERA
went in and shut the door. He found himself in ab- solute darkness. The gas had been turned out.
"There is some one here!" said Raoul, with his back against the closed door, in a quivering voice. , "What are you hiding for ?"
All was darkness and silence. Raoul heard only the sound of his own breathing. He quite failed to see that the indiscretion of his conduct was exceed- ing all bounds.
"You shan't leave this until I let you!" he ex- claimed. "If you don't answer, you are a coward! But ril expose you !"
And he struck a match. The blaze lit up the room. There was no one in the room ! Raoul, first turning the key in the door, lit the gas-jets. He went into the dressing-closet, opened the cupboards, hunted about, felt the walls with his moist hands. Nothing !
"Look here!" he said, aloud. "Am I going mad?"
He stood for ten minutes listening to the gas flaring in the silence of the empty room; lover though he was, he did not even think of stealing a ribbon that would have given him the perfume of the woman he loved. He went out, not knowing what he was doing f nor where he was going. At a given moment in his wayward progress, an icy draft struck him in the face. He found himself at the bottom of a stair- case, down which, behind him, a procession of work- men were carrying a sort of stretcher, covered with a white sheet.
THE NEW MARGARITA 33
"Which is the way out, please?" he asked or one of the men.
"Straight in front of you, the door is open. But let us pass."
Pointing to the stretcher, he asked mechanically;
"What's that?"
The workmen answered :
" 'That' is Joseph Buquet, who was found in the third cellar, hanging between a farm-house and a scene from the Roi de Lahore."
He took off his hat, fell back to make room for the procession and went out.
CHAPTER III
THE MYSTERIOUS REASON
DURING this time, the farewell ceremony was taking place. I have already said that this magnificent function was being given on the occasion of the retirement of M. Debienne and M. Poligny, who had determined to "die game," as we say now- adays. They had been assisted in the realization of their ideal, though melancholy, program by all that counted in the social and artistic world of Paris. All these people met, after the performance, in the foyer of the ballet, where Sorelli waited for the arrival of the retiring managers with a glass of champagne In her hand and a little prepared speech at the tip of her tongue. Behind her, the members of the corps de ballet, young and old, discussed the events of the day in whispers or exchanged discreet signals with their friends, a noisy crowd of whom surrounded the supper-tables arranged along the slanting floor.
A few of the dancers had already changed into ordinary dress ; but most of them wore their skirts of gossamer gauze; and all had thought it the right thing to put on a special face for the occasion: all, that Is, except little Jammes, whose fifteen summers — happy age! — seemed already to have forgotten the ghost and the death of Joseph Buquet. She never ceased to laugh and chatter, to hop about and 34
THE MYSTERIOUS REASON 35
play practical jokes, until MM. Deblenne and Pol- igny appeared on the steps of the foyer, when she was severely called to order by the impatient Sorelli.
Everybody remarked that the retiring managers looked cheerful, as Is the Paris way. None will ever be a true Parisian who has not learned to wear a mask of gaiety over his sorrows and one of sadness, bore- dom or indifference over his inward joy. You know that one of your friends is in trouble; do not try to console him : he will tell you that he is already com- forted; but, should he have met with good fortune, be careful how you congratulate him: he thinks it so natural that he is surprised that you should speak of it. In Paris, our lives are one masked ball; and the foyer of the ballet is the last place in which two men so "knowing" as M, Debienne and M. Poligny would have made the mistake of betraying their grief, however genuine it might be. And they were already smiling rather too broadly upon Sorelli, who had begun to recite her speech, when an exclamation from that little madcap of a Jammes broke the smile of the managers so brutally that the expression of distress and dismay that lay beneath It became appar- ent to all eyes :
"The Opera ghost!"
Jammes yelled these words In a tone of unspeak- able terror; and her finger pointed, among the crowd of dandies, to a face so pallid, so lugubrious and so ugly, with two such deep black cavities under the straddling eyebrows, that the death's head in ques- tion immediately scored a huge success.
36 THE PHANTOM OF THE OPERA
"The Opera ghost! The Opera ghost!"
Everybody laughed and pushed his neighbor and wanted to offer the Opera ghost a drink, but he was gone. He had slipped through the crowd; and the others vainly hunted for him, while two old gentle- men tried to calm little Jammes and while little GIry stood screaming like a peacock.
Sorelli was furious; she had not been able to finish her speech; the managers had kissed her, thanked her and run away as fast as the ghost himself. No one was surprised at this, for It was known that they were to go through the same ceremony on the floor above, in the foyer of the singers, and that finally they were themselves to receive their personal friends, for the last time. In the great lobby outside the managers' office, where a regular supper would be served.
Here they found the new managers, M. Armand Moncharmin and M. Firmin Richard, whom they hardly knew; nevertheless, they were lavish In pro- testations of friendship and received a thousand flat- tering compliments In reply, so that those of the guests who had feared that they had a rather tedious evening In store for them at once put on brighter faces. The supper was almost gay and a particularly clever speech of the representative of the govern- ment, mingling the glories of the past with the suc- cesses of the future, caused the greatest cordiality to prevail.
The retiring managers had already handed over ,to their successors the two tiny master-keys which
THE MYSTERIOUS REASON 37
opened all the doors — -thousands of doors — of the Opera house. And those little keys, the object of general curiosity, were being passed from hand to hand, when the attention of some of the guests was diverted by their discovery, at the end of the table, of that strange, wan and fantastic face, with the hol- low eyes, which had already appeared in the foyer of the ballet and been greeted by little Jammes' ex- clamation:
"The Opera ghost!"
There sat the ghost, as natural as could be, except that he neither ate nor drank. Those who began by looking at him with a smile ended by turning away their heads, for the sight of him at once provoked the most funereal thoughts. No one repeated the joke of the foyer, no one exclaimed:
"There's the Opera ghost!"
He himself did not speak a word and his very neighbors could not have stated at what precise mo- ment he had sat down between them; but every one felt that if the dead did ever come and sit at the table of the living, they could not cut a more ghastly figure. The friends of Firmin Richard and Armand Moncharmin thought that this lean and skinny guest was an acquaintance of Debienne's or Poligny's, while Debienne's and Poligny's friends believed that the cadaverous individual belonged to Firmin Rich- ard and Armand Moncharmin's party.
The result was that no request was made for an explanation; no unpleasant remark; no joke in bad taste, which might have offended this visitor from
38 THE PHANTOM OF THE OPERA
the tomb. A few of those present who knew the Story of the ghost and the description of him given by the chief scene-shifter — they did not know of Jo- seph Buquet's death — thought, in their own minds, that the man at the end of the table might easily have passed for him; and yet, according to the story, the ghost had no nose and the person In question had. But M. Moncharmin declares, in his Memoirs, that the guest's nose was transparent: "long, thin and transparent" are his exact words. I, for my part, will add that this might very well apply to a false nose. M. Moncharmin may have taken for trans- parency what was only shininess. Everybody knows that orthopaedic science provides beautiful false noses for those who have lost their noses naturally or as the result of an operation.
Did the ghost really take a seat at the managers' supper-table that night, uninvited? And can we be sure that the figure was that of the Opera ghost him- self? Who v\^ould venture to assert as much? I mention the incident, not because I wish for a second to make the reader believe — or even to try to make him believe — that the ghost was capable of such a sublime piece of impudence; but because, after all, the thing is impossible.
M. Armand Moncharmin, in chapter eleven of his Memoirs, says:
"When I think of this first evening, I can not sep- arate the secret confided to us by MM. Debienne and Poligny in their oflice from the presence at our sup- per of that ghostly person whom none of us knew."
THE MYSTERIOUS REASON 39
What happened was this: MM. Debienne and Po- ligny, sitting at the center of the table, had not seen the man with the death's head. Suddenly he began to speak.
"The ballet-girls are right," he said. "The death of that poor Buquet is perhaps not so natural as people think."
Debienne and Poligny gave a start.
"Is Buquet dead?" they cried.
"Yes," replied the man, or the shadow of a man, quietly. "He was found, this evening, hanging in the third cellar, between a farm-house and a scene from the Roi de Lahore."
The two managers, or rather ex-managers, at once rose and stared strangely at the speaker. They were more excited than they need have been, that is to say, more excited than any one need be by the an- nouncement of the suicide of a chief scene-shifter. They looked at each other. They had both turned whiter than the table-cloth. At last, Debienne made a sign to MM. Richard and Moncharmin; Poligny muttered a few words of excuse to the guests; and all four went into the managers' office. I leave M. Mon- charmin to complete the story. In his Memoirs, he says :
"MM. Debienne and Poligny seemed to grow more and more excited, and they appeared to have something very difficult to tell us. First, they asked us if we knew the man, sitting at the end of the table, who had told them of the death of Joseph Buquet;
40 THE PHANTOM OF THE OPERA
and, when we answered in the negative, they looked still more concerned. They took the master-keys from our hands, stared at them for a moment and advised us to have new locks made, with the greatest secrecy, for the rooms, closets and presses that we might wish to have hermetically closed. They said this so funnily that we began to laugh and to ask if there were thieves at the Opera. They replied that there was something worse, which was the ghost. We began to la-ugh again, feeling sure that they were indulging in some joke that was intended to crown our little entertainment. Then, at their request, we became 'serious,' resolving to humor them and to enter Into the spirit of the game. They told us that they never would have spoken to us of the ghost, if they had not received formal or- ders from the ghost himself to ask us to be pleasant to him and to grant any request that he might make. However, In their relief at leaving a domain where that tyrannical shade held sway, they had hesitated until the last moment to tell us this curious story, which our skeptical minds were certainly not pre- pared to entertain. But the announcement of the death of Joseph Buquet had served them as a brutal reminder that, whenever they had disregarded the ghost's wishes, some fantastic or disastrous event had brought them to a sense of their dependence.
"During these unexpected utterances made In a tone of the most secret and important confidence, I looked at Richard. Richard, in his student days, had acquired a great reputation for practical joking,
THE MYSTERIOUS REASON 41'^
and he seemed to relish the dish which was being served up to him in his turn. He did not miss a morsel of it, though the seasoning was a little grue- some because of the death of Buquet. He nodded his head sadly, while the others spoke, and his feat- ures assumed the air of a man who bitterly regretted having taken over the Opera, now that he knew that there was a ghost mixed up in the business. I could think of nothing better than to give him a servile imitation of this attitude of despair. However, in spite of all our efforts, we could not, at the finish, help bursting out laughing in the faces of MM. Deb- ienne and Poligny, who, seeing us pass straight from the gloomiest state of mind to one of the most inso- lent merriment, acted as though they thought that we had gone mad.
"The joke became a little tedious; and Richard asked half-seriously and half in jest:
" 'But, after all, what does this ghost of yours want?'
"M. Poligny went to his desk and returned with a copy of the memorandum-book. The memorandum- book begins with the well-known words saying that 'the management of the Opera shall give to the per- formance of the National Academy of Music the splendor that becomes the first lyric stage In France' and ends with Clause 98, which says that the privi- lege can be withdrawn If the manager Infringes the conditions stipulated In the memorandum-book. This Is followed by the conditions, which are four in num- ber.
42 THE PHANTOM OF THE OPERA
"The copy produced by M. PoHgny was written in black ink and exactly similar to that in our possession, except that, at the end, it contained a paragraph in red ink and in a queer, labored handwriting, as though it had been produced by dipping the heads of matches into the ink, the writing of a child that has never got beyond the down-strokes and has not learned to join its letters. This paragraph ran, word for word, as follows :
" *5. Or if the manager, in any month, delay for more than a fortnight the payment of the allowance which he shall make to the Opera ghost, an allowance of twenty thousand francs a month, say two hundred and forty thousand francs a year.'
"M. PoHgny pointed with a hesitating finger to this last clause, which we certainly did not expect.
" *Is this all? Does he not want anything else?' asked Richard, with the greatest coolness.
" 'Yes, he does,' replied PoHgny.
"And he turned over the pages of the memoran- dum-book until he came to the clause specifying the days on which certain private boxes were to be re- served for the free use of the president of the repub- lic, the ministers and so on. At the end of this clause, a Hne had been added, also in red ink:
" 'Box Five on the grand tier shall be placed at the disposal of the Opera ghost for every performance.'
"When we saw this, there was nothing else for us to do but to rise from our chairs, shake our two pre- decessors warmly by the hand and congratulate them on thinking of this charming Httle joke, which proved
THE MYSTERIOUS REASON 43
that the old French sense of humor was never likely to become extinct. Richard added that he now un- derstood why MM. Debienne and Poligny were re- tiring from the management of the National Acad- emy of Music. Business was impossible with so un- reasonable a ghost.
" 'Certainly, two hundred and forty thousand francs are not be picked up for the asking,' said M. Poligny, without moving a muscle of his face. 'And have you considered what the loss over Box Five meant to us? We did not sell it once; and not only that, but we had to return the subscription : why, it's awful 1 We really can't work to keep ghosts ! We prefer to go away!'
" 'Yes,' echoed M. Debienne, 'we prefer to go away. Let us go.'
"And he stood up. Richard said: 'But, after all all, it seems to me that you were much too kind to the ghost. If I had such a troublesome ghost as that, I should not hesitate to have him arrested '
" 'But how? Where?' they cried, in chorus. 'We have never seen him !'
" 'But when he comes to his box?'
" 'We have never seen htm in his box*
" 'Then sell it.*
" 'Sell the Opera ghost's box ! Well, gentlemen, try It.'
"Thereupon we all four left the office. Richard and I had 'never laughed so much in our lives.' "
CHAPTER IV
BOX FIVE
ARMAND Moncharmin wrote such voluminous Memoirs during the fairly long period of his co-management that we may well ask if he ever found time to attend to the affairs of the Opera otherwise than by telling what went on there. M. Moncharmin did not know a note of music, but he called the min- ister of education and fine arts by his Christian name, had dabbled a little in society journalism and enjoyed a considerable private income. Lastly, he was a charming fellow and'showed that he was not lacking in intelligence, for, as soon as he made up his mind to be a sleeping partner in the Opera, he selected the best possible active manager and went straight to Firmin Richard.
Firmin Richard v/as a very distinguished com- poser, who had published a number of successful pieces of all kinds and who liked nearly every form of music and every sort of musician. Clearly, there- fore, it was the duty of every sort of musician to like M. Firmin Richard. The only things to be said against him were that he was rather masterful in his ways and endowed with a very hasty temper.
The first few days which the partners spent at the Opera were given over to the delight of finding them- selves the head of so magnificent an enterprise; and 44
BOX FIVE 451
they had forgotten all about that curious, fantastic story of the ghost, when an incident occurred that proved to them that the joke — if joke it were — was not over. M. Firmin Richard reached his office that morning at eleven o'clock. His secretary, M. Remy, showed him half a dozen letters which he had not opened because they were marked "private." One of the letters had at once attracted Richard's attention not only because the envelope was addressed in red ink, but because he seemed to have seen the writing before. He soon rememberd that it was the red handwriting in which the memorandum-book had been so curiously completed. He recognized the clumsy childish hand. He opened the letter and read:
Dear Mr. Manager :
I am sorry to have to trouble you at a time when you must be so very busy, renewing important en- gagements, signing fresh ones and generally display- ing your excellent taste. I know what you have done for Carlotta, Sorelll and little Jammes and for a few others whose admirable qualities of talent or genius you have suspected.
Of course, when I use these words, I do not mean to apply them to La Carlotta, who sings like a squirt and who ought never to have been allowed to leave the Ambassadeurs and the Cafe Jacquin; nor to La Sorelll, who owes her success mainly to the coach- builders; nor to little Jammes, who dances like a calf in a field. And I am not speaking of Christine Daae either, though her genius is certain, whereas your jealousy prevents her from creating any important
46 THE PHANTOM OF THE OPERA
part. When all is said, you are free to conduct your little business as you think best, are you not?
All the same, I should like to take advantage of the fact that you have not yet turned Christine Daae out of doors by hearing her this evening in the part of Siebel, as that of Margarita has been forbidden her since her triumph of the other evening; and I will ask you not to dispose of my box to-day nor on the fol- lowing days, for I can not end this letter without tell- ing you how disagreeably surprised I have been once or twice, to hear, on arriving at the Opera, that my box had been sold, at the box-office, by your orders.
I did not protest, first, because I dislike scandal, and, second, because I thought that your predeces- sors, MM. Debienne and Poligny, who were always charming to me, had neglected, before leaving, to mention my little fads to you. I have now received a reply from those gentlemen to my letter asking for an explanation, and this reply proves that you know all about my memorandiim-book and, consequently, that you are treating me with outrageous contempt. // you wish to live in peace, you must not begin by taking away my private box.
Believe me to be, dear Mr. Manager, without pre- judice to these little observations.
Your Most Humble and Obedient Servant,
Opera Ghost.
The letter was accompanied by a cutting from the agony-column of the Revue Thedtrale, which ran :
O. G. — There is no excuse for R. and M. We told them and left your memorandum-book in their hands. Kind regards.
M. Firmin Richard had hardly finished reading this letter when M. Armand Moncharmin entered,
BOX FIVE 47
carrying one exactly similar. They looked at each other and burst out laughing.
"They are keeping up the joke," said M. Richard, "but I don't call it funny."
"What does it all mean?" asked M. Moncharmin. "Do they imagine that, because they have been man- agers of the Opera, we are going to let them have a box for an indefinite period?"
"I am not in the mood to let myself be laughed at long," said Firmin Richard.
"It's harmless enough," observed Armand Mon- charmin. "What is it they really want? A box for to-night?"
M. Firmin Richard told his secretary to send Box Five on the grand tier to MM. Deblenne and Polig- ny, If it was not sold. It was not. It was sent off to them. Deblenne lived at the corner of the Rue Scribe and the Boulevard des Capuclnes ; Pollgny, In the Rue Auber. O. Ghost's two letters had been posted at the Boulevard des Capuclnes post-office, as Mon- charmin remarked after examining the envelopes.
"You see!" said Richard.
They shrugged their shoulders and regretted that two men of that age should amuse themselves with such childish tricks.
"They might have been civil, for all that!" said Moncharmin. "Did you notice how they treat us with regard to Carlotta, Sorelli and Little Jammes?"
"Why, my dear fellow, these two are mad with jealousy ! To think that they went to the expense of
48 THE PHANTOM OF THE OPERA
an advertisement in the Revue Thedtrale! Have they nothing better to do?"
"By the way," said Moncharmin, "they seem to be greatly Interested In that little Christine Daae !"
"You know as well as I do that she has the repu- tation of being quite good," said Richard.
"Reputations are easily obtained," replied Mon- charmin. "Haven't I a reputation for knowing all about music? And I don't know one key from another."
"Don't be afraid: you never had that reputation," Richard declared.
Thereupon he ordered the artists to be shown in, who, for the last two hours, had been walking up and down outside the door behind which fame and fortune — or dismissal — awaited them.
The whole day was spent In discussing, negotiat- ing, signing or cancelling contracts ; and the two over- worked managers went to bed early, without so much as casting a glance at Box Five to see whether M. Debienne and M. Pollgny were enjoying the per- formance.
Next morning, the managers received a card of thanks from the ghost:
Dear Mr. Manager :
Thanks. Charming evening. Daae exquisite. Cho- ruses want waking up. Carlotta a splendid com- monplace Instrument. Will write you soon for the 240,000 francs, or 233,424 fr. 70 c, to be correct. MM. Debienne and Pollgny have sent me the 6,575 fr. 30 c. representing the first ten days of my allow-
BOX FIVE 49
ance for the current year; their privileges finished on the evening of the tenth inst. Kind regards,
O. G.
On the other hand, there was a letter from MM, Debienne and Poligny:
Gentlemen :
We are much obliged for your kind thought of us, but you will easily understand that the prospect of again hearing Faust, pleasant though it is to ex-man- agers of the Opera, can not make us forget that we have no right to occupy Box Five on the grand tier, which is the exclusive property of him of whom we spoke to you when we went through the memo- randum-book with you for the last time. See Clause 98, final paragraph.
Accept, gentlemen, etc.
*'0h, those fellows are beginning to annoy me!" shouted Firmin Richard, snatching up the letter.
'And that evening Box Five was sold.
The next morning, MM. Richard and Monchar- min, on reaching their ofiice, found an inspector's re- port relating to an incident that had happened, the night before, in Box Five. I give the essential part of the report:
I was obliged to call in a municipal guard twice, this evening, to clear Box Five on the grand tier, once at the beginning and once in the middle of the second act. The occupants, who arrived as the curtain rose on the second act, created a regular scandal by their laughter and their ridiculous observations. There
so THE PHANTOM OF THE OPERA
were cries of "Hush !" all around them and the whole house was beginning to protest, when the box-keeper came to fetch me. I entered the box and said what I thought necessary. The people did not seem to me to be in their right mind; and they made stupid re- marks. I said that, if the noise was repeated, I should be compelled to clear the box. The moment I left, I heard the laughing again, with fresh protests from the house. I returned with a municipal guard, who turned them out. They protested, still laughing, saying they would not go unless they had their money back. At last, they became quiet and I allowed them to enter the box again. The laughter at once recom- menced; and, this time, I had them turned out definitely.
"Send for the Inspector," said Richard to his sec- retary, who had already read the report and marked It with blue pencil.
M. Remy, the secretary, had foreseen the order and called the inspector at once.
"Tell us what happened," said Richard bluntly.
The Inspector began to splutter and referred to the report.
"Well, but what were those people laughing at?" asked Moncharmln.
"They must have been dining, sir, and seemed more Inclined to lark about than to listen to good music. The moment they entered the box, they came out again and called the box-keeper, who asked them what they wanted. They said, 'Look In the box: there's no one there. Is there?' 'No,' said the woman. 'Well,' said they, 'when we went In, we heard a voice saying that the box was taken!' "
BOX FIVE
51
M. Moncharmin could not help smiling as he looked at M. Richard; but M. Richard did not smile. He himself had done too much in that way in his time not to recognize, in the inspector's story, all the marks of one of those practical jokes which begin by amusing and end by enraging the victims. Th'^ in- spector, to curry favor with M. Moncharmin, who was smiling, thought It best to give a smile too. A most unfortunate smile ! M. Richard glared at his, subordinate, who thenceforth made it his business tq display a face of utter consternation. \
"However, when the people arrived," roared Richard, "there was no one in the box, was there?"
"Not a soul, sir, not a soul! Nor in the box on the right, nor in the box on the left: not a soul, sir, I swear! The box-keeper told it me often enough, which proves that it was all a joke."
"Oh, you agree, do you?" said Richard. "You agree! It's a joke! And you think it funny, no doubt?"
"I think it in very bad taste, sir."
"And what did the box-keeper say?"
"Oh, she just said that it was the Opera ghost. That's all she said!"
And the inspector grinned. But he soon found that he had made a mistake in grinning, for the words had no sooner left his mouth than M. Richard, from gloomy, became furious.
"Send for the box-keeper !" he shouted. "Send for her! This minute! This minute! And bring her in to me here! And turn all those people out!"
52 THE PHANTOM OF THE OPERA
The Inspect or tried to protest, but Richard closed his mouth .with an angry order to hold his tongue. Then, when the wretched man's lips seemed shut for ever, the manager commanded him to open them once more. •
"Who is this 'Opera ghost?' " he snarled.
Bi';t the inspector was by this time incapable of speaking a word. He managed to convey, by a de- ;;pairing gesture, that he knew nothing about it, or lather that he did not wish to know.
"Have you ever seen him, have you seen the Opera ghost?"
The inspector, by means of a vigorous shake of the head, denied ever having seen the ghost in ques- tion.
"Very well !" said M. Richard coldly.
The inspector's eyes started out of his head, as though to ask why the manager had uttered that ominous "Very well !"
"Because I'm going to settle the account of any one who has not seen him !" explained the manager. "As he seems to be everywhere, I can't have people telling me that they see him nowhere. I like people to work for me when I employ them !"
Having said this, M. Richard paid no attention to the inspector and discussed various matters of busi- ness with his acting-manager, who had entered the room meanwhile. The inspector thought he could go and was gently — oh, so gently! — sidling toward the door, when M. Richard nailed the man to the floor with a thundering :
BOX FIVE f53
"Stay where you are !"
M. Remy had sent for the box-keeper to the Rue de Provence, close to the Opera, where she was en- gaged as a porteress. She soon made her appearance.
"What's your name?"
"Mame GIry. You know me well enough, sir; I'm the mother of little Giry, little Meg, what!"
This was said in so rough and solemn a tone that, for a moment, M. Richard was impressed. He looked at Mame Giry, in her faded shawl, her worn shoes, her old taffeta dress and dingy bonnet. It was quite evident from the manager's attitude, that he either did not know or could not remember having met Mame Giry, nor even little Giry, nor even "little Meg!" But Mame Giry's pride was so great that the celebrated box-keeper Imagined that everybody knew her.
"Never heard of her!" the manager declared. "But that's no reason, Mame Giry, why I shouldn't ask you what happened last night to make you and the inspector call in a municipal guard . . ."
"I was just wanting to see you, sir, and talk to you about it, so that you mightn't have the same unpleasantness as M. Debienne and M. Poligny. They wouldn't listen to me either, at first."
"I'm not asking you about all that. I'm asking what happened last night."
Mame Giry turned purple with indignation. Never had she been spoken to like that. She rose as though to go, gathering up the folds of her skirt and waving the feathers of her dingy bonnet with
54 THE PHANTOM OF THE OPERA
dignity, but, changing her mind, she sat down again and said, in a haughty voice :
"I'll tell you what happened. The ghost was an- noyed again !"
Thereupon, as M. Richard was on the point of bursting out, M. Moncharmin Interfered and con- ducted the interrogatory, whence It appeared that Mame Giry thought it quite natural that a voice should be heard to say that a box was taken, when there was nobody In the box. She was unable to explain this phenomenon, which was not new to her, except by the intervention of the ghost. Nobody could see the ghost in his box, but everybody could hear him. She had often heard him; and they could believe her, for she always spoke the truth. They could ask M. Dcbienne and M. Pollgny, and anybody who knew her; and also M. Isidore Saack, who had had a leg broken by the ghost !
"Indeed!" said Moncharmin, interrupting her. "Did the ghost break poor Isidore Saack's leg?"
Mame Giry opened her eyes with astonishment at such Ignorance. However, she consented to enlighten those two poor Innocents. The thing had happened In M. Debienne and M. Poligny's time, also In Box Five and also during a performance of Faust. Mame Giry coughed, cleared her throat — It sounded as though she were preparing to sing the whole of Gounod's score — and began :
"It was like this, sir. That night, M. Maniera and his lady, the jewelers In the Rue Mogador, were sitting in the front of the box, with their great friend,
BOX FIVE 55
M. Isidore Saack, sitting behind Mme. Maniera. Mephistopheles was singing" — Mame Giry here burst into song herself — " 'Catarina, while you play at sleeping,' and then M. Maniera heard a voice in his right ear (his wife was on his left) saying, 'Ha, ha! Julie's not playing at sleeping!' His wife hap- pened to be called Julie. So. M. Maniera turns to the right to see who was talking to him like that. Nobody there! He rubs his ear and asks himself if he's dreaming. Then Mephistopheles went on with his serenade. . . * But, perhaps I'm bor- ing you gentlemen ?'*
"No, no, go on."
"You are too good, gentlemen," with a smirk. "Well, then, Mephistopheles went on with his sere- nade"— Mame Giry, burst into song again — " 'Saint, unclose thy portals holy and accord the bliss, to a mortal bending lowly, of a pardon-kiss.' And then M. Maniera again hears the voice in his right ear, saying, this time, 'Ha, ha! Julie wouldn't mind ac- cording a kiss to Isidore!' Then he turns round again, but, this time, to the left; and what do you think he sees? Isidore, who had taken his lady's hand and was covering it with kisses through the little round place in the glove — like this, gen- tlemen"— rapturously kissing the bit of palm left bare in the middle of her thread gloves. "Then they had a lively time between them! Bang! Bang! M. Maniera, who was big and strong, like you, M. Richard, gave two blows to M. Isidore Saack, who was small and weak like M. Moncharmin, saving his
S6 THE PHANTOM OF THE OPERA
presence. There was a great uproar. People In the house shouted, 'That will do! Stop them! He'll kill him !' Then, at last, M. Isidore Saack managed to run away."
"Then the ghost had not broken his leg?" asked M. Moncharmin, a httle vexed that his figure had made so little impression on Mame Giry."
"He did break it for him, sir," replied Mame Giry haughtily. "He broke it for him on the grand stair- case, which he ran down too fast, sir, and it will be long before the poor gentleman will be able to go up it again!"
"Did the ghost tell you what he said in M. Maniera's right ear?" asked M. Moncharmin, with a gravity which he thought exceedingly humorous.
"No, sir, it was M. Maniera himself. So "
"But you have spoken to the ghost, my good lady?"
"As Fm speaking to you now, my good sir!" Mame Giry replied.
"And, when the ghost speaks to you, what does he say?"
"Well, he tells me to bring him a footstool!"
This time, Richard burst out laughing, as did Moncharmin and Remy, the secretary. Only the in- spector, warned by experience, was careful not to laugh, while Mame Giry ventured to adopt an atti- tude that was positively threatening.
"Instead of laughing," she cried Indignantly, "you'd do better to do as M. Poligny did, who found out for himself."
BOX FIVE 57
"Found out about what?" asked Moncharmin, who had never been so much amused in his life.
"About the ghost, of course! . . . Look here . . ."
She suddenly calmed herself, feeling that this was a solemn moment in her life :
"Look here'' she repeated. "They were playing La Juive. M. Poligny thought he would watch the performance from the ghost's box. . . . Well, when Leopold cries, 'Let us fly!' — you know — and Eleazer stops them and says, 'Whither go ye?' . . well, M. Poligny — I was watching him from the back of the next box, which was empty — M. Poligny got up and walked out quite stiffly, like a statue, and before I had time to ask him, 'Whither go ye?' like Eleazer, he was down the staircase, but without breaking his leg. . . ."
"Still, that doesn't let us know how the Opera ghost came to ask you for a footstool," Insisted M. Moncharmin.
"Well, from that evening, no one tried to take the ghost's private box from him. The manager gave orders that he was to have It at each perfor- mance. And, whenever he came, he asked me for a footstool."
"Tut, tut ! A ghost asking for a footstool ! Then this ghost of yours is a woman?"
"No, the ghost is a man."
"How do you know?"
"He has a man's voice, oh, such a lovely man's voice! This is what happens: When he comes to
'58 THE PHANTOM OF THE OPERA
the opera, it's usually in the middle of the first act. He gives three little taps on the door of Box Five. The first time I heard those three taps, when I knew there was no one in the box, you can think how puz- zled I was! I opened the door, listened, looked; no- body! And then I heard a voice say, *Mame Jules' — my poor husband's name was Jules — 'a footstool, please.' Saving your presence, gentlemen, it made me feel all-overish like. But the voice went on, 'Don't be frightened, Mame Jules, I'm the Opera ghost!' And the voice was so soft and kind that I hardly felt frightened. The voice was sitting in the corner chair, on the right, in the front row."
"Was there any one in the box on the right of Box Five?" asked Moncharmin.
"No; Box Seven, and Box Three, the one on the left, were both empty. The curtain had only just gone up."
"And what did you do?"
"Well, I brought the footstool. Of course, it wasn't for himself he wanted it, but for his lady! But I never heard her nor saw her."
"Eh? What? So now the ghost is married!" The eyes of the two managers traveled from Mame Giry to the inspector, who, standing behind the box- keeper, was waving his arms to attract their atten- tion. He tapped his forehead with a distressful forefinger, to convey his opinion that the widow Jules Giry was most certainly mad, a piece of pantomime which confirmed M. Richard in his determination to get rid of an inspector who kept a lunatic in his serv-
BOX FIVE 59
ice. Meanwhile, the worthy lady went on about her ghost, now painting his generosity:
"At the end of the performance, he always gives me two francs, sometimes five, sometimes even ten, when he has been many days without coming. Only, since people have begun to annoy him again, he gives me nothing at all. . . ."
"Excuse me, my good woman," said Moncharmin, while Mame Giry tossed the feathers in her dingy hat at this persistent familiarity, "excuse me, how does the ghost manage to give you your two f rants?'*
"Why, he leaves them on the little shelf in the box, of course. I find them with the program, which I always give him. Some evenings, I find flowers in the box, a rose that must have dropped from his lady's bodice . . . for he brings a lady with him sometimes ; one day, they left a fan behind them."
"Oh, the ghost left a fan, did he? And what did you do with it?"
"Well, I brought it back to the box next night."
Here the inspector's voice was raised.
"You've broken the rules; I shall have to fine you, Mame Giry."
"Hold your tongue, you fool !" muttered M. Fir- min Richard.
"You brought back the fan. And then?"
"Well, then, they took it away with them, sir; it was not there at the end of the performance; and in its place they left me a box of English sweets, which I'm very fond of. That's one of the ghost's pretty thoughts."
6o THE PHANTOM OF THE OPERA
"That will do, Mame Giry. You can go." When Mame GIry had bowed herself out, with the dignity that never deserted her, the manager told the inspector that they had decided to dispense with that old madwoman's services; and, when he had gone in his turn, they instructed the acting-manager to make up the inspector's accounts. Left alone, the managers told each other of the idea which they both had in mind, which was that they should look into that little matter of Box Five themselves.
CHAPTER V
THE ENCHANTED VIOLIN
CHRISTINE DAAE, owing to Intrigues to vv'hich I will return later, did not Immediately continue her triumph at the Opera. After the famous gala night, she sang once at the Duchess de Zurich's; but this was the last occasion on which she was heard in private. She refused, without plausible excuse, to appear at a charity concert to which she had promised her assistance. She acted throughout as though she were no longer the mistress of her own destiny and as though she feared a fresh triumph.
She knew that the Comte de Chagny, to please his brother, had done his best on her behalf with M. Richard; and she wrote to thank him and also to ask him to cease speaking In her favor. Her reason for this curious attitude was never known. Some pretended that it was due to overweening pride; others spoke of her heavenly modesty. But people on the stage are not so modest as all that; and I think that I shall not be far from the truth If I ascribe her action simply to fear. Yes, I believe that Chris- tine Daae was frightened by what had happened to her. I have a letter of Christine's (it forms part of the Persian's collection), relating to this period, which suggests a feeling of absolute dismay: 6i
62 THE PHANTOM OF THE OPERA
"I don't know myself when I sing," writes the poor child.
She showed herself nowhere; and the Vicomte de Chagny tried in vain to meet her. He wrote to her, asking to call upon her, but despaired of receiving a reply when, one morning, she sent him the follow- ing note :
Monsieur:
I have not forgotten the little boy who went into the sea to rescue my scarf. I feel that I must write to you to-day, when I am going to Perros, in fulfil- ment of a sacred duty. To-morrow is the anniversary of the death of my poor father, whom you knew and who was very fond of you. He is buried there, with his violin, in the graveyard of the little church, at the bottom of the slope where we used to play as children, beside the road where, when we were a little bigger, we said good-by for the last time.
The Vicomte de Chagny hurriedly consulted a rail- way guide, dressed as quickly as he could, wrote a few lines for his valet to take to his brother and jumped into a cab which brought him to the Gare Montparnasse just in time to miss the morning train. He spent a dismal day in town and did not recover his spirits until the evening, when he was seated in his compartment in the Brittany express. He read Christine's note over and over again, smelling its perfume, recalling the sweet pictures of his childhood, and spent the rest of that tedious night journey in feverish dreams that began and ended with Chris- tine Daae. Day was breaking when he alighted at
THE ENCHANTED VIOEIN 63
Lannion. He hurried to the diligence for Perros- Guirec. He was the only passenger. He questioned the driver and learned that, on the evening of the previous day, a young lady who looked like a Paris- ian had gone to Perros and put up at the inn known as the Setting Sun.
The nearer he drew to her, the more fondly he remembered the story of the little Sv/edish singer. Most of the details are still unknown to the public.
There was once, in a little market-town not far from Upsala, a peasant who lived there with his fam- ily, digging the earth during the week and singing in the choir on Sundays. This peasant had a little daughter to whom he taught the musical alphabet before she knew how to read. Daae's father was a great musician, perhaps without knowing it. Not a fiddler throughout the length and breadth of Scan- dinavia played as he did. His reputation was wide- spread and he was always invited to set the couples dancing at weddings and other festivals. His wife died when Christine was entering upon her sixth year. Then the father, who cared only for his daugh- ter and his music, sold his patch of ground and went to Upsala in search of fame and fortune. He found < nothing but povert}\
He returned to the country, wandering from fair to fair, strumming his Scandinavian melodies, while his child, who never left his side, listened to him in esctasy or sang to his playing. One day, at Ljimby Fair, Professor Valerius heard them and took them to Gothenburg. He maintained that the father was
64 THE PHANTOM OF THE OPERA
the first violinist in the world and that the daughter had the making of a great artist. Her education and instruction were provided for. She made rapid progress and charmed everybody with her prettiness, her grace of manner and her genuine eagerness to please.
When Valerius and his wife went to settle in. France, they took Daae and Christine with them. "Mamma" Valerius treated Christine as her daugh- ter. As for Daae, he began to pine away with home- sickness. He never went out of doors in Paris, but lived in a sort of dream which he kept up with his violin. For hours at a time, he remained locked up in his bedroom with his daughter, fiddling and sing- ing, very, very softly. Sometimes Mamma Valerius would come and listen behind the door, wipe away a tear and go down-stairs again on tiptoe, sighing for her Scandinavian skies.
Daae seemed not to recover his strength until the summer, when the whole family went to stay at Perros-Guirec, in a far-away corner of Brittany, where the sea was of the same color as in his own country. Often he would play his saddest tunes on the beach and pretend that the sea stopped its roar- ing to listen to them. And then he induced Mamma Valerius to indulge a queer whim of his. At the time of the "pardons," or Breton pilgrimages, the village festival and dances, he went off with his fiddle, as in the old days, and was allowed to take his daughter with him for a week. They gave the smallest ham- lets music to last them for a year and slept at night
THE ENCHANTED VIOLIN 65
in a barn, refusing a bed at the inn, lying close to- gether on the straw, as when they were so poor in Sweden. At the same time, they were very neatly dressed, made no collection, refused the halfpence offered them ; and the people around could not under- stand the conduct of this rustic fiddler, who tramped the roads with that pretty child who sang like an angel from Heaven. They followed them from vil- lage to village.
One day, a little boy, who was out with his gov- erness, made her take a longer walk than he intended, for he could not tear himself from the little girl whose pure, sweet voice seemed to bind him to her. They came to the shore of an inlet which is still called Trestraou, but which now, I believe, harbors a casino or something of the sort. At that time, there was nothing but sky and sea and a stretch of golden beach. Only, there was also a high wind, which blew Christine's scarf out to sea. Christine gave a cry and put out her arms, but the scarf was already far on the waves. Then she heard a voice say:
"It's all right, I'll go and fetch your scarf out of the sea."
And she saw a little boy running fast, in spite of the outcries and the indignant protests of a worthy lady in black. The little boy ran into the sea, dressed as he was, and brought her back her scarf. Boy and scarf were both soaked through. The lady in black made a great fuss, but Christine laughed merrily and kissed the little boy, who was none other
66 THE PHANTOM OF THE OPERA
than the Vicomte Raoul de Chagny, staying at Lan- nion with his aunt.
During the season, they saw each other and played together almost every day. At the aunt's request, seconded by Professor Valerius, Daae consented to give the young viscount some violin lessons. In this way, Raoul learned to love the same airs that had charmed Christine's childhood. They also both had the same calm and dreamy little cast of mind. They delighted in stories, In old Breton legends; and their favorite sport was to go and ask for them at the cottage-doors, like beggars :
"Ma'am . . ." or, "Kind gentleman . . . have you a little story to tell us, please?"
And it seldom happened that they did not have one "given" them; for nearly every old Breton grandamc has, at least once in her life, seen the "korrlgans" dance by moonlight on the heather.
But their great treat was, in the twilight, in the great silence of the evening, after the sun had set in the sea, when Daae came and sat down by them on the roadside and, in a low voice, as though fearing lest he should frighten the ghosts whom he evoked, told them the legends of the land of the North. And, the moment he stopped, the children would ask for more.
There was one story that began :
"A king sat in a little boat on one of those deep, still lakes that open like a bright eye in the midst of the Norwegian mountains . . ."
And another:
THE ENCHANTED VIOLIN 67
"Little Lotte thought of everything and nothing. Her hair was golden as the sun's rays and her soul as clear and blue as her eyes. She wheedled her mother, was kind to her doll, took great care of her frock and her little red shoes and her fiddle, but most of all loved, when she went to sleep, to hear the Angel of Music."
While the old man told this story, Raoul looked at Christine's blue eyes and golden hair; and Chris- tine thought that Lotte was very lucky to hear the Angel of Music when she went to sleep. The Angel of Music played a part in all Daddy Daae's tales; and he maintained that every great musician, every great artist received a visit from the Angel at least once in his life. Sometimes the Angel leans over their cradle, as happened to Lotte, and that is how there are little prodigies who play the fiddle at six better than men at fifty, which, you must admit, is very wonderful. Sometimes, the Angel comes much later, because the children are naughty and won't learn their lessons or practise their scales. And, sometimes, he does not come at all, because the children have a bad heart or a bad conscience.
No one ever sees the Angel; but he is heard by those who are meant to hear him. He often comes when they least expect him, when they are sad and disheartened. Then their ears suddenly perceive celestial harmonies, a divine voice, which they remem- ber all their lives. Persons who are visited by the Angel quiver with a thrill unknown to the rest of mankind. And they can not touch an instrument, or
68 THE PHANTOM OF THE OPERA
open their mouths to sing, without producing sounds that put all other human sounds to shame. Then people who do not know that the Angel has visited those persons say that they have genius.
Little Christine asked her father if he had heard the Angel of Music. But Daddy Daae shook his head sadly; and then his eyes lit up, as he said:
"You will hear him one day, my child! When I am in Heaven, I will send him to you !"
Daddy was beginning to cough at that time.
Three years later, Raoul and Christine met again at Perros. Professor Valerius was dead, but his widow remained in France with Daddy Daae and his daughter, who continued to play the violin and sing, wrapping in their dream of harmony their kind patroness, who seemed henceforth to live on music alone. The young man, as he now was, had come to Perros on the chance of finding them and went straight to the house in which they used to stay. He first saw the old man; and then Christine entered, carrying the tea-tray. She flushed at the sight of Raoul, who went up to her and kissed her. She asked him a few questions, performed her duties as hostess prettily, took up the tray again and left the room. Then she ran into the garden and took refuge* on a bench, a prey to feelings that stirred her young heart for the first time. Raoul followed her and they talked till the evening, very shyly. They were quite changed, cautious as two diplomatists, and told each other things that had nothing to do with their budding sentiments. When they took leave of each
THE ENCHANTED VIOLIN 69
other by the roadside, Raoul, pressing a kiss on Christine's trembling hand, said:
"Mademoiselle, I shall never forget you !"
And he went away regretting his words, for he knew that Christine could not be the wife of the VIcomte de Chagny.
As for Christine, she tried not to think of him and devoted herself wholly to her art. She made won- derful progress and those who heard her prophesied that she would be the greatest singer in the world. Meanwhile, the father died; and, suddenly, she seemed to have lost, with him, her voice, her soul and her genius. She retained just, but only just, enough of this to enter the conservatoire, where she did not distinguish herself at all, attending the classes without enthusiasm and taking a prize only to please old Mamma Valerius, with whom she continued to live.
The first time that Raoul saw Christine at the Opera, he was charmed by the girl's beauty and by the sweet Images of the past which it evoked, but was rather surprised at the negative side of her art. He returned to listen to her. He followed her in the wings. He waited for her behind a Jacob's ladder. He tried to attract her attention. More than once, he walked after her to the door of her box, but she did not see him. She seemed, for that matter, to see nobody. She was all Indifference. Raoul suf- fered, for she was very beautiful and he was shy and dared not confess his love, even to himself. And then came the lightning-flash of the gala performance:
70 THE PHANTOM OF THE OPERA
the heavens torn asunder and an angel's voice heard upon earth for the delight of mankind and the utter capture of his heart.
And then . . . and then there was that man's voice behind the door — "You must love me!" — and no one in the room. . . .
Why did she laugh when he reminded her of the Incident of the scarf? Why did she not recognize him? And why had she written to him? . . .
Perros was reached at last. Raoul walked Into the smoky sitting-room of the Setting Sun and at once saw Christine standing before him, smiling and show- ing no astonishment.
*'So you have come," she said. "I felt that I should find you here, when I came back from mass. Some one told me so, at the church."
"Who?" asked Raoul, taking her little hand in his.
"Why, my poor father, who is dead."
There was a silence ; and then Raoul asked :
"Did your father tell you that I love you, Chris- tine, and that I can not live without you?"
Christine blushed to the eyes and turned away her head. In a trembling voice, she said :
"Me? You are dreaming, my friend!"
And she burst out laughing, to put herself in coun- tenance.
"Don't laugh, Christine; I am quite serious," Raoul answered.
And she replied gravely: "I did not make you come to tell me such things as that,"
"You 'made me come,' Christine; you knew that
THE ENCHANTED VIOLIN 71
your letter would not leave me indignant and that I should hasten to Perros. How can you have thought that, if you did not think I loved you?"
"I thought you would remember our games here, as children, in which my father so often joined. I really don't know what I thought. . . . Per- haps I was wrong to write to you. . . . This anniversary and your sudden appearance in my room at the Opera, the other evening, reminded me of the time long past and made me write to you as the little girl that I then was. . . ."
There was something in Christine's attitude that seemed to Raoul not natural. He did not feel any hostility in her; far from it: the distressed affection shining in her eyes told him that. But why was this affection distressed? That was what he wished to know and what was irritating him,
"When you saw me in your dressing-room, was that the first time you noticed me, Christine?"
She was incapable of lying.
"No," she said, "I had seen you several times in your brother's box. And also on the stage."
"I thought so!" said Raoul, compressing his lips. "But then why, when you saw me in your room, at your feet, reminding you that I had rescued your scarf from the sea, why did you answer as though you did not know me and also why did you laugh?"
The tone of these questions was so rough that Christine stared at Raoul without replying. The young man himself was aghast at the sudden quarrel which he had dared to raise at the very moment when
72 THE PHANTOM OF THE OPERA
he had resolved to speak words of gentleness, love and submission to Christine. A husband, a lover with all rights, would talk no differently to a wife, a mis- tress who had offended him. But he had gone too far and saw no other way out of the ridiculous posi- tion than to behave odiously.
"You don't answer!" he said angrily and unhap- pily. "Well, I will answer for you. It was because there was some one in the room who was in your way, Christine, some one that you did not wish to know that you could be interested in any one else !"
"If any one was in my way, my friend," Christine broke in coldly, "if any one was in my way, that even- ing, it was yourself, since I told you to leave the room 1"
"Yes, so that you might remain with the other!"
"What are you saying, monsieur?" asked the girl excitedly. "And to what other do you refer?"
"To the man to whom you said, 'I sing only for you! . . . to-night I gave you my soul and I am dead!'"
Christine seized Raoul's arm and clutched it with a strength which no one would have suspected in so frail a creature.
"Then you were listening behind the door?"
"Yes, because I love you . . . And I heard everything. . . ."
"You heard what?"
And the young girl, becoming strangely calm, re- leased Raoul's arm.
"He said to you, 'Christine, you must love me I* "
THE ENCHANTED VIOLIN 73
At these words, a deathly pallor spread over Chris- tine's face, dark rings formed round her eyes, she staggered and seemed on the point of swooning. Raoul darted forward, with arms outstretched, but Christine had overcome her passing faintness and said, in a low voice:
"Go on ! Go on ! Tell me all you heard !"
At an utter loss to understand, Raoul answered: "I heard him reply, when you said you had given him your soul, 'Your soul is a beautiful thing, child, and I thank you. No emperor ever received so fair a gift. The angels wept to-night.' "
Christine carried her hand to her heart, a prey to indescribable emotion. Her eyes stared before her like a madwoman's. Raoul was terror-stricken. But suddenly Christine's eyes moistened and two great tears trickled, like two pearls, down her ivory cheeks.
"Christine!"
"Raoul!"
The young man tried to take her in his arms, but she escaped and fled in great disorder.
While Christine remained locked in her room, Raoul was at his wit's end what to do. He refused to breakfast. He was terribly concerned and bitterly grieved to see the hours, which he had hoped to find so sweet, slip past without the presence of the young Swedish girl. Why did she not come to roam with him through the country where they had so many memories in common? He heard that she had had a mass said, that morning, for the repose of her father's soul and spent a long time praying in the
74 THE PHANTOM OF THE OPERA
little church and on the fiddler's tomb. Then, as she seemed to have nothing more to do at Perros and, in fact, was doing nothing there, why did she not go back to Paris at once?
Raoul walked away, dejectedly, to the graveyard in which the church stood and was indeed alone among the tombs, reading the inscriptions ; but, when he turned behind the apse, he was suddenly struck by the dazzling note of the flowers that straggled over the white ground. They were marvelous red roses that had blossomed in the morning, in the snow, giving a glimpse of life among the dead, for death was all around him. It also, like the flowers, issued from the ground, which had flung back a number of its corpses. Skeletons and skulls by the hundred were heaped against the wall of the church, held in posi- tion by a wire that left the whole gruesome stack visible. Dead men's bones, arranged in rows, like bricks, to form the first course upon which the walls of the sacristy had been built. The door of the sacristy opened in the middle of that bony structure, as is often seen in old Breton churches.
Raoul said a prayer for Daae and then, painfully impressed by all those eternal smiles on the mouths of skulls, he climbed the slope and sat down on the edge of the heath overlooking the sea. The wind fell with the evening. Raoul was surrounded by icy darkness, but he did not feel the cold. It was here, he remembered, that he used to come with little Chris- tine to see the Korrigans dance at the rising of the moon. He had never seen any, though his eyes were
THE ENCHANTED VIOLIN 75
good, whereas Christine, who was a little short- sighted, pretended that she had seen many. He smiled at the thought and then suddenly gave a start. A voice behind him said:
"Do you think the Korrigans will come this even- ing?"
It was Christine. He tried to speak. She put her gloved hand on his mouth.
"Listen, Raoul. I have decided to tell you some- thing, serious, very serious. . . . Do you remem- ber the legend of the Angel of Music?"
"I do indeed," he said. "I believe it was here that your father first told it to us."
"And it was here that he said, 'When I am in Heaven, my child, I will send him to you.' Well, Raoul, my father is in Heaven, and I have been visited by the Angel of Music."
"I have no doubt of it," replied the young man gravely, for it seemed to him that his friend, in obedi- ence to a pious thought, was connecting the memory of her father with the brilliancy of her last triumph.
Christine appeared astonished at the Vicomte de Chagny's coolness:
"How do you understand it?" she asked, bring- ing her pale face so close to his that he might ha-ve thought that Christine was going to give him a kiss; but she only wanted to read his eyes in spite of the dark.
"I understand," he said, "that no human being can sing as you sang the other evening without the intervention of some miracle. No professor on earth
76 THE PHANTOM OF THE OPERA
can teach you such accents as those. You have heard the Angel of Music, Christine."
"Yes," she said solemnly, "in my dressing-room. That is where he comes to give me my lessons dally."
"In your dressing-room?" he echoed stupidly.
"Yes, that Is where I have heard him; and I have not been the only one to hear him."
"Who else heard him, Christine?"
"You, my friend."
"I ? I heard the Angel of Music ?"
"Yes, the other evening. It was he who was talk- ing when you were listening behind the door. It was he who said, 'You must love me.' But I then thought that I was the only one to hear his voice. Imagine my astonishment when you told me, this morning, that you could hear him too."
Raoul burst out laughing. The first rays of the moon came and shrouded the two young people in their light. Christine turned on Raoul with a hostile air. Her eyes, usually so gentle, flashed fire.
"What are you laughing at? You think you heard a man's voice, I suppose?"
"Well! . . ." replied the young man, whose ideas began to grow confused In the face of Chris- tine's determined attitude.
"It's you, Raoul, who say that? You, an old play- fellow of my own! A friend of my father's! But you have changed since those days. What are you thinking of? I am an honest girl, M. le Vicomte de Chagny, and I don't lock myself up in my dressing- room with men's voices. If you had opened the door,
THE ENCHANTED VIOLIN 77
you would have seen that there was nobody in the room !"
"That's true ! I did open the door, when you were gone, and I found no one in the room."
"So you see! . . . Well?"
The viscount summoned up all his courage.
"Well, Christine, I think that somebody is making game of you."
She gave a cry and ran away. He ran after her, but, in a tone of fierce anger, she called out: "Leave me! Leave me 1" And she disappeared.
Raoul returned to the inn feeling very weary, very low-spirited and very sad. He was told that Chris- tine had gone to her bedroom saying that she would not be down to dinner. Raoul dined alone, in a very gloomy mood. Then he went to his room and tried to read, went to bed and tried to sleep. There was no sound in the next room.
The hours passed slowly. It was about half-past eleven when he distinctly heard some one moving, with a light, stealthy step, in the room next to his. Then Christine had not gone to bed ! Without trou- bhng for a reason, Raoul dressed, taking care not to make a sound, and waited. Waited for what? How could he tell? But his heart thumped in his chest when he heard Christine's door turn slowly on its hinges. Where could she be going, at this hour, when every one was fast asleep at Perros ? Softly opening the door, he saw Christine's white form, in the moon- light, slipping along the passage. She went down the stairs and he leaned over the baluster above her.
78 THE PHANTOM OF THE OPERA
Suddenly he heard two voices in rapid conversation. He caught one sentence: "Don't lose the key."
It was the landlady's voice. The door facing the sea was opened and locked again. Then all was still.
Raoul ran back to his room and threw back the window. Christine's white form stood on the de- serted quay.
The first floor of the Setting Sun was at no great height and a tree growing against the wall held out its branches to Raoul's impatient arms and enabled him to climb down unknown to the landlady. Her amazement, therefore, was all the greater when, the next morning, the young man was brought back to her half frozen, more dead than alive, and when she learned that he had been found stretched at full length on the steps of the high altar of the little church. She ran at once to tell Christine, who hurried down and, with the help of the landlady, did her best to revive him. He soon opened his eyes and was not long in recovering when he saw his friend's charm- ing face leaning over him.
A few weeks later, when the tragedy at the Opera compelled the Intervention of the public prosecutor, M, Mifroid, the commissary of police, examined the Vicomte de Chagny touching the events of the night at Perros. I quote the questions and answers as given in the official report pp. i^o et seq.:
Q. "Did Mile. Daae not see you come down from your room by the curious road which you selected?"
THE ENCHANTED VIOLIN 79
R. "No, monsieur, no, although, when walking behind her, I took no pains to deaden the sound of my footsteps. In fact, I was anxious that she should turn round and see me. I realized that I had no excuse for following her and that this way of spying on her was unworthy of me. But she seemed not to hear me and acted exactly as though I were not there. She quietly left the quay and then suddenly v/alked quickly up the road. The church-clock had struck a quarter to twelve and I thought that this must have made her hurry, for she began almost to run and continued hastening until she came to the church."
Q. "Was the gate open?"
R. "Yes, monsieur, and this surprised me, but did not seem to surprise Mile. Daae."
Q. "Was there no one in the churchyard?"
R. "I did not see any one ; and, if there had been, I must have seen him. The moon was shining on the snow and made the night quite hght."
Q. "Was it possible for any one to hide behind the tombstones?"
R. "No, monsieur. They were quite small, poor tombstones, partly hidden under the snow, with their crosses just above the level of the ground. The only shadows were those of the crosses and ourselves. The church stood out quite brightly. I never saw so clear a night. It was very fine and very cold and one could see everything."
Q. "Are you at all superstitious?"
R. "No, monsieur, I am a practising Catholic.'*
Q. "In what condition of mind were you?"
So THE PHANTOM OF THE OPERA
R. "Very healthy and peaceful, I assure you. Mile. Daae's curious action in going out at that hour had worried me at first; but, as soon as I saw her go to the churchyard, I thought that she meant to fulfil some pious duty on her father's grave and I con- sidered this so natural that I recovered all my calm- ness. I was only surprised that she had not heard me walking behind her, for my footsteps were quite audible on the hard snow. But she must have been taken up with her intentions and I resolved not to disturb her. She knelt down by her father's grave, made the sign of the cross and began to pray. At that moment, it struck midnight. At the last stroke, I saw Mile. Daae life her eyes to the sky and stretch out her arms as though in ecstasy. I was wondering what the reason could be, when I myself raised my head and everything within me seemed drawn toward the invisible, zvhich was playing the most perfect music! Christine and I knew that music; we had heard it as children. But it had never been executed with such divine art, even by M. Daae. I remem- bered all that Christine had told me of the Angel of Music. The air was The Resurrection of Lazarus, which old M. Daae used to play to us in his hours of melancholy and of faith. If Christine's Angel had existed, he could not have played better, that night, on the late musician's violin. When the music stopped, I seemed to hear a noise from the skulls In the heap of bones; it was as though they were chuck- ling and I could not help shuddering."
THE ENCHANTED VIOLIN 8i
Q. "Did it not occur to you that the musician might be hiding behind that very heap of bones?"
R. "It was the one thought that did occur to me, monsieur, so much so that I omitted to follow Mile. Daae, when she stood up and walked slowly to the gate. She was so much absorbed just then that I am not surprised that she did not see me."
Q. "Then what happened that you were found in the morning lying half-dead on the steps of the high altar?"
R. "First a skull rolled to my feet . . . then another . . . then another . ,. . It was as if I were the mark of that ghastly game of bowls. And I had an idea that false step must have destroyed the balance of the structure behind which our musi- cian was concealed. This surmise seemed to be con- firmed when I saw a shadow suddenly glide along the sacristy wall. I ran up. The shadow had al- ready pushed open the door and entered the church. But I was quicker than the shadow and caught hold of a; corner of its cloak. At that moment, we were just in front of the high altar; and the moonbeams fell straight upon us through the stained-glass win- dows of the apse. As I did not let go of the cloak, the shadow turned round ; and I saw a terrible death's head, which darted a look at me from a pair of scorching eyes. I felt as if I were face to face with Satan ; and, in the presence of this unearthly appari- tion, my heart gave way, my courage failed me and I remember nothing more until I re- covered consciousness at the Setting Sun."
CHAPTER VI
A VISIT TO BOX FIVE
WE left M. Firmin Richard and M. Armand Moncharmin at the moment when they were deciding "to look into that little matter of Box Five." Leaving behind them the broad staircase which leads from the lobby outside the managers' offices to the stage and its dependencies, they crossed the stage, went out by the subscribers' door and entered the house through the first Httle passage on the left. Then they made their way through the front rows of stalls and looked at Box Five on the grand tier. They could not see It well, because it was half in darkness and because great covers were flung over the red velvet of the ledges of all the boxes.
They were almost alone in the huge, gloomy house; and a great silence surrounded them. It was the time when most of the stage-hands go out for a drink. The staff had left the boards for the moment, leaving a scene half set. A few rays of light, a wan, sinister light, that seemed to have been stolen from an expir- ing luminary, fell through some opening or other upon an old tower that raised Its pasteboard battle- ments on the stage ; everything. In this deceptive light, adopted a fantastic shape. In the orchestra stalls, the drugget covering them looked like an angry sea, whose glaucous waves had been suddenly rendered 82
A VISIT TO BOX FIVE 83
stationary by a secret order from the storm phantom, who, as everybody knows, is called Adamastor. MM. Moncharmin and Richard were the shipwreck- ed mariners amid this motionless turmoil of a calico sea. They made for the left boxes, plowing their way like sailors who leave their ship and try to strug- gle to the shore. The eight great polished columns stood up In the dusk like so many huge piles support- ing the threatening, crumbling, big-bellied cliffs whose layers were represented by the circular, parallel, wav- ing lines of the balconies of the grand, first and second tiers of boxes. At the top, right on top of the cliff, lost in M. Lenepveu's copper ceiling, figures grinned and grimaced, laughed and jeered at MM. Richard and Moncharmin's distress. And yet these figures were usually very serious. Their names were Isis, Amphitrite, Hebe, Pandora, Psyche, Thetis, Pomona, Daphne, Clytie, Galatea and Arethusa. Yes, Areth- usa herself and Pandora, whom we all know by her box, looked down upon the two new managers of the Opera, who ended by clutching at some piece of wreckage and from there stared silently at Box Five on the grand tier,
I have said that they were distressed. At least, I presume so. M. Moncharmin, in any case, admits that he was impressed. To quote his own words, in his Memoirs:
"This moonshine about the Opera ghost in which, since we first took over the duties of MM. Poligny and Debienne, we had been so nicely steeped" — Moncharmin's style is not always irreproachable —
84 THE PHANTOM OF THE OPERA
*'had no doubt ended by blinding my imaginative and also my visual faculties. It may be that the excep- tional surroundings in which we found ourselves, in the midst of an incredible silence, impressed us to an unusual extent. It may be that we were the sport of a kind of hallucination brought about by the semi- darkness of the theater and the partial gloom that filled Box Five. At any rate, I saw and Richard also saw a shape in the box. Richard said nothing, nor I either. But we spontaneously seized each other's hand. We stood like that for some minutes, without moving, with our eyes fixed on the same point; but the figure had disappeared. Then we went out and, in the lobby, communicated our impressions to each other and talked about 'the shape.' The mis- fortune was that my shape was not in the least like Richard's. I had seen a thing like a death's head resting on the ledge of the box, whereas Richard saw the shape of an old woman who looked like Mame Giry. We soon discovered that we had really been the victims of an illusion, whereupon, without further delay and laughing like madmen, we ran to Box Five on the grand tier, went inside and found no shape of any kind."
Box Five Is just like all the other grand tier boxes. There is nothing to distinguish it from any of the ' others. M. Moncharmin and M. Richard, ostensi- bly highly amused and laughing at each other, moved the furniture of the box, lifted the cloths and the chairs and particularly examined the arm-chair in which "the man's voice" used to sit. But they saw that it was a respectable arm-chair, with no magic about it. Altogether, the box was the most ordinary box in the world, with its red hangings, its chairs,
A VISIT TO BOX FIVE 85
its carpet and its ledge covered in red velvet. After feeling the carpet in the most serious manner possi- ble, and discovering nothing more here or anywhere else, they went down to the corresponding box on the pit tier below. In Box Five on the pit tier, which is , just inside the first exit from the stalls on the left, they found nothing worth mentioning either.
"Those people are all making fools of us !" Firmin Richard ended by exclaiming. "It will be Faust on Saturday: let us both see the performance from Box Five on the grand tier!"
CHAPTER VII
FAUST AND WHAT FOLLOWED
ON the Saturday morning, on reaching their office, the joint managers found a letter from O. G. worded in these terms:
My Dear Managers:
So it is to be war between us?
If you still care for peace, here is my ultimatum. It consists of the four following conditions:
1. You must give me back my private box; and I wish it to be at my free disposal from henceforward.
2. The part of Margarita shall be sung this even- ing by Christine Daae. Never mind about Carlotta; she will be ill.
3. I absolutely insist upon the good and loyal ser- vices of Mme. Giry, my box-keeper, whom you will reinstate In her functions forthwith.
4. Let me know by a letter handed to Mme. Giry, who will see that it reaches me, that you ac- cept, as your predecessors did, the conditions in my memorandum-book relating to my monthly allowance. I will inform you later how you are to pay it to me.
If you refuse, you will give Faust to-night in a house with a curse upon it.
Take my advice and be warned in time.
O. G.
"Look here, I'm getting sick of him, sick of him !'* shouted Richard, bringing his fists down on his office- table.
86
FAUST AND WHAT FOLLOWED 87
Just then, Mercier, the acting-manager, entered.
"Lachenel would like to see one of you gentlemen," he said. "He says that his business is urgent and he seems quite upset."
"Who's Lachenel?" asked Richard.
"He's your stud-groom."
"What do you mean ? My stud-groom ?"
"Yes, sir," explained Mercier, "there are several grooms at the Opera and M. Lachenel is at the head of them."
"And what does this groom do?"
"He has the chief management of the stable."
"What stable?"
"Why, yours, sir, the stable of the Opera."
"Is there a stable at the c)pera .f' Upon my word, I didn't krioi^'. Where is it?"
"In the cellars, on the Rotunda side. It's a very important department; we have twelve horses."
"Twelve horses! And what for, in Heaven's name?"
"Why, we want trained horses for the processions In the Juive, the Prof eta and so on; horses 'used to the boards.' It is the grooms' business to teach them. M. Lachenel is very clever at it. He used to manage Franconi's stables."
"Very well . . . but what does he want?"
"I don't know; I never saw him in such a state."
"He can come in."
M. Lachenel came in, carrying a riding-whip, with which he struck his right boot in an Irritable manner.
"Good morning, M. Lachenel," said Richard,
88 THE PHANTOM OF THE OPERA
somewhat impressed. "To what do we owe the honor of your visit?"
"Mr. Manager, I have come to ask you to get rid of the whole stable."
"What, you want to get rid of our horses?"
"Fm not talking of the horses, but of the stable-/ men."
"How many stablemen have you, M. Lachenel?"
"Six."
"Six stablemen ! That's at least two too many."
"These are 'places,' " Mercier interposed, "created and forced upon us by the under-secretary for fine arts. They are filled by protegees of the government and, if I may venture to . . ."
"I doTi't are a hang iOr the gov*i .,nentV' roai^j Richard. "We don't need more than four stablemen for twelve horses."
"Eleven," said the head riding-master, correcting him.
"Twelve," repeated Richard.
"Eleven," repeated Lachenel.
"Oh, the acting-manager told me that you had twelve horses !"
"I did have twelve, but I have only eleven since Cesar was stolen."
And M. Lachenel gave himself a great smack on the boot with his whip.
"Has Cesar been stolen?" cried the acting-man- ager. "Cesar, the white horse in the Prof eta?"
"There are not two Cesars," said the stud-groom dryly. "I was ten years at Franconi's and I have
FAUST AND WHAT FOLLOWED 89
seen plenty of horses in my time. Well, there are not two Cesars. And he's been stolen."
"How?"
"I don't know. Nobody knows. That's why I have come to ask you to sack the whole stable."
"What do your stablemen say?"
"All sorts of nonsense. Some of them accuse the supers. Others pretend that it's the acting-manager's doorkeeper ., ,., ,."
"My doorkeeper? I'll answer for him as I would for myself!" protested Mercier.
"But, after all, M. Lachencl," cried Richard, "you must have some idea,"
"Yes, I have," M. Lachenel declared. "I have an idea and I'll tell you what it is. There's no doubt about it in my mind." He walked up to the two man- agers and whispered. "It's the ghost who did the trick!"
Richard gave a jump.
"What, you too! You too!"
"How do you mean, I too? Isn't it natural, after what I saw?"
"What did you see?"
"I saw, as clearly as I now see you, a black shadow riding a white horse that was as like Cesar as two peas!"
"And did you run after them?"
"I did and I shouted, but they were too fast for me and disappeared in the darkness of the under- ground gallery."
M. Richard rose. "That will do, M. Lachenel.
90 THE PHANTOM OF THE OPERA
You can go. . . ,. We will lodge a complaint against the ghost."
"And sack my stable?"
"Oh, of course I Good morning."
M. Lachenel bowed and withdrew. Richard foamed at the mouth.
"Settle that idiot's account at once, please."
"He is a friend of the government representa- tive's !" Mercier ventured to say. -
"And he takes his vermouth at Tortoni's with Lagrene, Scholl and Pertuiset, the lion-hunter," added Moncharmin. "We shall have the whole press against us! He'll tell the story of the ghost; and everybody will be laughing at our expense ! We may as well be dead as ridiculous!"
"All right, say no more about it."
At that moment the door opened. It must have been deserted by its usual Cerberus, for Mame Giry entered without ceremony, holding a letter in her hand, and said hurriedly:
"I beg your pardon, excuse me, gentlemen, but I had a letter this morning from the Onera ghost. He told me to come to you, that you had something to . . ."
She did not complete the sentence. She saw Firmin Richard's face; and it was a terrible sight. He seemed ready to burst. He said nothing, he could not speak. But suddenly he acted. First, his left arm seized upon the quaint person of Mame Giry and made her describe so unexpected a semicircle that she uttered a despairing cry. Next, his right
FAUST AND WHAT FOLLOWED 91
foot imprinted its sole on the black taffeta of a skirt which certainly had never before undergone a similar outrage in a similar place. The thing happened so quickly that Mame Giry, when in the passage, was still quite bewildered and seemed not to understand. But, suddenly, she understood; and the Opera rang with her indignant yells, her violent protests and threats.
About the same time, Carlotta, who had a small house of her own in the Rue du Faubourg St.- Honore, rang for her maid, who brought her letters to her bed. Among them was an anonymous missive, written in red ink, in a hesitating, clumsy hand, which ran:
If you appear to-night, you must be prepared for a great misfortune at the moment when you open your mouth to sing ... a misfortune worse than death.
The letter took away Carlotta's appetite for break- fast. She pushed back her chocolate, sat up In bed and thought hard. It was not the first letter of the kind which she had received, but she never had one couched in such threatening terms.
She thought herself, at that time, the victim of a thousand jealous attempts and went about saying that she had a secret enemy who had sworn to ruin her. She pretended that a wicked plot was being hatched against her, a cabal which would come to a head one of those days; but she added that she was not the woman to be intimidated.
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The truth Is that, If there was a cabal, It was led by Carlotta herself against poor Christine, who had no suspicion of It. Carlotta had never forgiven Christine for the triumph which she had achieved when taking her place at a moment's notice. When Carlotta heard of the astounding reception bestowed upon her understudy, she was at once cured of an incipient attack of bronchitis and a bad fit of sulking against the management and lost the slightest Inclina- tion to shirk her duties. From that time, she worked with all her might to "smother" her rival, enhsting the services of influential friends to persuade the man- agers not to give Christine an opportunity for a fresh triumph. Certain newspapers which had begun to €xtol the talent of Christine now interested themselves only In the fame of Carlotta. Lastly, in the theater itself, the celebrated, but heartless and soulless diva made the most scandalous remarks about Christine and tried to cause her endless minor unpleasantnesses.
When Carlotta had finished thinking over the threat contained in the strange letter, she got up.
"We shall see," she said, adding a few oaths In her native Spanish with a very determined air.
The first thing she saw, when looking out of her window, was a hearse. She was very superstitious; and the hearse and the letter convinced her that she was running the most serious dangers that evening. She collected all her supporters, told them that she was threatened at that evening's performance with a plot organized by Christine Daae and declared that they must play a trick upon that chit by filling the
FAUST AND WHAT FOLLOWED 93
house with her, Carlotta's, admirers. She had no lack, of them, had she ? She rehed upon them to hold themselves prepared for any eventuality and to silence the adversaries, if, as she feared, they created a dis- turbance.
M. Richard's private secretary called to ask after the diva's health and returned with the assurance that she was perfectly well and that, "were she dying," she would sing the part of Margarita that evening. The secretary urged her, in his chief's name, to commit no imprudence, to stay at home all day and to be careful of drafts; and Carlotta could not help, after he had gone, comparing this unusual and unexpected ad- vice with the threats contained in the letter.
It was five o'clock when the post brought a second anonymous letter in the same hand as the first. It was short and said simply:
You have a bad cold. If you are wise, you will see that it is madness to try to sing to-night.
Carlotta sneered, shrugged her handsome shoulders and sang two or three notes to reassure herself.
Her friends were faithful to their promise. They were all at the Opera that night, but looked round in vain for the fierce conspirators whom they wcre^ instructed to suppress. The only unusual thing was the presence of M. Richard and M. Moncharmin in Box Five. Carlotta's friends thought that, perhaps, the managers had wind, on their side, of the proposed disturbance and that they had determined to be in the house, so as to stop it then and there; but this
94 THE PHANTOM OF THE OPERA
was unjustifiable supposition, as the reader knows. M. Richard and M. Moncharmin were thinking of nothing but their ghost.
"Vain ! In vain do I call, through my vigil weary, On creation and its Lord ! Never reply will break the silence dreary! No sign! No single word!"
The famous baritone, Carolus Fonta, had hardly finished Doctor Faust's first appeal to the powers of darkness, when M. Firmin Richard, who was sitting In the ghost's own chair, the front chair on the right, leaned over to his partner and asked him chaffingly:
"Well, has the ghost whispered a word in your ear yet?"
"Wait, don't be in such a hurry," replied M. Ar- mand Moncharmin, in the same gay tone. "The per- formance has only begun and you know that the ghost does not usually come until the middle of the first act."
The first act passed without Incident, which did not surprise Carlotta's friends, because Margarita does not sing In this act. As for the managers, they looked at each other, when the curtain fell.
"That's one!" said Moncharmin.
"Yes, the ghost Is late," said Firmin Richard.
"It's not a bad house," said Moncharmin, "for *a house with a curse on It.' "
M. Richard smiled and pointed to a fat, rather vulgar woman, dressed in black, sitting In a stall In the middle of the auditorium with a man In a broad- cloth frock-coat on either side of her.
FAUST AND WHAT FOLLOWED 95
"Who on earth are 'those?' " asked Moncharmin.
*' 'Those,' my dear fellow, are my concierge, her husband and her brother."
"Did you give them their tickets?"
"I did. . . My concierge had never been to the Opera — this is the first time — and, as she is now going to come every night, I wanted her to have a good seat, before spending her time showing other people to theirs."
Moncharmin asked what he meant and Richard answered that he had persuaded his concierge, in whom he had the greatest confidence, to come and take Mame Giry's place. Yes, he would like to see if, with that woman instead of the old lunatic, Box Five would continue to astonish the natives?
"By the way," said Moncharmin, "you know that Mother Giry is going to lodge a complaint against you."
"With whom? The ghost?"
The ghost! Moncharmin had almost forgotten him. However, that mysterious person did nothing to bring himself to the memory of the managers; and they were just saying so to each other for the second time, when the door of the box suddenly opened to admit the startled stage-manager.
"What's the matter?" they both asked, amazed at seeing him there at such a time.
"It seems there's a plot got up by Christine Daae*s friends against Carlotta. Carlotta's furious."
"What on earth . . .?" said Richard, knitting his brows.
96 THE PHANTOM OF THE OPERA
But the curtain rose on the kermess scene and Richard made a sign to the stage-manager to go away. When the two were alone again, Moncharmin leaned over to Richard:
"Then Daae has friends?" he asked.
"Yes, she has."
"Whom?"
Richard glanced across at a box on the grand tier containing no one but two men.
"The Comte de Chagny?"
"Yes, he spoke to me in her favor with such warmth that, if I had not known him to be Sorelli's friend . . ."
"Really? Really?" said Moncharmin. "And who is that pale young man beside him?"
"That's his brother, the viscount."
"He ought to be in his bed. He looks ill."
The stage rang with gay song :
"Red or white liquor. Coarse or fine ! What can it matter, So we have wine?"
Students, citizens, soldiers, girls and matrons whirled light-heartedly before the inn with the figure of Bacchus for a sign. Siebel made her entrance. Christine Daae looked charming in her boy's clothes; and Carlotta's partisans expected to hear her greeted with an ovation which would have enlightened them as to the intentions of her friends. But nothing happened.
FAUST AND WHAT FOLLOWED 97
On the other hand, when Margarita crossed the stage and sang the only two hnes allotted her in this second act:
"No, my lord, not a lady am I, nor yet a beauty, And do not need an arm to help me on my way,"
Carlotta was received with enthusiastic applause. It was so unexpected and so uncalled for that those who knew nothing about the rumors looked at one another and asked what was happening. And this act also was finished without incident.
Then everybody said: "Of course, it will be dur- ing the next act."
Some, who seemed to be better informed than the rest, declared that the "row" would begin with the ballad of the King of Thide and rushed to the subscribers' entrance to warn Carlotta. The man- agers left the box during the entr'acte to find out more about the cabal of which the stage-manager had spoken; but they soon returned to their seats, shrug- ging their shoulders and treating the whole affair as silly.
The first thing they saw, on entering the box, was a box of English sweets on the little shelf of the ledge. Who had put it there? They asked the box- keepers, but none of them knew. Then they went back to the shelf and, next to the box of sweets, found an opera glass. They looked at each other. They had no Inclination to laugh. All that Mme. GIry had told them returned to their memory . . . and
98 THE PHANTOM OF THE OPERA
then . . . and then . . . they seemed to feel a curious sort of draft around them. . . .. They sat down in silence.
The scene represented Margarita's garden:
"Gentle flow'rs in the dew, Be message from me ..."
As she sang these first two lines, with her bunch of roses and lilacs in her hand, Christine, raising her head, saw the Vicomte de Chagny in his box; and, from that moment, her voice seemed less sure, less crystal-clear than usual. Something seemed to deaden and dull her singing. . . .
"What a queer girl she is!" said one of Carlotta's friends in the stalls, almost aloud. "The other day she was divine; and to-night she's simply bleating. She has no experience, no training."
"Gentle flow'rs, lie ye there And tell her from me . . . "
The viscount put his head under his hands and wept. The count, behind him, viciously gnawed his mustache, shrugged his shoulders and frowned. For him, usually so cold and correct, to betray his inner feelings like that, by outward signs, the count must be very angry. He was. He had seen his brother return from a rapid and mysterious journey in an alarming state of health. The explanation that fol- lowed was unsatisfactory and the count asked Chris- tine Daae for an appointment. She had the audacity
FAUST AND WHAT FOLLOWED 99
to reply that she could not see either him or his brother. . . .
"Would she but deign to hear me And with one smile to cheer me . ..."
"The little baggage!" growled the count.
And he wondered what she wanted. What she was hoping for. . . . She was a virtuous girl, she was said to have no friend, no protector of any sort. . . . That angel from the North must be very artful !
Raoul, behind the curtain of his hands that veiled his boyish tears, thought only of the letter which he received on his return to Paris, where Christine, flee- ing from Perros like a thief in the night, had arrived before him :
My Dear Little Playfellow :
You must have the courage not to see me again, not to speak of me again. If you love me just a little, do this for me, for me who will never forget you, my dear Raoul. My life depends upon it. Your life depends upon it.
Your Little Christine.
Thunders of applause. Carlotta made her en- trance.
"I wish I could but know who was he That addressed me. If he was noble^ or, at least, what his name
is "
loo THE PHANTOM OF THE OPERA
When Margarita had finished singing the ballad of the King of Thule, she was loudly cheered and again when she came to the end of the jewel song :
"Ah, the joy of past compare These jewels bright to wear! . ■. .**
Thenceforth, certain of herself, certain of her friends in the house, certain of her voice and her suc- cess, fearing nothing, Carlotta flung herself into her part without restraint of modesty. . . . She was no longer Margarita, she was Carmen. She was applauded all the more; and her debut with Faust seemed about to bring her a new success, when sud- denly ... a terrible thing happened.
Faust had knelt on one knee :
"Let me gaze on the form below mc, While from yonder ether blue Look how the star of eve, bright and tender, lingers o'er me, To love thy beauty too !"
And Margarita replied:
*'0h, how strange!
Like a spell does the evening bind me ! And a deep languid charm I feel without alarm
With its melody enwind me And all my heart subdue."
At that moment, at that identical moment, the tcr-
FAUST AND WHAT FOLLOWED loi
rible thing happened. » , , Carlotta croaked like a toad :
"Co-ack!"
There was consternation on Carlotta's face and consternation on the faces of all the audience. The two managers in their box could not suppress an ex- clamation of horror. Every one felt that the thing was not natural, that there was witchcraft behind It. That toad smelt of brimstone. Poor, wretched, de- spairing, crushed Carlotta !
The uproar In the house was indescribable. If the thing had happened to any one but Carlotta, she would have been hooted. But everybody knew how perfect an instrument her voice was; and there was no display of anger, but only of horror and dismay, the sort of dismay which men would have felt if they had witnessed the catastrophe that broke the arms of the Venus de Milo. . . . And even then they would have seen . . . and understood . . .
But here that toad was Incomprehensible! So much so that, after some seconds spent in asking her- self If she had really heard that note, that sound, that Infernal noise Issue from her throat, she tried to per- suade herself that it was not so, that she was the vic- tim of an Illusion, an illusion of the ear, and not of an act of treachery on the part of her voice.
Meanwhile, in Box Five, Moncharmin and Richard had turned very pale. This extraordinary and Inex- phcable incident filled them with a dread which was the more mysterious Inasmuch as for some little while, they had fallen within the direct influence of the ghost.
102 THE PHANTOM OF THE OPERA
They had felt his breath. Moncharmin's hair stood on end. Richard wiped the perspiration from his forehead. Yes, the ghost was there, around them, behind them, beside them; they felt his presence without seeing him, they heard his breath, close, close, close to them ! . . . They were sure that there were three people in the box. . . . They trem- bled. . . . They thought of running away. . . . They dared not. . . . They dared not make a movement or exchange a word that would have told the ghost that they knew that he was there ! . .. . What was going to happen?
This happened.
"Co-ack!"
Their joint exclamation of horror was heard all over the house. They felt that they were smarting under the ghost's attacks. Leaning over the ledge of their box, they stared at Carlotta as though they did not recognize her. That infernal girl must have given the signal for some catastrophe. Ah, they were waiting for the catastrophe! The ghost had told them it would come ! The house had a curse upon it! The two managers gasped and panted under the weight of the catastrophe. Richard's stifled voice was heard calling to Carlotta :
"Well, go on !"
No, Carlotta did not go on. . . . Bravely, heroically, she started afresh on the fatal line at the end of which the toad had appeared.
An awful silence succeeded the uproar. Carlotta's voice alone once more filled the resounding house :
FAUST AND WHAT FOLLOWED lo^
"I feel without alarm . ,., ."
The audience also felt, but not without alarm. l« w
"I feel without alarm . . . I feel without alarm — co-ack ! With its melody enwind me — co-ack ! And all my heart sub — co-ack!"
The toad also had started afresh!
The house broke into a wild tumult. The two managers collapsed in their chairs and dared not even turn round; they had not the strength; the ghost .was chuckling behind their backs ! And, at last, they distinctly heard his voice in their right ears, the im- possible voice, the mouthless voice, saying:
^^She is singing to-night to bring the chandelier down!"
With one accord, they raised their eyes to the ceil- ing and uttered a terrible cry. The chandelier, the immense mass of the chandelier was slipping down, coming toward them, at the call of that fiendish voice. Released from its hook, it plunged from the ceiling and came smashing into the middle of the <! stalls, amid a thousand shouts of terror. A wild yrush for the doors followed.
The papers of the day state that there were num- bers wounded and one killed. The chandelier had crashed down upon the head of the wretched woman who had come to the Opera for the first time in her life, the one whom M. Richard had appointed to succeed Mame Giry, the ghost's box-keeper, in her
104 THE PHANTOM OF THE OPERA
functions ! She died on the spot and, the next morn- ing, a newspaper appeared with this heading:
TWO HUNDRED KILOS ON THE HEAD OF A CONCIERGE
That was her sole epitaph I
CHAPTER VIII
THE MYSTERIOUS BROUGHAM
THAT tragic evening was bad for everybody. Carlotta fell ill. As for Christine Daae, she disappeared after the performance. A fortnight elapsed during which she was seen neither at the Opera nor outside.
Raoul, of course, was the first to be astonished at the prima donna's absence. He wrote to her at Mme. Valerius' flat and received no reply. His grief in- creased and he ended by being seriously alarmed at never seeing her name on the program. Faust was played without her.
One afternoon he went to the managers' office to ask the reason of Christine's disappearance. He found them both looking extremely worried. Their own friends did not recognize them : they had lost all their gaiety and spirits. They were seen crossing the stage with hanging heads, care-worn brows, pale cheeks, as though pursued by some abominable thought or a prey to some persistent sport of fate.
The fall of the chandelier had involved them in no little responsibility; but it was difficult to make them speak about it. The inquest had ended in a verdict of accidental death, caused by the wear and tear of the chains by which the chandelier was hung from the ceiling; but it was the duty of both the old and 105
io6 THE PHANTOM OF THE OPERA
the new managers to have discovered this wear and tear and to have remedied It In time. And I feel bound to say that MM. Richard and Moncharmin at this time appeared so changed, so absent-minded, so mysterious, so Incomprehensible that many of the sub- scribers thought that some event even more horrible than the fall of the chandelier must have affected their state of mind.
In their dally Intercourse, they showed themselves very Impatient, except with Mme. GIry, who had been reinstated in her functions. And their reception of the VIcomte de Chagny, when he came to ask about Christine, was anything but cordial. They merely told him that she was taking a holiday. He asked how long the holiday was for, and they replied curtly that It was for an unlimited period, as Mile. Daae had requested leave of absence for reasons of health.
"Then she is 111 !" he cried. "What is the matter with her?"
"We don't know."
"Didn't you send the doctor of the Opera to see her?"
"No, she did not ask for him; and, as we trust her, we took her word."
Raoul left the building a prey to the gloomiest thoughts. He resolved, come what might, to go and inquire of Mamma Valerius. He remembered the strong phrases in Christine's letter, forbidding him to make any attempt to see her. But what he had seen at Perros, what he had heard behind the dress- ing-room door, his conversation with Christine at the
THE MYSTERIOUS BROUGHAM 107
edge of the moor made him suspect some machina- tion which, devihsh though it might be, was none the less human. The girl's highly strung imagina- tion, her affectionate and credulous mind, the primi- tive education which had surrounded her childhood with a circle of legends, the constant brooding over her dead father and, above all, the state of sublime ecstasy into which music threw her from the moment that this art was made manifest to her in certain exceptional conditions, as in the churchyard at Perros; all this seemed to him to constitute a moral ground only too favorable for the malevolent designs of some mysterious and unscrupulous person. Of whom was Christine Daae the victim? This was the very reasonable question which Raoul put to himself as he hurried off to Mamma Valerius.
He trembled as he rang at a little flat in the Rue Notre-Dame-des-Victoires. The door was opened by the maid whom he had seen coming out of Christine's dressing-room one evening. He asked if he could speak to Mme. Valerius. He was told that she was ill in bed and was not receiving visitors.
"Take in my card, please," he said.
The maid soon returned and showed him into a small and scantily furnished drawing-room, in which portraits of Professor Valerius and old Daae hung on opposite walls.
"Madame begs monsieur le vicomte to excuse her,'* said the servant. "She can only see him in her bed- room, because she can no longer stand on her poor legs."
io8 THE PHANTOM OF THE OPERA
Five minutes later, Raoul was ushered Into an 111- llt room where he at once recognized the good, kind face of Christine's benefactress In the semi-darkness of an alcove. Mamma Valerius' hair was now quite white, but her eyes had grown no older; never, on the contrary, had their expression been so bright, so pure, so child-like.
"M. de Chagny !" she cried gaily, putting out both her hands to her visitor. "Ah, it's Heaven that sends you here! . . . We can talk of her"
This last sentence sounded very gloomily In the young man's ears. He at once asked:
"Madame . . . where is Christine?"
And the old lady replied calmly:
"She is with her good genius !"
"What good genius?" exclaimed poor Raoul.
"Why, the Angel of Music!"
The viscount dropped Into a chair. Really? Christine was with the Angel of Music? And there lay Mamma Valerius in bed, smiling to him and put- ting her finger to her lips, to warn him to be silent! And she added:
"You must not tell anybody!"
"You can rely on me," said Raoul.
He hardly knew what he was saying, for his Ideas about Christine, already greatly confused, were be- coming more and more entangled; and It seemed as if everything was beginning to turn around him, around the room, around that extraordinary good lady with the white hair and forget-me-not eyes.
"I know! I know I can!" she said, with a happy
THE MYSTERIOUS BROUGHAM 109
laugh. "But why don't you come near me, as you used to do when you were a little boy? Give me your hands, as when you brought me the story of little Lotte, which Daddy Daae had told you. I am very fond of you, M. Raoul, you know. And so is Chris- tine too!"
"She is fond of mel" sighed the young man. He found a difficulty in collecting his thoughts and bring- ing them to bear on Mamma Valerius' "good genius," on the Angel of Music of whom Christine had spoken to him so strangely, on the death's head which he had seen in a sort of nightmare on the high altar at Perros and also on the Opera ghost, whose fame had come to his ears one evening when he was standing behind the scenes, within hearing of a group of scene- shifters who were repeating the ghastly description which the hanged man, Joseph Buquet, had given of the ghost before his mysterious death.
He asked in a low voice: "What makes you think that Christine is fond of me, madame?" "She used to speak of you every day." "Really? . . . And what did she tell you?" "She told me that you had made her a proposal !" And the good old lady began laughing whole- heartedly. Raoul sprang from his chair, flushing to the temples, suffering agonies.
"What's this? Where are you going? . . . Sit down again at once, will you? . , . Do you think I will let you go like that? ... If you're angry with me for laughing, I beg your pardon . . After all, what has happened isn't your fault. . .
no THE PHANTOM OF THE OPERA
Didn't you know? . . . Did you think that Christine was free? . . ."
"Is Christine engaged to be married?" the wretched Raoul asked, in a choking voice.
"Why no! Why no! . . . You know as well as I do that Christine couldn't marry, even if she wanted to! . . ."
"But I don't know anything about it! . . . And why can't Christine marry?"
"Because of the Angel of Music, of course ! . ."
"I don't follow . . ."
"Yes, he forbids her to! . . ."
"He forbids her! . . , The Angel of Music forbids her to marry! . . ."
"Oh, he forbids her , . . without forbidding her. It's like this: he tells her that, if she got mar- ried, she would never hear him again. That's all! . . . And that he would go away for ever ! . . So, you understand, she can't let the Angel of Music go. It's quite natural."
"Yes, yes," echoed Raoul submissively, "it's quite natural."
"Besides, I thought Christine had told you all that, when she met you at Perros, where she went with her good genius."
"Oh, she went to Perros with her good genius, did she?"
"That is to say, he arranged to meet her down there, in Perros churchyard, at Daae's grave. He promised to play her The Resurrection of Lazarus on her father's violin !"
THE MYSTERIOUS BROUGHAM iii
Raoul de Chagny rose and, with a very authorita- tive air, pronounced these peremptory words :
"Madame, you will have the goodness to tell me where that genius lives."
The old lady did not seem surprised at this Indis- creet command. She raised her eyes and said;
"In Heaven!"
Such simplicity baffled him. He did not know what to say in the presence of this candid and perfect faith In a genius who came down nightly from Heaven to haunt the dressing-rooms at the Opera.
He now reahzed the possible state of mind of a girl brought up between a superstitious fiddler and a visionary old lady and he shuddered when he thought of the consequences of it all.
"Is Christine still a good girl?" he asked suddenly, In spite of himself.
"I swear It, as I hope to be saved !" exclaimed the old woman, who, this time, seemed to be Incensed. "And, If you doubt It, sir, I don't know what you are here fori"
Raoul tore at his gloves.
"How long has she known this 'genius ?' "
"About three months. . . . Yes, It's quite three months since he began to give her lessons."
The viscount threw up his arms with a gesture of despair.
"The genius gives her lessons! . . . And where, pray?"
"Now that she has gone away with him, I can't §ay; but, up to a fortnight ago, It was In Christine's
112 THE PHANTOM OF THE OPERA
dressing-room. It would be impossible in this little flat. The whole house would hear them. Whereas, at the Opera, at eight o'clock in the morning, there is no one about, do you see!"
"Yes, I see ! I see !" cried the viscount. And he hurriedly took leave of Mme. Valerius, who asked herself if the young nobleman was not a little off his head.
He walked home to his brother's house In a pitiful state. He could have struck himself, banged his head against the walls! To think that he had be- lieved in her innocence, in her purity ! The Angel of Music ! He knew him now ! He saw him ! It was beyond a doubt some unspeakable tenor, a good-look- ing jackanapes, who mouthed and simpered as he sang ! He thought himself as absurd and as wretched as could be. Oh, what a miserable, Httle, insignificant, silly young man was M. le Vicomte de Chagny! thought Raoul furiously. And she, what a bold and damnable sly creature !
His brother was waiting for him and Raoul fell Into his arms, like a child. The count consoled him, without asking for explanations; and Raoul would : certainly have long hesitated before telling him the ' story of the Angel of Music. His brother sug- gested taking him out to dinner. Overcome as he was with despair, Raoul would probably have refused any invitation that evening, if the count had not, as an Inducement, told him that the lady of his thoughts had been seen, the night before, in company of the other sex in the Bols. At first, the viscount refused
THE MYSTERIOUS BROUGHAM 113
to believe; but he received such exact details that he ceased protesting. She had been seen, it appeared, driving in a brougham, with the window down. She seemed to be slowly taking in the icy night air. There was a glorious moon shining. She was recognized beyond a doubt. As for her companion, only his shadowy outline was distinguished leaning back in the dark. The carriage was going at a walking pace in a lonely drive behind the grand stand at Long- champ.
Raoul dressed in frantic haste, prepared to forget his distress by flinging himself, as people say, into "the vortex of pleasure." Alas, he was a very sorry guest and, leaving his brother early, found himself, by ten o'clock in the evening, in a cab, behind the Long- champ race-course.
It was bitterly cold. The road seemed deserted r.nd very bright under the moonlight. He told the driver to wait for him patiently at the corner of a near turning and, hiding himself as well as he could, stood stamping his feet to keep warm. He had been indulging in this healthy exercise for half an hour or so, when a carriage turned the corner of the road and came quietly In his direction, at a walking pace.
As It approached, he saw that a woman was leaning her head from the window. And, suddenly, the moon shed a pale gleam over her features.
"Christine !"
The sacred name of his love had sprung from his heart and his lips. He could not keep It back. . . He would have given anything to withdraw it, for
114 THE PHANTOM OF THE OPERA
that name, proclaimed In the stillness of the night, had acted as though it were the preconcerted signal for a furious rush on the part of the whole turn-out, which dashed past him before he could put Into execution his plan of leaping at the horses' heads. The carriage window had been closed and the girl's face had disappeared. And the brougham, behind which he was now running, was no more than a black spot on the white road.
He called out again: "Christine!"
No reply. And he stopped In the midst of the silence.
With a lack-luster eye, he stared down that cold, desolate road and Into the pale, dead night. Nothing was colder than his heart, nothing half so dead: he had loved an angel and now he despised a woman !
Raoul, how that little fairy of the North has trifled with you ! Was It really, was It really necessary to have so fresh and young a face, a forehead so shy and always ready to cover Itself with the pink blush of modesty in order to pass In the lonely night, in a car- riage and pair, accompanied by a mysterious lover? Surely there should be some limit to hypocrisy and lying! ...
She had passed without answering his cry. . . . And he was thinking of dying; and he was twenty years old ! . . .
His valet found him In the morning sitting on his bed. He had not undressed and the servant feared, at the sight of his face, that some disaster had occurred. Raoul snatched his letters from the
THE MYSTERIOUS BROUGHAM 115;
man's hands. He had recognized Christine's paper and hand-writing. She said :
Dear :
Go to the masked ball at the Opera on the night after to-morrow. At twelve o'clock, be in the little room behind the chimney-place of the big crush-room. Stand near the door that leads to the Rotunda. Don't mention this appointment to any one on earth. Wear a white domino and be carefully masked. As you love me, do not let yourself be recognized.
Christine.
CHAPTER IX
AT THE MASKED BALL
THE envelope was covered with mud and un- stamped. It bore the words "To be handed to M. le Vicomte Raoul de Chagny," with the address in pencil. It must have been flung out in the hope that a passer-by would pick up the note and deliver it, which was what happened. The note had been picked up on the pavement of the Place de I'Opera.
Raoul read it over again with fevered eyes. No more was needed to revive his hope. The somber picture which he had for a moment imagined of a Christine forgetting her duty to herself made way for his original conception of an unfortunate, innocent child, the victim of imprudence and exaggerated sen- sibility. To what extent, at this time, was she really a victim? Whose prisoner was she? Into what whirlpool had she been dragged? He asked himself these questions with a crudl anguish; but even this pain seemed endurable beside the frenzy into which he was thrown at the thought of a lying and deceitful Christine. What had happened? What influence had she undergone ? What monster had carried her off and by what means ? . . .
By what means indeed but that of music? He knew Christine's story. After her father's death, she acquired a distaste of everything in life, including her ii6
AT THE MASKED BALL 117
art She went through the conservatoire like a poor soulless singing-machine. And, suddenly, she awoke as though through the intervention of a god. The Angel of Music appeared upon the scene ! She sang Margarita in F^wj/ and triumphed ! . . .
The Angel of Music! . . . For three months the Angel of Music had been giving Christine les- sons. . . . Ah, he was a punctual singing-mas- ter I . . . And now he was taking her for drives in the Bols! . . .
Raoul's lingers clutched at his flesh, above his jealous heart. In his inexperience, he now asked him- self with terror what game the girl was playing? Up to what point could an opera-singer make a fool of a good-natured young man, quite new to love? O misery! . . .
Thus did Raoul's thoughts fly from one extreme to the other. He no longer knew whether to pity Christine or to curse her; and he pitied and cursed her turn and turn about. At all events, he bought a white domino.
The hour of the appointment came at last. With his face in a mask trimmed with long, thick lace, looking like a pierrot in his white wrap, the viscount thought himself very ridiculous. Men of the world do not go to the Opera ball in fancy-dress! It was absurd. One thought, however, consoled the vis- count : he would certainly never be recognized !
This ball was an exceptional affair, given some time before Shrovetide, in honor of the anniversary of the birth of a famous draftsman; and it was ex-
ii8 THE PHANTOM OF THE OPERA
pected to be much gayer, noisier, more Bohemian than the ordinary masked ball. Numbers of artists had arranged to go, accompanied by a whole cohort of models and pupils, who, by midnight, began to create a tremendous din. Raoul climbed the grand stair- case at five minutes to twelve, did not linger to look at the motley dresses displayed all the way up the marble steps, one of the richest settings in the world, allowed no facetious mask to draw him into a war of wits, replied to no jests and shook off the bold familiarity of a number of couples who had already become a trifle too gay. Crossing the big crush-room and escaping from a mad whirl of dancers in which he was caught for a moment, he at last entered the room mentioned In Christine's letter. He found it crammed; for this small space was the point where all those who were going to supper in the Rotunda crossed those who were returning from taking a glass of champagne. The fun, here, waxed fast and furious.
Raoul leaned against a door-post and waited. He did not wait long. A black domino passed and gave a quick squeeze to the tips of his -fingers. He under- stood that it was she and followed her:
"Is that you, Christine?" he asked, between his teeth.
The black domino turned round promptly and raised her finger to her lips, no doubt to warn him not to mention her name again. Raoul continued to follow her In silence.
He was afraid of losing her, after meeting her
AT THE MASKED BALL 119
again In such strange circumstances. His grudge against her was gone. He no longer doubted that she had "nothing to reproach herself with," however peculiar and inexplicable her conduct might seem. He was ready to make any display of clemency, forgive- ness or cowardice. He was in love. And, no doubt, he would soon receive a very natural explanation of her curious absence.
The black domino turned back from time to time to see if the white domino was still following.
As Raoul once more passed through the great crush- room, this time in the wake of his guide, he could not help noticing a group crowding round a person whose disguise, eccentric air and gruesome appearance were causing a sensation. It was a man dressed all in scar- let, with a huge hat and feathers on the top of a won- derful death's head. From his shoulders hung an immense red-velvet cloak, which trailed along the floor like a king's train; and on this cloak was em- broidered, in gold letters, which every one read and repeated aloud, "Don't touch me! I am Red Death stalking abroad!"
Then one, greatly daring, did try to touch him . . . but a skeleton hand shot out of a crimson sleeve and violently seized the rash one's wrist; and he, feeling the clutch of the knucklebones, the furious grasp of Death, uttered a cry of pain and terror. When Red Death released him at last, he ran away like a very madman, pursued by the jeers of the bystanders.
It was at this moment that Raoul passed in front
I20 THE PHANTOM OF THE OPERA
of the funereal masquerader, who had just happened to turn in his direction. And he nearly exclaimed:
"The death's head of Perros-Guirec!"
He had recognized him! . . . He wanted to dart forward, forgetting Christine; but the black domino, who also seemed a prey to some strange excitement, caught him by the arm and dragged him from the crush-room, far from the mad crowd through which Red Death was stalking. . . .
The black domino kept on turning back and, ap- parently, on two occasions saw something that startled her, for she hurried her pace and RaouFs as though they were being pursued.
They went up two floors. Here, the stairs and corridors were almost deserted. The black domino opened the door of a private box and beckoned to the white domino to follow her. Then Christine, whom he recognized by the sound of her voice, closed the door behind them and warned him, in a whisper, to remain at the back of the box and on no account to show himself. Raoul took off his mask. Christine kept hers on. And, when Raoul was about to ask her to remove it, he was surprised to see her put her ear to the partition and listen eagerly for a sound outside. Then she opened the door ajar, looked out into the corridor and, in a low voice, said :
"He must have gone up higher." Suddenly she exclaimed: "He is coming down again!"
She tried to close the door, but Raoul prevented her; for he had seen, on the top step of the stair- case that led to the floor above, a red foot, followed
AT THE MASKED BALL 121
by another . . . and slowly, majestically, the whole scarlet dress of Red Death met his eyes. And he once more saw the death's head of Perros-Guirec.
"It's he !" he exclaimed. "This time, he shall not escape me! . . ."
But Christian had slammed the door at the moment when Raoul was on the point of rushing out. He tried to push her aside.
"Whom do you mean by *he'?" she asked, in a changed voice. "Who shall not escape you?"
Raoul tried to overcome the girl's resistance by force, but she repelled him with a strength which he would not have suspected In her. He understood, or thought he understood, and at once lost his tem- per.
"Who?" he repeated angrily. "Why, he, the man who hides behind that hideous mask of death I . The evil genius of the churchyard at Perros! . . . Red Death! ... In a word, madam, your friend . . . your Angel of Music! . . . But I shall snatch off his mask, as I shall snatch off my own ; and, this time, we shall look each other in the face, he and I, with no veil and no lies between us; and I shall know whom you love and who loves you 1"
He burst into a mad laugh, while Christine gave a disconsolate moan behind her velvet mask. With a tragic gesture, she flung out her two arms, which fixed a barrier of white flesh against the door.
"In the name of our love, Raoul, you shall not pass! . . ."
122 THE PHANTOM OF THE OPERA
He stopped. What had she said? ... In the name of their love? . . . Never before had she confessed that she loved him. And yet she had had opportunities enough. . . . Pooh, her only object was to gain a few seconds! . . . She wished to give the Red Death time to escape. . , And, in accents of childish hatred, he said:
"You he, madam, for you do not love me and you have never loved me! What a poor fellow I must be to let you mock and flout me as you have done! Why did you give me every reason for hope, at Pcrros . . . for honest hope, madam, for I am an honest man and I believed you to be an honest woman, when your only intention was to deceive mc ! Alas, you have deceived us all! You have taken a shameful advantage of the candid affection of your benefactress herself, who continues to believe In your sincerity while you go about the Opera ball with Red Death ! . . . I despise you ! . . ."
And he burst into tears. She allowed him to insult her. She thought of but one thing, to keep him from leaving the box.
"You will beg my pardon, one day, for all those ugly words, Raoul, and when you do I shall forgive you !"
He shook his head. "No, no, you have driven me mad! When I think that I had only one object in life : to give my name to an opera wench !"
"Raoul! . . . How can you?"
"I shall die of shame!"
AT THE MASKED BALL 123
"No, dear, live!" said Christine's grave and changed voice. "And .., . . good-by. Good- by, Raoul . . ."
The boy stepped forward, staggering as he went. He risked one more sarcasm:
"Oh, you must let me come and applaud you from time to time !"
"I shall never sing again, Raoul! . . ."
"Really?" he replied, still more satirically. "So he is taking you off the stage: I congratulate you! . . . But we shall meet in the Bois, one of these evenings!"
"Not in the Bois nor anywhere, Raoul: you shall not see me again . . ."
"May one ask at least to what darkness you arc returning? . . . For what hell are you leaving, mysterious lady . . . or for what paradise?"
"I came to tell you, dear, but I can't tell you now .. . . you would not believe me ! You have lost faith in me, Raoul; it is finished!"
She spoke in such a despairing voice that the lad began to feel remorse for his cruelty.
"But look here!" he cried. "Can't you tell me what all this means! . . . You are free, there is no one to interfere with you. . . . You go about Paris. . . . You put on a domino to come to the ball. . . . Why do you not go home? . . . What have you been doing this past fort- night? . . . What is this tale about the Angel of Music, which you have been telling Mamma Valerius? Some one may have taken vou in, played
124 THE PHANTOM OF THE OPERA
upon your Innocence. I was a witness of it myself, at Perros . . but you know what to believe now ! You seem to me quite sensible, Christine. You know what you are doing. . . . And meanwhile Mam- ma Valerius lies waiting for you at home and appeal- ing to your 'good genius!' . . . Explain your- self, Christine, I beg of you ! Any one might have been deceived as I was. What is this farce?"
Christine simply took off her mask and said: "Dear, it is a tragedy!"
Raoul now saw her face and could not restrain an exclamation of surprise and terror. The fresh complexion of former days was gone. A mortal pallor covered those features, which he had known so charming and so gentle, and sorrow had furrowed them with pitiless lines and traced dark and unspeak- ably sad shadows under her eyes.
"My dearest! My dearest!" he moaned, holding out his arms. "You promised to forgive me . . ."
"Perhaps! . . . Some day, perhaps!" she said, resuming her mask; and she went away, forbid- ding him, with a gesture, to follow her.
He tried to disobey her; but she turned round and repeated her gesture of farewell with such authority that he dared not move a step.
He watched her till she was out of sight. Then he also went down among the crowd, hardly know- ing what he was doing, with throbbing temples and an aching heart; and, as he crossed the dancing- floor, he asked if anybody had seen Red Death. Yes, every one had seen Red Death; but Raoul could not
AT THE MASKED BALL 125
find him ; and, at two o'clock in the morning, he turned down the passage, behind the scenes, that led to Christine Daae's dressing-room.
His footsteps took him to that room where he had first known suffering. He tapped at the door. There was no answer. He entered, as he had entered when he looked everywhere for "the man's voice." The room was empty. A gas-jet was burning, turned down low. He saw some writing-paper on a little desk. He thought of writing to Christine, but he heard steps in the passage. He had only time to hide in the inner room, which was separated from the dressing-room by a curtain.
Christine entered, took off her mask with a weary movement and flung it on the table. She sighed and let her pretty head fall into her two hands. What was she thinking of? Of Raoul? No, for Raoul heard her murmur: "Poor Erik!"
At first, he thought he must be mistaken. To be- gin with, he was persuaded that, if any one was to be pitied, it was he, Raoul. It would have been quite natural if she had said, "Poor Raoul," after what had happened between them. But, shaking her head, she repeated: "Poor Erik!"
What had this Erik to do with Christine's sighs \ and why was she pitying Erik when Raoul was so unhappy? fk(^
Christine began to write, deliberately, calmly and so placidly that Raoul, who was still trembling from the effects of the tragedy that separated them, was painfully impressed.
126 THE PHANTOM OF THE OPERA
"What coolness!" he said to himself.
She wrote on, filling two, three, four sheets. Sud- denly, she raised her head and hid the sheets in her bodice. . . . She seemed to be listening. . . Raoul also listened. . . Whence came that strange sound, that distant rhythm? ... A faint singing seemed to issue from the walls . . . yes, it was as though the walls themselves were sing- ing! . . . The song became plainer . . . the words were now distinguishable ... he heard a voice, a very beautiful, very soft, very capti- vating voice . . . but, for all its softness, it remained a male voice. . . The voice came nearer and nearer ... it came through the wall . . it approached . . . and now the voice was in the room, in front of Christine. Christine rose and addressed the voice, as though speaking to some one :
"Here I am, Erik," she said. "I am ready. But you are late."
Raoul, peeping from behind the curtain, could not believe his eyes, which showed him nothing. Chris- tine's face lit up. A smile of happiness appeared upon her bloodless lips, a smile like that of sick people when they receive the first hope of recovery.
The voice without a body went on singing; and cer- tainly Raoul had never in his life heard anything more absolutely and heroically sweet, more gloriously insidious, more delicate, more powerful, in short, more irresistibly triumphant. He listened to it in a fever and he now began to understand how Chris- tine Daae was able to appear one evening, before the
AT THE MASKED BALL 127
stupefied audience, with accents of a beauty hitherto unknown, of a superhuman exaltation, while doubtlesg still under the influence of the mysterious and invisi- ble master.
The voice was singing the Wedding-night Song from Romeo and Juliet. Raoul saw Christine stretch out her arms to the voice as she had done, in Perros churchyard, to the invisible violin playing The Resur" rection of Lazarus. And nothing could describe the passion with which the voice sang:
"Fate links thee to me for ever and a day !"
The strains went through Raoul's heart. Strug- gling against the charm that seemed to deprive him of all his will and all his energy and of almost all his lucidity at the moment when he needed them most, he succeeded in drawing back the curtain that hid him and he walked to where Christine stood. She herself was moving to the back of the room, the whole wall of which was occupied by a great mirror that reflected her image, but not his, for he was just behind her and entirely covered by her.
"Fate links thee to mc for ever and a day !"
Christine walked toward her image in the glass and the image came toward her. The two Chris- tines— the real one and the reflection — ended by touching; and Raoul put out his arm.s to clasp the two in one embrace. But, by a sort of dazzling miracle that sent him staggering, Raoul was sudden- ly flung back, while an icy blast swept over his face;
128 THE PHANTOM OF THE OPERA
he saw, not two, but four, eight, twenty Christines spinning round him, laughing at him and fleeing so swiftly that he could not touch one of them. At last, everything stood still again; and he saw himself in the glass. But Christine had disappeared.
He rushed up to the glass. He struck at the walls. Nobody ! And meanwhile the room still echoed with a distant passionate singing:
"Fate links thee to me for ever and a day!"
Which way, which way had Christine gone ? . . Which way would she return ? . . .
Would she return? Alas, had she not declared to him that everything was finished? And was the voice not repeating :
"Fate links thee to me for ever and a day !"
To me? To whom?
Then, worn out, beaten, empty-brained, he sat down on the chair which Christine had just left. Like her, he let his head fall into his hands. When he raised it, the tears were streaming down his young cheeks, real, heavy tears like those which jealous children shed, tears that wept )r a sorrow which was in no way fanciful, but which is common to all the lovers on earth and which he expressed aloud:
"Who is this Erik?" he said.
CHAPTER X
FORGET THE NAME OF THE MAN's VOICE
THE day after Christine had vanished before his eyes in a sort of dazzlement that still made him doubt the evidence of his senses, M. le Vicomte de Chagny called to inquire at Mamma Valerius'. He came upon a charming picture. Christine herself was seated by the bedside of the old lady, who was sitting up against the pillows, knitting. The pink and white had returned to the young girl's cheeks. The dark rings round her eyes had disappeared. Raoul no longer recognized the tragic face of the day before. If the veil of melancholy over those ador- able features had not still appeared to the young man as the last trace of the weird drama in whose toils that mysterious child was struggling, he could have believed that Christine was not its heroine at all.
She rose, without showing any emotion, and offered him her hand. But Raoul's stupefaction was so great that he stood there dumfounded, without a gesture, without a word.
"Well, M. de Chagny," exclaimed Mamma Vale- rius, "don't you Icnow our Christine? Her good genius has sent her back to us!"
"Mamma!" the girl broke in promptly, while a deep blush mantled to her eyes. "I thought, mamma, that there was to be no more question of that I . . 129
I30 THE PHANTOM OF THE OPERA
You know there is no such thing as the Angel of Music!"
"But, child, he gave you lessons for three months 1"
"Mamma, I have promised to explain everything
to you one of these days ; and I hope to do so , . .
but you have promised mc, until that day, to be silent
and to ask me no more questions whatever!"
"Provided that you promised never to leave me again ! But have you promised that, Christine?" "Mamma, all this can not interest M. de Chagny." "On the contrary, mademoiselle," said the young man, in a voice which he tried to make firm and brave, but which still trembled, "anything that concerns you interests me to an extent which perhaps you will one day understand. I do not deny that my surprise equals my pleasure at finding you with your adopted mother and that, after what happened be- tween us yesterday, after what you said and what I was able to guess, I hardly expected to see you here so soon. I should be the first to delight at your return, if you were not so bent on preserving a secrecy that may be fatal to you . . . and I have been your friend too long not to be alarmed, with Mme. Valerius, at a disastrous adventure which will remain dangerous so long as we have not unraveled its threads and of which you will certainly end by being the victim, Christine."
At these words. Mamma Valerius tossed about in her bed.
"What c\npM th\<i mpan"?" "sfip rriprl "Tc Pfiricf-inft
THE NAME OF THE MAN'S VOICE 131
"Yes, madame," said Raoul courageously, notwith- standing the signs which Christine made to him.
"My God!" exclaimed the good, simple old woman, gasping for breath. "You must tell me evcry- , thing, Christine! Why did you try to reassure me? " And what danger Is it, M. de Chagny?"
"An impostor is abusing her good faith."
"Is the Angel of Music an impostor?"
"She told you herself that there is no Angel of Music."
"But then what is it, in Heaven's name? You will be the death of me !"
"There is a terrible mystery around us, madame, around you, around Christine, a mystery much more to be feared than any number of ghosts or genii !"
Mamma Valerius turned a terrified face to Chris- tine, who had already run to her adopted mother and was holding her in her arms.
"Don't believe him, mummy, don't believe him," she repeated.
"Then tell m.e that you will never leave me again," implored the widow.
Christine was silent and Raoul resumed.
"That is what you must promise, Christine. It is the only thing that can reassure your mother and me. We will undertake not to ask you a single question about the past, if you promise us to remain under our protection in future."
"That is an undertaking which I have not asked of you and a promise which I refuse to make you !" said the young girl haughtily. "I am mistress of my
132 THE PHANTOM OF THE OPERA
own actions, M. de Chagny: you have no right to control them, and I will beg you to desist henceforth. As to what I have done during the last fortnight, there is only one man in the world who has the right to demand an account of me: my husband! Well, I have no husband and I never mean to marry I"
She threw out her hands to emphasize her words and Raoul turned pale, not only because of the words which he had heard, but because he had caught sight of a plain gold ring on Christine's finger.
"You have no husband and yet you wear a wedding- ring.
He tried to seize her hand, but she swiftly drew it back.
"That's a present!" she said, blushing once more and vainly striving to hide her embarrassment.
"Christine! As you have no husband, that ring can only have been given by one who hopes to make you his wife ! Why deceive us further ? Why tor- ture me still more ? That ring is a promise ; and that promise has been accepted !"
"That's what I said!" exclaimed the old lady.
"And what did she answer, madame?"
"What I chose," said Christine, driven to exaspera- tion. "Don't you think, monsieur, that this cross- examination has lasted long enough? As far as I am concerned . . ."
Raoul was afraid to let her finish her speech. He interrupted her:
"I beg your pardon for speaking as I did, mademoiselle. You know the good intentions that
THE NAME OF THE MAN'S VOICE 133
make me meddle, just now, in matters which, you no doubt think, have nothing to do with me. But allow me to tell you what I have seen — and I have seen more than you suspect, Christine — or what I thought
' I uaw, for, to tell you the truth, I have sometimes been inclined to doubt the evidence of my eyes." "Well, what did you see, sir, or think you saw?" "I saw your ecstasy at the sound of the voice, Christine: the voice that came from the wall or the next room to yours . . . yes, your ecstasy ! And that is what makes me alarmed on your behalf. You are under a very dangerous spell. And yet it seems that you are aware of the imposture, because you say to-day that there is 710 Angel of Music! In that case, Christine, why did you follow him that time ? Why did you stand up, with radiant features, as though you •were really hearing angels? . . . Ah, it is a very dangerous voice, Christine, for I mj^self, when I heard it, was so much fascinated by it that you vanished before my eyes without my seeing which way you passed! Christine, Christine, in the name of Heaven, in the name of your father who is in Heaven now and who loved you so dearly and who loved me
\ too, Christine, tell us, tell your benefactress and me, to whom does that voice belong? If you do, we will save you in spite of yourself. Come, Christine, the name of the man ! The name of the man who had the audacity to put a ring on your finger!"
"M. de Chagny," the girl declared coldly, "you shall never know!"
Thereupon, seeing the hostility with which her
134 THE PHANTOM OF THE OPERA
ward had addressed the viscount, Mamma Valerius suddenly took Christine's part.
"And, if she does love that man, monsieur le vicomte, even then it is no business of yours!"
"Alas, madame," Raoul humbly replied, unable to restrain his tears, "alas, I believe that Christine really does love him ! . . . But it is not only that which drives me to despair; for what I am not cer- tain of, madame, is that the man whom Christine loves is worthy of her love!"
"It is for me to be the judge of that, monsieur!" said Christine, looking Raoul angrily in the face.
"When a man," continued Raoul, "adopts such romantic methods to entice a young girl's affections
< • •
"The man must be either a villain, or the girl a fool: Is that It?"
"Christine!"
"Raoul, why do you condemn a man whom you have never seen, whom no one knows and about whom you yourself know nothing?"
"Yes, Christine. . . . Yes. ... I at least know the name that you thought to keep from me for ever. . . . The name of your Angel of Music, mademoiselle, is Erik!"
Christine at once betrayed herself. She turned as white as a sheet and stammered:
"Who told you?"
"You yourself!"
"How do you mean?"
"By pitying him the other night, the night of the
THE NAME OF THE MAN'S VOICE 135
masked ball. When you went to your dressing-room, did you not say, 'Poor Erik?' Well, Christine, there was a poor Raoul who overheard you."
"This is the second time that you have listened be- hind the door, M. de Chagny!"
*'I was not behind the door ... I was in the dressing-room, in the inner room, mademoiselle."
"Oh, unhappy man!" moaned the girl, showing every sign of unspeakable terror. "Unhappy man! Do you want to be killed?"
"Perhaps."
Raoul uttered this "perhaps" with so much love and despair In his voice that Christine could not keep back a sob. She took his hands and looked at him with all the pure affection of which she was capable:
"Raoul," she said, "forget the man's voice and do not even remember its name. . . You must never try to fathom the mystery of the man's voice."
"Is the mystery so very terrible?"
"There is no more awful mystery on this earth. Swear to me that you will make no attempt to find out," she insisted. "Swear to me that you will never come to my dressing-room, unless I send for you."
"Then you promise to send for me sometimes, Christine?"
"I promise."
"When?"
"To-morrow."
"Then I swear to do as you ask."
He kissed her hands and went away, cursing Erik and resolving to be patient.
CHAPTER XI
ABOVE THE TRAP-DOORS
THE next day, he saw her at the Opera. She was still wearing the plain gold ring. She was gentle and kind to him. She talked to him of the plans which he was forming, of his future, of his career.
He told her that the date of the Polar expedition had been put forward and that he would leave France in three weeks, or a month at latest. She suggested, almost gaily, that he must look upon the voyage with delight, as a stage toward his coming fame. And when he replied that fame without love was no attrac- tion in his eyes, she treated him as a child whose sorrows were only short-lived.
"How can you speak so lightly of such serious things?" he asked. "Perhaps we shall never see each other again ! I may die during that expedition."
"Or I," she said simply.
She no longer smiled or jested. She seemed to be thinking of some new thing that had entered her mind for the first time. Her eyes were all aglow with it.
"What are you thinking of, Christine?"
"I am thinking that we shall not see each other again . . ."
"And does that make you so radiant?" 136
ABOVE THE TRAP-DOORS 137
"And that, in a month, we shall have to say good- by for ever!"
"Unless, Christine, we pledge our faith and wait for each other for ever."
She put her hand on his mouth.
"Hush, Raoul! . . . You know there is no question of that . . . And : 2 shall never be married: that is understood!"
She seemed suddenly almost unable to contain an overpowering gaiety. She clapped her hands with childish glee. Raoul stared at her in amazement.
"But . . . but," she continued, holding out her two hands to Raoul, or rather giving them to him, as though she had suddenly resolved to make him a present of them, "but if we can not be married, we can . ... we can be engaged! Nobody will know but ourselves, Raoul. There have been plenty of secret marriages: why not a secret engagement? . We are engaged, dear, for a month! In a month, you will go away, and I can be happy at the thought of that month all my life long!"
She was enchanted with her inspiration. Then she became serious again.
"This," she said, 'Hs a happiness that will harm no one."
Raoul jumped at the idea. He bowed to Christine and said:
"Mademoiselle, I have the honor to ask for your hand."
"Why, you have both of them already, my dear betrothed! . . . Oh, Raoul, how happy we
138 THE PHANTOM OF THE OPERA
shall be ! . . . We must play at being engaged all day long."
It was the prettiest game in the world and they enjoyed it like the children that they were. Oh, the wonderful speeches they made to each other and the eternal vows they exchanged ! They played at hearts as other children might play at ball; only, as it was really their tv\? '.earts that they flung to and fro, they had to be very, very handy to catch them, each time, without hurting them.
One day, about a week after the game began, Raoul's heart was badly hurt and he stopped play- ing and uttered these wild words :
"I shan't go to the North Pole!"
Christine, who, in her innocence, had not dreamed of such a possibility, suddenly discovered the danger of the game and reproached herself bitterly. She did not say a word in reply to Raoul's remark and went straight home.
This happened in the afternoon, in the singer's dressing-room, where they met every day and where they amused themselves by dining on three biscuits, two glasses of port and a bunch of violets. In th'^ evening, she did not sing; and he did not receive his usual letter, though they had arranged to write to each other daily during that month. The next morn- ing, he ran off to Mamma Valerius, who told him that Christine had gone away for two days. She had left at five o'clock the day before.
Raoul was distracted. He hated Mamma Valerius for giving him such news as that with such stupefy-
ABOVE THE TRAP-DOORS 139
Ing calmness. He tried to sound her, but the old lady obviously knew nothing.
Christine returned on the following day. She re- turned In triumph. She renewed her extraordinary success of the gala performance. Since the adventure of the "toad," Carlotta had not been able to appear on the stage. The terror of a fresh *'co-ack" filled her heart and deprived her of all her power of singing; and the theater that had witnessed her In- comprehensible disgrace had become odious to her. She contrived to cancel her contract. Daae was offer- ed the vacant place for the time. She received thun- ders of applause In the Ju'ive.
The viscount, who, of course, was present, was the only one to suffer on hearing the thousand echoes of this fresh triumph; for Christine still wore her plain gold ring. A distant voice whispered in the young man's ear:
"She is wearing the ring again to-night; and you did not give It to her. She gave her soul again to- night and did not give It to you. ... If she will not tell you what she has been doing the past two days . . . you must go and ask Erik!"
He ran behind the scenes and placed himself In her way. She saw him for her eyes were looking for him. She said:
"Quick! Quick! . . . Come!"
And she dragged him to her dressing-room.
Raoul at once threw himself on his knees before her. He swore to her that he would go and he en- treated her never again to withhold a single hour
140 THE PHANTOM OF THE OPERA
of the Ideal happiness which she had promised him. She let her tears flow. They kissed like a despairing brother and sister who have been smitten with a com- mon loss and who meet to mourn a dead parent.
Suddenly, she snatched herself from the young man's soft and timid embrace, seemed to listen to something, and, with a quick gesture, pointed to the door. When he was on the threshold, she said, in so low a voice that the viscount guessed rather than heard her words :
"To-morrow, my dear betrothed! And be happy, Raoul: I sang for you to-night!"
He returned the next day. But those two days of absence had broken the charm of their delightful make-believe. They looked at each other, in the dressing-room, with their sad eyes, without exchang- ing a word. Raoul had to restrain himself not to cry out:
"I am jealous ! I am jealous ! I am jealous !"
But she heard him all the same. Then she said:
"Come for a walk, dear. The air will do you good."
Raoul thought that she would propose a stroll In the country, far from that building vv^hlch he detested as a prison whose jailer he could feel walking within the walls . , . the jailer Erik. . . . But she took him to the stage and made him sit on the wooden curb of a well, In the doubtful peace and coolness of a first scene set for the evening's perfor- mance.
On another day, she wandered with him, hand in
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hand, along the deserted paths of a garden whose creepers had been cut out by a decorator's skilful hands. It