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The Phantom of the Opera by Gaston Leroux
Contents
Chapter
PROLOGUE
I IS IT A 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
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!
XVI MME. GIRY'S REVELATIONS
XVII THE SAFETY-PIN AGAIN
XVIII THE COMMISSARY, THE VISCOUNT AND THE PERSIAN
XIX THE VISCOUNT AND THE PERSIAN
XX IN THE CELLARS OF THE OPERA
XXI INTERESTING VICISSITUDES
XXII IN THE TORTURE CHAMBER
XXIII THE TORTURES BEGIN
XXIV BARRELS! BARRELS!
XXV THE SCORPION OR THE GRASSHOPPER: WHICH
XXVI THE END OF THE GHOST'S LOVE STORY
EPILOGUE
{plus a "bonus chapter" called "THE PARIS OPERA HOUSE"}
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 imagination 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 concierge. Yes, he existed
in flesh and blood, although he assumed the complete appearance
of a real phantom; 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 phenomena in question. The events do not
date more than thirty years back; and it would not be difficult
to find at the present day, in the foyer of the ballet, 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 legendary 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 efforts 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 mysterious
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 operation that went on inside the "magic envelope."
I had just left the library in despair, when I met the delightful
acting-manager of our National Academy, who stood chatting on a landing
with a lively and well-groomed little old man, to whom he introduced
me gaily. The acting-manager knew all about my investigations
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