Phantom of the Opera (Barnes & Noble Classics Series) Page 4

  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 letters, 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 upright man, incapable of inventing a story that might have defeated the ends of justice.

  This, moreover, was the opinion of the more serious 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 General D—:

  Sir:

  I can not urge you too strongly to publish the results of your inquiry. I remember perfectly that, a few weeks before the disappearance of that great singer, Christine Daaé, and the tragedy which threw the whole of the Faubourg Saint-Germain c 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 consequence of the later affair that excited us all so greatly. 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 always be more easily explained than the dismal story in which malevolent people have tried to picture two brothers killing each other who had worshipped 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, corroborated the Persian’s documents precisely; and a wonderful discovery crowned my labours in a very definite fashion. It will be remembered that, later, when digging in the substructure of the Opera, before burying the phonographic records of the artists’ voices,4 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.5

  The wretches who were massacred, under the Commune, in the cellars of the Opera, were not buried 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 Daaé), M. Rémy, the late secretary, M. Mercier, the late acting-manager, M. Gabriel, the late chorus-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 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 preservation of the building, who did not hesitate to lend me the works of Charles Garnier, 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 theatrical library and to borrow the rarest editions of books by which he set great store.6

  GASTON LEROUX

  They rushed in amid great confusion, some giving vent to forced and unnatural laughter, others to cries of terror.

  1

  IS IT THE GHOST?

  It was the evening on which MM. Debienne and Poligny, the managers of the Opera, were giving 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” Polyeucte.1 They rushed in amid great confusion, some giving vent to forced and unnatural 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 dressing-table and a cupboard or two provided the necessary 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;2 portraits of 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, quarrelling, 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 her poor 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 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 spectre dressed like a man of fashion or an undertaker; but the ghost legend soon swelled to enormous 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 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 two 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.3 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 assistants. 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 inspection 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 starting out of his head, and practically fainted in the arms of the proud mother of little Jammes.d 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 fireman 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 entered 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 outside the stage-door-keeper’s box, when you enter the Opera through the court known as the Cour de l’Administration.

  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!”

  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!” 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 suspicious light into the surrounding darkness, without 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 daylight—”

  “Gabriel, the chorus-master?”

  “Why, yes, didn’t you know?”

  “And he was wearing his dress-clothes, in broad daylight?”

  “Who? Gabriel?”

  “Why, no, the ghost!”

  “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,5 while their second and third fingers were bent on the palm and held down by the thumb.

  “And you know how superstitious Gabriel is,” continued 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 lock 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 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 somebody.

  “That’s mother’s opinion,” replied Meg, lowering 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 th
e 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 movement of entreaty and fear, communicating their terror 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:

  “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 nobody 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 had 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 has heard him. Mother knows, because she gives him his pro gramme.”