Book: The Phantom of the Opera pdf
Author: Gaston Leroux
Release Date: June 9, 2008
(✍️ This article is collected from this book 📚
(All Credit To Go Real Hero The Author of this book 📖)
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🧾Front Page Of This Book_____________
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 and how eagerly and unsuccessfully 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 Canada, 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 understood it at the time. He was bound to conclude in
favor of the madness of the viscount and the accidental death of the elder
brother, for lack of evidence to the contrary; but he was nevertheless persuaded.
that a terrible tragedy had taken place between the two brothers in connection
with Christine Daae. He could not tell me what became of Christine 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 of 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 correspondence 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 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 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 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 worshiped each other all their
lives.
🔍In This Book____________________
The story of a man named Erik, an eccentric, physically deformed genius who terrorizes the Opera Garnier in Paris. He builds his home beneath it and takes the love of his life, a beautiful soprano, under his wing.
Book Info________________________
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. 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.
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The Phantom of the Opera is a novel by French author Gaston Leroux. It was first published as a serial in Le Gaulois from 23 September 1909 to 8 January 1910, and was released in volume form in late March 1910 by Pierre Lafitte. Wikipedia
Originally published: September 23, 1909
Author: Gaston Leroux
Pages: ~145 including the glossary
Genre: Gothic fiction
Translation: The Phantom of the Opera at Wikisource
Subject: Romance; Mystery; Horror
Language: French
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