LITMIR.BIZ

      The Phantom of the Opera

       Table of Contents

       Prologue

       Chapter I. Is it a Ghost?

       Chapter II. The New Margarita

       Chapter III. The Mysterious Reason

       Chapter IV. Box Five

       Chapter V. The Enchanted Violin

       Chapter VI. A Visit to Box Five

       Chapter VII. Faust and What Followed

       Chapter VIII. The Mysterious Brougham

       Chapter IX. At the Masked Ball

       Chapter X. Forget the Name of the Man's Voice

       Chapter XI. Above the Trap-Doors

       Chapter XII. Apollo's Lyre

       Chapter XIII. A Master-Stroke of the Trap-Door Lover

       Chapter XIV. The Singular Attitude of a Safety-Pin

       Chapter XV. Christine! Christine!

       Chapter XVI. Mme. Giry's Revelations

       Chapter XVII. The Safety-Pin Again

       Chapter XVIII. The Commissary, the Viscount and the Persian

       Chapter XIX. The Viscount and the Persian

       Chapter XX. In The Cellars of the Opera

       Chapter XXI. Interesting Vicissitudes

       Chapter XXII. In the Torture Chamber

       Chapter XXIII. The Tortures Begin

       Chapter XXIV. Barrels! Barrels!

       Chapter XXV. The Scorpion or the Grasshopper: Which

       Chapter XXVI. The End of the Ghost's Love Story

       Epilogue

Prologue

       Table of Contents

      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

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