The Phantom of the Opera (Barnes & Noble Classics Series)
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The Paris Opera is haunted; everyone knows it. Everyone, that is, except for the new managers, who spark a violent dispute with the Opera Ghost when they refuse to acknowledge his existence or submit to his demands. Sometimes surfacing as a disembodied voice in Box Five or appearing as a gentleman in evening dress with a death’s-head, the phantom is obsessed with Christine Daaé, a lovely and enigmatic novice singer endowed with an amazing voice. But impetuous Viscount Raoul de Chagny is in love with Christine, and he and his brother, Count Philippe, are swept into the phantom’s deadly illusion with horrifying consequences.
Police reports, newspaper clippings, and witness interviews help a sleuthing narrator reconstruct the events of French author Gaston Leroux’s most famous tale, one that had a significant impact on contemporary detective fiction. First published in 1911, The Phantom of the Opera has since been the basis for many adaptations, including Lon Chaney’s silent film and Andrew Lloyd Webber’s Tony award-winning Broadway musical. Today, this thriller is recognized not only as a compelling yarn with gothic overtones, but an engrossing romance of stirring theatricality.
throughout this business, proves it and is above all praise. [Leroux’s note]2 x Petition made in the Catholic mass; it is Greek for “Lord have mercy.” y Famous wax museum in Paris that opened in 1882. z An upright post with a projecting arm, used for hangings. aa It is very natural that, at the time when the Persian was writing, he should take so many precautions against any spirit of incredulity on the part of those who were likely to read his narrative. Nowadays, when we have all
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
good to be too good. Philippe himself had a character that was very well-balanced in work and pleasure alike; his demeanour was always faultless; and he was incapable of setting his brother a bad example. He took him with him wherever he went. He even introduced 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
commissary of police, on entering the managers’ office, were to ask after the missing prima donna. “Is Christine Daaé here?” “Christine Daaé here?” echoed Richard. “No. Why?” As for Moncharmin, he had not the strength left to utter a word. Richard repeated, for the commissary and the compact crowd which had followed him into the office observed an impressive silence. “Why do you ask if Christine Daaé is here, M. le commissaire?” “Because she has to be found,” declared the commissary of
attracting his attention.” “Do you think he is near us?” - “It is quite possible, sir, if he is not, at this moment, with his victim, in the house on the lake.” “Ah, so you know that house too?” “If he is not there, he may be here, in this wall, in this floor, in this ceiling! ... Come!” And the Persian, asking Raoul to deaden the sound of his footsteps, led him down passages which Raoul had never seen before, even at the time when Christine used to take him for walks through that labyrinth.