The Phantom of the Opera (3 page)

“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 has 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 program.”

Sorelli interfered.

“Giry, child, you’re getting at us!”

Thereupon little Giry began to cry.

“I ought to have held my tongue—if mother ever came to know! But I was quite right, Joseph Buquet had no business to talk of things that don’t concern him—it will bring him bad luck—mother was saying so last night—”

There was a sound of hurried and heavy footsteps in the passage and a breathless voice cried:

“Cecile! Cecile! Are you there?”

“It’s mother’s voice,” said Jammes. “What’s the matter?”

She opened the door. A respectable lady, built on the lines of a Pomeranian grenadier, burst into the dressing-room and dropped groaning into a vacant arm-chair. Her eyes rolled madly in her brick-dust colored face.

“How awful!” she said. “How awful!”

“What? What?”

“Joseph Buquet!”

“What about him?”

“Joseph Buquet is dead!”

The room became filled with exclamations, with astonished outcries, with scared requests for explanations.

“Yes, he was found hanging in the third-floor cellar!”

“It’s the ghost!” little Giry blurted, as though in spite of herself; but she at once corrected herself, with her hands pressed to her mouth: “No, no!—I, didn’t say it!—I didn’t say it!—”

All around her, her panic-stricken companions repeated under their breaths:

“Yes—it must be the ghost!”

Sorelli was very pale.

“I shall never be able to recite my speech,” she said.

Ma Jammes gave her opinion, while she emptied a glass of liqueur that happened to be standing on a table; the ghost must have something to do with it.

The truth is that no one ever knew how Joseph Buquet met his death. The verdict at the inquest was “natural suicide.” In his Memoirs of Manager, M. Moncharmin, one of the joint managers who succeeded MM. Debienne and Poligny, describes the incident as follows:

“A grievous accident spoiled the little party which MM. Debienne and Poligny gave to celebrate their retirement. I was in the manager’s office, when Mercier, the acting-manager, suddenly came darting in. He seemed half mad and told me that the body of a scene-shifter had been found hanging in the third cellar under the stage, between a farm-house and a scene from the
Roi de Lahore
. I shouted:

“‘Come and cut him down!’

“By the time I had rushed down the staircase and the Jacob’s ladder, the man was no longer hanging from his rope!”

So this is an event which M. Moncharmin thinks natural. A man hangs at the end of a rope; they go to cut him down; the rope has disappeared. Oh, M. Moncharmin found a very simple explanation! Listen to him:

“It was just after the ballet; and leaders and dancing-girls lost no time in taking their precautions against the evil eye.”

There you are! Picture the corps de ballet scuttling down the Jacob’s ladder and dividing the suicide’s rope among themselves in less time than it takes to write! When, on the other hand, I think of the exact spot where the body was discovered—the third cellar underneath the stage!—imagine that
somebody
must have been interested in seeing that the rope disappeared after it had effected its purpose; and time will show if I am wrong.

The horrid news soon spread all over the Opera, where Joseph Buquet was very popular. The dressing-rooms emptied and the ballet-girls, crowding around Sorelli like timid sheep around their shepherdess, made for the foyer through the ill-lit passages and staircases, trotting as fast as their little pink legs could carry them.

^*
I have the anecdote, which is quite authentic, from M. Pedro Gailhard himself, the late manager of the Opera.

Chapter II

The New Margarita

ON THE FIRST LANDING,
Sorelli ran against the Comte de Chagny, who was coming up-stairs. The count, who was generally so calm, seemed greatly excited.

“I was just going to you,” he said, taking off his hat. “Oh, Sorelli, what an evening! And Christine Daae: what a triumph!”

“Impossible!” said Meg Giry. “Six months ago, she used to sing like a
crock
! But do let us get by, my dear count,” continues the brat, with a saucy curtsey. “We are going to inquire after a poor man who was found hanging by the neck.”

Just then the acting-manager came fussing past and stopped when he heard this remark.

“What!” he exclaimed roughly. “Have you girls heard already? Well, please forget about it for tonight—and above all don’t let M. Debienne and M. Poligny hear; it would upset them too much on their last day.”

They all went on to the foyer of the ballet, which was already full of people. The Comte de Chagny was right; no gala performance ever equalled this one. All the great composers of the day had conducted their own works in turns. Faure and Krauss had sung; and, on that evening, Christine Daae had revealed her true self, for the first time, to the astonished and enthusiastic audience. Gounod had conducted the Funeral March of a Marionnette; Reyer, his beautiful overture to Siguar; Saint Saens, the Danse Macabre and a Reverie Orientale; Massenet, an unpublished Hungarian march; Guiraud, his Carnaval; Delibes, the Valse Lente from Sylvia and the Pizzicati from Coppelia. Mlle. Krauss had sung the bolero in the Vespri Siciliani; and Mlle. Denise Bloch the drinking song in Lucrezia Borgia.

But the real triumph was reserved for Christine Daae, who had begun by singing a few passages from Romeo and Juliet. It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was revived at the Opera Comique after it had been produced at the old Theatre Lyrique by Mme. Carvalho. Those who heard her say that her voice, in these passages, was seraphic; but this was nothing to the superhuman notes that she gave forth in the prison scene and the final trio in
Faust
, which she sang in the place of La Carlotta, who was ill. No one had ever heard or seen anything like it.

Daae revealed a new Margarita that night, a Margarita of a splendor, a radiance hitherto unsuspected. The whole house went mad, rising to its feet, shouting, cheering, clapping, while Christine sobbed and fainted in the arms of her fellow-singers and had to be carried to her dressing-room. A few subscribers, however, protested. Why had so great a treasure been kept from them all that time? Till then, Christine Daae had played a good Siebel to Carlotta’s rather too splendidly material Margarita. And it had needed Carlotta’s incomprehensible and inexcusable absence from this gala night for the little Daae, at a moment’s warning, to show all that she could do in a part of the program reserved for the Spanish diva! Well, what the subscribers wanted to know was, why had Debienne and Poligny applied to Daae, when Carlotta was taken ill? Did they know of her hidden genius? And, if they knew of it, why had they kept it hidden? And why had she kept it hidden? Oddly enough, she was not known to have a professor of singing at that moment. She had often said she meant to practise alone for the future. The whole thing was a mystery.

The Comte de Chagny, standing up in his box, listened to all this frenzy and took part in it by loudly applauding. Philippe Georges Marie Comte de Chagny was just forty-one years of age. He was a great aristocrat and a good-looking man, above middle height and with attractive features, in spite of his hard forehead and his rather cold eyes. He was exquisitely polite to the women and a little haughty to the men, who did not always forgive him for his successes in society. He had an excellent heart and an irreproachable conscience. On the death of old Count Philibert, he became the head of one of the oldest and most distinguished families in France, whose arms dated back to the fourteenth century. The Chagnys owned a great deal of property; and, when the old count, who was a widower, died, it was no easy task for Philippe to accept the management of so large an estate. His two sisters and his brother, Raoul, would not hear of a division and waived their claim to their shares, leaving themselves entirely in Philippe’s hands, as though the right of primogeniture had never ceased to exist. When the two sisters married, on the same day, they received their portion from their brother, not as a thing rightfully belonging to them, but as a dowry for which they thanked him.

The Comtesse de Chagny, nee de Moerogis de La Martyniere, had died in giving birth to Raoul, who was born twenty years after his elder brother. At the time of the old count’s death, Raoul was twelve years of age. Philippe busied himself actively with the youngster’s education. He was admirably assisted in this work first by his sisters and afterward by an old aunt, the widow of a naval officer, who lived at Brest and gave young Raoul a taste for the sea. The lad entered the Borda training-ship, finished his course with honors and quietly made his trip round the world. Thanks to powerful influence, he had just been appointed a member of the official expedition on board the Requin, which was to be sent to the Arctic Circle in search of the survivors of the D’Artoi’s expedition, of whom nothing had been heard for three years. Meanwhile, he was enjoying a long furlough which would not be over for six months; and already the dowagers of the Faubourg Saint-Germain were pitying the handsome and apparently delicate stripling for the hard work in store for him.

The shyness of the sailor-lad—I was almost saying his innocence—was remarkable. He seemed to have but just left the women’s apron-strings. As a matter of fact, petted as he was by his two sisters and his old aunt, he had retained from this purely feminine education manners that were almost candid and stamped with a charm that nothing had yet been able to sully. He was a little over twenty-one years of age and looked eighteen. He had a small, fair mustache, beautiful blue eyes and a complexion like a girl’s.

Philippe spoiled Raoul. To begin with, he was very proud of him and pleased to foresee a glorious career for his junior in the navy in which one of their ancestors, the famous Chagny de La Roche, had held the rank of admiral. He took advantage of the young man’s leave of absence to show him Paris, with all its luxurious and artistic delights. The count considered that, at Raoul’s age, it is not good to be too good. Philippe himself had a character that was very well-balanced in work and pleasure alike; his demeanor 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 come and spend an hour or two after dinner in the company of a dancer, who, though not so very, very witty, had the finest eyes that ever were seen! And, besides, there are places where a true Parisian, when he has the rank of the Comte de Chagny, is bound to show himself; and at that time the foyer of the ballet at the Opera was one of those places.

Lastly, Philippe would perhaps not have taken his brother behind the scenes of the Opera if Raoul had not been the first to ask him, repeatedly renewing his request with a gentle obstinacy which the count remembered at a later date.

On that evening, Philippe, after applauding the Daae, turned to Raoul and saw that he was quite pale.

“Don’t you see,” said Raoul, “that the woman’s fainting?”

“You look like fainting yourself,” said the count. “What’s the matter?”

But Raoul had recovered himself and was standing up.

“Let’s go and see,” he said, “she never sang like that before.”

The count gave his brother a curious smiling glance and seemed quite pleased. They were soon at the door leading from the house to the stage. Numbers of subscribers were slowly making their way through. Raoul tore his gloves without knowing what he was doing and Philippe had much too kind a heart to laugh at him for his impatience. But he now understood why Raoul was absent-minded when spoken to and why he always tried to turn every conversation to the subject of the Opera.

They reached the stage and pushed through the crowd of gentlemen, scene-shifters, supers and chorus-girls, Raoul leading the way, feeling that his heart no longer belonged to him, his face set with passion, while Count Philippe followed him with difficulty and continued to smile. At the back of the stage, Raoul had to stop before the inrush of the little troop of ballet-girls who blocked the passage which he was trying to enter. More than one chaffing phrase darted from little made-up lips, to which he did not reply; and at last he was able to pass, and dived into the semi-darkness of a corridor ringing with the name of “Daae! Daae!” The count was surprised to find that Raoul knew the way. He had never taken him to Christine’s himself and came to the conclusion that Raoul must have gone there alone while the count stayed talking in the foyer with Sorelli, who often asked him to wait until it was her time to “go on” and sometimes handed him the little gaiters in which she ran down from her dressing-room to preserve the spotlessness of her satin dancing-shoes and her flesh-colored tights. Sorelli had an excuse; she had lost her mother.