The Phantom of the Opera pdf Author: Gaston Leroux

Book: The Phantom of the Opera pdf 

Author: Gaston Leroux

Release Date: June 9, 2008

Language: English.

(✍️ This article is collected from this book 📚 (All Credit To Go Real Hero The Author of this book 📖) 🙏 Please buy this book hardcopy from anyway.)

🧾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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