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The Phantom of the Opera

The Phantom of the Opera



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The Phantom of the Opera, by Gaston Leroux
The Project Gutenberg EBook of The Phantom of the Opera, by Gaston Leroux #1 in our series by GastonLerouxCopyright laws are changing all over the world. Be sure to check the copyright laws for your country beforedownloading or redistributing this or any other Project Gutenberg eBook.This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it.Do not change or edit the header without written permission.Please read the "legal small print," and other information about the eBook and Project Gutenberg at thebottom of this file. Included is important information about your specific rights and restrictions in how the filemay be used. You can also find out about how to make a donation to Project Gutenberg, and how to getinvolved.
**Welcome To The World of Free Plain Vanilla Electronic Texts**
**eBooks Readable By Both Humans and By Computers, Since 1971*******These eBooks Were Prepared By Thousands of Volunteers!*****Title: The Phantom of the OperaAuthor: Gaston LerouxRelease Date: Halloween, 1994 [EBook #175] [This file was last updated on March 28, 2002]Edition: 11Language: EnglishCharacter set encoding: ASCII
The Phantom of the Opera, by Gaston Leroux1
*** START OF THE PROJECT GUTENBERG EBOOK THE PHANTOM OF THE OPERA ***This etext was prepared with the use of Calera WordScan Plus 2.0 donated by:Calera Recognition Systems 475 Potrero Sunnyvale, CA 94086 1-408-720-8300 mikel@calera.com MikeLynchThe footnotes have been incrementally numbered in [ ] marks, and placed after the paragraph in which theyappearThe Phantom of the Opera by Gaston Leroux Author of "The Mystery of the Yellow Room" and "ThePerfume of the Lady in Black"The Phantom of the Opera by Gaston LerouxContents
The Phantom of the Opera, by Gaston Leroux2
I IS IT A GHOST? II THE NEW MARGARITA III THE MYSTERIOUS REASON IV BOX FIVE V THEENCHANTED VIOLIN VI A VISIT TO BOX FIVE VII FAUST AND WHAT FOLLOWED VIII THEMYSTERIOUS BROUGHAM IX AT THE MASKED BALL X FORGET THE NAME OF THE MAN'SVOICE XI ABOVE THE TRAP-DOORS XII APOLLO'S LYRE XIII A MASTER-STROKE OF THETRAP-DOOR LOVER XIV THE SINGULAR ATTITUDE OF A SAFETY-PIN XV CHRISTINE!CHRISTINE! XVI MME. GIRY'S REVELATIONS XVII THE SAFETY-PIN AGAIN XVIII THECOMMISSARY, THE VISCOUNT AND THE PERSIAN XIX THE VISCOUNT AND THE PERSIAN XXIN THE CELLARS OF THE OPERA XXI INTERESTING VICISSITUDES XXII IN THE TORTURECHAMBER XXIII THE TORTURES BEGIN XXIV BARRELS! BARRELS! XXV THE SCORPION ORTHE GRASSHOPPER: WHICH XXVI THE END OF THE GHOST'S LOVE STORY EPILOGUE{plus a "bonus chapter" called "THE PARIS OPERA HOUSE"}The Phantom of the OperaPrologueIN WHICH THE AUTHOR OF THIS SINGULAR WORK INFORMS THE READER HOW HEACQUIRED THE CERTAINTY THAT THE OPERA GHOST REALLY EXISTEDThe 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 fleshand 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 thesurprising coincidences between the phenomena ascribed to the "ghost" and the most extraordinary andfantastic tragedy that ever excited the Paris upper classes; and I soon conceived the idea that this tragedymight reasonably be explained by the phenomena in question. The events do not date more than thirty yearsback; and it would not be difficult to find at the present day, in the foyer of the ballet, old men of the highestrespectability, men upon whose word one could absolutely rely, who would remember as though theyhappened 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 bodywas found on the bank of the lake that exists in the lower cellars of the Opera on the Rue-Scribe side. Butnone of those witnesses had until that day thought that there was any reason for connecting the more or lesslegendary 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 eventswhich, 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 receivedthe proof that my presentiments had not deceived me, and I was rewarded for all my efforts on the day when Iacquired 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 mysteriousbehavior of the ghost and who was making all the fun of it that he could at the very moment when he becamethe 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, whostood chatting on a landing with a lively and well-groomed little old man, to whom he introduced me gaily.

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