Gaston Leroux - The Phantom of the Opera

“Because—because—nothing—”

This reticence exasperated the curiosity of the young ladies, who crowded round little Giry, begging her to explain herself. They were there, side by side, leaning forward simultaneously in one movement of entreaty and fear, communicating their terror to one another, taking a keen pleasure in feeling their blood freeze in their veins.

“I swore not to tell!” gasped Meg.

But they left her no peace and promised to keep the secret, until Meg, burning to say all she knew, began, with her eyes fixed on the door:

“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 coloured 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 a 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—I 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.

1I have the anecdote, which is quite authentic, from M. Pedro Gailhard himself, the late manager of the Opera.

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 Daaé: 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,” continued 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 Daaé 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 Saüns, the Danse Macabre and a Rêverie 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 Daaé, 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 Opéra 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.