Leroux The Phantom of the Opera

1. Auflage 2018
ISBN: 978-1-4553-1748-6
Verlag: Seltzer Books
Format: EPUB
Kopierschutz: 0 - No protection

E-Book, Englisch, 726 Seiten

Classic french novel, first published in 1910.According to Wikipedia: 'Gaston Louis Alfred Leroux (6 May 1868, Paris, France - 15 April 1927) was a French journalist and author of detective fiction. In the English-speaking world, he is best known for writing the novel The Phantom of the Opera (Le Fantôme de l'Opéra, 1910), which has been made into several film and stage productions of the same name, such as the 1925 film starring Lon Chaney; and Andrew Lloyd Webber's 1986 musical. It was also the basis of the 1990 novel Phantom by Susan Kay... He suddenly left journalism in 1907, and began writing fiction. In 1909, he and Arthur Bernède formed their own film company, Société des Cinéromans to simultaneously publish novels and turn them into films. He first wrote a mystery novel entitled Le mystère de la chambre jaune (1908; The Mystery of the Yellow Room), starring the amateur detective Joseph Rouletabille. Leroux's contribution to French detective fiction is considered a parallel to Sir Arthur Conan Doyle's in the United Kingdom and Edgar Allan Poe's in America.'

Autoren/Hrsg.

Leroux, Gaston

Leseproben

THE PHANTOM OF THE OPERA BY GASTON LEROUX
1910   Published by Seltzer Books established in 1974 as B&R Samizdat Express, now offering over 14,000  books feedback welcome: [e-mail]     Novels by Gaston Leroux available from Seltzer Books: The Mystery of the Yellow Room The Phantom of the Opera The Secret of the Night The Bride of the Sun The Double Life     PROLOGUE I       IS IT A GHOST? II      THE NEW MARGARITA III     THE MYSTERIOUS REASON IV      BOX FIVE V       THE ENCHANTED VIOLIN VI      A VISIT TO BOX FIVE VII     FAUST AND WHAT FOLLOWED VIII    THE MYSTERIOUS BROUGHAM IX      AT THE MASKED BALL X       FORGET THE NAME OF THE MAN'S VOICE XI      ABOVE THE TRAP-DOORS XII     APOLLO'S LYRE XIII    A MASTER-STROKE OF THE TRAP-DOOR LOVER XIV     THE SINGULAR ATTITUDE OF A SAFETY-PIN XV      CHRISTINE!  CHRISTINE! XVI     MME. GIRY'S REVELATIONS XVII    THE SAFETY-PIN AGAIN XVIII   THE COMMISSARY, THE VISCOUNT AND THE PERSIAN XIX     THE VISCOUNT AND THE PERSIAN XX      IN THE CELLARS OF THE OPERA XXI     INTERESTING VICISSITUDES XXII    IN THE TORTURE CHAMBER XXIII   THE TORTURES BEGIN XXIV    BARRELS!  BARRELS! XXV     THE SCORPION OR THE GRASSHOPPER:  WHICH XXVI    THE END OF THE GHOST'S LOVE STORY    EPILOGUE   plus a "bonus chapter" called "THE PARIS OPERA HOUSE"     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...