I have now told the singular, but veracious story of the Opera ghost. As I declared on the first page of this work, it is no longer possible to deny that Erik really lived. There are to-day so many proofs of his existence within the reach of everybody that we can follow Erik's actions logically through the whole tragedy of the Chagnys.
There is no need to repeat here how greatly the case excited the capital. The kidnapping of the artist, the death of the Comte de Chagny under such exceptional conditions, the disappearance of his brother, the drugging of the gas-man at the Opera and of his two assistants: what tragedies, what passions, what crimes had surrounded the idyll of Raoul and the sweet and charming Christine! ... What had become of that wonderful, mysterious artist of whom the world was never, never to hear again? ... She was represented as the victim of a rivalry between the two brothers; and nobody suspected what had really happened, nobody understood that, as Raoul and Christine had both disappeared, both had withdrawn far from the world to enjoy a happiness which they would not have cared to make public after the inexplicable death of Count Philippe.... They took the train one day from `the northern railway station of the world.' ... Possibly, I too shall take the train at that station, one day, and go and seek around thy lakes, O Norway, O silent Scandinavia, for the perhaps still living traces of Raoul and Christine and also of Mamma Valerius, who disappeared at the same time! ... Possibly, some day, I shall hear the lonely echoes of the North repeat the singing of her who knew the Angel of Music! ...
Long after the case was pigeonholed by the unintelligent care of M. le Juge d'Instruction Faure, the newspapers made efforts, at intervals, to fathom the mystery. One evening paper alone, which knew all the gossip of the theaters, said:
`We recognize the touch of the Opera ghost.'
And even that was written by way of irony.
The Persian alone knew the whole truth and held the main proofs, which came to him with the pious relics promised by the ghost. It fell to my lot to complete those proofs with the aid of the daroga himself. Day by day, I kept him informed of the progress of my inquiries; and he directed them. He had not been to the Opera for years and years, but he had preserved the most accurate recollection of the building, and there was no better guide than he possible to help me discover its most secret recesses. He also told me where to gather further information, whom to ask; and he sent me to call on M. Poligny, at a moment when the poor man was nearly drawing his last breath. I had no idea that he was so very ill, and I shall never forget the effect which my questions about the ghost produced upon him. He looked at me as if I were the devil and answered only in a few incoherent sentences, which showed, however - and that was the main thing - the extent of the perturbation which O. G., in his time, had brought into that already very restless life (for M. Poligny was what people call a man of pleasure).
When I came and told the Persian of the poor result of my visit to M. Poligny, the daroga gave a faint smile and said:
`Poligny never knew how far that extraordinary blackguard of an Erik humbugged him.' - The Persian, by the way, spoke of Erik sometimes as a demigod and sometimes as the lowest of the low - `Poligny was superstitious and Erik knew it. Erik knew most things about the public and private affairs of the Opera. When M. Poligny heard a mysterious voice tell him, in Box Five, of the manner in which he used to spend his time and abuse his partner's confidence, he did not wait to hear any more. Thinking at first that it was a voice from Heaven, he believed himself damned; and then, when the voice began to ask for money, he saw that he was being victimized by a shrewd blackmailer to whom Debienne himself had fallen a prey. Both of them, already tired of management for various reasons, went away without trying to investigate further into the personality of that curious O. G., who had forced such a singular memorandum-book upon them. They bequeathed the whole mystery to their successors and heaved a sigh of relief when they were rid of a business that had puzzled them without amusing them in the least.'
Return to the The Phantom of the Opera Summary Return to the Gaston Leroux Library