playing La Juive. M. Poligny thought he would watch the performance from the ghost's box... Well, when Leopold cries, 'Let us fly!'—you know—and Eleazer stops them and says, 'Whither go ye?' ... well, M. Poligny—I was watching him from the back of the next box, which was empty—M. Poligny got up and walked out quite stiffly, like a statue, and before I had time to ask him, 'Whither go ye?' like Eleazer, he was down the staircase, but without breaking his leg.
"Still, that doesn't let us know how the Opera ghost came to ask you for a footstool," insisted M. Moncharmin.
"Well, from that evening, no one tried to take the ghost's private box from him. The manager gave orders that he was to have it at each performance. And, whenever he came, he asked me for a footstool."
"Tut, tut! A ghost asking for a footstool! Then this ghost of yours is a woman?"
"No, the ghost is a man."
"How do you know?"
"He has a man's voice, oh, such a lovely man's voice! This is what happens: When he comes to the opera, it's usually in the middle of the first act. He gives three little taps on the door of Box Five. The first time I heard those three taps, when I knew there was no one in the box, you can think how puzzled I was! I opened the door, listened, looked; nobody! And then I heard a voice say, 'Mme. Jules' my poor husband's name was Jules—'a footstool, please.' Saving your presence, gentlemen, it made me feel all-overish like. But the voice went on, 'Don't be frightened, Mme. Jules, I'm the Opera ghost!' And the voice was so soft and kind that I hardly felt frightened. THE VOICE WAS SITTING IN THE CORNER CHAIR, ON THE RIGHT, IN THE FRONT ROW."
"Was there any one in the box on the right of Box Five?" asked Moncharmin.
"No; Box Seven, and Box Three, the one on the left, were both empty. The curtain had only just gone up."
"And what did you do?"
"Well, I brought the footstool. Of course, it wasn't for himself he wanted it, but for his lady! But I never heard her nor saw her."
"Eh? What? So now the ghost is married!" The eyes of the two managers traveled from Mme. Giry to the inspector, who, standing behind the box-keeper, was waving his arms to attract their attention. He tapped his forehead with a distressful forefinger, to convey his opinion that the widow Jules Giry was most certainly mad, a piece of pantomime which confirmed M. Richard in his determination to get rid of an inspector who kept a lunatic in his service. Meanwhile, the worthy lady went on about her ghost, now painting his generosity:
"At the end of the performance, he always gives me two francs, sometimes five, sometimes even ten, when he has been many days without coming. Only, since people have begun to annoy him again, he gives me nothing at all.
"Excuse me, my good woman," said Moncharmin, while Mme. Giry tossed the feathers in her dingy hat at this persistent familiarity, "excuse me, how does the ghost manage to give you your two francs?"
"Why, he leaves them on the little shelf in the box, of course. I find them with the program, which I always give him. Some evenings, I find flowers in the box, a rose that must have dropped from his lady's bodice ... for he brings a lady with him sometimes; one day, they left a fan behind them."
"Oh, the ghost left a fan, did he? And what did you do with it?"
"Well, I brought it back to the box next night."
Here the inspector's voice was raised.
"You've broken the rules; I shall have to fine you, Mme. Giry."
"Hold your tongue, you fool!" muttered M. Firmin Richard.
"You brought back the fan. And then?"
"Well, then, they took it away with them, sir; it was not there at the end of the performance; and in its place they left me a box of English sweets, which I'm very fond of. That's one of the ghost's pretty thoughts."
"That will do, Mme. Giry. You can go."
When Mme. Giry had bowed herself out, with the dignity that never deserted her, the manager told the inspector that they had decided to dispense with that old madwoman's services; and, when he had gone in his turn, they instructed the acting-manager to make up the inspector's accounts. Left alone, the managers told each other of the idea which they both had in mind, which was that they should look into that little matter of Box Five themselves.
Chapter V. The Enchanted Violin
Christine Daae, owing to intrigues to which I will return later, did not immediately continue her triumph at the Opera. After the famous gala night, she sang once at the Duchess de Zurich's; but this was the last occasion on which she was heard in private. She refused, without plausible excuse, to appear at a charity concert to which she had promised her assistance. She acted throughout as though she were no longer the mistress of her own destiny and as though she feared a fresh triumph.
She knew that the Comte de Chagny, to please his brother, had done his best on her behalf with M. Richard; and she wrote to thank him and also to ask him to cease speaking in her favor. Her reason for this curious attitude was never known. Some pretended that it was due to overweening pride; others spoke of her heavenly modesty. But people on the stage are not so modest as all that; and I think that I shall not be far from the truth if I ascribe her action simply to fear. Yes, I believe that Christine Daae was frightened by what had happened to her. I have a letter of Christine's (it forms part of the Persian's collection), relating to this period, which suggests a feeling of absolute dismay:
"I don't know myself when I sing," writes the poor child.
She showed herself nowhere; and the Vicomte de Chagny tried in vain to meet her. He wrote to her, asking to call upon her, but despaired of receiving a reply when, one morning, she sent him the following note:
MONSIEUR:
I have not forgotten the little boy who went into the sea to rescue my scarf. I feel that I must write to you to-day, when I am going to Perros, in fulfilment of a sacred duty. To-morrow is the anniversary of the death of my poor father, whom you knew and who was very fond of you. He is buried there, with his violin, in the graveyard of the little church, at the bottom of the slope where we used to play as children, beside the road where, when we were a little bigger, we said good-by for the last time.
The Vicomte de Chagny hurriedly consulted a railway guide, dressed as quickly as he could, wrote a few lines for his valet to take to his brother and jumped into a cab which brought him to the Gare Montparnasse just in time to miss the morning train. He spent a dismal day in town and did not recover his spirits until the evening, when he was seated in his compartment in the Brittany express. He read Christine's note over and over again, smelling its perfume, recalling the sweet pictures of his childhood, and spent the rest of that tedious night journey in feverish dreams that began and ended with Christine Daae. Day was breaking when he alighted at Lannion. He hurried to the diligence for Perros-Guirec. He was the only passenger. He questioned the driver and learned that, on the evening of the previous day, a young lady who looked like a Parisian had gone to Perros and put up at the inn known as the Setting Sun.
The nearer he drew to her, the more fondly he remembered the story of the little Swedish singer. Most of the details are still unknown to the public.
There was once, in a little market-town not far from Upsala, a peasant who lived there with his family, digging the earth during the week and singing in the choir on Sundays. This peasant had a little daughter to whom he taught the musical alphabet before she knew how to read. Daae's father was a great musician, perhaps without knowing it. Not a fiddler throughout the length and breadth of Scandinavia played as he did. His reputation was widespread and he was always invited to set the couples dancing at weddings and other festivals. His wife died when Christine was entering upon her sixth year. Then the father, who cared only for his daughter and his music, sold his patch of ground and went to Upsala in search of fame and fortune. He found nothing but poverty.
He returned to the country, wandering from fair to