第2章 EPILOGUE(2)

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 the tragedy through the ghost, then Ibeg you sir, to talk to us about the ghost again.

Mysterious though the ghost may at first appear, he will always be more easily explained than the dismal story in which malevolent people have tried to picture two brothers killing each other who had worshiped each other all their lives.

Believe me, etc.

Lastly, with my bundle of papers in hand, I once more went over the ghost's vast domain, the huge building which he had made his kingdom.All that my eyes saw, all that my mind perceived, corroborated the Persian's documents precisely; and a wonderful discovery crowned my labors in a very definite fashion.It will be remembered that, later, when digging in the substructure of the Opera, before burying the phonographic records of the artist's voice, the workmen laid bare a corpse.Well, I was at once able to prove that this corpse was that of the Opera ghost.I made the acting-manager put this proof to the test with his own hand;and it is now a matter of supreme indifference to me if the papers pretend that the body was that of a victim of the Commune.

The wretches who were massacred, under the Commune, in the cellars of the Opera, were not buried on this side; I will tell where their skeletons can be found in a spot not very far from that immense crypt which was stocked during the siege with all sorts of provisions.

I came upon this track just when I was looking for the remains of the Opera ghost, which I should never have discovered but for the unheard-of chance described above.

But we will return to the corpse and what ought to be done with it.

For the present, I must conclude this very necessary introduction by thanking M.Mifroid (who was the commissary of police called in for the first investigations after the disappearance of Christine Daae), M.Remy, the late secretary, M.Mercier, the late acting-manager, M.Gabriel, the late chorus-master, and more particularly Mme.la Baronne de Castelot-Barbezac, who was once the "little Meg"of the story (and who is not ashamed of it), the most charming star of our admirable corps de ballet, the eldest daughter of the worthy Mme.Giry, now deceased, who had charge of the ghost's private box.

All these were of the greatest assistance to me; and, thanks to them, I shall be able to reproduce those hours of sheer love and terror, in their smallest details, before the reader's eyes.

And I should be ungrateful indeed if I omitted, while standing on the threshold of this dreadful and veracious story, to thank the present management the Opera, which has so kindly assisted me in all my inquiries, and M.Messager in particular, together with M.Gabion, the acting-manager, and that most amiable of men, the architect intrusted with the preservation of the building, who did not hesitate to lend me the works of Charles Garnier, although he was almost sure that I would never return them to him.

Lastly, I must pay a public tribute to the generosity of my friend and former collaborator, M.J.Le Croze, who allowed me to dip into his splendid theatrical library and to borrow the rarest editions of books by which he set great store.

GASTON LEROUX.