The Phantom of the Opera | Page 7

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
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!--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.
Chapter II
The New Margarita
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 Daae: 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," continues 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 Daae 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 Saens, the Danse Macabre and a Reverie 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 Daae, 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 Opera 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.
Daae revealed a new Margarita that night, a Margarita of a splendor, a
radiance hitherto unsuspected. The whole house went mad, rising to its
feet, shouting, cheering, clapping, while Christine sobbed and fainted
in the arms of her fellow-singers and