Книга - Призрак оперы / The Phantom of the Opera

Призрак оперы / The Phantom of the Opera
Gaston Leroux


Легко читаем по-английски
Роман Гастона Леру был впервые опубликован в 1909 году и с тех пор стал одним из самых ярких явлений массовой культуры. «Призрак оперы» рассказывает историю молодой оперной певицы Кристины. В её жизни появляется незнакомец, таинственный и мрачный Призрак, обитающий в здании Парижской оперы. Постепенно Кристина оказывается под его влиянием.

Для удобства читателя текст сопровождается комментариями и кратким словарем.

Предназначается для продолжающих изучать английский язык (уровень 4 – Upper-Intermediate).





Гастон Леру / Gaston Leroux

Призрак оперы / The Phantom of the Opera





© Матвеев С.А., адаптация текста, комментарий, словарь, 2019

© ООО «Издательство АСТ»





Prologue


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 and their mothers. Yes, he existed in flesh and blood.

I began to study the archives of the National Academy of Music[1 - National Academy of Music – Национальная академия музыки (французский оперный театр в Париже)]. The events do not date more than thirty years back. The truth was slow to enter my mind, 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 in the library. I had just left the library in despair, when I met the delightful acting-manager [2 - acting-manager – администратор]of our National Academy, who was chatting with a lively 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 [3 - examining magistrate – судебный следователь]M. Faure[4 - Faure – Фор]. 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 Opera. The old man was M. Faure himself.

We spent an evening together and he told me the whole Chagny [5 - Chagny – Шаньи]case as he had understood it at the time. But he could not tell me what became of Christine Daae [6 - Christine Daae – Кристина Даэ]or the viscount. When I mentioned the ghost, he only laughed. He had listened to the evidence of a witness who declared that he had often met the ghost. This witness was none other than the man whom all Paris called the “Persian.” The magistrate took him for a visionary.

I was interested by this story of the Persian. I wanted 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[7 - Rue de Rivoli – улица Риволи], where he had lived ever since and where he died five months after my visit. The Persian had told me all that he knew about the ghost and had handed me the proofs of the ghost’s existence—including the strange correspondence of Christine. I was no longer able to doubt. No, the ghost was not a myth!

I went into the past history of the Persian and found that he was an upright man, incapable of inventing a story.

So, with my papers in hand, I went over the ghost’s vast domain, the huge building which he had made his kingdom. Later, when digging in the substructure of the Opera, the workmen found a corpse. I was at once able to prove that this corpse was that of the Opera ghost.

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[8 - chorus-master – хормейстер], and more particularly Mme. la Baronne de Castelot-Barbezac[9 - Mme. la Baronne de Castelot-Barbezac – баронесса де Кастело-Барбезак], who was once the “little Meg[10 - little Meg – крошка Мег]” of the story (and who is not ashamed of it). 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.




Chapter I


It was the evening on which MM. Debienne and Poligny[11 - MM. Debienne and Poligny – господа Дебьенн и Полиньи], the managers of the Opera, were giving a last gala performance to mark their retirement. Suddenly the dressing-room of La Sorelli[12 - the dressing-room of La Sorelli – гримёрная Сорелли], one of the principal dancers, was invaded by half-a-dozen young ladies of the ballet, who had come up from the stage. They rushed in amid great confusion. Sorelli, who wished to be alone for a moment, looked around angrily at the mad and tumultuous crowd. It was the little girl who gave the explanation in a trembling voice:

“It’s the ghost!” And she locked the door.

Sorelli was very superstitious. She shuddered when she heard the little girl speak of the ghost, called her a “silly little fool” and then asked for details:

“Have you seen him?”

“As plainly as I see you now!” said the little girl: “If that’s the ghost, he’s very ugly!”

“Oh, yes!” cried the chorus of ballet-girls.

And they all began to talk together. The ghost had appeared to them in the shape of a gentleman in dress-clothes, who had suddenly stood before them in the passage. He seemed to have come straight through the wall.

“Pooh!” said one of them. “You see the ghost everywhere!”

And it was true. For several months, there had been nothing discussed at the Opera but this ghost in dress-clothes. He was like a shadow, he spoke to nobody, to him nobody dared speak and he vanished, no one knowing how or where. He made no noise in walking. When he did not show himself, he betrayed his presence by accident, comic or serious.

After all, who had seen him? You meet so many men dressed in black at the Opera who are not ghosts. But this suit had a peculiarity of its own. It covered a skeleton. At least, so the ballet-girls said. And, of course, it had a death’s head[13 - death’s head – череп].

Was all this serious? The truth is that the idea of the skeleton came from the description of the ghost given by Joseph Buquet[14 - Joseph Buquet – Жозеф Бюке], the chief scene-shifter[15 - the chief scene-shifter – старший машинист сцены], who had really seen the ghost. He had seen him for a second—for the ghost had run away. Joseph said:

“He is extraordinarily thin. His eyes are very deep, you just see two big black holes, as in a dead man’s skull. His skin, which is stretched across his bones like a drumhead, is not white, but yellow. His nose is so little worth talking about that you can’t see it; and the absence of that nose is a horrible thing to look at. All the hair he has is three or four long dark locks on his forehead and behind his ears.”

This chief scene-shifter was a serious, sober, steady man. His words were received with interest and amazement; and soon there were other people to say that they too had met a man with a death’s head on his shoulders. And then, one after the other, there came a series of incidents so curious and so inexplicable that the very shrewdest people began to feel uneasy.

For instance, a fireman is a brave fellow! He fears nothing! Well, the fireman had gone to make a round of inspection in the cellars and suddenly reappeared on the stage, pale, scared. And why? Because he had seen coming toward him, at the level of his head, but without a body attached to it, a head of fire!

But let’s return to the evening.



“It’s the ghost!” the dancers had cried.

An agonizing silence now reigned in the dressing-room. Nothing was heard but the hard breathing of the girls. At last, a dancer, with the mark of real terror on her face, whispered:

“Listen!”

Everybody seemed to hear a rustling outside the door. But there was no sound of footsteps. Then it stopped.

Sorelli tried to show more courage than the others. She went up to the door and asked:

“Who’s there?”

But nobody answered. Then she said very loudly:

“Is there any one behind the door?”

“Oh, yes, yes! Of course there is!” cried little Meg, heroically holding Sorelli back by her gauze skirt.

“Don’t open the door! Oh, Lord, don’t open the door!”

But Sorelli, armed with a dagger, turned the key and opened the door, while Meg sighed:

“Mother! Mother!”

Sorelli looked into the passage bravely. It was empty. And the dancer slammed the door again, with a deep sigh.

“No,” she said, “there is no one there.”

“Still, we saw him!” Jammes [16 - Jammes – Жамм]declared. “He must be somewhere prowling about. I shan’t go back. We had better all go down to the foyer together, at once, and we will come up again together.”

“Come, children! I dare say no one has ever seen the ghost.”

“Yes, yes, we saw him—we saw him just now!” cried the girls. “He had his death’s head and his dress-coat[17 - dress-coat – фрак], just as when he appeared to Joseph Buquet!”

“And Gabriel saw him too!” said Jammes. “Only yesterday! Yesterday afternoon!”

“Gabriel, the chorus-master?”

“Why, yes, didn’t you know?”

“And he was wearing his dress-clothes, in broad daylight[18 - in broad daylight – средь бела дня]?”

“Who? Gabriel?”

“Why, no, the ghost!”

“Certainly! Gabriel told me so himself. That’s what he knew him by. Gabriel was in the stage-manager’s office. Suddenly the door opened and the Persian entered. You know the Persian has the evil eye.”

“Oh, yes!” answered the little ballet-girls in chorus.

“And you know how superstitious Gabriel is,” continued Jammes. “However, he is always polite. When he meets the Persian, he just puts his hand in his pocket and touches his keys. Well, the moment the Persian appeared in the doorway, Gabriel gave one jump from his chair to the lock of the cupboard. He rushed out of the office like a madman, slipped on the staircase and came down on his back. I was just passing with mother. We picked him up. He was covered with bruises and his face was all over blood. And he began to thank Providence that he had got off so cheaply. Then he told us what had frightened him. He had seen the ghost behind the Persian, the ghost with the death’s head just like Joseph Buquet’s description!”

A silence followed, while Sorelli polished her nails in great excitement. It was broken by Meg, who said:

“Joseph Buquet would do better to hold his tongue.”

“Why should he hold his tongue?” asked somebody.

“That’s mother’s opinion,” replied Meg, lowering her voice.

“And why is it your mother’s opinion?”

“Hush! Mother says the ghost doesn’t like being talked about.”

“And why does your mother say so?”

“Because—because—nothing.”

The young ladies crowded round little Meg.

“I swore not to tell!” gasped Meg.

But they promised to keep the secret, until Meg, wanting to say all she knew, began, with her eyes fixed on the door:

“Well, it’s because of the private box[19 - the private box – частная ложа].”

“What private box?”

“The ghost’s box!”

“Has the ghost a box? Oh, do tell us, do tell us!”

“Not so loud!” said Meg. “It’s Box Five, you know, the box on the grand tier[20 - the box on the grand tier – ложа первого яруса], next to the stage-box, on the left.”

“Oh, nonsense!”

“I tell you it is. But you swear you won’t say a word?”

“Of course, of course.”

“Well, that’s the ghost’s box. No one has had it for over a month, except the ghost, and orders have been given at the box-office that it must never be sold.”

“And does the ghost really come there?”

“Yes.”

“Then somebody does come?”

“Why, no! The ghost comes, but there is nobody there.”

The little ballet-girls exchanged glances. If the ghost came to the box, he must be seen, because he wore a dress-coat and a death’s head. But Meg replied:

“That’s just it! The ghost is not seen. And he has no dress-coat and no head! All that talk about his death’s head and his head of fire is nonsense! There’s nothing in it. You only hear him when he is in the box. Mother has never seen him, but she has heard him. Mother knows, because she gives him his program.”

Sorelli interfered.

“My dear, you’re laughing at us!”

Meg began to cry.

“I ought to have held my tongue—if mother ever came to know! But I was quite right, Joseph Buquet had no business to talk of things that don’t concern him—it will bring him bad luck—mother was saying so last night.”

There was a sound of hurried and heavy footsteps in the passage and a voice cried:

“My dear! Are you there?”

“It’s mother’s voice,” said Jammes. “What’s the matter?”

She opened the door. A respectable lady burst into the dressing-room and dropped into an arm-chair. Her eyes rolled madly.

“How awful!” she said. “How awful!”

“What? What?”

“Joseph Buquet!”

“What about him?”

“Joseph Buquet is dead!”

The room became filled with exclamations.

“Yes, he was found hanging in the third-floor cellar!”

“It’s the ghost!” little Meg blurted; but she at once corrected herself, with her hands pressed to her mouth:

“No, no! I didn’t say it! I didn’t say it!”

All around her repeated:

“Yes—it must be the ghost!”

Sorelli was very pale.

The truth is that no one ever knew how Joseph Buquet met his death. The verdict was “natural suicide.”

The horrid news soon spread all over the Opera, where Joseph Buquet was very popular. The dressing-rooms emptied and the ballet-girls were crowding around Sorelli like timid sheep around their shepherdess.




Chapter II


On the first landing[21 - landing – площадка], Sorelli met the Comte de Chagny, who was coming upstairs. 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. “Six months ago, she used to sing awfully! But, my dear count, we are going to inquire after a poor man who was found hanging by the neck.”

They all went on to the foyer of the ballet[22 - the foyer of the ballet – танцевальное фойе], which was already full of people. The Comte de Chagny was right. The real triumph was reserved for Christine Daae, who had begun by singing a few passages from Romeo and Juliet. No one had ever heard or seen anything like it.

Everybody went mad, shouting, cheering, clapping, while Christine sobbed and fainted in the arms of her fellow-singers and had to be carried to her dressing-room.

The Comte de Chagny was loudly applauding. Philippe de Chagny was just forty-one years old. He was a great aristocrat and a good-looking man, with attractive features, in spite of his hard forehead and his rather cold eyes. He was exquisitely polite to the women and a little haughty to the men, who did not always forgive him for his successes in society. On the death of old Count Philibert[23 - Count Philibert – граф Филибер], he became the head of one of the oldest and most distinguished families in France.

The Chagnys owned a great deal of property; and, when the old count, who was a widower, died, it was no easy task for Philippe to accept the management of so large an estate. His two sisters and his brother, Raoul[24 - Raoul – Рауль], would not hear of a division, leaving themselves entirely in Philippe’s hands. When the two sisters married, on the same day, they received their portion from their brother—as a dowry for which they thanked him.

The Comtesse de Chagny, had died in giving birth to Raoul, who was born twenty years after his elder brother. At the time of the old count’s death, Raoul was twelve years of age. Philippe gave young Raoul a taste for the sea. The lad finished his course with honors and made his trip round the world. He had just been appointed a member of the official expedition, which was to be sent to the Arctic Circle. Meanwhile, he was enjoying a long furlough.

The shyness of the lad—I was almost saying his innocence—was remarkable. He was petted by his two sisters and his old aunt. He was a little over twenty-one years of age and looked eighteen. He had a small, fair mustache, beautiful blue eyes and a complexion like a girl’s.

Philippe was very proud of Raoul and pleased to foresee a glorious career for his junior in the navy in which one of their ancestors had held the rank of admiral. Philippe wanted to show him Paris, with all its luxurious and artistic delights. Philippe himself had a character that was very well-balanced in work and pleasure alike; and he was incapable of setting his brother a bad example. He took him with him wherever he went. He even introduced him to the foyer of the ballet.

On that evening, Philippe, after applauding the Daae, turned to Raoul and saw that he was quite pale.

“Don’t you see,” said Raoul, “that the woman’s fainting?”

“You look like fainting yourself,” said the count. “What’s the matter?”

But Raoul had recovered himself and was standing up.

“Let’s go and see,” he said, “she never sang like that before.”

The count gave his brother a curious smiling glance and seemed quite pleased. They were soon at the door leading to the stage. Raoul tore his gloves without knowing what he was doing.

They reached the stage. Raoul was leading the way, feeling that his heart no longer belonged to him. Count Philippe followed him with difficulty and smiled. The count was surprised to find that Raoul knew the way. He had never taken him to Christine’s himself and came to the conclusion that Raoul must have gone there alone while the count stayed talking in the foyer with Sorelli.

Postponing his usual visit to Sorelli for a few minutes, the count followed his brother down the passage that led to Daae’s dressing-room and saw that it had never been so crammed as on that evening, when the whole house seemed excited by her success. The doctor of the theater had just arrived at the moment when Raoul entered. Christine opened her eyes. The count and many more remained crowding in the doorway.

“Don’t you think, Doctor, that those gentlemen had better clear the room?” asked Raoul coolly. “There’s no breathing here.”

“You’re quite right,” said the doctor.

And he sent every one away, except Raoul and the maid, who looked at Raoul with eyes of the most undisguised astonishment. She had never seen him before and yet dared not question him; and the doctor imagined that the young man was only acting as he did because he had the right to. The viscount, therefore, remained in the room watching Christine as she slowly returned to life, while even the joint managers, Debienne and Poligny, who had come to offer their sympathy and congratulations, found themselves thrust into the passage among the crowd of dandies. The Comte de Chagny laughed.

He turned to go to Sorelli’s dressing-room, but met her on the way, with her little troop of trembling ballet-girls, as we have seen.

Meanwhile, Christine Daae uttered a deep sigh, which was answered by a groan. She turned her head, saw Raoul and started. She looked at the doctor, on whom she bestowed a smile, then at her maid, then at Raoul again.

“Monsieur,” she said, “who are you?”

“Mademoiselle,” replied the young man, kneeling on one knee and pressing a fervent kiss on the diva’s hand, “I am the little boy who went into the sea to rescue your scarf.”

Christine again looked at the doctor and the maid; and all three began to laugh.

Raoul turned very red and stood up.

“Mademoiselle,” he said, “since you are pleased not to recognize me, I should like to say something to you in private, something very important.”

“When I am better, do you mind?” And her voice shook.

“Yes, you must go,” said the doctor, with his pleasantest smile. “Leave me to attend to mademoiselle.”

“I am not ill now,” said Christine suddenly, with strange and unexpected energy.

She rose and passed her hand over her eyelids.

“Thank you, Doctor. I should like to be alone. Please go away, all of you. Leave me. I feel very restless this evening.”

The doctor tried to make a short protest, but he thought the best remedy was not to thwart her.

And he went away, saying to Raoul, outside:

“She is not herself tonight. She is usually so gentle.”

Then he said good night and Raoul was left alone. This part of the theater was now deserted. Raoul felt a terrible pain at his heart and he wanted to speak to Daae without delay.

Suddenly the dressing-room door opened and the maid came out, carrying bundles. He stopped her and asked how her mistress was. The woman laughed and said that she was quite well, but that he must not disturb her, for she wished to be left alone. And she passed on. One idea filled Raoul’s burning brain: of course, Daae wished to be left alone for him! Had he not told her that he wanted to speak to her privately?

Hardly breathing, he went up to the dressing-room and, with his ear to the door to catch her reply, prepared to knock. But his hand dropped. He had heard a man’s voice in the dressing-room:

“Christine, you must love me!”

And Christine’s voice, infinitely sad and trembling, as though accompanied by tears, replied:

“How can you talk like that? When I sing only for you!”

Raoul leaned against the panel to ease his pain. His heart, which had seemed gone for ever, returned to his breast and was throbbing loudly. Surely, if his heart continued to make such a noise, they would hear it inside, they would open the door and the young man would be turned away in disgrace. What a position for a Chagny! To be caught listening behind a door!

The man’s voice spoke again: “Are you very tired?”

“Oh, tonight I gave you my soul and I am dead!” Christine replied.

“Your soul is a beautiful thing, child,” replied the grave man’s voice, “and I thank you. No emperor ever received so fair a gift. The angels wept tonight.”

Raoul heard nothing after that. Nevertheless, he did not go away, but he went to the dark corner, determined to wait for the man to leave the room. At one and the same time, he had learned what love meant, and hatred. He knew that he loved. He wanted to know whom he hated. To his great astonishment, the door opened and Christine Daae appeared, wrapped in furs, with her face hidden in a lace veil, alone. She closed the door behind her, but Raoul observed that she did not lock it. She passed him. He did not even follow her with his eyes, for his eyes were fixed on the door, which did not open again.





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notes


Примечания





1


National Academy of Music – Национальная академия музыки (французский оперный театр в Париже)




2


acting-manager – администратор




3


examining magistrate – судебный следователь




4


Faure – Фор




5


Chagny – Шаньи




6


Christine Daae – Кристина Даэ




7


Rue de Rivoli – улица Риволи




8


chorus-master – хормейстер




9


Mme. la Baronne de Castelot-Barbezac – баронесса де Кастело-Барбезак




10


little Meg – крошка Мег




11


MM. Debienne and Poligny – господа Дебьенн и Полиньи




12


the dressing-room of La Sorelli – гримёрная Сорелли




13


death’s head – череп




14


Joseph Buquet – Жозеф Бюке




15


the chief scene-shifter – старший машинист сцены




16


Jammes – Жамм




17


dress-coat – фрак




18


in broad daylight – средь бела дня




19


the private box – частная ложа




20


the box on the grand tier – ложа первого яруса




21


landing – площадка




22


the foyer of the ballet – танцевальное фойе




23


Count Philibert – граф Филибер




24


Raoul – Рауль