It was bitterly cold. The road seemed deserted and very bright under the moonlight. He told the driver to wait for him patiently at the corner of a near turning and, hiding himself as well as he could, stood stamping his feet to keep warm. He had been indulging in this healthy exercise for half an hour or so, when a carriage turned the corner of the road and came quietly in his direction, at a walking pace.
As it approached, he saw that a woman was leaning her head from the window. And, suddenly, the moon shed a pale gleam over her features.
“Christine!”
The sacred name of his love had sprung from his heart and his lips. He could not keep it back ... He would have given anything to withdraw it, for that name, proclaimed in the stillness of the night, had acted as though it were the preconcerted signal for a furious rush on the part of the whole turn-out, which dashed past him before he could put into execution his plan of leaping at the horses’ heads. The carriage window had been closed and the girl’s face had disappeared. And the brougham, behind which he was now running, was no more than a black spot on the white road.
He called out again: “Christine!”
No reply. And he stopped in the midst of the silence.
With a lack-lustre eye, he stared down that cold, desolate road and into the pale, dead night. Nothing was colder than his heart, nothing half so dead: he had loved an angel and now he despised a woman!
Raoul, how that little fairy of the North has trifled with you! Was it really, was it really necessary to have so fresh and young a face, a forehead so shy and always ready to cover itself with the pink blush of modesty in order to pass in the lonely night, in a carriage and pair, accompanied by a mysterious lover? Surely there should be some limit to hypocrisy and lying! ...
She had passed without answering his cry.... And he was thinking of dying; and he was twenty years old! ...
His valet found him in the morning sitting on his bed. He had not undressed and the servant feared, at the sight of his face, that some disaster had occurred. Raoul snatched his letters from the man’s hands. He had recognized Christine’s paper and hand-writing. She said:
Dear:
Go to the masked ball at the Opera on the night after tomorrow. At twelve o’clock, be in the little room behind the chimney-place of the big crush-room. Stand near the door that leads to the Rotunda. Don’t mention this appointment to any one on earth. Wear a white dominok and be carefully masked. As you love me, do not let yourself be recognized.
Christine.
9
AT THE MASKED BALL
The envelope was covered with mud and unstamped. It bore the words “To be handed to M. le Vicomte Raoul de Chagny,” with the address in pencil. It must have been flung out in the hope that a passer-by would pick up the note and deliver it, which was what happened. The note had been picked up on the pavement of the Place de l’Opera.
Raoul read it over again with fevered eyes. No more was needed to revive his hope. The sombre picture which he had for a moment imagined of a Christine forgetting her duty to herself made way for his original conception of an unfortunate, innocent child, the victim of imprudence and exaggerated sensibility. To what extent, at this time, was she really a victim? Whose prisoner was she? Into what whirlpool had she been dragged? He asked himself these questions with a cruel anguish; but even this pain seemed endurable beside the frenzy into which he was thrown at the thought of a lying and deceitful Christine. What had happened? What influence had she undergone? What monster had carried her off and by what means? ...
By what means indeed but that of music? He knew Christine’s story. After her father’s death, she acquired a distaste of everything in life, including her art. She went through the conservatorie like a poor soulless singing-machine. And, suddenly, she awoke as though through the intervention of a god. The Angel of Music appeared upon the scene! She sang Margarita in Faust and triumphed! ...
The Angel of Music! ... For three months the Angel of Music had been giving Christine lessons.... Ah, he was a punctual singing-master! ... And now he was taking her for drives in the Bois! ...
Raoul’s fingers clutched at his flesh, above his jealous heart. In his inexperience he now asked himself with terror what game the girl was playing? Up to what point could an opera-singer make a fool of a good-natured young man, quite new to love? O misery! ...
Thus did Raoul’s thoughts fly from one extreme to the other. He no longer knew whether to pity Christine or curse her; and he pitied and cursed her turn and turn about. At all events, he bought a white domino.
The hour of the appointment came at last. With his face in a mask trimmed with long, thick lace, looking like a pierrot in his white wrap, the viscount thought himself very ridiculous. Men of the world do not go to the Opera ball in fancy-dress! It was absurd. One thought, however, consoled the viscount: he would certainly never be recognized!1
This ball was an exceptional affair, given some time before Shrovetide,l in honour of the anniversary of the birth of a famous draftsman; and it was expected to be much gayer, noisier, more Bohemian than the ordinary masked ball. Numbers of artists had arranged to go, accompanied by a whole cohort of models and pupils, who, by midnight, began to create a tremendous din. Raoul climbed the grand staircase at five minutes to twelve, did not linger to look at the motley dresses displayed all the way up the marble steps, one of the richest settings in the world, allowed no facetious mask to draw him into a war of wits, replied to no jests and shook off the bold familiarity of a number of couples who had already become a trifle too gay. Crossing the crush-room and escaping from a mad whirl of dancers in which he was caught for a moment, he at last entered the room mentioned in Christine’s letter. He found it crammed; for this small space was the point where all those who were going to supper in the Rotunda crossed those who were returning from taking a glass of champagne. The fun, here, waxed fast and furious.
Raoul leaned against a door-post and waited. He did not wait long. A black domino passed and gave a quick squeeze to the tips of his fingers. He understood that it was she and followed her:
“Is that you, Christine?” he asked, between his teeth.
The black domino turned round promptly and raised her finger to her lips, no doubt to warn him not to mention her name again. Raoul continued to follow her in silence.
He was afraid of losing her, after meeting her again in such strange circumstances. His grudge against her was gone. He no longer doubted that she had “nothing to reproach herself with,” however peculiar and inexplicable her conduct might seem. He was ready to make any display of clemency, forgiveness or cowardice. He was in love. And, no doubt, he would soon receive a very natural explanation of her curious absence.
The black domino turned back from time to time to see if the white domino was still following.
As Raoul once more passed through the great crush-room, this time in the wake of his guide, he could not help noticing a group crowding round a person whose disguise, eccentric air and gruesome appearance were causing a sensation. It was a man dressed all in scarlet, with a huge hat and feathers on the top of a wonderful death’s head. From his shoulders hung an immense red-velvet cloak, which trailed along the floor like a king’s train; and on this cloak was embroidered, in gold letters, which everyone read and repeated aloud, “Don’t touch me! I am Red Death stalking abroad!”
Then one, greatly daring, did try to touch him ... but a skeleton hand shot out of a crimson sleeve and violently seized the rash one’s wrist; and he, feeling the clutch of the knuckle-bones, the furious grasp of Death, uttered a cry of pain and terror. When Red Death released him at last, he ran away like a very madman, pursued by the jeers of the bystanders.
It was at this moment that Raoul passed in front of the funereal masquerader, who had just happened to turn in his direction. And he nearly exclaimed:
“The death’s head of Perros-Guirec!”
He had recognized him! ... He wanted to dart forward, forgetting Christine; but the b
lack domino, who also seemed a prey to some strange excitement, caught him by the arm and dragged him from the crush-room, far from the mad crowd through which Red Death was stalking ...
It was at this moment that Raoul passed in front of the funereal masquerader, who had just happened to turn in his direction.
The black domino kept on turning back and, apparently, on two occasions saw something that startled her, for she hurried her pace and Raoul’s as though they were being pursued.
They went up two floors. Here, the stairs and corridors were almost deserted. The black domino opened the door of a private box and beckoned to the white domino to follow her. Then Christine, whom he recognized by the sound of her voice, closed the door behind them and warned him, in a whisper, to remain at the back of the box and on no account to show himself. Raoul took off his mask. Christine kept hers on. And, when Raoul was about to ask her to remove it, he was surprised to see her put her ear to the partition and listen eagerly for a sound outside. Then she opened the door ajar, looked out into the corridor and, in a low voice, said:
“He must have gone up higher.” Suddenly she exclaimed: “He is coming down again!”
She tried to close the door, but Raoul prevented her; for he had seen, on the top step of the staircase that led to the floor above, a red foot, followed by another ... and slowly, majestically, the whole scarlet dress of Red Death met his eyes. And he once more saw the death’s head of Perros-Guirec.
“It’s he!” he exclaimed. “This time, he shall not escape me! ...”
But Christine had slammed the door at the moment when Raoul was on the-point of rushing out. He tried to push her aside.
“Whom do you mean by ‘he’?” she asked, in a changed voice. “Who shall not escape you?”
Raoul tried to overcome the girl’s resistance by force, but she repelled him with a strength which he would not have suspected in her. He understood, or thought he understood, and at once lost his temper.
“Who?” he repeated angrily. “Why, he, the man who hides behind that hideous mask of death! ... The evil genius of the churchyard at Perros! ... Red Death! ... In a word, madam, your friend ... your Angel of Music! ... But I shall snatch off his mask, as I shall snatch off my own; and, this time, we shall look each other in the face, he and I, with no veil and no lies between us; and I shall know whom you love and who loves you!”
He burst into a mad laugh; while Christine gave a disconsolate moan behind her velvet mask. With a tragic gesture, she flung out her two arms, which fixed a barrier of white flesh against the door.
“In the name of our love, Raoul, you shall not pass! ...”
He stopped. What had she said? ... In the name of their love? ... Never before had she confessed that she loved him. And yet she had had opportunities enough ... Pooh, her only object was to gain a few seconds! ... She wished to give the Red Death time to escape ... And, in accents of childish hatred, he said:
“You lie, madam, for you do not love me and you have never loved me! What a poor fellow I must be to let you mock and flout me as you have done! Why did you give me every reason for hope, at Perros ... for honest hope, madam, for I am an honest man and I believed you to be an honest woman, when your only intention was to deceive me! Alas, you have deceived us all! You have taken a shameful advantage of the candid affection of your benefactress herself, who continues to believe in your sincerity while you go about the Opera ball with Red Death! ... I despise you! ...”
And he burst into tears. She allowed him to insult her. She thought of but one thing, to keep him from leaving the box.
“You will beg my pardon, one day, for all those ugly words, Raoul, and when you do I shall forgive you!”
He shook his head. “No, no, you have driven me mad! When I think that I had only one object in life: to give my name to an opera wench!”
“Raoul! ... How can you?”
“I shall die of shame!”
“No, dear, live!” said Christine’s grave and changed voice. “And ... Goodbye, Raoul ...”
The boy stepped forward, staggering as he went. He risked one more sarcasm:
“Oh, you must let me come and applaud you from time to time!”
“I shall never sing again, Raoul! ...”
“Really?” he replied, still more sarcastically. “So he is taking you off the stage: I congratulate you! ... But we shall meet in the Bois, one of these evenings!”
“Not in the Bois nor anywhere, Raoul: you shall not see me again ...”
“May one ask at least to what darkness you are returning? ... For what hell are you leaving, mysterious lady ... or for what paradise?”
“I came to tell you, dear, but I can’t tell you now ... you would not believe me! You have lost faith in me, Raoul; it is finished!”
She spoke in such a despairing voice that the lad began to feel remorse for his cruelty.
“But look here!” he cried. “Can’t you tell me what all this means! ... You are free, there is no one to interfere with you ... You go about Paris ... You put on a domino to come to the ball ... Why do you not go home? ... What have you been doing this past fortnight? ... What is this tale about the Angel of Music, which you have been telling Mamma Valérius? Some one may have taken you in, played upon your innocence. I was a witness of it myself, at Perros ... but you know what to believe now! You seem to me quite sensible, Christine. You know what you are doing ... And meanwhile Mamma Valérius lies waiting for you at home and appealing to your ‘good genius!’ ... Explain yourself, Christine, I beg of you! Any one might have been deceived as I was. What is this farce?”
Christine simply took off her mask and said: “Dear, it is a tragedy!”
Raoul now saw her face and could not restrain an exclamation of surprise and terror. The fresh complexion of former days was gone. A mortal pallor covered those features, which he had known so charming and so gentle, and sorrow had furrowed them with pitiless lines and traced dark and unspeakably sad shadows under her eyes.
“My dearest! My dearest!” he moaned, holding out his arms. “You promised to forgive me ...”
“Perhaps! ... Some day, perhaps!” she said, resuming her mask; and she went away, forbidding him, with a gesture, to follow her.
He tried to disobey her; but she turned round and repeated her gesture of farewell with such authority that he dared not move a step.
He watched her till she was out of sight. Then he also went down among the crowd, hardly knowing what he was doing, with throbbing temples and an aching heart; and, as he crossed the dancing-floor, he asked if anybody had seen Red Death. Yes, everyone had seen Red Death; but Raoul could not find him; and, at two o’clock in the morning, he turned down the passage, behind the scenes, that led to Christine Daaé’s dressing-room.
His footsteps took him to that room where he had first known suffering. He tapped at the door. There was no answer. He entered, as he had entered when he looked everywhere for “the man’s voice.” The room was empty. A gas-jet was burning, turned down low. He saw some writing-paper on a little desk. He thought of writing to Christine, but he heard steps in the passage. He had only time to hide in the inner room, which was separated from the dressing-room by a curtain.
Christine entered, took off her mask with a weary movement and flung it on the table. She sighed and let her pretty head fall into her two hands. What was she thinking of? Of Raoul? No, for Raoul heard her murmur: “Poor Erik!”2
At first, he thought he must be mistaken. To begin with, he was persuaded that, if any one was to be pitied, it was he, Raoul. It would have been quite natural if she had said, “Poor Raoul,” after what had happened between them. But, shaking her head, she repeated: “Poor Erik!”
What had this Erik to do with Christine’s sighs and why was she pitying Erik when Raoul was so unhappy?
Christine began to write, deliberately, calmly and so placidly that Raoul, who was still trembling from the effects of the tragedy that separated them, was painfully impressed.
&
nbsp; “What coolness!” he said to himself.
She wrote on, filling two, three, four sheets. Suddenly, she raised her head and hid the sheets in her bodice ... She seemed to be listening ... Raoul also listened ... Whence came that strange sound, that distant rhythm? ... A faint singing seemed to issue from the walls ... yes, it was as though the walls themselves were singing! ... The song became plainer ... the words were now distinguishable ... he heard a voice, a very beautiful, very soft, very captivating voice ... but, for all its softness, it remained a male voice ... The voice came nearer and nearer ... it came through the wall ... it approached ... and now the voice was in the room, in front of Christine. Christine rose and addressed the voice, as though speaking to some one:
“Here I am, Erik,” she said. “I am ready. But you are late.”
Raoul, peeping from behind the curtain, could not believe his eyes, which showed him nothing. Christine’s face lit up. A smile of happiness appeared upon her bloodless lips, a smile like that of sick people when they receive the first hope of recovery.
The voice without a body went on singing; and certainly Raoul had never in his life heard anything more absolutely and heroically sweet, more gloriously insidious, more delicate, more powerful, in short, more irresistibly triumphant. He listened to it in a fever and he now began to understand how Christine Daaé was able to appear one evening, before the stupefied audience, with accents of a beauty hitherto unknown, of a superhuman exaltation, while doubtless still under the influence of the mysterious and invisible master.
The voice was singing the Wedding-night Song from Romeo and Juliet. Raoul saw Christine stretch out her arms to the voice as she had done, in Perros church-yard, to the invisible violin playing The Resurrection of Lazarus and nothing could describe the passion with which the voice sang:
Phantom of the Opera (Barnes & Noble Classics Series) Page 12
