Welcome to the 28th installment of 15 Weeks of Phantom, where I post all 68 sections of Le Fantôme de l’Opéra, as they were first printed in Le Gaulois newspaper 115 yeas ago.
In today’s installment, we have Part II of Chapter 11, “L’enveloppe magique” (“The Magic Envelope”).
This section was first printed on Thursday, 4 November, 1909.
Gaston Leroux cut “The Magic Envelope” from his novel when he prepared the First Edition for publication.
In January of 2014, I published my translation of this chapter. Mine was the first English translation of this chapter to be published.
You can read my translation of “The Magic Envelope” on my blog here.
The text of this section starts at “All the same, Moncharmin was still looking at Richard in a way that the latter did not like at all,” and goes to “'Not on your life!’ cried Gabriel.”
TRANSLATION:
All the same, Moncharmin was still looking at Richard in a way that the latter did not like at all. It was easy to see that Moncharmin was suspicious of Richard, or at least did not trust him. Richard was infuriated.
Moncharmin explained himself.
“My dear fellow, who was it that spoke inside the box, if it wasn’t you?”
Richard raised his fist in rage but stopped mid-gesture. At the moment when he was going to slam his fist down on the desktop, he heard three sharp little knocks coming from inside the desk; his hand remained suspended in the air. The two Managers looked at each other.
“Did you hear that?” asked Richard in an uncertain voice.
“Yes!” said Moncharmin, who had become slightly pale…
They heard it again… They thought about the three sharp little knocks of which Mother Giry had told them.
Indeed, this is what they had clearly heard… Distinctly heard … from inside the desk … for there was no one under the desk…
But there was something on top!… A large envelope on which someone had inscribed an address in red ink. And it seemed to them that the three sharp little knocks had been rapped out for the express purpose of drawing their attention to that envelope.
Richard, who, however much he claimed to the contrary, was not completely devoid of superstition, cautiously reached out a hand towards the envelope, as if he feared that his touch might suddenly set it on fire.
Finally, he picked it up without further incident. It felt light in his hands, which were quick to open it after he and Moncharmin — who was leaning over his shoulder — read the address:
“For MM. the Managers of the Opera.”
“My dear friends,” said the letter, “it was I who spoke inside the box. I was there. If you did not see me, it is because I am slightly mistrustful of the police, who are always quick to make mistakes; although I had made all the necessary arrangements, as you can now deduce, so that if you had entertained the notion of informing them, they would have arrested both of you first, on your own instructions: that, you will admit, would have been quite entertaining… Let this prospect, my dear friends, be a lesson that you always bear in mind in the unlikely case that you should consider involving an outside force in our business.
“Here is how you shall handle the 20,000 francs.
“You shall slip twenty notes of one thousand francs each into an envelope that you shall find here enclosed. You shall seal this envelope and deliver it to Mme Giry one half hour before the next performance; she will do what is necessary. Cordially yours. P. of the O.”
Inside the envelope they had just opened, they indeed found another envelope that was exactly the same, folded in half, which bore the inscription in red ink: “For Monsieur P. of the O. Private.”
* * * * * * * * * * * * * * * * * * * * * * *
The next evening, one half hour before the curtain rose, an inspector came to see Mme Giry, who was already at her box attendant’s post, and requested that she report immediately to the office of M. Firmin Richard.
The good woman did not seem at all surprised by this message and momentarily left her duties, which consisted of awaiting the arrival of the first operagoers. She quickly went down to the season subscribers’ entrance, crossed the stage, and climbed the staircase. There she encountered her daughter, Meg, on a landing, who was in the midst of playing a prank on a fireman. Mme Giry gave her a slap on each cheek, and then went to knock on the Manager’s door.
“Enter!”
She did not seem to notice that the Managers were staring at her with an uncustomary urgency. She took an envelope, rather heavily laden, that they held out to her. She read the address, and since she was carrying the basket from which she rarely parted, she placed the envelope inside.
“No doubt you know what this means?” asked Moncharmin.
“Of course, Monsieur Manager! It’s not magic! It’s a letter for the Phantom.”
“And you are going to deliver it to him yourself?”
“So it seems. What would you have me do with it?”
“You are going to deliver it to him by hand?”
“Monsieur, I’ve never seen the Phantom’s hands, and I couldn’t tell you whether he has any…”
“But how do you do it?”
“I put it by his seat; it’s as simple as that!… And apparently, he comes to get the envelope. That has to be the way it happens…”
“Has it been long that you have served as his letter-box?”
“The first time that it happened was during the time of Debienne and Poligny, a few days before their departure… M. Poligny himself handed me a letter, but much thinner than this … and I did more or less what I am going to do with this one… Goodbye, Monsieur! With all due respect, I’m on my way… The patrons ought to be arriving, and everyone must earn a living, don’t you agree?”
Richard and Moncharmin did not stop her from leaving. They had not taken their eyes off of Mother Giry or her basket. No sooner had she closed the door than she was followed by Mercier, the Administrator. The box attendant’s every movement was carefully monitored. Her comportment was quite natural and she did not so much as touch her basket until she arrived at Box 5. There she calmly opened her basket and withdrew the precious letter. She left the basket on a stool and entered the box with the letter, which she placed on the shelf by the armrest.
Meanwhile, Mercier in turn took the liberty of opening the basket and found that it contained nothing more than a handkerchief of the finest lace monogrammed with the interwoven letters, “P.O.,”[4] a bunch of keys, a box of matches, twelve sous, and an old edition of the Petit Journal, folded to the section of the serialized novel: The Vampire’s Daughter.[5]
As for Moncharmin and Richard, they both armed themselves with opera glasses and stationed themselves in separate boxes in the upper tier so that they could not be seen, although the letter did not for an instant leave their dual patrolling gaze. In this way, they spent the duration of the performance, both the acts and the entr’actes.
They did not see anything occur inside the box, and yet still they watched the envelope on the little shelf by the armrest. They made arrangements so that after the performance was over, they would convene together with Mercier in Box 5, without interrupting their surveillance on the envelope for even a moment.
Then the two Managers, standing before Mercier, who understood nothing of the events that were transpiring, for he had followed his instructions without being briefed on the details of the affair, opened the envelope with a smile. They believed that the Phantom, who was surely possessed of a practical mind, must have sensed himself being watched and had not dared to touch the envelope. Indeed, they found the 20,000 francs still inside. And so, with a slightly smug air, they returned to their management.
But as they arrived in Richard’s office, they discovered that, sitting there on the desk, in the same location as before, was an identical envelope, which contained a “brief note” thusly worded:
“Candles and chandeliers![6] Brevity is the soul of wit; the Bank of Saint Farce[7] is not legal tender in my Empire. In the future, try to be a bit more serious, or I shall wax wroth once again. Candles and chandeliers!
“Your servant,
“P. of the O.”
It was no longer a matter of “friendly regards.” Needless to say, the Phantom was furious. But how had he known that in place of real banknotes, the Managers had slipped fake notes into the envelope, since it had remained unopened and had not been touched? And as for this latest threat — candles and chandeliers! — how had it arrived in Richard’s office, since after the last letter, Richard, recalling a bit late the recommendation given to them by the departing Managers, had installed safety locks on the doors of his office to which he alone had the keys?
I regret that I must here use an expression which is in no way recommended by the dictionary of the Academy, but no other word would be able to convey with detail and yet with restraint the state of mind of one of the Managers: Firmin Richard was fuming! No exclamations, no curses, no angry gestures. But in his breathless silence, he seemed to radiate fury.
And what infuriated him more than anything, even more perhaps than the absurd business of P. of the O., was Moncharmin’s eye, that eye which regarded him, Richard, with clear malicious irony.
For that ironic look could only come from two things: either Moncharmin imagined that P. of the O. was “making sport” of Richard in particular, or Moncharmin had begun once again to suspect his colleague! And this latter thought crowned Richard’s misery. Oh, to be the pawn, and yet to be thought the mastermind!
Suddenly, he cried: “Mercier! Go get me Gabriel!”
Gabriel, the chorus master, was Richard’s friend. He had Richard’s confidence, and frequently, when Richard was in trouble, he found excellent council in Gabriel. When Mercier had returned with Gabriel, Richard asked them both to sit down. Then, having ensured that no one could hear what would be spoken between the four men, having ordered Rémy, his secretary, who was keeping watch in the adjacent room, to prevent anyone from entering the office, he recounted from the beginning the details of that strange affair. Gabriel and Mercier listened in perfect silence.
When Richard had finished, Gabriel stood up and said: “You must put the 20,000 francs in the envelope, but the real 20,000.”
“That’s also my opinion,” agreed Mercier, and he added: “And we must inform the Commissary of Police!”
“Not on your life!” cried Gabriel.
NOTES:
[4] The letters monogrammed on this handkerchief are “F.O.” in the French, and it is the translator’s theory that this is short for Fantôme [de l’] Opéra. These initials have therefore been translated as “P.O.” for Phantom [of the] Opera. It is possible that the rest of the items in Mme Giry’s basket were meant to be Erik’s possessions, as well. For instance, the matches might be the implements that Erik used to write his various notes, since Leroux described that Erik’s handwriting looked like it was formed using the tips of matchsticks, presumably dipped into his signature red ink. It is also tempting to think of Erik reading a story about vampires, since there are certain aspects of his character, such as sleeping in a coffin bed, that appear to be drawn from vampire literature. It is certainly amusing that Leroux inserted this slightly self-referential element of a character reading a feuilleton within his own feuilleton. However, it remains unclear why these items were in Mme Giry’s basket. Like so many other details in Leroux’s novel, we have no definitive answers.
[5] A thorough search of Le Petit Journal, a Parisian daily newspaper similar to Le Gaulois, from 1863 to 1910 can find no feuilleton by the name of La Fille du Vampire. It is likely that this serialized novel was Leroux’s invention.
[6] This exclamatory phrase in French is “lustre et balustre,” which literally means “chandelier and baluster” (the baluster in this instance is the ornate stem of the chandelier into which the candle-bearing arms are inserted). This particular use of these words may be an expression of Leroux’s own devising, as it does not appear in contemporary books of French wordplay. That said, the words “lustre” and “balustre” frequently appear together in French grammar books as rhyming pairs, so there is likely a subtextual relationship between them. Instead of attempting an idiomatic translation, the translator has chosen a more literal translation, albeit one that captures some of the phrase’s rhyming quality, in order to retain the chandelier reference, since this gives the phrase its menace.
[7] The Bank of Saint Farce was pretend currency, similar to play money.
Click here to see the entire edition of Le Gaulois from 4 November, 1909. This link brings you to page 3 of the newspaper — Le Fantôme is at the bottom of the page in the feuilleton section. Click on the arrow buttons at the bottom of the screen to turn the pages of the newspaper, and click on the Zoom button at the bottom left to magnify the text.
