The Phantom of the Opera, Gaston Leroux [primary phonics books txt] 📗

invited to set the couples dancing at weddings and other festivals. His wife died when Christine was entering upon her sixth year. Then the father, who cared only for his daughter and his music, sold his patch of ground and went to Upsala in search of fame and fortune. He found nothing but poverty.

He returned to the country, wandering from fair to fair, strumming his Scandinavian melodies, while his child, who never left his side, listened to him in ecstasy or sang to his playing. One day, at Ljimby Fair, Professor Valérius heard them and took them to Gothenburg. He maintained that the father was the first violinist in the world and that the daughter had the making of a great artist. Her education and instruction were provided for. She made rapid progress and charmed everybody with her prettiness, her grace of manner and her genuine eagerness to please.

When Valérius and his wife went to settle in France, they took Daaé and Christine with them. “Mamma” Valérius treated Christine as her daughter. As for Daaé, he began to pine away with homesickness. He never went out of doors in Paris, but lived in a sort of dream which he kept up with his violin. For hours at a time, he remained locked up in his bedroom with his daughter, fiddling and singing, very, very softly. Sometimes Mamma Valérius would come and listen behind the door, wipe away a tear and go downstairs again on tiptoe, sighing for her Scandinavian skies.

Daaé seemed not to recover his strength until the summer, when the whole family went to stay at Perros-Guirec, in a faraway corner of Brittany, where the sea was of the same color as in his own country. Often he would play his saddest tunes on the beach and pretend that the sea stopped its roaring to listen to them. And then he induced Mamma Valérius to indulge a queer whim of his. At the time of the “pardons,” or Breton pilgrimages, the village festival and dances, he went off with his fiddle, as in the old days, and was allowed to take his daughter with him for a week. They gave the smallest hamlets music to last them for a year and slept at night in a barn, refusing a bed at the inn, lying close together on the straw, as when they were so poor in Sweden. At the same time, they were very neatly dressed, made no collection, refused the halfpence offered them; and the people around could not understand the conduct of this rustic fiddler, who tramped the roads with that pretty child who sang like an angel from Heaven. They followed them from village to village.

One day, a little boy, who was out with his governess, made her take a longer walk than he intended, for he could not tear himself from the little girl whose pure, sweet voice seemed to bind him to her. They came to the shore of an inlet which is still called Trestraou, but which now, I believe, harbors a casino or something of the sort. At that time, there was nothing but sky and sea and a stretch of golden beach. Only, there was also a high wind, which blew Christine’s scarf out to sea. Christine gave a cry and put out her arms, but the scarf was already far on the waves. Then she heard a voice say:

“It’s all right, I’ll go and fetch your scarf out of the sea.”

And she saw a little boy running fast, in spite of the outcries and the indignant protests of a worthy lady in black. The little boy ran into the sea, dressed as he was, and brought her back her scarf. Boy and scarf were both soaked through. The lady in black made a great fuss, but Christine laughed merrily and kissed the little boy, who was none other than the Vicomte Raoul de Chagny, staying at Lannion with his aunt.

During the season, they saw each other and played together almost every day. At the aunt’s request, seconded by Professor Valérius, Daaé consented to give the young viscount some violin lessons. In this way, Raoul learned to love the same airs that had charmed Christine’s childhood. They also both had the same calm and dreamy little cast of mind. They delighted in stories, in old Breton legends; and their favorite sport was to go and ask for them at the cottage-doors, like beggars:

“Ma’am⁠ ⁠…” or, “Kind gentleman⁠ ⁠… have you a little story to tell us, please?”

And it seldom happened that they did not have one “given” them; for nearly every old Breton grandame has, at least once in her life, seen the “korrigans” dance by moonlight on the heather.

But their great treat was, in the twilight, in the great silence of the evening, after the sun had set in the sea, when Daaé came and sat down by them on the roadside and, in a low voice, as though fearing lest he should frighten the ghosts whom he evoked, told them the legends of the land of the North. And, the moment he stopped, the children would ask for more.

There was one story that began:

“A king sat in a little boat on one of those deep, still lakes that open like a bright eye in the midst of the Norwegian mountains⁠ ⁠…”

And another:

“Little Lotte thought of everything and nothing. Her hair was golden as the sun’s rays and her soul as clear and blue as her eyes. She wheedled her mother, was kind to her doll, took great care of her frock and her little red shoes and her fiddle, but most of all loved, when she went to sleep, to hear the Angel of Music.”

While the old man told this story, Raoul looked at Christine’s blue eyes and golden hair; and Christine thought that Lotte was very lucky to hear the Angel of Music when she went to sleep. The Angel of Music played a part in all Daddy Daaé’s tales; and