Last Updated on July 15, 2020 by Scott M. Thomas
The Phantom Of The Opera is a novel by French writer Gaston Leroux. Phantom Of The Opera based on rumors about the opera house. It is one of the best novels by Gaston Leroux. The Phantom of the Opera’s idea came from Leroux’s inquisitiveness with the Phantom being real. In the preface, he tells the readers about the Phantom and the research that he did to prove the truth of the ghost. Leroux’s discovery attached the skeleton from the opera house to the Persian, to the Phantom, himself. Here are some remarkable quotes from this book by Gaston Leroux.
“Yes, Christine, when they love and are not sure of being loved.”
“I am dying of love.”
“Every great musician, every great artist, received a visit from the Angel at least once in his life.”
“People who do not know that the Angel has visited those persons say that they have genius.”
“You are crying! You are afraid of me! And yet I am not really wicked.”
“They played at hearts as other children might play at the ball; only, as it was their two hearts that they flung to and fro, they had to be very, very handy to catch them, each time, without hurting them.”
″Your soul is a beautiful thing, child.’ replied the grave man’s voice, ‘and I thank you. No emperor received so fair a gift. The angels wept to-night.”
“No one ever sees the Angel, but he is heard by those who are meant to hear him.”
“I can’t go on living like this, like a mole in a burrow!”
He often comes when they least expect him, when they are sad and disheartened.”
“How beautiful she was when she let me kiss her.”
“She is singing to-night to bring the chandelier down!”
“Most of all loved, when she went to sleep, to hear the Angel of Music.”
“Sometimes the Angel leans over their cradle, as happened to Lotte, and that is how there are little prodigies who play the fiddle at six better than men at fifty, which, you must admit, is very wonderful.”
“Sometimes, the Angel comes much later, because the children are naughty and won’t learn their lessons or practice their scales. And sometimes, he does not come at all, because the children have a bad heart or a bad conscience.”
“And they can not touch an instrument, or open their mouths to sing, without producing sounds that put all other human sounds to shame.”
“At one and the same time, he had learned what love meant, and hatred. He knew that he loved it. He wanted to know who he hated.”
“Love, jealousy, hatred, burst out around us in harrowing cries.”
“You will be the happiest of women. And we will sing, all by ourselves, till we swoon away with delight. You are crying! You are afraid of me! And yet I am not really wicked. Love me and you shall see it! All I wanted was to be loved for myself.”
“I tore off my mask so as not to lose one of her tears… and she did not run away!…and she did not die!… She remained alive, weeping over me, weeping with me. We cried together! I have tasted all the happiness the world can offer.”
“Know that it is a corpse who loves you and adores you and will never, never leave you!… Look, I am not laughing now, crying, crying for you, Christine, who have torn off my mask and who therefore can never leave me again!… Oh, mad Christine, who wanted to see me!”
“Now I want to live like everybody else. I want to have a wife like everybody else and to take her out on Sundays. I have invented a mask that makes me look like anybody. People will not even turn round in the streets. You will be the happiest of women. And we will sing, all by ourselves, till we swoon away with delight.”
“Oh, to-night I gave you my soul, and I am dead!”
“I’m sick and tired of having a forest and a torture chamber in my house… I want to have a nice quiet flat with ordinary doors and windows and a wife inside it, like anybody else!”
“She looked as beautiful as if she had been dead!”
“Are people so unhappy when they love?”
“None will ever be a true Parisian who has not learned to wear a mask of gaiety over his sorrows and one of sadness, boredom or indifference over his inward joy.”
“Little Lotte thought of everything and nothing.”
“Then their ears suddenly perceive celestial harmonies, a divine voice, which they remember all their lives.”
“You must know that I am made of death, from head to foot, and it is a corpse who loves you and adores you and will never, never leave you!”
“I give you five minutes to spare your blushes. here is the little bronze key that opens the ebony caskets on the mantlepiece in the Louise-Phillipe room. In one of the caskets, you will find a scorpion, in the other, a grasshopper, both very cleverly imitated in Japanese bronze: they will say yes or no for you. If you turn the scorpion round, that will mean to me, when I return that you have said yes. The grasshopper will mean no… The grasshopper, be careful of the grasshopper! A grasshopper does not only turn: it hops! It hops! And it hops jolly high!”