Favorite Quotes

Me too, it's so sad



When Erik laughed, he was more terrible than ever. He jumped into
the boat, chuckling so horribly that I could not help trembling.

"Very old and worn, my dear daroga! Very old and worn,
the chandelier!...It fell of itself!...It came down
with a smash!...And now, daroga, take my advice and go
and dry yourself, or you'll catch a cold in the head!...
And never get into my boat again....And, whatever you do,
don't try to enter my house: I'm not always there...daroga!
And I should be sorry to have to dedicate my Requiem Mass to you!"

This is about poor unhappy Carlotta:

The first thing she saw, when looking out of her window, was a hearse. She was very superstitious; and the hearse and the letter convinced her that she was running the most serious dangers that evening. She collected all her supporters, told them that she was threatened at that evening's performance with a plot organized by Christine Daae
and declared that they must play a trick upon that chit by filling the house with her, Carlotta's, admirers.

... We cried together! I have tasted all the happiness the world can offer! ..."

And Erik fell into a chair, choking for breath:


He had been validated, considered worthy! This is my favorite portion.

That part was beautiful, indeed.

Remember this one which preceded it?

"Of love...daroga...I am dying...of love...That is how it is....
loved her so!...And I love her still...daroga...and I am dying
of love for her, I...I tell you!...If you knew how beautiful she was...
when she let me kiss her...alive...It was the first...time, daroga,
the first...time I ever kissed a woman.... Yes, alive....I kissed her alive
...and she looked as beautiful as if she had been dead!"

"I won't answer for anything!...If Erik's secrets cease to be Erik's secrets, IT WILL BE A BAD LOOKOUT FOR A GOODLY NUMBER OF THE HUMAN RACE! That's all I have to tell you, and unless you are a great booby, it ought to be enough for you...except that you don't know how to take a hint."

He had sat down on the stern of his boat and was kicking his heels against the planks, waiting to hear what I had to answer. I simply said:

"It's not Erik that I'm after here!"

"Who then?"

"You know as well as I do: it's Christine Daae," I answered.

He retorted: "I have every right to see her in my own house. I am loved for my own sake."

"That's not true," I said. "You have carried her off and are keeping her locked up."

"Listen," he said. "Will you promise never to meddle with my affairs again, if I prove to you that I am loved for my own sake?"

I love that part.

Here's one were Leroux again says Erik did exist.

I have now told the singular, but veracious story of the Opera ghost.
As I declared on the first page of this work, it is no longer possible
to deny that Erik really lived. There are today so many proofs
of his existence within the reach of everybody that we can follow
Erik's actions logically through the whole tragedy of the Chagnys.

"The two minutes are past....Good-by, mademoiselle. ...Hop, grasshopper! "Erik," cried Christine, "do you swear to me, monster, do you swear to me that the scorpion is the one to turn?

"Yes, to hop at our wedding."

"Ah, you see! You said, to hop!"

"At our wedding, ingenuous child!...The scorpion opens the ball. ...But that will do!...You won't have the scorpion? Then I turn the grasshopper!"

"Erik!"





How rude.

The whole grasshopper thing is so Erik. I love it.

This one we should all review to prove Erik's existance:

The Persian's manuscript, Christine Daae's papers, the statements made to me by the people who used to work under MM. Richard and Moncharmin, by little Meg herself (the worthy Madame Giry, I am sorry to say, is no more) and by Sorelli, who is now living in retirement at Louveciennes:
all the documents relating to the existence of the ghost, which I propose to deposit in the archives of the Opera, have been checked and confirmed by a number of important discoveries of which I am justly proud.