Compendium
Chapter Titles
Foreword
I/1. Is it the Phantom?
II/2. The New Margarita
III/3. ...The Mysterious Reason
IV/4. Box n° 5
V/5. Box n° 5 (continued)
VI/6. The Enchanted Violin
VII/7. A Visit to Box 5
VIII/8. “Faust” Performed in a “Cursed” Opera House
IX/9. The Mysterious Carriage
X/10. At the Masked Ball
XI/11. The Magic Envelope
XII/12. You must forget the name of the "man's voice."
XIII/13. Above the Trap Doors
XIV/14. The Lyre of Apollo
XV/15. A Masterstroke of the Trap-Door Lover
XVI/16. Singular attitude of a safety pin
XVII/17. Christine! Christine!
XVIII/18 (XIX LG). The surprising revelations of Mme. Giry.../ Révélations étonnantes de Mme Giry...
XIX/19 (XX LG). Continuation of the curious attitude of a safety pin/ Suite de la curieuse attitude d’une épingle de nourrice
XX/20 (XXI LG). The Commissary of Police, the Vicomte, and the Persian/Le commissaire de police, le vicomte et le Persan
XXI/21 (XXII LG). The Viscount and the Persian/Le vicomte et le Persan
XXII/22 (XXIII LG). In the Cellars of the Opera /Dans les dessous de l’Opéra
XXIII/23 (XXIV LG). ...Persian in the Underside of the Opera.../...Persan dans les dessous de l’Opéra...
XXIV/24 (XXV). Dans la chambre des supplices.../In the torture chamber...
XXV/25 (XXVI). The torments begin: Continuation of the Persian story / Les supplices commencent: Suite du récit du Persan
XXVI/26 (XXVII). “Barrels! Barrels! Have You Any Barrels to Sell?”/ « Tonneaux ! tonneaux ! avez-vous des tonneaux à vendre? »
XXVII/27 (XXVIII LG). ...Turn the Scorpion? Or ...You Turn the Grasshopper?/Faut-il tourner le scorpion? Faut-il tourner la sauterelle ?...
XXVIII/28 (XXIX LG). The end of the phantom's love story /La fin des amours du fantôme
Epilogue
I/1. Is it the Phantom?
II/2. The New Margarita
III/3. ...The Mysterious Reason
IV/4. Box n° 5
V/5. Box n° 5 (continued)
VI/6. The Enchanted Violin
VII/7. A Visit to Box 5
VIII/8. “Faust” Performed in a “Cursed” Opera House
IX/9. The Mysterious Carriage
X/10. At the Masked Ball
XI/11. The Magic Envelope
XII/12. You must forget the name of the "man's voice."
XIII/13. Above the Trap Doors
XIV/14. The Lyre of Apollo
XV/15. A Masterstroke of the Trap-Door Lover
XVI/16. Singular attitude of a safety pin
XVII/17. Christine! Christine!
XVIII/18 (XIX LG). The surprising revelations of Mme. Giry.../ Révélations étonnantes de Mme Giry...
XIX/19 (XX LG). Continuation of the curious attitude of a safety pin/ Suite de la curieuse attitude d’une épingle de nourrice
XX/20 (XXI LG). The Commissary of Police, the Vicomte, and the Persian/Le commissaire de police, le vicomte et le Persan
XXI/21 (XXII LG). The Viscount and the Persian/Le vicomte et le Persan
XXII/22 (XXIII LG). In the Cellars of the Opera /Dans les dessous de l’Opéra
XXIII/23 (XXIV LG). ...Persian in the Underside of the Opera.../...Persan dans les dessous de l’Opéra...
XXIV/24 (XXV). Dans la chambre des supplices.../In the torture chamber...
XXV/25 (XXVI). The torments begin: Continuation of the Persian story / Les supplices commencent: Suite du récit du Persan
XXVI/26 (XXVII). “Barrels! Barrels! Have You Any Barrels to Sell?”/ « Tonneaux ! tonneaux ! avez-vous des tonneaux à vendre? »
XXVII/27 (XXVIII LG). ...Turn the Scorpion? Or ...You Turn the Grasshopper?/Faut-il tourner le scorpion? Faut-il tourner la sauterelle ?...
XXVIII/28 (XXIX LG). The end of the phantom's love story /La fin des amours du fantôme
Epilogue