Érik
‘Le Fantôme de l’Opéra’ really did exist. He was not, as was long believed, an invention of the performer’s imagination, a superstition of the Managing directors, or a creation from the easily excited and impressionable minds of the young ladies of the Corps de Ballet, or of their mothers, the box keepers, ushers, the cloakroom attendants, or the concierge. ~ Forward, POTO by Gaston Leroux, translated by PT
His names in different version
Érik (Leroux)
Erik (Leroux, Alexander Teixeira de Mattos)
Erik (Phantom by Susan Kay)
Ερίκ/Erík (Greek Translation)
Erik Noir (Angel of the Opera by Sam Siciliano)
Erik Muhlheim (The Phantom of Manhattan by Frederick Forsyth)
Erik D'anton (Night Magic by Charlotte Vale Allen)
The Phantom (1925 Movies)
Erique Claudin (1943 Movie)
Professor L. Petrie, The Phantom (1962 Movie)
Winslow Leach, The Phantom (1972 Movie)
Sándor Korvin , The Phantom of the Opera (1983 Movie)
Erik Destler (1989 Movie)
The Phantom (ALW Musical)
Erik Carrière (Yeston & Kopit Musical)
The Phantom (1998 Movie)
Érik (Leroux)
Erik (Leroux, Alexander Teixeira de Mattos)
Erik (Phantom by Susan Kay)
Ερίκ/Erík (Greek Translation)
Erik Noir (Angel of the Opera by Sam Siciliano)
Erik Muhlheim (The Phantom of Manhattan by Frederick Forsyth)
Erik D'anton (Night Magic by Charlotte Vale Allen)
The Phantom (1925 Movies)
Erique Claudin (1943 Movie)
Professor L. Petrie, The Phantom (1962 Movie)
Winslow Leach, The Phantom (1972 Movie)
Sándor Korvin , The Phantom of the Opera (1983 Movie)
Erik Destler (1989 Movie)
The Phantom (ALW Musical)
Erik Carrière (Yeston & Kopit Musical)
The Phantom (1998 Movie)
| Masks | Name | Family of Origin | The Many Voices of Érik | Voice Type |
| The Punjab & Assassins | Tonkin Pirates | Russia Nizhny Novgorod |
| Red Death | The Number 5 | Angel of music | Rouen |
| History & Timeline | The theme of Life & Death | Érik's Skeleton |
| Physical Appearance & Deformities | Possibly the real Érik? | Living Skeletons |
| Other Influences | Alt Phan Proof? | Automatons | Mirrored Hall | The Color Red |
| The Punjab & Assassins | Tonkin Pirates | Russia Nizhny Novgorod |
| Red Death | The Number 5 | Angel of music | Rouen |
| History & Timeline | The theme of Life & Death | Érik's Skeleton |
| Physical Appearance & Deformities | Possibly the real Érik? | Living Skeletons |
| Other Influences | Alt Phan Proof? | Automatons | Mirrored Hall | The Color Red |
The Many Voices of Érik
I have had servile discussions with phans about the different voices Érik used for the different personas he assumed. First we have Érik, The man, the genius composer, architect, magician, ventriloquist, assassin, abused child, exhibited man, who lived bellow ground. Érik's voice is described by Christine as having a metallic quality when he is angered. Next you have the Phantom, the ghost who haunts the Opera house halls and stage, who sits in box five, who demands his allowance, who scares the little ballet rats, and who gives orders on how to run the Opera house. The Phantom's voice laughs a lot, whispers through walls, and in people's ears, but it can also shout like when the chandelier came down. Finally you have the angel of music, who taught Christine in a soft sensual androgynous voice, who plaid an exotic instrument and who came from on high just to teach a talented although melancholy present's daughter to sing like the angels in heaven. It is likely Érik used a falsetto range for the angel of music.
Falsetto/Countertenor
Singing in your 'head voice' is singing in one's falsetto. Singing falsetto is singing in a vocal registers that enables the singer to sing beyond the normal or modal voice vocal range. The Falsetto sound is associated with the sacred, from the Middle Ages till the early 1800's.
The Falsetto is characterized by a breathy flute-like sound, or resembling a cry or a ring sound to it.
Countertenor
Countertenor sing in the falsetto range as their natural vocal range.
Examples of Male Falsetto, Philippe Jaroussky 'Che piu si tarda....Stille amare.' Here
Examples of a true countertenor singing in head voice not Falsetto, John Holiday 'Stille amare ' Here
The Voice of the Angel of music
"la Voix”
In reference to the angel
•
"et il me fut impossible de trouver la voix hors de ma loge, tandis qu’elle restait fidèlement dans ma loge. Et non seulement, elle chantait, mais elle me parlait, elle répondait à mes questions comme une véritable voix d’homme, avec cette différence qu’elle était belle comme la voix d’un ange. " ~13 La lyre d’Apollon
"And it was impossible for me to hear the voice outside my room, while it remained only in my room. And not only did it sing, but it spoke to me, it answered my questions like a true man's voice, with the difference that it was as beautiful as the voice of an angel."
•
This hints at least that he had a higher range more similar to a female then a male. Which is the voice he clearly used for the Angel of Music, probably to appear more angelic and ethereal and less human. This means he probably had a high tenor called a countertenor or was at least able to use his falsetto, which is normally used by countertenors to sing into alto or soprano range.
Description of his voice by Daroga
“…la voix d’Érik - qui était retentissante comme le tonnerre ou douce comme celle des anges”
~22 Interesting and instructive tribulations of a Persian in the undersides of the Opera Narrative of the Persian
“Erik’s voice was resounding like thunder or sweet like that of angels”
"Il avait saisi une harpe et il commença de me chanter, lui, voix d’homme, voix d’ange, la romance de Desdémone. "
He had seized a harp and he began to sing to me, he, the voice of a man, the voice of an angel, the romance of Desdemona.
The Voice of Érik
“…la voix de tonnerre d’Érik.”
~ 23 In the Chamber of Torture. Continuation of the narrative of the Persian.
“Erik’s voice of thunder”
“Il chantait comme le dieu du tonnerre”
~ 23 In the Chamber of Torture. Continuation of the narrative of the Persian.
“He sang like the god of thunder”
....sa voix était tonnante, son âme vindicative se portait sur chaque son, et en augmentait terriblement la puissance. L’amour, la jalousie, la haine, éclataient autour de nous en cris déchirants. Le masque noir d’Érik me faisait songer au masque naturel du More de Venise. Il était Othello lui-même. "
~The lyre of Apollo
"His voice was thundering, his soul was vindictive with every sound, and its power increased terribly. Love, jealousy, and hatred broke out around us in heart-rending cries. The black mask of Erik reminded me of the natural mask of the More of Venice. He was Othello himself."
This hints that he had a deeper range to his voice as well as a higher tenor. There are two Othello Opera's from around the time. Gioachino Rossini's 1816 Otello and Giuseppe Verdi's 1887 Othello. Now according to Gaston the whole story took place in 1881. So Verdi is out, which is a shame it's a better work.
Rossini's Othello
voice range is opera tenor or a lyric tenor.
Description for the quality required for a lyric tenor.
"The lyric tenor is a warm graceful voice with a bright, full timbre that is strong but not heavy and can be heard over an orchestra"
Just for fun
Verdi's Othello
The voice type required is a dramatic tenor/heldentenor
Giuseppe Verdi 1887
Role Desdemona lyric soprano
Otello Gioachino Rossini 1816 Italian
Role Desdemona Mezzo-soprano
Description for the quality required for a dramatic tenor.
Also called "tenore di forza" or "robusto", the dramatic tenor has an emotive, ringing and very powerful, clarion, heroic tenor sound.
Description for the quality required for a heldentenor
The heldentenor (English: heroic tenor) has a rich, dark, powerful and dramatic voice. As its name implies, the heldentenor vocal fach features in the German romantic operatic repertoire. The heldentenor is the German equivalent of the tenore drammatico, however with a more baritonal quality: the typical Wagnerian protagonist.
The Voice of the Phantom
la Sirène/ The Siren
"Et surtout, bouchez-vous les oreilles si vous entendez chanter la Voix sous l’eau, la voix de la Sirène"
"And especially, close your ears if you hear singing, the voice under the water, the voice of the Siren."
Even Daroga is saying the siren sounds female. Which further cements a countertenor. This also seems to hint Erik indeed has some hypnotic qualities to his voice if even a man such as the Daroga, who is familiar with his tricks, is warning Raoul and indeed himself to not listen to the Siren's singing.
•
Singing in two pitches at the same time
So we can assume from the original text Erik was perfectly capable of singing more then a three octave range probably more close to a 4 octave range. We also know he traveled the world and most likely picked up a few trick along the way vocally and musically. Is it possible that Erik even learned hose to sing with both sets of vocal cords? This could also explain the hypnotic, ethereal quality to his voice.
There is something called overtone singing, overtone chanting, harmonic singing or throat singing. Which is a type of singing that manipulates the resonance to produce a melody. This effect creates more then one pitch at the same time. This technique is taught all over and it's not hard to image Erik learning it on his travels and eventually mastering it. It was taught in Mongolia which is where it originated from. Where is also most active place for it's use in the world. The most common style is called Khöömii and is divided into categories.
uruulyn / labial khöömii
tagnain / palatal khöömii
khamryn / nasal khöömii
bagalzuuryn, khooloin / glottal, throat khöömii
tseejiin khondiin, khevliin / chest cavity, stomach khöömii
turlegt or khosmoljin khöömii / khöömii combined with long song
It's also taught in Tuva Siberia, Russia. We know that Erik indeed at least went through Russian it's possible he picked it up there or even in Asia.
"He was seen at the fair of Nizhni Novgorod ( Moscow, Russia), where he displayed himself in all his hideous glory. He already sang as nobody on this earth had ever sung before;..."~Epilogue.
Sings with both vocal cords Tibetan monks can sing more then one note
https://en.m.wikipedia.org/wiki/Overtone_singing
http://www.scena.org/lsm/sm2-9/sm2-9Nomads.html
Originated in Mongolia and Buryatia
Tuva people of southern Siberia, Russia.
Pakistan, Iran and Afghanistan
Types if voices http://www.theopera101.com/operaabc/voices/
Falsetto/Countertenor
Singing in your 'head voice' is singing in one's falsetto. Singing falsetto is singing in a vocal registers that enables the singer to sing beyond the normal or modal voice vocal range. The Falsetto sound is associated with the sacred, from the Middle Ages till the early 1800's.
The Falsetto is characterized by a breathy flute-like sound, or resembling a cry or a ring sound to it.
Countertenor
Countertenor sing in the falsetto range as their natural vocal range.
Examples of Male Falsetto, Philippe Jaroussky 'Che piu si tarda....Stille amare.' Here
Examples of a true countertenor singing in head voice not Falsetto, John Holiday 'Stille amare ' Here
The Voice of the Angel of music
"la Voix”
In reference to the angel
•
"et il me fut impossible de trouver la voix hors de ma loge, tandis qu’elle restait fidèlement dans ma loge. Et non seulement, elle chantait, mais elle me parlait, elle répondait à mes questions comme une véritable voix d’homme, avec cette différence qu’elle était belle comme la voix d’un ange. " ~13 La lyre d’Apollon
"And it was impossible for me to hear the voice outside my room, while it remained only in my room. And not only did it sing, but it spoke to me, it answered my questions like a true man's voice, with the difference that it was as beautiful as the voice of an angel."
•
This hints at least that he had a higher range more similar to a female then a male. Which is the voice he clearly used for the Angel of Music, probably to appear more angelic and ethereal and less human. This means he probably had a high tenor called a countertenor or was at least able to use his falsetto, which is normally used by countertenors to sing into alto or soprano range.
Description of his voice by Daroga
“…la voix d’Érik - qui était retentissante comme le tonnerre ou douce comme celle des anges”
~22 Interesting and instructive tribulations of a Persian in the undersides of the Opera Narrative of the Persian
“Erik’s voice was resounding like thunder or sweet like that of angels”
"Il avait saisi une harpe et il commença de me chanter, lui, voix d’homme, voix d’ange, la romance de Desdémone. "
He had seized a harp and he began to sing to me, he, the voice of a man, the voice of an angel, the romance of Desdemona.
The Voice of Érik
“…la voix de tonnerre d’Érik.”
~ 23 In the Chamber of Torture. Continuation of the narrative of the Persian.
“Erik’s voice of thunder”
“Il chantait comme le dieu du tonnerre”
~ 23 In the Chamber of Torture. Continuation of the narrative of the Persian.
“He sang like the god of thunder”
....sa voix était tonnante, son âme vindicative se portait sur chaque son, et en augmentait terriblement la puissance. L’amour, la jalousie, la haine, éclataient autour de nous en cris déchirants. Le masque noir d’Érik me faisait songer au masque naturel du More de Venise. Il était Othello lui-même. "
~The lyre of Apollo
"His voice was thundering, his soul was vindictive with every sound, and its power increased terribly. Love, jealousy, and hatred broke out around us in heart-rending cries. The black mask of Erik reminded me of the natural mask of the More of Venice. He was Othello himself."
This hints that he had a deeper range to his voice as well as a higher tenor. There are two Othello Opera's from around the time. Gioachino Rossini's 1816 Otello and Giuseppe Verdi's 1887 Othello. Now according to Gaston the whole story took place in 1881. So Verdi is out, which is a shame it's a better work.
Rossini's Othello
voice range is opera tenor or a lyric tenor.
Description for the quality required for a lyric tenor.
"The lyric tenor is a warm graceful voice with a bright, full timbre that is strong but not heavy and can be heard over an orchestra"
Just for fun
Verdi's Othello
The voice type required is a dramatic tenor/heldentenor
Giuseppe Verdi 1887
Role Desdemona lyric soprano
Otello Gioachino Rossini 1816 Italian
Role Desdemona Mezzo-soprano
Description for the quality required for a dramatic tenor.
Also called "tenore di forza" or "robusto", the dramatic tenor has an emotive, ringing and very powerful, clarion, heroic tenor sound.
Description for the quality required for a heldentenor
The heldentenor (English: heroic tenor) has a rich, dark, powerful and dramatic voice. As its name implies, the heldentenor vocal fach features in the German romantic operatic repertoire. The heldentenor is the German equivalent of the tenore drammatico, however with a more baritonal quality: the typical Wagnerian protagonist.
The Voice of the Phantom
la Sirène/ The Siren
"Et surtout, bouchez-vous les oreilles si vous entendez chanter la Voix sous l’eau, la voix de la Sirène"
"And especially, close your ears if you hear singing, the voice under the water, the voice of the Siren."
Even Daroga is saying the siren sounds female. Which further cements a countertenor. This also seems to hint Erik indeed has some hypnotic qualities to his voice if even a man such as the Daroga, who is familiar with his tricks, is warning Raoul and indeed himself to not listen to the Siren's singing.
•
Singing in two pitches at the same time
So we can assume from the original text Erik was perfectly capable of singing more then a three octave range probably more close to a 4 octave range. We also know he traveled the world and most likely picked up a few trick along the way vocally and musically. Is it possible that Erik even learned hose to sing with both sets of vocal cords? This could also explain the hypnotic, ethereal quality to his voice.
There is something called overtone singing, overtone chanting, harmonic singing or throat singing. Which is a type of singing that manipulates the resonance to produce a melody. This effect creates more then one pitch at the same time. This technique is taught all over and it's not hard to image Erik learning it on his travels and eventually mastering it. It was taught in Mongolia which is where it originated from. Where is also most active place for it's use in the world. The most common style is called Khöömii and is divided into categories.
uruulyn / labial khöömii
tagnain / palatal khöömii
khamryn / nasal khöömii
bagalzuuryn, khooloin / glottal, throat khöömii
tseejiin khondiin, khevliin / chest cavity, stomach khöömii
turlegt or khosmoljin khöömii / khöömii combined with long song
It's also taught in Tuva Siberia, Russia. We know that Erik indeed at least went through Russian it's possible he picked it up there or even in Asia.
"He was seen at the fair of Nizhni Novgorod ( Moscow, Russia), where he displayed himself in all his hideous glory. He already sang as nobody on this earth had ever sung before;..."~Epilogue.
Sings with both vocal cords Tibetan monks can sing more then one note
https://en.m.wikipedia.org/wiki/Overtone_singing
http://www.scena.org/lsm/sm2-9/sm2-9Nomads.html
Originated in Mongolia and Buryatia
Tuva people of southern Siberia, Russia.
Pakistan, Iran and Afghanistan
Types if voices http://www.theopera101.com/operaabc/voices/
The Number 5
The number 5 plays a big role in the novel from box five to Érik living in the 5th cellar of the Opera house, even the word Punjab means 5 rivers. Why number 5 though. It is likely Érik learned spiritualism from his time with the Gypsies and travels across the world and no doubt he came across numerology, Gematria (Jewish numerology where the Hebrew alphabet is replaced with numbers) and Isopsephy (adding up the number values of the letters). There are five elements in most cultures. The five pointed star or pentagram stands for magic and the form of man, and it stands for temple or the body of something in Arabic. Khamsah is how you say five in Arabic and it stand for the five finger on a hand, and also was amulet in the form of an open right hand sometimes with an open eye in the palm that protected against the evil eye. In Roman Numerals 5 is V. Five is also the Greek numerals Ε´ (Epsilon) and comes from the Phoenician letter hē, which means window. In India 5 means creativity, resourceful, and good communicating, it also stands for the Planet Mercury which is sexless and neutral and is a cold and moist. Mercury rules writers, artists, teachers, education, traders, businessmen. Mercury rules skills, intelligence, speech, self-confidence, humor, wit, free spirited, astrology, mathematics, adaptable, and short journeys. In Christianity Christ was said to have five wounds when he was crucified and there are five pillars of Islam.
Knowing the number 5 keeps showing up in Leroux it must have meant something to Érik. In Gematria the number five means harmony and balance also the number of divine grace. This also connects with the Dies iræ which was scrolled all over the walls of his room. Number 5 according to the Kabbalah is the number of the perfect man and man-god, but it also the number of man it's self. The Charrot states that number 5 represents, "a solar ray pouring on the earth its beneficial rain of life" and it symbolizes the universal life. It's also is the number of God's grace. Once again the theme of life and death, grace and resurrection.
Knowing the number 5 keeps showing up in Leroux it must have meant something to Érik. In Gematria the number five means harmony and balance also the number of divine grace. This also connects with the Dies iræ which was scrolled all over the walls of his room. Number 5 according to the Kabbalah is the number of the perfect man and man-god, but it also the number of man it's self. The Charrot states that number 5 represents, "a solar ray pouring on the earth its beneficial rain of life" and it symbolizes the universal life. It's also is the number of God's grace. Once again the theme of life and death, grace and resurrection.
The color red
Erik's Name
"I asked him what his nationality was and if that name
of Erik did not point to his Scandinavian origin. He said that he
had no name and no country and that he had taken the name of Erik
by accident."
It is revealed that "Érik" was not, in fact, his birth name, but one that was given or found by accident
The name Erik in and of its self is interesting. The name's meaning is, forever strong, ever powerful, eternal ruler, rich, prince. Erik is derived from the Old Norse name Eiríkr. Virtually translating to Ei "one" or "alone" and rík(a)z "ruler" or "prince" The most common spelling in Scandinavia is Erik, which is probably why Christine asks him if that is his country of origin. That is a lot to live up to. Did Erik happen upon this name really by accident or did he take it for himself we will never really know. Sadly what Erik's birth name was is left up in the air. Interestingly enough Erik spelled backwards is Kire pronounced would be Kirai which bares a striking resembles to kyrie from kyrie eleison meaning "Lord, have mercy". A Kyrie was a prayer written in music. In the Tridentine Latin Mass, the Kyrie is the first sung prayer of the Mass ordinary. Kyrie movements often have an (ABA) musical structure that reflects the symmetrical structure of the text. Musical pieces exist in styles ranging from Gregorian chant to folk.
Also make sure you check out
Erik's possible family of origin
Nick names
le prince des étrangleurs / Prince of Stranglers
le roi des prestidigitateurs / King of the Conjurers
l’Ange de la musique / Angel of Music (Christine)
ange de l’Opéra/ Angel of the Opera
Fantôme de l'Opéra / F. de l'O. / F. de l'Opéra /Phantom of the Opera
O. G. / Opera Ghost ironically does not appear anywhere in the original French novel. This was invented by de Mattos who was the first to translated it into English and became popular through ALW's musical. He signs his notes Fdl'O.
Fantôme / Phantom * 1. Supernatural apparition of a dead person.
synonyms: spirit, returning, spectrum
2. to the figurel littary
What only has the appearance (of a person, of a thing).
synonyms: sham
3. Character or thing that haunts the mind, the memory.
The ghosts of the past.
l’amateur de trappes/ Trap-door lover
/ master of the trap door
mort vivant/ living dead (was shown as in the Freak show)
dieu/ a god (Daroga)
vile canaille/ vile fiend/blackguard, contemptible villain (Daroga)
monstre/ monster (Daroga)
extraordinaire crapule/ extraordinary scoundrel (Daroga)
démon/ demon (said to laugh like a drunken demon)
La Mort Rouge/ Red Death (Masqurade)
Don Juan triomphant/ Don Juan Triumphant
God of thunder/ le dieu du tonnerre (Said to have sung like)
La Sirène / translates to Mermaid, but more accurately Siren
bon génie/ good genius (given by mama Valérius) * Eudaemon, eudaimon, or eudemon (Greek: εὐδαίμων) in Greek mythology was a type of daemon or genius (deity), which in turn was a kind of spirit. An eudaemon was regarded as a good spirit or angel, and the evil cacodaemon was its opposing spirit. (ref. Wiki)
How he signed his name
comme votre très humble et très obéissant serviteur.
Signé… F. de l’Opéra./ as your most humble and obedient servant. Sign… F. de l’Opéra
Serviteur F. de l’O. / Servant F. de l’O.
Bien cordialement vôtre. F. de L’O. /Sincerely Yours F. de L’O. (The Magic Envelope)
of Erik did not point to his Scandinavian origin. He said that he
had no name and no country and that he had taken the name of Erik
by accident."
It is revealed that "Érik" was not, in fact, his birth name, but one that was given or found by accident
The name Erik in and of its self is interesting. The name's meaning is, forever strong, ever powerful, eternal ruler, rich, prince. Erik is derived from the Old Norse name Eiríkr. Virtually translating to Ei "one" or "alone" and rík(a)z "ruler" or "prince" The most common spelling in Scandinavia is Erik, which is probably why Christine asks him if that is his country of origin. That is a lot to live up to. Did Erik happen upon this name really by accident or did he take it for himself we will never really know. Sadly what Erik's birth name was is left up in the air. Interestingly enough Erik spelled backwards is Kire pronounced would be Kirai which bares a striking resembles to kyrie from kyrie eleison meaning "Lord, have mercy". A Kyrie was a prayer written in music. In the Tridentine Latin Mass, the Kyrie is the first sung prayer of the Mass ordinary. Kyrie movements often have an (ABA) musical structure that reflects the symmetrical structure of the text. Musical pieces exist in styles ranging from Gregorian chant to folk.
Also make sure you check out
Erik's possible family of origin
Nick names
le prince des étrangleurs / Prince of Stranglers
le roi des prestidigitateurs / King of the Conjurers
l’Ange de la musique / Angel of Music (Christine)
ange de l’Opéra/ Angel of the Opera
Fantôme de l'Opéra / F. de l'O. / F. de l'Opéra /Phantom of the Opera
O. G. / Opera Ghost ironically does not appear anywhere in the original French novel. This was invented by de Mattos who was the first to translated it into English and became popular through ALW's musical. He signs his notes Fdl'O.
Fantôme / Phantom * 1. Supernatural apparition of a dead person.
synonyms: spirit, returning, spectrum
2. to the figurel littary
What only has the appearance (of a person, of a thing).
synonyms: sham
3. Character or thing that haunts the mind, the memory.
The ghosts of the past.
l’amateur de trappes/ Trap-door lover
/ master of the trap door
mort vivant/ living dead (was shown as in the Freak show)
dieu/ a god (Daroga)
vile canaille/ vile fiend/blackguard, contemptible villain (Daroga)
monstre/ monster (Daroga)
extraordinaire crapule/ extraordinary scoundrel (Daroga)
démon/ demon (said to laugh like a drunken demon)
La Mort Rouge/ Red Death (Masqurade)
Don Juan triomphant/ Don Juan Triumphant
God of thunder/ le dieu du tonnerre (Said to have sung like)
La Sirène / translates to Mermaid, but more accurately Siren
bon génie/ good genius (given by mama Valérius) * Eudaemon, eudaimon, or eudemon (Greek: εὐδαίμων) in Greek mythology was a type of daemon or genius (deity), which in turn was a kind of spirit. An eudaemon was regarded as a good spirit or angel, and the evil cacodaemon was its opposing spirit. (ref. Wiki)
How he signed his name
comme votre très humble et très obéissant serviteur.
Signé… F. de l’Opéra./ as your most humble and obedient servant. Sign… F. de l’Opéra
Serviteur F. de l’O. / Servant F. de l’O.
Bien cordialement vôtre. F. de L’O. /Sincerely Yours F. de L’O. (The Magic Envelope)
Érik family of origin
Érik was said to be born "in a small town not far from Rouen near where Joan of Arc was executed." See Pictures of Rouen. He speaks very briefly about his mother and father. "According to the Persian's account, Érik was born in a small town not far from Rouen. He was the son of a master-mason. He ran away at an early age from his father's house, where his ugliness was a subject of horror and terror to his parents." The Black plague hit Rouen hard and ironically skulls are carved above door ways at L’ Aître Saint-Maclou. In a town where the old dead were dug up to bury the new dead. It's ironic Leroux sets Érik's birth town here. Or was there a real man named Érik who was born just outside of Rouen. Rouen was also where the Gargoyle originated. The dragon or Gargouille from the word meaning "throat" was said to be killed by Saint Romanus of Rouen after finding out it was devouring people and beats alike. Romanus draw the sign of the cross on the dragon, It lays down at his feet and let Romanus put his a leash on it, he intern led it into the town to be condemned to death and burned on the parvis of the cathedral or thrown into the Seine. Coincidentally The Real Chagny (spelled Changy) family house of residence is in Paris as well as Fleury-sur-Andelle, which is in fact in Rouen.
Other theories on Erik's Father's family origin.
Please click here for more information
Other theories on Erik's Father's family origin.
Please click here for more information
Rouen
History & Timeline
Rouen
1827-1831
Érik was born in a small town near Rouen, around age ??? He fled home at an early age (according to Leroux) because his face was a subject of terror for his parents, the age is not given however. It is stated his father was a masonry contractor, his mother's occupation was never given.
Gypsy Circus
Exhibited at fairs, rather this was forced or not it's not said. But it's said a showman/impresario exhibited him as « mort vivant » or the 'living dead/ living corpse'
Europe
He crossed Europe traveling from fair to fair to complete his (as Daroga put it) strange education.
He learned art and magic at the very source of art and magic among the 'Roms' [Gaston Leroux] Bohemians (translation) (from a region of Bohemia) Gipsies [de Mattos] or Romani [Mirelle Ribiere)] .
Bohemians by definition means Gypsies of Romani in France, Gitans means Gypsies.
Tonkin Pirates
was with the tonkins about 7 years?
India
Learns the Punjab lace from an assassins group in Punjabi possibly even perfecting it
Then he goes MIA for a while. Traveling Europe?
Prussian
at some point he went to the Königsberg cellars and brought wine back
Russia
?-1856
Fair at Nijny Novgorod
Where he sings in a unique singing style
ventriloquism
Juggling
Magic
legerdemain
He apparently made such a name for himself that travelers talked about him on their way to Asia and finally to the Mazenderan palace.
Tehran/Mazenderan/Persia
1856-1857?
Érik was there during Anglo-Persian War lasted between November 1, 1856 and April 4, 1857.
He would amuse the little Sultana by assassinating political prisoners in a ring where he was closed in with them and all the had to defend themselves was a spear or a long sword and Érik his Punjab lace. Was senstence to be put to death Daroga helped him escape
Asia Minor
Spent time in Asia Minor, then went to Constantinople
Turkey/The Sultan/ Yildiz-Kiosk
1858-1870?
Abdul Hamid II (reigned 1876 -1909) Prince, son of Abdulmejid
Abdulmejid I (reigned 1839 -1861) Possible Sultan, 21st Sultan, father of Abdul
Abdulaziz (reigned 1861 - 1876) Possible Sultan, 22nd Sultan, uncle to Abdul and brother to Abdulmejid
Érik must have gone to Turkey long before Abdul became the Sultan because the Opera House construction was started 1861-1875, inaugurated on January 5, 1875. As Well Leroux mentions both a Sultan and a Prince. He also hints he makes Automatons for a paranoid Prince which is in fact Abdul Hamid II. However Abdul may have not been in power at the time Érik built them, which means his father possibly would have been in power at the time. Abdulmejid I is Abdul's father and his 1839-1861, or Abdulaziz who reigned from 1861-1876
"As for Érik, he traveled to Asia Minor, then went on to Constantinople, where he had entered into the service of the Sultan." ~ Epilogue
"...fabriquer des automates habillés comme le prince et ressemblant à s’y méprendre au prince lui-même..."
"... make automaton dressed like the prince and look like the prince himself ..." ~ Epilogue
His father Abdülmecid I or his Uncle Abdülaziz would have been Sultan at the time Érik was there. Abdul's Father Abdülmecid was Sultan from July 2, 1839 – June 25,1861. Abdul's brother Murad V, became the Sultan (Sultan May 30, 1876 to August 31, 1876) when his uncle Abdülaziz was deposed. Abdülaziz (Sultan June 25, 1861 – May 30, 1876). Murad was deposed on the grounds that he was mentally ill and Abdul became Sultan.
Erik built the famous trap doors and secret chambers and mysterious safes that were found in Yildiz-Kiosk
Siege of Paris and the Commune
1870-1871
Siege of Paris was from September 19, 1870 to January 28, 1871. The capture of the city by Prussian forces, led to French defeat in the Franco-Prussian War and the establishment of the German Empire as well as the Paris Commune.
The Paris Commune was a radical socialist revolutionary government that ruled Paris from March 18, 1870 to May 28 , 1871. The Franco-Prussian War captures Emperor Napoleon III in September 1870. This is where all the barrels of gun powder came from, the secret passages because the construction of the Paris Opera was halted during the war and used as a food storage, ammunition warehouse and a hospital. The National Guard even set up a base camp in the unfinished building.
After France's defeat Garnier became seriously ill from the deprivations of the siege and left Paris from March to June to recover on the Ligurian coast of Italy. The Commune authorities planned to replace Garnier with another architect, but this unnamed man had not yet appeared when Republican troops ousted the National Guard and gained control over the building on 23 May. On 30 September construction work continued.
Erik continued to work on mysterious sections of the Opera including a double wall Leroux refers to this as a double envelope of the foundation of the walls of the Opera said to be quietest in the world.
Paris and the Opéra Garnier
1868-18??
The Paris Opera House was formally called the Salle des Capucines after the Original theater Salle Le Peletier that burned down in 1873. The Salle Le Peletier 1861-1875.
1st mason contracted to work for Philippe Garnier
We know The Persian was known to have left Persia and appeared in Paris in 1868.
"He only was said to have disappeared towards the end of the Second Empire, in 1868" ~ ref
Now the Opera house wasn't built at this time so he was seen at the Salle Le Peletier, the Opera-Comique or the Theatre-Italien. But this possibly places Erik in Paris as early as 1868 or perhaps even earlier then that. Leroux also says Erik goes to Turkey to work for the Sultan who at his employment was a Prince. If this is true this means Erik was well established in Paris when the Franco-Prussian War was under way. It also shows he would have know by way of news paper that they were building a new Opera house. It is very possible he was living in the underground already and simply built a house around himself once construction of the Opera started. Which coincides with Leroux stating he was a subcontractor for the foundation of the Opera.
1875
The story dates about 30 years back according to Leroux. Although what exactly he meant by this is somewhat unclear. Most Phans use the wrong date of the novel being first translated into English by Alexander Teixeira de Mattos in 1911 landing the story date in 1881, this is an incorrect date however. Le Fantôme de l'Opéra was originally published as a serial in the Newspaper Le Gaulois on Sep 23, 1909 to January 8, 1910 and into a Novel in 1910. One could add the time it took Leroux to write the story too probably about a year so that would be 1908 at the latest. 30 years back from 1908 is 1878. For the date of the novel being published 1910 it would be set in 1880 but this is incorrect because he first published in 1909. If you take the date of 1909 at the latest that would place the story in 1879. It is also good to keep in mind he says about 30 years so this is a few years give or take in either direction. Could the stories true date have been as far back as 1875? January 5, 1875 is the date of the Paris Opera house's Inauguration. Leroux states the outgoing Managers MM. Debienne and Poligny have a huge performance and a dinner given as a going away party. Some of the same performances mentioned were performed at the Opera Inauguration, including Faust and there was a large banquet party as well. No dinner parties were ever given for outgoing Managers as far as my research has shown. Most evidence points to the Inauguration as the night the Opera Owners dinner party. Ironically if you take the date of 1805 that Leroux started writing Le Fantôme de l'Opéra and take 30 years from that you get the date 1875. Some have even pondered if the Phantom of the Opera also haunted other Operas before the Paris Opera house was built such as the Théâtre-Lyrique where a chandelier was reported to have actually come down as well were Christine Nilsson who Christine Daaé is somewhat based on sang; this is also where Charles Gounod's Roméo et Juliette, and his Faust premiered. Salle Le Peletier which looked very much like the Paris Opera house but sadly burned down, the Opera-Comique and the Theatre-Italien where a mysterious Persian figure had been reported to be seen. Just a thought to keep in mind.
1874/1880
The Phantom writes to the Opera Managers at the start of the novel he states that Debienne and Poligny payed him 6,575 fr 30, representing the first ten days of his allowance for that year this must be January of 1880 going with the 1881 story date or 1874 going with the Inauguration date, becuase the Masqurade happens on January 31 of the next year in 1881 or the Masqurade of 1875.
Angel of Music taught Christine for 3 months when Raoul went to visit Madam Valérius.
January 25th letters where delivered from the Phantom talking about Christine's triumph as Marguerite. The dates of the Opera house's inauguration January 5, 1875 and the date January 25th coincide quite realistically with the time line.
Christine visits Parros in the middle of winter so probably still in January.
The Opera's Masquerade normally was on January 31 this would be 1881 or 1875 depending on which time line you adhere to.
One month later is when Christine is kidnapped from the Faust performance and the second installment of 20 thousand fracs is stolen making it about March 2nd.
Christine mentioned Erik's torture chamber looked like the Musée Grévin, but it was not opened until 1882. Ironically by Arthur Meyer, a journalist for Le Gaulois as well as the one who revived the news paper in 1882, which is the Newspaper Le Fantôme de l'Opéra was originally published in. No doubt Leroux knew the man possibly even friends. It probably was a nod more then an over site and more Leroux attempting to explain what it looked like to a reader who was not as familiar with fun mirrors, hall of mirrors or even Disneyland, more then him mistakenly punting a wrong date. The Musée Grévin was model after Madame Tussauds founded 1835 in London. But what Christine is comparing the torture chamber is the Musée Grévin's hall of mirrors that was built for the Exposition Universelle in 1900 and wasn't showcased at the Musée Grévin untill 1906. Which is a bit of a serous over site on Leroux part if it wasn't mentioned intentionally.
~ ref wiki
Erik's Mask
He was said to have worn a full face black mask made of silk, that did not cover the forehead and stopped at the beard line.
"I could not see the eyes behind the mask and this was not to diminish the strange feeling of uneasiness that had in questioning this mysterious square of black silk; but under the cloth, at the bottom of the barbe du masque appeared one, two, three, four tears." ~(Apollo's Lyre)
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"Je ne pouvais voir les yeux derrière le masque et ceci n'était point pour diminuer l'étrange sentiment de malaise que l'on avait à interroger ce mystérieux carré de soie noire ; mais sous l'étoffe, à l'extrémité de la barbe du masque, apparurent une, deux, trois, quatre larmes tears." ~(Apollo's Lyre)
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"I was in the hands of a man wrapped in a large cloak and wearing a mask that hid
his whole face." ~ (Apollo's Lyre, de Mattos) "Erik's black mask made me think of the natural mask of the Moor of Venice. He was Othello himself." ~(Apollo's Lyre, de Mattos) "He removed his hat revealing his forehead with the pallor of wax. The rest of his face was hidden by the mask." ~(The end of a ghost loves story, de Mattos) Types of common masks |
An interesting fact of law
"MASK, s. m. False face made of cardboard or any other material with which one covers the face, and by extension, any person who wears a mask to disguise himself or herself. The wearing of masks is authorized during Carnival, and mayors may issue bylaws to regulate this use: those who violate these bylaws are subject to article 474, no. 13, of the Penal Code. The fact of having put on a mask to commit a crime or a misdemeanor is considered by law as an aggravating circumstance. Masked hunters must be arrested. (Decree of March 1, 1851, art. 329.)
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MASQUE, s. m. Faux Visage en carton ou de toute • autre ma-tière dont on recouvre la figure, et par extension, toute personne qui porte un masque pour se déguiset Le port du masque est autorisé pendant le carnaval. et les maires peuvent prendre des • arrêtés • pour réglementer cet usage : les contre-venants à ces arrêtés tombent sous le coup de l'article• 474 no' 13, du Code•pénal. La fait d'avoir revêtu mi' masque pouf commettre uu crime eu un délit est considéré par• la loi comme une -circonstance aggravante. Les chasseurs masqués doivent être arrêtés. (Décr. da ler mars 1851, art. 329.)
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~ (Dictionary of general knowledge useful to the police (6th edition) / by ML Amade, and for the administrative part, by M.Corsin,… Paris, H. Charles-Lavauzelle, 1886. Gallica (BnF)
Barbe du masque
Leroux states he wore what's called "barbe du masque" or Mask's beard. Lon Chaney got pretty close aside from the fact it's white and not made of silk.
The mask in the Museum of London \/ is about as close to what Leroux described Erik's mask to be. The mask that Erik wears looked a lot like the typical mask women or men would have worn to a bal masqué. It's a type of domino with a flap of trim made of fabric bellow it, to hide the mouth and chin. Much Like Lon Chaney's mask. The mask that he would have worn would have had shorter trim that ended right at the chin line. The flap could be raisied to eat or drink or to allow your close friend to know it was you by rolling up the flap of cloth.
"Here, I raise my mask a little....Oh, only a little!... You see my lips, such lips as I have? They're not moving!...My mouth is closed--such mouth as I have--and yet you hear my voice..." ~(The Tortures Begin)
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.
When Christine says "...square of black silk..." This is likely how it looked while siting on his face. < |
Type of Hat
black soft felt hat/ chapeau de feutre mou noir (As a shadow)
huge feathered hat/ immense chapeau à plumes (As red death)
huge feathered hat/ immense chapeau à plumes (As red death)
Red Death
un groupe qui se pressait autour d’un personnage dont le déguisement, l’allure originale, l’aspect macabre faisaient sensation…
Ce personnage était vêtu tout d’écarlate avec un immense chapeau à plumes sur une tête de mort. Ah ! la belle imitation de tête de mort que c’était là ! Les rapins autour de lui, lui faisaient un grand succès, le félicitaient… lui demandaient chez quel maître, dans quel atelier, fréquenté de Pluton, on lui avait fait, dessiné, maquillé une aussi belle tête de mort ! La « Camarde » elle-même avait dû poser.
L’homme à la tête de mort, au chapeau à plumes et au vêtement écarlate traînait derrière lui un immense manteau de velours rouge dont la flamme s’allongeait royalement sur le parquet ; et sur ce manteau on avait brodé en lettres d’or une phrase que chacun lisait et répétait tout haut : « Ne me touchez pas ! Je suis la Mort rouge qui passe !… »
Et quelqu’un voulut le toucher… mais une main de squelette, sortie d’une manche de pourpre, saisit brutalement le poignet de l’imprudent et celui-ci, ayant senti l’emprise des ossements, l’étreinte forcenée de la Mort qui semblait ne devoir plus le lâcher jamais, poussa un cri de douleur et d’épouvante. La Mort rouge lui ayant enfin rendu la liberté, il s’enfuit, comme un fou, au milieu des quolibets. C’est à ce moment que Raoul croisa le funèbre personnage qui, justement, venait de se tourner de son côté. Et il fut sur le point de laisser échapper un cri : « La tête de mort de Perros-Guirec ! » Il l’avait reconnue !… Il voulut se précipiter, oubliant Christine ; mais le domino noir, qui paraissait en proie, lui aussi, à un étrange émoi, lui avait pris le bras et l’entraînait… l’entraînait loin du foyer, hors de cette foule démoniaque où passait la Mort rouge…
~10 Au bal masqué
immense chapeau à plumes/huge feathered hat
Ce personnage était vêtu tout d’écarlate avec un immense chapeau à plumes sur une tête de mort. Ah ! la belle imitation de tête de mort que c’était là ! Les rapins autour de lui, lui faisaient un grand succès, le félicitaient… lui demandaient chez quel maître, dans quel atelier, fréquenté de Pluton, on lui avait fait, dessiné, maquillé une aussi belle tête de mort ! La « Camarde » elle-même avait dû poser.
L’homme à la tête de mort, au chapeau à plumes et au vêtement écarlate traînait derrière lui un immense manteau de velours rouge dont la flamme s’allongeait royalement sur le parquet ; et sur ce manteau on avait brodé en lettres d’or une phrase que chacun lisait et répétait tout haut : « Ne me touchez pas ! Je suis la Mort rouge qui passe !… »
Et quelqu’un voulut le toucher… mais une main de squelette, sortie d’une manche de pourpre, saisit brutalement le poignet de l’imprudent et celui-ci, ayant senti l’emprise des ossements, l’étreinte forcenée de la Mort qui semblait ne devoir plus le lâcher jamais, poussa un cri de douleur et d’épouvante. La Mort rouge lui ayant enfin rendu la liberté, il s’enfuit, comme un fou, au milieu des quolibets. C’est à ce moment que Raoul croisa le funèbre personnage qui, justement, venait de se tourner de son côté. Et il fut sur le point de laisser échapper un cri : « La tête de mort de Perros-Guirec ! » Il l’avait reconnue !… Il voulut se précipiter, oubliant Christine ; mais le domino noir, qui paraissait en proie, lui aussi, à un étrange émoi, lui avait pris le bras et l’entraînait… l’entraînait loin du foyer, hors de cette foule démoniaque où passait la Mort rouge…
~10 Au bal masqué
immense chapeau à plumes/huge feathered hat
diffarent interpritations of Red Death
Physical Appearance & Deformities the Living Skeleton
Description from the novel
Le fantôme leur était apparu sous les espèces d'un monsieur en habit noir. ~1 Est-ce le fantôme ?
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The ghost appeared to them in the form of a gentleman in a black tailed coat. ~ 2 Is it a Ghost?
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Au fond, qui l’avait vu ? On peut rencontrer tant d’habits noirs à l’Opéra qui ne sont pas des fantômes. Mais celui-là avait une spécialité que n’ont point tous les habits noirs. Il habillait un squelette. Du moins, ces demoiselles le disaient. Et il avait, naturellement, une tête de mort. Tout cela était-il sérieux ? La vérité est que l’imagination du squelette était née de la description qu’avait faite du fantôme, Joseph Buquet, chef machiniste, qui, lui, l’avait réellement vu. Il s’était heurté, – on ne saurait dire « nez à nez », car le fantôme n’en avait pas, – avec le mystérieux personnage dans le petit escalier qui, près de la rampe, descend
~1 Est-ce le fantôme ? |
In truth, who had seen him? One does see so many men in black dress clothes at the Opera that are not ghosts. But this dress-suit was particular only to the phantom, for it covered a skeleton's frame. At least, these young ladies said so. And he had, of course, a death's head (skull). Was this all serious? The truth of the matter was this was a product of the imagination of the skeleton was born from the description of the ghost, Joseph Buquet, chief machinist, who had actually seen it. He had come up against it-one could not say "nose-to-nose," for the ghost had none-with the mysterious personage in the little staircase which, near the ramp, descends directly to the "undersides." He had had time to see her for a second-for the phantom had fled-and had preserved an indelible memory of that vision.
~ 2 Is it a Ghost? |
Et voilà que soudain, dans le noir, une main se posait sur la mienne… ou, plutôt, quelque chose d’osseux et de glacé qui m’emprisonna le poignet et ne me lâcha plus. Je criai. Un bras m’emprisonna la taille et je fus soulevée… Je me débattis un instant dans de l’horreur ; mes doigts glissèrent au long des pierres humides, où ils ne s’accrochèrent point. Et puis, je ne remuai plus, j’ai cru que j’allais mourir d’épouvante. On m’emportait vers la petite lueur rouge ; nous entrâmes dans cette lueur et alors je vis que j’étais entre les mains d’un homme enveloppé d’un grand manteau noir et qui avait un masque qui lui cachait tout le visage… Je tentai un effort suprême : mes membres se raidirent, ma bouche s’ouvrit encore pour hurler mon effroi, mais une main la ferma, une main que je sentis sur mes lèvres, sur ma chair… et qui sentait la mort ! Je m’évanouis. ~13 La lyre d’Apollon
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And suddenly, in the dark, a hand was placed on mine ... or, rather, something boney and icy took hold of my wrist and did not let go. I cried out. An arm took me by the waist and I was lifted up.... I struggled for a moment in horror; My fingers slid along the damp stones, where they could not grasp anything. And then I did not move any further, I thought that I was going to die of fright. I was carried away towards the little red glow; We entered into this light and then I saw that I was in the hands of a man enveloped in a large black cloak who had a mask that hid his whole face ... I tried with a great effort: but my limbs themselves stiffened. My mouth opened again to scream, oh my terror, but a hand closed it, a hand that I felt on my lips, on my flesh ... and that smelled of death! I fainted. ~12 Apollo's Lyre
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Une ombre, enveloppée d’un grand manteau noir, et coiffée d’un chapeau de feutre mou noir, passa sur le trottoir entre la Rotonde et les équipages. Elle semblait considérer plus attentivement la berline. Elle s’approcha des chevaux, puis du cocher, puis l’ombre s’éloigna sans avoir prononcé un mot. L’instruction crut plus tard que cette ombre était celle du. ~ 14 Un coup de maître de l’amateur de trappes
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A shadow, wrapped in a long black cloak, and wearing a black soft felt wide brimmed hat, passed on the path between the Rotunda and the carriages, the shadow seemed to look more closely at the barouche. it approached the horses, then the coachman, and then the shadow went away without uttering a word. ~ 13 A Master-Stroke of the Trap-Door Lover
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... l’ombre avait un manteau. Je fus assez rapide pour saisir un coin du manteau de l’ombre. À ce moment, nous étions, l’ombre et moi, juste devant le maître-autel et les rayons de la lune, à travers le grand vitrail de l’abside, tombaient droit devant nous. Comme je ne lâchai point le manteau, l’ombre se retourna et, le manteau dont elle était enveloppée s’étant entrouvert, je vis, monsieur le juge, comme je vous vois, une effroyable tête de mort qui dardait sur moi un regard où brûlaient les feux de l’enfer. Je crus avoir affaire à Satan lui-même et, devant cette apparition d’outre-tombe, mon coeur, malgré tout son courage, défaillit, et je n’ai plus souvenir de rien jusqu’au moment où je me réveillai dans ma petite chambre de l’auberge du Soleil-Couchant. ~ 6 Le violon enchanté
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....the shadow had a cloak. I was quick enough to grab a corner of the cloak. At that moment we were in the shadow and I, just before the high altar, and the rays of the moon, through the great stained-glass window of the apse, fell right in front of us. As I did not let go of the mantle, the shadow turned round, and the cloak with which it was wrapped had opened, and I saw, as I see you, a terrible head of death, Burned the fires of hell. I thought I was dealing with Satan himself, and in the face of this apparition from beyond the grave my heart, in spite of all his courage, fainted, and I remembered nothing until I woke up in my little Room of the Sun-Sunset Inn. ! ~ The Enchanted Violin
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Yellow Eyes
Erik his golden eyes/ Érik ses yeux d’or ~ (Epilogue)
burning eyes or burning eyes of embers /burning yeux de braise ~ (Apollo's Lyre)
burning like infernos or burning like braziers/brûlants comme des brasiers ~ (A master stroke of the trapdoor lover)
two golden stars/deux étoiles d’or ~ (A master stroke of the trapdoor lover)
burning eyes or burning eyes of embers /burning yeux de braise ~ (Apollo's Lyre)
burning like infernos or burning like braziers/brûlants comme des brasiers ~ (A master stroke of the trapdoor lover)
two golden stars/deux étoiles d’or ~ (A master stroke of the trapdoor lover)
Possible Deformities and or Diseases
***Disclaimer: This section contains sensitive material so user discretion is advised***
Eyes and Skin
"Je vis des étincelles partir de deux yeux d’or et je fus."
. "Il avait bien l’air alors du fatal nocher, avec ses yeux d’or en plus. Et puis, je ne vis bientôt plus que ses yeux et enfin il disparut dans la nuit du lac." |
I saw sparks start from two golden eyes and I was,
. He looked like the terrible night ferryman Charon, with his golden eyes and everything. And then, I soon saw only his eyes and finally he disappeared in the night of the lake. (Daroga's description) |
Skin
Possibly black in orgin
"l'homme noir et moi, au sein des ténèbres."
"The black man and I in the darkness." (Christine's description) ~XIII. Apollo's Lyre
"Le masque noir d'Érik me faisait songer au masque naturel du More de Venise. Il était Othello
lui-même."
"The Erik's black mask made me think of the natural mask of the Venice More. He was Othello
himself" ~XIII. Apollo's Lyre
Yellow skin
« Il est d'une prodigieuse maigreur et son habit noir flotte sur une
charpente squelettique. Ses yeux sont si profonds qu'on ne distingue pas
bien les prunelles immobiles. On ne voit, en somme, que deux grands trous
noirs comme aux crânes des morts. Sa peau, qui est tendue sur l'ossature
comme une peau de tambour, n'est point blanche, mais vilainement jaune ;
son nez est si peu de chose qu'il est invisible de profil, et l'absence de ce
nez est une chose horrible à voir. Trois ou quatre longues mèches brunes
sur le front et derrière les oreilles font office de chevelure. »
He is tremendously thin and his black tailed coat hangs off a skeletal frame.
His eyes are so deeply set that you can not really see the fixed pupils.
You can only see two great black holes, like the skulls of the dead.
His skin is stretched over the frame like drum-skin, it is not white,
but an ugly yellow; his nose is so little to speak about that it is invisible in profile veiw,
and the absence of a nose is a frightful thing to see. Three or four
long brown locks of hair lay across the forehead and behind the ears is all there is for hair. "
~ 13 Is it the Ghost?
Possibly black in orgin
"l'homme noir et moi, au sein des ténèbres."
"The black man and I in the darkness." (Christine's description) ~XIII. Apollo's Lyre
"Le masque noir d'Érik me faisait songer au masque naturel du More de Venise. Il était Othello
lui-même."
"The Erik's black mask made me think of the natural mask of the Venice More. He was Othello
himself" ~XIII. Apollo's Lyre
Yellow skin
« Il est d'une prodigieuse maigreur et son habit noir flotte sur une
charpente squelettique. Ses yeux sont si profonds qu'on ne distingue pas
bien les prunelles immobiles. On ne voit, en somme, que deux grands trous
noirs comme aux crânes des morts. Sa peau, qui est tendue sur l'ossature
comme une peau de tambour, n'est point blanche, mais vilainement jaune ;
son nez est si peu de chose qu'il est invisible de profil, et l'absence de ce
nez est une chose horrible à voir. Trois ou quatre longues mèches brunes
sur le front et derrière les oreilles font office de chevelure. »
He is tremendously thin and his black tailed coat hangs off a skeletal frame.
His eyes are so deeply set that you can not really see the fixed pupils.
You can only see two great black holes, like the skulls of the dead.
His skin is stretched over the frame like drum-skin, it is not white,
but an ugly yellow; his nose is so little to speak about that it is invisible in profile veiw,
and the absence of a nose is a frightful thing to see. Three or four
long brown locks of hair lay across the forehead and behind the ears is all there is for hair. "
~ 13 Is it the Ghost?
Leprosy
Is probably the first guess people would make. This however is unlikely do to Erik stated that even from birth he was deformed normally develops after birth.. Leprosy is a chronic disease persistent or otherwise long-lasting in its effects.Left untreated, leprosy can be progressive, causing permanent damage to the skin, nerves, limbs and eyes. Contrary to folklore, leprosy does not cause body parts to fall off, although they can become numb or diseased as a result of secondary infections. Secondary infections, in turn, can result in tissue loss causing fingers and toes to become shortened and deformed, as cartilage is absorbed into the body.
Ref. http://en.wikipedia.org/wiki/Leprosy
Babies are not born with leprosy, and two thirds of babies born toleprous mothers will never get the disease, even if the mother keeps the child with her.
Ref. http://www.hektoeninternational.org/Leprosarium.htm
Is it possible he contracted it later? Sure it's possible but this is not the main cause of his birth defect.
Man who lost his nose due to Leprosy
Sensitive Photo
Is probably the first guess people would make. This however is unlikely do to Erik stated that even from birth he was deformed normally develops after birth.. Leprosy is a chronic disease persistent or otherwise long-lasting in its effects.Left untreated, leprosy can be progressive, causing permanent damage to the skin, nerves, limbs and eyes. Contrary to folklore, leprosy does not cause body parts to fall off, although they can become numb or diseased as a result of secondary infections. Secondary infections, in turn, can result in tissue loss causing fingers and toes to become shortened and deformed, as cartilage is absorbed into the body.
Ref. http://en.wikipedia.org/wiki/Leprosy
Babies are not born with leprosy, and two thirds of babies born toleprous mothers will never get the disease, even if the mother keeps the child with her.
Ref. http://www.hektoeninternational.org/Leprosarium.htm
Is it possible he contracted it later? Sure it's possible but this is not the main cause of his birth defect.
Man who lost his nose due to Leprosy
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Harlequin-type ichthyosis, harlequin disease
A skin disease, is the most severe form of congenital ichthyosis, characterized by a thickening of the keratin layer in fetal human skin. The harlequin-type designation comes from both the baby's apparent facial expression and the diamond-shape of the scales. The features of the sufferers are severe cranial and facial deformities. The ears may be very poorly developed or absent entirely, as may the nose. This is however unlikly simply becuase 'In the past, the disorder was always fatal, whether due to dehydration, infection (sepsis), restricted breathing due to the plating, or other related causes. The most common cause of death was systemic infection and sufferers rarely survived for more than a few days."
However
The disease has been known since 1750, and was first described in the diary of a cleric from Charleston, South Carolina, the Rev. Oliver Hart:
"On Thursday, April the 5th, 1750, I went to see a most deplorable object of a child, born the night before of one Mary Evans in 'Chas'town. It was surprising to all who beheld it, and I scarcely know how to describe it. The skin was dry and hard and seemed to be cracked in many places, somewhat resembling the scales of a fish. The mouth was large and round and open. It had no external nose, but two holes where the nose should have been. The eyes appeared to be lumps of coagulated blood, turned out, about the bigness of a plum, ghastly to behold. It had no external ears, but holes where the ears should be. The hands and feet appeared to be swollen, were cramped up and felt quite hard. The back part of the head was much open. It made a strange kind of noise, very low, which I cannot describe. It lived about forty-eight hours and was alive when I saw it."
Ref. http://en.wikipedia.org/wiki/Harlequin-type_ichthyosis
An illustration of a baby born with it
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A skin disease, is the most severe form of congenital ichthyosis, characterized by a thickening of the keratin layer in fetal human skin. The harlequin-type designation comes from both the baby's apparent facial expression and the diamond-shape of the scales. The features of the sufferers are severe cranial and facial deformities. The ears may be very poorly developed or absent entirely, as may the nose. This is however unlikly simply becuase 'In the past, the disorder was always fatal, whether due to dehydration, infection (sepsis), restricted breathing due to the plating, or other related causes. The most common cause of death was systemic infection and sufferers rarely survived for more than a few days."
However
The disease has been known since 1750, and was first described in the diary of a cleric from Charleston, South Carolina, the Rev. Oliver Hart:
"On Thursday, April the 5th, 1750, I went to see a most deplorable object of a child, born the night before of one Mary Evans in 'Chas'town. It was surprising to all who beheld it, and I scarcely know how to describe it. The skin was dry and hard and seemed to be cracked in many places, somewhat resembling the scales of a fish. The mouth was large and round and open. It had no external nose, but two holes where the nose should have been. The eyes appeared to be lumps of coagulated blood, turned out, about the bigness of a plum, ghastly to behold. It had no external ears, but holes where the ears should be. The hands and feet appeared to be swollen, were cramped up and felt quite hard. The back part of the head was much open. It made a strange kind of noise, very low, which I cannot describe. It lived about forty-eight hours and was alive when I saw it."
Ref. http://en.wikipedia.org/wiki/Harlequin-type_ichthyosis
An illustration of a baby born with it
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Proteus syndrome
It causes skin overgrowth and atypical bone development, often accompanied by tumors over half the body.Proteus syndrome causes an overgrowth of skin, bones, muscles, fatty tissues, and blood and lymphatic vessels. Proteus syndrome is a progressive condition wherein children are usually born without any obvious deformities. Tumors of skin and bone growths appear as they age.
That fact that Children are are usually born without any obvious deformities. Pretty much stops this idea in it's tracks.
Recnet years people have claimed that Joseph Merrick may have has both Proteus and Craniodiaphyseal dysplasia
It causes skin overgrowth and atypical bone development, often accompanied by tumors over half the body.Proteus syndrome causes an overgrowth of skin, bones, muscles, fatty tissues, and blood and lymphatic vessels. Proteus syndrome is a progressive condition wherein children are usually born without any obvious deformities. Tumors of skin and bone growths appear as they age.
That fact that Children are are usually born without any obvious deformities. Pretty much stops this idea in it's tracks.
Recnet years people have claimed that Joseph Merrick may have has both Proteus and Craniodiaphyseal dysplasia
Marfan
Long skinny fingers could play the violin and piano exceedingly well
Paganini was said to be one of the greatest violinists but he was helped by a rare medical condition called Marfan syndrome. Interestingly enough the genetic disorder affects the connective tissue, often making them unusually tall with lengthened limbs and long, thin fingers.
Ref. http://inmozartsfootsteps.com/1032/paganini-violinist-helped-by-marfan-syndrome/
Long skinny fingers could play the violin and piano exceedingly well
Paganini was said to be one of the greatest violinists but he was helped by a rare medical condition called Marfan syndrome. Interestingly enough the genetic disorder affects the connective tissue, often making them unusually tall with lengthened limbs and long, thin fingers.
Ref. http://inmozartsfootsteps.com/1032/paganini-violinist-helped-by-marfan-syndrome/
Craniodiaphyseal dysplasia
Is extremely rare autosomal recessive bone disorder that causes calcium to build up in the skull, disfiguring the facial features and reducing life expectancy.
The real life child Rocky Dennis who inspired the movie Mask
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Is extremely rare autosomal recessive bone disorder that causes calcium to build up in the skull, disfiguring the facial features and reducing life expectancy.
The real life child Rocky Dennis who inspired the movie Mask
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Elephantiasis /Neurofibromatosis type I:
Joseph Carey Merrick is the most famous case of this disorder, but ironically he did not have it at all. He had neurofibromatosis type I. There are a few Phans who have claimed that Joseph was the insperation for Erik. I hate to say this but this is by far the most perposteriouse things I have heard. !st and formost lets examin what excatly Elephantiasis and Neurofibromatosis type I
Elephantiasis
is a disease that is characterized by the thickening of the skin and underlying tissues, especially in the legs In some cases the disease can cause certain body parts to swell to the size of a basketball. It is caused by filariasis or podoconiosis. Elephantiasis occurs in the presence of microscopic, thread-like parasitic worms such as Wuchereria bancrofti, Brugia malayi, and B. timori, all of which are transmitted by mosquitoes. It is common in tropical regions and Africa.
Ah right there we see that this is most common in Africa and Erik was indeed born in a town outside of Rouen. This was not common in France and the symptums to not match Erik's deformity at all.
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Ref. http://en.wikipedia.org/wiki/Elephantiasis
Neurofibromatosis type I
Is a genetic disorder. It is possibly the most common inherited disorder caused by a single gene. NF-1 is a tumor disorder that is caused by the mutation of a gene on chromosome 17 that is responsible for control of cell division. NF-1 causes tumors along the nervous system. NF-1 often comes with scoliosis (curvature of the spine), learning difficulties, eye problems, and epilepsy
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Ref. http://en.wikipedia.org/wiki/Neurofibromatosis_type_I
Joseph Carey Merrick is the most famous case of this disorder, but ironically he did not have it at all. He had neurofibromatosis type I. There are a few Phans who have claimed that Joseph was the insperation for Erik. I hate to say this but this is by far the most perposteriouse things I have heard. !st and formost lets examin what excatly Elephantiasis and Neurofibromatosis type I
Elephantiasis
is a disease that is characterized by the thickening of the skin and underlying tissues, especially in the legs In some cases the disease can cause certain body parts to swell to the size of a basketball. It is caused by filariasis or podoconiosis. Elephantiasis occurs in the presence of microscopic, thread-like parasitic worms such as Wuchereria bancrofti, Brugia malayi, and B. timori, all of which are transmitted by mosquitoes. It is common in tropical regions and Africa.
Ah right there we see that this is most common in Africa and Erik was indeed born in a town outside of Rouen. This was not common in France and the symptums to not match Erik's deformity at all.
Sensitive Photo
Ref. http://en.wikipedia.org/wiki/Elephantiasis
Neurofibromatosis type I
Is a genetic disorder. It is possibly the most common inherited disorder caused by a single gene. NF-1 is a tumor disorder that is caused by the mutation of a gene on chromosome 17 that is responsible for control of cell division. NF-1 causes tumors along the nervous system. NF-1 often comes with scoliosis (curvature of the spine), learning difficulties, eye problems, and epilepsy
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Ref. http://en.wikipedia.org/wiki/Neurofibromatosis_type_I
The difference between Erik and Joseph
Some phans have tried to claim that Joseph was in fact Erik. I would like to prove this theory wrong with facts
Some phans have tried to claim that Joseph was in fact Erik. I would like to prove this theory wrong with facts
Name
. Life span . Age of death . Birth place . City lived in . Birth Language . Possibly spoke Other Languages . . Travelved . . . . . . Talent/ hobbies . . . . . . Work . . . . . . . . . . Schooling . . . Parentage . . Relationship with parents . . . . . Parents jobs . . . . Sibling . . . . Birth . . Disease/ deformity . . . . . . . Deformity covering . . Personality . . . . . . . . . . . . . Sleeping habbits . . . . . . Religion . Remains . . . . . Age left home . Exhibit name . Known friends . . . . |
Érik
1829-1881? . 50's, est. 52 . Rouen, France . Paris, France . French . Romani, Indian, Russian, Persian, Turkish, Punjabi, ext. . Crossed the whole of Europe, from fair to fair, Tonkin Pirates Vietnam, Russian Nijni-Novgorod, Southeast Asia, India, Samarkand Uzbekistan, Mazenderan Persia, Tehran Persia, Asia Minor Yildiz-Kiosk/Yildiz Palace Istanbul Turky, Paris . Musician, singer, architect, quick reflexes, intelligent, angelic voice, ventriloquist, juggling, legerdemain sleight of hand, breathing underwater using a hollow reed from the Tonkin pirates, assassin, entertainer . Gypsies/Bohémiens exibited in Fairs, Tonkin Pirates; Makaryev fair in Nizhny Novgorod exibited self tricks, ventriloquist, playing music and singing; Sha-in-shah and Sultana Persian court architect and assassin, entertainer, artist and magician; Trap-doors, secret chambers and mysterious strong-boxes Yildiz-Kiosk, Automatons Istanbul Turky; Mason, ghost Paris Opera House (known) . As far as we know he did not receive a formal education, but he learned from reading, his travels and the people he met. . Mother unkown, Father unkown. Possibly part of the de Changy family . Mother unhappy made a mask so she didn't have to see him, would not have any physical contact with him and ran away from him. Father would have nothing to do with him either. . Mother possibly a singer maid when father died, Father was said to be a contract master mason. . . 0 that we know of, but possibly Raoul and Phillipe de Changy . . . Born defromed . . Corpse like, no nose, very thin lips, little hair, hallow cheeks, yellow skin like parchment, thin lips, glowing yellow eyes, cold fingers . . . . black silk mask, hat, cloak . . He asked only to be "some one,"like everybody else. But he was too ugly! And he had to hide his genius OR USE IT TO PLAY TRICKS WITH, when, with an ordinary face, he would have been one of the most distinguished of mankind! He had a heart that could have held the empire of the world; and, in the end, he had to content himself with a cellar. Had lack of morals did not know right from wrong. Murdered and assassinated people. Intelligent, artistic, dramatic, cunning, jokester, kind hearted, sad . slept in a coffin and a room that resembled a tomb . . . . . Roman Catholic not very devout . Skeleton found by the fountain where they buried the time capsule Leroux says the skeleton of the Opera ghost should be put in archives of the National Academy of Music. For it is no ordinary skeleton. . at a very young age . 'mort vivant', 'living corpse', 'Living dead' . Daroga, The Persian . . . . |
Joseph
1862 -1890 . 27 . Leicester, England . London, England . English . ??? . . England, East Midlands, tour in Europe; Belgium, Brussels, Ostend, Harwich in Essex, Northamptonshire . . . . built replica of Mainz cathedral, card models, baskets weaving, reading, writting . . . . Rolling cigars in a factory, Leicester, selling items from the haberdashery shop door to door, Union workhouse. Sam Torr exhibited him in a freakshow, Tom Norman exhibited him in the penny gaff shop, Sam Roper's travelling fair . . . . . Attended school, but left school aged 13 . . . Joseph Rockley Merrick and Mary Jane Potterton . was close to his mother, neither his father nor his stepmother demonstrated affection towards him and rejected him . . . Father: engine driver at a cotton factory, haberdashery business Mother: domestic servant, brougham drive, Sunday school teacher . 2, William Arthur died scarlet fever, Marion Eliza born with physical disabilities . . normal no deformities, started displaying deformities at age 5 . Neurofibromatosis type I/ Proteus syndrome, deformity made him look Elephant like, bulbous growth, warty growths, deformation of the bone and skin. Underwent surgery on his face mass removed. . . huge black cloak and a brown cap with a hood that covered his face . "shy, confused, not a little frightened, and evidently much cowed." well-educated Very sensitive and showed his emotions easily, bored and lonely, and demonstrated signs of depression. . . . . . . . . Had an iron bed with a curtain drawn around to afford him some privacy. Merrick slept sitting up, with his legs drawn up and his head resting on his knees. . . Baptist devout . His skeleton was mounted, his remains are in the pathology collection at the Royal London Hospital. . . . 17 . 'Elephant Man' . Dr. Frederick Treves, Alexandra, Princess of Wales, weathy people, 'Roper's Midgets' -Bertram Dooley and Harry Bramley, Mrs. Leila Maturin, Madge Kendal, Charles Taylor . |
Erik's Skeleton
Leroux states over and over the Ghost was 'en chair et en os', literally 'in flesh and bones'.
"I have prayed over his mortal remains, that God might show him mercy notwithstanding his crimes. Yes, I am sure, quite sure that I prayed beside his body, the other day, when they took it from the spot where they were burying the phonographic records. It was his skeleton. I did not recognize it by the ugliness of the head, for all men are ugly when they have been dead as long as that, but by the plain gold ring which he wore and which Christine Daaé had certainly slipped on his finger, when she came to bury him in accordance with her promise. The skeleton was lying near the little well, in the place where the Angel of Music first held Christine Daaé fainting in his trembling arms, on the night when he carried her down to the cellars of the opera-house. And, now, what do they mean to do with that skeleton? Surely they will not bury it in the common grave!...I say that the place of the skeleton of the Opera ghost is in the archives of the National Academy of Music. It is no ordinary skeleton."
~ Epilogue (traslated by de Mattos)
"As I stood by his remains, I prayed to God to have mercy on him despite his crimes. For it was God who had made him so monstrously ugly. Yes, I am quite sure those were his mortal remains that they exhumed from the spot where recordings of singers' voices were to be buried for posterity. I did not recognize the skeleton by his hideous head, for all men who have been long dead are the same, but by the plain gold ring that Christine Daaé must have slipped on to his finger when she came back to bury him as she had promised. The skeleton was found lying near the little spring, where the Angel of Music had first held the unconscious Christine in his trembling arms.
And now what should be done with that skeleton? Surely it cannot be thrown into a pauper's grave! I put it to you that the rightful place for the remains of the Phantom of the Opera is the archives of the National Academy of Music. After all, these are no ordinary bones."
~ Epilogue (traslated by Mirelle Ribiere)
Time capsule that was buried on Christmas Eve 1907 uncovered Phonograph records from 1907 sealed 24 records of greta singers of the day. The singers included sopranos Julia Lindsay, Adelina Patti, Nellie Melba, Emma Calve and Luisa Tetrazzini as well as tenor Enrico Caruso. They were placed inside two vacuum-sealed lead containers and locked in the cellars of the opera house, to be opened 100 years later. In 2007. In 1989 these time capsules were exhumed, together with later additions, and given to the French National Library for safe-keeping. They were presented to the public in an official ceremony in December 2007 but, for safety reasons (the wrapping of the records contained asbestos), were only opened the following year.
Phonograph records
http://www.smithsonianmag.com/arts-culture/preseence-200803.html
While the cellar is being prepared to house the recordings, a corpse is uncovered that is identified as Erik's. Buried at the Académie Nationale de Musique (Paris Opera house)
According to Renata de Waele
The corpse of a man with completely asymmetrical features was found. The skeleton was wearing a huge gold ring on his left hand with the initials C.D. (the only prob is there is no evidence to back this claim up. If anyone has found such things please email the theater. Leroux however stated this first so perhaps there is some truth or just a rumor that was propagated)
~ Epilogue (traslated by de Mattos)
"As I stood by his remains, I prayed to God to have mercy on him despite his crimes. For it was God who had made him so monstrously ugly. Yes, I am quite sure those were his mortal remains that they exhumed from the spot where recordings of singers' voices were to be buried for posterity. I did not recognize the skeleton by his hideous head, for all men who have been long dead are the same, but by the plain gold ring that Christine Daaé must have slipped on to his finger when she came back to bury him as she had promised. The skeleton was found lying near the little spring, where the Angel of Music had first held the unconscious Christine in his trembling arms.
And now what should be done with that skeleton? Surely it cannot be thrown into a pauper's grave! I put it to you that the rightful place for the remains of the Phantom of the Opera is the archives of the National Academy of Music. After all, these are no ordinary bones."
~ Epilogue (traslated by Mirelle Ribiere)
Time capsule that was buried on Christmas Eve 1907 uncovered Phonograph records from 1907 sealed 24 records of greta singers of the day. The singers included sopranos Julia Lindsay, Adelina Patti, Nellie Melba, Emma Calve and Luisa Tetrazzini as well as tenor Enrico Caruso. They were placed inside two vacuum-sealed lead containers and locked in the cellars of the opera house, to be opened 100 years later. In 2007. In 1989 these time capsules were exhumed, together with later additions, and given to the French National Library for safe-keeping. They were presented to the public in an official ceremony in December 2007 but, for safety reasons (the wrapping of the records contained asbestos), were only opened the following year.
Phonograph records
http://www.smithsonianmag.com/arts-culture/preseence-200803.html
While the cellar is being prepared to house the recordings, a corpse is uncovered that is identified as Erik's. Buried at the Académie Nationale de Musique (Paris Opera house)
According to Renata de Waele
The corpse of a man with completely asymmetrical features was found. The skeleton was wearing a huge gold ring on his left hand with the initials C.D. (the only prob is there is no evidence to back this claim up. If anyone has found such things please email the theater. Leroux however stated this first so perhaps there is some truth or just a rumor that was propagated)
Mort vivant/ living dead
&
Living Skeletons
***Disclaimer: This section contains sensitive material so user discretion is advised***
Some people have claimed that there is no possible way a man with the deformities that Leroux described could have ever lived. What Leroux described:
Some people have claimed that there is no possible way a man with the deformities that Leroux described could have ever lived. What Leroux described:
Apollo’s Lyre
si vous n’avez pas été victime d’un affreux cauchemar, avez-vous vu sa tête de mort à lui, dans la nuit de Perros. Encore avez-vous vu se promener, au dernier bal masqué, “la Mort rouge” ! Mais toutes ces têtes de mort-là étaient immobiles, et leur muette horreur ne vivait pas ! Mais imaginez, si vous le pouvez, le masque de la Mort se mettant à vivre tout à coup pour exprimer avec les quatre trous noirs de ses yeux, de son nez et de sa bouche la colère à son dernier degré, la fureur souveraine d’un démon, et pas de regard dans les trous des yeux, car, comme je l’ai su plus tard, on n’aperçoit jamais ses yeux de braise que dans la nuit profonde.
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if you had not thought you had been the victim of some horrible nightmare, you would have seen his death’s head that night at Perros. Yet you haveseen him wondering around at the last masked ball, “the Red Death”! But all those skulls were motionless with none living horror! But imagine, if you can, the mask of Death suddenly coming to life in order to express, with the four black holes where his eyes, his nose and mouth should be, the extreme anger at this point, with all the sovereign fury of a demon, and to never look into the holes of the eyes, because, as I learned later, one never sees his glowing eyes in the dark night.
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Joseph Buquet 's decription of the Phantom from the Forward.
Il est d’une prodigieuse maigreur et son habit noir flotte sur une charpente squelettique. Ses yeux sont si profonds qu’on ne distingue pas bien les prunelles immobiles. On ne voit, en somme, que deux grands trous noirs comme aux crânes des morts. Sa peau, qui est tendue sur l’ossature comme une peau de tambour, n’est point blanche, mais vilainement jaune ; son nez est si peu de chose qu’il est invisible de profil, et l‘absence de ce nez est une chose horrible à voir. Trois ou quatre longues mèches brunes sur le front et derrière les oreilles font office de chevelure.
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The ghost is extraordinarily thin and a black dresscoat seemingly hangs off a skeletal frame. The eyes are so deep set that one can not clearly distinguish the fixed pupils, you can only see two large black holes, like the skull of a dead man. The skin, is stretched tightly over the bones like a drumhead, and it is not white, but a hideous yellow. The nose is so small that it is not visible in profile, and the absence of that nose is the most dreadful thing to behold. Three or four long dark locks lay across the forehead and behind the ears and is all the hair there is.
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Real Living Skeletons
Often times men who exhibited themselves as living skeletons would wear tightly fitted clothing or adorn vertical stripes in order to appear more skinny for the paying customers. Commonly wearing a tailcoat and top hat to also give the illusion of being skinnier. The main difference between Erik and these other living skeletons is that Erik was described as being born deformed looking like a corpse. Most living skeletons were born normal and started exhibiting abnormal traits later in life.
Claude Ambroise Seurat
He was born in Troyes in the department of Champagne on April 20, 1798 and died in 1840. He was born healthy and normal like other children except for a depressed chest and a much weaker than other children his age. By the age of 14, he body started to "dwindled away into a skeleton form". He Toured Britain as "L'anatomie vivant" or "the Living Skeleton" and he also used the name "l'homme anatomique ou le squelette vivant" or "the anatomical man or the living skeleton". He exhibited himself in French fairs, he was also exhibited at the Chinese Saloon in Pall Mall, London, in 1825. When in Rouen 1500 people flocked to see him in one day. He was said to have a parchment-like aspect attributed to his skin. At age 28 he was said to weighs staggering 78lb at five feet seven and a half inches tall. The man's body appears wasted and exhausted. He was said to eat over the course of a day a penny role and drank a small quantity of wine. His Skeleton was plainly visible, over, which the skin was stretched tightly. He was said to be in good health and slept well. He was a drawing subject for Francisco Goya, he in countered him in a circus in Bordeaux as "el esquelete vibiente" ,"the vibrant skeleton." He travels to the Netherlands and Holland. On May 15, 1830 he is seen in Hague by the Royal family, the Prince of Orange, and Prince Frederick, who honor him by speak with him.
He also meets us with professors in Amsterdam, who issue him a certificates that attesting Claude was the most extraordinary phenomenon in all parts of the world.
An engraving by Robert Cruikshank shows Seurat removing his wig in front of a crowd of ladies and saying, "I am de Anatomie Vivante/Living Anatomy dat is come to Londres to please all de pretty Lady, and give dem all de much satisfaction"
He also meets us with professors in Amsterdam, who issue him a certificates that attesting Claude was the most extraordinary phenomenon in all parts of the world.
An engraving by Robert Cruikshank shows Seurat removing his wig in front of a crowd of ladies and saying, "I am de Anatomie Vivante/Living Anatomy dat is come to Londres to please all de pretty Lady, and give dem all de much satisfaction"
A few verses written around 1830
Avez-vous peur des revenants ?
Belles, oyez l'homme squelette Ses bras, de forme d'allumette, Ne sont rien moins qu'entreprenans. Dans une machine aussi frêle Un grand sens trouve à se loger; Pour montrer qu'à l'âme immortelle Notre corps est presqu'étranger. |
Are you afraid of a ghosts?
Beautiful, to see the skeleton man His arms, his form well shaped, is nothing less than entrepreneurs. In such a frail machine A great sense finds shelter; To show that only the soul is immortal Our body is almost foreign. |
~ref https://www.jschweitzer.fr/les-aubois-très-célèbres/claude-ambroise-seurat
Isaac W. Sprague
He was born on May 21, 1841 in East Bridgewater, Massachusetts. Born normally and an active child until the age of 12 when he suddenly began to lose weight rapidly. He Displayed himself as ‘The Living Skeleton’ and auditioned for P.T. Barnum. He was paid $80 a week. He sadly died in poverty on January 5, 1887 in Chicago at the age of 45 from asphyxia.
Dominique Castagna
Dominique was born in Slaligny, France in 1869 he was born an ugly child. His face was contorted, his eyes were buggy and his nose was compressed and flat. At 2 he stopped developing normally and his appearance started to became gaunt and emaciated and he stopped growing. When he reached the age of 12 he was fully grown. As an adult he was only 4’ 9” and weighted only 50 pounds and 6 ounces. He tried to live a normal life and got a job working as an office assistant for an architect in Monaco. Cruzel a co-worker of his, convinced him to exhibit himself for profit. He stared to exhibited himself in Marseille for the first time in 1896 under the name "L'homme-momie" or "The mummy-man" Cruzel had given him the name and acted as his manager.
Alexander Montarg
He exibited with P.T. Barnum as a Living Skeletons from the late 1850s through the 1860s. He reportibdly only weighed 54 pounds and plaid the violin. His chest was aid to mesure 4 inches.
John William Coffey
John was born normal and healthy in Piqua, Ohio 1852. In 1881 he was a barber in Cedar Rapids and married a school teacher and had seven children. Sadly not shortly after he started to loose weight and he didn’t stop wasting away until his 5’7” body was a mere 70 lbs. He billed himself as the “The Ohio Skeleton”. He often displayed himself shirtless in front of crowds. He was skinny enough that one could count his ribs from across the room. His act wasn't anything lavish and was little more then gawkers staring at John standing in a corner. H started to displayed himself in a tailed coat with vertical stripes to make his already emaciated appearances seem even thinner. In this guise he called himself “The Skeleton Dude". Setting up bride contests and mock marriages with audience members as well as fellow circus freaks. In September 1889 John joined up with the Barnum & Bailey circus and went on their first European tour. John Coffey stole the show and charmed everyone in London.
Artie Atherton
Was born Arthur Moll in Saginaw, Michigan, on January 30, 1890, He weighed about two pounds at birth. Until the age of six, he had to be carried on a pillow, as he was too fragile to walk. He started to move around in a wheelchair between the ages of six and ten, and then walked on crutches until the age of 17. He joined the circus Barnum and Baily in 1909. He worked as a circus announcer as well He called himself "The Skeleton Dude" after James Coffey.
Percy Pape
Percy was born in Tennessee and was nicknamed "le squelette de verre" or "the skeleton of glass". He weighed 68 lbs. By 1960 his fractures totaled 75.
The Punjab Lasso
"He had lived in India and had returned with an incredible acquired skill in the art of strangulation. He would make them lock him into a courtyard to which they brought man who had been condemned to death-- armed with a long spear or large sword. Erik only had the lace; and it was always just when the warrior thought that he was going to defeat Erik with a formidable blow, that we heard the whistle of the lace through the air. With a turn of his wrist, Erik tightened the thin lasso round his the enemies neck and, he dragged the body before the little sultana and her women, who sat looking from a window applauding. The little sultana herself learned to wield the Punjab lace and killed several of her women and even of friends who had come to visite her. But I prefer to drop this terrible subject of the rosy hours of Mazenderan."
~12 Intéressantes et instructives tribulations d’un Persan dans les dessous de l’Opéra Récit du Persan (translated by me)
~12 Intéressantes et instructives tribulations d’un Persan dans les dessous de l’Opéra Récit du Persan (translated by me)
Erik wielded a weapon called commonly translated as the Punjab Lasso which is actually misrelated. In the Original French it's called the 'Lacet du Pendjab' is more appropriate translates to 'lace of Punjab' or 'Punjab lace', and 'Fil du Pendjab' is translated as 'Punjab thread' or 'Punjab cord'. The Punjab was named after the region of origin Punjabi India.
In Andrew Lloyd Webber's musical it is sadly obvious they did not do much research beyond the first English translation by de Mattos. Phantom in the musical is shown using a red lasso/noose type weapon. They show him using a typical kind of noose used in hanging from America , more indicative of something thrown at a rodeo then the actual weapon described in the original French. This might have been more of a nod to the gibbet in Erik's torture chamber, which he hung up Joseph Buquet by. This however is not the full explanation of the assassins weapon. The Punjab lasso also shows back up in Robert Englund's 1989 movie version, but sadly once again is not shown accurately, although somewhat closer. He is shown wielding a whip like weapon where he throws it at the victim and it wraps around the neck then he pulls them in and slices their throat. Neither of these are completely accurate to what a Punjab Lace/cord actually is. It is actually more similar to a garrote. Which is a weapon, most often referring to a handheld ligature of chain, rope, scarf, gut wire or fishing line used to strangle a person. A garrote is a weapon often used for assassinations. It was a Close-Range weapon. Often times it was a wire with two handled on either end and was thrown around a person neck and then pulled taunt suffocating it's victim and in some cases decapitating them. The Punjab Lace/cord is an actual weapon and has been documented to come from the region of India called Pendjab (French) or Punjab (Englis), it is a region of the Indian subcontinent including much of eastern Pakistan and northwest India. Fashioned from catgut for it's elasticity and light weight qualities, but what exactly is catgut, you may wonder.
"No one knows better than he how to throw the Punjab lasso, for he is the king of stranglers even as he is the prince of conjurors. When he had finished making the little sultana laugh, at the time of the "rosy hours of Mazenderan," she herself used to ask him to amuse her by giving her a thrill. It was then that he introduced the sport of the Punjab lasso."~ 21.Interesting and Instructive Vicissitudes of a Persian in the Cellars of the Opera (translation by de Mattos)
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What excatly is Catgut?
Some phans have argued that there is no such thing as a Punjab lace/cord and no such weapon was made out of catgut or a cord made from gut of a cat. Trying to disprove the weapons ever existed. I do believe there is more then enough proof to prove other wise. First some investigating.
lacet du Pendjab "Punjab lace"
or
fil du Pendjab "Punjab cord, thread, or wire"
«Érik revenait chercher le lacet du Pendjab, qui est très singulièrement fait de boyaux de chat .»/
"Erik went back to fetch the Punjab lasso, which is very curiously made out of catgut,"
~21. Interesting and Instructive Vicissitudes of a Persian in the Cellars of the Opera, translation by de Mattos
What is boyaux de chat?
lacet du Pendjab "Punjab lace"
or
fil du Pendjab "Punjab cord, thread, or wire"
«Érik revenait chercher le lacet du Pendjab, qui est très singulièrement fait de boyaux de chat .»/
"Erik went back to fetch the Punjab lasso, which is very curiously made out of catgut,"
~21. Interesting and Instructive Vicissitudes of a Persian in the Cellars of the Opera, translation by de Mattos
What is boyaux de chat?
boyau, le ~ (m) : intestine (the serous membrane is the submucosa a layer of the intestine made up mainly of collage, the serosa is washed, treated, cut into thin strips, and finally reassembled, glued or twisted, dried, ground or not, and then possibly varnished or oiled. Gut strings can also be "spun", i.e. a metal wire is wound on them, along their entire length. Their appearance is then metallic.), bowels, viscera, cat gut, sheep's gut, gut of an animal in general, intestine casing of sausage, tube, hose, gut string on musical instruments, gut string on a tennis racket are now made from bovine gut. (French Dictionary Definition) Catgut : A tough thin cord made from the treated and stretched intestines of certain animals, especially sheep, and used for stringing musical instruments, tennis rackets and for surgical ligatures. Catgut was used for stitches and sutures becuase it could dissolve naturally. A strong cord made from the dried intestines of sheep and other animals that is used for stringing certain musical instruments and sports rackets, and, when sterilized, as surgical ligatures. Catgut was used for being light weight it's elasticity. Similar to sinew used by Native American in Dreamcatchers and bows and arrows. "The (Punjab) bow consists of a central piece, often a horn or bone, and to this two other flexible pieces are joined and firmly bound; these are made of mulberry wood, first inserted into the centre block or hand-piece, and then bound with strips of catgut or thin hide; they are tipped very skillfully with horn: the whole bow is often painted, ornamented with flower patters in gold and colors, varnished. The bow string is of crimson silk tipped with catgut loops to attach it to the bow."~ Hand-book of the Manufactures and Arts of the Punjab By Baden Henry Baden-Powell So we know now a substance called catgut is used in Punjab "..thin catgut suggested itself as a desirable material to ensure smooth and durable cords.."~The Trapper's Bible: The Most Complete Guide on Trapping and Hunting Tips Ever By Jay McCulloughT Catgut-scraper meant a fiddler or violin player ~(Dictionary of Nautical, University, Gypsy and Other Vulgar Tongues first published in 1859) So is Catgut made from a cat? |
Catgut was a term that was applied to a cord, wire or thread made from animal intestines. Many different animals historically were used and it depended on the country of origin for which animal was used. Was it ever made of actual cat gut though? Some western scholars have argue that the word catgut was simply an abbreviation of "cattlegut." The only problem with that is, they are strictly going off the English word etymology and in other countries where the word for catgut has nothing to do with English etymology and cows are sacred and not used as a food source this seems rather unlikely as an origin to the word. Called "boyaux de chat" in French you can see this English based Etymology does not fit. The fact is, it is indeed possible in countries and areas were cows were scared and cat were seen as a pest and ran rapid, they were used to make gut cord. The Greek word χορδή/kordi "catgut" or a cord made from the intestines of an animal, also κιθάρα/kitʰára means guitar becuase of the type of catgut it was made from. Scholars have also argued that the etymology came from the Arabic word qiṭṭ/قِطّ “cat or tomcat”, you get kitgut, kyttegut and Cattorum "cat (plur possessive)" from cattus "cat" (Latin). Kyttegut was used in stringing violins. In the medieval era there was a small long neck violin called a Kit violin or Kytte (Middle English, pronounced kit) also called Pochette (pronounced pōshā) who's strings were made from kyttegut and was said to be so small it could fit in your pochette (French, for small pocket) I have found evidence that in other countries and from the Victorian era and before that in fact guts from cats were sometimes used even wolf was used, although catgut was rare especially in Europe and English speaking countries, where sheep, cows and goats were widely available. The word catgut is just a word used for a strong made from animal gut now but originally it may have been strictly from cats. Was Érik's Punjab made from actual cat gut? Chances are YES.
The truth is no one can really agree were the word came from and what it original stood for. Weather Érik's Punjab was made from actual cat gut, cow or sheep gut, the truth is it was made from some animals intestines. However there is actual historical proof that cat intestines were used for cords and string. Catgut was used in Punjab but was it ever used in a ligature weapon is the real question.
The truth is no one can really agree were the word came from and what it original stood for. Weather Érik's Punjab was made from actual cat gut, cow or sheep gut, the truth is it was made from some animals intestines. However there is actual historical proof that cat intestines were used for cords and string. Catgut was used in Punjab but was it ever used in a ligature weapon is the real question.
نخ کاتگوت/Catgut thread, yarn (Persian) often used in reference to Chromic catgut sutures that were made of the intestines of sheep, however the word itself just means catgut thread.
Ref Musurgia universalis, sive ars magna consoni et dissoni by Athanasius Kircher VI-VII, 1650
The Ḥashshāshīn/ حشّاشين
An Assassin Gang and a cat gut weapon
The Punjab lace is A very old weapon in this case a that is fashioned containing cat gut in the region of Punjabi. The garrote was wildly used in the 17th and 18th century in India as an assassination device. A cord or garrote was used by the gang Ḥashshāshīn/ حشّاشين. the They were a highly organized secret order of assassins during the middle ages, said to have died out by 1275, although other factions of the still remained. Persian Hassan-i Sabbāh was the founder of the Nizari Isma'ili state and its fidā'i military group known as the 'Order of Assassins' who lived in the mountains and based them off of the group Fedayeen who were professionally trained in the arts of disguise, chivalry, linguistics, strategies and assassination. The Ḥashshāshīn became an independent group located mainly in Syria and India, however the assassins group spread all over the Middle east and other countries. However not all Ḥashshāshīn did assassinations only the acolytes class of Fedayeen or Fida'i performed assassinations. They were well educated, spoke multiple languages and had impressive libraries which included books on various religions, philosophical and scientific. They dressed in white with a red turban and a red girdle belt and boots. They also practices the fighting style called Janna which means to hide or the art of stealth and used grappling and low kicks. Their fighting style was also taught in corporation with a hand weapon. Janna was designed to dispatch an enemy as quickly and as quietly as possible. They were also taught how to defend themselves with countermeasures should they ever have a run in with a "colleague" (Keep your hand at the level of your eyes) as well as self strangulation techniques in case of capture becuase surrendering was unacceptable to them. They were nitrous and struck terror against rulers and their enemies. They were known to take down many more then themselves. The Ḥashshāshīn were said to were masks and disguises and were stealth, and waited patiently for years to reach their assassination targets. It is historically known that one of them was known to practiced strangulation with a cord and an other faction was called ḥunnāq or the "stranglers" who used a cord or noose although their weapon of choice was a dagger.
ref The Secret Order of Assassins The Struggle of the Early Nizârî Ismâî'lîs Against the Islamic World by Marshall G. S. Hodgson; https://www.turkpress.co/node/24820; The History of the Assassins, by Joseph, Freiherr von Hammer-Purgstall, Translated by Oswald Charles Wood; Assassin!: The Deadly Art Of The Cult Of The Assassins By Haha Lung, The Ismailis and the Levantine Origins of the military orders by Nikola Lambev Sofia
The Thuggee/ठग्ग, the Rumāl & Cat gut
The Thuggee/ठग्गी from ṭhag/ ठग "swindler" or "deceiver"(Northern India, where the state of Punjab is), Phansigar "noose-operator, stranglers" from phansi "noose, strangling" (Southern India), Warlu Wahndlu or Warlu Vayshay Wahndloo "People who use noose" (Telugu) Tanti Calleru "Thieves who use a wire of cat gut noose" (Canarese), and Ari Tulucar or Mussulman "nooser" (Tamul). They were an organized gang or brotherhood of professional assassins who travelled across India for six hundreds years. They were active between the 13th-19th century. Thug became slang for the Thuggee and thus we get the word thug in English from them. The Thugs would join travelers in groups or by themselves, gain their confidence by befriending them by traveling with them for hundreds of miles.
Some think the Thuggee appeared during the 7th century. They consider themselves to be children of Kali and they worshiped Kali giving most of the riches they stole to her cause. Portrayals of Kali often depicted death, destruction and darkness, triumphing over death. The followers goal is to reconciled with death and acceptance of the way of all things as well as the wisdom in learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. The Thuggee were specially known for their strangulation methods which led to their nick name of Phansigar. The scarf version of the garrote type weapon they used was sometimes referred to as the Rumāl. They even have their own secret language called Ramasi and their own set of customs and value. The leader would give a signal of attack by either turning his eyes skyward or make the cry of an owl, or the beloved bird of Kali or by calling out "ramos". They would mostly attack at night while their victims were asleep. However strangling them in their sleep proved to be difficult for the assassins so they would awaken the victim suddenly, then another Thug trained specifically in the art of strangulation and named "bhutto" "ghost" with a sharp movement of their right hand, they strangle them from behind with some type of garrote and tight around their necks and with a slight moment with the fingers known only to them the victim would fall down dead, then they would rob them. If the intended victim was awake the Thugs would distract them then another Thug would come from behind and strangle them. Thuggee would either play music or make loud noises to distract from any noises. They would sometimes perform a ritual over the dead body and then bury it with a ritual pick ax or throw them into a well.
The Thuggee would sometimes use the poisonous plant called the Indian Thornapple or Devil's Trumpet (Datura metel) for it's hallucinogenic properties scared to Shiva to induce stupefaction and drowsiness in their rich victims. River Thuggee were said to tap three times to give the command to strike and these assassinations always took place during the day. High-ranking government officials even a sovereign utilized their services of the strangulation in return they have a secrete patron for Kali.
Stories of them reach back to England by the British troops stationed there. Reportedly they were responsible for anywhere between 2,000,000 to 50,000 deaths and from 1740-1840 it was said they killed at least 40,000 a year. The Thuggee and Dacoity Suppression Acts lasted from 1836-1848 when they ruled over India. By 1840 they had reached over 5000 assassins and were running ramped in British India, more then 1,500 were arrested and 300 were hanged. Captured Thugs became informants and by 1870s the cult was essentially extinguished.
Some think the Thuggee appeared during the 7th century. They consider themselves to be children of Kali and they worshiped Kali giving most of the riches they stole to her cause. Portrayals of Kali often depicted death, destruction and darkness, triumphing over death. The followers goal is to reconciled with death and acceptance of the way of all things as well as the wisdom in learning that no coin has only one side: as death cannot exist without life, so life cannot exist without death. The Thuggee were specially known for their strangulation methods which led to their nick name of Phansigar. The scarf version of the garrote type weapon they used was sometimes referred to as the Rumāl. They even have their own secret language called Ramasi and their own set of customs and value. The leader would give a signal of attack by either turning his eyes skyward or make the cry of an owl, or the beloved bird of Kali or by calling out "ramos". They would mostly attack at night while their victims were asleep. However strangling them in their sleep proved to be difficult for the assassins so they would awaken the victim suddenly, then another Thug trained specifically in the art of strangulation and named "bhutto" "ghost" with a sharp movement of their right hand, they strangle them from behind with some type of garrote and tight around their necks and with a slight moment with the fingers known only to them the victim would fall down dead, then they would rob them. If the intended victim was awake the Thugs would distract them then another Thug would come from behind and strangle them. Thuggee would either play music or make loud noises to distract from any noises. They would sometimes perform a ritual over the dead body and then bury it with a ritual pick ax or throw them into a well.
The Thuggee would sometimes use the poisonous plant called the Indian Thornapple or Devil's Trumpet (Datura metel) for it's hallucinogenic properties scared to Shiva to induce stupefaction and drowsiness in their rich victims. River Thuggee were said to tap three times to give the command to strike and these assassinations always took place during the day. High-ranking government officials even a sovereign utilized their services of the strangulation in return they have a secrete patron for Kali.
Stories of them reach back to England by the British troops stationed there. Reportedly they were responsible for anywhere between 2,000,000 to 50,000 deaths and from 1740-1840 it was said they killed at least 40,000 a year. The Thuggee and Dacoity Suppression Acts lasted from 1836-1848 when they ruled over India. By 1840 they had reached over 5000 assassins and were running ramped in British India, more then 1,500 were arrested and 300 were hanged. Captured Thugs became informants and by 1870s the cult was essentially extinguished.
The weapons of the Thuggee
The Rumāl and Cat Gut ligatures
The Thuggee was known for their killing method using a garrote. The weapon wash either a yellow handkerchief, noose or catgut cord.
Buhram "King of the Thugs", was the most prolific killer among the Thuggee and is known to have improvised his method of strangulation by sewing a large medallion, coin or rock into the scarf to possibly add weight to the cloth which gave extra pressure on the Adam's apple of the victim making the killing quicker and more efficient. He was said have been very tall, a powerful physique, incredible strength.
Buhram "King of the Thugs", was the most prolific killer among the Thuggee and is known to have improvised his method of strangulation by sewing a large medallion, coin or rock into the scarf to possibly add weight to the cloth which gave extra pressure on the Adam's apple of the victim making the killing quicker and more efficient. He was said have been very tall, a powerful physique, incredible strength.
A rumāl/ ਰੁਮਾਲ is described as a piece of cloth or silk similar to a scarf, sash or bandana and was a cream yellow color. It was particularly popular Indian and was a version of a garrote. The rumāl was used by the Thugs in India as a method of strangulation. When a sash was used it would be 2-2 1/2 feet in length, a knot is made on each end and a slip-knot is tied about eight inches from it. The two knots give a firm hold for the hand so it doesn't slip through the hands when wielding the weapon. The Thuggee prepares the weapon by tying it upon his own knee.
However other factions of the Thuggee used a wire or noose made from catgut. When catgut was used it would be oiled for ease of of use. In Illustrations of the History and Practices of the Thugs, By Edward Thornton, states that it was thought originally the Thuggee used a long cord/string with a slip knot at the end used for seizing travelers and could could strangle a man on horseback. They also used a short rope, with a loop at the end as well as the sash or handkerchief, but neglects to say what it's made from. However Daroga calls the Punjab "Le fil du Pendjab" which translates to cord, thread, string of Punjab. "The cunningest robbers in the world are in that country. They use a certain slip with a running noose (or a slip knot), which they can cast with so much sleight about a man's neck, when they are within reach of him, that they never fail."~ (Illustrations of the History and Practices of the Thugs: by Edward Thornton)
However other factions of the Thuggee used a wire or noose made from catgut. When catgut was used it would be oiled for ease of of use. In Illustrations of the History and Practices of the Thugs, By Edward Thornton, states that it was thought originally the Thuggee used a long cord/string with a slip knot at the end used for seizing travelers and could could strangle a man on horseback. They also used a short rope, with a loop at the end as well as the sash or handkerchief, but neglects to say what it's made from. However Daroga calls the Punjab "Le fil du Pendjab" which translates to cord, thread, string of Punjab. "The cunningest robbers in the world are in that country. They use a certain slip with a running noose (or a slip knot), which they can cast with so much sleight about a man's neck, when they are within reach of him, that they never fail."~ (Illustrations of the History and Practices of the Thugs: by Edward Thornton)
This was a tightly nit group normally passed form father to son, but sometimes a person could join the group by training with a guru, similar to an apprenticeship for a guild or profession, during which the candidate could be assessed for reliability, courage, discretion and discipline. The leader of a gang was called the "Jemadar". They were well organized and escaped detection as well as capture from their self discipline and knowledge of what works and what doesn't. They however had strict rules, they refused to kill and offer to Kali whose murder did not satisfy her, this included women, the wounded, infirm , lepers, artists such as dancers, poets or musicians, itinerant holy men, Sikhs and Muslim, the lower caste poor like laundries, sweepers, blacksmiths, carpenters and oil pressers they were all taboo. The children in the attacked caravans were to be adopted by the Thugs, integrated and often used as decoys for caravans. It makes you wonder the back story of how Erik even got into the gang. Did they attack him then realize he was deformed and let him go, did they attack him and he fought back, gaining the upper hand, kill the attacker earning their respect, being a very skilled assassin?
The story of Thuggee was popularized by books such as Philip Meadows Taylor's novel Confessions of a Thug, 1839, leading to the word "thug" entering the English language. Also mentioned in Kim by Rudyard Kipling, 1901.
Erik probably learned the "Lacet/fil du Pendjab" sometimes before 1830-40's. When he was traveling through India.
The story of Thuggee was popularized by books such as Philip Meadows Taylor's novel Confessions of a Thug, 1839, leading to the word "thug" entering the English language. Also mentioned in Kim by Rudyard Kipling, 1901.
Erik probably learned the "Lacet/fil du Pendjab" sometimes before 1830-40's. When he was traveling through India.
Ref ('بھتوٹ' 'بھتوٹی' ) https://madrascourier.com/insight/the-thugs-of-hindostan "The Thugs of Hindostan" by Madras Courier; https://www.caminteresse.fr "The Thugs, those stranglers who kill in the name of the goddess Kali", October 15, 2020 ; Illustrations of the History and Practices of the Thugs, By Edward Thornton 1837; History of the Thugs or Phansigars of India By Captain W.H. Sleeman 1839; Stranglers and Bandits a historical Anotlogy by Kim A. Wagner; Thug: The True Story of India's Murderous Cult by Mike Dash, http://su.gumilev-center.ru/tkhagi-sekta-dushitelejj/, Confessions of a Thug is an English novel written by Philip Meadows Taylor in 1839
Possibly the real Érik?
Late one night I was scouring the wealth of Opera Garnier construction photos at the archive of https://bibliotheque-numerique.inha.fr and I paused for a moment on a group of construction workers, is that man in a mask?Something about his face seems odd comparied to the rest of everyone else. Like he has somethingover it or it's obscured by something or it's a face face. I don't know. Sadly becuase of the detail it's hard to tell. It's interestign to say the least though.
Another off find is a photo by Delmaet & Durandelle. The man in question is in the left photo on the bottom, second from the left dressed in black with a hat and what looks like possiblty like a mask, I found two more photos of the same room possibly at the same time. It is possible in the last image the man in the back wearing a hat might be him. Sadly once again details are hard to make out and nothing can be confiremed. Sad thing is this man is very short looked to the men beside him. Although it does look like he is wearing something on his face. It is possible that more then one worker was deformed. There is a lot of photos of the workers who worked on the Opera, it is possible in one of them Érik may have posed, but sadly unless there is proof it can never be definite. If Érik was a real person, would he really want to pose for a photo though, but thease photos make you think.
An other odd photo just for fun. The glass scaffolding on the façade of the Opera House around 1865.
An Intersting Photo, but not Érik
***These photos do not belong to me. I am merely using them to illustrate a point. Please click them and go to Andy Brill's flickr. ***
Despite the fact many phans have claimed this might be Érik and have redistributed it on Tumblr and Pinterest, the of date this photo was taken would state other wise. Although it's interesting to see, this is probably close to what he might have looked like, but this is most certainly not him. Érik would have been born around 1829-1831 according to Leroux which places Erik at the age of 50-52 in 1881. At the time this photo was taken 1910, he would have been 81-79 years old and according to Leroux, Érik died shortly after he letting Christine go, placing his death in the story in 1881 or there abouts.
The information on the photo
Paris, The Opera c1910 detail
A busy baker, and the man in the black cloak and hat!
Glass stereo slides of France, taken with the Richard Verascope stereo camera.
Photos taken by my g-grandfather during trips to England and Europe, with the family, 1907 to 1913.
The slides, contain two small positive transparency images, of 38 x38mm (1 ½”).
The images are normally viewed with the self-advancing tray viewer – the Richard Taxiphote cabinet stereo viewer.
~ref. Andy Brill
Despite the fact many phans have claimed this might be Érik and have redistributed it on Tumblr and Pinterest, the of date this photo was taken would state other wise. Although it's interesting to see, this is probably close to what he might have looked like, but this is most certainly not him. Érik would have been born around 1829-1831 according to Leroux which places Erik at the age of 50-52 in 1881. At the time this photo was taken 1910, he would have been 81-79 years old and according to Leroux, Érik died shortly after he letting Christine go, placing his death in the story in 1881 or there abouts.
The information on the photo
Paris, The Opera c1910 detail
A busy baker, and the man in the black cloak and hat!
Glass stereo slides of France, taken with the Richard Verascope stereo camera.
Photos taken by my g-grandfather during trips to England and Europe, with the family, 1907 to 1913.
The slides, contain two small positive transparency images, of 38 x38mm (1 ½”).
The images are normally viewed with the self-advancing tray viewer – the Richard Taxiphote cabinet stereo viewer.
~ref. Andy Brill
Other Influences
Rather you believe that a defromed musical genious lived under the opera house or not, the ledgend of the Phantom is more then just a simple story that Leroux made up from Opera house rumors. There is a few hints on the novel its self as to were he got some of the ideas for Érik. If he was based off of a real living person, even in part, Leroux states in the novel he only knew so much. Even if you do or don't believe there was ever a man by the name of Érik who become a young singers angel of music and the Phantom of the Opera. There most certianly were quities from actual living peopel that were cleverly woven into the chractersation of Érik. In oder to make a likable and enjoyable story he would have to cleverly weave real life details with made up or "barrowed details" anyway.
Gioachino Rossini, Angel of Music
What the Angel of Music said to Christine from Leroux
One known influence is Gioachino Rossini (1792-1868). Who was a very famouse Italian composer. His mother started singing at the comic opera when he was 6 and had a successful for over a decade. He studdied horn wiht his father and other music with a priest. He was said to be a quick learner. By age 12 he composed a 6 sonatas set for a wealthy patron. It was conluded that he had a future in composing operas. He wrote Otello, 1816.
“Your soul is very beautiful, my child,” replied the grave man’s voice, “and I thank you. There is no emperor who has ever received such a gift! The angels wept tonight.”
~The New Marguerite |
– Ton âme est bien belle, mon enfant, reprit la voix grave d’homme et je te remercie. Il n’y a point d’empereur qui ait reçu un pareil cadeau ! Les anges ont pleuré ce soir. »
~ La Nouvelle Marguerite |
Reference to where Gaston got the idea for the quote
But no one would have told Carlotta what Rossini said to the Krauss, after she had sung for him "Sombres forêts" in German “You sing with your soul, my child, and your soul is beautiful!”
~ The chapter in which MM. Firmin Richard and Armand Moncharmin have the audacity to put “Faust” on in a house with a “curse” upon it and the dreadful event that resulted. |
Mais nul n’aurait pu dire à Carlotta ce que Rossini disait à la Krauss, après qu’elle eût chanté pour lui en allemand « Sombres forêts ?… » : « Vous chantez avec votre âme, ma fille, et votre âme est belle ! » ~ Où MM. Firmin Richard et Armand Moncharmin ont l’audace de faire représenter « Faust » dans une salle « maudite » et de l’effroyable événement qui en résulta
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It is also possible that the real Érik as the Angel of Music said this to Christine, becuase he was well read an most off all his understanding of romance an interactions must have come form Opera and reading. It's clear what ever the case Rossini inflused the Angel of Music.
What was originally said to Gabrielle Krauss by Gioachino Rossini
She sang, in German, the great area of William Tell: "Sombres forêts" "Dark forests" The old maestro was moved to tears. He saw his glory rejuvenate with a new, youthful brilliance.
. "Ah! this is the forest that you must visit", proclaimed the impetuous Azevedo ... "Listen to the harmony of these branches and flatten yourself before the immortal master!" . Gabrielle Krauss was invited again to sing the Clock of Tears and the Alder King, by Schubert, then Rossini, excited, embraced the virtuoso, saying: . "Bravo, my child! You sing with your soul and your soul is beautiful! ... " |
Elle chanta, en allemand, le grand air de Guillaume Tell : « Sombres forêts... » Le vieux maestro Tut ému jusqu'aux larmes. Il voyait reverdir sa gloire d'un éclat tout nouveau et tout juvénile.
. — Ah ! voilà bien la forêt que vous devez visiter, clama l'impétueux Azevedo... Ecoutez l'harmonie de ces ramures et aplatissez-vous devant le maître immortel! . Gabrielle Krauss fut encore invitée à chanter l'Eloge des Larmes et le Roi des Aulnes, de Schubert, puis Rossini, enthousiasmé, embrassa la virtuose en disant : . — Bravo, mon enfant ! Vous chantez avec votre âme et votre âme est belle !... » |
Franz Liszt
One influence was possibly the Hungarian composer, music teacher, pianist, conductor, arranger and organist Franz Liszt. There was a young very talented Polish Opera singer by the name of Marcella Sembrich She was known to have an extensive range with a pure, sweet, light, voice. When she truned 17, she perform paino, violin, and sang for Franz Liszt in Weimar. Liszt completely enchanted by her brilliant voice, encouraged her to develop her skills:
"My little angel, God has given you three pairs of wings with which to fly through the country of mu-sic...but sing, sing for the world, for you have the voice of an angel." ~ (Quote from Franz Liszt, From Johnson's Kids to Lemonade Opera: The American Classical Singer Comes of Age, By Victoria Etnier Villamil 2004), & partly quoted in (The Biograph and Review, Volume 2, by E.W. Allen, November 21, 1897)
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Liszt litned to his tlented father at age 6 on the piano and had exposure to music through attending mass as well as traveling gypsy bands that toured the Hungarian countryside. His father begain to teach him the piano at 7 and Liszt begain composing at age 8. Liszt got piano lessons from Carl Czerny who had been a student of Beethoven and Hummel. His firts public debut was on December 1, 1822 it was for a concert at the "Landständischer Saal", to a great success. In 1827 his father died and he moved ot Pairs where he lived in a small apretment with his mother. He gave piano lessions to earn money. In 1827 he fell in love with, Caroline de Saint-Cricq, the daughter of Charles X's minister of commerce, Pierre de Saint-Cricq, she was one of his pupils. The girls father dispareaved and made them brake off the affair. Because of it Liszt fell very ill, so much so that an obituary was printed in a Paris newspaper. After which he went through a period of relgiouse doubts. After a period of spritual discussion he learned about the musical romanticism. During this time Liszt read a lot to compensate for the lack of a formal education. The Symphonie fantastique by Hector Berlioz 1830, greatly effected him and he picked up Berlioz's diabolic quility. He wrote an essay for the Paris Revue et gazette musicale, where he argued for the raising of the artist from the status of a servant to a respected member of the community. A disription of him was given by Hans Christian Andersen, "slim young man...[with] dark hair hung around his pale face". He was considered handsom and said to have a mesmeric peronslity and stage presence. Heinrich Heine the German Poet wrote this about his concert showmanship, "How powerful, how shattering was his mere physical appearance". ~( Franz Liszt: Musician, Celebrity, Superstar p. 73 By Oliver Hilmes, 2009) Many witnesses later testified that Liszt's playing raised the mood of audiences to a level of mystical ecstasy. ~(Franz Liszt, The Virtuoso Years (1811–1847) by Alan Walker (1987). He received an honorary doctorate from the University of Königsberg on March 14, 1842. After a few high end love affairs none of whcch ever paned out in his favor and after loosing his 20 son in 1859 and his 26 year old daughter in 1862 he retrated into solitude and joined the Third Order of Saint Francis. He started writing sacred music. Twords the end of his life he fell down stairs in a hotel and never fully recovered. Liszt became increasingly plagued by feelings of desolation, despair, and preoccupation with death. This also effected his music. "I carry a deep sadness of the heart which must now and then break out in sound." ~(Franz Liszt, The Final Years (1861–1886), by Alan Walker,1997) He wrote a "Faust Symphony" it was a musical portrait of the three main chratcers Faust, Gretchen, and Mephistopheles. He was sonsidered the greatest pianist who ever lived. Carl Czerny claimed he played according to feeling and was a natrual.
M. Liszt's playing contains abandonment, a liberated feeling, but even when it becomes impetuous and energetic in his fortissimo, it is still without harshness and dryness. [...] [He] draws from the piano tones that are purer, mellower, and stronger than anyone has been able to do; his touch has an indescribable charm. [...] He is the enemy of affected, stilted, contorted expressions. Most of all, he wants truth in musical sentiment, and so he makes a psychological study of his emotions to convey them as they are. Thus, a strong expression is often followed by a sense of fatigue and dejection, a kind of coldness, because this is the way nature works. ~(student Valerie Boissier, mother's diary of her lessons)
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Eric Satie
Born Éric Alfred Leslie Satie born on May 17, 1866 at Honfleur in Normandy, was a French composer and pianist. when he was 4 his parents moved to Paris. After his mother died he was sent back to live in Honfleur to live with his paternal grandparents. There is where he got his firts music lesson from a local organist. In 1879, Satie entered the Paris Conservatoire, was credited as a gifted pianist, but was labelled as lazy and unmotivated. He was sent home after 2 years. At age 19 (1885) he was readmitted to the Conservatoire, but not being able to make a better impression he inlisted in the military service. That did not last very long either, within a few months he was discharged after being accused of deliberately infecting himself with bronchitis, by exposing himself to the cold. when he truned 21 he published by his father.
He signed his name after 1884 Erik Satie. He also quickly developed his own style of annotations on how to interpret his works including writing music in red ink. Although that is not all that uncommon as red ink would have been used for corrections. So yes it's an interesting fact but does not mean that Gaston got the idea for Érik the Phantom to write his letters in red ink. Erik Satie did not write his letters in red ink, although apprently he signed one in red once. He was known for titling his compossion odd titles, Gothic Dances/Danses gothiques, Vexations, True flabby preludes (for a dog)/ Véritables préludes flasques (pour un chien) Desiccated Embryos/Embryons desséchés, Trois morceaux en forme de poire/Three pieces in the shape of a pear, In horse dress/En habit de cheval, Mass of the poor / Messe des pauvre, La Belle Eccentrique, Furniture music/ musique d’ameublement ex.
"Don't forget that your poor friend hopes to see you...Let me add, Biqui chéri, that I shall on no account get angry if you can't come to any of these rendezvous; I have now become terribly reasonable; and in spite of the great happiness it gives me to see you I am beginning to understand that you can't always do what you want." ~ (Letter to Suzanne Valadon (was a French painter and artists' model), March 11, 1893 trying to arrange a date with her; six-month love affair) Their breakup shatters Satie.
He was knonw for wearing a bowler hat and haveing an umbrella. "With his nose clip always a little askew, his pointed beard and his long nose, his backstage eyes and his mocking smile, he had an air of a faun which he never lost, even when, in his old age. , he became a hermit: this ironic then became innocence itself. But isn't there an innocent irony? The most versatile man in the world. " ~(Paul Landormy, French music after Debussy , P. 54-61, NRF Gallimard, 1943) He has an ironic humor about him. He used humor out of modesty and shyness. His style of music was eccentric, avant-garde although at the time not catorgorised he was credited with being the precursor to moevies such as surrealism , minimalism , repetitive music and the theater of the absurd. His Furniture music was before background and ambient music. He considered himself a "phonometrician" (someone who measures sounds)
He signed his name after 1884 Erik Satie. He also quickly developed his own style of annotations on how to interpret his works including writing music in red ink. Although that is not all that uncommon as red ink would have been used for corrections. So yes it's an interesting fact but does not mean that Gaston got the idea for Érik the Phantom to write his letters in red ink. Erik Satie did not write his letters in red ink, although apprently he signed one in red once. He was known for titling his compossion odd titles, Gothic Dances/Danses gothiques, Vexations, True flabby preludes (for a dog)/ Véritables préludes flasques (pour un chien) Desiccated Embryos/Embryons desséchés, Trois morceaux en forme de poire/Three pieces in the shape of a pear, In horse dress/En habit de cheval, Mass of the poor / Messe des pauvre, La Belle Eccentrique, Furniture music/ musique d’ameublement ex.
"Don't forget that your poor friend hopes to see you...Let me add, Biqui chéri, that I shall on no account get angry if you can't come to any of these rendezvous; I have now become terribly reasonable; and in spite of the great happiness it gives me to see you I am beginning to understand that you can't always do what you want." ~ (Letter to Suzanne Valadon (was a French painter and artists' model), March 11, 1893 trying to arrange a date with her; six-month love affair) Their breakup shatters Satie.
He was knonw for wearing a bowler hat and haveing an umbrella. "With his nose clip always a little askew, his pointed beard and his long nose, his backstage eyes and his mocking smile, he had an air of a faun which he never lost, even when, in his old age. , he became a hermit: this ironic then became innocence itself. But isn't there an innocent irony? The most versatile man in the world. " ~(Paul Landormy, French music after Debussy , P. 54-61, NRF Gallimard, 1943) He has an ironic humor about him. He used humor out of modesty and shyness. His style of music was eccentric, avant-garde although at the time not catorgorised he was credited with being the precursor to moevies such as surrealism , minimalism , repetitive music and the theater of the absurd. His Furniture music was before background and ambient music. He considered himself a "phonometrician" (someone who measures sounds)
Alt Phan Proof
Was there Erik? -> A tour of the catacombs of the opera
Pulled from http://www.phantomoftheopera.ro/a_existat_erik_tur_opera.php
(A Note: This info is not confrimed the site is now down and has been for years. My notes on the article are in red.)
Pulled from http://www.phantomoftheopera.ro/a_existat_erik_tur_opera.php
(A Note: This info is not confrimed the site is now down and has been for years. My notes on the article are in red.)
"This amazing missive was not originally an article but rather a personal letter to me from a Phantom fan in Paris. Because this is an alternative Phantom legend coming straight from the Paris Opera itself, I have translated a it into English and reprinted it here with the author's permission though she did ask me to use her screen name rather than her real name. After several years of haunting the opera library and fruitlessly searching for evidence that the Phantom was real, the author of the following letter was taken under the wing of Madame Renata de Waele, public relations officer of the Opera Garnier at the time, and given the following tour and information. As an interesting aside, Brigitta D'Arcy, author of Le Fantome, received similar information and a similar tour from de Waele. It was upon this information that she based the first half of her novel Le Fantome. -CH
FROM THE FIRST moment that Renata [de Waele] began my tour of the cellars, I felt like a child, awestruck not just by all that I was seeing but more than anything by the simple fact that I was setting foot where Eric (sic) long ago used to walk and hide. When one traverses such underground passages, one understands that it would not be difficult to hide there. There is such a surprising number of wall supports, adjacent galleries and other such complications that this underground world would be a treasure for any lover of "Hide-and-Go-Seek."
At first I followed Renata a little timidly. I asked her any question that came to mind simply to try to break the ice and to see how she would take my curiosity. But it was with a particular enthusiasm that she answered me and in a tone that was certain and reassuring... a tone that encouraged other questions. She led me to the circular, subterranean rotunda, recognizable by its dome of stones and apprised me of the fact that the rotunda is the virtual acoustic center of the Opera Garnier. It's a chamber that catches every sound from overhead with incomparable sonority.
I remarked that the construction of this underground rotunda was almost the same as the one up above, a round symmetrical construction that seemed to cause every sound to converge at its center. It's the framework of the rotunda that is built above, a sort of skeleton for the other one.
We continued down the same corridor and stopped a bit further on, facing a locked metallic door with a concrete seal. It was here that Renata began her story..
She told me that a certain Monsieur Clark made a donation to the Opera of phonographically recorded voices that weren't supposed to be played or exploited in any way until the passage of a certain number of years. (talking about the time capsule) During the intervening years it was necessary to securely guard them within a walled storage facility beneath the Opera... a facility which it had been necessary to build.
Before construction began there had not been a door in that wall. Some workers and the people most involved in the project looked for the best place to dig. The search involved finding a place that was well reinforced. It also had to be a place removed from the everyday comings and goings of workmen while at the same time being close to the underground accessway. At last the spot was chosen.
It was while demolishing the chosen wall that the workers discovered an apartment, a sort of furnished two-room studio with all the comforts of the 19th Century.
The workmen-who had not immediately realized the importance of their discovery-emptied the room. Although it was not something that happened frequently, workers of that period sometimes did take the liberty of setting up a living space for themselves in some private corner of the Opera. Thus it was not considered extraordinary until, after having completely emptied the room, the workers began to wonder how its tenant had entered his domain... because there weren't any doors.
Renata said that it was Eric who had walled up the entrance. [The wall he built] was the very same one that the workers had demolished. She also told me that he had allowed himself to die inside, probably of hunger... and that it was someone from the Opera who had covered the wall [on the other side].
It was in 1907 that the skeleton of Eric was recovered. It was badly decomposed and was said to be quite large and clearly masculine. The skull was asymmetrical. A deformity as severe as Eric's could not have had any origin but a basic malformation of the bone and cartilage.
I said to Renata that at the time when the skeleton was found, many said that it was the skeleton of a prisoner and she responded simply that the dungeons had not been located on that side of the building. And furthermore, if this were a prisoner's skeleton, it would not have been found by itself nor [would it have been found] so much later [than the others].
Point made, she spoke to me of that history and of the construction of the Opera as if it had all happened yesterday. The way she told it, I felt as though she had been there, in Eric's time, even though some of the tale she could not have been witness to herself. I felt a little silly and I didn't know what to think. Perhaps she was simply playing along with me. Perhaps she was saying what she thought I'd wanted to hear.
Eric was the principal subject of the conversation but [according to Renata] only his first name is known. His last name remains a mystery. Perhaps he had just wanted to forget it. At that time, those who did not have the chance to be like the rest of humanity were considered monsters; they had no rights and such individuals who were born amongst the nobility often lost both their title and their dignity.
Eric had attended the Opera's inauguration in 1875... His tribulations in Persia were not unknown. Renata told me that he had left home at the age of eight and had earned his living in the circuses that used to travel Europe. He learned architecture in Persia and returned to Paris to work on the construction of the Grand Hotel. Then [Charles] Garnier announced his need for workmen to build the new Opera.
Seriously interested, Eric was engaged as a simple stone mason which allowed him to build his underground apartments while the attention [of the others] was on the problem of the high water table.
On the subject of Christine Dahe (sic), (Saying that was her real name somewhat discredits this whole thing for me, this is why, this can not be the real of Leroux's Christine no proof of it, this is an old rumor more info here, that was never proven) she existed, and with that name. But she was a simple chorus girl and as anonymous as all the others (I do believe she had a stage name though, Christine something probably a version of her Christian name, no doubt which is why we probably will never know who she really was, the other problem I have with this Christine Dahe or even Christine being her "real name" is that Leroux originally wrote her name Pauline Ballini then crossed that out in his working notes and wrote in Christine Daaé, so if that was true then why would wh not just write her name as Christine Dahe, that make no sense Christine Daaé was a completely made up name utilizing Nilsson's stage name of Christine and a Swiss sounds last name because it matched his background story of her.) Eric fell in love but he knew that if he showed himself to her she would never love him. It was as a result of this that the idea of the Phantom was born. He had started to disguise himself and to develop that whole facet of his personality that no one had known before. Those who knew "Eric the construction worker" didn't know him to have any outstanding qualities other than his great interest in music. Thus, when the malign and gifted Phantom appeared, no one imagined that it could be Eric, the poor boy who had worked on the Opera foundations.
Regarding his mystery and his gift of seducing women... Dahe stayed approximately two weeks in Eric's company and away from the singers' foyer. Then she left him-God knows why-and the poor Phantom never found another reason to wear his mask or his cape. He became Eric once more but because of the [emotional] pain [he suffered], he allowed himself to starve to death in his apartments after walling up the principal entry.
Someone knew about it... the same someone who buried the corpse. It was that mysterious someone whom Leroux christened, "the Persian." No one really knows who it was.
That is what Renata told me... that Leroux had the outline and the setting for his novel, and then all he had to do was fill in the gaps. (I 100% agree with this and Christina Nilsson wasn't the only insperation for Christine look here)
Leroux bestowed a good deal of his own personality upon the character of Erik [in his novel]. He gave him his own parent. Leroux's father was an entrepreneur... so was Erik's (Not sure where you go that from Leroux states his father was a masion and that is all he says, if that was even true). Leroux gave Erik his taste for quasi anonymous letters, written in red ink, etc. Leroux had previously written some "accusatory" articles directed at the Opera. On May 13, 1897, following the Rue Goujon catastrophe, an unsigned article entitled "And the Opera? The Danger of Catching Fire" appeared. On June 26 another article entitled "The Opera: The Iron Curtain." Leroux also bore a resemblance to his Erik with regard to the name changes: Leroux to Larive, Georges Larive, then Georges-Gaston Larive, etc. It was perhaps the fire that first called Eric to his attention. He published The Phantom of the Opera [as a serial] in Le Galois beginning September 23, 1909 and continuing until January 8, 1910 after which the complete novel was published by Lafitte...
Writing in red: At the time, writing in red was extremely impolite. It meant that one was making fun of the person to whom he was writing. It was for this reason that Erik wrote in red.
Dahe... changed to Daae. Was she Nilsson? No. She was Dahe. But it's true that Gaston Leroux used Nilsson as the model [for Christine in his book]. The talent of one chorus girl would not have impassioned the public! People always admire those they can never be: an unparalleled singer, a magnificent and magical Phantom... something along the lines of hero worship. Consequently the solid gold ring [found on the skeleton] really did have C.D. on it in large, unmistakable letters... only it was lost in [one of the subsequent] wars.
There it is. Perhaps you might feel a little disappointed by that simple truth... There is no hard evidence, no list or other appearance of the names of the workers, no letters signed F. de l'O and no palace on the lake. This history was transmitted by word of mouth, like a legend... And there is no proof. Or, there is no proof anymore. As a researcher I still have my doubts. I told Renata that there must be some written document but she assured me that if such a document had ever existed, the Opera would probably have destroyed it.
[I have found] nothing dating from 1879 that recalls any incidents involving a phantom. I've found nothing but the most meager allusions in the Opera library:
M. Halanzier (1879) was accused of "falsifying theatre receipts" (article 57): "In 1875, [management] exaggerated expenses for that same year and manufactured the sum of 250,600 francs expended for two new works when there were no new works for that year." Leroux explains both the latter and the former: "the Phantom needed a source of income..."
"M. Vaucorbiel (1879-1886) succeeds Halanzier on November 1, 1879..."
"Mademoiselle Krauss (a diva): became ill. She couldn't sing for 10 days. Don Juan was replaced by Faust." (April, 1879) Could Krauss be the real Carlotta?
The journal The Parisian. Article, May 29, 1879. A short article on a Phantom of the "Avenue de l'Opera" who played the ocarina. Nothing precise, though.
Presently I've given up searching the indexes, not because I'm tired of it but because I am convinced that Renata was right. I was struck dumb after that visit... even though the doubts persisted. I tried to find evidence confirming her story for six months but it turned out to be an impossible task. I believe that with regard to this matter, science and my proud curiosity will have to be content with a simple oral account.
NOTE : Pulled from http://www.phantomoftheopera.ro/a_existat_erik_tur_opera.php and perserved
FROM THE FIRST moment that Renata [de Waele] began my tour of the cellars, I felt like a child, awestruck not just by all that I was seeing but more than anything by the simple fact that I was setting foot where Eric (sic) long ago used to walk and hide. When one traverses such underground passages, one understands that it would not be difficult to hide there. There is such a surprising number of wall supports, adjacent galleries and other such complications that this underground world would be a treasure for any lover of "Hide-and-Go-Seek."
At first I followed Renata a little timidly. I asked her any question that came to mind simply to try to break the ice and to see how she would take my curiosity. But it was with a particular enthusiasm that she answered me and in a tone that was certain and reassuring... a tone that encouraged other questions. She led me to the circular, subterranean rotunda, recognizable by its dome of stones and apprised me of the fact that the rotunda is the virtual acoustic center of the Opera Garnier. It's a chamber that catches every sound from overhead with incomparable sonority.
I remarked that the construction of this underground rotunda was almost the same as the one up above, a round symmetrical construction that seemed to cause every sound to converge at its center. It's the framework of the rotunda that is built above, a sort of skeleton for the other one.
We continued down the same corridor and stopped a bit further on, facing a locked metallic door with a concrete seal. It was here that Renata began her story..
She told me that a certain Monsieur Clark made a donation to the Opera of phonographically recorded voices that weren't supposed to be played or exploited in any way until the passage of a certain number of years. (talking about the time capsule) During the intervening years it was necessary to securely guard them within a walled storage facility beneath the Opera... a facility which it had been necessary to build.
Before construction began there had not been a door in that wall. Some workers and the people most involved in the project looked for the best place to dig. The search involved finding a place that was well reinforced. It also had to be a place removed from the everyday comings and goings of workmen while at the same time being close to the underground accessway. At last the spot was chosen.
It was while demolishing the chosen wall that the workers discovered an apartment, a sort of furnished two-room studio with all the comforts of the 19th Century.
The workmen-who had not immediately realized the importance of their discovery-emptied the room. Although it was not something that happened frequently, workers of that period sometimes did take the liberty of setting up a living space for themselves in some private corner of the Opera. Thus it was not considered extraordinary until, after having completely emptied the room, the workers began to wonder how its tenant had entered his domain... because there weren't any doors.
Renata said that it was Eric who had walled up the entrance. [The wall he built] was the very same one that the workers had demolished. She also told me that he had allowed himself to die inside, probably of hunger... and that it was someone from the Opera who had covered the wall [on the other side].
It was in 1907 that the skeleton of Eric was recovered. It was badly decomposed and was said to be quite large and clearly masculine. The skull was asymmetrical. A deformity as severe as Eric's could not have had any origin but a basic malformation of the bone and cartilage.
I said to Renata that at the time when the skeleton was found, many said that it was the skeleton of a prisoner and she responded simply that the dungeons had not been located on that side of the building. And furthermore, if this were a prisoner's skeleton, it would not have been found by itself nor [would it have been found] so much later [than the others].
Point made, she spoke to me of that history and of the construction of the Opera as if it had all happened yesterday. The way she told it, I felt as though she had been there, in Eric's time, even though some of the tale she could not have been witness to herself. I felt a little silly and I didn't know what to think. Perhaps she was simply playing along with me. Perhaps she was saying what she thought I'd wanted to hear.
Eric was the principal subject of the conversation but [according to Renata] only his first name is known. His last name remains a mystery. Perhaps he had just wanted to forget it. At that time, those who did not have the chance to be like the rest of humanity were considered monsters; they had no rights and such individuals who were born amongst the nobility often lost both their title and their dignity.
Eric had attended the Opera's inauguration in 1875... His tribulations in Persia were not unknown. Renata told me that he had left home at the age of eight and had earned his living in the circuses that used to travel Europe. He learned architecture in Persia and returned to Paris to work on the construction of the Grand Hotel. Then [Charles] Garnier announced his need for workmen to build the new Opera.
Seriously interested, Eric was engaged as a simple stone mason which allowed him to build his underground apartments while the attention [of the others] was on the problem of the high water table.
On the subject of Christine Dahe (sic), (Saying that was her real name somewhat discredits this whole thing for me, this is why, this can not be the real of Leroux's Christine no proof of it, this is an old rumor more info here, that was never proven) she existed, and with that name. But she was a simple chorus girl and as anonymous as all the others (I do believe she had a stage name though, Christine something probably a version of her Christian name, no doubt which is why we probably will never know who she really was, the other problem I have with this Christine Dahe or even Christine being her "real name" is that Leroux originally wrote her name Pauline Ballini then crossed that out in his working notes and wrote in Christine Daaé, so if that was true then why would wh not just write her name as Christine Dahe, that make no sense Christine Daaé was a completely made up name utilizing Nilsson's stage name of Christine and a Swiss sounds last name because it matched his background story of her.) Eric fell in love but he knew that if he showed himself to her she would never love him. It was as a result of this that the idea of the Phantom was born. He had started to disguise himself and to develop that whole facet of his personality that no one had known before. Those who knew "Eric the construction worker" didn't know him to have any outstanding qualities other than his great interest in music. Thus, when the malign and gifted Phantom appeared, no one imagined that it could be Eric, the poor boy who had worked on the Opera foundations.
Regarding his mystery and his gift of seducing women... Dahe stayed approximately two weeks in Eric's company and away from the singers' foyer. Then she left him-God knows why-and the poor Phantom never found another reason to wear his mask or his cape. He became Eric once more but because of the [emotional] pain [he suffered], he allowed himself to starve to death in his apartments after walling up the principal entry.
Someone knew about it... the same someone who buried the corpse. It was that mysterious someone whom Leroux christened, "the Persian." No one really knows who it was.
That is what Renata told me... that Leroux had the outline and the setting for his novel, and then all he had to do was fill in the gaps. (I 100% agree with this and Christina Nilsson wasn't the only insperation for Christine look here)
Leroux bestowed a good deal of his own personality upon the character of Erik [in his novel]. He gave him his own parent. Leroux's father was an entrepreneur... so was Erik's (Not sure where you go that from Leroux states his father was a masion and that is all he says, if that was even true). Leroux gave Erik his taste for quasi anonymous letters, written in red ink, etc. Leroux had previously written some "accusatory" articles directed at the Opera. On May 13, 1897, following the Rue Goujon catastrophe, an unsigned article entitled "And the Opera? The Danger of Catching Fire" appeared. On June 26 another article entitled "The Opera: The Iron Curtain." Leroux also bore a resemblance to his Erik with regard to the name changes: Leroux to Larive, Georges Larive, then Georges-Gaston Larive, etc. It was perhaps the fire that first called Eric to his attention. He published The Phantom of the Opera [as a serial] in Le Galois beginning September 23, 1909 and continuing until January 8, 1910 after which the complete novel was published by Lafitte...
Writing in red: At the time, writing in red was extremely impolite. It meant that one was making fun of the person to whom he was writing. It was for this reason that Erik wrote in red.
Dahe... changed to Daae. Was she Nilsson? No. She was Dahe. But it's true that Gaston Leroux used Nilsson as the model [for Christine in his book]. The talent of one chorus girl would not have impassioned the public! People always admire those they can never be: an unparalleled singer, a magnificent and magical Phantom... something along the lines of hero worship. Consequently the solid gold ring [found on the skeleton] really did have C.D. on it in large, unmistakable letters... only it was lost in [one of the subsequent] wars.
There it is. Perhaps you might feel a little disappointed by that simple truth... There is no hard evidence, no list or other appearance of the names of the workers, no letters signed F. de l'O and no palace on the lake. This history was transmitted by word of mouth, like a legend... And there is no proof. Or, there is no proof anymore. As a researcher I still have my doubts. I told Renata that there must be some written document but she assured me that if such a document had ever existed, the Opera would probably have destroyed it.
[I have found] nothing dating from 1879 that recalls any incidents involving a phantom. I've found nothing but the most meager allusions in the Opera library:
M. Halanzier (1879) was accused of "falsifying theatre receipts" (article 57): "In 1875, [management] exaggerated expenses for that same year and manufactured the sum of 250,600 francs expended for two new works when there were no new works for that year." Leroux explains both the latter and the former: "the Phantom needed a source of income..."
"M. Vaucorbiel (1879-1886) succeeds Halanzier on November 1, 1879..."
"Mademoiselle Krauss (a diva): became ill. She couldn't sing for 10 days. Don Juan was replaced by Faust." (April, 1879) Could Krauss be the real Carlotta?
The journal The Parisian. Article, May 29, 1879. A short article on a Phantom of the "Avenue de l'Opera" who played the ocarina. Nothing precise, though.
Presently I've given up searching the indexes, not because I'm tired of it but because I am convinced that Renata was right. I was struck dumb after that visit... even though the doubts persisted. I tried to find evidence confirming her story for six months but it turned out to be an impossible task. I believe that with regard to this matter, science and my proud curiosity will have to be content with a simple oral account.
NOTE : Pulled from http://www.phantomoftheopera.ro/a_existat_erik_tur_opera.php and perserved
Renata de Waele
"La véritable histoire du Fantôme de l'Opéra" or "The True History of the Phantom of the Opera" and was supposedly originally published in France in the Journal Illustre du Cafe de la Paix, a promotion for the Opera Garnier, 1993 (Deemed false it's best to have it here at least in part backed up, also interesting read I suppose. KEEP in mind none of this has been proven. Nor can I find the original article published anywhere only copies of it which is what this is.)
"In the last century, in a small village near Rouen, Normandy (evidence please, Leroux stated he lived outside of Rouen), a little boy was born by the name of Erik. No one seems to have recorded his record name as, in that era, disfigured people did not use their names. His face was hideously disfigured and everyone reviled and tormented him. He was abandoned by his parents at the age of eight years old (evidence please, Leroux never gave an age) and left to fend for himself. When a circus came near the village, he was capture and put on display as a 'Phenomenon'. When he was fifteen years old, he escaped from the circus and left France for Persia (Iran as it is called now) (you missed a lto such as the Tonkin pirates, Russia and the Nizhny Novgorod which is how Persia even foudn out about him, and so on) and worked as an entertainer at the court of the Shah. He was then engaged to work as an assistant to an architect who was specialist in harems. During this time, he gained extensive knowledge in architecture and after many years in Persia, having now acquired more confidence, he felt able to handle life in France. Erik returned to Paris.
The main subject of conversation in those days was, of course, the building of the new Opera House. Erik decided to meet Charles Gamier and offer his services. Charles Gamier was very impressed with Erik's courage, given his terrible affliction. He was even more impressed with his great professional competence. He enrolled him at once as a contractor. Erik worked very hard, up to twelve hours at day during the whole of the construction of the Opera House. He also attended the inauguration ceremony of a work he considered his as well. He wore a mask to hide his asymmetrical face. He also wore a dress suit, a cloak and a large felt hat. Thus, he was seen on numerous occasions in box five on the grand tier, where he indulged his love of music. It was here that he saw an extraordinary singer by the name of Christine Daaé (remember that Leroux changed all the names). He fell deeply in love with her. Shortly, afterwards Erik kidnapped Christine, who was not found for three weeks. In 1907, a man named Alfred Clarck, who was a great art patron, made a donation to the Opera House, consisting of an impressively large collection of phonographic records of great voices of the era, such as Caruso, La Patti, etc. on strict condition that this collection was not to be public for one hundred of years. (talking about the time capsule) He also left instructions that opera should continue to be played at the Palais Garnier. However, when the new Opera House (Opera Bastille) was built, opera was hardly played at the Palais Gamier.
There then ensued a search for a lace to house a strongroom. A wall was demolished in the cellars of the Opera and behind this wall, a small apartment was discovered. It was fully furnished and equipped. It appeared to have been abandoned a long time ago. (If this is true you'd think someone would have taken a photgraph or even a sketch it woudn't just be heresay) Curiously, there seemed to be no entrances anywhere. It was assumed that this apartment may have been used by workmen during the construction of the Opera House. It was decided that everything be thrown away, to make space for the strongroom. However, during the construction of the strongroom, another discovery was made. The corpse of a man with completely asymmetrical features was found. The skeleton was wearing a huge gold ring on his left hand with the initials C.D. These were obviously the remains of Erik, whom they called The Phantom of the Opera. He must have lived in the apartment, which he had ample time to install during the construction of the Opera when he was working on the foundations. In 1989, the strongroom at the Opera Gamier was mysteriously broken into, and some of the phonographic records donated by Alfred Clark in 1907 disappeared. His idyll with Christine however was of very short duration. Christine left him after only three weeks. Desperate and heartbroken, Erik walled the door of the apartment and died there. The macabre discovery caused a lot of sensation and was greatly commented on by the newspapers of that time. (Where is this aritcle please, I have never found any) Gaston Leroux was inspired by this facts to write his novel." (Again none of this has been confirmed in fact no proof of this as a publish aritcle even exists online today if you have found it please let me know)
"La véritable histoire du Fantôme de l'Opéra" or "The True History of the Phantom of the Opera" and was supposedly originally published in France in the Journal Illustre du Cafe de la Paix, a promotion for the Opera Garnier, 1993 (Deemed false it's best to have it here at least in part backed up, also interesting read I suppose. KEEP in mind none of this has been proven. Nor can I find the original article published anywhere only copies of it which is what this is.)
"In the last century, in a small village near Rouen, Normandy (evidence please, Leroux stated he lived outside of Rouen), a little boy was born by the name of Erik. No one seems to have recorded his record name as, in that era, disfigured people did not use their names. His face was hideously disfigured and everyone reviled and tormented him. He was abandoned by his parents at the age of eight years old (evidence please, Leroux never gave an age) and left to fend for himself. When a circus came near the village, he was capture and put on display as a 'Phenomenon'. When he was fifteen years old, he escaped from the circus and left France for Persia (Iran as it is called now) (you missed a lto such as the Tonkin pirates, Russia and the Nizhny Novgorod which is how Persia even foudn out about him, and so on) and worked as an entertainer at the court of the Shah. He was then engaged to work as an assistant to an architect who was specialist in harems. During this time, he gained extensive knowledge in architecture and after many years in Persia, having now acquired more confidence, he felt able to handle life in France. Erik returned to Paris.
The main subject of conversation in those days was, of course, the building of the new Opera House. Erik decided to meet Charles Gamier and offer his services. Charles Gamier was very impressed with Erik's courage, given his terrible affliction. He was even more impressed with his great professional competence. He enrolled him at once as a contractor. Erik worked very hard, up to twelve hours at day during the whole of the construction of the Opera House. He also attended the inauguration ceremony of a work he considered his as well. He wore a mask to hide his asymmetrical face. He also wore a dress suit, a cloak and a large felt hat. Thus, he was seen on numerous occasions in box five on the grand tier, where he indulged his love of music. It was here that he saw an extraordinary singer by the name of Christine Daaé (remember that Leroux changed all the names). He fell deeply in love with her. Shortly, afterwards Erik kidnapped Christine, who was not found for three weeks. In 1907, a man named Alfred Clarck, who was a great art patron, made a donation to the Opera House, consisting of an impressively large collection of phonographic records of great voices of the era, such as Caruso, La Patti, etc. on strict condition that this collection was not to be public for one hundred of years. (talking about the time capsule) He also left instructions that opera should continue to be played at the Palais Garnier. However, when the new Opera House (Opera Bastille) was built, opera was hardly played at the Palais Gamier.
There then ensued a search for a lace to house a strongroom. A wall was demolished in the cellars of the Opera and behind this wall, a small apartment was discovered. It was fully furnished and equipped. It appeared to have been abandoned a long time ago. (If this is true you'd think someone would have taken a photgraph or even a sketch it woudn't just be heresay) Curiously, there seemed to be no entrances anywhere. It was assumed that this apartment may have been used by workmen during the construction of the Opera House. It was decided that everything be thrown away, to make space for the strongroom. However, during the construction of the strongroom, another discovery was made. The corpse of a man with completely asymmetrical features was found. The skeleton was wearing a huge gold ring on his left hand with the initials C.D. These were obviously the remains of Erik, whom they called The Phantom of the Opera. He must have lived in the apartment, which he had ample time to install during the construction of the Opera when he was working on the foundations. In 1989, the strongroom at the Opera Gamier was mysteriously broken into, and some of the phonographic records donated by Alfred Clark in 1907 disappeared. His idyll with Christine however was of very short duration. Christine left him after only three weeks. Desperate and heartbroken, Erik walled the door of the apartment and died there. The macabre discovery caused a lot of sensation and was greatly commented on by the newspapers of that time. (Where is this aritcle please, I have never found any) Gaston Leroux was inspired by this facts to write his novel." (Again none of this has been confirmed in fact no proof of this as a publish aritcle even exists online today if you have found it please let me know)
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