The Phantom of the Opera [Kindle Edition]

Gaston Leroux (Author)

Book Description

This book was converted from its physical edition to the digital format by a community of volunteers. You may find it for free on the web. Purchase of the Kindle edition includes wireless delivery.

Editorial Reviews

Review

“Ingenious . . . breathless suspense.”—The Nation


From the Trade Paperback edition.

Review

""A venerable, much-adapted story of grand, delicate feelings and gothic creepiness." --"New York Times

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Product Details

• File Size: 411 KB
• Print Length: 188 pages
• Page Numbers Source ISBN: 1440427917
• Simultaneous Device Usage: Unlimited
• Sold by: Amazon Digital Services, Inc.
• Language: English
• ASIN: B0084AXZRI
• Text-to-Speech: Enabled
• X-Ray: Enabled
• Lending: Enabled
• Amazon Best Sellers Rank: #706 Free in Kindle Store (See Top 100 Free in Kindle Store)
  • #31 in Kindle Store > Kindle eBooks > Literature & Fiction > Fiction Classics

Most Helpful Customer Reviews

193 of 197 people found the following review helpful

5.0 out of 5 stars The original Phantom August 8, 2004

By A. T. A. Oliveira

Format:Mass Market Paperback

Before the Andrew Lloyd Webber's musical, there was Gaston Leroux's original novel "The Phantom of the Opera". I have never seen the production stage, and I knew only a few things of the story, so when I reached the middle of the narrative I was surprised because it is totally different from what I expected. And it was a great surprise.

More than a love story, "The Phantom of the Opera" is a gothic tale of obsession --leading to madness. The Paris Opera House and its hidden rooms, and underground are perfect place to develop a horror story. Leroux noticed this potential. His descriptions of the place are creepy and in the end we start wondering if it is not a true story indeed.

Leroux was very smart, writing a novel like he was only reporting something --and not creating a work of fiction. Therefore there are police reports, newspapers' scraps, witness interviews. More than a narrator, the person who is telling the story is only gathering useful information for the reader.

His characters are real human beings --even the `ghost', than throughout the narrative we realize that he is the one with most human characteristics. Sometimes, Christine is a little stereotypical, mostly when she says she wants to be `the mistress of her faith' or something like it. And so is Raoul --but that doesn't diminish the qualities of this engaging novel.

All in all, this is a French classic that I highly recommend --however one must be patient because the narrative is a little confusing and slow sometimes, but never boring.

95 of 98 people found the following review helpful

4.0 out of 5 stars No one sees the angel May 5, 2009

By E. A Solinas HALL OF FAMETOP 100 REVIEWERVINE™ VOICE

Format:Kindle Edition

The mask, the music, the dark mysteries, and the tortured, deformed genius who just wants love. "The Phantom of the Opera" is so well known that its story needs no explanation.

But Gaston Leroux's novel is still a spellbinding experience, full of atmospheric horror, a sense of gothic mystery, and lushly evocative language. But its crown jewel is Erik: a magnificently tortured anti-hero who inspires more horror, pity and sympathy than the rather flat hero and heroine.

The Paris opera house is said to be haunted by a ghost with a "death's head," who demands a small salary and a reserved box. Despite the sightings and fears of ballerinas and stagehands, the new managers are determined to stamp out this ridiculous story -- despite threatening letters and increasing accidents that happen around them.

Meanwhile, budding diva Christine Daae is taking Paris by storm, although nobody quite knows who taught her how to sing. And when her childhood friend Viscount Raoul de Chagny pays her a visit, he hears a passionate exchange between her and a man -- but there's no man there. She credits her new vocal abilities to the Angel of Music, but of course, that self-same Angel is the opera ghost.

As the Phantom becomes even more attached to Christine, Raoul soon finds that the ghost is actually a half-mad, horribly deformed musical genius named Erik -- and that after Christine saw his true face, he made her become engaged to him. The young lovers plan to run away together, but the "Angel of Music" isn't about to allow his beloved Christine to leave him...

Apparently there actually were some odd events -- including rumours of an opera ghost -- happening when Gaston Leroux began writing "The Phantom of the Opera." And it's a credit to his imgination that he was able to spin a some odd facts into a harrowing, heartbreaking love triangle that's based on music, obsession, adoration, and a bit of pity. And, of course, a frighteningly sympathetic "villain."

Admittedly the style is very "penny dreadful": melodramatic and overloaded on prose. But Leroux's talent shines through -- he drapes the book in a haunted atmosphere, full of snowy graveyards, dark opera backstages and underground labyrinths, all with Erik's presence hovering over it. The plot is mostly a slow, satiny procession toward the inevitable blowup, but Leroux does tinge it with scenes of romantic drama, a feeling of dread, one shocking action scene, and even some quirky humour at times.

And Leroux's writing is simply astounding as he describes the corpselike appearance of Erik ("... tore his terrible dead flesh with my nails") and his "death's" head appearance at the party. But he also excels at the more poignant moments -- Erik's final, rambling monologue to Christine after she kisses him is heartbreakingly clumsy and saddening.

Though Christine and Raoul are the hero and heroine of the book, they're actually kind of flat. Erik is the real star -- an arrogant genius who is also pitifully lonely. And insane. Despite his crazed behavior -- which results in at least two deaths -- it's hard not to feel sympathy for someone cursed with such a ghastly appearance, and so starved for human contact that a single kiss changes his life ("... he tried to catch my eye, like a dog sitting by its master").

Despite being a bit overblown in the style of its time, "The Phantom of the Opera" is a triumph of atmosphere, horror, and one of the most memorably sympathetic "villains" that you can find on the shelves. Magnificent.

92 of 95 people found the following review helpful

5.0 out of 5 stars An Essential for any Phan... January 30, 2005

By JR Pinto

Format:Paperback|Amazon Verified Purchase

This is the third translation of Gaston Leroux's The Phantom of the Opera that I have purchased, and I don't regret it. Most of us are familiar with the "official" translation - the one that is the tie-in for the musical (and countless other editions). Leonard Wolf gives us a newer and - as he feels - more faithful interpretation of the French text. (Sidenote: In the tie-in translation, the Phantom never refers to himself as the Phantom: only as the Opera Ghost, or O.G. In this version, he is always the more musical Phantom of the Opera.)

If you have not read Phantom yet, you may be a bit distracted by the voluminous footnotes. For the familiar reader however, the footnotes are the main reason to buy this edition. Wolf provides valuable insight into many areas of the text. He points out inconsistencies: Raoul goes from being 21 to 20. He provides commentary on the mythological allusions in the text.

Most valuable, he provides artistic commentary on the book. He shows how Phantom fits into Gothic conventions: the damsel-in-distress being menaced by a sexually threatening outsider, only to be rescued by a non-sexual aristocrat. But it is not quite that simple; Wolf shows that there are only two protagonists in the piece: Christine and Erik. He rightly shows Raoul for the foolish little sap that he is. He thinks that Leroux intended it to be that way, and that Christine has a much stronger bond with Erik than she does Raoul.

On the whole, I wish Wolf had written more. How about interpretive essays on the various adaptations, including the Lloyd Weber musical? He does include a lengthy introduction about the novel and Gaston Leroux himself. This volume is a must-have for any Phantom-enthusiast.