had learned that I knew about it. But I felt that there must be another entrance, for I had often seen Erik disappear in the third cellar, when I was watching him, though I could not imagine how.
Ever since I had discovered Erik installed in the Opera, I lived in a perpetual terror of his horrible fancies, not in so far as I was concerned, but I dreaded everything for others.
And whenever some accident, some fatal event happened, I always thought to myself, “I should not be surprised if that were Erik,” even as others used to say, “It’s the ghost!”
How often have I not heard people utter that phrase with a smile! Poor devils! If they had known that the ghost existed in the flesh, I swear they would not have laughed!
Although Erik announced to me very solemnly that he had changed and that he had become the most virtuous of men since he was loved for himself —a sentence that, at first, perplexed me most terribly—I could not help shuddering when I thought of the monster. His horrible, unparalleled and repulsive ugliness put him without the pale of humanity; and it often seemed to me that, for this reason, he no longer believed that he had any duty toward the human race. The way in which he spoke of his love-affairs only increased my alarm, for I foresaw the cause of fresh and more hideous tragedies in this event to which he alluded so boastfully.
On the other hand, I soon discovered the curious moral traffic established between the monster and Christine Daaé. Hiding in the lumber-room next to the young prima donna’s dressing-room, I listened to wonderful musical displays that evidently flung Christine into marvelous ecstasy; but, all the same, I would never have thought that Erik’s voice—which was loud as thunder or soft as angels’ voices, at will—could have made her forget his ugliness.