“We recognize the touch of the Opera ghost.”

“Poor, unhappy Erik! Shall we pity him? Shall we curse him? 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 entire empire of the world; and, in the end, he had to content himself with a cellar. Ah, yes, we must need pity the Opera ghost...”

“The Opera ghost really existed. He was not, as was long believed, acreature of the imagination of the artists, the superstition of themanagers, or a product of the absurd and impressionable brains of theyoung ladies of the ballet, their mothers, the box-keepers, thecloak-room attendants or the concierge. Yes, he existed in flesh andblood, although he assumed the complete appearance of a real phantom;that is to say, of a spectral shade.”

“Tonight I gave you my soul, and I am dead." - Christine, from Gaston Leroux's: The Phantom of the Opera.”

“No, he is not a ghost; he is a man of Heaven and earth, that is all.”

“Blood!...Blood!... That's a good thing! A ghost who bleeds is less dangerous!”

“...the girl with the tip-tilted nose, the forget-me-not eyes, the rose red cheeksand the lily-white neck and shoulders who gave the explanation in atrembling voice: “It’s the ghost!”