I'm increasingly concerned that Raoul comes across as getting rather an 'easy ride' in this story — a magical snap of the author's fingers, and then he's the Perfect Father and Husband overnight. The trouble is, I think, that I'm basing these chapters on the corresponding scene in canon where he really does miraculously scrub up and vow to do better... but without the corresponding tension of the unspoken bet on his marriage, and without the Phantom lurking around in the background waiting to make his own claims on Christine. Having been prevented by a fluke from being taunted into his reprehensible bet in the first place, all that is left of the character here is his genuine attempts at reformation. Which makes it come across as if I arbitrarily decided that Raoul is really a Nice Guy because I want him to be :-(
I considered replacing "mon vieux" with "fiston" as Raoul's form of affectionate address to the child, having come across this in Violonaire's Fantômes -- but I'm just not confident enough with it, and a check on Google Ngrams suggests that while the term 'fiston' did exist in the literature of this period, it's a term that has only really taken off in the last generation or so. So I'd better stick with what I'm fairly sure of so far as the French goes!
Chapter 5: Before the Performance
There were police at the Manhattan Opera in the end, that night. Not in the auditorium or outside the gallery entrance — the Daaé had scribbled a note for McWhirter to enclose with the ticket, promising there would be no trap, and she was dead-set on keeping her word — but outside the star dressing room, where a couple of big cops tapped nightsticks lightly on their holsters like they were just spoiling for someone to start making trouble.
If Mr. Y took a fancy to try something, of course, it wouldn’t be that crude. Jos could have told them that, and Miss Daaé had to know it better than any. But if fixing up protection for her with the management made her husband feel warm and wanted — well, it was no business of his how the theater was run. For Jos Perlman, the job had ended at ten o’clock this morning, when he produced the missing artiste and her party at the door of McWhirter’s office, signed, sealed and delivered. Another foul-up cleared; another disaster averted. His specialty. He’d gotten a fat commission out of it, too... and if at half six that evening he found himself paying a backstage call at the opera house, then it was purely on his own account. Besides, he told himself, he had to make sure she’d gotten everything she needed after their little undercover exit.( Read more... )