rved for the free use of the president of the republic, the
ministers and so on. At the end of this clause, a line had been added,
also in red ink:

"'Box Five on the grand tier shall be placed at the disposal of the
Opera ghost for every performance.'

"When we saw this, there was nothing else for us to do but to rise from
our chairs, shake our two predecessors warmly by the hand and
congratulate them on thinking of this charming little joke, which
proved that the old French sense of humor was never likely to become
extinct. Richard added that he now understood why MM. Debienne and
Poligny were retiring from the management of the National Academy of
Music. Business was impossible with so unreasonable a ghost.

"'Certainly, two hundred and forty thousand francs are not be picked up
for the asking,' said M. Poligny, without moving a muscle of his face.
'And have you considered what the loss over Box Five meant to us? We
did not sell it once; and not only that, but we had to return the
subscription: why, it's awful! We really can't work to keep ghosts!
We prefer to go away!'

"'Yes,' echoed M. Debienne, 'we prefer to go away. Let us go.'"

"And he stood up. Richard said: 'But, after all all, it seems to me
that you were much too kind to the ghost. If I had such a troublesome
ghost as that, I should not hesitate to have him arrested.'

"'But how? Where?' they cried, in chorus. 'We have never seen him!'

"'But when he comes to his box?'

"'WE HAVE NEVER SEEN HIM IN HIS BOX.'

"'Then sell it.'

"'Sell the Opera ghost's box! Well, gentlemen, try it.'

"Thereupon we all four left the office. Richard and I had 'never
laughed so much in our lives.'"

Chapter IV Box Five

Armand Moncharmin wrote such voluminous Memoirs during the fairly long
period of his co-management that we may well ask if he ever found time
to attend to the affairs of the Opera otherwise than by telling what
went on there. M. Moncharmin did not know a note of music, but he
called the minister of education and fine arts by his Christian name,
had dabbled a little in society journalism and enjoyed a considerable
private income. Lastly, he was a charming fellow and showed that he
was not lacking in intelligence, for, as soon as he made up his mind to
be a sleeping partner in the Opera, he selected the best possible
active manager and went straight to Firmin Richard.

Firmin Richard was a very distinguished composer, who h