Around the World in 80 Days - The Original Classic Edition. Verne Jules

circular gallery with its dome supported by twenty red porphyry Ionic columns, and illumined by blue painted windows. When he breakfasted or dined all the resources of the club--its kitchens and pantries, its buttery and dairy--aided to crowd his table with their most succulent stores; he was served by the gravest waiters, in dress coats, and shoes with swan-skin soles, who proffered the viands in special porcelain, and on the finest linen; club decanters, of a lost mould, contained his sherry, his port, and his cinnamon-spiced claret; while his beverages were refreshingly cooled with ice, brought at great cost from the American lakes.

       If to live in this style is to be eccentric, it must be confessed that there is something good in eccentricity.

       The mansion in Saville Row, though not sumptuous, was exceedingly comfortable. The habits of its occupant were such as to de-mand but little from the sole domestic, but Phileas Fogg required him to be almost superhumanly prompt and regular. On this very

       2nd of October he had dismissed James Forster, because that luckless youth had brought him shaving-water at eighty-four degrees

       Fahrenheit instead of eighty-six; and he was awaiting his successor, who was due at the house between eleven and half-past.

       Phileas Fogg was seated squarely in his armchair, his feet close together like those of a grenadier on parade, his hands resting on his knees, his body straight, his head erect; he was steadily watching a complicated clock which indicated the hours, the minutes, the seconds, the days, the months, and the years. At exactly half-past eleven Mr. Fogg would, according to his daily habit, quit Saville Row, and repair to the Reform.

       A rap at this moment sounded on the door of the cosy apartment where Phileas Fogg was seated, and James Forster, the dismissed servant, appeared.

       "The new servant," said he.

       A young man of thirty advanced and bowed.

       "You are a Frenchman, I believe," asked Phileas Fogg, "and your name is John?"

       "Jean, if monsieur pleases," replied the newcomer, "Jean Passepartout, a surname which has clung to me because I have a natural aptness for going out of one business into another. I believe I'm honest, monsieur, but, to be outspoken, I've had several trades. I've been an itinerant singer, a circus-rider, when I used to vault like Leotard, and dance on a rope like Blondin. Then I got to be a professor of gymnastics, so as to make better use of my talents; and then I was a sergeant fireman at Paris, and assisted at many a

       big fire. But I quitted France five years ago, and, wishing to taste the sweets of domestic life, took service as a valet here in England.

       Finding myself out of place, and hearing that Monsieur Phileas Fogg was the most exact and settled gentleman in the United King-

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       dom, I have come to monsieur in the hope of living with him a tranquil life, and forgetting even the name of Passepartout."

       "Passepartout suits me," responded Mr. Fogg. "You are well recommended to me; I hear a good report of you. You know my conditions?"

       "Yes, monsieur."

       "Good! What time is it?"

       "Twenty-two minutes after eleven," returned Passepartout, drawing an enormous silver watch from the depths of his pocket. "You are too slow," said Mr. Fogg.

       "Pardon me, monsieur, it is impossible--"

       "You are four minutes too slow. No matter; it's enough to mention the error. Now from this moment, twenty-nine minutes after eleven, a.m., this Wednesday, 2nd October, you are in my service."

       Phileas Fogg got up, took his hat in his left hand, put it on his head with an automatic motion, and went off without a word. Passepartout heard the street door shut once; it was his new master going out. He heard it shut again; it was his predecessor, James

       Forster, departing in his turn. Passepartout remained alone in the house in Saville Row.

       Chapter II

       IN WHICH PASSEPARTOUT IS CONVINCED THAT HE HAS AT LAST FOUND HIS IDEAL

       "Faith," muttered Passepartout, somewhat flurried, "I've seen people at Madame Tussaud's as lively as my new master!"

       Madame Tussaud's "people," let it be said, are of wax, and are much visited in London; speech is all that is wanting to make them human.

       During his brief interview with Mr. Fogg, Passepartout had been carefully observing him. He appeared to be a man about forty years of age, with fine, handsome features, and a tall, well-shaped figure; his hair and whiskers were light, his forehead compact and unwrinkled, his face rather pale, his teeth magnificent. His countenance possessed in the highest degree what physiognomists call "repose in action," a quality of those who act rather than talk. Calm and phlegmatic, with a clear eye, Mr. Fogg seemed a perfect type of that English composure which Angelica Kauffmann has so skilfully represented on canvas. Seen in the various phases of his daily life, he gave the idea of being perfectly well-balanced, as exactly regulated as a Leroy chronometer. Phileas Fogg was, indeed, exactitude personified, and this was betrayed even in the expression of his very hands and feet; for in men, as well as in animals, the limbs themselves are expressive of the passions.

       He was so exact that he was never in a hurry, was always ready, and was economical alike of his steps and his motions. He never took one step too many, and always went to his destination by the shortest cut; he made no superfluous gestures, and was never seen to be moved or agitated. He was the most deliberate person in the world, yet always reached his destination at the exact moment.

       He lived alone, and, so to speak, outside of every social relation; and as he knew that in this world account must be taken of friction, and that friction retards, he never rubbed against anybody.

       As for Passepartout, he was a true Parisian of Paris. Since he had abandoned his own country for England, taking service as a valet, he had in vain searched for a master after his own heart. Passepartout was by no means one of those pert dunces depicted by Moliere with a bold gaze and a nose held high in the air; he was an honest fellow, with a pleasant face, lips a trifle protruding,

       soft-mannered and serviceable, with a good round head, such as one likes to see on the shoulders of a friend. His eyes were blue, his complexion rubicund, his figure almost portly and well-built, his body muscular, and his physical powers fully developed by the exercises of his younger days. His brown hair was somewhat tumbled; for, while the ancient sculptors are said to have known eighteen methods of arranging Minerva's tresses, Passepartout was familiar with but one of dressing his own: three strokes of a large-tooth

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       comb completed his toilet.

       It would be rash to predict how Passepartout's lively nature would agree with Mr. Fogg. It was impossible to tell whether the new servant would turn out as absolutely methodical as his master required; experience alone could solve the question. Passepartout had been a sort of vagrant in his early years, and now yearned for repose; but so far he had failed to find it, though he had already

       served in ten English houses. But he could not take root in any of these; with chagrin, he found his masters invariably whimsical and irregular, constantly running about the country, or on the look-out for adventure. His last master, young Lord Longferry, Member of Parliament, after passing his nights in the Haymarket taverns, was too often brought home in the morning on policemen's shoulders. Passepartout, desirous of respecting the gentleman whom he served, ventured a mild remonstrance on such conduct; which, being

       ill-received, he took his leave. Hearing that Mr. Phileas Fogg was looking for a servant, and that his life was one of unbroken regularity, that he neither travelled nor stayed from home overnight, he felt sure that this would be the place he was after. He presented himself, and was accepted, as has been seen.

       At half-past eleven, then, Passepartout found himself alone in the house in Saville Row. He begun its inspection without delay, scouring it from cellar to garret. So clean, well-arranged, solemn a mansion pleased him; it seemed to him like a snail's shell, lighted and warmed by gas, which sufficed for both these purposes. When Passepartout reached the second story he recognised at once the room which he was to inhabit, and he was well satisfied with it. Electric bells and speaking-tubes afforded communication with the