THE ESSENTIAL JULES VERNE (5 Must Read Classics in One Edition). Jules VerneЧитать онлайн книгу.
make grimaces, it is true but not any better than the Americans do.”
“True. Well, if I can’t take you as a servant, I can as a clown. You see, my friend, in France they exhibit foreign clowns, and in foreign parts French clowns.”
“Ah!”
“You are pretty strong, eh?”
“Especially after a good meal.”
“And you can sing?”
“Yes,” returned Passepartout, who had formerly been wont to sing in the streets.
“But can you sing standing on your head, with a top spinning on your left foot, and a sabre balanced on your right?”
“Humph! I think so,” replied Passepartout, recalling the exercises of his younger days.
“Well, that’s enough,” said the Honourable William Batulcar.
The engagement was concluded there and then.
Passepartout had at last found something to do. He was engaged to act in the celebrated Japanese troupe. It was not a very dignified position, but within a week he would be on his way to San Francisco.
The performance, so noisily announced by the Honourable Mr. Batulcar, was to commence at three o’clock, and soon the deafening instruments of a Japanese orchestra resounded at the door. Passepartout, though he had not been able to study or rehearse a part, was designated to lend the aid of his sturdy shoulders in the great exhibition of the “human pyramid,” executed by the Long Noses of the god Tingou. This “great attraction” was to close the performance.
Before three o’clock the large shed was invaded by the spectators, comprising Europeans and natives, Chinese and Japanese, men, women and children, who precipitated themselves upon the narrow benches and into the boxes opposite the stage. The musicians took up a position inside, and were vigorously performing on their gongs, tam-tams, flutes, bones, tambourines, and immense drums.
The performance was much like all acrobatic displays; but it must be confessed that the Japanese are the first equilibrists in the world.
One, with a fan and some bits of paper, performed the graceful trick of the butterflies and the flowers; another traced in the air, with the odorous smoke of his pipe, a series of blue words, which composed a compliment to the audience; while a third juggled with some lighted candles, which he extinguished successively as they passed his lips, and relit again without interrupting for an instant his juggling. Another reproduced the most singular combinations with a spinning-top; in his hands the revolving tops seemed to be animated with a life of their own in their interminable whirling; they ran over pipe-stems, the edges of sabres, wires and even hairs stretched across the stage; they turned around on the edges of large glasses, crossed bamboo ladders, dispersed into all the corners, and produced strange musical effects by the combination of their various pitches of tone. The jugglers tossed them in the air, threw them like shuttlecocks with wooden battledores, and yet they kept on spinning; they put them into their pockets, and took them out still whirling as before.
It is useless to describe the astonishing performances of the acrobats and gymnasts. The turning on ladders, poles, balls, barrels, &c., was executed with wonderful precision.
But the principal attraction was the exhibition of the Long Noses, a show to which Europe is as yet a stranger.
The Long Noses form a peculiar company, under the direct patronage of the god Tingou. Attired after the fashion of the Middle Ages, they bore upon their shoulders a splendid pair of wings; but what especially distinguished them was the long noses which were fastened to their faces, and the uses which they made of them. These noses were made of bamboo, and were five, six, and even ten feet long, some straight, others curved, some ribboned, and some having imitation warts upon them. It was upon these appendages, fixed tightly on their real noses, that they performed their gymnastic exercises. A dozen of these sectaries of Tingou lay flat upon their backs, while others, dressed to represent lightning-rods, came and frolicked on their noses, jumping from one to another, and performing the most skilful leapings and somersaults.
As a last scene, a “human pyramid” had been announced, in which fifty Long Noses were to represent the Car of Juggernaut. But, instead of forming a pyramid by mounting each other’s shoulders, the artists were to group themselves on top of the noses. It happened that the performer who had hitherto formed the base of the Car had quitted the troupe, and as, to fill this part, only strength and adroitness were necessary, Passepartout had been chosen to take his place.
The poor fellow really felt sad when—melancholy reminiscence of his youth!—he donned his costume, adorned with vari-coloured wings, and fastened to his natural feature a false nose six feet long. But he cheered up when he thought that this nose was winning him something to eat.
He went upon the stage, and took his place beside the rest who were to compose the base of the Car of Juggernaut. They all stretched themselves on the floor, their noses pointing to the ceiling. A second group of artists disposed themselves on these long appendages, then a third above these, then a fourth, until a human monument reaching to the very cornices of the theatre soon arose on top of the noses. This elicited loud applause, in the midst of which the orchestra was just striking up a deafening air, when the pyramid tottered, the balance was lost, one of the lower noses vanished from the pyramid, and the human monument was shattered like a castle built of cards!
It was Passepartout’s fault. Abandoning his position, clearing the footlights without the aid of his wings, and, clambering up to the right-hand gallery, he fell at the feet of one of the spectators, crying, “Ah, my master! my master!”
“You here?”
“Myself.”
“Very well; then let us go to the steamer, young man!”
Mr. Fogg, Aouda, and Passepartout passed through the lobby of the theatre to the outside, where they encountered the Honourable Mr. Batulcar, furious with rage. He demanded damages for the “breakage” of the pyramid; and Phileas Fogg appeased him by giving him a handful of banknotes.
At half-past six, the very hour of departure, Mr. Fogg and Aouda, followed by Passepartout, who in his hurry had retained his wings, and nose six feet long, stepped upon the American steamer.
Chapter XXIV
DURING WHICH MR. FOGG AND PARTY CROSS THE PACIFIC OCEAN
What happened when the pilot-boat came in sight of Shanghai will be easily guessed. The signals made by the Tankadere had been seen by the captain of the Yokohama steamer, who, espying the flag at half-mast, had directed his course towards the little craft. Phileas Fogg, after paying the stipulated price of his passage to John Busby, and rewarding that worthy with the additional sum of five hundred and fifty pounds, ascended the steamer with Aouda and Fix; and they started at once for Nagasaki and Yokohama.
They reached their destination on the morning of the 14th of November. Phileas Fogg lost no time in going on board the Carnatic, where he learned, to Aouda’s great delight—and perhaps to his own, though he betrayed no emotion—that Passepartout, a Frenchman, had really arrived on her the day before.
The San Francisco steamer was announced to leave that very evening, and it became necessary to find Passepartout, if possible, without delay. Mr. Fogg applied in vain to the French and English consuls, and, after wandering through the streets a long time, began to despair of finding his missing servant. Chance, or perhaps a kind of presentiment, at last led him into the Honourable Mr. Batulcar’s theatre. He certainly would not have recognised Passepartout in the eccentric mountebank’s costume; but the latter, lying on his back, perceived his master in the gallery. He could not help starting, which so changed the position of his nose as to bring the “pyramid” pell-mell upon the stage.
All this Passepartout learned from Aouda, who recounted to him