XXIII. In which Passepartout's Nose Becomes Outrageously Long

by Jules Verne

　　The next morning poor, jaded, famished Passepartout said tohimself that he must get something to eat at all hazards, and thesooner he did so the better. He might, indeed, sell his watch;but he would have starved first. Now or never he must use thestrong, if not melodious voice which nature had bestowed upon him.He knew several French and English songs, and resolved to try themupon the Japanese, who must be lovers of music, since they werefor ever pounding on their cymbals, tam-tams, and tambourines, andcould not but appreciate European talent.It was, perhaps, rather early in the morning to get up aconcert, and the audience prematurely aroused from their slumbers,might not possibly pay their entertainer with coin bearing theMikado's features. Passepartout therefore decided to wait severalhours; and, as he was sauntering along, it occurred to him that hewould seem rather too well dressed for a wandering artist. Theidea struck him to change his garments for clothes more in harmonywith his project; by which he might also get a little money tosatisfy the immediate cravings of hunger. The resolution taken,it remained to carry it out.It was only after a long search that Passepartout discovered anative dealer in old clothes, to whom he applied for an exchange.The man liked the European costume, and ere long Passepartoutissued from his shop accoutred in an old Japanese coat, and a sortof one-sided turban, faded with long use. A few small pieces of silver,moreover, jingled in his pocket.Good!" thought he. "I will imagine I am at the Carnival!"His first care, after being thus "Japanesed," was to enter a tea-houseof modest appearance, and, upon half a bird and a little rice,to breakfast like a man for whom dinner was as yet a problem to be solved."Now," thought he, when he had eaten heartily, "I mustn't lose my head.I can't sell this costume again for one still more Japanese. I mustconsider how to leave this country of the Sun, of which I shall not retainthe most delightful of memories, as quickly as possible."It occurred to him to visit the steamers which were about toleave for America. He would offer himself as a cook or servant,in payment of his passage and meals. Once at San Francisco,he would find some means of going on. The difficulty was,how to traverse the four thousand seven hundred milesof the Pacific which lay between Japan and the New World.Passepartout was not the man to let an idea go begging,and directed his steps towards the docks. But, as he approachedthem, his project, which at first had seemed so simple, began to growmore and more formidable to his mind. What need would they haveof a cook or servant on an American steamer, and what confidence wouldthey put in him, dressed as he was? What references could he give?As he was reflecting in this wise, his eyes fell upon an immenseplacard which a sort of clown was carrying through the streets.This placard, which was in English, read as follows:ACROBATIC JAPANESE TROUPE,HONOURABLE WILLIAM BATULCAR, PROPRIETOR,LAST REPRESENTATIONS,PRIOR TO THEIR DEPARTURE TO THE UNITED STATES,OF THELONG NOSES! LONG NOSES!UNDER THE DIRECT PATRONAGE OF THE GOD TINGOU!GREAT ATTRACTION!"The United States!" said Passepartout; "that's just what I want!"He followed the clown, and soon found himself once morein the Japanese quarter. A quarter of an hour laterhe stopped before a large cabin, adorned with severalclusters of streamers, the exterior walls of whichwere designed to represent, in violent coloursand without perspective, a company of jugglers.This was the Honourable William Batulcar's establishment.That gentleman was a sort of Barnum, the director of a troupeof mountebanks, jugglers, clowns, acrobats, equilibrists,and gymnasts, who, according to the placard, was givinghis last performances before leaving the Empire of the Sunfor the States of the Union.Passepartout entered and asked for Mr. Batulcar, who straightwayappeared in person."What do you want?" said he to Passepartout, whom he at firsttook for a native."Would you like a servant, sir?" asked Passepartout."A servant!" cried Mr. Batulcar, caressing the thick grey beardwhich hung from his chin. "I already have two who are obedientand faithful, have never left me, and serve me for their nourishmentand here they are," added he, holding out his two robust arms,furrowed with veins as large as the strings of a bass-viol."So I can be of no use to you?""None.""The devil! I should so like to cross the Pacific with you!""Ah!" said the Honourable Mr. Batulcar. "You are no more a Japanesethan I am a monkey! Who are you dressed up in that way?""A man dresses as he can.""That's true. You are a Frenchman, aren't you?""Yes; a Parisian of Paris.""Then you ought to know how to make grimaces?""Why," replied Passepartout, a little vexed that his nationalityshould cause this question, "we Frenchmen know how to 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 wontto sing in the streets."But can you sing standing on your head, with a top spinningon your left foot, and a sabre balanced on your right?""Humph! I think so," replied Passepartout, recalling the exercisesof 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 engagedto act in the celebrated Japanese troupe. It was not a very dignifiedposition, 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 instrumentsof 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 shouldersin the great exhibition of the "human pyramid," executedby 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, womenand children, who precipitated themselves upon the narrow benchesand into the boxes opposite the stage. The musicians took up a positioninside, 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 beconfessed that the Japanese are the first equilibrists in the world.One, with a fan and some bits of paper, performed the gracefultrick 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 juggledwith some lighted candles, which he extinguished successivelyas they passed his lips, and relit again without interruptingfor an instant his juggling. Another reproduced the most singularcombinations with a spinning-top; in his hands the revolving topsseemed to be animated with a life of their own in theirinterminable whirling; they ran over pipe-stems, the edges of sabres,wires and even hairs stretched across the stage; they turned aroundon the edges of large glasses, crossed bamboo ladders, dispersed intoall the corners, and produced strange musical effects by the combinationof their various pitches of tone. The jugglers tossed them in the air,threw them like shuttlecocks with wooden battledores, and yet they kepton spinning; they put them into their pockets, and took them outstill whirling as before.It is useless to describe the astonishing performances of the acrobatsand 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 patronageof 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 noseswhich 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 wartsupon them. It was upon these appendages, fixed tightly on their real noses,that they performed their gymnastic exercises. A dozen of these sectariesof Tingou lay flat upon their backs, while others, dressed to representlightning-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 whichfifty 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 baseof the Car had quitted the troupe, and as, to fill this part,only strength and adroitness were necessary, Passepartouthad been chosen to take his place.The poor fellow really felt sad when--melancholy reminiscenceof 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 winninghim something to eat.He went upon the stage, and took his place beside the restwho were to compose the base of the Car of Juggernaut.They all stretched themselves on the floor, their noses pointingto the ceiling. A second group of artists disposed themselves onthese long appendages, then a third above these, then a fourth,until a human monument reaching to the very cornices of the theatresoon 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 lowernoses vanished from the pyramid, and the human monument wasshattered 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 ofone 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 lobbyof the theatre to the outside, where they encounteredthe Honourable Mr. Batulcar, furious with rage. He demanded damagesfor the "breakage" of the pyramid; and Phileas Fogg appeased himby 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.