Article #103-1 | Gutenberg Articles

Excerpt

Excerpt from Around the World in Eighty Days, by Jules Verne

At dawn on the 13th the “Carnatic” entered the port of Yokohama. This
is an important port of call in the Pacific, where all the
mail-steamers, and those carrying travellers between North America,
China, Japan, and the Oriental islands put in. It is situated in the
bay of Yeddo, and at but a short distance from that second capital of
the Japanese Empire, and the residence of the Tycoon, the civil
Emperor, before the Mikado, the spiritual Emperor, absorbed his office
in his own. The “Carnatic” anchored at the quay near the custom-house,
in the midst of a crowd of ships bearing the flags of all nations.

Passepartout went timidly ashore on this so curious territory of the
Sons of the Sun. He had nothing better to do than, taking chance for
his guide, to wander aimlessly through the streets of Yokohama. He
found himself at first in a thoroughly European quarter, the houses
having low fronts, and being adorned with verandas, beneath which he
caught glimpses of neat peristyles. This quarter occupied, with its
streets, squares, docks, and warehouses, all the space between the
“promontory of the Treaty” and the river. Here, as at Hong Kong and
Calcutta, were mixed crowds of all races, Americans and English,
Chinamen and Dutchmen, mostly merchants ready to buy or sell anything.
The Frenchman felt himself as much alone among them as if he had
dropped down in the midst of Hottentots.

He had, at least, one resource,—to call on the French and English
consuls at Yokohama for assistance. But he shrank from telling the
story of his adventures, intimately connected as it was with that of
his master; and, before doing so, he determined to exhaust all other
means of aid. As chance did not favour him in the European quarter, he
penetrated that inhabited by the native Japanese, determined, if
necessary, to push on to Yeddo.

Explanation

**Detailed Analysis of the Excerpt from Around the World in Eighty Days by Jules Verne**

1. Context of the Source

Author & Work: Jules Verne (1828–1905) was a French novelist, poet, and playwright, widely regarded as one of the founders of the science fiction genre. His works, collectively known as the Voyages Extraordinaires (Extraordinary Voyages), blend adventure, exploration, and speculative technology. Around the World in Eighty Days (1873) is one of his most famous novels, serializing the journey of Phileas Fogg, a wealthy and meticulous Englishman, who wagers £20,000 (half his fortune) that he can circumnavigate the globe in 80 days. Accompanied by his French valet Jean Passepartout ("Goes Everywhere"), Fogg faces numerous obstacles, including cultural misunderstandings, natural disasters, and the persistent pursuit of Detective Fix, who believes Fogg is a bank robber.

Plot Context of the Excerpt: This passage occurs roughly midway through the novel, as Fogg and Passepartout arrive in Yokohama, Japan, after traveling through India, Hong Kong, and China. Passepartout, separated from Fogg in Hong Kong (due to a misunderstanding involving opium dens and Fix’s interference), has managed to board the Carnatic steamer to Japan. The excerpt describes his first impressions of Yokohama, a bustling port city blending Eastern and Western influences, and his isolated, disoriented state as he searches for a way to reunite with Fogg.

2. Themes in the Excerpt

The passage touches on several key themes of the novel:

Cultural Clash & Orientalism
- Verne’s description of Yokohama reflects 19th-century European perceptions of the "exotic East." The city is portrayed as a hybrid space where European colonial influence (merchants, consulates, warehouses) coexists with traditional Japanese culture.
- Passepartout’s disorientation ("felt himself as much alone among them as if he had dropped down in the midst of Hottentots") highlights the alienation of the Western traveler in unfamiliar lands. His comparison to Hottentots (a now-offensive term for the Khoikhoi people of Southern Africa) reveals Eurocentric racial hierarchies of the time, where non-Western cultures were often viewed as primitive or incomprehensible.
- The mention of the Tycoon (Shogun) and Mikado (Emperor) reflects Japan’s recent Meiji Restoration (1868), which ended feudal rule and opened Japan to Western trade. Verne’s reference to the "spiritual Emperor" absorbing the "civil Emperor’s" role is a simplification of complex political changes, typical of Western observers at the time.
Isolation & Adaptability
- Passepartout, usually loyal and resourceful, is separated from Fogg and forced to navigate alone. His timid exploration ("taking chance for his guide") contrasts with Fogg’s methodical precision, emphasizing how dependency on his master has left him vulnerable.
- His reluctance to seek help from consuls ("he shrank from telling the story of his adventures") suggests shame or fear of judgment, reinforcing the theme of personal resilience in unfamiliar environments.
Globalization & Imperialism
- Yokohama is described as a cosmopolitan hub ("crowd of ships bearing the flags of all nations," "mixed crowds of all races"). This reflects 19th-century globalization, where European powers dominated trade routes (the British Empire, American merchants, and Dutch traders are all mentioned).
- The "promontory of the Treaty" refers to the Treaty of Kanagawa (1854), which forced Japan to open ports to U.S. ships under Commodore Perry’s gunboat diplomacy. Verne’s inclusion of this detail subtly critiques Western imperialism while also celebrating the excitement of global travel.
Chance vs. Order
- Passepartout’s aimless wandering ("wander aimlessly through the streets") contrasts with Fogg’s rigid schedule. While Fogg relies on precision and logic, Passepartout is at the mercy of fate and improvisation, a recurring tension in the novel.

3. Literary Devices

Verne employs several stylistic and narrative techniques to enhance the excerpt:

Imagery & Sensory Detail
- Visual: The "crowd of ships bearing the flags of all nations" creates a vibrant, bustling portrait of Yokohama as a global crossroads.
- Architectural: The "low fronts" and "verandas" of European-style houses contrast with the implied traditional Japanese structures Passepartout later encounters, reinforcing the cultural duality of the port.
- Comparative: Passepartout’s feeling of being among "Hottentots" uses hyperbole to emphasize his cultural shock.
Juxtaposition
- The European quarter (ordered, familiar) vs. the native Japanese quarter (unknown, potentially chaotic) mirrors Passepartout’s internal conflict between safety and risk.
- The modern (steamships, warehouses) vs. the traditional (Tycoon, Mikado) highlights Japan’s rapid Westernization during the Meiji era.
Irony & Foreshadowing
- Passepartout’s reluctance to seek help from consuls is ironic because, in a novel about global connectivity, he avoids the very institutions designed to assist travelers.
- His determination to push on to Yeddo (Tokyo) foreshadows further adventures and misadventures, as Yeddo was a center of political upheaval during this period.
Symbolism
- The "Sons of the Sun" (a term for Japan, referencing its name Nihon, "Land of the Rising Sun") symbolizes Japan’s emerging global identity in the late 19th century.
- The custom-house and quays represent bureaucracy and commerce, obstacles that both aid and hinder travelers like Fogg and Passepartout.
Narrative Perspective
- The third-person limited omniscience focuses on Passepartout’s subjective experience, making the reader share his confusion and curiosity. This contrasts with the detached, almost clinical descriptions of Fogg’s actions elsewhere in the novel.

4. Significance of the Excerpt

Historical & CulturalSnapshot
- The passage captures Japan’s transition from isolation (sakoku) to forced openness, a pivotal moment in 19th-century geopolitics. Verne’s depiction, while Eurocentric, provides insight into how Westerners viewed Japan as both exotic and commercially valuable.
Character Development
- Passepartout’s independence in this scene is rare; usually, he is Fogg’s comic sidekick. His resourcefulness and vulnerability humanize him, making him more than just a stereotypical "loyal servant."
- His cultural naivety ("Hottentots" comparison) reflects the limitations of European worldviews, adding depth to Verne’s exploration of colonial attitudes.
Thematic Reinforcement
- The excerpt reinforces the novel’s central question: Can human ingenuity (Fogg’s precision) overcome the unpredictability of the world (Passepartout’s chaos)?
- Yokohama, as a microcosm of globalization, exemplifies the opportunities and challenges of a shrinking world—a key theme in Verne’s Voyages Extraordinaires.
Adventure & Suspense
- Passepartout’s uncertainty ("if necessary, to push on to Yeddo") builds tension, as the reader wonders whether he will reunite with Fogg or face further setbacks. This keeps the narrative momentum alive.
Verne’s Vision of the Future
- While Verne is often celebrated for predicting technological advancements (submarines, space travel), this passage reflects his interest in cultural exchange. Yokohama’s multinational crowd anticipates the interconnected world of the 20th and 21st centuries.

5. Critical Perspectives

Postcolonial Reading: Modern critics might argue that Verne’s depiction of Yokohama exoticizes Japan, reducing it to a backdrop for Western adventure. The "Hottentots" comparison, in particular, reveals racial prejudices of the era.
Travel Literature Context: The novel fits within the 19th-century travelogue tradition, where exotic locations were described for European audiences. Unlike purely fictional settings, Verne grounds his story in real-world geography and history, blending fact with imagination.
Steampunk & Retrofuturism: Verne’s work is a precursor to steampunk, a genre that reimagines the 19th century with advanced technology. Yokohama’s industrial port alongside traditional culture embodies this fusion of old and new.

Conclusion

This excerpt from Around the World in Eighty Days is a rich tapestry of cultural observation, character study, and historical commentary. Through Passepartout’s disoriented but curious perspective, Verne explores themes of globalization, imperialism, and adaptability, all while maintaining the adventurous spirit that defines the novel. The passage’s vivid imagery, juxtaposition of East and West, and subtle irony make it a microcosm of the broader journey—both literal and metaphorical—that Fogg and Passepartout undertake. Ultimately, it reflects Verne’s optimistic yet critical view of a world growing smaller, faster, and more interconnected.

Would you like a deeper dive into any specific aspect, such as Verne’s portrayal of Japan compared to historical records, or the role of Passepartout as a comic yet complex character?

Questions

Question 1

The passage’s description of Yokohama as a space where “mixed crowds of all races, Americans and English, Chinamen and Dutchmen, mostly merchants ready to buy or sell anything” most strongly evokes which of the following critiques of 19th-century globalization?

A. The homogenizing effect of colonial trade, wherein distinct cultural identities are erased in favor of a uniform commercial ethos.
B. The superficial cosmopolitanism of port cities, where diversity masks underlying hierarchies of power and exploitation.
C. The inefficiency of pre-industrial trade networks, as evidenced by the chaotic aggregation of disparate nationalities.
D. The moral decay of merchant classes, whose greed transcends national loyalty and ethical constraints.
E. The futility of cross-cultural exchange, as fundamental misunderstandings render communication meaningless.

Question 2

Passepartout’s reluctance to seek assistance from the French and English consuls is most plausibly interpreted as stemming from:

A. a fear of legal repercussions, given his unspecified “adventures” may have involved illicit activities.
B. an internalized class consciousness, assuming consular officials would dismiss a valet’s concerns.
C. a strategic delay tactic, hoping to resolve the situation independently before involving authorities.
D. a protective loyalty to Fogg, whose reputation he fears tarnishing by revealing their misadventures.
E. a cultural misunderstanding of diplomatic protocols, assuming consuls would not intervene in personal matters.

Question 3

The narrator’s observation that Passepartout “felt himself as much alone among them as if he had dropped down in the midst of Hottentots” primarily serves to:

A. emphasize the linguistic barriers between Europeans and non-Europeans in colonial ports.
B. reveal the racial and cultural chauvinism embedded in 19th-century European perspectives.
C. foreshadow Passepartout’s eventual assimilation into Japanese society through humbling experiences.
D. contrast the organized European quarter with the perceived chaos of non-Western spaces.
E. underscore the psychological toll of isolation on travelers far from familiar surroundings.

Question 4

The passage’s reference to the “promontory of the Treaty” functions most significantly as:

A. an allusion to the unequal power dynamics of Western imperialism, wherein treaties were often imposed rather than negotiated.
B. a neutral geographical marker, grounding the narrative in verifiable historical detail.
C. a symbolic boundary between the “civilized” European quarter and the “exotic” native districts.
D. a foreshadowing device, hinting at bureaucratic obstacles Passepartout will later encounter.
E. an ironic juxtaposition, as the “treaty” that opened Japan now facilitates Passepartout’s disorientation.

Question 5

Which of the following best describes the narrative effect of the passage’s shift from the bustling, multinational quay to Passepartout’s solitary wandering?

A. It underscores the inevitability of human alienation in an increasingly interconnected world.
B. It critiques the superficiality of global trade, which prioritizes commerce over human connection.
C. It reflects Verne’s pessimism about cultural exchange, suggesting true understanding is impossible.
D. It serves as a microcosm of Fogg’s journey, where logistical precision contrasts with existential aimlessness.
E. It heightens the tension between collective motion and individual agency, framing Passepartout’s dilemma as both personal and symbolic.

Solutions and Explanations

1) Correct answer: B

Why B is most correct: The passage’s depiction of Yokohama’s “mixed crowds” of merchants from various nations is superficially celebratory of diversity, but the context—colonial trade ports, unequal treaties (e.g., “promontory of the Treaty”), and Passepartout’s alienation—suggests a critique of superficial cosmopolitanism. The diversity exists within a framework of Western dominance, where non-European cultures are either commodified (as trade partners) or exoticized (as in Passepartout’s “Hottentots” comparison). This aligns with postcolonial critiques of globalization as a mask for exploitation.