Passepartout made it a point, as he made his purchases, to take a good look at the city. It was formerly defended by a noble fort, which has since become a state prison; its commerce has dwindled away, and Passepartout in vain looked about him for such a bazaar as he used to frequent in Regent Street. At last he came upon an elderly, crusty Jew, who sold second-hand articles, and from whom he purchased a dress of Scotch stuff, a large mantle, and a fine otter-skin pelisse, for which he did not hesitate to pay seventy-five pounds. He then returned triumphantly to the station.
The influence to which the priests of Pillaji had subjected Aouda began gradually to yield, and she became more herself, so that her fine eyes resumed all their soft Indian expression.
When the poet-king, Ucaf Uddaul, celebrates the charms of the queen of Ahmehnagara, he speaks thus:
“Her shining tresses, divided in two parts, encircle the harmonious contour of her white and delicate cheeks, brilliant in their glow and freshness. Her ebony brows have the form and charm of the bow of Kama, the god of love, and beneath her long silken lashes the purest reflections and a celestial light swim, as in the sacred lakes of Himalaya, in the black pupils of her great clear eyes. Her teeth, fine, equal, and white, glitter between her smiling lips like dewdrops in a passion-flower’s half-enveloped breast. Her delicately formed ears, her vermilion hands, her little feet, curved and tender as the lotus-bud, glitter with the brilliancy of the loveliest pearls of Ceylon, the most dazzling diamonds of Golconda. Her narrow and supple waist, which a hand may clasp around, sets forth the outline of her rounded figure and the beauty of her bosom, where youth in its flower displays the wealth of its treasures; and beneath the silken folds of her tunic she seems to have been modelled in pure silver by the godlike hand of Vicvarcarma, the immortal sculptor.”
It is enough to say, without applying this poetical rhapsody to Aouda, that she was a charming woman, in all the European acceptation of the phrase. She spoke English with great purity, and the guide had not exaggerated in saying that the young Parsee had been transformed by her bringing up.
The train was about to start from Allahabad, and Mr. Fogg proceeded to pay the guide the price agreed upon for his service, and not a farthing more; which astonished Passepartout, who remembered all that his master owed to the guide’s devotion. He had, indeed, risked his life in the adventure at Pillaji, and, if he should be caught afterwards by the Indians, he would with difficulty escape their vengeance. Kiouni, also, must be disposed of. What should be done with the elephant, which had been so dearly purchased? Phileas Fogg had already determined this question.
“Parsee,” said he to the guide, “you have been serviceable and devoted. I have paid for your service, but not for your devotion. Would you like to have this elephant? He is yours.”
The guide’s eyes glistened.
“Your honour is giving me a fortune!” cried he.
“Take him, guide,” returned Mr. Fogg, “and I shall still be your debtor.”
“Good!” exclaimed Passepartout. “Take him, friend. Kiouni is a brave and faithful beast.” And, going up to the elephant, he gave him several lumps of sugar, saying, “Here, Kiouni, here, here.”