Chapter 2, Section 1

Passepartout gives his first impression of Phileas Fogg

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 comb completed his toilet.

Writing Descriptions of People

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.

This part of the story includes physical descriptions of both Phileas Fogg and Passepartout. Descriptive writing focusses on detail, and tends to include a lot of adjectives. Try writing a detailed description of someone you know. Learn more about using adjectives.

Vocabulary

flurried

\Flur"ried\

Agitated; excited.
— 1913 Webster

countenance

\Coun"te*nance\ (koun"t[-e]*nans)

Appearance or expression of the face; look; aspect.
— 1913 Webster

physiognomists

A person who can judge a persons character based on their facial characteristics.

chronometer

\Chro*nom"e*ter\

An instrument for measuring time; a timekeeper.
— 1913 Webster

superfluous

\Su*per"flu*ous\

More than is wanted or is sufficient; rendered unnecessary by superabundance; unnecessary; useless; excessive.
— 1913 Webster

all that is wanting

The only thing that is missing or required.

by the shortest cut

to take the shortest route or path.