"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.
It would be rash to predict how Passepartout's lively nature would agree with Mr. Fogg. It was impossible to tell whether the new servant would turn out as absolutely methodical as his master required; experience alone could solve the question. Passepartout had been a sort of vagrant in his early years, and now yearned for repose; but so far he had failed to find it, though he had already served in ten English houses. But he could not take root in any of these; with chagrin, he found his masters invariably whimsical and irregular, constantly running about the country, or on the look-out for adventure. His last master, young Lord Longferry, Member of Parliament, after passing his nights in the Haymarket taverns, was too often brought home in the morning on policemen's shoulders. Passepartout, desirous of respecting the gentleman whom he served, ventured a mild remonstrance on such conduct; which, being ill-received, he took his leave. Hearing that Mr. Phileas Fogg was looking for a servant, and that his life was one of unbroken regularity, that he neither travelled nor stayed from home overnight, he felt sure that this would be the place he was after. He presented himself, and was accepted, as has been seen.
At half-past eleven, then, Passepartout found himself alone in the house in Saville Row. He begun its inspection without delay, scouring it from cellar to garret. So clean, well-arranged, solemn a mansion pleased him; it seemed to him like a snail's shell, lighted and warmed by gas, which sufficed for both these purposes. When Passepartout reached the second story he recognised at once the room which he was to inhabit, and he was well satisfied with it. Electric bells and speaking-tubes afforded communication with the lower stories; while on the mantel stood an electric clock, precisely like that in Mr. Fogg's bedchamber, both beating the same second at the same instant. "That's good, that'll do," said Passepartout to himself.
He suddenly observed, hung over the clock, a card which, upon inspection, proved to be a programme of the daily routine of the house. It comprised all that was required of the servant, from eight in the morning, exactly at which hour Phileas Fogg rose, till half-past eleven, when he left the house for the Reform Club—all the details of service, the tea and toast at twenty-three minutes past eight, the shaving-water at thirty-seven minutes past nine, and the toilet at twenty minutes before ten. Everything was regulated and foreseen that was to be done from half-past eleven a.m. till midnight, the hour at which the methodical gentleman retired.
Mr. Fogg's wardrobe was amply supplied and in the best taste. Each pair of trousers, coat, and vest bore a number, indicating the time of year and season at which they were in turn to be laid out for wearing; and the same system was applied to the master's shoes. In short, the house in Saville Row, which must have been a very temple of disorder and unrest under the illustrious but dissipated Sheridan, was cosiness, comfort, and method idealised. There was no study, nor were there books, which would have been quite useless to Mr. Fogg; for at the Reform two libraries, one of general literature and the other of law and politics, were at his service. A moderate-sized safe stood in his bedroom, constructed so as to defy fire as well as burglars; but Passepartout found neither arms nor hunting weapons anywhere; everything betrayed the most tranquil and peaceable habits.
Having scrutinised the house from top to bottom, he rubbed his hands, a broad smile overspread his features, and he said joyfully, "This is just what I wanted! Ah, we shall get on together, Mr. Fogg and I! What a domestic and regular gentleman! A real machine; well, I don't mind serving a machine."
Contexte et introduction de l'auteur
Ce passage est tiré du roman classique Le tour du monde en quatre-vingts jours de Jules Verne, un célèbre auteur français connu pour ses œuvres d'aventure et de science-fiction. Écrit en 1873, ce roman capture l'esprit de la révolution industrielle et la fascination pour les nouvelles technologies et les voyages à travers le monde. L'imagination vive et les descriptions détaillées de Verne donnent vie à l'excitation et aux défis d'un voyage autour du monde à une époque où un tel voyage était encore un exploit remarquable.
Interprétation détaillée de l'histoire
L'extrait présente deux personnages principaux : Phileas Fogg, un homme de routine et de précision strictes, et son nouveau domestique, Passepartout, dont la nature vive et flexible contraste avec la régularité mécanique de Fogg. Fogg est dépeint comme un modèle de sang-froid et d'exactitude anglais, vivant une vie si ordonnée que chaque minute et chaque mouvement sont planifiés et exécutés avec soin. Passepartout, d'un autre côté, est un personnage chaleureux et humain avec un passé coloré et un désir de stabilité.
Cette ouverture prépare le terrain pour l'aventure centrale du roman : le pari de Fogg de faire le tour du monde en quatre-vingts jours. Le contraste entre la nature méthodique de Fogg et le monde imprévisible auquel il est sur le point de faire face crée de la tension et de l'humour tout au long de l'histoire.
Ce que les élèves peuvent apprendre
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La valeur de la discipline et de la routine : Le personnage de Phileas Fogg illustre le pouvoir de la discipline. Sa ponctualité, sa planification minutieuse et son comportement calme montrent comment la structure peut aider à atteindre des objectifs ambitieux. Les élèves peuvent apprendre l'importance de la gestion du temps et de l'organisation dans leurs études et leur vie quotidienne.
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Adaptabilité et ouverture d'esprit : Le personnage de Passepartout nous rappelle que si la routine est précieuse, la flexibilité et la gentillesse sont tout aussi importantes. Ses expériences passées et sa nature facile à vivre équilibrent la rigidité de Fogg, apprenant aux élèves à apprécier les différentes personnalités et à s'adapter aux nouvelles situations.
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Courage et aventure : Le roman encourage les lecteurs à relever les défis et à sortir de leur zone de confort. Le voyage de Fogg est une métaphore de la persévérance et du courage, inspirant les jeunes lecteurs à poursuivre leurs rêves malgré les obstacles.
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Sensibilisation culturelle : Alors que l'histoire traverse différents pays et cultures, elle offre une fenêtre sur la diversité du monde. Cela élargit les horizons des élèves et favorise le respect des différents peuples et traditions.
Appliquer ces leçons dans la vie
- Dans l'apprentissage : Les élèves peuvent adopter le dévouement de Fogg en fixant des objectifs clairs et en suivant un emploi du temps d'étude, tout en se souvenant également de la flexibilité de Passepartout pour gérer les changements ou les difficultés inattendus avec grâce.
- Dans les contextes sociaux : Reconnaître la valeur des différentes personnalités aide à développer l'empathie et le travail d'équipe. Tout comme Fogg et Passepartout se complètent, les élèves peuvent apprendre à bien travailler avec des camarades de classe qui ont des forces différentes.
- Dans le développement personnel : L'esprit d'aventure encourage la curiosité et la résilience. Les élèves peuvent se mettre au défi d'essayer de nouvelles activités, de voyager ou d'explorer de nouvelles idées, en développant leur confiance et leur vision du monde.
Cultiver des traits positifs de l'histoire
- Précision et responsabilité : Comme Fogg, les élèves peuvent s'exercer à être responsables de leurs tâches et ponctuels dans leurs engagements.
- Convivialité et soutien : Inspiré par Passepartout, faire preuve de gentillesse et de soutien envers les autres crée de solides amitiés et un environnement positif.
- Résolution de problèmes : L'histoire montre que des problèmes inattendus surviennent, mais une réflexion calme et la détermination mènent au succès. Les élèves peuvent développer des compétences en résolution de problèmes en restant calmes et en pensant de manière créative.
Conclusion
Le tour du monde en quatre-vingts jours est bien plus qu'une simple aventure passionnante ; c'est une riche source de leçons sur le caractère, la culture et le courage. En lisant et en réfléchissant à cette histoire, les élèves peuvent acquérir des connaissances qui les aident à l'école, dans leurs relations et dans les nombreux voyages de la vie. Adopter à la fois la discipline et la flexibilité, respecter la diversité et oser explorer l'inconnu sont des valeurs intemporelles que ce roman classique transmet magnifiquement.
