Chapter I: In Which Phileas Fogg And Passepartout Accept Each Other, The One As Master, The Other As Man

Mr. Phileas Fogg lived, in 1872, at No. 7, Saville Row, Burlington Gardens, the house in which Sheridan died in 1814. He was one of the most noticeable members of the Reform Club, though he seemed always to avoid attracting attention; an enigmatical personage, about whom little was known, except that he was a polished man of the world. People said that he resembled Byron—at least that his head was Byronic; but he was a bearded, tranquil Byron, who might live on a thousand years without growing old.

Certainly an Englishman, it was more doubtful whether Phileas Fogg was a Londoner. He was never seen on 'Change, nor at the Bank, nor in the counting-rooms of the "City"; no ships ever came into London docks of which he was the owner; he had no public employment; he had never been entered at any of the Inns of Court, either at the Temple, or Lincoln's Inn, or Gray's Inn; nor had his voice ever resounded in the Court of Chancery, or in the Exchequer, or the Queen's Bench, or the Ecclesiastical Courts. He certainly was not a manufacturer; nor was he a merchant or a gentleman farmer. His name was strange to the scientific and learned societies, and he never was known to take part in the sage deliberations of the Royal Institution or the London Institution, the Artisan's Association, or the Institution of Arts and Sciences. He belonged, in fact, to none of the numerous societies which swarm in the English capital, from the Harmonic to that of the Entomologists, founded mainly for the purpose of abolishing pernicious insects.

Phileas Fogg was a member of the Reform, and that was all.

The way in which he got admission to this exclusive club was simple enough.

He was recommended by the Barings, with whom he had an open credit. His cheques were regularly paid at sight from his account current, which was always flush.

Was Phileas Fogg rich? Undoubtedly. But those who knew him best could not imagine how he had made his fortune, and Mr. Fogg was the last person to whom to apply for the information. He was not lavish, nor, on the contrary, avaricious; for, whenever he knew that money was needed for a noble, useful, or benevolent purpose, he supplied it quietly and sometimes anonymously. He was, in short, the least communicative of men. He talked very little, and seemed all the more mysterious for his taciturn manner. His daily habits were quite open to observation; but whatever he did was so exactly the same thing that he had always done before, that the wits of the curious were fairly puzzled.

Had he travelled? It was likely, for no one seemed to know the world more familiarly; there was no spot so secluded that he did not appear to have an intimate acquaintance with it. He often corrected, with a few clear words, the thousand conjectures advanced by members of the club as to lost and unheard-of travellers, pointing out the true probabilities, and seeming as if gifted with a sort of second sight, so often did events justify his predictions. He must have travelled everywhere, at least in the spirit.

It was at least certain that Phileas Fogg had not absented himself from London for many years. Those who were honoured by a better acquaintance with him than the rest, declared that nobody could pretend to have ever seen him anywhere else. His sole pastimes were reading the papers and playing whist. He often won at this game, which, as a silent one, harmonised with his nature; but his winnings never went into his purse, being reserved as a fund for his charities. Mr. Fogg played, not to win, but for the sake of playing. The game was in his eyes a contest, a struggle with a difficulty, yet a motionless, unwearying struggle, congenial to his tastes.

Phileas Fogg was not known to have either wife or children, which may happen to the most honest people; either relatives or near friends, which is certainly more unusual. He lived alone in his house in Saville Row, whither none penetrated. A single domestic sufficed to serve him. He breakfasted and dined at the club, at hours mathematically fixed, in the same room, at the same table, never taking his meals with other members, much less bringing a guest with him; and went home at exactly midnight, only to retire at once to bed. He never used the cosy chambers which the Reform provides for its favoured members. He passed ten hours out of the twenty-four in Saville Row, either in sleeping or making his toilet. When he chose to take a walk it was with a regular step in the entrance hall with its mosaic flooring, or in the circular gallery with its dome supported by twenty red porphyry Ionic columns, and illumined by blue painted windows. When he breakfasted or dined all the resources of the club—its kitchens and pantries, its buttery and dairy—aided to crowd his table with their most succulent stores; he was served by the gravest waiters, in dress coats, and shoes with swan-skin soles, who proffered the viands in special porcelain, and on the finest linen; club decanters, of a lost mould, contained his sherry, his port, and his cinnamon-spiced claret; while his beverages were refreshingly cooled with ice, brought at great cost from the American lakes.

If to live in this style is to be eccentric, it must be confessed that there is something good in eccentricity.

The mansion in Saville Row, though not sumptuous, was exceedingly comfortable. The habits of its occupant were such as to demand but little from the sole domestic, but Phileas Fogg required him to be almost superhumanly prompt and regular. On this very 2nd of October he had dismissed James Forster, because that luckless youth had brought him shaving-water at eighty-four degrees Fahrenheit instead of eighty-six; and he was awaiting his successor, who was due at the house between eleven and half-past.

Phileas Fogg was seated squarely in his armchair, his feet close together like those of a grenadier on parade, his hands resting on his knees, his body straight, his head erect; he was steadily watching a complicated clock which indicated the hours, the minutes, the seconds, the days, the months, and the years. At exactly half-past eleven Mr. Fogg would, according to his daily habit, quit Saville Row, and repair to the Reform.

A rap at this moment sounded on the door of the cosy apartment where Phileas Fogg was seated, and James Forster, the dismissed servant, appeared.

"The new servant," said he.

A young man of thirty advanced and bowed.

"You are a Frenchman, I believe," asked Phileas Fogg, "and your name is John?"

"Jean, if monsieur pleases," replied the newcomer, "Jean Passepartout, a surname which has clung to me because I have a natural aptness for going out of one business into another. I believe I'm honest, monsieur, but, to be outspoken, I've had several trades. I've been an itinerant singer, a circus-rider, when I used to vault like Leotard, and dance on a rope like Blondin. Then I got to be a professor of gymnastics, so as to make better use of my talents; and then I was a sergeant fireman at Paris, and assisted at many a big fire. But I quitted France five years ago, and, wishing to taste the sweets of domestic life, took service as a valet here in England. Finding myself out of place, and hearing that Monsieur Phileas Fogg was the most exact and settled gentleman in the United Kingdom, I have come to monsieur in the hope of living with him a tranquil life, and forgetting even the name of Passepartout."

"Passepartout suits me," responded Mr. Fogg. "You are well recommended to me; I hear a good report of you. You know my conditions?"

"Yes, monsieur."

"Good! What time is it?"

"Twenty-two minutes after eleven," returned Passepartout, drawing an enormous silver watch from the depths of his pocket.

"You are too slow," said Mr. Fogg.

"Pardon me, monsieur, it is impossible—"

"You are four minutes too slow. No matter; it's enough to mention the error. Now from this moment, twenty-nine minutes after eleven, a.m., this Wednesday, 2nd October, you are in my service."

Phileas Fogg got up, took his hat in his left hand, put it on his head with an automatic motion, and went off without a word.

Passepartout heard the street door shut once; it was his new master going out. He heard it shut again; it was his predecessor, James Forster, departing in his turn. Passepartout remained alone in the house in Saville Row.

Chapter II: In Which Passepartout Is Convinced That He Has At Last Found His Ideal

Footnotes

  1. swarm, verb: to congregate or collect groups or multitudes; to be exceedingly numerous

    figure of speech: draws the image of London filled with myriad societies dedicated to specialized areas of endeavors.

    — Karen P.L. Hardison

  2. societies: plural of society, noun: organizations comprised of people in a specific pursuit or endeavor

    — Karen P.L. Hardison

  3. In central London, noted for men's custom tailored suits and as the one time address of the Royal Geographical Society.

    — Karen P.L. Hardison

  4. Leaving the mansion at No. 7 Saville Row after having opened the door for Fogg and leaving for the last time.

    in turn, idiom: one after the other in proper order

    — Karen P.L. Hardison

  5. noun: the person who had a job or position before someone else

    — Karen P.L. Hardison

  6. A motion indicating that he has put his hat on so many times and in precisely the same way every time that he acts without thinking about it.

    — Karen P.L. Hardison

  7. Having mentioned the incorrect time, Fogg is confident that Passepartout will correct the error on his watch by setting it four minutes forward (or perhaps mentally compensate for the four minute difference).

    — Karen P.L. Hardison

  8. Passepartout's watch is four minutes behind the actual time.

    — Karen P.L. Hardison

  9. Paraphrase: Your watch is too slow; it doesn't keep accurate time and is behind the actual time.

    — Karen P.L. Hardison

  10. This suggests that Passepartout's pockets are larger than the typical pocket with an enormousness in proportion to the enormity of the silver pocket-watch. In other words, both pocket and watch are very large.

    — Karen P.L. Hardison

  11. figure of speech: meaning without a job

    Domestic servants have "places"; when a servant is "out of place," they are out of a job.

    — Karen P.L. Hardison

  12. verb (archaic, past tense of "quit"): having left, i.e., he left

    — Karen P.L. Hardison

  13. Rider of performing circus animals, especially a circus horse.

    — Karen P.L. Hardison

  14. verb (past participle form): to stick onto; to adhere to; to stick with

    — Karen P.L. Hardison

  15. The servant whom Fogg had fired for his mistake with Fogg's shaving water.

    — Karen P.L. Hardison

  16. noun (formal): of a house or a "flat," a room or a chamber within the house or "flat"

    flat, noun: a suite of several or many rooms for living in; comprising one unit for living in as a home

    — Karen P.L. Hardison

  17. adjective: of a room that is warm, small, comfortable and pleasant

    — Karen P.L. Hardison

  18. noun: a sudden sharp sound of something striking something else as in a knock at the door

    — Karen P.L. Hardison

  19. Go from Saville Row to the Reform Club.

    repair to, phrasal verb: go from one place to another place 

    — Karen P.L. Hardison

  20. The person applying for the position of "sole domestic" was to arrive to be interviewed by Fogg.

    — Karen P.L. Hardison

  21. He, James Forster, the "luckless youth," fired for having Fogg's shaving cream at the wrong temperature.

    — Karen P.L. Hardison

  22. Fogg was so "eccentric" in his habits that there was not much for his one servant to do, except to be very punctual and precise.

    — Karen P.L. Hardison

  23. One solitary servant. Most mansions have several servants with the minimum thought to be 3 to 5.

    — Karen P.L. Hardison

  24. More than is humanly possible; beyond what humans can do or perform.

    — Karen P.L. Hardison

  25. Fogg's mansion was a nice place to be in with physical ease and contentment.

    — Karen P.L. Hardison

  26. Fogg spent 10 hours everyday at home. Therefore, it is suggested, he spent the other 14 hours of every day at the Reform Club.

    — Karen P.L. Hardison

  27. In his home located at No. 7, Saville Row, in the Burlington Gardens District.

    — Karen P.L. Hardison

  28. Figure of speech: ironic characterization of Fogg.

    Fogg is habitually precise and exact in his actions and habits; implied metaphor with a mathematical equation.

    — Karen P.L. Hardison

  29. Coin purse. Figurative expression. We might say "wallet."

    This means that Fogg did not add his winnings at whist to his personal cash or bank account; he did not the cash won into his wallet to spend or hoard.

    — Karen P.L. Hardison

  30. Whist is a silent game. Fogg is a silent man. The two, game and man, harmonized well because of commonality of silence.

    — Karen P.L. Hardison

  31. Those who were curious about Fogg's mysteriously habitual, generous, silent life were remained confused, baffled, mystified about the life of Phileas Fogg.

    — Karen P.L. Hardison

  32. pernicious, noun: stealthily treacherous and harmful bugs.

    Satirical allusion suggesting an overabundance of societies in London*.*

    — Karen P.L. Hardison

  33. Introduces the puzzle about Fogg's life and background. Fogg is an Englishman. Little else is known about him. Questions his credibility.

    — Karen P.L. Hardison

  34. Hired in the employ of someone.

    Passepartout has been hired as Fogg's sole domestic.

    — Karen P.L. Hardison

  35. French, adjective
    passe-partout
    French colloquial expression meaning "catch-all"

    Jean Passepartout: Jean's name suits him because, as he is about to say, he has been a catch-all for one career after another.

    — Karen P.L. Hardison

  36. Having a secure and stable style of life; the opposite of a "catch-all" style of life. [See "Passepartout"]

    — Karen P.L. Hardison

  37. Figure of speech, meaning tightrope walking.

    • Implied metaphor* comparing dancing to walking on a high tightrope.

    metaphor,* literary device*
    comparing two things without using "like" or "as"; e.g., love is a rose.

    implied metaphor, literary device
    the metaphor is not directly stated but implied by the imagery:

    • direct metaphor:* tightrope walking is a dance

    implied metaphor: dance on a rope

    — Karen P.L. Hardison

  38. Charles Blondin (1824–1897), French circus star tightrope walker most famous for walking a tightrope across Niagara Falls (1859).

    — Karen P.L. Hardison

  39. Idiom, figure of speech: meaning to enjoy the quiet pleasures of a settled and uneventful life at home.

    — Karen P.L. Hardison

  40. To use a pole and jump or leap while propelling onself with the force of the pole.

    — Karen P.L. Hardison

  41. A singer who travels from place to place rather than performing in a fixed setting.

    itinerant, adjective
    the act of travelling form place to place to place

    — Karen P.L. Hardison

  42. One's family name, also called "last name," that is held in common with all the members of one's family.

    — Karen P.L. Hardison

  43. A man's personal attendant who takes responsibility for the man's clothing, grooming tools and appearance.

    — Karen P.L. Hardison

  44. Uncompromisingly in the center of his chair.

    Fogg is characterized as brooking no nonsense.

    — Karen P.L. Hardison

  45. A soldier who is in the "first regiment of the royal household infantry" (Oxford Dictionary); a royal infantry foot soldier.

    — Karen P.L. Hardison

  46. successor, noun: the one to replace someone who is dismissed

    The man hired by Fogg to be his next "sole domestic" servant.

    — Karen P.L. Hardison

  47. Fogg's first domestic servant at the time of the beginning of the narrative.

    — Karen P.L. Hardison

  48. dismissed, verb: discharge from employment

    Fogg had fired his servant from his job.

    — Karen P.L. Hardison

  49. Date of the beginning of the narrative in 1872: 2nd of October in 1872.

    — Karen P.L. Hardison

  50. On time, punctual, and unvarying in routine, dependable in minute detail.

    — Karen P.L. Hardison

  51. Elegant in appearance, splendid and expensive looking.

    Fogg's Queensberry House was not sumptuous. It was large but plain looking.

    — Karen P.L. Hardison

  52. Ironic confirmation of the pleasures of the eccentric kind of life Fogg lived in his pampered existence at the Reform Club.

    — Karen P.L. Hardison

  53. A red wine, strong, sweet and fortified with grape brandy, that is drunk as a dessert wine (opposite of the aperitif sherry).

    — Karen P.L. Hardison

  54. A strong "fortified" wine (fortified with added brandy) drunk as an aperitif, as an appetite stimulant, before a meal.

    — Karen P.L. Hardison

  55. The Great Lakes were valuable sources of ice for domestic use and for export.

    — Karen P.L. Hardison

  56. Specially shaped decanter mold ("mould") that was lost, thus irreplaceable and highly valued.

    mould, (mold), *noun: *hollow container for shaping molten materials like glass

    — Karen P.L. Hardison

  57. Large glass container with stopper into which wine or liquor is poured or "decanted."

    decanted, verb
    slowly, gradually poured from one container to another.

    — Karen P.L. Hardison

  58. Finely woven linen fabric serving as an elegant table cover or a tablecloth.

    — Karen P.L. Hardison

  59. Delicate, white translucent ceramic the process for which was originated in China.

    — Karen P.L. Hardison

  60. Items of food that are considered delicacies, like a chocolate truffle.

    — Karen P.L. Hardison

  61. To offer something by holding it out to be accepted or to be declined.

    — Karen P.L. Hardison

  62. Leather make from swan skins that is softer than kid leather thus quiet when walking. This signifies that the waiters did not disturb Fogg's preference for silence.

    — Karen P.L. Hardison

  63. Waiters who are solemn, dignified and serious in their demeanor, in how they conduct themselves.

    — Karen P.L. Hardison

  64. A pantry (kitchen storage room) especially for storing and distributing milk and milk products.

    — Karen P.L. Hardison

  65. A pantry (kitchen storage room) especially for storing wine and liquor.

    — Karen P.L. Hardison

  66. A small kitchen storage room or rooms for holding dishes, dry goods, utensils.

    — Karen P.L. Hardison

  67. Windows set in the walls of the circular gallery that are of a deep cobalt blue hue and are painted with portraits and pastoral scenes.

    — Karen P.L. Hardison

  68. verb: lit up; brightened up; illuminated by a light source

    — Karen P.L. Hardison

  69. Architectural supporting columns the capitals of which (the top caps) are decorated with large paired scrolls and which stand on tall bases.

    — Karen P.L. Hardison

  70. Red, very hard igneous rock with embedded quartz crystals, previously often used for columns in Rome and for building panels as in the Parthenon.

    — Karen P.L. Hardison

  71. Opaque glass dome, with glass sections in rhomboidal shapes, overarching the entrance hall and with a central chandelier surrounded by corner frescoes as the crowning rectangular piece.

    — Karen P.L. Hardison

  72. Interior open-sided second floor balcony, encircling the entrance hall, where members sit in leather chairs--or walk like Fogg did--illumined by cobalt hued light from the painted exterior windows.

    — Karen P.L. Hardison

  73. Decorative flooring composed of small pieces of tile or glass arranged to be fitted together, often producing a pattern or a picture as the end result.

    — Karen P.L. Hardison

  74. Idiom meaning a walking gait that is not hurried nor slow and faltering; a gait that is steady.

    — Karen P.L. Hardison

  75. A euphemistic figure of speech meaning the process of cleaning oneself up to be presentable in public; to "get ready" to go somewhere.

    — Karen P.L. Hardison

  76. Members who are held in the highest esteem or who have earned seniority or privilege and so are favorites.

    — Karen P.L. Hardison

  77. verb: to remove from or withdraw from one place to go to another; to leave to do something else somewhere else

    — Karen P.L. Hardison

  78. verb: to meet the needs of, e.g., One domestic met the needs of Fogg.

    — Karen P.L. Hardison

  79. noun, chiefly British: a person hired to do menial labor, like gardening, cleaning, cooking, e.g., Fogg had a single domestic servant for his needs.

    — Karen P.L. Hardison

  80. verb: to force a way into (e.g., none penetrated, none forced their way into)

    — Karen P.L. Hardison

  81. Archaic, adverb: to which (e.g., in his house whither none went, to which none went)

    — Karen P.L. Hardison

  82. *Ironic; *indicates *cynicism, a *negative attitude of disbelief, about Fogg's claims to have traveled: no one has seen him go, yet he says he went.

    — Karen P.L. Hardison

  83. Ironic indication of suspicion associated with Fogg's lack of family: somehow he is dishonest and therefore has no family or acknowledges no family.

    — Karen P.L. Hardison

  84. idiom, "one's tastes" n. tastes: that which is agreeable or pleasing to one; that which accords with (suits) one's aesthetic sense of pleasure

    — Karen P.L. Hardison

  85. adjective: a struggle that does not weary one--or--a struggle for which one does not weary; e.g., For Fogg, whist was an unwearying struggle because he enjoyed the challenge*.*

    — Karen P.L. Hardison

  86. adjective: a thing that is pleasant because it accords (matches) one's taste and preferences; e.g., Whist was congenial to Fogg's tastes because it could be played in silence, and he was silently taciturn.

    — Karen P.L. Hardison

  87. Fogg set aside all his winnings from playing whist to be given to the charities he supported: he didn't keep any of his whist winnings for himself.

    — Karen P.L. Hardison

  88. A card game popular in the 1800s for four players, having two sets of partners, using one 52-card deck; based upon tricks, trumps, and discards; bets placed were winner take all.

    — Karen P.L. Hardison

  89. Phrase meaning to be gone from: Fogg had not been gone from London a lot of times nor for many years.

    — Karen P.L. Hardison

  90. figure of speech: not in the physical world but in the psychological, spiritual or imaginary worlds (e.g., with you in spirit)

    Suggesting Fogg traveled in the spirit or in his imagination; undermining his credibility.

    — Karen P.L. Hardison

  91. Fogg's "few clear words" so often turned out to be correct that these predictions--these foresights--in "a few clear words" were proven to be justifiable, proven to be held true.

    — Karen P.L. Hardison

  92. verb: provided with, endowed with a special quality; someone endowed with something

    — Karen P.L. Hardison

  93. noun: the seeming ability to see occurrences or to foresee events; clairvoyance

    — Karen P.L. Hardison

  94. archaic compound word phrase, meaning "not heard from" travelers: travelers who had not been heard from, thus presumed lost or dead

    — Karen P.L. Hardison

  95. verb: put forward for thought or consideration, e.g., The idea was advanced, considered, then adopted.

    — Karen P.L. Hardison

  96. noun: opinions derived from supposition based on scant information, little information

    — Karen P.L. Hardison

  97. figure of speech: great knowledge from first-hand personal experience, i.e., from having been there and done that.

    — Karen P.L. Hardison

  98. noun: keen observant intelligence; cleverly perceptive mental powers

    — Karen P.L. Hardison

  99. adjective: reluctant to converse; reserved inclination to silence; stern, silent

    — Karen P.L. Hardison

  100. adverb: with name and credit withheld; e.g., an anonymous donor.

    — Karen P.L. Hardison

  101. adjective: expressing goodwill; helpful to others; charitable

    — Karen P.L. Hardison

  102. verb: giving in abundance, without limit: e.g., to lavish gifts.

    — Karen P.L. Hardison

  103. Fogg won't answer personal questions because he is enigmatically noticeable while not drawing attention to himself (his earlier ironic characterization).

    — Karen P.L. Hardison

  104. A standing line of credit at a banking institution upon which banks draughts or notes of obligation can be successfully drawn at any time.

    — Karen P.L. Hardison

  105. adjective (informal): when something is in abundance it is "flush"; plenty.

    — Karen P.L. Hardison

  106. Barings Bank (1762 to 1995). London's oldest bank for merchants, an investment bank, not a commercial or depository bank; collapsed in 1995 from reckless financial investments.

    — Karen P.L. Hardison

  107. Membership strictly limited by standards of acceptability, specifically membership in Parliament and support for the Great Reform Act of 1832.

    — Karen P.L. Hardison

  108. There is doubt that Fogg is a Londoner. Mention of all respectable professionals in London confirms doubts of Fogg's credibility.

    — Karen P.L. Hardison

  109. Scientific society for specialists in insects. Implies Fogg doesn't go in for bugs.

    — Karen P.L. Hardison

  110. Musical societies, like today's St. Luke's Musical Society. This suggests Fogg is also not a musician.

    — Karen P.L. Hardison

  111. A joint institution for the mutual advancement of arts and sciences, perhaps now subsumed by King's College London. This implies that Fogg is neither scientist nor artist.

    — Karen P.L. Hardison

  112. A London Guild for master craftsmen/artisan. Implies Fogg is not a craftsman/artisan.

    — Karen P.L. Hardison

  113. This implies that Fogg is not a contributing member of the Royal Institute or the London Institute where learned points are debated then accepted or rejected.

    — Karen P.L. Hardison

  114. Scientific educational institution opened in 1806 for individuals with non-orthodox religious beliefs who were barred from studying at Oxford and Cambridge. Implies Fogg is not a scientist.

    — Karen P.L. Hardison

  115. World's oldest scientific research body; deliberated and authenticated Galileo's, Newton's and Darwin's discoveries.

    — Karen P.L. Hardison

  116. Implies that Fogg is not a published or otherwise renowned academic or scholar.

    — Karen P.L. Hardison

  117. Landed country gentleman, second tier of England's upper class, choosing to farm for profit, like Mr. Boldwood in Far from the Madding Crowd by Thomas Hardy.

    — Karen P.L. Hardison

  118. One who makes goods by manual labor by hand or with machinery.

    — Karen P.L. Hardison

  119. A religious court, oversees ecclesiastical, religious law pertaining to clergy. Implies Fogg is not a clergyman with ecclesiastical judicial authority.

    — Karen P.L. Hardison

  120. Queen's (or King's) bench; ancient, superior court for criminal and civil law. Implies Fogg is not a high royal judge. 

    — Karen P.L. Hardison

  121. Royal Treasury. Implies Fogg did not work for the Royal Treasury, responsible for raising revenue, taxation, national debt and monetary policy. 

    — Karen P.L. Hardison

  122. Restating that Fogg was "enigmatical" since the meaning of "enigmatical" is that someone or something is little known.

    — Karen P.L. Hardison

  123. This implies that Fogg was not a judge in the "equity" branch of the Common Law Court.

    — Karen P.L. Hardison

  124. Implies Fogg was not a barrister of the judicial courts, Inns of Court.

    — Karen P.L. Hardison

  125. Implies Fogg is not in shipping; he is not like Antonio in Shakespeare's The Merchant of Venice awaiting his ships at sea.

    — Karen P.L. Hardison

  126. Three dominant Inns of Court for barristers in the court system, each Inn with its own student quarters, dinning halls, lodging and professional chambers, chapels, gardens and libraries.

    — Karen P.L. Hardison

  127. Implies Fogg was not a civil servant employed by the government, nor was he employed by the Crown as a diplomat.

    — Karen P.L. Hardison

  128. archaic: reference to rooms in businesses where accountants record exchanges of money in transactions. Implies Fogg is neither a financier nor a business owner.

    — Karen P.L. Hardison

  129. The Bank of England founded in 1694 to fund the English war against France; it eventually took the role of issuing bank notes, previously issued by goldsmiths who were the original bankers.

    — Karen P.L. Hardison

  130. Abbreviation for "Exchange," a shortened form for the London Stock Exchange where sellers and buyers of company stock shares meet to sell or buy through the services of a Stock Broker.

    — Karen P.L. Hardison

  131. Implying Fogg was youthful, powerful and energetic ... though enigmatic.

    — Karen P.L. Hardison

  132. Lord Byron was noted for being volatile and adventurous. He was the opposite of "tranquil." Fogg was tranquil.

    — Karen P.L. Hardison

  133. adjective: like Byron, pertaining to Byron's facial features; Fogg resembled Byron in head and face.

    — Karen P.L. Hardison

  134. George Gordon, Lord Byron (London 1788 - Greece 1824): Romantic period English poet; dark, handsome, with Romanesque features.

    — Karen P.L. Hardison

  135. idiom (i.e., figurative phrase with agreed upon cultural meaning): a man with wide experience of the world and life's complexities, e.g., well traveled; not sheltered

    — Karen P.L. Hardison

  136. noun: person of distinction or importance; one who attracts attention

    — Karen P.L. Hardison

  137. adjective: perplexing; mysterious; like an enigma. Reinforces ironic contradiction between "noticeable member" and "avoid attracting attention."

    — Karen P.L. Hardison

  138. Ironic antithetical contradiction to "noticeable member" (antithetical: opposite). Add instant humor to Phileas Fogg's characterization.

    — Karen P.L. Hardison

  139. Club founded in 1836 for Members of Parliament who supported the Great Reform Act of 1832, extending vote enfranchisement to the middle class.

    — Karen P.L. Hardison

  140. The date of Sheridan's death is currently accepted as 1816. Arrested for debt in 1813, he died in great poverty.

    — Karen P.L. Hardison

  141. Richard Brinsley Sheridan (1751–1816). Owner of London's Theatre Royal, Drury Lane. Poet and playwright.

    — Karen P.L. Hardison

  142. No. 7 on Saville Row in Burlington Gardens, a 1725 four-storied house called Queensberry House having two equal jutting wings.

    — Karen P.L. Hardison