Chapter XIII. IN WHICH PASSEPARTOUT RECEIVES A NEW PROOF THAT FORTUNE FAVORS THE BRAVE

The project was a bold one, full of difficulty, perhaps impracticable. Mr. Fogg was going to risk life, or at least liberty, and therefore the success of his tour. But he did not hesitate, and he found in Sir Francis Cromarty an enthusiastic ally.

As for Passepartout, he was ready for anything that might be proposed. His master's idea charmed him; he perceived a heart, a soul, under that icy exterior. He began to love Phileas Fogg.

There remained the guide: what course would he adopt? Would he not take part with the Indians? In default of his assistance, it was necessary to be assured of his neutrality.

Sir Francis frankly put the question to him.

"Officers," replied the guide, "I am a Parsee, and this woman is a Parsee. Command me as you will."

"Excellent!" said Mr. Fogg.

"However," resumed the guide, "it is certain, not only that we shall risk our lives, but horrible tortures, if we are taken."

"That is foreseen," replied Mr. Fogg. "I think we must wait till night before acting."

"I think so," said the guide.

The worthy Indian then gave some account of the victim, who, he said, was a celebrated beauty of the Parsee race, and the daughter of a wealthy Bombay merchant. She had received a thoroughly English education in that city, and, from her manners and intelligence, would be thought an European. Her name was Aouda. Left an orphan, she was married against her will to the old rajah of Bundelcund; and, knowing the fate that awaited her, she escaped, was retaken, and devoted by the rajah's relatives, who had an interest in her death, to the sacrifice from which it seemed she could not escape.

The Parsee's narrative only confirmed Mr. Fogg and his companions in their generous design. It was decided that the guide should direct the elephant towards the pagoda of Pillaji, which he accordingly approached as quickly as possible. They halted, half an hour afterwards, in a copse, some five hundred feet from the pagoda, where they were well concealed; but they could hear the groans and cries of the fakirs distinctly.

They then discussed the means of getting at the victim. The guide was familiar with the pagoda of Pillaji, in which, as he declared, the young woman was imprisoned. Could they enter any of its doors while the whole party of Indians was plunged in a drunken sleep, or was it safer to attempt to make a hole in the walls? This could only be determined at the moment and the place themselves; but it was certain that the abduction must be made that night, and not when, at break of day, the victim was led to her funeral pyre. Then no human intervention could save her.

As soon as night fell, about six o'clock, they decided to make a reconnaissance around the pagoda. The cries of the fakirs were just ceasing; the Indians were in the act of plunging themselves into the drunkenness caused by liquid opium mingled with hemp, and it might be possible to slip between them to the temple itself.

The Parsee, leading the others, noiselessly crept through the wood, and in ten minutes they found themselves on the banks of a small stream, whence, by the light of the rosin torches, they perceived a pyre of wood, on the top of which lay the embalmed body of the rajah, which was to be burned with his wife. The pagoda, whose minarets loomed above the trees in the deepening dusk, stood a hundred steps away.

"Come!" whispered the guide.

He slipped more cautiously than ever through the brush, followed by his companions; the silence around was only broken by the low murmuring of the wind among the branches.

Soon the Parsee stopped on the borders of the glade, which was lit up by the torches. The ground was covered by groups of the Indians, motionless in their drunken sleep; it seemed a battlefield strewn with the dead. Men, women, and children lay together.

In the background, among the trees, the pagoda of Pillaji loomed distinctly. Much to the guide's disappointment, the guards of the rajah, lighted by torches, were watching at the doors and marching to and fro with naked sabres; probably the priests, too, were watching within.

The Parsee, now convinced that it was impossible to force an entrance to the temple, advanced no farther, but led his companions back again. Phileas Fogg and Sir Francis Cromarty also saw that nothing could be attempted in that direction. They stopped, and engaged in a whispered colloquy.

"It is only eight now," said the brigadier, "and these guards may also go to sleep."

"It is not impossible," returned the Parsee.

They lay down at the foot of a tree, and waited.

The time seemed long; the guide ever and anon left them to take an observation on the edge of the wood, but the guards watched steadily by the glare of the torches, and a dim light crept through the windows of the pagoda.

They waited till midnight; but no change took place among the guards, and it became apparent that their yielding to sleep could not be counted on. The other plan must be carried out; an opening in the walls of the pagoda must be made. It remained to ascertain whether the priests were watching by the side of their victim as assiduously as were the soldiers at the door.

After a last consultation, the guide announced that he was ready for the attempt, and advanced, followed by the others. They took a roundabout way, so as to get at the pagoda on the rear. They reached the walls about half-past twelve, without having met anyone; here there was no guard, nor were there either windows or doors.

The night was dark. The moon, on the wane, scarcely left the horizon, and was covered with heavy clouds; the height of the trees deepened the darkness.

It was not enough to reach the walls; an opening in them must be accomplished, and to attain this purpose the party only had their pocket-knives. Happily the temple walls were built of brick and wood, which could be penetrated with little difficulty; after one brick had been taken out, the rest would yield easily.

They set noiselessly to work, and the Parsee on one side and Passepartout on the other began to loosen the bricks so as to make an aperture two feet wide. They were getting on rapidly, when suddenly a cry was heard in the interior of the temple, followed almost instantly by other cries replying from the outside. Passepartout and the guide stopped. Had they been heard? Was the alarm being given? Common prudence urged them to retire, and they did so, followed by Phileas Fogg and Sir Francis. They again hid themselves in the wood, and waited till the disturbance, whatever it might be, ceased, holding themselves ready to resume their attempt without delay. But, awkwardly enough, the guards now appeared at the rear of the temple, and there installed themselves, in readiness to prevent a surprise.

It would be difficult to describe the disappointment of the party, thus interrupted in their work. They could not now reach the victim; how, then, could they save her? Sir Francis shook his fists, Passepartout was beside himself, and the guide gnashed his teeth with rage. The tranquil Fogg waited, without betraying any emotion.

"We have nothing to do but to go away," whispered Sir Francis.

"Nothing but to go away," echoed the guide.

"Stop," said Fogg. "I am only due at Allahabad tomorrow before noon."

"But what can you hope to do?" asked Sir Francis. "In a few hours it will be daylight, and—"

"The chance which now seems lost may present itself at the last moment."

Sir Francis would have liked to read Phileas Fogg's eyes. What was this cool Englishman thinking of? Was he planning to make a rush for the young woman at the very moment of the sacrifice, and boldly snatch her from her executioners?

This would be utter folly, and it was hard to admit that Fogg was such a fool. Sir Francis consented, however, to remain to the end of this terrible drama. The guide led them to the rear of the glade, where they were able to observe the sleeping groups.

Meanwhile Passepartout, who had perched himself on the lower branches of a tree, was resolving an idea which had at first struck him like a flash, and which was now firmly lodged in his brain.

He had commenced by saying to himself, "What folly!" and then he repeated, "Why not, after all? It's a chance,—perhaps the only one; and with such sots!" Thinking thus, he slipped, with the suppleness of a serpent, to the lowest branches, the ends of which bent almost to the ground.

The hours passed, and the lighter shades now announced the approach of day, though it was not yet light. This was the moment. The slumbering multitude became animated, the tambourines sounded, songs and cries arose; the hour of the sacrifice had come. The doors of the pagoda swung open, and a bright light escaped from its interior, in the midst of which Mr. Fogg and Sir Francis espied the victim. She seemed, having shaken off the stupor of intoxication, to be striving to escape from her executioner. Sir Francis's heart throbbed; and, convulsively seizing Mr. Fogg's hand, found in it an open knife. Just at this moment the crowd began to move. The young woman had again fallen into a stupor caused by the fumes of hemp, and passed among the fakirs, who escorted her with their wild, religious cries.

Phileas Fogg and his companions, mingling in the rear ranks of the crowd, followed; and in two minutes they reached the banks of the stream, and stopped fifty paces from the pyre, upon which still lay the rajah's corpse. In the semi-obscurity they saw the victim, quite senseless, stretched out beside her husband's body. Then a torch was brought, and the wood, heavily soaked with oil, instantly took fire.

At this moment Sir Francis and the guide seized Phileas Fogg, who, in an instant of mad generosity, was about to rush upon the pyre. But he had quickly pushed them aside, when the whole scene suddenly changed. A cry of terror arose. The whole multitude prostrated themselves, terror-stricken, on the ground.

The old rajah was not dead, then, since he rose of a sudden, like a spectre, took up his wife in his arms, and descended from the pyre in the midst of the clouds of smoke, which only heightened his ghostly appearance.

Fakirs and soldiers and priests, seized with instant terror, lay there, with their faces on the ground, not daring to lift their eyes and behold such a prodigy.

The inanimate victim was borne along by the vigorous arms which supported her, and which she did not seem in the least to burden. Mr. Fogg and Sir Francis stood erect, the Parsee bowed his head, and Passepartout was, no doubt, scarcely less stupefied.

The resuscitated rajah approached Sir Francis and Mr. Fogg, and, in an abrupt tone, said, "Let us be off!"

It was Passepartout himself, who had slipped upon the pyre in the midst of the smoke and, profiting by the still overhanging darkness, had delivered the young woman from death! It was Passepartout who, playing his part with a happy audacity, had passed through the crowd amid the general terror.

A moment after all four of the party had disappeared in the woods, and the elephant was bearing them away at a rapid pace. But the cries and noise, and a ball which whizzed through Phileas Fogg's hat, apprised them that the trick had been discovered.

The old rajah's body, indeed, now appeared upon the burning pyre; and the priests, recovered from their terror, perceived that an abduction had taken place. They hastened into the forest, followed by the soldiers, who fired a volley after the fugitives; but the latter rapidly increased the distance between them, and ere long found themselves beyond the reach of the bullets and arrows.

Footnotes

  1. noun: story; rendition of events; communication of events as they transpired

    — Karen P.L. Hardison
  2. Dedicated by Hindu tradition or ritual to perform the action her in-laws wanted of her.

    — Karen P.L. Hardison
  3. Her deportment, her behavior, her way of representing herself and the intelligence of her remarks and knowledge.

    — Karen P.L. Hardison
  4. Had attended schools that were taught by English people and according to English standards and norms.

    — Karen P.L. Hardison
  5. The widow was a young and beautiful woman who reputation for grace, beauty and accomplishment was well known throughout a large part of India.

    — Karen P.L. Hardison
  6. verb: gripped by; made immobile by; overcome and overwhelmed by

    — Karen P.L. Hardison
  7. Grabbed up and carried in his arms the senseless widow, wife of the embalmed rajah.

    — Karen P.L. Hardison
  8. Fired a round of gunshots, all in unison, at the fleeing rescuers.

    — Karen P.L. Hardison
  9. Those who were guarding the widow and who were part of the procession.

    — Karen P.L. Hardison
  10. verb: rushed; moved quickly; went with great haste and quickness

    — Karen P.L. Hardison
  11. This implies that the fleeing rescuers were being shot at and that Fogg came a hat's distance from being wounded.

    — Karen P.L. Hardison
  12. Now we know what Passepartout had been thinking of and what he did when he slid off the bowed branch.

    — Karen P.L. Hardison
  13. Was no less astounded than they were by the inexplicable spectacle of a dead rajah being no longer dead.

    — Karen P.L. Hardison
  14. Believing like the other Indians that he was seeing a miracle or an aberration of nature.

    — Karen P.L. Hardison
  15. Stood up straight in contrast to those who were prostrate on the ground.

    — Karen P.L. Hardison
  16. She seemed to be of no weight at all to the strong arms that carried her.

    — Karen P.L. Hardison
  17. Such a one as the old, previously dead, embalmed rajah who was capable of extraordinary acts or deeds.

    prodigy*, noun:* one capable of extraordinary talent, acts, deeds

    — Karen P.L. Hardison
  18. To lay stretch out and face downward upon the ground. An attitude of worship or submission.

    — Karen P.L. Hardison
  19. The equivalent of 50 single walking or running strides, steps.

    — Karen P.L. Hardison
  20. This was the last opportunity for rescue that they might have: the procession to the pyre began anew with the break of daylight.

    — Karen P.L. Hardison
  21. We are not told what Passepartout did when the lowest branches bent almost to the ground.

    Suspense and plot conflict are building while we wonder about Passepartout.

    — Karen P.L. Hardison
  22. noun: drunkards,* i.e., the relatives and fakirs and priests who are asleep on the ground, drunk, from the opium and hemp*

    — Karen P.L. Hardison
  23. It is not clear what Passepartout is thinking about (Verne borrows this delayed delivery of meaning from Shakespeare's All's Well That Ends Well), but, here, he is reconsidering whether or not it truly is foolishness:* Why not give it a try, after all is said and considered?*

    Thus we begin to see that Passepartout is not thinking of the sacrifice but perhaps of Fogg's intention to wait it out in hopes of a chance to attempt the rescue.

    — Karen P.L. Hardison
  24. noun: a foolish act lacking good sense

    We believe Passepartout is speaking of the sacrifice of the widow but do not for sure.

    — Karen P.L. Hardison
  25. verb: to sit high up, as on the edge of something high and narrow

    — Karen P.L. Hardison
  26. The priests and relatives spread out on the ground asleep under the influence of the opium and hemp.

    — Karen P.L. Hardison
  27. noun phrase (adjective + noun): terror producing, emotional conflict

    — Karen P.L. Hardison
  28. verb phrase (adverb + infinitive verb form): difficult to acknowledge or accept.

    — Karen P.L. Hardison
  29. noun phrase (adjective + noun): absolute foolishness; absolute senselessness.

    — Karen P.L. Hardison
  30. The funereal procession of relatives and priests and fakirs who were drugging her and making her a living sacrifice, remembering that they have a selfish interest in her wealth.

    — Karen P.L. Hardison
  31. Paraphrase: With impudent, unflagging courage grab her, steal her.

    — Karen P.L. Hardison
  32. When they were walking her out to be placed on the platform with the pyre of wood for burning, for being set ablaze.

    — Karen P.L. Hardison
  33. To have seen the expression in Fogg's eyes and by that expression know more of what Fogg was thinking and feeling.

    — Karen P.L. Hardison
  34. An unexpected opportunity to save the widow may appear at the last possible moment.

    — Karen P.L. Hardison
  35. Paraphrase: I don't need to arrive at Allahabad until ....

    This implies that Fogg is considering that there may still be time to work out a rescue.

    — Karen P.L. Hardison
  36. Paraphrase: There is nothing left for us to do but to leave; to abandon our plan of rescue.

    — Karen P.L. Hardison
  37. Furthering the contrast: the other displayed great emotion; Fogg displays none.

    — Karen P.L. Hardison
  38. adjective: calm; undisturbed

    This sets Fogg as a distinct contrast to the other three. They are emotionally upset so as to be openly expressive of their feelings, lacking in emotional control. Fogg, on the other hand, is calm, quiet, controlled and rationally contemplating possibilities.

    — Karen P.L. Hardison
  39. Ground his teeth together, a reaction to feelings of violent anger.

    — Karen P.L. Hardison
  40. idiom, figure of speech: extremely distraught; deeply emotionally agitated

    The origin of this phrase goes back to ancient Greek dualistic theory of body and soul that stated that in times of great emotional disturbance or feeling, the soul would exit from the body and literally reside beside or next to its body. Thus, in disturbing situations, a person was thought to be beside themselves, with soul and body temporarily separated.

    — Karen P.L. Hardison
  41. On the alert to see and stop a surprise attack or rescue attempt.

    We do not know, but we are led to infer from this that the priests on watch inside the pagoda did, indeed, notice the bricks being removed from the rear wall.

    — Karen P.L. Hardison
  42. This is an intensifier phrase comprised of an adverb + adverbial intensifier. It intensifies the awkwardness of the awkward action confronting someone.

    Paraphrase: The guards now awkwardly appeared at the rear of the pagoda.

    Thus "awkwardly enough" intensifies, heightens, the sense of difficulty presented by the appearance of the guards in the rescuers' work area.

    — Karen P.L. Hardison
  43. verb: continue from the last point; take up where formerly left off

    — Karen P.L. Hardison
  44. idiom, figure of speech (variation of "at the ready"): being poised for, ready for, action 

    — Karen P.L. Hardison
  45. preposition (variation of "until"): up to a given point; up to that point at which something will or did happen

    — Karen P.L. Hardison
  46. noun: the interruption of the calm or peaceful nature of things or of a situation

    — Karen P.L. Hardison
  47. verb: to leave that place and go directly to another place, i.e., specifically to leave the rear of the pagoda and go to the safety of the cover from the wood

    — Karen P.L. Hardison
  48. A scream or a shout of alarm or urgency.

    Since Verne doesn't add "of a woman" or "of a man" or "of urgency" or "of alarm," we are at more of a loss to know what the cause is than the rescuers are because they might have at least been able to determine some information from what they heard.

    — Karen P.L. Hardison
  49. This implies a young, thin, supple tree branch, one not likely to snap under the downward pressure of Passepartout's weight.

    — Karen P.L. Hardison
  50. noun: agility; limberness; flexibility

    Remember, Passepartout was a circus perform, including a tightrope walker, and a gymnastics teacher.

    — Karen P.L. Hardison
  51. Thus further dimming the already dim moonlight coming from an only partially visible moon.

    — Karen P.L. Hardison
  52. Rose barely above the horizon; visual joining place of land and sky.

    — Karen P.L. Hardison
  53. Having past full moon and daily of decreasing size while approaching new moon (black, moonless sky).

    — Karen P.L. Hardison
  54. Paraphrase: in order to arrive at; in order to approach.

    — Karen P.L. Hardison
  55. A path that is not direct; it is circuitous; an indirect way to go.

    — Karen P.L. Hardison
  56. noun: conference to form a plan; formal discussion with a stated purpose

    — Karen P.L. Hardison
  57. adverb: persistently; with extreme, persistent care; unblinkingly doing something

    — Karen P.L. Hardison
  58. They still had to find out.

    ascertain, verb
    find out for certain; make sure of true and correct information

    — Karen P.L. Hardison
  59. The rescuers are switching to Plan B, as we might say: They can't get in through the well guarded doors so will have to implement their back-up plan.

    — Karen P.L. Hardison
  60. From, at the edge of the wood.

    The guide is in hiding under the cover of the wood but is observing what is happening at the pagoda; he is looking for their chance to mount their rescue.

    — Karen P.L. Hardison
  61. Persistently, yet not consistently: now and then.

    This expresses more intended seriousness than simply saying "every now and then."

    — Karen P.L. Hardison
  62. A formal conversation (about what to do) held in a whisper, not in a speaking tone.

    — Karen P.L. Hardison
  63. Their swords were not sheathed but had their blades exposed.

    — Karen P.L. Hardison
  64. noun: fires burning at the end of poles; usually produced by oil soaked wood or oil soaked rags wrapped around wood

    — Karen P.L. Hardison
  65. Literary device of personification: the wind made a noise in the tree leaves that was reminiscent of low voices gently speaking.

    — Karen P.L. Hardison
  66. Darkening hours while the sun is progressed through setting (the center of the sun has set below the horizon).

    — Karen P.L. Hardison
  67. verb: rose mysteriously and often threateningly over all else

    — Karen P.L. Hardison
  68. noun: tall, towers of a pagoda or mosque often used for prayers and for calling worshipers to prayer

    — Karen P.L. Hardison
  69. (past participle used as an adjective): preserved corpse; preserved with spices to prevent decay

    — Karen P.L. Hardison
  70. A large heap, a large collection or pile of wood used specifically for funeral purposes.

    — Karen P.L. Hardison
  71. Rosin oil can be derived from rosin following a complicated dry distillation and saponification process. The rosin oil may then be used in small lamps, called "torches" by the British (flashlights are also now called "torches" by the British and those influenced by them), to provide lamplight.

    — Karen P.L. Hardison
  72. It would be possible, because of the intoxicated state of the participants in the funeral procession, to sneak in unseen.

    — Karen P.L. Hardison
  73. An intoxicating and mildly euphoric mixture of opium and cannabis.

    — Karen P.L. Hardison
  74. verb (present participle form): to fall suddenly and uncontrollably into some state of being or some physical condition

    — Karen P.L. Hardison
  75. noun: beginning search to familiarize oneself with the surroundings; observation to ascertain strategic features or locations of the enemy

    Fogg, Sir Francis, Passepartout and the Parsee went to look out for an acceptable entrance and for the presence of guards.

    — Karen P.L. Hardison
  76. noun: action to interfere with a set course of action; planned disruption of a countering plan of action

    — Karen P.L. Hardison
  77. noun: a heap or pile of burnable materials (dried reeds, straw, logs, branches, etc) that are set ablaze with fire during a funeral, still practiced in India

    — Karen P.L. Hardison
  78. Funerals were begun at daybreak. The widow would be led, in a drugged state, to the husbands funeral pyre then.

    — Karen P.L. Hardison
  79. noun: an instance forcible removal; an instance of unexpected, unauthorized carrying off of a person; a kidnapping

    — Karen P.L. Hardison
  80. adverb: in a way that is clear, noticeable, easily distinguished; apparent

    — Karen P.L. Hardison
  81. The sounds of the holy ascetics who had been dancing around the drugged widow on the procession to the pagoda.

    — Karen P.L. Hardison
  82. adverb: appropriately to the requirements; in consequence of the circumstances

    — Karen P.L. Hardison
  83. verb: stopped; brought to a full and sudden stop, not a gradual slowing followed by a stop

    — Karen P.L. Hardison
  84. Relatives of the husband had an interest in a bride's death (regardless of the age of the husband, young or old) because the wealth of her bridal dowry would go to the husband's family upon her death. When the bride's death is brought about by the relatives but is not in connection to a related widowhood, this is called "bride death" and is perpetrated because of greed.

    — Karen P.L. Hardison
  85. The Guide is agreeing to the rescue and he does so by saying that he will accept whatever commands they give him to fulfill as he role in the rescue scheme. The reason he gives is that the woman and he are both Parsee, that is, they are of the same ethnic descent and of the same religion, that of Zoroastrianism.

    — Karen P.L. Hardison
  86. To know that he would remain uninvolved and not betray their rescue attempt to the Indians in the sati procession.

    — Karen P.L. Hardison
  87. In case he chooses not to cooperate with and assists with the rescue plan.

    — Karen P.L. Hardison
  88. The guide was the only one whose opinion about and commitment to the rescue was unknown.

    — Karen P.L. Hardison
  89. Passepartout sees that Fogg has human warmth and compassion under the scientifically precise habit and systematic procedure.

    — Karen P.L. Hardison
  90. If Fogg is killed or captured, he will not succeed in going round the world in 80 days, as he has wagered he will be able to do.

    — Karen P.L. Hardison
  91. Perhaps impossible to do in an effective way, in a practical way.

    — Karen P.L. Hardison