“What’s the matter with you, young man?”

“Get the axe! For God’s sake, run for the doctor, some one, while I pry it open!”

“Look here,” said the landlady, quickly putting down the vinegar-cruet, so as to have one hand free; “look here; are you talking about prying open any of my doors?”—and with that she seized my arm. “What’s the matter with you? What’s the matter with you, shipmate?”

In as calm, but rapid a manner as possible, I gave her to understand the whole case. Unconsciously clapping the vinegar-cruet to one side of her nose, she ruminated for an instant; then exclaimed—“No! I haven’t haven seen it since I put it there.” Running to a little closet under the landing of the stairs, she glanced in, and returning, told me that Queequeg’s harpoon was missing. “He’s killed himself,” she cried. “It’s unfort’nate Stiggs done over again there goes another counterpane—God pity his poor mother!—it will be the ruin of my house. Has the poor lad a sister? Where’s that girl?—there, Betty, go to Snarles the Painter, and tell him to paint me a sign, with—“no suicides permitted here, and no smoking in the parlor;”—might as well kill both birds at once. Kill? The Lord be merciful to to his ghost! What’s that noise there? You, young man, avast there!”

And running after me, she caught me as I was again trying to force open the door.

“I won’t allow it; I won’t have my premises spoiled. Go for the locksmith, there’s one about a mile from here. But avast!” putting her hand in her side pocket, “here’s a key that’ll fit, I guess; let’s see.” And with that, she turned it in the lock; but alas! Queequeg’s supplemental bolt remained unwithdrawn within.

“Have to burst it open,” said I, and was running down the entry a little, for a good start, when the the landlady caught at me, again vowing I should not break down her premises; but I tore from her, and with a sudden bodily rush dashed myself full against the mark.

With a prodigious noise the door flew open, and the knob slamming against the wall, sent the plaster to the ceiling; and there, good heavens! there sat Queequeg, altogether cool on his hams, and holding Yojo on top of his head. He looked neither one way nor the other way but sat like a carved image with scarce a sign of active life.

“Queequeg,” said I, going up to him, “Queequeg, what’s the matter matter with you?”

“He hain’t been a sittin’ so all day, has he?” said the landlady.

But all we said, not a word could we drag out of him; I almost felt like pushing him over, so as to change his position, for it was almost intolerable, it seemed so painfully and unnaturally constrained; especially, as in all probability he had been sitting so for upwards of eight or ten hours, going too without his regular meals.

The poor fellow really felt sad when—melancholy reminiscence of his youth!—he donned his costume, adorned with vari-coloured wings, and fastened to his natural feature a false nose six feet long. long But he cheered up when he thought that this nose was winning him something to eat.

He went upon the stage, and took his place beside the rest who were to compose the base of the Car of Juggernaut. They all stretched themselves on the floor, their noses pointing to the ceiling. A second group of artists disposed themselves on these long appendages, then a third above these, then a fourth, until a human monument reaching to the very cornices of the theatre soon arose on top of the noses. This elicited loud applause, in the midst of which the orchestra was just just striking up a deafening air, when the pyramid tottered, the balance was lost, one of the lower noses vanished from the pyramid, and the human monument was shattered like a castle built of cards!

It was Passepartout’s fault. Abandoning his position, clearing the footlights without the aid of his wings, and, clambering up to the right-hand gallery, he fell at the feet of one of the spectators, crying, “Ah, my master! my master!”

“You here?”

“Myself.”

“Very well; then let us go to the steamer, young man!”

Mr. Fogg, Aouda, and Passepartout passed through the lobby of the theatre to the outside, where they encountered the Honourable Mr. Batulcar, furious with rage. He demanded damages for the “breakage” of the pyramid; and Phileas Fogg appeased him by giving him a handful of banknotes.

At half-past six, the very hour of departure, Mr. Fogg and Aouda, followed by Passepartout, who in his hurry had retained his wings, and nose six feet long, stepped upon the American steamer.

What happened when the pilot-boat came in sight of Shanghai will be easily guessed. The signals made by the Tankadere had been seen by the captain of the Yokohama steamer, who, espying the flag at half-mast, had directed his course towards the little craft. Phileas Fogg, after paying the stipulated price of his passage to John Busby, and rewarding that worthy with the additional sum of five hundred and fifty pounds, ascended the steamer with Aouda and Fix; and they started at once for Nagasaki and Yokohama.

They reached their destination on the morning of the 14th of November. Phileas Fogg lost no time in going on board the Carnatic, where he learned, to Aouda’s great delight—and perhaps to his own, though he betrayed no emotion—that Passepartout, a Frenchman, had really arrived on her the day before.

The San Francisco steamer was announced to leave that very evening, and it became necessary to find Passepartout, if possible, without delay. Mr. Fogg applied in vain to the French and English consuls, and, after wandering through the streets a long time, began to despair of finding his missing servant. Chance, or perhaps a kind of presentiment, at last led him into the Honourable Mr. Batulcar’s theatre. He certainly would not have recognised Passepartout in the eccentric mountebank’s costume; but the latter, lying on his back, perceived his master in the gallery. He could not help starting, which so changed the position of his nose as to bring the “pyramid” pell-mell upon the stage.