Previous
Mood
Definition of Motif
A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of related symbols, help develop the central themes of a book... read full definition
A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of related symbols, help develop the... read full definition
A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of... read full definition
Chapter 12
Explanation and Analysis—Cross-Cultural Encounters:
As its title suggest, the novel is about a trip around the world, and one of its motifs is cross-cultural encounters. It always explores these encounters from a European point of view. For example, in Chapter 12, Aouda makes her first appearance in a scene wrought with harmful stereotypes about Indian culture:
This woman was young, and as fair as a European. Her head and neck, shoulders, ears, arms, hands, and toes, were loaded down with jewels and gems,—with bracelets, earrings, and rings; while a tunic bordered with gold, and covered with a light muslin robe, betrayed the outline of her form.
When Aouda first appears, she is portrayed as a victim of the excesses of her Indian culture. "As fair as a European," her skin color makes her seem more familiar and more human to the white European characters than the darker-skinned people who are going to sacrifice her. The jewelry "loading her down" suggests that she is being crushed under the "brahmins'" culture of excess. They are so invested in displays of wealth, the novel seems to be saying, that they are willing to throw Aouda's precious human life away in a senseless act of human sacrifice. The European characters sharpen their own sense of right and wrong in cross-cultural encounters such as this one. This is one of the first moments when Fogg agrees to throw his schedule aside; within the context of the novel, this confrontation with so-called Indian culture (or its stereotype) teaches Fogg about honor.
In Chapter 22, the reader sees Japan through Passepartout's eyes. Although there are still some racist judgments in this passage, it is comparatively more respectful than the depiction of Indian culture or even Chinese culture. Passepartout seems to hold Japan, as an imperial nation itself, in higher esteem than some other nations.
Meanwhile, in Chapter 25, Fogg and his party attend a political rally in San Francisco. Fogg narrowly avoids being beaten with a cane by Colonel Stamp Proctor:
A big brawny fellow with a red beard, flushed face, and broad shoulders, who seemed to be the chief of the band, raised his clenched fist to strike Mr. Fogg, whom he would have given a crushing blow, had not Fix rushed in and received it in his stead. An enormous bruise immediately made its appearance under the detective’s silk hat, which was completely smashed in.
“Yankee!” exclaimed Mr. Fogg, darting a contemptuous look at the ruffian.
“Englishman!” returned the other. “We will meet again!”
“When you please.” (Chapter 25)
They call each other "Yankee" and "Englishman," emphasizing that they see one another as national stereotypes. Americans were seen as less restrained and more physically violent than English people, especially when it came to politics. The near-caning at a political rally may have reminded readers of the infamous caning of Charles Sumner on the Senate floor in 1856. Sumner insulted two Southern senators in an impassioned speech against the admission of Kansas to the Union as a state that allowed slavery. In retaliation, Preston Brookes (a colleague of those senators) attacked Sumner with a cane and inflicted a serious head injury. The encounter between Fogg and Proctor teaches Fogg that it is honorable to stand up for himself, but it also helps him and the reader reflect on the excesses of American passion in such a situation.
Related Themes:
Chapter 25
Explanation and Analysis—Cross-Cultural Encounters:
As its title suggest, the novel is about a trip around the world, and one of its motifs is cross-cultural encounters. It always explores these encounters from a European point of view. For example, in Chapter 12, Aouda makes her first appearance in a scene wrought with harmful stereotypes about Indian culture:
This woman was young, and as fair as a European. Her head and neck, shoulders, ears, arms, hands, and toes, were loaded down with jewels and gems,—with bracelets, earrings, and rings; while a tunic bordered with gold, and covered with a light muslin robe, betrayed the outline of her form.
When Aouda first appears, she is portrayed as a victim of the excesses of her Indian culture. "As fair as a European," her skin color makes her seem more familiar and more human to the white European characters than the darker-skinned people who are going to sacrifice her. The jewelry "loading her down" suggests that she is being crushed under the "brahmins'" culture of excess. They are so invested in displays of wealth, the novel seems to be saying, that they are willing to throw Aouda's precious human life away in a senseless act of human sacrifice. The European characters sharpen their own sense of right and wrong in cross-cultural encounters such as this one. This is one of the first moments when Fogg agrees to throw his schedule aside; within the context of the novel, this confrontation with so-called Indian culture (or its stereotype) teaches Fogg about honor.
In Chapter 22, the reader sees Japan through Passepartout's eyes. Although there are still some racist judgments in this passage, it is comparatively more respectful than the depiction of Indian culture or even Chinese culture. Passepartout seems to hold Japan, as an imperial nation itself, in higher esteem than some other nations.
Meanwhile, in Chapter 25, Fogg and his party attend a political rally in San Francisco. Fogg narrowly avoids being beaten with a cane by Colonel Stamp Proctor:
A big brawny fellow with a red beard, flushed face, and broad shoulders, who seemed to be the chief of the band, raised his clenched fist to strike Mr. Fogg, whom he would have given a crushing blow, had not Fix rushed in and received it in his stead. An enormous bruise immediately made its appearance under the detective’s silk hat, which was completely smashed in.
“Yankee!” exclaimed Mr. Fogg, darting a contemptuous look at the ruffian.
“Englishman!” returned the other. “We will meet again!”
“When you please.” (Chapter 25)
They call each other "Yankee" and "Englishman," emphasizing that they see one another as national stereotypes. Americans were seen as less restrained and more physically violent than English people, especially when it came to politics. The near-caning at a political rally may have reminded readers of the infamous caning of Charles Sumner on the Senate floor in 1856. Sumner insulted two Southern senators in an impassioned speech against the admission of Kansas to the Union as a state that allowed slavery. In retaliation, Preston Brookes (a colleague of those senators) attacked Sumner with a cane and inflicted a serious head injury. The encounter between Fogg and Proctor teaches Fogg that it is honorable to stand up for himself, but it also helps him and the reader reflect on the excesses of American passion in such a situation.
Related Themes:
Chapter 28
Explanation and Analysis—Order and Disruption:
The interplay between order and disruption is a motif that drives the plot of the novel. In Chapter 28, Fix, Passepartout, and Aouda worry about preventing Fogg and Colonel Stamp Proctor from getting into a fight on the train:
Was there any means of detaining Mr. Fogg in the car, to avoid a meeting between him and the colonel? It ought not to be a difficult task, since that gentleman was naturally sedentary and little curious. The detective, at least, seemed to have found a way; for, after a few moments, he said to Mr. Fogg, "[...] You were in the habit of playing whist, [...] on the steamers.”
Fogg does not realize that Proctor, the American man who threatened him with a cane at a San Francisco political rally, is on the train as well. Fogg has sworn to defend his honor should he ever meet Proctor again, so his companions are rightfully concerned about a disruption to their journey should the two men find each other. By proposing that they play whist, Fix is simply offering a distraction to Fogg. Furthermore, he is offering an activity that Fogg has historically enjoyed because it has strict rules and an order of operations. Fix is appealing to Fogg's love of order to prevent a disruption that might throw them off track.
The entire premise of Fogg's wager is that industrialization has brought order to the entire world, and that he can predict and control all possible disruptions to his travel plans. Previous instances of order and disruption have tested Fogg's hypothesis. For instance, in Chapter 11, the railroad turns out not to run all the way across India. Then, bad weather slows down the steamer ship to Hong Kong in Chapter 18. The disruption Fix is trying to prevent in Chapter 28 is not a factor external to Fogg, but rather Fogg's own human urge to fight a man who threatened him. The attempt to impose order and avoid disruption here begins to show as an attempt to control human nature itself: humans are not meant for the degree of order Fogg and industrial society are striving for. Fogg is slowly yielding to his own human fallibility and unpredictability.
Related Themes:
