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Twenty Thousand Leagues Under the Sea, Ver. 2

<h2>Chapter 11</h2><h3>The Nautilus</h3> CAPTAIN NEMO stood up. I followed him. Contrived at the rear of the dining room, a double door opened, and I entered a room whose dimensions equaled the one I had just left. It was a library. Tall, black–rosewood bookcases, inlaid with copperwork, held on their wide shelves a large number of uniformly bound books. These furnishings followed the contours of the room, their lower parts leading to huge couches upholstered in maroon leather and curved for maximum comfort. Light, movable reading stands, which could be pushed away or pulled near as desired, allowed books to be positioned on them for easy study. In the center stood a huge table covered with pamphlets, among which some newspapers, long out of date, were visible. Electric light flooded this whole harmonious totality, falling from four frosted half globes set in the scrollwork of the ceiling. I stared in genuine wonderment at this room so ingeniously laid out, and I couldn't believe my eyes. "Captain Nemo," I told my host, who had just stretched out on a couch, "this is a library that would do credit to more than one continental palace, and I truly marvel to think it can go with you into the deepest seas." "Where could one find greater silence or solitude, professor?" Captain Nemo replied. "Did your study at the museum afford you such a perfect retreat?" "No, sir, and I might add that it's quite a humble one next to yours. You own 6,000 or 7,000 volumes here . . ." "12,000, Professor Aronnax. They're my sole remaining ties with dry land. But I was done with the shore the day my Nautilus submerged for the first time under the waters. That day I purchased my last volumes, my last pamphlets, my last newspapers, and ever since I've chosen to believe that humanity no longer thinks or writes. In any event, professor, these books are at your disposal, and you may use them freely." I thanked Captain Nemo and approached the shelves of this library. Written in every language, books on science, ethics, and literature were there in abundance, but I didn't see a single work on economics—they seemed to be strictly banned on board. One odd detail: all these books were shelved indiscriminately without regard to the language in which they were written, and this jumble proved that the Nautilus's captain could read fluently whatever volumes he chanced to pick up. Among these books I noted masterpieces by the greats of ancient and modern times, in other words, all of humanity's finest achievements in history, poetry, fiction, and science, from Homer to Victor Hugo, from Xenophon to Michelet, from Rabelais to Madame George Sand. But science, in particular, represented the major investment of this library: books on mechanics, ballistics, hydrography, meteorology, geography, geology, etc., held a place there no less important than works on natural history, and I realized that they made up the captain's chief reading. There I saw the complete works of Humboldt, the complete Arago, as well as works by Foucault, Henri Sainte–Claire Deville, Chasles, Milne–Edwards, Quatrefages, John Tyndall, Faraday, Berthelot, Father Secchi, Petermann, Commander Maury, Louis Agassiz, etc., plus the transactions of France's Academy of Sciences, bulletins from the various geographical societies, etc., and in a prime location, those two volumes on the great ocean depths that had perhaps earned me this comparatively charitable welcome from Captain Nemo. Among the works of Joseph Bertrand, his book entitled The Founders of Astronomy even gave me a definite date; and since I knew it had appeared in the course of 1865, I concluded that the fitting out of the Nautilus hadn't taken place before then. Accordingly, three years ago at the most, Captain Nemo had begun his underwater existence. Moreover, I hoped some books even more recent would permit me to pinpoint the date precisely; but I had plenty of time to look for them, and I didn't want to put off any longer our stroll through the wonders of the Nautilus. "Sir," I told the captain, "thank you for placing this library at my disposal. There are scientific treasures here, and I'll take advantage of them." "This room isn't only a library," Captain Nemo said, "it's also a smoking room." "A smoking room?" I exclaimed. "Then one may smoke on board?" "Surely." "In that case, sir, I'm forced to believe that you've kept up relations with Havana." "None whatever," the captain replied. "Try this cigar, Professor Aronnax, and even though it doesn't come from Havana, it will satisfy you if you're a connoisseur." I took the cigar offered me, whose shape recalled those from Cuba; but it seemed to be made of gold leaf. I lit it at a small brazier supported by an elegant bronze stand, and I inhaled my first whiffs with the relish of a smoker who hasn't had a puff in days. "It's excellent," I said, "but it's not from the tobacco plant." "Right," the captain replied, "this tobacco comes from neither Havana nor the Orient. It's a kind of nicotine–rich seaweed that the ocean supplies me, albeit sparingly. Do you still miss your Cubans, sir?" "Captain, I scorn them from this day forward." "Then smoke these cigars whenever you like, without debating their origin. They bear no government seal of approval, but I imagine they're none the worse for it." "On the contrary." Just then Captain Nemo opened a door facing the one by which I had entered the library, and I passed into an immense, splendidly lit lounge. It was a huge quadrilateral with canted corners, ten meters long, six wide, five high. A luminous ceiling, decorated with delicate arabesques, distributed a soft, clear daylight over all the wonders gathered in this museum. For a museum it truly was, in which clever hands had spared no expense to amass every natural and artistic treasure, displaying them with the helter–skelter picturesqueness that distinguishes a painter's studio. Some thirty pictures by the masters, uniformly framed and separated by gleaming panoplies of arms, adorned walls on which were stretched tapestries of austere design. There I saw canvases of the highest value, the likes of which I had marveled at in private European collections and art exhibitions. The various schools of the old masters were represented by a Raphael Madonna, a Virgin by Leonardo da Vinci, a nymph by Correggio, a woman by Titian, an adoration of the Magi by Veronese, an assumption of the Virgin by Murillo, a Holbein portrait, a monk by Velazquez, a martyr by Ribera, a village fair by Rubens, two Flemish landscapes by Teniers, three little genre paintings by Gerard Dow, Metsu, and Paul Potter, two canvases by Gericault and Prud'hon, plus seascapes by Backhuysen and Vernet. Among the works of modern art were pictures signed by Delacroix, Ingres, Decamps, Troyon, Meissonier, Daubigny, etc., and some wonderful miniature statues in marble or bronze, modeled after antiquity's finest originals, stood on their pedestals in the corners of this magnificent museum. As the Nautilus's commander had predicted, my mind was already starting to fall into that promised state of stunned amazement. "Professor," this strange man then said, "you must excuse the informality with which I receive you, and the disorder reigning in this lounge." "Sir," I replied, "without prying into who you are, might I venture to identify you as an artist?" "A collector, sir, nothing more. Formerly I loved acquiring these beautiful works created by the hand of man. I sought them greedily, ferreted them out tirelessly, and I've been able to gather some objects of great value. They're my last mementos of those shores that are now dead for me. In my eyes, your modern artists are already as old as the ancients. They've existed for 2,000 or 3,000 years, and I mix them up in my mind. The masters are ageless." "What about these composers?" I said, pointing to sheet music by Weber, Rossini, Mozart, Beethoven, Haydn, Meyerbeer, Hérold, Wagner, Auber, Gounod, Victor Massé, and a number of others scattered over a full size piano–organ, which occupied one of the wall panels in this lounge. "These composers," Captain Nemo answered me, "are the contemporaries of Orpheus, because in the annals of the dead, all chronological differences fade; and I'm dead, professor, quite as dead as those friends of yours sleeping six feet under!" Captain Nemo fell silent and seemed lost in reverie. I regarded him with intense excitement, silently analyzing his strange facial expression. Leaning his elbow on the corner of a valuable mosaic table, he no longer saw me, he had forgotten my very presence. I didn't disturb his meditations but continued to pass in review the curiosities that enriched this lounge. After the works of art, natural rarities predominated. They consisted chiefly of plants, shells, and other exhibits from the ocean that must have been Captain Nemo's own personal finds. In the middle of the lounge, a jet of water, electrically lit, fell back into a basin made from a single giant clam. The delicately festooned rim of this shell, supplied by the biggest mollusk in the class Acephala, measured about six meters in circumference; so it was even bigger than those fine giant clams given to King François I by the Republic of Venice, and which the Church of Saint–Sulpice in Paris has made into two gigantic holy–water fonts. Around this basin, inside elegant glass cases fastened with copper bands, there were classified and labeled the most valuable marine exhibits ever put before the eyes of a naturalist. My professorial glee may easily be imagined. The zoophyte branch offered some very unusual specimens from its two groups, the polyps and the echinoderms. In the first group: organ–pipe coral, gorgonian coral arranged into fan shapes, soft sponges from Syria, isis coral from the Molucca Islands, sea–pen coral, wonderful coral of the genus Virgularia from the waters of Norway, various coral of the genus Umbellularia, alcyonarian coral, then a whole series of those madrepores that my mentor Professor Milne–Edwards has so shrewdly classified into divisions and among which I noted the wonderful genus Flabellina as well as the genus Oculina from Réunion Island, plus a Neptune's chariot from the Caribbean Sea—every superb variety of coral, and in short, every species of these unusual polyparies that congregate to form entire islands that will one day turn into continents. Among the echinoderms, notable for being covered with spines: starfish, feather stars, sea lilies, free–swimming crinoids, brittle stars, sea urchins, sea cucumbers, etc., represented a complete collection of the individuals in this group. An excitable conchologist would surely have fainted dead away before other, more numerous glass cases in which were classified specimens from the mollusk branch. There I saw a collection of incalculable value that I haven't time to describe completely. Among these exhibits I'll mention, just for the record: an elegant royal hammer shell from the Indian Ocean, whose evenly spaced white spots stood out sharply against a base of red and brown; an imperial spiny oyster, brightly colored, bristling with thorns, a specimen rare to European museums, whose value I estimated at ₣20,000; a common hammer shell from the seas near Queensland, very hard to come by; exotic cockles from Senegal, fragile white bivalve shells that a single breath could pop like a soap bubble; several varieties of watering–pot shell from Java, a sort of limestone tube fringed with leafy folds and much fought over by collectors; a whole series of top–shell snails—greenish yellow ones fished up from American seas, others colored reddish brown that patronize the waters off Queensland, the former coming from the Gulf of Mexico and notable for their overlapping shells, the latter some sun–carrier shells found in the southernmost seas, finally and rarest of all, the magnificent spurred–star shell from New Zealand; then some wonderful peppery–furrow shells; several valuable species of cythera clams and venus clams; the trellis wentletrap snail from Tranquebar on India's eastern shore; a marbled turban snail gleaming with mother–of–pearl; green parrot shells from the seas of China; the virtually unknown cone snail from the genus Coenodullus; every variety of cowry used as money in India and Africa; a "glory–of–the–seas," the most valuable shell in the East Indies; finally, common periwinkles, delphinula snails, turret snails, violet snails, European cowries, volute snails, olive shells, miter shells, helmet shells, murex snails, whelks, harp shells, spiky periwinkles, triton snails, horn shells, spindle shells, conch shells, spider conchs, limpets, glass snails, sea butterflies—every kind of delicate, fragile seashell that science has baptized with its most delightful names. Aside and in special compartments, strings of supremely beautiful pearls were spread out, the electric light flecking them with little fiery sparks: pink pearls pulled from saltwater fan shells in the Red Sea; green pearls from the rainbow abalone; yellow, blue, and black pearls, the unusual handiwork of various mollusks from every ocean and of certain mussels from rivers up north; in short, several specimens of incalculable worth that had been oozed by the rarest of shellfish. Some of these pearls were bigger than a pigeon egg; they more than equaled the one that the explorer Tavernier sold the Shah of Persia for ₣3,000,000, and they surpassed that other pearl owned by the Imam of Muscat, which I had believed to be unrivaled in the entire world. Consequently, to calculate the value of this collection was, I should say, impossible. Captain Nemo must have spent millions in acquiring these different specimens, and I was wondering what financial resources he tapped to satisfy his collector's fancies, when these words interrupted me: "You're examining my shells, professor? They're indeed able to fascinate a naturalist; but for me they have an added charm, since I've collected every one of them with my own two hands, and not a sea on the globe has escaped my investigations." "I understand, Captain, I understand your delight at strolling in the midst of this wealth. You're a man who gathers his treasure in person. No museum in Europe owns such a collection of exhibits from the ocean. But if I exhaust all my wonderment on them, I'll have nothing left for the ship that carries them! I have absolutely no wish to probe those secrets of yours! But I confess that my curiosity is aroused to the limit by this Nautilus, the motor power it contains, the equipment enabling it to operate, the ultra powerful force that brings it to life. I see some instruments hanging on the walls of this lounge whose purposes are unknown to me. May I learn—" "Professor Aronnax," Captain Nemo answered me, "I've said you'd be free aboard my vessel, so no part of the Nautilus is off–limits to you. You may inspect it in detail, and I'll be delighted to act as your guide." "I don't know how to thank you, sir, but I won't abuse your good nature. I would only ask you about the uses intended for these instruments of physical measure—" "Professor, these same instruments are found in my stateroom, where I'll have the pleasure of explaining their functions to you. But beforehand, come inspect the cabin set aside for you. You need to learn how you'll be lodged aboard the Nautilus." I followed Captain Nemo, who, via one of the doors cut into the lounge's canted corners, led me back down the ship's gangways. He took me to the bow, and there I found not just a cabin but an elegant stateroom with a bed, a washstand, and various other furnishings. I could only thank my host. "Your stateroom adjoins mine," he told me, opening a door, "and mine leads into that lounge we've just left." I entered the captain's stateroom. It had an austere, almost monastic appearance. An iron bedstead, a worktable, some washstand fixtures. Subdued lighting. No luxuries. Just the bare necessities. Captain Nemo showed me to a bench. "Kindly be seated," he told me. I sat, and he began speaking as follows: <div style="break-after:column;"></div>

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