Jules Verne – The Complete Collection

Chapter 58

I stared at Captain Nemo in definite astonishment, and I answered him:

"Sir, I understand perfectly how your nets can furnish excellent fish for your table; I understand less how you can chase aquatic game in your underwater forests; but how a piece of red meat, no matter how small, can figure in your menu, that I don't understand at all."

"Nor I, sir," Captain Nemo answered me. "I never touch the flesh of land animals."

"Nevertheless, this . . . ," I went on, pointing to a dish where some slices of loin were still left.

"What you believe to be red meat, professor, is nothing other than loin of sea turtle. Similarly, here are some dolphin livers you might mistake for stewed pork. My chef is a skillful food processor who excels at pickling and preserving these various exhibits from the ocean. Feel free to sample all of these foods. Here are some preserves of sea cucumber that a Malaysian would declare to be unrivaled in the entire world, here's cream from milk furnished by the udders of cetaceans, and sugar from the huge fucus plants in the North Sea; and finally, allow me to offer you some marmalade of sea anemone, equal to that from the tastiest fruits."

So I sampled away, more as a curiosity seeker than an epicure, while Captain Nemo delighted me with his incredible anecdotes.

"But this sea, Professor Aronnax," he told me, "this prodigious, inexhaustible wet nurse of a sea not only feeds me, she dresses me as well. That fabric covering you was woven from the masses of filaments that anchor certain seashells; as the ancients were wont to do, it was dyed with purple ink from the murex snail and shaded with violet tints that I extract from a marine slug, the Mediterranean sea hare. The perfumes you'll find on the washstand in your cabin were produced from the oozings of marine plants. Your mattress was made from the ocean's softest eelgrass. Your quill pen will be whalebone, your ink a juice secreted by cuttlefish or squid. Everything comes to me from the sea, just as someday everything will return to it!"

"You love the sea, captain."

"Yes, I love it! The sea is the be all and end all! It covers seven-tenths of the planet earth. Its breath is clean and healthy. It's an immense wilderness where a man is never lonely, because he feels life astir on every side. The sea is simply the vehicle for a prodigious, unearthly mode of existence; it's simply movement and love; it's living infinity, as one of your poets put it. And in essence, professor, nature is here made manifest by all three of her kingdoms, mineral, vegetable, and animal. The last of these is amply represented by the four zoophyte groups, three classes of articulates, five classes of mollusks, and three vertebrate classes: mammals, reptiles, and those countless legions of fish, an infinite order of animals totaling more than 13,000 species, of which only one-tenth belong to fresh water. The sea is a vast pool of nature. Our globe began with the sea, so to speak, and who can say we won't end with it! Here lies supreme tranquility. The sea doesn't belong to tyrants. On its surface they can still exercise their iniquitous claims, battle each other, devour each other, haul every earthly horror. But thirty feet below sea level, their dominion ceases, their influence fades, their power vanishes! Ah, sir, live! Live in the heart of the seas! Here alone lies independence! Here I recognize no superiors! Here I'm free!"

Captain Nemo suddenly fell silent in the midst of this enthusiastic outpouring. Had he let himself get carried away, past the bounds of his habitual reserve? Had he said too much? For a few moments he strolled up and down, all aquiver. Then his nerves grew calmer, his facial features recovered their usual icy composure, and turning to me:

"Now, professor," he said, "if you'd like to inspect the Nautilus, I'm yours to command."

CHAPTER 11

The Nautilus

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.