The next morning poor, jaded, famished Passepartout said to himself that he must get something to eat at all hazards, and the sooner he did so the better. He might, indeed, sell his watch; but he would have starved first. Now or never he must use the strong, if not melodious voice which nature had bestowed upon him. He knew several French and English songs, and resolved to try them upon the Japanese, who must be lovers of music, since they were for ever pounding on their cymbals, tam-tams, and tambourines, and could not but appreciate European talent.
It was, perhaps, rather early in the morning to get up a concert, and the audience, prematurely aroused from their slumbers, might not, possibly pay their entertainer with coin bearing the Mikado's features. Passepartout therefore decided to wait several hours; and, as he was sauntering along, it occurred to him that he would seem rather too well dressed for a wandering artist. The idea struck him to change his garments for clothes more in harmony with his project; by which he might also get a little money to satisfy the immediate cravings of hunger. The resolution taken, it remained to carry it out.
It was only after a long search that Passepartout discovered a native dealer in old clothes. The man liked the European costume, and ere long Passepartout issued from his shop accoutered in an old Japanese coat, and a sort of one-sided turban, faded with long use. A few small pieces of silver, moreover, jingled in his pocket.
`Good!' thought he. `I will imagine I am at the Carnival!'
His first care, after being thus `Japanesed', was to enter a tea-house of modest aprformance.
Before three o'clock the large shed was invaded by the spectators, comprising Europeans and natives, Chinese and Japanese, men, women and children, who precipitated themselves upon the narrow benches and into the boxes opposite the stage. The musicians took up a position inside, and were vigorously performing on their gongs, tam-tams, flutes, bones, tambourines, and immense drums.
The performance was ? àisit the steamers which were about to leave for America. He would offer himself as a cook or servant, in payment of his passage and meals. Once at San Francisco, he would find some means of going on. The difficulty was, how to traverse the four thousand seven hundred miles of the Pacific which lay between Japan and the New World.
Passepartout was not the man to let an idea go begging, and directed his steps towards the docks. But, as he approached them, his project, which at first had seemed so simple, began to grow more and more formidable to his mind. What need would they have of a cook or servant on an American steamer, and what confidence would they put in him, dressed as he was? What references could he give?
As he was reflecting in this wise, his eyes fell upon an immense placard which a sort of clown was carrying through the streets. This placard, which was in English, read as follows:--
This was the Honourable William Batulcar's establishment. That gentlemen was a sort of Barnum, the director of a troupe of mountebanks, jugglers, clowns, acrobats, equilibrists and gymnasts, who, according to the placard, was giving his last performances before leaving the Empire of the Sun for the States of the Union.
Passepartout entered and asked for Mr Batulcar, who straightaway appeared in person.
`What do you want?' said he to Passepartout, whom he at first took for a native.
`Would you like a servant, sir?' asked Passepartout.
`A servant!' cried Mr Batulcar, caressing the thick gray beard which hung from his chin. `I already have two who are obedient and faithful, have never left me, and serve me for their nourishment, - and here they are,' added he, holding out his two robust arms, furrowed with veins as large as the strings of a bass-viol.
`So I can be of no use to you?'
`None.'
`The devil! I should so like to cross the Pacific with you!'
`Ah!' said the Honourable Mr Batulcar. `You are no more a Japanese than I am a monkey! Why are you dressed up in that way?'
`A man dresses as he can.'
`That's true. You are a Frenchman, aren't you?'
`Yes; a Parisian of Paris.'
`Then you ought to know how to make grimaces?'
`Why?' replied Passepartout, a little vexed that his nationality should cause this question; `we Frenchmen know how to make grimaces, it is true, - but not any better than the Americans do.'
`True. Well, if I can't take you as a servant, I can as a clown. You see, my friend, in France they exhibit foreign clowns, and in foreign parts French clowns.'
`Ah!'
`You are pretty strong, eh?'
`Especially after a good meal.'
`And you can sing?'
`Yes,' returned Passepartout, who had formerly been wont to sing in the streets.
`But can you sing standing on your head, with a top spinning on your left foot, and a sabre balanced on your right?'
`Humph! I think so,' replied Passepartout, recalling the exercises of his younger days.
`Well, that's enough,' said the Honourable William Batulcar.
The engagement was concluded there and then.
Passepartout had at last found something to do. He was engaged to act in the celebrated Japanese troupe. It was not a very dignified position, but within a week he would be on his way to San Francisco.
The performance, so noisily announced by the Honourable Mr Batulcar, was to commence at three o'clock, and soon the deafening instruments of a Japanese orchestra resounded at the door. Passepartout, though he had not been able to study or rehearse a part, was designated to lend the aid of his sturdy shoulders in the great exhibition of the `human pyramid', executed by the Long Noses of the god Tingou. This `great attraction' was to close the performance.
Before three o'clock the large shed was invaded by the spectators, comprising Europeans and natives, Chinese and Japanese, men, women and children, who precipitated themselves upon the narrow benches and into the boxes opposite the stage. The musicians took up a position inside, and were vigorously performing on their gongs, tam-tams, flutes, bones, tambourines, and immense drums.
The performance was much like all acrobatic displays; but it must be confessed that the Japanese are the first equilibrists in the world.
One, with a fan and some bits of paper, performed the graceful trick of the butterflies and the flowers; another traced in the air, with the odorous smoke of his pipe, a series of blue words, which composed a compliment to the audience; while a third juggled with some lighted candles, which he extinguished successively as they passed his lips, and relit again without interrupting for an instant his juggling. Another reproduced the most singular combinations with a spinning-top; in his hands the revolving tops seemed to be animated with a life of their own in their interminable whirling; they ran over pipe-stems, the edges of sabres, wires, and even hairs stretched across the stage; they turned around on the edges of large glasses, crossed bamboo ladders, dispersed into all the corners, and produced strange musical effects by the combination of their various pitches of tone. The jugglers tossed them in the air, threw them like shuttlecocks with wooden battledores, and yet they kept on spinning; they put them into their pockets, and took them out still whirling as before.
It is useless to describe the astonishing performances of the acrobats and gymnasts. The turning on ladders, poles, balls, barrels, &c., was executed with wonderful precision.
But the principal attraction was the exhibition of the Long Noses, a show to which Europe is as yet a stranger.
The Long Noses form a peculiar company, under the direct patronage of the god Tingou. Attired after the fashion of the Middle Ages, they bore upon their shoulders a splendid pair of wings; but what especially distinguished them was the long noses which were fastened to their faces, and the uses which they made of them. These noses were made of bamboo, and were five, six, and even ten feet long, some straight, others curved, some ribboned, and some having imitation warts upon them. It was upon these appendages, fixed tightly on their real noses, that they performed their gymnastic exercises. A dozen of these sectaries of Tingou lay flat upon their backs, while others, dressed to represent lightning-rods, came and frolicked on their noses, jumping from one to another, and performing the most skilful leapings and somersaults.
As a last scene, a `human pyramid' had been announced, in which fifty Long Noses were to represent the Car of Juggernaut. But, instead of forming a pyramid by mounting each other's shoulders, the artists were to group themselves on top of the noses. It happened that the performer who had hitherto formed the base of the Car had quitted the troupe, and as, to fill this part, only strength and adroitness were necessary, Passepartout had been chosen to take his place.
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. 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 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 bank-notes.
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.
他颇会一些法国和英国的陈词旧调，于是他就决定去试试看。看样子日本人一定是喜欢音乐的，既然他们这里都听惯了铙钹、铜锣和大鼓的声音，他们也一定能欣赏一位欧洲声乐家的歌喉。
不过要是马上就拉开场子卖唱，似乎时间还太早了一点，那些硬是被他吵醒了的歌迷八成也不会拿出铸着天皇肖像的钱币赏给歌手。
路路通决定再等几个钟头，但是当他在路上走着的时候，忽然心血来潮，他觉得要是穿上一套江湖艺人的衣服，岂不更妙？这时，他就想到把自己的西装去换一套更适合于他现在身分的估衣，再说，拿西装换套估衣一定还能找回点钱来，那就可以立即拿来饱餐一顿。
主意是拿定了，剩下的问题只是如何去做了。路路通找了老大半天才找到了一家日本估衣店。他向店主说明了来意，店主很喜欢他这套西装。过不一会儿，路路通就穿着一套旧和服戴着一顶由于陈旧而褪了色的花纹头巾走出了估衣店，而且在他口袋里还叮玲当啷地响着几块找回来的银币。
“妙啊！”路路通心里说，“现在我简直觉得是在过节了！”
这个打扮成了日本人的小伙子如今头一桩事就是走进一家小小的茶饭铺，在那里叫一点零碎鸡鸭肉，弄了点米饭，他完全象是那种吃上顿愁下顿的人一样省吃俭用，凑合着吃完了这顿早饭。
当他把肚子填饱了之后，他就对自己说：“现在我可不能糊里糊涂地过日子啊！要是把这一套估衣再卖了，想换一套更日本化的衣服，那是不可能的了。所以我必须快想办法，尽早地离开这个‘太阳之国’。这个地方留给我的只不过是一个倒霉的回忆罢了！”
这时，路路通一心想去查询一下有没有开往美洲的邮船，他希望能到船上当一名厨师或侍者。他不要报酬，只要许他白坐船，又管饭就行。他先到旧金山，然后再说下一步怎么办。目前主要的问题是要想办法从日本到新大陆，想办法跨过太平洋上这四千七百海里的路程。
路路通完全不是一个优柔寡断的人，他立即向横滨港口走去。但是，当他离码头越来越近的时候，他对那个自己最初觉得简而易行的计划就越来越感到没有把握了。人家凭什么需要我这样一个人到他们美国船上当厨师或侍者呢？我这么一身奇怪的打扮，人家凭什么会那么信任我呢？我有什么值得叫人家相信的介绍信呢？我能给人家提出什么证明文件或保证人呢？
当他正在这样苦思苦想的时候，他的视线忽然落在一张很大的海报上，这张海报正由一个似乎是马戏团小丑的人物背着，在横滨的大街上走来走去。海报上面用英文写着：
尊贵的维廉·巴图尔卡先生的
日本杂技团
出国赴美公演之前，最后一次演出
在天狗真神佑护下演出特别节目
——鼻子长长鼻子——
惊心动魄精采绝伦
“到美国去！”路路通叫着说，“这正是我想的事！……”
于是，他就跟在这个背着海报的人后面，走了一会儿，又回到了辨天区。一刻钟后，他来到一个很大的马戏棚门口。棚上竖着一排排花花绿绿的旗子，墙壁外面画着一些杂技演员的肖像，这些画像都毫无立体感觉，但是色彩却非常鲜明醒目。
这里就是尊贵的巴图尔卡先生的杂技团剧场，他是一位美国巴尔努式的杂技团经理。他手下有一大批演员。其中有跳板演员、杂技演员、小丑、魔术师、平衡技巧演员和体操演员。按照海报上说今天是他们离开这个太阳帝国到美国去以前的最后一次演出。
路路通走进了马戏棚前面的圆往回廊，要求见一见巴图尔卡先生。巴图尔卡亲自出来了。
“你找我干什么？”巴图尔卡问道，他这时把路路通当成个日本人了。
“您需要一个佣人吗？”路路通问。
“一个佣人？”这个马戏班经理拈着他那下颚上毛茸茸的灰胡子说，“我这里有两个佣人，都很忠实，很听话，他们从来也没有离开过我，他们给我工作也不要工钱，我只要给他们饭吃就行，……喏，你瞧！”他说着就举起了自己的两只粗胳臂，上面鼓着一条条的青筋，活象低音提琴上的粗弦一样。
“那么，就是说，我对你一点用也没有了？”
“一点也用不着。”
“倒霉！可是，跟你一道去美国对于我倒是挺合适的。”
“啊，原来是这么回事！”尊贵的巴图尔卡先生说，“你这身打扮要说是象个日本人，那我就可以说自己象个猴子了。你干吗要穿这样的行头啊？”
“能穿什么就穿什么呗！”
“这倒是实话，你是法国人吗？”
“对了，道地的巴黎人。”
“那么，不用说您一定会装腔作势喽？”
路路通发现别人因为自己是法国人竟得出这样的结论，实在有点恼火，他说：
“不错，我们有些法国人确实是会装腔作势，但是比起你们美国人来那还是小巫见大巫啊！”
“对！好吧，即使我不能雇你作佣人，我可以请你当我们杂技团的小丑。老兄，您明白吗？在法国你们扮演外国小丑；可是在外国，人家都扮演法国小丑。”
“哦！”
“再说，你的身体也挺棒，不是吗？”
“是挺棒，特别是吃饱了以后就更棒。”
“你会唱吗？”
“会啊！”这个过去曾经在街头卖过唱的路路通说。
“可是你会不会脑袋向下两脚朝天唱歌？并且在左脚心上放一个滴溜溜转的响陀螺，右脚心上直立着一把军刀，这你会不会？”
“会！”路路通回答说。他这时记起了年轻时所受的那些基本训练。
“你看吧，我要请你干的就是这些事！”尊贵的巴图尔卡先生说。
雇用合同就这样当场谈妥了。
路路通总算找到了工作。他在这个有名的日本杂技团算是个“百搭”，什么都干。这本来不是一个什么好差事，不过一个星期之后他就能坐着船去旧金山了。
尊贵的巴图尔卡先生大张旗鼓宣传的表演节目，将在下午三点钟开始。这时，在大门口开始了锣鼓喧天的日本乐队大合奏。
显然，路路通今天不可能马上就扮演角色。但是今天需要他用自己那结实有力的双肩为“叠罗汉”的演员们出一臂之力。这个节目是由“天狗”神长鼻演员们来表演的，这个扣人心弦的精彩节目是今天全部演出节目的压轴戏。
不到三点钟，大批的观众已经涌进了这座宽敞的马戏棚。其中有本地人、有欧洲人、有中国人、也有日本人；有男人、有女人还有小孩子。一个个都争先恐后地在那些狭长的椅子上，或者在舞台对面的包厢里坐下来了。大门口的吹鼓手也撤到里头来了。乐队到齐，铜锣、堂锣、快板、竖笛、小铜鼓、大洋鼓都翻天覆地地吹打起来了。
演出的节目和一般杂技团演出的大致相同，但是必须承认：日本的杂技演员是世界上第一流的演员。有一个演员手里拿着一把扇子和一些碎纸片，演出了非常美妙动人的“群蝶花间舞”；另一个演员用他那从烟斗里喷出来的一缕芬芳的烟雾，在空中迅速地写出许多青烟文字，这些字构成一句向观众致敬的颂词；又有一个耍抛物戏的演员，他一面把几支点着的蜡烛轮流地从手里抛起，一面把每一支从嘴前面经过的蜡烛吹熄，然后再陆续地把它们点着，同时却一秒钟也不中止他那神奇的抛掷动作。还有一个耍弹簧地陀螺的演员，他使那些地陀螺滴溜溜转起来配合得极其巧妙，看了简直叫人难以置信，这些嗡嗡作响的陀螺在他的操纵下，活象是一些旋转不停的有生命的小动物，它们能在烟斗杆上，军刀刀口上，以及在那些拉在舞台上的头发一样细的钢丝上旋转着跑个不停，它们能围着几个大水晶瓶打圈转，它们能爬竹梯，能四面八方到处跑，同时发出各种不同的响声。听起来非常和谐。演员们在表演的时候，还使陀螺在半空中旋转飞舞。演员用木制的球拍把这些陀螺象羽毛球一样打来打去，陀螺总是一个劲地不停旋转，演员们最后把陀螺装到衣袋里了，但是当他们再拿出来的时候陀螺仍在旋转，一直转到里面的一根发条完全松开的时候，这时陀螺也都不再动了，摊开得象一束束开放的纸花。
这里，我们对杂技团的各种演员们的绝技无需多加描写，不论是上转梯、爬高竿也好，玩大球、滚圆桶也好，反正每个节目都非常出色。但是最引人入胜的节目是那些令人惊心动魄的“长鼻子”演员的表演，在欧洲根本就没见过这种绝技。
这些“长鼻子”是在天狗神直接佑护之下组成的一个特别的“长鼻子”班。他们穿着象中世纪英雄一样的服装，肩上装着两只华丽的假翅膀，但最特殊的地方是装在脸上的那根长鼻子。尤其是他们用这种鼻子所进行的表演，简直使人叹为观止。这些假鼻子只是用竹子作的，它们的长度有的五六英尺，最长的达十英尺。它们的形状有的笔直，有的弯曲，有的光滑整齐，有的疙里疙瘩。而这些演员们正是在这些装得很牢的假鼻子上来进行特技表演。首先是有十二三个这种“天狗神派”的演员仰卧在台上，接着又来了另一些长鼻子伙伴跳到他们那些象避雷针一样竖立着的鼻子上，他们在这些鼻子尖上蹦跳，飞跃，从这个鼻子到那个鼻子来回表演着各种令人难以相信的绝技。
最后，台上郑重其事地向观众宣布作为压轴戏的节目——“叠罗汉”，马上就要演出了。这个“罗汉塔”将由五十多个长鼻子演员搭成。但是尊贵的巴图尔卡先生的演员们并不是用双肩来叠“罗汉塔”，而只是用他们的假鼻子来支持这个巨大的人体建筑！由于替“罗汉塔”垫底的演员最近走了一个人，而这项垫底工作既要身体结实，又要头脑机灵，于是路路通就被选来担任这个角色了。
说实在话，当路路通穿上这一套中古服装，装上两只花花绿绿的假翅膀，脸上又给安上一个六英尺长的鼻子的时候，这个正派的小伙子不禁想起了年轻时代那些艰苦的岁月，心里自然有无限感慨！可是话又说回来了，眼前这个鼻子到底是他赚钱吃饭的家伙，于是他决定干长鼻子演员。
这时，路路通就走上了舞台，和那些跟他一样要为“罗汉塔”垫底的伙伴们站在一起。大家一齐往地上一躺，一个个长鼻子都翘到了半天空。接着，搭第二层的演员走了过来，在他们的鼻尖上躺下了；第三层演员跟着躺在第二层演员的鼻尖上，第四层演员也是依法炮制。不大一会儿功夫，这一座只靠着鼻子尖支起来的活人塔已经和台上的顶棚一样高了。
这时台下响起了暴风雨般的掌声；台上奏起了雷鸣一般的音乐。就在这一霎那间，“罗汉塔”突然摇晃了一下，只见一个垫底的长鼻子离开了自己的岗位，“人塔”立即失去了平衡，只听“扑通扑通”一阵响声，“罗汉塔”就象一座纸搭的古堡一样倒了下来……
这是路路通的过失！是他擅自离开了职守。他虽然丝毫也没有扇动自己的翅膀，但却早已飞过了舞台上的低栅栏，爬上了舞台右面的包厢，在一位观众的脚下，趴了下来，他一面嚷着：
“啊，我的主人，我可找到您了！”
“是你？！”
“是我！”
“那么，好吧，走，快上船！我的小伙子……”
路路通跟着福克先生和艾娥达夫人迅速地穿过回廊跑出了马戏棚。这时，他们迎面碰上了怒不可遏的巴图尔卡先生，他为了“罗汉塔”的倒塌要求损害赔偿。斐利亚·福克先生丢给他一把钞票，立即平息了巴图尔卡先生的怒火。
六点半钟，福克先生和艾娥达夫人走上了美国邮船。后面跟着路路通，一直到要动身的时候，他肩膀上那两只翅膀和脸上那个六英尺长的假鼻子还没有来得及弄下来呢。