Other poets have warbled the praises of the soft eye of the antelope, and the lovely plumage of the bird that never alights; less celestial, I celebrate a tail.

Reckoning the largest sized Sperm Whale’s tail to begin at that point of the trunk where it tapers to about the girth of a man, it comprises upon its upper surface alone, an area of at least fifty square feet. The compact round body of its root expands into two broad, firm, flat palms or flukes, gradually shoaling away to less than an inch in thickness. At the crotch or junction, these flukes slightly overlap, then sideways recede from each other like wings, leaving a wide vacancy between. In no living thing are the lines of beauty more exquisitely defined than in the crescentic borders of these flukes. At its utmost expansion in the full grown whale, the tail will considerably exceed twenty feet across.

The entire member seems a dense webbed bed of welded sinews; but cut into it, and you find that three distinct strata compose it:—upper, middle, and lower. The fibres in the upper and lower layers, are long and horizontal; those of the middle one, very short, and running crosswise crosswise between the outside layers. This triune structure, as much as anything else, imparts power to the tail. To the student of old Roman walls, the middle layer will furnish a curious parallel to the thin course of tiles always alternating with the stone in those wonderful relics of the antique, and which undoubtedly contribute so much to the great strength of the masonry.

But as if this vast local power in the tendinous tail were not enough, the whole bulk of the leviathan is knit over with a warp and woof of muscular fibres and filaments, which passing on either side the loins and running down into the flukes, insensibly blend with them, and largely contribute to their might; so that in the tail the confluent measureless force of the whole whale seems concentrated to a point. Could annihilation occur to matter, this were the thing to do it.

Nor does this—its amazing strength, at all tend to cripple the graceful flexion of its motions; where infantileness of ease undulates through a Titanism of power. On the contrary, those motions derive their most appalling beauty from it. Real strength never impairs beauty or harmony, but it often bestows it; and in everything imposingly beautiful, strength has much to do with the magic. Take away the tied tendons that all over seem bursting from the marble in the carved Hercules, and its charm would be gone. As devout Eckerman lifted the linen sheet from the naked corpse of Goethe, he was overwhelmed with the massive chest of the man, that seemed as a Roman triumphal arch. When Angelo paints even God the Father in human form, mark what robustness is there. And whatever they may reveal of the divine love in the Son, the soft, curled, hermaphroditical Italian pictures, in which his idea has been most successfully embodied; these pictures, so destitute as they are of all brawniness, hint nothing of any power, but the mere negative, feminine one of submission and endurance, which on all hands it is conceded, form the peculiar practical virtues of his teachings.

“He knows nothing, then?”

“Nothing,” replied Passepartout, again emptying his glass.

The detective passed his hand across his forehead, hesitating before he spoke again. What should he do? Passepartout’s mistake seemed sincere, but it made his design more difficult. It was evident that the servant was not the master’s accomplice, as Fix had been inclined to suspect.

“Well,” said the detective to himself, “as he is not an accomplice, he will help me.”

He had no time to lose: Fogg must be detained at Hong Kong, so he resolved to make a clean breast of it.

“Listen to me,” said Fix abruptly. “I am not, as you think, an agent of the members of the Reform Club—”

“Bah!” retorted Passepartout, with an air of raillery.

“I am a police detective, sent out here by the London office.”

“You, a detective?”

“I will prove it. Here is my commission.”

Passepartout was speechless with astonishment when Fix displayed this document, the genuineness of which could not be doubted.

“Mr. Fogg’s wager,” resumed Fix, “is only a pretext, of which you and the gentlemen of the Reform are dupes. He had a motive for securing your innocent complicity.”

“But why?”

“Listen. On the 28th of last September a robbery of fifty-five thousand pounds was committed at the Bank of England by a person whose description was fortunately secured. Here is his description; it answers exactly to that of Mr. Phileas Fogg.”

“What nonsense!” cried Passepartout, striking the table with his fist. “My master is the most honourable of men!”

“How can you tell? You know scarcely anything about him. You went into his service the day he came away; and he came away on a foolish pretext, without trunks, and carrying a large amount in banknotes. And yet you are bold enough to assert that he is an honest man!”

“Yes, yes,” repeated the poor fellow, mechanically.

“Would you like to be arrested as his accomplice?”

Passepartout, overcome by what he had heard, held his head between his hands, and did not dare to look at the detective. Phileas Fogg, the saviour of Aouda, that brave and generous man, a robber! And yet how many presumptions there were against him! Passepartout essayed to reject the suspicions which forced themselves upon his mind; he did not wish to believe that his master was guilty.

“Well, what do you want of me?” said he, at last, with an effort.

“See here,” replied Fix; “I have tracked Mr. Fogg to this place, but as yet I have failed to receive the warrant of arrest for which I sent to London. You must help me to keep him here in Hong Kong—”

“I! But I—”

“I will share with you the two thousand pounds reward offered by the Bank of England.”

“Never!” replied Passepartout, who tried to rise, but fell back, exhausted in mind and body.