Given the novel's emphasis on speed, Verne encountered the challenge of swiftly and convincingly portraying a wide range of settings, customs, events, characters, and plot twists. He addresses this challenge ingeniously; instead of providing detailed descriptions, he presents an itemized list of all the things Fogg missed, enhancing the sense of urgent pace. Regarding Bombay, for example, he writes:

Fogg didn't think of seeing the city hall, nor the magnificent library, nor the forts, nor the docks, nor the cotton market, nor the bazaars, the mosques, the synagogues, the Armenian churches, nor the splendid pagoda of Malabar Hill, with its two polygonal towers. He would not examine the masterpieces of Elephanta, . . . no, nothing!

At another moment, the entire Ganges Valley rushes past the train windows "without Phileas Fogg ever thinking of seeing it:"

The panorama passed before their eyes like a flash, save when the steam concealed it fitfully from view. The traveler could scarcely discern the fort of Chupenie, twenty miles southwest of Benares, the ancient stronghold of the rajahs of Behar, or Ghazipur and its famous rose water factories . . .

Although Fogg seems to focus solely on his watch, Verne, his creator, couldn't resist a good travelogue. He describes Chicago, New York, and the 900-mile train journey across North America with the same enthusiasm as he describes exotic India. By detailing what Fogg did not see, Verne crafts a narrative that reflects the sense of speed and urgency central to the novel, while still providing the reader with a sense of wonder and adventure.

Verne's tale about two men journeying around the world to demonstrate that modern technology allows them to do so in record time continues to captivate audiences, even in an era accustomed to the speed of jet travel. What exactly is the allure of this seemingly old-fashioned novel? Why are we drawn to Fogg's exploits when we can now achieve so much more? In a world where speed and technology are ubiquitous, has the romance of travel faded? What makes this voyage so thrilling? Are there contemporary travels that match its fascination? Or has another form of modern literature replaced the classic adventure/travel story?

1. The novel's first chapter outlines everything that Fogg is not. What is the purpose of this method? Is Verne attempting to describe or mock the stereotypical Englishman? If so, what is Fogg's true character?

2. Passepartout is the antithesis of his master. What traits does he have that Fogg lacks, and vice versa?

Are these two merely caricatures, or does Verne develop them into fully realized characters? If he does, how does he make them relatable and appealing?

3. The essence of this novel is speed, yet Fogg never appears rushed. How is this apparent contradiction resolved?

4. Verne's female characters are often portrayed as flat and insubstantial. Does this apply to Mrs. Aouda? What is Verne's view on women?

5. Verne often amazed his readers with futuristic inventions. Around the World in Eighty Days has been described as a novel devoid of technology. Is this accurate?

6. This novel features three parallel plotlines. What are they? What role does Fix play? How does he advance the story and plot?

7. Fogg is solely focused on completing his journey as swiftly as possible, paying little attention to the sights and scenes he encounters. Yet, Verne must convey a sense of wonder and adventure to his readers. What technique does he use to achieve this? How does he prevent detailed descriptions of the scenery and people encountered from slowing down the narrative pace?

8. On the final page, the author asks: What did Fogg gain? How would you answer this question? Is Fogg the same person he was at the start of his journey? Why or why not? Is Passepartout correct in saying that travel is a way to learn? Did Fogg learn anything?

9. Fogg is meticulous and unemotional, yet he remains a likable character. Why is this? Are there any antagonists in the story? What are our feelings towards Fix?

10. Verne's era was optimistic and believed in progress. What sights, sounds, and impressions did the author omit that might have disrupted the novel's lighthearted tone? What would a twentieth-century traveler to India have noticed that Verne did not include?

11. Despite Jules Verne's inclusion of many specific details, is his novel realistic? Why or why not?

To a reader in the late twentieth century, the notion of circumnavigating the globe in eighty days is not particularly remarkable. However, Jules Verne's Around the World in Eighty Days remains his most celebrated work. Its continued popularity is evidenced by modern film and television adaptations, which captivate audiences even in an era where global travel can be accomplished in mere hours. For Verne's original audience, the challenge was both improbable and thrilling. Interest in Phileas Fogg's wager extended beyond France, with readers of the Temps Journal eagerly placing bets on the outcome of his journey as the serialized story unfolded.

As is typical in Verne's novels, the characters do more than just travel; they embark on suspenseful adventures, often involving advanced "machines" of his invention. The narrative begins at a London club where members discuss a recent large-scale bank theft and speculate on whether the thief can evade capture. This conversation prompts Fogg to assert that modern travel is so efficient that one could travel around the world in eighty days. When his peers challenge this claim, Fogg wagers that he can accomplish the feat himself, setting off immediately. Utilizing various modes of transportation—including steamships, trains, and even an elephant—Fogg believes he has lost the bet by twenty-four hours, only to realize he has won due to gaining an extra day by traveling eastward.

Time is the central theme of the story. Fogg's journey involves unpredictable means of transportation, making his adventure as thrilling for contemporary readers as it was for those in the Victorian era. Unlike today's often mundane travel experiences, Fogg's expedition is filled with close calls and narrow escapes. Paradoxically, his trip is meticulously planned: from London to Suez by railroad and steamer (7 days), Suez to Bombay by steamer (13 days), Bombay to Calcutta by train (3 days), Calcutta to Hong Kong by steamer (13 days), Hong Kong to Yokohama by steamer (6 days), Yokohama to San Francisco by steamer (22 days), San Francisco to New York by train (7 days), and finally New York to London by steamer and train (9 days), totaling exactly 80 days. However, complications arise almost immediately. Fogg is pursued by Detective Fix, who suspects him of being the bank robber. They encounter sea storms, discover there is no railroad between Bombay and Calcutta, nearly experience a railroad bridge collapse in America, face an attack by Sioux Indians, and Fogg is arrested in Ireland as a robbery suspect. Despite these obstacles, time ultimately favors the determined Englishman, as traveling eastward grants him an extra day, allowing him to win his wager.

Fogg embarks on his record-setting journey during the zenith of the British Empire. "The British Crown exercises a real and despotic dominion over the larger portion of this vast country, with a governor-general stationed at Calcutta, governors at Madras, Bombay, and in Bengal, and a lieutenant-governor in Agra. . . A significant part of India still remains free from British control, with certain fierce rajahs in the interior who are entirely independent." This information is conveyed through the impersonal voice of Verne, acting as a travel guide. But what about Phileas Fogg, who is just starting his expedition through this land? What are his thoughts on the imperialism of his fellow countrymen? Does he support it? Is he worried about potential rebellions and uprisings? The answer is that he does not disclose his feelings. Regardless of the historical, political, or cultural significance of the regions he traverses, Fogg "passed through the memorable scenes of the Red Sea with cold indifference. . . ." When the suspicious and curious detective Fox questions Passepartout about his master, he simply replies, "he hasn't the least curiosity." Fogg's sole focus is the rapid completion of his journey. When he learns that the railway through India is incomplete, he merely states, "we will, if you please, look about for some means of conveyance to Allahabad." Any adventure or experience during the journey is seen merely as an obstacle to be swiftly overcome.

The most significant adventure of Fogg's trip around the world, and the one most likely to elicit a reaction from the unflappable Englishman, is the discovery of a suttee, the sacrifice of a young widow at her husband's cremation. Once again, it is the narrator Verne who comments on this custom, referring to those who practice it as "stupid fanatics, who, in the Great Indian ceremonies still throw themselves under the wheels of Juggernaut." Fogg, however, when the purpose of the procession is explained to him, remains unemotional. Without commenting on the immorality of such sacrifices, he simply inquires, "Is it possible," resumed Fogg, his voice betraying not the least emotion, "that this barbarous custom still exists in India, and that the English have been unable to put a stop to it?" Yet, he is also the one who suggests, "suppose we save the woman." "Save the woman, Mr. Fogg?" "I have yet twelve hours to spare; I can devote them to that."

What message did Jules Verne, a man deeply engaged with social issues—as demonstrated in the Utopian visions of The Begum's Fortune (1879; see separate entry) and the misanthropy of Captain Nemo in Twenty Thousand Leagues under the Sea (1870; see separate entry)—attempt to communicate in this novel that shows no serious interest in social matters? Like his reserved protagonist Fogg, Verne's focus appears to be solely on the journey itself, leaving little room for other concerns. One might argue that this novel parodies the stereotype of the unemotional Englishman prevalent in French clichés. In The Begum's Fortune, a similar caricature is presented in the German owner of Stahlstadt, but it is far more severe and serves as part of a harsh critique of German imperialism. Conversely, Fogg serves no such critical purpose, and any humor directed at him contributes to the novel's entertainment. Around the World in Eighty Days is likely Verne's most lighthearted work, crafted purely for enjoyment. Social issues were reserved for his other novels, where he addressed more serious themes and problems that stirred his emotions.

Around the World in Eighty Days stands as the quintessential travelogue. While many authors have employed the journey as a metaphor for life, actual literary journeys are relatively rare. These journeys can be categorized into two main types—fantasy journeys, such as those found in Jonathan Swift's Gulliver's Travels (1726) and Andre Norton's space fantasies, and factual accounts from renowned explorers like Captain Cook and Marco Polo. Unlike the imaginary voyages, these explorers' diaries aim to inform and describe real, yet unfamiliar, parts of the world. Jules Verne’s novels skillfully bridge this gap. Fogg's global adventure offers pure entertainment, yet Verne, who educates readers about scientific possibilities, is always prepared to instruct. He often pauses the hero's journey to meticulously describe tourist attractions in India, the Red Sea, or Egypt.

The journey is a well-known literary metaphor for life, frequently used in novels, and travelogues have long captivated readers. For instance, Marco Polo's accounts of his travels to Cathay (modern-day China) were astonishingly fantastic to his contemporaries, despite being strictly factual. Here, reality proved to be more surprising than fiction. In the realm of fiction, Jonathan Swift's imaginative work, Gulliver's Travels, set a precedent with its protagonist visiting various countries, all of which are fantastical kingdoms and realms.

Verne appeared to be captivated by the concept of travel for its own sake. In Keraban the Inflexible (1883), the Turkish protagonist becomes so infuriated by a fee required to cross the Bosporus that he opts to journey around the entire Black Sea to avoid the toll.

Railroad travel is the focus of Claudius Bombarnac (1894), where Bombarnac, a journalist, embarks on the newly inaugurated Trans-Siberian Railroad.

Another one of Verne's novels, The Thompson Travel Agency (1907), highlights a travel agency offering a budget-friendly trip to the Canary Islands. To cut costs, the agency provides no inland transportation, food, or water to the unfortunate travelers. The group is saved from their predicament only through the assistance of their French interpreter, culminating in a happy ending.

The first adaptation of Around the World in Eighty Days was created by Verne himself. He wrote an extravagant stage production of his novel, featuring elephants, snakes, and an actual locomotive. It debuted in 1874 and enjoyed a successful two-year run. One of the most entertaining modern film adaptations was directed by Mike Todd for Warner Brothers. This version boasted an impressive cast, with David Niven portraying the unflappable Englishman Fogg and the Mexican comedian Cantinflas as Passepartout. Renowned stars such as Marlene Dietrich, Shirley MacLaine, Charles Boyer, and Frank Sinatra made cameo appearances. In this adaptation, Phileas Fogg even surpasses his literary counterpart by traveling in a balloon. The film effectively conveys much of the original's vibrancy and excitement. In 1989, the BBC broadcast a television series titled Around the World in Eighty Days, in which Michael Palin replicates Fogg's thrilling adventures.