I say, we good Presbyterian Christians should be charitable in these things, and not fancy ourselves so vastly superior to other mortals, pagans and what not, because of their half-crazy conceits on these subjects. There was Queequeg, now, certainly entertaining the most absurd notions about Yojo and his Ramadan;—but what of that? Queequeg thought he knew what he was about, I suppose; he seemed to be content; and there let him rest. All our arguing with him would not avail; let him be, I say: and Heaven have mercy on us all—Presbyterians and Pagans alike—for we are all somehow dreadfully cracked about the head, and sadly need mending.

Towards evening, when I felt assured that all his performances and rituals must be over, I went to his room and knocked at the door; but no answer. I tried to open it, but it was fastened inside. “Queequeg,” said I softly through the key-hole:—all silent. “I say, Queequeg! why don’t you speak? It’s I—Ishmael.” But all remained still as before. I began to grow alarmed. I had allowed him such abundant time; I thought he might have had an apoplectic fit. I looked through the key-hole; but the door opening into an an odd corner of the room, the key-hole prospect was but a crooked and sinister one. I could only see part of the foot-board of the bed and a line of the wall, but nothing more. I was surprised to behold resting against the wall the wooden shaft of Queequeg’s harpoon, which the landlady the evening previous had taken from him, before our mounting to the chamber. That’s strange, thought I; but at any rate, since the harpoon stands yonder, and he seldom or never goes abroad without it, therefore he must be inside here, and no possible mistake.

“Queequeg!—Queequeg!”—all still. Something must have happened. Apoplexy! I tried to burst open the door; but it stubbornly resisted. Running down stairs, I quickly stated my suspicions to the first person I met—the chamber-maid. “La! la!” she cried, “I thought something must the matter. I went to make the bed after breakfast, and the door was locked; and not a mouse to be heard; and it’s been just so silent ever since. But I thought, may be, you had both gone off and locked your baggage in for safe keeping. La! la, ma’am!—Mistress! murder! Mrs. Hussey! apoplexy!”—and with these cries she ran towards the kitchen, I following.

Mrs. Hussey soon appeared, with a mustard-pot in one hand and a vinegar-cruet in the other, having just broken away from the occupation of attending to the castors, and scolding her little black boy meantime.

“Wood-house!” cried I, “which way to it? Run for God’s sake, and fetch something to pry open the door—the axe!—the axe! he’s had a stroke; depend upon it!”—and so saying I was unmethodically rushing up stairs again empty-handed, when Mrs. Hussey interposed the mustard-pot and vinegar-cruet, and the entire castor of her countenance.

“The United States!” said Passepartout; “that’s just what I want!”

He followed the clown, and soon found himself once more in the Japanese quarter. A quarter of an hour later he stopped before a large cabin, adorned with several clusters of streamers, the exterior walls of which were designed to represent, in violent colours and without perspective, a company of jugglers.

This was the Honourable William Batulcar’s establishment. That gentleman 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 straightway 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 grey 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! Who 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.