Journey To The Center Of The Earth

“‘Here he comes. I’ll be off, Mr. Axel; you must make him listen to reason.’

And forthwith she effected a safe retreat to her culinary laboratory.

I was left alone, but not feeling equal to the task of making the most irascible of professors listen to reason, was about to escape to my own little room upstairs […]” 

This excerpt introduces the two main protagonists and reveals much about their personalities. The Professor, Otto, seems to be feared, or at least dreaded, by the rest of his household. Both the housekeeper and his nephew prefer to avoid him rather than inquire about the reason for his early return. Furthermore, Axel describes himself as “not feeling equal to the task” and is clearly someone who dislikes confrontations. Finally, the word choice of describing the kitchen as a laboratory adds an amusing twist and highlights the scientific nature of the entire narrative. 

“A sort of hallucination cam over me. I felt stifled, as if from want of air, and involuntarily began to fan myself with the sheet of paper. The back and front of it alternately met my eye, and as it waved rapidly to and for I fancied I could see on the back some perfectly legible Latin words, amongst others craterem and terrestre.”

This quote describes the first of many daydreams, hallucinations, and visions that Axel experiences throughout the narrative. They are juxtaposed with Otto’s hard-fact-based approach to knowledge. However, is it not the Professor’s obsession with facts that solves the riddle, but Axel’s ability to connect with his irrational and intuitive side. This passage also foreshadows the end of the journey when the travelers are being expelled from beneath the ground and are in danger of suffocating or boiling alive. 

“Ah, those women and young girls—female hearts—always incomprehensible. You are either the most timid or the bravest of beings. Reason has nothing to do with you. The idea of this child encouraging me in this expedition, and being willing to go herself, too; even urging me to it, though she loved me!” 

This quote encapsulates Axel’s opinion of women. Although Gräuben helps him with sorting and cataloguing minerals and is knowledgeable about minerology, the narrator dismisses her intellectual abilities by claiming that women’s behavior is dictated by emotions rather than reason. The use of the word “child” is also somewhat patronizing. It is unclear if the quote is an expression of Verne’s personal opinion of women, but since women play no significant roles in most of his stories, it is possible to theorize that he agrees, at least partially, with his narrator’s statement. However, in the context of the mid-19th century, the idea that women can be brave is rather positive.

“‘Axel, it is a grand thing to devote one’s self to science. What glory awaits Mr. Lidenbrock, and will be reflected on his companion! When you come back, Axel, you will be a man, an equal, free to speak, free to act, free to—’

The girl blushed, and did not finish the sentence. Her words animated me.” 

Gräuben’s words marks the only moment in the book where she reveals something of her personality. The narrator describes her outer appearance and behavior, but she is mostly a silent object of admiration throughout the story. Here, it becomes clear that she values fame and independence, which is why the girl is in favor of Axel’s participation in the trip. 

“The men looked robust, but heavy, a species of Germans, with fair hair and pensive eyes, feeling themselves a little outside the pale of humanity; poor exiles relegated to this land of ice, who should properly have been Esquimaux, since they were condemned by nature to live on the edge of the Arctic circle! I tried in vain to catch a smile upon their features. Sometimes they laughed by a sort of involuntary contraction of the muscles, but they never smiled.” 

This passage conveys Axel’s personal observations of Iceland’s inhabitants. His impression of them is of serious and unhappy people, presumably because of their living conditions isolated on an island so far north. However, the young man’s observations are quite subjective. Their presumed wretchedness is belied by the fact that almost everyone is literate and has access to the old and rare books from the library. This would have been very unusual in most European countries at the time. It is likely that Axel is projecting and that his own unhappiness at being parted from Gräuben is coloring all his perceptions.

“We are of opinion that instead of letting books grow moldy behind an iron grating, far from the vulgar gaze, it is better to let them wear out by being read.” 

In this passage, M. Fridrikson explains to the Professor why there are almost no books in the library despite the existence of a rich collection. Otto is irritated by the situation, hinting at his own privileged upbringing. He is concerned about his own inconvenience without a thought to how surprising such a democratic attitude towards books is in a place as isolated as Iceland. Few German or French peasants or lower-class tradesmen in the 19th century would have been able to read and, what is more, few educated people would have thought to teach them in the first place. This brief statement contradicts Axel’s initial impression of Iceland as inhospitable and dreary. Cleary, the outer appearance of the island is deceiving and hides an active intellectual life. 

“As for myself I launched a cordial farewell in the best Latin I could find; then we jumped into our saddles, and M. Fridrikson repeated with his last adieux that line of Virgil which seemed to have been made for uncertain travelers on the road, like us: Et quacumque viam dederit fortuna sequamur.” 

This passage illustrates Verne’s frequent use of literary and mythological allusions. He references Oedipus in Chapter 4, Hamlet in Chapter 9, and centaurs in Chapter 12, among others. This particular quote comes from Virgil’s Aeneid, which tells of Aeneid’s journey from Troy to Italy, where he defeats the Latins and eventually becomes forefather of the Romans. The epic poem also contains one of the best-known accounts of a journey to the Underworld. Verne’s use of this quote foreshadows Otto and Axel’s trip but also evokes the idea of fate. 

“This dreadful disease of leprosy is pretty common in Iceland. It is not contagious but hereditary, and consequently marriage is forbidden the poor creatures.

Such apparitions as these were not calculated to enliven the landscape, which became more gloomy at every step. The last tufts of grass had disappeared.” 

This passage refers to the travelers’ encounter with the lepers who inhabit Iceland. These unfortunate people, condemned to live alone, are described as ghosts or spirits, as their existence is already spectral even while they are alive. The place they inhabit seems to be the borderland between the living and the dead, as vegetation—the universal symbol of life—is gradually replaced by rocks. This is the moment when Otto and Axel’s journey takes on the aspect of katabasis, or descent into Hell, with Hans playing the role of Charon. 

“But thanks to this outflow, the thickness of the island increased considerably, and in consequence its powers of resistance. It can be imagined what quantities of electric fluids had accumulated within its bosom when no channel of escape presented itself after the trachytic crust had cooled and hardened. There came then a time when the mechanical force of these gases became such that they upheaved the heavy crust, and made for themselves tall chimneys.” 

This passage exemplifies Verne’s scientific style. In terms that can be understood by a wide range of readers, he explains the complex scientific processes behind the formation of volcanoes and chimneys. While regular articles in scientific journals would have been too difficult for laymen to understand, Verne succeeds in personifying the forces of nature by using words, such as “resistance,” “bosom,” and “escape,” as well as endowing them with agency: “made for themselves.”

“I must say that my uncle kept as close to me as he could; he never lost sight of me, and on many an occasion his arm provided me with a firm support. He himself certainly had some inner sense of equilibrium, for he never stumbled.” 

This passage is the first indication of Otto’s feelings towards his nephew. Until this moment, it is only Axel’s belief in his uncle’s love that creates familial feeling between them. Otto seems too impatient and self-centered to be able to care for another person, but in this instance, when there is real physical danger, he demonstrates his protectiveness. Additionally, this passage foreshadows the Professor’s superhuman strength, endurance, and conviction, which will guide the group throughout the journey. Even though he is older than Axel, he is clearly in better shape and more physically dexterous than his nephew. 

“The moment had come. I must now take my part in the enterprise, or refuse the risk. But I was ashamed to draw back before the hunter, and Hans accepted the adventure so calmly, with such indifference and such perfect disregard for any danger that I blushed at the idea of being less brave than he. Has we been alone I should have renewed my arguments, but in the presence of the guide I kept silent. Memory recalled for an instant my pretty Virlandaise, and I approached the central chimney.” 

This quote reveals more about Axel’s personality and thought processes. He is not a typical hero in that the young man does not seek adventure and glory for their own sake. However, he is very much a product of his upbringing and society and is expected to behave a certain way in front of other people. Hans is a stand-in for society, in general, and his presence forces Axel to do something he does not want to do in order to avoid being seen as unmanly or being shamed for his behavior.

“The heat was always bearable. But involuntary thoughts came over me of its intensity when the lava, ejected by Snäfell, rushed along by the route which was now so quiet. I imagined the torrents of fire dashing against the angles of the gallery, and the accumulation of heated vapors in this narrow channel.” 

This passage illustrates the creative ways in which Verne provides literary special effects. The author evokes different senses, not only sight. Axel’s imagination also serves to create a dramatic and suspenseful image without compromising the narrative integrity. Since a trip through a tunnel in the dark could be a very boring endeavor, Verne uses a variety of techniques to make the processes seems more exciting. 

“‘Yes,’ he said, ‘a mouthful of water! The last, do you hear, the last? I kept it on purpose for you. Twenty times, aye, a hundred times, I have had to fight with my fearful longing to drink it; but no, Axel, I kept it for you.’

‘Oh, uncle!’ I murmured, and big tears started to my eyes.

‘Yes, poor child, I knew, when you reached these cross roads, you would drop down half dead, and I kept my last few drops of water to revive you.’” 

This passage reveals important information about Otto’s personality. His act of kindness seems to highlight his love for Axel. The Professor sacrifices his own comfort in order to save his only blood relative. However, as it becomes clear a few lines down, his seeming kindness is also motivated by his determination to continue. He does not want to abandon his nephew, as it would be cruel and dangerous, as well as socially unacceptable, but he also knows that Axel would be unable to continue without help. Consequently, Otto’s seemingly selfless gesture is also self-serving, putting into question the true depth of his feelings for his nephew. He does love the young man, but not more than his desire for knowledge and fame. Additionally, as the head of the family, it is acceptable for him to take risks in the name of something greater. 

“The light of our lanterns, caught by the little facets of the rocky mass, flashed up by brilliant jets at every angle, and I could have fancied myself travelling through a hollow diamond, in which the rays crossed and mingled and shot out in a thousand brilliant coruscations.”

This quote illustrates the beauty of the underground world, which is very different from what people normally experience in their everyday life. Verne makes the description somewhat exotic by using the word “diamond,” implying wealth.

“‘Hang your calculations!” cried my uncle, passionately; ‘and hang your hypothesis, too! On what ground do they rest? Who told you, pray, that this passage did not lead direct to the center? Besides, I have a precedent. What I am doing, another has already done; and where he has succeeded I can succeed too.’” 

This quote illustrates how Otto responds to objections and arguments against his decisions. When convenient, he uses scientific knowledge to calm Axel’s fears, but when the same numbers and facts contradict Otto’s desires, he becomes emotional and irrational. Despite being a scientist, his answer is not based on facts and theories, but on supposition. In fact, Axel, who often dreams or sees visions, is the one who uses logic and scientific facts and theories. This reversal of roles is necessary for the journey to continue but underlines that true knowledge and new discoveries happen when intuition and logic are combined. 

“Science, my boy, is built on errors, but errors which it’s good to commit because they gradually lead to the truth.” 

Otto and Axel have just discovered that the compass needle is pointing not only north, but also slightly upward, indicating that the magnetic pole is relatively close to the surface of the Earth. Such a discovery attests to the limits of human knowledge. While science in the 19th century seemed as if it were developing rapidly with new information coming to light, new discoveries only served to highlight how much more there was left unknown, causing scientists to frequently postulate theories that were later proven to be wrong. Otto embraces the idea of finding the truth through trial and error, but this sentiment is also somewhat self-serving as it excuses Otto’s own failures and erroneous decisions. 

“‘No! the one has the muzzle of a porpoise, the head of a lizard, the teeth of a crocodile, and that deceived us. It is the most formidable of all the antediluvian reptiles—the ichthyosaurus!’

‘And the other?’

‘The other is his great antagonist, a serpent hidden in the carapace of a turtle, whom we know as the plesiosaurus.’” 

This passage refers to the battle of two sea monsters witnessed by the group. At first, they believe there are four creatures, but they then realize that there are only two prehistoric ones, an ichthyosaurus and a plesiosaurus, that look from afar like the amalgamation of several different creatures. This scene underlines the idea that the journey to the center of the Earth is also a journey back in time.

“‘What a trick fate has played me! The very elements are against me. The air, the fire, the water conspire to bar my passage. Well! They shall know what my will can accomplish! I will not yield. I will not go back a step, and we shall see whether man or nature will win.’

Standing upright on the rock, betraying his irritation by his menacing attitude, Otto Lidenbrock reminded me of Ajax defying the gods.”

This passage illustrates Otto’s determination, but also his sense of superiority over the natural world. He does not seem to be particularly respectful of the forces that can easily kill him and his companions. This attitude is emblematic of European culture of the 19th century. Axel’s reference to Ajax most likely alludes to the 1830 bronze statue by Charles Crozatier, Ajax Defying the Gods, although the name Ajax in this context also likely refers to the mythical character Ajax the Lesser, whose hubris leads to his death at the hands of Poseidon, the Sea God, whom he offends. Similarly, Otto is defying the subterranean sea, despite the clear evidence that the forces of Nature are more powerful than he is. Axel attempts to soften the Professor’s hubris, conscious of how precarious their situation is.

“They were the giant animals, a herd of mastodons, not fossil but living, of the kind whose remains were discovered in 1801 in the swamps of the Ohio River. I distinctly saw great elephants, whose trunks were coiling among the branches like a legion of serpents. I could hear the noise of their ivory tusks as they struck the bark of the trees. […] leaning against the branch of an enormous kauri pine, a human being—a Proteus of these subterranean regions—a new son of Neptune, was herding that vast troop of mastodons.” 

This is the central moment in the book. Otto and Axel have reached a place that seems to be the point of origin for humanity. Calling the figure Proteus implies an ability to adapt and adjust to any environment. If what they saw is real, it means that humans have created a new civilization underground or that these are an entirely different type of people. Such an encounter would be groundbreaking—it would be even more important for Western culture than Columbus’s discovery of a new continent and a variety of people who were different from Europeans. Realizing that the world is not flat did not directly contradict the Book of Genesis; a tribe of huge prehistoric people living underground questions the very foundations of Western civilization, based on the Bible. 

“‘A.S.!’ cried my uncle, ‘Arne Saknussemm! Always Arne Saknussemm!’” 

This is the last mention of the Icelandic alchemist. His initials signal that the adventurers are on the right track, but the appearance of his name in this place raises many questions. He plays a central role in the story, but very little is known about him. The reader has no answers as to why his note is in code, what has prompted him to write it in the first place, or how and where he died. Otto is also strangely reluctant to question anything related to Saknussemm, behavior that seems atypical for a real scientist. From the very beginning, the Professor is irrationally obsessed by the idea of the journey, contradicting his insistence on collecting data and meticulously recording all facts and measurements.

“Now that I think of it all quietly; now that my mind is calm again, and that months have elapsed since that wonderful, supernatural apparition, what am I to think? What am I to believe? It seems impossible. Our senses must have played us false. […] No generation of men inhabits those lower caverns of the globe without an idea of the inhabitants above, and without communication with them.”

Axel’s retroactive doubts about his observations make the possibility of human life underground more likely. He evokes the senses, rather than scientific facts, thus granting a permission of sorts for the reader to daydream and speculate freely about what such an idea signifies. If Axel had tried to allude to measurements and theories, he would have had to find a way to explain his observations in a way that makes sense. By negating his impressions, he frees up the imagination. 

“When I came to myself again, and opened my eyes, I felt my waist pressed by the powerful hand of our guide. With the other hand he supported my uncle. I was not seriously injured, but worn out by exhaustion. I was lying on the slope of a mountain, two steps from an abyss, into which the least movement would have precipitated me. Hans had saved me from death, while I rolled on the sides of the crater.

‘Where are we?’ said my uncle, who seemed rather put out at having returned to the surface.” 

This passage describes the group’s escape from the subterranean world. Once again, they cross a body of water to move vertically from the Underworld to the one aboveground. Additionally, their ordeal deposits them at the side of a mountain, suggesting some kind of spiritual elevation or transcendence, as only the gods inhabit mountain tops in classical mythology. Such an interpretation is in keeping with the idea that the group’s adventure is a journey of self-discovery, as well as a quest for knowledge.

“‘Now that you are a hero,’ said my beloved, ‘you will not want to leave me again, Axel!’

I looked at her. She smiled through tears.”

This passage describes Axel and Gräuben’s reunion and is one of the few instances where the young woman speaks. She is undoubtedly happy to see her fiancé, as well as satisfied that he has reached a desirable level of maturity, indicated by the word “hero.” Ironically, however, it was not Axel who wanted to leave in the first place, but Gräuben who encouraged him to accompany Otto. It was also the young woman who desired for Axel to achieve fame and honor, indicating that these things are important to her, as well as to women in general. The young man himself seems rather indifferent towards his newfound fame.