This has been a very literary year on A Stamp A Day thus far with stamps highlighting authors such as H.G. Wells, J.R.R. Tolkien, Charles Dickens, Robert Louis Stevenson, Edgar Allan Poe, Jack London, and Charles Dickens — all writers that I grew up reading as many of their books and stories as I could get a hold on. Today, the highlight is on yet another of my childhood heroes — Jules Verne — who was born on February 8, 1828, on Île Feydeau, a small artificial island on the Loire River within the seaport of Nantes, France. Verne was a French novelist, poet, and playwright. He was trained to follow in his father’s footsteps as a lawyer, but quit the profession early in life to write for magazines and the stage. His collaboration with the publisher Pierre-Jules Hetzel led to the creation of the Voyages extraordinaires, a widely popular series of scrupulously researched adventure novels including Journey to the Center of the Earth (1864), Twenty Thousand Leagues Under the Sea (1870), and Around the World in Eighty Days (1873).
Verne is generally considered a major literary author in France and most of Europe, where he has had a wide influence on the literary avant-garde and on surrealism. His reputation is markedly different in Anglophone regions, where he has often been labeled a writer of genre fiction or children’s books, largely because of the highly abridged and altered translations in which his novels are often reprinted.
Verne has been the second most-translated author in the world since 1979, ranking between Agatha Christie and William Shakespeare. He has sometimes been called the “Father of Science Fiction”, a title that has also been given to H. G. Wells, Mary Shelley, and Hugo Gernsback.
Jules Gabriel Verne was born on February 8, 1828, in No. 4 Rue Olivier-de-Clisson, the house of his maternal grandmother Dame Sophie Allotte de la Fuÿe on Île Feydeau. His parents were Pierre Verne, an attorney originally from Provins, and Sophie Allote de la Fuÿe, a Nantes woman from a local family of navigators and shipowners, of distant Scottish descent. In 1829, the Verne family moved some hundred meters away to No. 2 Quai Jean-Bart, where Verne’s brother Paul was born the same year. Three sisters, Anna (1836), Mathilde (1839), and Marie (1842) would follow.
In 1834, at the age of six, Verne was sent to boarding school at 5 Place du Bouffay in Nantes. The teacher, Mme Sambin, was the widow of a naval captain who had disappeared some 30 years before. Mme. Sambin often told the students that her husband was a shipwrecked castaway and that he would eventually return like Robinson Crusoe from his desert island paradise. The theme of the Robinsonade would stay with Verne throughout his life and appear in many of his novels, including The Mysterious Island (1874), Second Fatherland (1900), and The School for Robinsons (1882).
In 1836, Verne went on to École Saint‑Stanislas, a Catholic school suiting the pious religious tastes of his father. Verne quickly distinguished himself in mémoire (recitation from memory), geography, Greek, Latin, and singing. In the same year, 1836, Pierre Verne bought a vacation house at 29 Rue des Réformés in the village of Chantenay (now part of Nantes) on the Loire River. In his brief memoir Souvenirs d’enfance et de jeunesse (Memories of Childhood and Youth, 1890), Verne recalled a deep fascination with the river and with the many merchant vessels navigating it. He also took vacations at Brains, in the house of his uncle Prudent Allotte, a retired shipowner, who had gone around the world and served as mayor of Brains from 1828 to 1837. Verne took joy in playing interminable rounds of the Game of the Goose with his uncle, and both the game and his uncle’s name would be memorialized in two late novels (The Will of an Eccentric (1900) and Robur the Conqueror (1886), respectively).
Legend has it that in 1839, at the age of 11, Verne secretly procured a spot as cabin boy on the three-mast ship Coralie with the intention of traveling to the Indies and bringing back a coral necklace for his cousin Caroline. The evening the ship set out for the Indies, it stopped first at Paimboeuf where Pierre Verne arrived just in time to catch his son and make him promise to travel “only in his imagination”. It is now known that the legend is an exaggerated tale invented by Verne’s first biographer, his niece Marguerite Allotte de la Füye, though it may have been inspired by a real incident.
In 1840, the Vernes moved again to a large apartment at No. 6 Rue Jean-Jacques-Rousseau, where the family’s youngest child, Marie, was born in 1842. In the same year Verne entered another religious school, the Petit Séminaire de Saint-Donatien, as a lay student. His unfinished novel Un prêtre en 1839 (A Priest in 1839), written in his teens and the earliest of his prose works to survive, describes the seminary in disparaging terms. From 1844 to 1846, Verne and his brother were enrolled in the Lycée Royal (now the Lycée Georges-Clemenceau) in Nantes. After finishing classes in rhetoric and philosophy, he took the baccalauréat at Rennes and received the grade “Fairly good” on July 29, 1846.
By 1847, when Verne was 19, he had taken seriously to writing long works in the style of Victor Hugo, beginning Un prêtre en 1839 and seeing two verse tragedies, Alexandre VI and La Conspiration des poudres (The Gunpowder Plot), to completion. However, his father took it for granted that Verne, being the firstborn son of the family, would not attempt to make money in literature but would instead inherit the family law practice. In 1847, Verne’s father sent him to Paris, primarily to begin his studies in law school, and secondarily (according to family legend) to distance him temporarily from Nantes. His cousin Caroline, with whom he was in love, was married on April 27, 1847, to Émile Dezaunay, a man of 40, with whom she would have five children.
After a short stay in Paris, where he passed first-year law exams, Verne returned to Nantes for his father’s help in preparing for the second year (provincial law students were in that era required to go to Paris to take exams). While in Nantes, he met Rose Herminie Arnaud Grossetière, a young woman one year his senior, and fell intensely in love with her. He wrote and dedicated some 30 poems to her, including “La Fille de l’air” (“The Daughter of Air”), which describes her as “blonde and enchanting / winged and transparent”. His passion seems to have been reciprocated, at least for a short time, but Grossetière’s parents frowned upon the idea of their daughter marrying a young student of uncertain future. They married her instead to Armand Terrien de la Haye, a rich landowner 10 years her senior, on July 19, 1848.
The sudden marriage sent Verne into deep frustration. He wrote a hallucinatory letter to his mother, apparently composed in a state of half-drunkenness, in which under pretext of a dream he described his misery. This requited but aborted love affair seems to have permanently marked the author and his work, and his novels include a significant number of young women married against their will (Gérande in Master Zacharius (1854), Sava in Mathias Sandorf (1885), Ellen in A Floating City (1871), etc.), to such an extent that the scholar Christian Chelebourg attributed the recurring theme to a “Herminie complex”. The incident also led Verne to bear a grudge against his birthplace and Nantes society, which he criticized in his poem “La sixième ville de France” (“The Sixth City of France”).
In July 1848, Verne left Nantes again for Paris, where his father intended him to finish law studies and take up law as a profession. He obtained permission from his father to rent a furnished apartment at 24 Rue de l’Ancienne-Comédie, which he shared with Édouard Bonamy, another student of Nantes origin. On his 1847 Paris visit, Verne had stayed at 2 Rue Thérèse, the house of his aunt Charuel, on the Butte Saint-Roch.
Verne arrived in Paris during a time of political upheaval: the French Revolution of 1848. In February, Louis Philippe I had been overthrown and had fled; on February 24, a provisional government of the French Second Republic took power, but political demonstrations continued, and social tension remained. In June, barricades went up in Paris, and the government sent Louis-Eugène Cavaignac to crush the insurrection. Verne entered the city shortly before the election of Louis-Napoléon Bonaparte as the first president of the Republic, a state of affairs that would last until the French coup of 1851 . In a letter to his family, Verne described the bombarded state of the city after the recent June Days uprising but assured them that the anniversary of Bastille Day had gone by without any significant conflict.
Verne used his family connections to make an entrance into Paris society. His uncle Francisque de Chatêaubourg introduced him into literary salons, and Verne particularly frequented those of Mme. de Barrère, a friend of his mother’s. While continuing his law studies, he fed his passion for the theatre, writing numerous plays. Verne later recalled: “I was greatly under the influence of Victor Hugo, indeed, very excited by reading and re-reading his works. At that time I could have recited by heart whole pages of Notre Dame de Paris, but it was his dramatic work that most influenced me.” Another source of creative stimulation came from a neighbor: living on the same floor in the Rue de l’Ancienne-Comédie apartment house was a young composer, Aristide Hignard, with whom Verne soon became good friends, and Verne wrote several texts for Hignard to set as chansons.
During this period, Verne’s letters to his parents primarily focused on expenses and on a suddenly appearing series of violent stomach cramps, the first of many he would suffer from during his life. Modern scholars have hypothesized that he suffered from colitis; Verne believed the illness to have been inherited from his mother’s side of the family. Rumors of an outbreak of cholera in March 1849 exacerbated these medical concerns. Yet another health problem would strike in 1851, when Verne suffered the first of four attacks of facial paralysis. These attacks, rather than being psychosomatic, were due to an inflammation in the middle ear, though this cause remained unknown to Verne during his life.
In the same year, Verne was required to enlist in the French military, but the sortition process spared him, to his great relief. He wrote to his father: “You should already know, dear papa, what I think of the military life, and of these domestic servants in livery. … You have to abandon all dignity to perform such functions.” Verne’s strong antiwar sentiments, to the dismay of his father, would remain steadfast throughout his life.
Though writing profusely and frequenting the salons, Verne diligently pursued his law studies and graduated with a licence en droit in January 1851.
Thanks to his visits to salons, Verne came into contact in 1849 with Alexandre Dumas through the mutual acquaintance of a celebrated chirologist of the time, the Chevalier d’Arpentigny. Verne became close friends with Dumas’ son, Alexandre Dumas, fils, and showed him a manuscript for a stage comedy, Les Pailles rompues (The Broken Straws). The two young men revised the play together, and Dumas, through arrangements with his father, had it produced by the Opéra-National at the Théâtre Historique in Paris, opening on June 12, 1850.
In 1851, Verne met with a fellow writer from Nantes, Pierre-Michel-François Chevalier (known as Pitre-Chevalier), the editor-in-chief of the magazine Musée des familles (The Family Museum). Pitre-Chevalier was looking for articles about geography, history, science, and technology, and was keen to make sure that the educational component would be made accessible to large popular audiences using a straightforward prose style or an engaging fictional story. Verne, with his delight in diligent research, especially in geography, was a natural for the job. Verne first offered him a short historical adventure story, “The First Ships of the Mexican Navy”, written in the style of James Fenimore Cooper, whose novels had deeply influenced him. Pitre-Chevalier published it in July 1851, and in the same year published a second short story, “A Voyage in a Balloon”(August 1851). The latter story, with its combination of adventurous narrative, travel themes, and detailed historical research, would later be described by Verne as “the first indication of the line of novel that I was destined to follow.”
Dumas fils put Verne in contact with Jules Seveste, a stage director who had taken over the directorship of the Théâtre-Historique and renamed it the Théâtre Lyrique. Seveste offered Verne the job of secretary of the theatre, with little or no salary attached. Verne accepted, using the opportunity to write and produce several comic operas written in collaboration with Hignard and the prolific librettist Michel Carré. To celebrate his employment at the Théâtre Lyrique, Verne joined with ten friends to found a bachelors’ dining club, the Onze-sans-femme (Eleven Bachelors).
For some time, Verne’s father pressed him to abandon his writing and begin a business as a lawyer. However, Verne argued in his letters that he could only find success in literature. The pressure to plan for a secure future in law reached its climax in January 1852, when his father offered Verne his own Nantes law practice. Faced with this ultimatum, Verne decided conclusively to continue his literary life and refuse the job, writing: “Am I not right to follow my own instincts? It’s because I know who I am that I realize what I can be one day.”
Meanwhile, Verne was spending much time at the Bibliothèque nationale de France, conducting research for his stories and feeding his passion for science and recent discoveries, especially in geography. It was in this period that Verne met the illustrious geographer and explorer Jacques Arago, who continued to travel extensively despite his blindness (he had lost his sight completely in 1837). The two men became good friends, and Arago’s innovative and witty accounts of his travels led Verne toward a newly developing genre of literature: that of travel writing.
In 1852, two new pieces from Verne appeared in the Musée des familles: “Martin Paz”, a novella set in Lima, which Verne wrote in 1851 and published between July 10 and August 11, 1852, and Les Châteaux en Californie, ou, Pierre qui roule n’amasse pas mousse (The Castles in California, or, A Rolling Stone Gathers No Moss), a one-act comedy full of racy double entendres. In April and May 1854, the magazine published Verne’s short story “Master Zacharius”, an E. T. A. Hoffmann-like fantasy featuring a sharp condemnation of scientific hubris and ambition, followed soon afterward by “A Winter Amid the Ice”, a polar adventure story whose themes closely anticipated many of Verne’s novels. The Musée also published some nonfiction popular science articles which, though unsigned, are generally attributed to Verne. Verne’s work for the magazine was cut short in 1856, when he had a serious quarrel with Pitre-Chevalier and refused to continue contributing (a refusal he would maintain until 1863, when Pitre-Chevalier died, and the magazine went to new editorship).
While writing stories and articles for Pitre-Chevalier, Verne began to form the idea of inventing a new kind of novel, a Roman de la Science (novel of science), which would allow him to incorporate large amounts of the factual information he so enjoyed researching in the Bibliothèque. He is said to have discussed the project with the elder Alexandre Dumas, who had tried something similar with an unfinished novel, Isaac Laquedem, and who enthusiastically encouraged Verne’s project.
At the end of 1854, another outbreak of cholera led to the death of Jules Seveste, Verne’s employer at the Théâtre Lyrique and by then a good friend. Though his contract only held him to a further year of service, Verne remained connected to the theatre for several years after Seveste’s death, seeing additional productions to fruition. He also continued to write plays and musical comedies, most of which were not performed.
In May 1856, Verne traveled to Amiens to be the best man at the wedding of a Nantes friend, Auguste Lelarge, to an Amiens woman named Aimée du Fraysse de Viane. Verne, invited to stay with the bride’s family, took to them warmly, befriending the entire household and finding himself increasingly attracted to the bride’s sister, Honorine de Viane Morel, a widow aged 26 with two young children. Hoping to find a secure source of income, as well as a chance to court Morel in earnest, he jumped at her brother’s offer to go into business with a brokerage. Verne’s father was initially dubious but gave in to his son’s requests for approval in November 1856. With his financial situation finally looking promising, Verne won the favor of Morel and her family, and the couple were married on January 10, 1857.
Verne plunged into his new business obligations, leaving his work at the Théâtre Lyrique and taking up a full-time job as an agent de change on the Paris Bourse, where he became the associate of the broker Fernand Eggly. Verne woke up early each morning so that he would have time to write, before going to the Bourse for the day’s work; in the rest of his spare time, he continued to consort with the Onze-Sans-Femme club (all eleven of its “bachelors” had by this time gotten married). He also continued to frequent the Bibliothèque to do scientific and historical research, much of which he copied onto notecards for future use — a system he would continue for the rest of his life. According to the recollections of a colleague, Verne “did better in repartee than in business”.
In July 1858, Verne and Aristide Hignard seized an opportunity offered by Hignard’s brother: a sea voyage, at no charge, from Bordeaux to Liverpool and Scotland. The journey, Verne’s first trip outside France, deeply impressed him, and upon his return to Paris he fictionalized his recollections to form the backbone of a semi-autobiographical novel, Backwards to Britain (written in the autumn and winter of 1859–1860 and not published until 1989). A second complementary voyage in 1861 took Hignard and Verne to Stockholm, from where they traveled to Christiania and through Telemark. Verne left Hignard in Denmark to return in haste to Paris, but missed the birth on August 3, 1861, of his only biological son, Michel.
Meanwhile, Verne continued work on the idea of a Roman de la Science, which he developed in a rough draft inspired, according to his recollections, by his “love for maps and the great explorers of the world”. It took shape as a story of travel across Africa and would eventually become his first published novel, Five Weeks in a Balloon.
In 1862, through their mutual acquaintance Alfred de Bréhat, Verne came into contact with the publisher Pierre-Jules Hetzel, and submitted to him the manuscript of his developing novel, then called Voyage en Ballon. Hetzel, already the publisher of Balzac, George Sand, Victor Hugo, and other well-known authors, had long been planning to launch a high-quality family magazine in which entertaining fiction would combine with scientific education. He saw Verne, with his demonstrated inclination toward scrupulously researched adventure stories, as an ideal contributor for such a magazine, and accepted the novel, giving Verne suggestions for improvement. Verne made the proposed revisions within two weeks and returned to Hetzel with the final draft, now titled Five Weeks in a Balloon. It was published by Hetzel on January 31, 1863.
To secure his services for the planned magazine, to be called the Magasin d’Éducation et de Récréation (Magazine of Education and Recreation), Hetzel also drew up a long-term contract in which Verne would give him three volumes of text per year, each of which Hetzel would buy outright for a flat fee. Verne, finding both a steady salary and a sure outlet for writing at last, accepted immediately. For the rest of his lifetime, most of his novels would be serialized in Hetzel’s Magasin before their appearance in book form, beginning with his second novel for Hetzel, The Adventures of Captain Hatteras (1864–65).
When The Adventures of Captain Hatteras was published in book form in 1866, Hetzel publicly announced his literary and educational ambitions for Verne’s novels by saying in a preface that Verne’s works would form a novel sequence called the Voyages extraordinaires (Extraordinary Voyages or Extraordinary Journeys), and that Verne’s aim was “to outline all the geographical, geological, physical, and astronomical knowledge amassed by modern science and to recount, in an entertaining and picturesque format that is his own, the history of the universe.” Late in life, Verne confirmed that this commission had become the running theme of his novels: “My object has been to depict the earth, and not the earth alone, but the universe… And I have tried at the same time to realize a very high ideal of beauty of style. It is said that there can’t be any style in a novel of adventure, but it isn’t true.” However, he also noted that the project was extremely ambitious: “Yes! But the Earth is very large, and life is very short! In order to leave a completed work behind, one would need to live to be at least 100 years old!”
Hetzel influenced many of Verne’s novels directly, especially in the first few years of their collaboration, for Verne was initially so happy to find a publisher that he agreed to almost all of the changes Hetzel suggested. For example, when Hetzel disapproved of the original climax of Captain Hatteras, including the death of the title character, Verne wrote an entirely new conclusion in which Hatteras survived. Hetzel also rejected Verne’s next submission, Paris in the Twentieth Century, believing its pessimistic view of the future and its condemnation of technological progress were too subversive for a family magazine. The manuscript, believed lost for some time after Verne’s death, was finally published in 1994.
The relationship between publisher and writer changed significantly around 1869, when Verne and Hetzel were brought into conflict over the manuscript for Twenty Thousand Leagues Under the Sea. Verne had initially conceived of the submariner Captain Nemo as a Polish scientist whose acts of vengeance were directed against the Russians who had killed his family during the January uprising. Hetzel, not wanting to alienate the lucrative Russian market for Verne’s books, demanded that Nemo be made an enemy of the slave trade, a situation that would make him an unambiguous hero. Verne, after fighting vehemently against the change, finally invented a compromise in which Nemo’s past is left mysterious. After this disagreement, Verne became notably cooler in his dealings with Hetzel, taking suggestions into consideration but often rejecting them outright.
From that point, Verne published two or more volumes a year. The most successful of these are: Voyage au centre de la Terre (Journey to the Center of the Earth, 1864); De la Terre à la Lune (From the Earth to the Moon, 1865); Vingt mille lieues sous les mers (Twenty Thousand Leagues Under the Sea, 1869); and Le tour du monde en quatre-vingts jours (Around the World in Eighty Days), which first appeared in Le Temps in 1872. Verne could now live on his writings. But most of his wealth came from the stage adaptations of Le tour du monde en quatre-vingts jours (1874) and Michel Strogoff (1876), which he wrote with Adolphe d’Ennery.
In 1867, Verne bought a small ship, the Saint-Michel, which he successively replaced with the Saint-Michel II and the Saint-Michel III as his financial situation improved. On board the Saint-Michel III, he sailed around Europe. After his first novel, most of his stories were first serialized in the Magazine d’Éducation et de Récréation, a Hetzel biweekly publication, before being published in book form. His brother Paul contributed to 40th French climbing of the Mont-Blanc and a collection of short stories – Doctor Ox – in 1874. Verne became wealthy and famous.
Meanwhile, Michel Verne married an actress against his father’s wishes, had two children by an underage mistress, and buried himself in debts. The relationship between father and son improved as Michel grew older.
Though he was raised Catholic, Verne became a deist in his later years, from about 1870 onward. Some scholars believe his deist philosophy is reflected in his novels, as they often involve the notion of God or divine providence but rarely mention the concept of Christ.
On March 9, 1886, as Verne was coming home, his twenty-six-year-old nephew, Gaston, shot at him twice with a pistol. The first bullet missed, but the second one entered Verne’s left leg, giving him a permanent limp that could not be overcome. This incident was hushed up in the media, but Gaston spent the rest of his life in a mental asylum.
After the death of both his mother and Hetzel, Jules Verne began publishing darker works. In 1888, Verne entered politics and was elected town councilor of Amiens, where he championed several improvements and served for fifteen years. Verne was made a Chevalier de la Légion d’honneur in 1870. He was promoted to an Officier de la Légion d’honneur in 1892.
On March 24, 1905, while ill with diabetes, Verne died at his home in Amiens, 44 Boulevard Longueville (now Boulevard Jules-Verne). His son, Michel Verne, oversaw publication of the novels Invasion of the Sea and The Lighthouse at the End of the World after Jules’s death. The Voyages extraordinaires series continued for several years afterwards at the same rate of two volumes a year. It was later discovered that Michel Verne had made extensive changes in these stories, and the original versions were eventually published at the end of the 20th century by the Jules Verne Society (Société Jules Verne). In 1919, Michel Verne published The Barsac Mission (L’Étonnante Aventure de la Mission Barsac), which original drafts contained references to Esperanto, a language about which his father had great interest.
In 1989, Verne’s great-grandson discovered his ancestor’s as yet unpublished novel Paris in the Twentieth Century which was subsequently published in 1994.
Verne’s largest body of work is the Voyages extraordinaires series, which includes all of his novels except for the two rejected manuscripts Paris in the Twentieth Century and Backwards to Britain (published posthumously in 1994 and 1989, respectively) and for projects left unfinished at his death (many of which would be posthumously adapted or rewritten for publication by his son Michel). Verne also wrote many plays, poems, song texts, operetta libretti, and short stories, as well as a variety of essays and miscellaneous non-fiction.
Verne’s novels have had a wide influence on both literary and scientific works; writers known to have been influenced by Verne include Marcel Aymé, Roland Barthes, René Barjavel, Michel Butor, Blaise Cendrars, Paul Claudel, Jean Cocteau, François Mauriac, Raymond Roussel, Claude Roy, Julio Cortázar, Antoine Saint-Exupéry, and Jean-Paul Sartre, while scientists and explorers who acknowledged Verne’s inspiration have included Richard E. Byrd, Yuri Gagarin, Simon Lake, Hubert Lyautey, Guglielmo Marconi, Fridtjof Nansen, Konstantin Tsiolkovsky, Wernher von Braun, and Jack Parsons. He is credited with helping inspire the steampunk genre, a literary and social movement that glamorizes science fiction based on 19th-century technology.
Ray Bradbury summed up Verne’s influence on literature and science the world over by saying: “We are all, in one way or another, the children of Jules Verne.”
It was somewhat difficult to choose just which Jules Verne stamp to feature for this article. He has been extensively commemorated on stamps since the mid-1950s. Some of the earliest stamps I obtained as a young collector in the mid-1970s were the three lowest values in Monaco’s large set marking the 50th anniversary of Verne’s death. The set included ten general issue postage stamps (Scott #340-349) and one air mail stamp (Scott #C45), all beautifully engraved. Those stamps, plus others from Monaco portraying U.S. President Franklin D. Roosevelt, kicked off a lifelong philatelic love affair with the tiny stamp-issuing entity and included my first diamond-shaped and triangular stamps. I only recently completed the set, adding the two highest values (the 30-franc trapezoidal Scott #349 picturing the USS Nautilus nuclear-powered submarine and the 200-franc air mail stamp commemorating From the Earth to the Moon).
Scott #348 portrays scenes from my favorite Verne novel, Vingt mille lieues sous les mers: Tour du monde sous-marin, (Twenty Thousand Leagues Under the Seas: A Tour of the Underwater World), a classic science fiction adventure published in 1870. Denominated 25 francs, there were 132,525 copies of the aqua green and black stamp issued on June 7, 1955, perforated 13. A portrait of Verne appears in the center of the stamp, as it did in most of the stamps in this set, with an image on the left of Captain Nemo peering at sea creatures through one of his submarine’s large viewing ports and the vessel itself on the right. In the novel, the submarine is named the Nautilus, built in secrecy it roams the seas free from any land-based government. Captain Nemo’s motivation is implied to be both a scientific thirst for knowledge and a desire for revenge upon (and self-imposed exile from) civilization.
The title Twenty Thousand Leagues Under the Sea refers to the distance traveled while under the sea and not to a depth, as 20,000 leagues (59,651.6 miles or 96,000 km) is nearly twice the circumference of the Earth. The greatest depth mentioned in the book is four leagues. The book uses metric leagues, which are four kilometres each.
The novel was originally serialized from March 1869 through June 1870 in Pierre-Jules Hetzel’s periodical, the Magasin d’Éducation et de Récréation. The deluxe illustrated edition, published by Hetzel in November 1871, included 111 illustrations by Alphonse de Neuville and Édouard Riou. The book was highly acclaimed when it was released and still is; it is regarded as one of the premiere adventure novels and one of Verne’s greatest works, along with Around the World in Eighty Days and Journey to the Center of the Earth. The description of Nemo’s ship, the Nautilus, was considered ahead of its time, as it accurately describes features on submarines, which at the time were very primitive vessels.
A model of the French submarine Plongeur (launched in 1863) was displayed at the 1867 Exposition Universelle, where it was studied by Jules Verne, who used it as an inspiration for the novel.
The national origin of Captain Nemo was changed in most movie realizations; in nearly all picture-based works following the book Nemo was made into a European. However, he was represented as an Indian by Omar Sharif in the 1973 European miniseries The Mysterious Island. Nemo is also depicted as Indian in a silent film version of the story released in 1916 and later in both the graphic novel and the movie The League of Extraordinary Gentlemen. In Walt Disney’s 20,000 Leagues Under the Sea (1954), a live-action Technicolor film version of the novel, Captain Nemo is a European, bitter because his wife and son were tortured to death by those in power in the fictional prison camp of Rura Penthe, in an effort to get Nemo to reveal his scientific secrets. This is Nemo’s motivation for sinking warships in the film. Also, Nemo’s submarine is confined to a set circular section of the Pacific Ocean, unlike the original Nautilus. He is played in this version by the British actor James Mason, with an English accent. No mention is made of any Indians in the film. Finally, Nemo was depicted as Indian in a Soviet 3-episode TV film Captain Nemo (1975), which also includes some plot details from The Mysterious Island, Jules Verne’s sequel to the novel.
This article includes a sampling of the many Jules Verne-themed stamps available. For more, please see my article/slideshow on Philatelic Pursuits.