Main characters in-depth analysis - Ievgen Sykalo 2026

Aouda: From Damsel in Distress to Resilient Adventurer
Around the World in Eighty Days by Verne

The Strategy of Silence and the Price of Rescue

The introduction of Aouda in Around the World in Eighty Days presents a striking contradiction: she is introduced as a passive object—carried on a stretcher, silent, and seemingly devoid of agency—yet her first meaningful act is a calculated deception. By feigning unconsciousness to avoid a forced marriage and the looming threat of a ritual death, she reveals that her perceived helplessness is, in part, a survival strategy. This nuance transforms her from a mere plot device into a character who understands the power of invisibility. In a world where her social status as a wealthy orphan makes her a pawn for others, silence becomes her only available weapon.

This initial state of "stasis" serves as the baseline for her trajectory. While Phileas Fogg provides the physical rescue, the psychological rescue is one Aouda must undertake herself. The tension in her early arc lies in the transition from being a "saved" entity to becoming a self-determining individual. Her willingness to accompany Fogg is not merely an act of gratitude, but a strategic choice to escape a culture that viewed her as a commodity. By stepping into the unknown of a global journey, she trades a known death for an unknown life, marking the first true exercise of her autonomy.

The Architecture of Agency: From Passenger to Participant

For much of the narrative, Aouda occupies the role of the passenger, a position that mirrors her initial status as a captive. However, the journey functions as a liminal space where the rigid social structures of both India and England are suspended. It is within this vacuum that she develops a resilient interiority. The most potent symbol of this evolution is her hidden revolver. The weapon is more than a tool for self-defense; it is a physical manifestation of her refusal to return to a state of total vulnerability. When she takes action during the train robbery, she is not merely assisting the men; she is reclaiming her right to protect her own life.

Her growth is best understood when contrasted with the traditional "damsel" trope. While she is rescued by Fogg, she does not remain a static prize. Instead, she evolves into a stabilizing force for the group. Her resilience is quieter than Fogg's determination or Passepartout's energy, but it is arguably more profound because it is born from genuine trauma. Her journey is a process of shedding the identity of the victim and adopting the identity of the adventurer.

The Humanizing Variable: Aouda and Phileas Fogg

The relationship between Aouda and Phileas Fogg is the emotional core of the novel, serving as the primary catalyst for Fogg's own character development. Fogg is a man of mathematical precision, viewing the world as a series of timed intervals and calculated risks. He is, in essence, a human clock. Aouda represents the one variable that Fogg cannot calculate. Her presence introduces emotion, spontaneity, and moral complexity into his rigid existence.

Initially, Fogg's rescue of her is almost an incidental byproduct of his journey—a detour that fits within his window of time. However, as the trip progresses, the dynamic shifts. Aouda does not merely appreciate Fogg's protection; she observes the loneliness beneath his composure. Their bond evolves from a transactional sense of gratitude to a mutual respect. She becomes the only person capable of penetrating Fogg's emotional armor, proving that while Fogg may have conquered geography, it was Aouda who helped him conquer his own isolation.

The Bridge: The Role of Passepartout

While Fogg is the destination of her affection, Passepartout is the bridge to her new life. The relationship between Aouda and Passepartout is characterized by a genuine, uncomplicated tenderness. As her protector and confidante, Passepartout provides the emotional warmth that Fogg initially lacks. Through Passepartout, Aouda learns to navigate the eccentricities of her rescuers, and in turn, she gives Passepartout a sense of purpose that transcends his role as a servant. This triad creates a makeshift family unit, suggesting that true belonging is found not in social class or nationality, but in shared struggle and mutual loyalty.

Subverting the Exotic Other

In the context of 19th-century literature, Aouda risks being a caricature of the "exotic" Eastern woman—beautiful, mysterious, and needing Western salvation. However, Verne provides her with a level of psychological depth that pushes back against this stereotype. Her "mystery" is not a plot device but a reflection of her displaced identity. She belongs neither to the world she was forced to leave nor entirely to the English society she enters.

The irony of her character arc is that her liberation requires her to leave her homeland. For Aouda, the "civilized" world of the West is not a place of restriction, but a landscape of possibility. Her final state—as a confident woman who finds love on her own terms—is a quiet rebellion against the expectations of her birth and her gender. She does not simply merge into Fogg's world; she expands it. By the end of the narrative, she is no longer the woman on the stretcher; she is the woman who has seen the world and decided who she wants to be within it.

Written by

S.Y.A.

Literature educator and essay writing specialist. Over 20 years of experience creating educational content for students and teachers.