Target Positional Elements Using *-Of-Type CSS pseudo-classes

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      <h2>Around the World in 80 Days<small>by Jules Verne</small></h2>
      <p>The two combatants, their seconds, and the conductor passed through the cars to the rear of the train.  The last car was only occupied by a dozen passengers, whom the conductor politely asked if they would not be so kind as to leave it vacant for a few moments, as two gentlemen had an affair of honour to settle.  The passengers granted the request with alacrity, and straightway disappeared on the platform.</p>
      
      <p>The car, which was some fifty feet long, was very convenient for their purpose.  The adversaries might march on each other in the aisle, and fire at their ease.  Never was duel more easily arranged.  Mr. Fogg and Colonel Proctor, each provided with two six-barrelled revolvers, entered the car.  The seconds, remaining outside, shut them in.  They were to begin firing at the first whistle of the locomotive.  After an interval of two minutes, what remained of the two gentlemen would be taken from the car.</p>
      
      <p>Nothing could be more simple.  Indeed, it was all so simple that Fix and Passepartout felt their hearts beating as if they would crack. They were listening for the whistle agreed upon, when suddenly savage cries resounded in the air, accompanied by reports which certainly did not issue from the car where the duellists were.  The reports continued in front and the whole length of the train.  Cries of terror proceeded from the interior of the cars.</p>
      
      <p>Colonel Proctor and Mr. Fogg, revolvers in hand, hastily quitted their prison, and rushed forward where the noise was most clamorous.  They then perceived that the train was attacked by a band of Sioux.</p>
      
      <p>This was not the first attempt of these daring Indians, for more than once they had waylaid trains on the road.  A hundred of them had, according to their habit, jumped upon the steps without stopping the train, with the ease of a clown mounting a horse at full gallop.</p>
      
      <p>The Sioux were armed with guns, from which came the reports, to which the passengers, who were almost all armed, responded by revolver-shots.</p>
      
      <img src="https://placeimg.com/900/300/any">
      
      <p>The Indians had first mounted the engine, and half stunned the engineer and stoker with blows from their muskets.  A Sioux chief, wishing to stop the train, but not knowing how to work the regulator, had opened wide instead of closing the steam-valve, and the locomotive was plunging forward with terrific velocity.</p>
      
      <p>The Sioux had at the same time invaded the cars, skipping like enraged monkeys over the roofs, thrusting open the doors, and fighting hand to hand with the passengers.  Penetrating the baggage-car, they pillaged it, throwing the trunks out of the train.  The cries and shots were constant.  The travellers defended themselves bravely; some of the cars were barricaded, and sustained a siege, like moving forts, carried along at a speed of a hundred miles an hour.</p>
      
      <p>Aouda behaved courageously from the first.  She defended herself like a true heroine with a revolver, which she shot through the broken windows whenever a savage made his appearance.  Twenty Sioux had fallen mortally wounded to the ground, and the wheels crushed those who fell upon the rails as if they had been worms.  Several passengers, shot or stunned, lay on the seats.</p>
      
      <p>It was necessary to put an end to the struggle, which had lasted for ten minutes, and which would result in the triumph of the Sioux if the train was not stopped.  Fort Kearney station, where there was a garrison, was only two miles distant; but, that once passed, the Sioux would be masters of the train between Fort Kearney and the station beyond.</p>
      
      <blockquote>"Yes," returned Passepartout, who had formerly been wont to sing in the streets.</blockquote>
  
      <p>"But can you sing standing on your head, with a top spinning on your left foot, and a sabre balanced on your right?"</p>
      
      <p>"Humph!  I think so," replied Passepartout, recalling the exercises of his younger days.</p>
      
      <p>"Well, that's enough," said the Honourable William Batulcar.</p>
      
      <p>The engagement was concluded there and then.</p>
      
      <img src="https://placeimg.com/900/300/nature">
      
      <p>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.</p>
      
      <p>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.</p>
      
      <p>Before three o'clock the large shed was invaded by the spectators, comprising Europeans and natives, Chinese and Japanese, men, women and children, who precipitated themselves upon the narrow benches and into the boxes opposite the stage.  The musicians took up a position inside, and were vigorously performing on their gongs, tam-tams, flutes, bones, tambourines, and immense drums.</p>
      
      <p>The performance was much like all acrobatic displays; but it must be confessed that the Japanese are the first equilibrists in the world.</p>
      
      <p>One, with a fan and some bits of paper, performed the graceful trick of the butterflies and the flowers; another traced in the air, with the odorous smoke of his pipe, a series of blue words, which composed a compliment to the audience; while a third juggled with some lighted candles, which he extinguished successively as they passed his lips, and relit again without interrupting for an instant his juggling. Another reproduced the most singular combinations with a spinning-top; in his hands the revolving tops seemed to be animated with a life of their own in their interminable whirling; they ran over pipe-stems, the edges of sabres, wires and even hairs stretched across the stage; they turned around on the edges of large glasses, crossed bamboo ladders, dispersed into all the corners, and produced strange musical effects by the combination of their various pitches of tone</p>
      
      <p>The jugglers tossed them in the air, threw them like shuttlecocks with wooden battledores, and yet they kept on spinning; they put them into their pockets, and took them out still whirling as before.</p>
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article p:first-of-type {
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  font-style: italic;
}

article img:last-of-type {
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article blockquote:only-of-type {
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  font-weight: bold;
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article p:nth-of-type(4n+3) {
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/* Demo only styles  */
body {
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}

h2 {
  font-size: 2rem;
  text-align: center;
}

h2 small {
  display: block;
}

p,
blockquote {
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img {
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