Essential Novelists - Victor Hugo. Victor Hugo
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and which has had a piece applied to it to replace the panel suspended on the wall, stands half-open at the bottom of the paddock; it is cut squarely in the wall, built of stone below, of brick above which closes in the courtyard on the north. It is a simple door for carts, such as exist in all farms, with the two large leaves made of rustic planks: beyond lie the meadows. The dispute over this entrance was furious. For a long time, all sorts of imprints of bloody hands were visible on the door-posts. It was there that Bauduin was killed.
The storm of the combat still lingers in this courtyard; its horror is visible there; the confusion of the fray was petrified there; it lives and it dies there; it was only yesterday. The walls are in the death agony, the stones fall; the breaches cry aloud; the holes are wounds; the drooping, quivering trees seem to be making an effort to flee.
This courtyard was more built up in 1815 than it is to-day. Buildings which have since been pulled down then formed redans and angles.
The English barricaded themselves there; the French made their way in, but could not stand their ground. Beside the chapel, one wing of the château, the only ruin now remaining of the manor of Hougomont, rises in a crumbling state,—disembowelled, one might say. The château served for a dungeon, the chapel for a block-house. There men exterminated each other. The French, fired on from every point,—from behind the walls, from the summits of the garrets, from the depths of the cellars, through all the casements, through all the air-holes, through every crack in the stones,—fetched fagots and set fire to walls and men; the reply to the grape-shot was a conflagration.
In the ruined wing, through windows garnished with bars of iron, the dismantled chambers of the main building of brick are visible; the English guards were in ambush in these rooms; the spiral of the staircase, cracked from the ground floor to the very roof, appears like the inside of a broken shell. The staircase has two stories; the English, besieged on the staircase, and massed on its upper steps, had cut off the lower steps. These consisted of large slabs of blue stone, which form a heap among the nettles. Half a score of steps still cling to the wall; on the first is cut the figure of a trident. These inaccessible steps are solid in their niches. All the rest resembles a jaw which has been denuded of its teeth. There are two old trees there: one is dead; the other is wounded at its base, and is clothed with verdure in April. Since 1815 it has taken to growing through the staircase.
A massacre took place in the chapel. The interior, which has recovered its calm, is singular. The mass has not been said there since the carnage. Nevertheless, the altar has been left there—an altar of unpolished wood, placed against a background of roughhewn stone. Four whitewashed walls, a door opposite the altar, two small arched windows; over the door a large wooden crucifix, below the crucifix a square air-hole stopped up with a bundle of hay; on the ground, in one corner, an old window-frame with the glass all broken to pieces—such is the chapel. Near the altar there is nailed up a wooden statue of Saint Anne, of the fifteenth century; the head of the infant Jesus has been carried off by a large ball. The French, who were masters of the chapel for a moment, and were then dislodged, set fire to it. The flames filled this building; it was a perfect furnace; the door was burned, the floor was burned, the wooden Christ was not burned. The fire preyed upon his feet, of which only the blackened stumps are now to be seen; then it stopped,—a miracle, according to the assertion of the people of the neighborhood. The infant Jesus, decapitated, was less fortunate than the Christ.
The walls are covered with inscriptions. Near the feet of Christ this name is to be read: Henquinez. Then these others: Conde de Rio Maior Marques y Marquesa de Almagro (Habana). There are French names with exclamation points,—a sign of wrath. The wall was freshly whitewashed in 1849. The nations insulted each other there.
It was at the door of this chapel that the corpse was picked up which held an axe in its hand; this corpse was Sub-Lieutenant Legros.
On emerging from the chapel, a well is visible on the left. There are two in this courtyard. One inquires, Why is there no bucket and pulley to this? It is because water is no longer drawn there. Why is water not drawn there? Because it is full of skeletons.
The last person who drew water from the well was named Guillaume van Kylsom. He was a peasant who lived at Hougomont, and was gardener there. On the 18th of June, 1815, his family fled and concealed themselves in the woods.
The forest surrounding the Abbey of Villiers sheltered these unfortunate people who had been scattered abroad, for many days and nights. There are at this day certain traces recognizable, such as old boles of burned trees, which mark the site of these poor bivouacs trembling in the depths of the thickets.
Guillaume van Kylsom remained at Hougomont, “to guard the château,” and concealed himself in the cellar. The English discovered him there. They tore him from his hiding-place, and the combatants forced this frightened man to serve them, by administering blows with the flats of their swords. They were thirsty; this Guillaume brought them water. It was from this well that he drew it. Many drank there their last draught. This well where drank so many of the dead was destined to die itself.
After the engagement, they were in haste to bury the dead bodies. Death has a fashion of harassing victory, and she causes the pest to follow glory. The typhus is a concomitant of triumph. This well was deep, and it was turned into a sepulchre. Three hundred dead bodies were cast into it. With too much haste perhaps. Were they all dead? Legend says they were not. It seems that on the night succeeding the interment, feeble voices were heard calling from the well.
This well is isolated in the middle of the courtyard. Three walls, part stone, part brick, and simulating a small, square tower, and folded like the leaves of a screen, surround it on all sides. The fourth side is open. It is there that the water was drawn. The wall at the bottom has a sort of shapeless loophole, possibly the hole made by a shell. This little tower had a platform, of which only the beams remain. The iron supports of the well on the right form a cross. On leaning over, the eye is lost in a deep cylinder of brick which is filled with a heaped-up mass of shadows. The base of the walls all about the well is concealed in a growth of nettles.
This well has not in front of it that large blue slab which forms the table for all wells in Belgium. The slab has here been replaced by a cross-beam, against which lean five or six shapeless fragments of knotty and petrified wood which resemble huge bones. There is no longer either pail, chain, or pulley; but there is still the stone basin which served the overflow. The rain-water collects there, and from time to time a bird of the neighboring forests comes thither to drink, and then flies away. One house in this ruin, the farmhouse, is still inhabited. The door of this house opens on the courtyard. Upon this door, beside a pretty Gothic lock-plate, there is an iron handle with trefoils placed slanting. At the moment when the Hanoverian lieutenant, Wilda, grasped this handle in order to take refuge in the farm, a French sapper hewed off his hand with an axe.
The family who occupy the house had for their grandfather Guillaume van Kylsom, the old gardener, dead long since. A woman with gray hair said to us: “I was there. I was three years old. My sister, who was older, was terrified and wept. They carried us off to the woods. I went there in my mother’s arms. We glued our ears to the earth to hear. I imitated the cannon, and went boum! boum!”
A door opening from the courtyard on the left led into the orchard, so we were told. The orchard is terrible.
It is in three parts; one might almost say, in three acts. The first part is a garden, the second is an orchard, the third is a wood. These three parts have a common enclosure: on the side of the entrance, the buildings of the château and the farm; on the left, a hedge; on the right, a wall; and at the end, a wall. The wall on the right is of brick, the wall at the bottom is of stone. One enters the garden first. It slopes downwards, is planted with gooseberry bushes, choked with a wild growth of vegetation, and terminated by a monumental terrace of cut stone, with balustrade with a double curve.
It was a seignorial garden in the first French style which preceded Le Nôtre; to-day it is ruins and briars. The pilasters are surmounted by globes which resemble cannon-balls of stone. Forty-three balusters can still be counted on their sockets; the rest lie prostrate in the grass. Almost all bear scratches of bullets. One broken baluster is placed on the pediment like a fractured leg.
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