The Man Who Laughs. Victor HugoЧитать онлайн книгу.
XI.
THE CASKETS
It was indeed the Caskets light.
A lighthouse of the nineteenth century is a high cylinder of masonry, surmounted by scientifically constructed machinery for throwing light. The Caskets lighthouse in particular is a triple white tower, bearing three light-rooms. These three chambers revolve on clockwork wheels, with such precision that the man on watch who sees them from sea can invariably take ten steps during their irradiation, and twenty-five during their eclipse. Everything is based on the focal plan, and on the rotation of the octagon drum, formed of eight wide simple lenses in range, having above and below it two series of dioptric rings; an algebraic gear, secured from the effects of the beating of winds and waves by glass a millimetre thick[6], yet sometimes broken by the sea-eagles, which dash themselves like great moths against these gigantic lanterns. The building which encloses and sustains this mechanism, and in which it is set, is also mathematically constructed. Everything about it is plain, exact, bare, precise, correct. A lighthouse is a mathematical figure.
In the seventeenth century a lighthouse was a sort of plume of the land on the seashore. The architecture of a lighthouse tower was magnificent and extravagant. It was covered with balconies, balusters, lodges, alcoves, weathercocks. Nothing but masks, statues, foliage, volutes, reliefs, figures large and small, medallions with inscriptions. Pax in bello, said the Eddystone lighthouse. We may as well observe, by the way, that this declaration of peace did not always disarm the ocean. Winstanley repeated it on a lighthouse which he constructed at his own expense, on a wild spot near Plymouth. The tower being finished, he shut himself up in it to have it tried by the tempest. The storm came, and carried off the lighthouse and Winstanley in it. Such excessive adornment gave too great a hold to the hurricane, as generals too brilliantly equipped in battle draw the enemy's fire. Besides whimsical designs in stone, they were loaded with whimsical designs in iron, copper, and wood. The ironwork was in relief, the woodwork stood out. On the sides of the lighthouse there jutted out, clinging to the walls among the arabesques, engines of every description, useful and useless, windlasses, tackles, pulleys, counterpoises, ladders, cranes, grapnels. On the pinnacle around the light delicately-wrought ironwork held great iron chandeliers, in which were placed pieces of rope steeped in resin; wicks which burned doggedly, and which no wind extinguished; and from top to bottom the tower was covered by a complication of sea-standards, banderoles, banners, flags, pennons, colours which rose from stage to stage, from story to story, a medley of all hues, all shapes, all heraldic devices, all signals, all confusion, up to the light chamber, making, in the storm, a gay riot of tatters about the blaze. That insolent light on the brink of the abyss showed like a defiance, and inspired shipwrecked men with a spirit of daring. But the Caskets light was not after this fashion.
It was, at that period, merely an old barbarous lighthouse, such as Henry I. had built it after the loss of the White Ship– a flaming pile of wood under an iron trellis, a brazier behind a railing, a head of hair flaming in the wind.
The only improvement made in this lighthouse since the twelfth century was a pair of forge-bellows worked by an indented pendulum and a stone weight, which had been added to the light chamber in 1610.
The fate of the sea-birds who chanced to fly against these old lighthouses was more tragic than those of our days. The birds dashed against them, attracted by the light, and fell into the brazier, where they could be seen struggling like black spirits in a hell, and at times they would fall back again between the railings upon the rock, red hot, smoking, lame, blind, like half-burnt flies out of a lamp.
To a full-rigged ship in good trim, answering readily to the pilot's handling, the Caskets light is useful; it cries, "Look out;" it warns her of the shoal. To a disabled ship it is simply terrible. The hull, paralyzed and inert, without resistance, without defence against the impulse of the storm or the mad heaving of the waves, a fish without fins, a bird without wings, can but go where the wind wills. The lighthouse shows the end – points out the spot where it is doomed to disappear – throws light upon the burial. It is the torch of the sepulchre.
To light up the inexorable chasm, to warn against the inevitable, what more tragic mockery!
CHAPTER XII.
FACE TO FACE WITH THE ROCK
The wretched people in distress on board the Matutina understood at once the mysterious derision which mocked their shipwreck. The appearance of the lighthouse raised their spirits at first, then overwhelmed them. Nothing could be done, nothing attempted. What has been said of kings, we may say of the waves – we are their people, we are their prey. All that they rave must be borne. The nor'-wester was driving the hooker on the Caskets. They were nearing them; no evasion was possible. They drifted rapidly towards the reef; they felt that they were getting into shallow waters; the lead, if they could have thrown it to any purpose, would not have shown more than three or four fathoms. The shipwrecked people heard the dull sound of the waves being sucked within the submarine caves of the steep rock. They made out, under the lighthouse, like a dark cutting between two plates of granite, the narrow passage of the ugly wild-looking little harbour, supposed to be full of the skeletons of men and carcasses of ships. It looked like the mouth of a cavern, rather than the entrance of a port. They could hear the crackling of the pile on high within the iron grating. A ghastly purple illuminated the storm; the collision of the rain and hail disturbed the mist. The black cloud and the red flame fought, serpent against serpent; live ashes, reft by the wind, flew from the fire, and the sudden assaults of the sparks seemed to drive the snowflakes before them. The breakers, blurred at first in outline, now stood out in bold relief, a medley of rocks with peaks, crests, and vertebræ. The angles were formed by strongly marked red lines, and the inclined planes in blood-like streams of light. As they neared it, the outline of the reefs increased and rose – sinister.
One of the women, the Irishwoman, told her beads wildly.
In place of the skipper, who was the pilot, remained the chief, who was the captain. The Basques all know the mountain and the sea. They are bold on the precipice, and inventive in catastrophes.
They neared the cliff. They were about to strike. Suddenly they were so close to the great north rock of the Caskets that it shut out the lighthouse from them. They saw nothing but the rock and the red light behind it. The huge rock looming in the mist was like a gigantic black woman with a hood of fire.
That ill-famed rock is called the Biblet. It faces the north side the reef, which on the south is faced by another ridge, L'Etacq-aux-giulmets. The chief looked at the Biblet, and shouted, —
"A man with a will to take a rope to the rock! Who can swim?"
No answer.
No one on board knew how to swim, not even the sailors – an ignorance not uncommon among seafaring people.
A beam nearly free of its lashings was swinging loose. The chief clasped it with both hands, crying, "Help me."
They unlashed the beam. They had now at their disposal the very thing they wanted. From the defensive, they assumed the offensive.
It was a longish beam of heart of oak, sound and strong, useful either as a support or as an engine of attack – a lever for a burden, a ram against a tower.
"Ready!" shouted the chief.
All six, getting foothold on the stump of the mast, threw their weight on the spar projecting over the side, straight as a lance towards a projection of the cliff.
It was a dangerous manoeuvre. To strike at a mountain is audacity indeed. The six men might well have been thrown into the water by the shock.
There is variety in struggles with storms. After the hurricane, the shoal; after the wind, the rock. First the intangible, then the immovable, to be encountered.
Some minutes passed, such minutes as whiten men's hair.
The rock and the vessel were about to come in collision. The rock, like a culprit, awaited the blow.
A resistless wave rushed in; it ended the respite. It caught the vessel underneath, raised it, and swayed it for an instant as the sling swings its projectile.
"Steady!" cried
Transcriber's note: The original text refers to "vitres épaisses", thick panes, without specific dimensions. Glass only a millimetre thick would have been rather flimsy.