The Man Who Laughs. A Romance of English History. Виктор Мари Гюго

came the shock.

      It came under the shapeless cloud of foam which always hides such catastrophes.

      When this cloud fell back into the sea, when the waves rolled back from the rock, the six men were tossing about the deck, but the Matutina was floating alongside the rock-clear of it. The beam had stood and turned the vessel; the sea was running so fast that in a few seconds she had left the Caskets behind.

      Such things sometimes occur. It was a straight stroke of the bowsprit that saved Wood of Largo at the mouth of the Tay. In the wild neighbourhood of Cape Winterton, and under the command of Captain Hamilton, it was the appliance of such a lever against the dangerous rock, Branodu-um, that saved the Royal Mary from shipwreck, although she was but a Scotch built frigate. The force of the waves can be so abruptly discomposed that changes of direction can be easily managed, or at least are possible even in the most violent collisions. There is a brute in the tempest. The hurricane is a bull, and can be turned.

      The whole secret of avoiding shipwreck is to try and pass from the secant to the tangent.

      Such was the service rendered by the beam to the vessel. It had done the work of an oar, had taken the place of a rudder. But the manoeuvre once performed could not be repeated. The beam was overboard; the shock of the collision had wrenched it out of the men’s hands, and it was lost in the waves. To loosen another beam would have been to dislocate the hull.

      The hurricane carried off the Matutina. Presently the Caskets showed as a harmless encumbrance on the horizon. Nothing looks more out of countenance than a reef of rocks under such circumstances. There are in nature, in its obscure aspects, in which the visible blends with the invisible, certain motionless, surly profiles, which seem to express that a prey has escaped.

      Thus glowered the Caskest while the Matutina fled.

      The lighthouse paled in distance, faded, and disappeared.

      There was something mournful in its extinction. Layers of mist sank down upon the now uncertain light. Its rays died in the waste of waters; the flame floated, struggled, sank, and lost its form. It might have been a drowning creature. The brasier dwindled to the snuff of a candle; then nothing; more but a weak, uncertain flutter. Around it spread a circle of extravasated glimmer; it was like the quenching of: light in the pit of night.

      The bell which had threatened was dumb. The lighthouse which had threatened had melted away. And yet it was more awful now that they had ceased to threaten. One was a voice, the other a torch. There was something human about them.

      They were gone, and nought remained but the abyss.

      Chapter xiii

      Face to face with night

      Again was the hooker running with the shadow into immeasurable darkness.

      The Matutina, escaped from the Caskets, sank and rose from billow to billow. A respite, but in chaos.

      Spun round by the wind, tossed by all the thousand motions of the wave, she reflected every mad oscillation of the sea. She scarcely pitched at all-a terrible symptom of a ship’s distress. Wrecks merely roll. Pitching is a convulsion of the strife. The helm alone can turn a vessel to the wind.

      In storms, and more especially in the meteors of snow, sea and night end by melting into amalgamation, resolving into nothing but a smoke. Mists, whirlwinds, gales, motion in all directions, no basis, no shelter, no stop. Constant recommencement, one gulf succeeding another. No horizon visible; intense blackness for background. Through all these the hooker drifted.

      To have got free of the Caskets, to have eluded the rock, was a victory for the shipwrecked men; but it was a victory which left them in stupor. They had raised no cheer: at sea such an imprudence is not repeated twice. To throw down a challenge where they could not cast the lead, would have been too serious a jest.

      The repulse of the rock was an impossibility achieved. They were petrified by it. By degrees, however, they began to hope again. Such are the insubmergable mirages of the soul! There is no distress so complete but that even in the most critical moments the inexplicable sunrise of hope is seen in its depths. These poor wretches were ready to acknowledge to themselves that they were saved. It was on their lips.

      But suddenly something terrible appeared to them in the darkness.

      On the port bow arose, standing stark, cut out on the background of mist, a tall, opaque mass, vertical, right-angled, a tower of the abyss. They watched it open-mouthed.

      The storm was driving them towards it.

      They knew not what it was. It was the Ortach rock.

      Chapter xiv

      Ortach

      The reef reappeared. After the Caskets comes Ortach. The storm is no artist; brutal and all-powerful, it never varies its appliances. The darkness is inexhaustible. Its snares and perfidies never come to an end. As for man, he soon comes to the bottom of his resources. Man expends his strength, the abyss never.

      The shipwrecked men turned towards the chief, their hope. He could only shrug his shoulders. Dismal contempt of helplessness.

      A pavement in the midst of the ocean-such is the Ortach rock. The Ortach, all of a piece, rises up in a straight line to eighty feet above the angry beating of the waves. Waves and ships break against it. An immovable cube, it plunges its rectilinear planes apeak into the numberless serpentine curves of the sea.

      At night it stands an enormous block resting on the folds of a huge black sheet. In time of storm it awaits the stroke of the axe, which is the thunder-clap.

      But there is never a thunder-clap during the snowstorm. True, the ship has the bandage round her eyes; darkness is knotted about her; she is like one prepared to be led to the scaffold. As for the thunderbolt, which makes quick ending, it is not to be hoped for.

      The Matutina, nothing better than a log upon the waters, drifted towards this rock as she had drifted towards the other. The poor wretches on board, who had for a moment believed themselves saved, relapsed into their agony. The destruction they had left behind faced them again. The reef reappeared from the bottom of the sea. Nothing had been gained.

      The Caskets are a figuring iron [7] with a thousand compartments. The Ortach is a wall. To be wrecked on the Caskets is to be cut into ribbons; to strike on the Ortach is to be crushed into powder.

      Nevertheless, there was one chance.

      On a straight frontage such as that of the Ortach neither the wave nor the cannon ball can ricochet. The operation is simple: first the flux, then the reflux; a wave advances, a billow returns.

      In such cases the question of life and death is balanced thus: if the wave carries the vessel on the rock, she breaks on it and is lost; if the billow retires before the ship has touched, she is carried back, she is saved.

      It was a moment of great anxiety; those on board saw through the gloom the great decisive wave bearing down on them. How far was it going to drag them? If the wave broke upon the ship, they were carried on the rock and dashed to pieces. If it passed under the ship…

      The wave did pass under.

      They breathed again.

      But what of the recoil? What would the surf do with them? The surf carried them back. A few minutes later the Matutina was free of the breakers. The Ortach faded from their view, as the Caskets had done. It was their second victory. For the second time the hooker had verged on destruction, and had drawn back in time.

      Chapter xv

      Portentosum mare

      Meanwhile a thickening mist had descended on the drifting wretches. They were ignorant of their whereabouts, they could scarcely see a cable’s length around. Despite a furious storm of hail which forced them to bend down their heads, the women had obstinately refused to go below again. No one, however hopeless, but wishes, if shipwreck be inevitable, to meet it in the open air. When so near death, a ceiling above one’s head seems like the first outline of a coffin.

      They

7

Gaufrier, the iron with which a pattern is traced on stuff.