The Chouans by Honoré de Balzac (chrysanthemum read aloud .txt) 📗

The preceding events of this history having been greatly influenced by the formation of the regions in which they happened, it is desirable to give a minute description of them, without which the closing scenes might be difficult of comprehension.

The town of Fougeres is partly built upon a slate rock, which seems to have slipped from the mountains that hem in the broad valley of Couesnon to the west and take various names according to their localities. The town is separated from the mountains by a gorge, through which flows a small river called the Nancon. To the east, the view is the same as from the summit of La Pelerine; to the west, the town looks down into the tortuous valley of the Nancon; but there is a spot from which a section of the great valley and the picturesque windings of the gorge can be seen at the same time. This place, chosen by the inhabitants of the town for their Promenade, and to which the steps of Mademoiselle de Verneuil were now turned, was destined to be the theatre on which the drama begun at La Vivetiere was to end. Therefore, however picturesque the other parts of Fougeres may be, attention must be particularly given to the scenery which meets the eye from this terrace.

To give an idea of the rock on which Fougeres stands, as seen on this side, we may compare it to one of those immense towers circled by Saracen architects with balconies on each story, which were reached by spiral stairways. To add to this effect, the rock is capped by a Gothic church, the small spires, clock-tower, and buttresses of which make its shape almost precisely that of a sugar-loaf. Before the portal of this church, which is dedicated to Saint-Leonard, is a small, irregular square, where the soil is held up by a buttressed wall, which forms a balustrade and communicates by a flight of steps with the Promenade. This public walk, like a second cornice, extends round the rock a few rods below the square of Saint-Leonard; it is a broad piece of ground planted with trees, and it joins the fortifications of the town. About ten rods below the walls and rocks which support this Promenade (due to a happy combination of indestructible slate and patient industry) another circular road exists, called the “Queen’s Staircase”; this is cut in the rock itself and leads to a bridge built across the Nancon by Anne of Brittany. Below this road, which forms a third cornice, gardens descend, terrace after terrace, to the river, like shelves covered with flowers.

Parallel with the Promenade, on the other side of the Nancon and across its narrow valley, high rock-formations, called the heights of Saint-Sulpice, follow the stream and descend in gentle slopes to the great valley, where they turn abruptly to the north. Towards the south, where the town itself really ends and the faubourg Saint-Leonard begins, the Fougeres rock makes a bend, becomes less steep, and turns into the great valley, following the course of the river, which it hems in between itself and the heights of Saint-Sulpice, forming a sort of pass through which the water escapes in two streamlets to the Couesnon, into which they fall. This pretty group of rocky hills is called the “Nid-aux-Crocs”; the little vale they surround is the “Val de Gibarry,” the rich pastures of which supply the butter known to epicures as that of the “Pree-Valaye.”

At the point where the Promenade joins the fortifications is a tower called the “Tour de Papegaut.” Close to this square erection, against the side of which the house now occupied by Mademoiselle de Verneuil rested, is a wall, partly built by hands and partly formed of the native rock where it offered a smooth surface. Here stands a gateway leading to the faubourg of Saint-Sulpice and bearing the same name. Above, on a breastwork of granite which commands the three valleys, rise the battlements and feudal towers of the ancient castle of Fougeres,—one of those enormous erections built by the Dukes of Brittany, with lofty walls fifteen feet thick, protected on the east by a pond from which flows the Nancon, the waters of which fill its moats, and on the west by the inaccessible granite rock on which it stands.

Seen from the Promenade, this magnificent relic of the Middle Ages, wrapped in its ivy mantle, adorned with its square or rounded towers, in either of which a whole regiment could be quartered,—the castle, the town, and the rock, protected by walls with sheer surfaces, or by the glacis of the fortifications, form a huge horseshoe, lined with precipices, on which the Bretons have, in course of ages, cut various narrow footways. Here and there the rocks push out like architectural adornments. Streamlets issue from the fissures, where the roots of stunted trees are nourished. Farther on, a few rocky slopes, less perpendicular than the rest, afford a scanty pasture for the goats. On all sides heather, growing from every crevice, flings its rosy garlands over the dark, uneven surface of the ground. At the bottom of this vast funnel the little river winds through meadows that are always cool and green, lying softly like a carpet.

Beneath the castle and among the granite boulders is a church dedicated to Saint-Sulpice, whose name is given to the suburb which lies across the Nancon. This suburb,