‘A’ is a good way to give the overall view of the area, especially since I personally struggle with understanding how maps work. I like that Hugo also maps out where the last word of the battle was spoken and links it with the symbolic statue of the lion denoting victory, for him, the real hero/bravery of the battle is that last word.
Of course, the barricade chapters get a similar physical description with the letter N and that is very deliberate direct parallel, nice one there Hugo, @lizardrosen already pointed out some other direct comparisons in the previous chapters and there are more throughout these chapters and I really want to go over each one with a fine toothed comb to find them, if I have time. Waterloo and the barricade chapters are meant to be direct parallels and that is one of the reasons I love these chapters.
I love that Hugo goes on to sketch a physical description of Napoleon’s garments on the battlefield in great detail after the description of the battlefield and then goes on to talk about him giving out a shining light which obscures the truth and casts darkness over everything else.
The focus on his garments implies to me that his greatness is superficial. Napoleon is a leader whose personal greatness does not transfer or benefit others around him (It can be argued whether Napoleon is shrewd in this battle or fails tactically since Wellington seems to have the upper edge and Napoleon is at a disadvantage on lower ground but Hugo thinks that Napoleon is shrewd enough but there are lots of factors in a battle).
This also emphasises the fact that Napoleon’s bright light and fame is due to plunging the conquered places into darkness and therefore Napoleon may also be viewed as a despot and a tyrant. I cannot shake the feeling that much as in later chapters there are ‘just and unjust wars’ and one of the reasons Napoleon is ‘problematique’ is his view of looking at wars as a just means of becoming great.
Therefore, the darkness around him cancels out the light. Napoleon’s light symbolism isn’t depicted as a positive thing, since it does not help others around him.
(Sidenote: I am thoroughly enjoying this dragging of Napoleon in this chapter.)
2.1.5
Other people have mentioned in previous chapters that nature is also one of the main factors for Napoleon’s defeat and the sun’s refusal to shine after the rain delayed the battle further, which is amusing, as well as being very Romantic, in the form of man’s battle against the elements of nature.
I love the descriptions of the battle the way Hugo writes it. I also really like how the mathematical precision of the battle plans is contrasted with the chaos of the actual battle.
I also don’t find it as surprising that Hugo should be evoking the mysterious, which is also the Divine playing a role in the haphazard circumstances of the battle. But while the chaos initially works in favour of the French army, that cannot last for very long because of the nature of chaos itself. Napoleon may be well versed in artillery, but the very nature of the battle means that that cannot see him to victory. It also means that in the battle, one person cannot control the outcome, it depends on every unnamed soldier, ‘the armed multitudes’, as Hugo points out.
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The battle did not begin according to Napoleon’s schedule because he had to wait for the sun to come out and dry up some of the rain.
Wellington also managed to hold his position more firmly than Napoleon had anticipated, and so his plan was not able to be executed properly.
The middle of the battle is a little foggy. More soldiers were expended than planned on both sides.
“In order to depict a battle, there is required one of those powerful painters who have chaos in their brushes. Rembrandt is better than Vandermeulen; Vandermeulen, exact at noon, lies at three o’clock. Geometry is deceptive; the hurricane alone is trustworthy. That is what confers on Folard the right to contradict Polybius. Let us add, that there is a certain instant when the battle degenerates into a combat, becomes specialized, and disperses into innumerable detailed feats, which, to borrow the expression of Napoleon himself, “belong rather to the biography of the regiments than to the history of the army.” The historian has, in this case, the evident right to sum up the whole. He cannot do more than seize the principal outlines of the struggle, and it is not given to any one narrator, however conscientious he may be, to fix, absolutely, the form of that horrible cloud which is called a battle.”