After the taking of La Haye Sainte, the battle vacillated. There is an obscure interval in this day, between twelve and four; the middle of this battle is almost indistinct, and participates in the gloom of the _mêlée._ A twilight sets in, and we perceive vast fluctuations in this mist, a dizzying mirage, the panoply of war at that day, unknown in our times; flaming colpacks; flying sabretaches; cross-belts; grenade pouches; Hussar dolmans; red boots with a thousand wrinkles; heavy shakos enwreathed with gold twist; the nearly black Brunswick infantry mingled with the scarlet infantry of England; the English soldiers wearing clumsy round white cushions for epaulettes; the Hanoverian light horse with their leathern helmets, brass bands, and red horse-tails; the Highlanders with their bare knees and checkered plaids, and the long white gaiters of our grenadiers,--pictures but not strategic lines; what a Salvator Rosa, but not a Gribeauval, would have revelled in. A certain amount of tempest is always mingled with a battle, _quid obscurum, quid divinum._ Every historian traces to some extent the lineament that pleases him in the hurly-burly. Whatever the combination of the generals may be, the collision of armed masses has incalculable ebbs and flows; in action the two plans of the leaders enter into each other and destroy their shape. The line of battle floats and winds like a thread, the streams of blood flow illogically, the fronts of armies undulate, the regiments in advancing or retiring form capes or gulfs, and all these reefs are continually shifting their position; where infantry was, artillery arrives; where artillery was, cavalry dash in; the battalions are smoke. There was something there, but when you look for it, it has disappeared; the gloomy masses advance and retreat; a species of breath from the tomb impels, drives back, swells, and disperses these tragic multitudes. What is a battle? An oscillation. The immobility of a mathematical plan expresses a minute and not a day. To paint a battle, those powerful painters who have chaos in their pencils are needed. Rembrandt is worth more than Vandermeulin, for Vandermeulin, exact at mid-day, is incorrect at three o'clock. Geometry is deceived, and the hurricane alone is true, and it is this that gives Folard the right to contradict Polybius. Let us add that there is always a certain moment in which the battle degenerates into a combat, is particularized and broken up into countless detail facts which, to borrow the expression of Napoleon himself, "belong rather to the biography of regiments than to the history of the army." The historian, in such a case, has the evident right to sum up; he can only catch the principal outlines of the struggle, and it is not given to any narrator, however conscientious he may be, absolutely to fix the form of that horrible cloud which is called a battle.