The Debacle - Emile Zola [181]
Then next day and the days after came the other horrible stages: the Château de Bellevue, that desirable upper-class residence with view over the river, in which he spent the night weeping after his interview with King William; the cruel departure, avoiding Sedan for fear of the anger of the defeated and starving, the bridge of boats the Prussians had thrown across the river at Iges, the long detour round the north of the town, the cross-country roads and byways well away from Floing, Fleigneux and Illy, and all this lamentable flight in an open carriage; and then, on the tragic plateau of Illy, strewn with corpses, the legendary meeting of the miserable Emperor, who could not now even bear the motion of the horse, but had cowered in the pain of an attack, perhaps automatically smoking his eternal cigarette, with a party of prisoners, haggard and covered with blood and dust, being taken from Fleigneux to Sedan, moving to one side of the road to let the carriage pass, some silent but others beginning to grumble, and again others getting more and more exasperated and bursting into booing, with fists shaking in a gesture of insult and cursing. After that came still more endless crossings of the battlefield, a league of bumpy roads among the wreckage and the dead staring with wide open, accusing eyes, the bare countryside, great silent forests, the frontier at the top of a rise; then the end of everything, going down on the other side, the road lined with conifers in a narrow valley.
And what a first night of exile at Bouillon, in an inn, the Hôtel de la Poste, surrounded by such a mob of French refugees and mere sightseers that the Emperor had thought he ought to make an appearance, amid murmurings and catcalls! The room, with three windows on the square and the river Semoy, was the standard kind of room – chairs covered in red damask, mahogany mirror-fronted wardrobe, mantelpiece with spelter clock flanked by seashells and vases of artificial flowers under glass. Small twin beds on either side of the door. The aide-de-camp lay in one and was so tired that he was dead asleep by nine. In the other the Emperor tossed and turned for hours, unable to sleep, and if he got out of bed to relieve the pain by walking about, the only way to take his mind off it was to look at the pictures on the wall each side of the fireplace, one representing Rouget de l’Isle singing the ‘Marseillaise’ and the other the Last Judgement, a furious