The Companions of Jehu by Alexandre Dumas (best ereader for comics TXT) 📖

years ago—whether our thought were concentrated on a drama, or whether it spread itself into a novel, we have had a double end—to instruct and to amuse.

And we say instruct first, for amusement has never been to our mind anything but a mask for instruction. Have we succeeded? We think so. Before long we shall have covered with our narratives an enormous period of time; between the “Comtesse de Salisbury” and the “Comte de Monte-Cristo” five centuries and a half are comprised. Well, we assert that we have taught France as much history about those five centuries and a half as any historian.

More than that; although our opinions are well known; although, under the Bourbons of the elder branch as under the Bourbons of the younger branch, under the Republic as under the present government, we have always proclaimed them loudly, we do not believe that that opinion has been unduly manifested in our books and dramas.

We admire the Marquis de Posa in Schiller’s “Don Carlos”; but, in his stead, we should not have anticipated the spirit of that age to the point of placing a philosopher of the eighteenth century among the heroes of the sixteenth, an encyclopedist at the court of Philippe II. Therefore, just as we have been—in literary parlance—monarchical under the Monarchy, republican under the Republic, we are to-day reconstructionists under the Consulate.

That does not prevent our thought from hovering above men, above their epoch, and giving to each the share of good and evil they do. Now that share no one, except God, has the right to award from his individual point of view. The kings of Egypt who, at the moment they passed into the unknown, were judged upon the threshold of their tombs, were not judged by a man, but by a people. That is why it is said: “The judgment of a people is the judgment of God.”

Historian, novelist, poet, dramatic author, we are nothing more than the foreman of a jury who impartially sums up the arguments and leaves the jury to give their verdict. The book is the summing up; the readers are the jury.

That is why, having to paint one of the most gigantic figures, not only of modern times but of all times; having to paint the period of his transition, that is to say the moment when Bonaparte transformed himself into Napoleon, the general into an emperor—that is why we say, in the fear of becoming unjust, we abandon interpretations and substitute facts.

We are not of those who say with Voltaire that, “no one is a hero to his valet.”

It may be that the valet is near-sighted or envious—two infirmities that resemble each other more closely than people think. We maintain that a hero may become a kind man, but a hero, for being kind, is none the less a hero.

What is a hero in the eyes of the public? A man whose genius is momentarily greater than his heart. What is a hero in private life? A man whose heart is momentarily greater than his genius.

Historians, judge the genius!

People, judge the heart!

Who judged Charlemagne? The historians. Who judged Henri IV.? The people. Which, in your opinion, was the most righteously judged?

Well, in order to render just judgment, and compel the court of appeals, which is none other than posterity, to confirm contemporaneous judgments, it is essential not to light up one side only of the figure we depict, but to walk around it, and wherever the sunlight does not reach, to hold a torch, or even a candle.

Now, let us return to Bonaparte.

He was working, as we said, with Bourrienne. Let us inquire into the usual division of the First Consul’s time.

He rose at seven or eight in the morning, and immediately called one of his secretaries, preferably Bourrienne, and worked with him until ten. At ten, breakfast was announced; Josephine, Hortense and Eugène either waited or sat down to table with the family, that is with the aides-de-camp on duty and Bourrienne. After breakfast he talked with the usual party, or the invited guests, if there were any; one hour was devoted to this intercourse, which was generally shared by the First Consul’s two brothers, Lucien and Joseph, Regnault de Saint-Jean-d’Angely, Boulay (de la Meurthe), Monge, Berthollet, Laplace and Arnault. Toward noon Cambacérès arrived. As a general thing Bonaparte devoted half an hour to his chancellor; then suddenly, without warning, he would rise and say: “Au revoir, Josephine! au revoir, Hortense! Come, Bourrienne, let us go to work.”

This speech, which recurred almost regularly in the same words, was no sooner uttered than Bonaparte left the salon and returned to his study. There, no system of work was adopted; it might be some urgent matter or merely a caprice. Either Bonaparte dictated or Bourrienne read, after which the First Consul went to the council.

In the earlier months of the Consulate, he was obliged to cross the courtyard of the little Luxembourg to reach the council-chamber, which, if the weather were rainy, put him in bad humor; but toward the end of December he had the courtyard covered; and from that time he almost always returned to his study singing. Bonaparte sang almost as false as Louis XV.

As soon as he was back he examined the work he had ordered done, signed his letters, and stretched himself out in his armchair, the arms of which he stabbed with his penknife as he talked. If he was not inclined to talk, he reread the letters of the day before, or the pamphlets of the day, laughing at intervals with the hearty laugh of a great child. Then suddenly, as one awakening from a dream, he would spring to his feet and cry out: “Write, Bourrienne!”

Then he would sketch out the plan for some building to be erected, or dictate some one of those vast projects which have amazed—let us say rather, terrified the world.

At five o’clock he dined; after dinner the First Consul ascended to Josephine’s apartments, where he usually received the visits of the ministers, and particularly that of the minister of foreign affairs, M. de Talleyrand. At midnight, sometimes earlier, but never later, he gave the signal for retiring by saying, brusquely: “Let us go to bed.”

The next day, at seven in the morning, the same life began over again, varied only by unforeseen incidents.

After these details of the personal habits of the great genius we are trying to depict under his first aspect, his personal portrait ought, we think, to come.

Bonaparte, First Consul, has left fewer indications of his personal appearance than Napoleon, Emperor. Now, as nothing less resembles the Emperor of 1812 than the First Consul of 1800; let us endeavor, if possible, to sketch with a pen those features which the brush has never fully portrayed, that countenance which neither bronze nor marble has been able to render. Most of the painters and sculptors who flourished during this illustrious period of art—Gros, David, Prud’hon, Girodet and Bosio—have endeavored to transmit to posterity the features of the Man of Destiny, at the different epochs when the vast providential vistas which beckoned him first revealed themselves. Thus, we have portraits of Bonaparte, commander-in-chief, Bonaparte, First Consul, and Napoleon, Emperor; and although