Читать книгу Napoleon: The Man Behind the Myth - Adam Zamoyski - Страница 11

At noon on 10 December 1797 a thunderous discharge from a battery of guns echoed across Paris, opening yet another of the many grandiose festivals for which the French Revolution was so notable.

Although the day was cold and grey, crowds had been gathering around the Luxembourg Palace, the seat of the Executive Directory which governed France, and according to the Prussian diplomat Daniel von Sandoz-Rollin, ‘never had the cheering sounded more enthusiastic’. People lined the streets leading up to the palace in the hope of catching a glimpse of the hero of the day. But his reticence defeated them. At around ten o’clock that morning he had left his modest house on the rue Chantereine with one of the Directors who had come to fetch him in a cab. As it trundled through the streets, followed by several officers on horseback, he sat well back, seeming in the words of one English witness ‘to shrink from those acclamations which were then the voluntary offering of the heart’.1

They were indeed heartfelt. The people of France were tired after eight years of revolution and political struggle marked by violent lurches to the right or the left. They were sick of the war which had lasted for more than five years and which the Directory seemed unable to end. The man they were cheering, a twenty-eight-year-old general by the name of Bonaparte, had won a string of victories in Italy against France’s principal enemy, Austria, and forced her emperor to come to terms. The relief felt at the prospect of peace and the political stability it was hoped would ensue was accompanied by a subliminal sense of deliverance.

The Revolution which began in 1789 had unleashed boundless hopes of a new era in human affairs. These had been whipped up and manipulated by successive political leaders in a self-perpetuating power struggle, and people longed for someone who could put an end to it. They had read the Bulletins recounting this general’s deeds and his proclamations to the people of Italy, which contrasted sharply with the utterances of those ruling France. Many believed, or just hoped, that the longed-for man had come. The sense of exaltation engendered by the Revolution had been kept alive by overblown festivals, and this one was, according to one witness, as ‘magnifique’ as any.2

The great court of the Luxembourg Palace had been transformed for the occasion. A dais had been erected opposite the entrance, on which stood the indispensable ‘altar of the fatherland’ surmounted by three statues, representing Liberty, Equality and Peace. These were flanked by panoplies of enemy standards captured during the recent campaign, beneath which were placed seats for the five members of the Directory, one for its secretary-general, and more below them for the ministers. Beneath were places for the diplomatic corps, and to either side stretched a great amphitheatre for the members of the two legislative chambers and for the 1,200-strong choir of the Conservatoire. The courtyard was decked with tricolour flags and covered by an awning, turning it into a monumental tent.3

As the last echoes of the gun salute died away, the Directors emerged from a chamber in the depths of the palace, dressed in their ‘grand costume’. Designed by the painter Jacques-Louis David, this consisted of a blue velvet tunic heavily embroidered with gold thread and girded with a gold-tasselled white silk sash, white breeches and stockings, and shoes with blue bows. It was given a supposedly classical look by a voluminous red cloak with a white lace collar, a ‘Roman’ sword on a richly embroidered baldric, and a black felt hat adorned by a blue-white-red tricolour of three ostrich feathers.

The Directors took their place at the end of a cortège led by the commissioners of police, followed by magistrates, civil servants, the judiciary, teachers, members of the Institute of Arts and Sciences, officers, officials, the diplomatic representatives of foreign powers, and the ministers of the Directory. It was preceded by a band playing ‘the airs beloved of the French Republic’.4

The cortège snaked its way through the corridors of the palace and out into the courtyard, the various bodies taking their appointed seats. The members of the legislative chambers had already taken theirs. They wore costumes similar to that of the Directors, the ‘Roman’ look in their case sitting uneasily with their four-cornered caps, which were David’s homage to the heroes of the Polish revolution of 1794.

Having taken their seats, the Directors despatched an official to usher in the principal actors of the day’s festivities. The airs beloved of the French Republic had been superseded by a symphony performed by the orchestra of the Conservatoire, but this was rudely interrupted by shouts of ‘Vive Bonaparte!’, ‘Vive la Nation!’, ‘Vive le libérateur de l’Italie!’ and ‘Vive le pacificateur du continent!’ as a group of men entered the courtyard.

First came the ministers of war and foreign relations in their black ceremonial costumes. They were followed by a diminutive, gaunt figure in uniform, his lank hair dressed in the already unfashionable ‘dog’s ears’ flopping on either side of his face. His gauche movements ‘charmed every heart’, according to one onlooker. He was accompanied by three aides-de-camp, ‘all taller than him, but almost bowed by the respect they showed him’. There was a religious silence as the group entered the courtyard. Everyone present stood and uncovered themselves. Then the cheering broke out again. ‘The present elite of France applauded the victorious general, for he was the hope of everyone: republicans, royalists, all saw their present and future salvation in the support of his powerful arm.’ The dazzling military victories and diplomatic triumph he had achieved contrasted so strikingly with his puny stature, dishevelled appearance and unassuming manner that it was difficult not to believe he was inspired and guided by some higher power. The philosopher Wilhelm von Humboldt was so impressed when he saw him, he thought he was contemplating an ideal of modern humanity.5

When the group reached the foot of the altar of the fatherland, the orchestra and choir of the Conservatoire struck up a ‘Hymn to Liberty’ composed by François-Joseph Gossec to the tune of the Catholic Eucharistic hymn O Salutaris Hostia, and the crowd joined in an emotionally charged rendition of what the official account of the proceedings described as ‘this religious couplet’. The Directors and assembled dignitaries took their seats, with the exception of the general himself. ‘I saw him decline placing himself in the chair of state which had been prepared for him, and seem as if he wished to escape from the general bursts of applause,’ recalled the English lady, who was full of admiration for the ‘modesty in his demeanour’. He had in fact requested that the ceremony be cancelled when he heard what was in store. But there was no escape.6

The Republic’s minister for foreign relations, Charles-Maurice de Talleyrand, limped forward in his orthopaedic shoe, his ceremonial sword and the plumes in his hat performing curious motions as he went. The President of the Directory had chosen him rather than the minister of war to present the reluctant hero. ‘It is not the general, it is the peacemaker, and above all the citizen that you must single out to praise here,’ he had written to Talleyrand. ‘My colleagues are terrified, not without reason, of military glory.’ This was true.7

‘No government has ever been so universally despised,’ an informant in France had written to his masters in Vienna only a couple of weeks before, assuring them that the first general with the courage to raise the standard of revolt would have half of the nation behind him. Many in Paris, at both ends of the political spectrum, were expecting General Bonaparte to make such a move, and in the words of one observer, ‘everyone seemed to be watching each other’. According to another, there were many present who would happily have strangled him.8

The forty-three-year-old ex-aristocrat and former bishop Talleyrand knew all this. He was used to shrouding his feelings with an impassive countenance, but his upturned nose and thin lips, curling up on the left-hand side in a way suggesting wry amusement, were well fitted to the speech he now delivered.

‘Citizen Directors,’ he began, ‘I have the honour to present to the executive Directory citizen Bonaparte, who comes bearing the ratification of the treaty of peace concluded with the emperor.’ While reminding those present that the peace was only the crowning glory of ‘innumerable marvels’ on the battlefield, he reassured the shrinking general that he would not dwell on his military achievements, leaving that to posterity, secure in the knowledge that the hero himself viewed them not as his own, but as those of France and the Revolution. ‘Thus, all Frenchmen have been victorious through Bonaparte; thus his glory is the property of all; thus there is no republican who cannot claim his part of it.’ The general’s extraordinary talents, which Talleyrand briefly ran through, were, he admitted, innate to him, but they were also in large measure the fruit of his ‘insatiable love of the fatherland and of humanity’. But it was his modesty, the fact that he seemed to ‘apologise for his own glory’, his extraordinary taste for simplicity, worthy of the heroes of classical antiquity, his love of the abstract sciences, his literary passion for ‘that sublime Ossian’ and ‘his profound contempt for show, luxury, ostentation, those paltry ambitions of common souls’ that were so striking, indeed alarming: ‘Oh! far from fearing what some would call his ambition, I feel that we will one day have to beg him to give up the comforts of his studious retreat.’ The general’s countless civic virtues were almost a burden to him: ‘All France will be free: it may be that he will never be, that is his destiny.’9

When the minister had concluded, the victim of destiny presented the ratified copy of the peace treaty to the Directors, and then addressed the assembly ‘with a kind of feigned nonchalance, as though he were trying to intimate that he little liked the regime under which he was called to serve’, in the words of one observer. According to another, he spoke ‘like a man who knows his worth’.10

In a few clipped sentences, delivered in an atrocious foreign accent, he attributed his victories to the French nation, which through the Revolution had abolished eighteen centuries of bigotry and tyranny, had established representative government and roused the other two great nations of Europe, the Germans and Italians, enabling them to embrace the ‘spirit of liberty’. He concluded, somewhat bluntly, that the whole of Europe would be truly free and at peace ‘when the happiness of the French people will be based on the best organic laws’.11

The response of the Directory to this equivocal statement was delivered by its president, Paul François Barras, a forty-two-year-old minor nobleman from Provence with a fine figure and what one contemporary described as the swagger of a fencing-master. He began with the usual flowery glorification of ‘the sublime revolution of the French nation’ before moving on to vaporous praise of the ‘peacemaker of the continent’, whom he likened to Socrates and hailed as the liberator of the people of Italy. General Bonaparte had rivalled Caesar, but unlike other victorious generals, he was a man of peace: ‘at the first word of a proposal of peace, you halted your triumphant progress, you laid down the sword with which the fatherland had armed you, and preferred to take up the olive branch of peace!’ Bonaparte was living proof ‘that one can give up the pursuit of victory without relinquishing greatness’.12

The address meandered off into a diatribe against those ‘vile Carthaginians’ (the British) who were the last obstacle standing in the way of a general peace which the new Rome (France) was striving to bestow on the Continent. Barras concluded by exhorting the general, ‘the liberator to whom outraged humanity calls out with plaintive appeals’, to lead an army across the Channel, whose waters would be proud to carry him and his men: ‘As soon as the tricolour standard is unfurled on its bloodied shores, a unanimous cry of benediction will greet your presence; and, seeing the dawn of approaching happiness, that generous nation will hail you as liberators who come not to fight and enslave it, but to put an end to its sufferings.’13

Barras then stepped forward with extended arms and in the name of the French nation embraced the general in a ‘fraternal accolade’. The other Directors did likewise, followed by the ministers and other dignitaries, after which the general was allowed to step down from the altar of the fatherland and take his seat. The choir intoned a hymn to peace written for the occasion by the revolutionary bard Marie-Joseph Chénier, set to music by Étienne Méhul.

The minister for war, General Barthélémy Scherer, a forty-nine-year-old veteran of several campaigns, then presented to the Directory two of Bonaparte’s aides bearing a huge white standard on which the triumphs of the Army of Italy were embroidered in gold thread. These included: the capture of 150,000 prisoners, 170 flags and over a thousand pieces of artillery, as well as some fifty ships; the conclusion of a number of armistices and treaties with various Italian states; the liberation of the people of most of northern Italy; and the acquisition for France of masterpieces by Michelangelo, Guercino, Titian, Veronese, Correggio, Caracci, Raphael, Leonardo and other works of art. Scherer praised the soldiers of the Army of Italy and particularly their commander, who had ‘married the audacity of Achilles to the wisdom of Nestor’.14

The guns thundered as Barras received the standard from the hands of the two officers, and in another interminable address, he returned to his anti-British theme. ‘May the palace of St. James crumble! The Fatherland wishes it, humanity demands it, vengeance commands it.’ After the two warriors had received the ‘fraternal accolade’ of the Directors and ministers, the ceremony closed with a rendition of the rousing revolutionary war hymn Le Chant du Départ, following which the Directors exited as they had come, and Bonaparte left, cheered by the multitude gathered outside, greatly relieved that it was all over.15

For all his apparent nonchalance, he had been treading warily throughout. The Directory had not welcomed the coming of peace. The war had paid for its armies and bolstered its finances, while the victories had deflected criticism of its domestic shortcomings. More important, war kept the army occupied and ambitious generals away from Paris. This peace had been made by Bonaparte in total disregard of the Directory’s instructions, and it was no secret that the Directors had been furious when they were presented with the draft treaty. A few days after receiving it, they had nominated Bonaparte commander of the Army of England, not because they believed in the possibility of a successful invasion, but because they wanted him away from Paris and committed to a venture which would surely undermine his reputation. Their principal preoccupation now was to get him away from Paris, where he was a natural focus for their enemies.16

The day’s event had been a politically charged performance in which, as Bonaparte’s secretary put it, ‘everyone acted out as best they could this scene from a sentimental comedy’. But it was a dangerous one; according to one well-informed observer, ‘it was one of those occasions when one imprudent word, one gesture out of place can decide the future of a great man’. As Sandoz-Rollin pointed out, Paris could easily have become the general’s ‘tomb’.17

The hero of the day was well aware of this. The ceremony was followed by illuminations ‘worthy of the majesty of the people’ and a banquet given in his honour by the minister of the interior, in the course of which no fewer than twelve toasts were raised, each followed by a three-gun salute and an appropriate burst of song from the choir of the Conservatoire. Closely guarded by his aides, the general did not touch a morsel of food or drink a thing, for fear of being poisoned.18

It was not only the Directors who wished him ill. The royalists who longed for a return of Bourbon rule hated him as a ruthless defender of the Republic. The extreme revolutionaries, the Jacobins who had been ousted from power, feared he might be scheming to restore the monarchy. They denounced the treaty he had signed as ‘an abominable betrayal’ of the Republic’s values and referred to him as a ‘little Caesar’ about to stage a coup and seize power.19

Such thoughts were not far from the general’s mind. But he hid them as he assessed the possibilities, playing to perfection the part of a latter-day Cincinnatus. He refused the offer of the Directory to place a guard of honour outside his door, he avoided public events and kept a low profile, wearing civilian dress when he went out. ‘His behaviour continues to upset all the extravagant calculations and perfidious adulation of certain people,’ reported the Journal des hommes libres approvingly. Sandoz-Rollin assured his masters in Berlin that there was nothing which might lead one to suspect Bonaparte of meaning to take power. ‘The health of this general is weak, his chest is in a very poor state,’ he wrote, ‘his taste for literature and philosophy and his need of rest as well as to silence the envious will lead him to live a quiet life among friends …’20

One man was not fooled. For all his cynicism, Talleyrand was impressed, and sensed power. ‘What a man this Bonaparte,’ he had written to a friend a few weeks before. ‘He has not finished his twenty-eighth year: and he is crowned with all the glories. Those of war and those of peace, those of moderation, those of generosity. He has everything.’21