
David A. Bell teaches at Johns Hopkins. The First Total War, about Napoleon’s Europe, is published by Bloomsbury.
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Vol. 27 No. 12 · 23 June 2005
pages 11-14 | 4523 words

Violets in Their Lapels
David A. Bell
- The Legend of Napoleon by Sudhir Hazareesingh
Granta, 336 pp, £20.00, August 2004, ISBN 1 86207 667 7
- The Retreat by Patrick Rambaud, translated by William Hobson
Picador, 320 pp, £7.99, June 2005, ISBN 0 330 48901 1
- Napoleon: The Eternal Man of St Helena by Max Gallo, translated by William Hobson
Macmillan, 320 pp, £10.99, April 2005, ISBN 0 333 90798 1
- The Saint-Napoleon: Celebrations of Sovereignty in 19th-Century France by Sudhir Hazareesingh
Harvard, 307 pp, £32.95, May 2004, ISBN 0 674 01341 7
- Napoleon and the British by Stuart Semmel
Yale, 354 pp, £25.00, September 2004, ISBN 0 300 09001 3
France, it has often been said, is a democracy with the manners of an absolute monarchy. Think of the ceremonial splendour with which French presidents surround themselves, the haughty, distant style they tend to adopt, or the way relationships within their entourages tend to mimic, with delicious self-consciousness, patterns of favouritism and intrigue developed long ago at the court of Versailles. No Western head of state in recent memory (British monarchs included) has had a more regal touch than François Mitterrand, alleged socialist. Nothing is more alien to mainstream French democracy than the American-style ‘populism’ practised by politicians from Andrew Jackson to George W. Bush. The word populiste is a deadly insult, most recently deployed by socialists and Chiraquiens alike against anyone who dares interpret the result of the referendum on the European Constitution as a vote of no confidence in the country’s political elites. The only true populist in contemporary French politics is Jean-Marie Le Pen.
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Letters
Vol. 27 No. 14 · 21 July 2005
From Karl Dallas
David Bell’s survey omits one fascinating aspect of Napoleoniana, namely the positive or, at the very least, ambivalent view of Napoleon in British and American popular music (LRB, 23 June). This can be seen in ballads such as ‘The Bonny Bunch of Roses’, in which the roses are a symbol for the nations of the British Isles (‘For England has a heart of oak,/And England, Ireland and Scotland,/Their unity has never been broke’), but which ends: ‘The deeds of brave Napoleon/Shall conquer the Bonnie Bunch of Roses-O.’
In ‘Napoleon’s Dream’, Bonaparte is a symbol of liberty, despite his diversion of the ideals of the French Revolution towards imperialism:
You remember the day so immortal he cried
When we crossed o’er the Alps famed in story
With the legions of France whose sons were my pride
As I marched them to honour and glory
On the fields of Marien lo I tyranny hurled
Where the banners of France were to me first unfurled
As a standard of liberty all over the world
And a signal of fame cried Napoleon.
Like a hero I’ve borne both the heat and the cold
I have marched to the trumpet and cymbal
But by dark deeds of treachery I now have been sold
Though monarchs before me have trembled
Ye princes and rulers whose station ye bemean
Like scorpions ye spit forth venom and spleen
But liberty all over the world shall be seen
As I woke from my dream cried Napoleon.
In ‘The Grand Conversation on Napoleon’, a resurrection of the Napoleonic ideal is envisaged:
It’s long enough they have been dead,
The blast of war around is spread;
And may our sapling sprout again,
To face our daring foes,
For if fortune smiles without delay,
The whole world soon will him obey.
Karl Dallas
Bradford