“He may write with perfect freedom.
“He will deliver his reports under seal into General Duroc’s own hand, and General Duroc will deliver them to the First Consul. But it is absolutely necessary that nobody should suspect that this species of communication takes place; and, should any such suspicion get abroad, the First Consul will cease to receive the reports of Citizen Barère.
“It will also be proper that Citizen Barère should frequently insert in the journals articles tending to animate the public mind, particularly against the English.”
During some years Barère continued to discharge the functions assigned to him by his master. Secret reports, filled with the talk of coffee-houses, were carried by him every week to the Tuileries. His friends assure us that he took especial pains to do all the harm in his power to the returned emigrants. It was not his fault if Napoleon was not apprised of every murmur and every sarcasm which old marquesses who had lost their estates, and old clergymen who had lost their benefices, uttered against the imperial system. M. Hippolyte Carnot, we grieve to say, is so much blinded by party spirit that he seems to reckon this dirty wickedness among his hero’s titles to public esteem.
Barère was, at the same time, an indefatigable journalist and pamphleteer. He set up a paper directed against England, and called the Memorial Antibritannique.
He planned a work entitled, “France made great and illustrious by Napoleon.” When the Imperial government was established, the old regicide made himself conspicuous even among the crowd of flatterers by the peculiar fulsomeness of his adulation. He translated into French a contemptible volume of Italian verses, entitled, “The Poetic Crown, composed on the glorious accession of Napoleon the First, by the Shepherds of Arcadia.” He commenced a new series of Carmagnoles very different from those which had charmed the Mountain. The title of Emperor of the French, he said, was mean; Napoleon ought to be Emperor of Europe. King of Italy was too humble an appellation; Napoleon’s style ought to be King of Kings.
But Barère laboured to small purpose in both his vocations. Neither as a writer nor as a spy was he of much use. He complains bitterly that his paper did not sell. While the Journal des Débats, then flourishing under the able management of Geoffroy, had a circulation of at least twenty thousand copies, the Mémorial Antibritanuique never, in its most prosperous times, had more than fifteen hundred subscribers; and these subscribers were, with scarcely an exception, persons residing far from Paris, probably Gascons, among whom the name of Barère had not yet lost its influence.
A writer who cannot find readers generally attributes the public neglect to any cause rather than to the true one; and Barère was no exception to the general rule. His old hatred to Paris revived in all its fury. That city, he says, has no sympathy with France. No Parisian cares to subscribe to a journal which dwells on the real wants and interests of the country. To a Parisian nothing is so ridiculous as patriotism. The higher classes of the capital have always been devoted to England. A corporal from London is better received among them than a French general. A journal, therefore, which attacks England has no chance of their support.
A much better explanation of the failure of the Mémorial was given by Bonaparte at St. Helena. “Barère,” said he to Barry O’Meara, “had the reputation of being a man of talent: but I did not find him so. I employed him to write; but he did not display ability. He used many flowers of rhetoric, but no solid argument; nothing but coglionere wrapped up in high-sounding language.”
The truth is that, though Barère was a man of quick parts, and could do with ease what he could do at all, he had never been a good writer. In the day of his power he had been in the habit of haranguing an excitable audience on exciting topics. The faults of his style passed uncensured; for it was a time of literary as well as of civil lawlessness, and a patriot was licensed to violate the ordinary rules of composition as well as the ordinary rules of jurisprudence and of social morality. But there had now been a literary as well as a civil reaction. As there was again a throne and a court, a magistracy, a chivalry, and a hierarchy, so was there a revival of classical taste. Honour was again paid to the prose of Pascal and Massillon, and to the verse of Racine and La Fontaine. The oratory which had delighted the galleries of the Convention was not only as much out of date as the language of Villehardouin and Joinville, but was associated in the public mind with images of horror. All the peculiarities of the Anacreon of the guillotine, his words unknown to the Dictionary of the Academy, his conceits and his jokes, his Gascon idioms and his Gascon hyperboles, had become as odious as the cant of the Puritans was in England after the Restoration.