A Life of Napoleon Bonaparte, with a Sketch of Josephine, Empress of the French. — Context and Discussion
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This digital edition of A Life of Napoleon Bonaparte, with a Sketch of Josephine, Empress of the French. — Context and Discussion is described by source-level measurements including 121,217 words, 8 hr 48 min estimated reading time, and 26 detected text sections.
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Project Gutenberg metadata also associates the work with “Napoleon I, Emperor of the French, 1769-1821,” connecting these edition facts with the source record’s subject description.
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to bring up decently the eight children spared her from the thirteen she bore. The habits of order and economy formed in her years of struggle became so firmly rooted in her character that later, when she became _mater regum_, the “Madame Mère” of an imperial court, she could not put them aside, but saved from the generous income at her disposal, “for those of my children who are not yet settled,” she said. Throughout her life she showed the truth of her son’s characterization: “A man’s head on a woman’s body.”
The first years after their marriage were stormy ones for the Bonapartes. The Corsicans, led by the patriot Pascal Paoli, were in revolt against the French, at that time masters of the island. Among Paoli’s followers was Charles Bonaparte. He shared the fortunes of his chief to the end of the struggle of 1769, and when, finally, Paoli was hopelessly defeated, took to the mountains. In all the dangers and miseries of this war and flight, Charles Bonaparte was accompanied by his wife, who, vigorous of body and brave of heart, suffered privations, dangers, and fatigue without complaint. When the Corsicans submitted, the Bonapartes went back to Ajaccio. Six weeks later Madame Bonaparte gave birth to her fourth child, Napoleon.
“I was born,” said Napoleon, “when my country was perishing. Thirty thousand Frenchmen were vomited upon our soil. Cries of the wounded, sighs of the oppressed, and tears of despair surrounded my cradle at my birth.”
Young Bonaparte learned to hate with the fierceness peculiar to Corsican blood the idea of oppression, to revere Paoli, and, with a boy’s contempt of necessity, even to despise his father’s submission. It was not strange. His mother had little time for her children’s training. His father gave them no attention; and Napoleon, “obstinate and curious,” domineering over his brothers and companions, fearing no one, ran wild on the beach with the sailors or over the mountains with the herdsmen, listening to their tales of the Corsican rebellion and of fights, on sea and land, imbibing their contempt for submission, their love for liberty.
At nine years of age he was a shy, proud, wilful child, unkempt and untrained, little, pale, and nervous, almost without instruction, and yet already enamored of a soldier’s life and conscious of a certain superiority over his comrades. Then it was that he was suddenly transplanted from his free life to an environment foreign in its language, artificial in its etiquette, and severe in its regulations.
It was as a dependent, a species of charity pupil, that he went into this new atmosphere. Charles Bonaparte had become, in the nine years since he had abandoned the cause of Paoli, a thorough parasite. Like all the poor nobility of the country to which he had attached himself, and even like many of the rich in that day, he begged favors of every description from the government in return for his support. To aid in securing them, he humbled himself before the French Governor-General of Corsica, the Count de Marbœuf, and made frequent trips, which he could ill afford, back and forth to Versailles. The free education of his children, a good office with its salary and honors, the maintenance of his claims against the Jesuits, were among the favors which he sought.
By dint of solicitation he had secured a place among the free pupils of the college at Autun for his son Joseph, the oldest of the family, and one for Napoleon at the military school at Brienne.
To enter the school at Brienne, it was necessary to be able to read and write French, and to pass a preliminary examination in that language. This young Napoleon could not do; indeed, he could scarcely have done as much in his native Italian. A preparatory school was necessary, then, for a time. The place settled on was Autun, where Joseph was to enter college, and there in January, 1779, Charles Bonaparte arrived with the two boys.
Napoleon was nine and a half years old when he entered the school at Autun. He remained three months, and in that time made sufficient progress to fulfil the requirements at Brienne. The principal record of the boy’s conduct at Autun comes from Abbé Chardon, who was at the head of the primary department. He says of his pupil:
Ida M. Tarbell's A Life of Napoleon Bonaparte, with a Sketch of Josephine, Empress of the French alternates between the emperor's military campaigns and his domestic life, using letters and speeches to reveal character. The 1814 campaign excerpt shows Napoleon's desperation as he commands Augereau: 'I order you, twelve hours after the reception of this letter, to take the field.' Tarbell contrasts the emperor's energy with the paralysis of his subordinates, a recurring structural pattern.
The work is divided into 23 chapters on Napoleon and a separate sketch of Josephine, moving chronologically from his youth at Brienne to his death at St. Helena. Tarbell often shifts between grand strategy and intimate scenes, such as Napoleon presenting his son to the National Guard before leaving Paris.
Movement Between Battle and Court
Tarbell structures the narrative by alternating between military campaigns and political or domestic scenes. In the 1814 campaign, she moves from Napoleon's battlefield orders to his farewell to the empress and the King of Rome at the Tuileries. This juxtaposition highlights the contrast between the emperor's public role as commander and his private role as husband and father. The farewell scene is described with emotional detail: 'tears flowed down the cheeks of the men to whom he spoke.' Tarbell uses these shifts to show how Napoleon's personal relationships intersect with his political decisions, as when his sister Caroline's fear of losing her throne leads to Murat's betrayal.
Recurring Images of Numbers and Odds
Tarbell repeatedly emphasizes numerical disparities to underscore Napoleon's strategic genius and eventual defeat. In the 1814 campaign, she notes that Napoleon commanded 'not more than sixty thousand men' against 'nearly six hundred thousand' allies. Earlier chapters likely employ similar contrasts, such as the Italian campaign where Napoleon defeated larger Austrian forces. The numbers become a motif for his audacity and the overwhelming forces he faced. Tarbell also uses specific figures to convey resourcefulness: 'I have destroyed eighty thousand enemies with conscripts having nothing but knapsacks!' she quotes Napoleon, highlighting his ability to compensate for material disadvantages with boldness.
Letters as Structural Anchors
Tarbell incorporates full letters and speeches to provide primary evidence of Napoleon's voice and decision-making. The excerpt includes a letter to Augereau dated 21 February 1814, where Napoleon berates his general for inaction. The letter's direct, imperative tone—'take the field'—contrasts with Tarbell's narrative prose, creating a shift in register. These documents serve as structural anchors, breaking the third-person account with first-person testimony. Tarbell uses them to show Napoleon's frustration and his reliance on personal authority. The letter also reveals his tactical thinking, such as his claim that 'six hours' repose was sufficient' for troops coming from Spain.
The Sketch of Josephine as Counterpoint
The separate sketch of Josephine, though not excerpted here, is positioned as a counterpoint to Napoleon's narrative. Tarbell likely uses Josephine's perspective to humanize the emperor and explore themes of loyalty and betrayal. The sketch's placement after Napoleon's death suggests a structural parallel: his public story ends with defeat and exile, while hers offers a domestic lens. The catalog subjects list both figures, indicating that Tarbell treats Josephine as a co-subject rather than a mere appendage. The sketch may also provide a female perspective on events like the divorce, which is covered in Chapter XVII. This dual structure allows Tarbell to examine Napoleon's character from both inside and outside the imperial court.
Tarbell's biography rewards readers who attend to the interplay between military strategy and personal relationships. The letters and speeches offer direct access to Napoleon's voice, while the numerical contrasts frame his campaigns as both brilliant and doomed. The separate sketch of Josephine invites comparison between public and private spheres. Readers may wish to track how Tarbell uses these structural elements to build a portrait of Napoleon as a man driven by ambition but constrained by human weakness.
Reading Tarbell’s account of Napoleon’s 1814 desperation—those frantic letters, the thinning ranks—I keep a guarded fondness for the orderly choreography of an older military world. There’s a strange comfort in the precise, almost ceremonial movements of the drill field, so far from his chaos. It’s like remembering a quieter room: Infantry Drill Regulations, United States Army, 1911 Corrected to April 15, 1917 (Changes Nos. 1 to 19) — Inside the Classic, all measured steps and predictable causes.
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