Criticism
Napoleon ended lawlessness and disorder in post-Revolutionary France. He was, however, considered a tyrant and usurper by his opponents. His critics charge that he was not significantly troubled when faced with the prospect of war and death for thousands, turned his search for undisputed rule into a series of conflicts throughout Europe and ignored treaties and conventions alike. His role in the Haitian Revolution and decision to reinstate slavery in France's oversea colonies are controversial and have an impact on his reputation.
Napoleon institutionalised plunder of conquered territories: French museums contain art stolen by Napoleon's forces from across Europe. Artefacts were brought to the Musée du Louvre for a grand central museum; his example would later serve as inspiration for more notorious imitators. He was compared to Adolf Hitler most famously by the historian Pieter Geyl in 1947. David G. Chandler, historian of Napoleonic warfare, wrote that, "Nothing could be more degrading to the former and more flattering to the latter."
Critics argue Napoleon's true legacy must reflect the loss of status for France and needless deaths brought by his rule: historian Victor Davis Hanson writes, "After all, the military record is unquestioned—17 years of wars, perhaps six million Europeans dead, France bankrupt, her overseas colonies lost." McLynn notes that, "He can be viewed as the man who set back European economic life for a generation by the dislocating impact of his wars. However, Vincent Cronin replies that such criticism relies on the flawed premise that Napoleon was responsible for the wars which bear his name, when in fact France was the victim of a series of coalitions which aimed to destroy the ideals of the Revolution.
Famous quotes containing the word criticism:
“A tailor can adapt to any medium, be it poetry, be it criticism. As a poet, he can mend, and with the scissors of criticism he can divide.”
—Franz Grillparzer (1791–1872)
“The aim of all commentary on art now should be to make works of art—and, by analogy, our own experience—more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.”
—Susan Sontag (b. 1933)
“Cubism had been an analysis of the object and an attempt to put it before us in its totality; both as analysis and as synthesis, it was a criticism of appearance. Surrealism transmuted the object, and suddenly a canvas became an apparition: a new figuration, a real transfiguration.”
—Octavio Paz (b. 1914)