"The press was placed under the most severe and watchful restraint. The jealously of the emperor was not confined to the writings of the living, but extended to works which had long been classical. Louis the Fourteenth, though a despot and a conqueror, had listened with respect to the noble discourse in which the eloquence of Massillon exposed the folly and wickedness of ambition. Bonaparte dreaded the effect which those sermons might produce on a people exhausted by taxes and conscriptions. Louis the Fourteenth, superstitious as he was, defended the Tartuffe of Molière against the hypocrites and bigots of his court. Bonaparte expressed his regret that such a piece should be in possession of the stage, and declared that, if it had been new, he would not have suffered it to be performed. Coming after a revolution produced by the force of public opinion, he was more competent than any of his predecessors to estimate that force, and was more solicitous than any of them to guard against it... Every writer of every age who had set forth the evils of despotism he regarded as his personal enemy. He spoke with bitterness of the masterly portraits of Tacitus, of those lessons of benevolence which are conveyed in the sweet and glowing language of Fénélon, and of those bold attacks on political and social abuses which form the redeeming part of the writings of Voltaire. He hated madame de Staël, and persecuted her with unmanly cruelty. Other despots were content to prescribe to their subjects what they should not write; the French emperor dictated almost the whole literature of France: he made it a crime not to flatter him."