After the next brood they prove inoffensive, and, better still, are useful, especially the almanacs,[6260] "in rectifying on various points the people's attitudes. It will probably be possible after 1812 to control their composition, and they are filled with anecdotes, songs and stories adapted to the maintenance of patriotism and of devotion to the sacred person of His Majesty and to the Napoleonic dynasty."--To this end, the police likewise improves, orders and pays for dramatic or lyric productions of all kinds, cantatas, ballets, impromptus, vaudevilles, comedies, grand-operas, comic operas, a hundred and seventy-six works in one day, composed for the birth of the King of Rome and paid for in rewards to the sum of 88,400 francs. Let the administration look to this beforehand so as to raise up talent and have it bear good fruit. "Complaints are made because we have no literature;[6261] it is the fault of the minister of the interior. Napoleon personally and in the height of a campaign interposes in theatrical matters. Whether far away in Prussia or at home in France, he leads tragic authors by the hand, Raynouard, Legouvé, Luce de Lancival; he listens to the first reading of the "Mort d'Henri IV." and the "États de Blois." He gives to Gardel, a ballet-composer, "a fine theme in the Return of Ulysses." He explains to authors how dramatic effect should, in their hands, become a political lesson; for lack of anything better, and waiting for these to comprehend it, he uses the theatre the same as a tribune for the reading to the spectators of his bulletins of the grand army. On the other hand, in the daily newspapers, he is his own advocate, the most vehement, the haughtiest, the most powerful of polemics. For a long time, in the "Moniteur," he himself dictates articles which are known by his style. After Austerlitz, he has no time to do this, but he inspires them all and they are prepared under his orders. In the "Moniteur" and other gazettes, it is his voice which, directly or by his spokesmen, reaches the public; it alone prevails and one may divine what it utters! The official acclaim of every group or authority in the State again swell the one great, constant, triumphant adulatory hymn which, with its insistence, unanimity and violent sonorities, tends to bewilder all minds, deaden consciences and pervert the judgment. "Were it open to doubt," says a member of the tribunate,[6262] "whether heaven or chance gives sovereigns on earth, would it not be evident for us that we owe our Emperor to some divinity?" Another of the choir then takes up the theme in a minor key and thus sings the victory of Austerlitz: "Europe, threatened by a new invasion of the barbarians, owes its safety to the genius of another Charles Martel."