He correctly points out that Napoleon was not the only Frenchman in his day (and there remain many in ours) to whom "Anglo-Saxon" constitutions with limited government and loyal but robust opposition parties are "an invitation to social dissolution in a flee-for-all of market forces and factional or corporatist interest." This distrust of politics and its absorption into the State (which Hegel so much admired in Napoleon) may or may not have been necessary in the France of
Napoleon's day. But, contrary to Englund's suggestion, this distrust, and the consequent construction of a centralized technocratic State for "a post-political society," is not a "liberal vision."
Musical numbers: "Carpe Diem (The Victim's Ball)," "The Rest of My Life," "Seven Days," "The Road to Glory," "The Dream Within," "Cut Throat Game," "Only in Fantasy," "Billiards," "A Gentleman's Agreement," "The Journey Begins," "Eighteenth of Brumaire," "On That First Night," "The Royal Chorus of Disapproval," "The Republic Ball," "I Am the Revolution," "Calm Before the Storm," "Timor Mortis," "Sweet Victory Divine," "Saint
Napoleon's Day," "The Needs of France," "The Last Crusade," "The Friend You Were to Me," "The Hunt," "Russia," "Waiting and Hoping," "Gates of Paris," "Rhapsody of the Turning Tides," "Exile of the Heart," "Finale."