But, again, follow the Money, the Power, the so-called illusory Legacy. Rest assured, when the PM finally departs her role, they will be lavishing newly discovered praise upon her laudable intentions, her sincerity, her resolve. It is all total tosh. And we are the fall guys. The electorate. The underclass.
This is no more pronounced than in the battle within both political parties. In the Red Corner is Corbyn. The rebel. The anti-racist. The inclusive one. Yet the one who feebly pretends to address the anti-Semitism that permeates his ranks. That leads to a pregnant fellow MP being viciously abused. That leads to MPs leaving and some of his Lordships dispensing with his Whip. Meanwhile in the Blue Corner, in cycling shorts and unkempt blonde locks, saunters in the mildly comic genius buffoon, otherwise known as Boris. The one who likes to laud it over his lady companions, who refuses to answer questions, who promises free money- the moment he is ensconced in number 10. This is the man whose word is about as reliable as the weather where I come from. But more importantly, this is the person who has made a number of deliberately inflammatory statements about my Muslim brothers and sisters. He has made those statements with a specific purpose - to cause controversy and to ingratiate himself among his numerous far right fans. Worst still, Priti Patel, a Muslim herself, no doubt hoping for a quid pro quo in the forthcoming Cabinet, defends the indefensible. She erroneously claims that that her close ally Boris meant nothing sinister. Dream on, Priti, dream on.
WHEN, IN 1712, John Caryll asked Alexander Pope to write a poem to settle a private dispute enacted in public between two high-society families he hoped to '\"laugh them together again.'\" (1) Robert, Lord Petre had, famously, cut off one of Arabella Fermors prized twin locks of hair, \"which graceful hung behind / In equal curls, and well conspird to deck / With shining ringlets her smooth iv'ry neck\" (2.20-22). (2) He thereby visibly damaged her comportment to the outside world, and potentially initiated scandalous insinuations about the level of intimacy which had made such a breach of decorum possible. In a world that valued reputation as an accomplishment, and even as a necessity for women to be deemed eligible spouses, visible virtue was all. In The Rape of the Lock (1714) Arabella Fermor turns into \"Belinda,\" Lord Petre into \"The Baron\" within a heightened, luxuriant world of beaux and belles, fripperies and fans, captured in seemingly elevated heroic couplets which comically dignify superficial actions and actors so as to expose their triviality in a comically exaggerated way. (3) Pope perfects his use of mock-heroic to achieve his dual satiric purpose of simultaneous admiration and critique: (4) for Maynard Mack, he \"represents the absurdities of the fashionable world with affection,\" while never letting us \"forget that in such a world ethical judgments have reached a sad disarray\" when so much value is placed on \"trifles.\" (5) 59ce067264