The trope was eminently Oakeshottian. Politics was not a battle of interests, or a quest for truth, or a voyage of progress – it was an aesthetic performance, to captivate an audience. But it was not high theatre (Oakeshott had also insisted that politics was a second-rate activity). It was more like commercial theatre, the drama of the boulevards that plays to our emotions or embarrassments – Rattigan rather than Racine, he explained. On this stage, Mount has certainly given us a stylish production. We might call it the comedy of reform. (Perry Anderson)

The trope was eminently Oakeshottian. Politics was not a battle of interests, or a quest for truth, or a voyage of progress – it was an aesthetic performance, to captivate an audience. But it was not high theatre (Oakeshott had also insisted that politics was a second-rate activity). It was more like commercial theatre, the drama of the boulevards that plays to our emotions or embarrassments – Rattigan rather than Racine, he explained. On this stage, Mount has certainly given us a stylish production. We might call it the comedy of reform.

Perry Anderson

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activity aesthetic audience battle call comedy commercial drama given high might mount performance politics production progress quest reform second-rate stage theatre trope truth voyage interests oakeshottian racine rattigan

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