It’s all in the definition; once something has been defined as an evil, it will be universally rejected. This was a theme of a recent talk by philosopher Stefan Molyneux. By example, Molyneux spoke of the slave trade. No one supports slavery anymore, and even the cretins who participate in the modern slave trade cannot defend their actions. But up until slavery was recognized as an evil, a small percentage of the population would defend this practice.
Likewise, once a group has been identified as dis-privileged in society, few if any will defend that inequity.
Of course, there are some exceptions, as we are humans complete with all the failings that this entails. As I have always said, people will cast themselves in a good light: we know better the trials and tribulations that we ourselves have suffered and it is much easier to be sympathetic to our own personal experiences. We are, of course, rational, thinking beings and can recognize and resist our own self-biases. We are also susceptible to the influence of ideology and are capable of rejecting fairness toward ourselves in favour of a group we perceive as oppressed.
These points were not lost on W. S. Gilbert when he penned what would become one of Gilbert and Sullivan’s more successful operettas, The Gondoliers; or The King of Barataria.
The overall theme of this operetta, first performed in 1889, seems to be the folly of blind adherence to ideology. However, if you look a little deeper, you can see underlying themes that still resonate today—perhaps stronger than ever.
Act I is set in a blue collar community in Venice, occupied primarily by gondoliers and their families, all of whom are staunch republicans who abhor rank and hold all people to be equals (except, perhaps, gondoliers, who are masters of their trade … remember, everyone casts themselves in a good light).
As the curtain rises, we see two dozen young women who are busy binding roses into bouquets. Presently some of the young men in the community arrive, smiling politely and tipping their hats to the women, attempting to win favour. The women react coldly; they have no interest in these men. When asked for whom they are preparing these “floral tributaries extraordinary” [Good morrow pretty maids], the women explain in harsh terms that they are all in love with gondoliers Marco and Giuseppe, two brothers who will be coming that day to choose their brides. Once these two men have made their choices, the remaining women may deign to look upon the other gondoliers as their second option.
“—But what of us, who one and all adore you?
Have pity on our passions, we implore you”“—These gentlemen must make their choice before you
In the meantime, we tacitly ignore you
When they have chosen two, that leaves you plenty,
Two dozen we, and ye are four and twenty”
Throughout, we see the men tiptoeing around the women’s feelings while the women treat the men with disregard for their feelings … all the while assuming that the men will not lose interest after being treated with disdain.
When the two brothers finally arrive, they too go to great lengths to protect the women’s egos, even pretending to have no preferences whatsoever (but of course they do).
“A preference to declare would be indelicate
And therefore we propose to let impartial fate
Select, for us, a mate”
They go so far as to make up a game in which they will be blindfolded as they choose their brides so that no one will feel left out [These handkerchiefs upon our eyes]. However, when the brothers are caught peeking, they are shamed and even threatened with violence, despite the unreasonable length they have gone to for the benefit of the women’s vanity.
“—Conduct shady, they are cheating!
Surely they deserve a beating!
This too much is; Maidens mocking!
Conduct such is truly shocking!”“—Fie, for shame! Fie, for shame!”
The shaming soon ends, and the brothers manage to catch the brides of their choice.
Jokingly, the brothers go on to claim that they still have no preferences and would gladly switch brides. Of course the two brides, who only moments earlier were perfectly happy to allow the brothers to have no preference, now change their tune and are insulted by the thought of their grooms-to-be not professing devotions to them and them alone.
Anyone familiar with the works of Gilbert and Sullivan will know that the plot will become comically complicated, and by no means does The Gondoliers disappoint.
Moments after the wedding ceremony, the two couples are approached by the Grand Inquisitor of Spain, whom they do not recognize. The brothers introduce themselves by announcing their political beliefs, explaining that as republicans they reject kings and hold all men to be equals.
The Grand Inquisitor informs the brothers that one of them—it is unclear which—is in fact the sole heir to a throne on the island kingdom of Barataria. With the kingdom in a state of insurrection, it is essential that the throne be occupied at once.
“—As you are both republicans and hold kings in detestation, of course you’ll abdicate at once. Good morning!”
“—Well, as to that, there are kings and there are kings. When I say that I detest kings, I mean I detest bad kings.”
“—I see. It’s a delicate distinction.”
It is revealed to the brothers that they will be able to reign jointly, as one individual, until the rightful heir’s nurse mother can be located. What is not revealed is that the prince was married in infancy; instead, it is explained that, for the time being, their wives will not be permitted to join them … just for a time, a few months is all. (Spoiler alert: Someone was switched at birth.)
The brothers inquire if they may invite their friends and give them positions about the royal court.
“Of course, that is always done.”
Almost immediately the focus switches from one of the men being a king to one of their wives being a queen [Then one of us will be a queen] and how all will have to treat her as a “high born aristocrat.” The wives’ republican ideology goes out the window as soon as they see themselves in a privileged position.
The brothers, however, remain true to their ideology. When they invite their friends to come along and take positions as courtiers, the village at first reacts poorly.
“—as they know we object
To pavilions and palaces
How can they respect
Our republican fallacies?”
The joint kings explain that they intend to remodel the monarchy on republican principles: all will be equal, from the Lord High Chancellor to the lowly coachman, henceforth to be known as the Lord High Coachman [For everyone who feels inclined].
At the closing of Act I, the brothers are away to the “island fair that lies in the southern sea,” sad to leave their wives behind but excited about their new positions.
Act II opens in the royal palace of Barataria, with the former gondoliers dressed in fine clothing and engaged in frivolous pastimes. Those who are paying close attention, especially upon a second viewing, may notice that the opening of Act II mirrors the opening of Act I.
The kings are treated with disrespect by the courtiers because of their “privileged” positions. The kings accept that they must do a little more around the court to make up for their positions … it’s only fair. So, as the courtiers engage in games and hobbies, the kings spend their days running themselves ragged, performing the duties of the heads of state, dressing their private valet, and even giving up their royal quarters to move into an apartment in the servants’ quarters [Rising early in the morning].
Despite their efforts, it is never seen as enough compensation by the courtiers, and yet the brothers, blinded by their ideology, accept this with gratitude. They can never compensate enough for their alleged privilege and, as such, will always be expected to do a little more while the “dis-privileged” courtiers live a life of luxury at their expense.
As I said, this is merely a sub-theme; the operetta goes on to find a comically simplistic resolution, as is the norm with Gilbert and Sullivan. But the point of this underlying theme is clear to me.
Once society has identified a group as oppressed, that group will be treated with extra care and concern. More noticeably, whoever is identified as privileged will be cast into a position of dis-privilege in many ways—and unsympathetically so.
Many men and women who identify as MRAs are well familiar with these themes.
When one’s ideology blinds a person to what is happening right in front of their face, certain opportunists will take full advantage.
This does not lead to a more equal society; on the contrary, we see only a reversal of master and servant under false pretense (by fools who would be king).
Feature image by José Manuel Ríos Valiente
