Without you!

England: What a fool I was, what a dominated fool
To think that you were the Earth and sky
What a fool I was, what an addlepated fool
What a mutton-headed dolt was I

No, my reverberating friend
You are not the beginning and the end

European Union: You impudent hussy! Is there an idea in your head or a word in your mouth that I haven’t put there?

England: There’ll be spring every year without you
England still will be here without you
There’ll be fruit on the tree
And a shore by the sea
There’ll be crumpets and tea without you

Art and music will thrive without you
Somehow Keats will survive without you
And there still will be rain on that plain down in Spain
Even that will remain without you,
I can do without you!

You, dear friend, who talk so well
You can go to Hartford, Hereford and Hampshire
They can still rule the land without you
Windsor Castle will stand without you
And without much ado we can
All muddle through without you

European Union: You brazen hussy!

England: Without your pulling it the tide comes in
Without your twirling it, the Earth can spin
Without your pushing them, the clouds roll by
If they can do without you, ducky, so can I

I shall not feel alone without you
I can stand on my own without you
So go back in your shell
I can do bloody well
Without you

7 thoughts on “Without you!”

  1. Hey Jazz606, I can relate—I grew up on My Fair Lady dreaming of Eliza and wanting to be Higgins… But in that connexion, remember there are two possible endings to this story—in Shaw’s original “Pygmalion”, Eliza Doolittle leaves ‘Enry ‘Iggins and goes off to procreate with Freddy Eysnsford-Hill (Shaw doesn’t tell us how that ultimately worked out, but that was her choice).

    So in short, Shaw (with his Fabian focus on empowering women) radically departs from the original story about King Pygmalion of Cyprus in Ovid’s Metamorphoses. Shaw’s Eliza is strong and independent of her “re-creator”.

    But in the derivative and Hollywood-soaked-dream-ending-influenced “My Fair Lady” from which you’re quoting here, Eliza doesn’t leave the “European Union” (or ‘Iggins) and in fact comes right back to her somewhat abusive and totally inappropriate “Master of the House”—and the musical ends as she starts fetching his slippers again. She remains a submissive woman….

    In short—Shaw envisioned this story as a reversal of the classical model, but Hollywood restored it. Shaw was a social revolutionary who wanted to see the poor rise up and effectively decapitate the aristocracy, while Hollywood has hooked everyone on the dream of conformity to norms and feeling good about it….

    Shaw made exactly this same criticism of Richard Wagner’s Ring des Nibelungen in “The Perfect Wagnerite”. Shaw believed that Richard Wagner’s tetralogy was originally aiming in the direction of a revolutionary epic, with Siegfried and Brunhilde triumphant. But Shaw believed that after becoming the benefactor of Bavarian King Ludwig’s largesse, Wagner annulled the Revolution in Goetterdaemerung…. allowing merely the final triumph of nature… but the death of all the Gods (including the revolutionary pair themselves, even the Boy Hero who knew no fear…and his girlfriend Auntie B…..)

  2. CELIII, intriguing details, thank you. I don’t see the UK as anyone’s Cinderella, a waif condemned to servitude, let alone emancipated by a rich benefactor!

  3. CELIII That’s all too erudite for me. I like simple stuff, as anyone here will tell you.

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