After the general election, three further political ballots became necessary. The first was the election of a PL deputy leader to replace Louis Grech. But more crucial to the political scene is the election of a new Opposition leader to replace Simon Busuttil in September. The third election on the cards is for an Alternattiva Demokratika leader replacing Arnold Cassola, but the build-up to this has received little attention. Unless a strong candidate comes forward, the prospects of AD ever gaining a parliamentary seat remain nil.
Elections, big or small, have common traits. First there is backstage manoeuvring to determine who will stand. Many candidates will only run if confident of enough support to have a chance. Once the names are in, the lobbying, persuasion, jockeying, backstabbing and manipulations continue, until one finally emerges as the winner.
But a scorching summer is also time for a break from politics, and for reading books on the beach or on the terrace with a fan. For those who can’t quite let go, I know two novels based on the machinations of elections. One is the bestseller Conclave by Robert Harris (author of Fatherland) which I have just read.
This deals with the election of a new pope, but the whispering and dealing behind the scenes is familiar. The word ‘conclave’ means con clavus (with key) – as the cardinals are locked up together for some days, sealed from contact with the outside world to select their new leader. Harris is interested in power, and how it is attained.
In the book, as they proceed through a series of ballots the cardinals group and regroup into different factions, first supporting one candidate and then another. The world watches and waits for white smoke to appear, while terrorists divert attention outside.
But the cardinals resolutely continue voting until finally one is chosen to follow in the footsteps of St Peter. The scene is set in Michelangelo’s gorgeous Sistine chapel, with the powerful biblical images on the ceiling above them, warning and inspiring the frail cardinals below to cast their votes.
There are hints of Pope Francis in the book, and the dilemma of opting for an outsider or somebody from the inner core, is central. The story moves step by step through the long, tortuous election process, yet still maintains a subtle suspense until the twist at the end.
Once the names are in, the lobbying, persuasion, jockeying, backstabbing and manipulations continue, until one finally emerges as the winner
Another story on an election is the finely-written The Masters by C.P. Snow, which I read years ago. This was published in the 1950s but is set in a Cambridge college in the 1930s. The master of the college is terminally ill, and the other fellows begin scheming and grouping themselves into factions, preparing for the imminent election of a new master.
As they jostle for position, their weaknesses and desires are gradually revealed, layer by layer. The Masters provides insight into the psychology of men in groups, their bargaining, loyalties, ambitions and the quest for power.
Trump and Julius Caesar
Power is also a theme in Shakespeare’s Julius Caesar. This play was the centre of controversy in New York this season, with a production presenting a Caesar who looked remarkably like Donald Trump.
The stage assassination of this Trump look-alike caused outrage among some right-wingers. Protesters made a scene at the theatre, calling the adaptation “political violence against the right”. The protesters filmed themselves and immediately posted their video on Twitter. The theatre then called their protest a “strategy driven by social media”. The controversy was widely reported and some sponsors withdrew.
Interpreting the play as encouraging a ruler’s assassination is a misunderstanding. In Shakespeare’s time, both Elizabeth I and her successor King James faced real attempts to overthrow them. Monarchs did not sit securely in their thrones. A play openly condoning the deposition of a legitimate ruler would have had very unpleasant consequences for its author.
While the killing of Caesar is visually distressing, it is explored in the play as a morally complex matter. Brutus tries to justify the murder to the public, but Mark Anthony’s famous speech then sways them against the conspirators. Shakespeare presents politicians as winning or losing power and influence through their ability to tap into the emotions of the crowd. They must persuade their hearts, not only their minds.
Rather than promote political overthrow, Julius Caesar dwells on some of its negative consequences. Shakespeare also questions the motives of the murder. He focuses on charismatic and powerful leaders, and the nature of a fickle crowd. These are eternally relevant topics, which is why Shakespeare’s plays are still powerful enough to generate such controversies at all.
This is Shakespeare’s best-known political play, and it has been staged regularly ever since it was first performed in 1599. Many productions have drawn on modern-day politicians, such as Benito Mussolini, Adolf Hitler, Fidel Castro, Nicolae Ceaucescu and even Margaret Thatcher. In 1937, Orson Welles used the play to explore the rise of fascism.
We have never had a production of Julius Caesar hinting at a Maltese politician. Perhaps our audiences could not handle it. Political leaders come and go, but the relevance of Shakespeare’s plays outlasts them all.
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