In the vast expanse of French politics, where every trajectory seems plotted by principles and ideals, François Bayrou emerges as a singular geometric figure, the undisputed maestro of volte-faces. Through the lens of his ever-shifting choices, he epitomizes a constant: the centre, that strategic position from which one can pivot with mathematical ease towards all horizons.
Centrality as Strategy
In geometry, the centre is that perfect, still point from which all directions are possible. Bayrou, in his perpetual quest for balance and power, has elevated this concept to a political art form. Positioning himself at the heart of the political plane, he has mastered the art of turning his coat either rightward or leftward, depending on the prevailing wind.
- To the Right
-His opportunistic support for Jacques Chirac in 1995, betraying his mentor Édouard Balladur, proves that from the centre, it’s a doddle to extend a hand to the right while keeping one foot firmly in the middle. - To the Left In 2012, he backed François Hollande after lambasting the UMP and Nicolas Sarkozy. A coat-turning worthy of a perfect 180-degree rotation in the ideological plane.
On this matter, Simone Veil summed up the man with devastating precision:
“I know all his past and his successive betrayals. It’s an imposture, it’s worse than anything.”
A ruthless observation, casting a stark light on the myriad pirouettes of a man who has always sought to remain at the centre.
From Plane to Space: A Geometry in Three Dimensions
Bayrou’s ambitions transcend the flat plane. In the three-dimensional political space, he excels at adjusting his stance according to altitude.
- Upward Serving as a minister under various governments, he scales political peaks, always ready to change direction to avoid a fall.
- Downward When he tumbles, as during the UDF debacle or presidential election failures, he somehow always manages to right himself, showcasing an implacable geometric resilience.
The Turncoat: An Artistic Figure
Bayrou has turned the art of the volte-face into a political discipline. Inside out or right side in, he juggles alliances and convictions with the dexterity of a circus performer. In this, he embodies the reversible coat of French political landscape.
- The MoDem, Mirror of the Absolute Centre Founded to represent independence, the MoDem quickly becomes a tool for opportunistic alliances, dictated by electoral calculations.
- Coherence in Incoherence
-Each turn is justified by a skilful discourse, creating the illusion of a straight path while he traces ideological ellipses.
François Bayrou, the Political Anamorphosis
In projective geometry, anamorphosis is a distorted image that, when viewed from a precise angle, regains coherent form. Bayrou is the living political anamorphosis of France: incoherent in his successive choices, yet perfectly logical when one grasps his guiding principle – to remain at the centre to pivot more effectively.
Conclusion: The Centre, Throne of Opportunism
In plane as in space, the centre is the ideal position from which to turn one’s coat to the right or the left, up or down, inside out or right side in. François Bayrou, the chief geometer, illustrates this universal truth with flair. As a master of angles and rotations, he reminds us that in the political arena, true power lies not in commitment, but in the ability to turn without ever falling.
In conclusion, drawing from the wit of George Bernard Shaw, one might say that François Bayrou, with his chameleonic political maneuvers, would be deemed the most British of all French political figures. Shaw, known for his sharp observations, might have quipped that in Bayrou’s case, “you will never find an Englishman in the wrong; he will always find a way to be right,” suggesting that Bayrou’s ability to pivot and adapt, much like the quintessential British trait of pragmatism and strategic positioning, would be something Shaw would appreciate with a wry smile. Through this lens, Bayrou’s political acrobatics are not merely opportunistic but rather a sophisticated dance of survival and influence, very much in the spirit of Shaw’s satirical view on the British character.
