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Greece’s Grand Theatrical Performance

  In the midst of negotiations whose conclusion it has said to be close, the Greek government unilaterally decided to break them off and submit the proposals put forward by its partners to referendum with a call to reject them.

This confession of weakness, which has nothing to do with democracy leads us to believe that having taken office on the ruins of an exhausted political system, responsibility for that power is no longer desired.

Undoubtedly unable to assume the task and refusing the difficult mission to run a failing State normally, the true nature of this government has now been unmasked. It is acting as if it never wanted an agreement in the first place and has simply procrastinated and lied over the last five months.

It is taking the Greek people hostage as it demands for a vote on a text that does not even exist, because it was unable to conclude negotiations correctly with its creditors.

In fact the Europeans took the risk of making significant concessions; enabling a progressive entry into force of difficult measures whilst sparing the poorest. They just wanted a credible plan, a commitment to prevent public money being bled dry by a colossal Greek debt.

Incidentally and in all transparency, the European Commission has published the proposals made to Greece (
). They comprise a minimum effort to make to avoid bankruptcy. They go together with continued aid (more than 15 billion € by November). In response to these well-meaning intentions, the radical left government with the support of neo-Nazi far right has illustrated its incapacity to assume Power.

Using and abusing rhetoric and the media it has preferred ideology and is challenging the elementary rules of the economy, the system, Europe, the IMF etc... 

However it will not be able to distort the truth for long and blame the European Union, which has been generous and supportive but earnest and responsible.

Hence this government takes us back to the origins of the Greek theatre which according to Aristotle comes from the dithyramb : “a lyrical poem in honour of Dionysos (the God of Wine), undoubtedly performed by intoxicated drinkers, sung by a choir of men disguised as satyrs typified by a verve, an exuberant, disorderly enthusiasm” (Trésor de la Langue Française).

Unfortunately the primary victims of this incompetence will be the Greeks, starting with the weakest.

It is expected then that we shall have to pay – once more – for the antics of a few irresponsible ideologists