"The difference between a misfortune and a calamity is this: If Gladstone fell into the Thames, it would be a misfortune. But if someone dragged him out again, that would be a calamity"
About this Quote
Disraeli’s jab lands because it pretends to offer a tidy moral distinction while smuggling in a political assassination. The line sets up a sober, almost dictionary-like contrast between “misfortune” and “calamity,” then springs the trap: the calamity isn’t the fall itself but the rescue. It’s a joke built on reversal, a clean bit of Victorian cruelty that lets Disraeli voice lethal antagonism under the cover of wit.
The target matters. William Ewart Gladstone wasn’t just a rival; he was Disraeli’s ideological counterweight and a dominating force in 19th-century British politics. Disraeli, the Conservative showman-statesman, faced Gladstone, the Liberal moralist, in a long duel over empire, reform, Ireland, and the very tone of public life. By framing Gladstone’s survival as the true disaster, Disraeli isn’t merely wishing ill on a person; he’s implying that Gladstone’s continued presence in national affairs is itself a public emergency.
The Thames detail sharpens the insult. It’s a quintessential London stage, public and grubby, turning a private wish into a civic spectacle. And the passive phrasing - “someone dragged him out again” - indicts not only Gladstone but the well-meaning rescuers: the electorate, the press, the political class that keeps hauling the man back to power.
It works because it compresses parliamentary hatred into a form that can circulate as entertainment. Disraeli turns politics into social comedy, making contempt feel like good taste.
The target matters. William Ewart Gladstone wasn’t just a rival; he was Disraeli’s ideological counterweight and a dominating force in 19th-century British politics. Disraeli, the Conservative showman-statesman, faced Gladstone, the Liberal moralist, in a long duel over empire, reform, Ireland, and the very tone of public life. By framing Gladstone’s survival as the true disaster, Disraeli isn’t merely wishing ill on a person; he’s implying that Gladstone’s continued presence in national affairs is itself a public emergency.
The Thames detail sharpens the insult. It’s a quintessential London stage, public and grubby, turning a private wish into a civic spectacle. And the passive phrasing - “someone dragged him out again” - indicts not only Gladstone but the well-meaning rescuers: the electorate, the press, the political class that keeps hauling the man back to power.
It works because it compresses parliamentary hatred into a form that can circulate as entertainment. Disraeli turns politics into social comedy, making contempt feel like good taste.
Quote Details
| Topic | Witty One-Liners |
|---|---|
| Source | Rejected source: The works of Benjamin Disraeli, earl of Beaconsfield, emb... (Disraeli, Benjamin, Earl of Beaconsfi..., 1904)IA: worksbenjamindi01arnogoog
Evidence: to see mr neuchatels face were i to ask permission to marry his daughter i suppose he would not kick me downstairs that is out of fashion but he certainly would never ask me to dinner again and that would be a sacrifice yo Other candidates (2) If Ignorance Is Bliss, Why Aren't There More Happy People? (John Lloyd, John Mitchinson, 2009) compilation99.2% ... The difference between a misfortune and a calamity is this : If Gladstone fell into the Thames , it would be a mi... Benjamin Disraeli (Benjamin Disraeli) compilation57.6% consfield vol 6 1920 p 463 and in henry w lucy memories of eight parliaments 1908 p 66 if gladstone fell into the tha... |
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