Thinking about it, there is only one thing that my father-in-law Stanley and I really agree about: it’s the hair. His oldest son’s policies, achievements, claims (and other things) strike us both in very different ways: in Stanley’s case with a farmyard cockerel’s swelling red-breasted pride; in mine with a deep-rooted despair of the type the dwellers in the Cities of the Plain must have felt before Jehovah smote them. But we agree about the hair. When it first went on the public stage, the hair was a glorious diversion, like Tommy Cooper’s Turkish fez, Roy Hudd’s Emu or, perhaps more nobly, the playful, streaming flags and banners of the French aristocrats on the eve of Agincourt. The blond bird’s-nest was, after all, a nod to the great British comic/ironic tradition: a public statement of its owner’s ability to see the funny side of himself in a way that Chaucer’s pompous Knight never did.