“WASHINGTON — The fight over the Senate filibuster escalated sharply on Tuesday, as President Biden for the first time threw his weight behind changing the rules even as Senator Mitch McConnell, the Republican leader, threatened harsh reprisals if Democrats moved to weaken the procedural tactic.
In an interview with ABC News, Mr. Biden gave his most direct endorsement yet of overhauling the filibuster, saying that he favored a return to what is called the talking filibuster: the requirement that opponents of legislation occupy the floor and make their case against it.
“I don’t think that you have to eliminate the filibuster; you have to do it, what it used to be when I first got to the Senate back in the old days,” the president said. “You had to stand up and command the floor, and you had to keep talking.” The comments were a significant departure for Mr. Biden, a 36-year veteran of the Senate who has been frequently described by aides as reluctant to alter Senate procedure.
“It’s getting to the point where, you know, democracy is having a hard time functioning,” he added.”
Great reporting by Carl Hulse, followed by great comments. Enough with the namby pamby.
Where on earth did I get namby pamby, probably from my famously outspoken mother.
And it is real expression, says Wikipedia: ”
Namby-pamby is a term for affected, weak, and maudlin speech/verse. It originates from Namby Pamby (1725) by Henry Carey.
Carey wrote his poem as a satire of Ambrose Philips and published it in his Poems on Several Occasions. Its first publication was Namby Pamby: or, a panegyrick on the new versification address’d to A—– P—-, where the A– P– implicated Ambrose Philips. Philips had written a series of odes in a new prosody of seven-syllable lines and dedicated it to “all ages and characters, from Walpole steerer of the realm, to Miss Pulteney in the nursery.” This 3.5′ line became a matter of consternation for more conservative poets, and a matter of mirth for Carey. Carey adopts Philips’s choppy line-form for his parody and latches onto the dedication to nurseries to create an apparent nursery rhyme that is, in fact, a grand bit of nonsense and satire mixed.
Philips was a figure who had become politically active and was a darling of the Whig party. He was also a target of the Tory satirists. Alexander Pope had criticized Philips repeatedly (in The Guardian and in his Peri Bathos, among other places), and praising or condemning Philips was a political as much as poetic matter in the 1720s, with the nickname also employed by John Gay and Jonathan Swift.
The poem begins with a mock-epic opening (as had Pope’s Rape of the Lock and as had Dryden’s MacFlecknoe), calling all the muses to witness the glory of Philips’s prosodic reform:
- “All ye Poets of the Age!
- All ye Witlings of the Stage!
- Learn your Jingles to reform!
- Crop your Numbers and Conform:
- Let your little Verses flow
- Gently, Sweetly, Row by Row:
- Let the Verse the Subject fit;
- Little Subject, Little Wit.
- Namby-Pamby is your Guide;
- Albion’s Joy, Hibernia’s Pride.”