J. M. de Prada: Dr Sánchez loves his Begoña to bits

Juan Manuel de Prada's column argues that Pedro Sánchez's "I love you" to Begoña Gómez at a rally is not a spontaneous gesture, but a technique to mobilise voters emotionally and shield himself from criticism. The underlying thesis: democracy has gone from being a parliament of reason to a cheap theatre of emotions.

The starting point is a concrete gesture: Pedro Sánchez publicly declares his love for Begoña Gómez during a rally, and the crowd chants "we love you too". For Juan Manuel de Prada, this is no anecdote. It is proof that contemporary democracies have become an emotivist quagmire where the vote comes after a tearful display rather than after deliberative judgement.

## From the parliament of reason to the theatre of emotions

Democracy was conceived, in theory, as a space where decisions were made after deliberation. Classical philosophy summed it up in one sentence: nothing is loved unless it is first known by reason. The vote was the end of an intellectual process. Prada argues that this model has been blown to pieces. Now the masses react to sentimental and herd impulses, and vote after an emotional impact.

The demagogue no longer needs cunning sophistries to deceive. It is enough to tug at the heartstrings with any crude piece of sentimentality. The self-pitying display of loved ones, personal wounds and the ins and outs of private life replace rational discourse. And the more theatrical that display, the more "authentic" it will seem to an electorate guided by emotional turmoil.

## The "I love you" as a sarracena dividing line

The column goes beyond the gesture and describes its function. The "I love you" chanted by supporters draws a sarracena dividing line: us, those who love and resist, versus them, those who hate and destroy. The opposition is placed, without any need for arguments, on the side of hate. Prada links this to the "affective investiture" theorised by **Ernesto Laclau**: love displayed as a catalyst for social antagonisms.

Whoever masters the staging of emotion masters the narrative. And, along the way, their figure is shielded from any rational scrutiny. Love for one's partner thus becomes a political shield and a mobilisation tool.

## The historical references in the column

Prada looks for precedents in the history of emotional cults. He mentions the bacchantes of Eleusis, the devotees of Mithras and the alumbrados of **Llerena**, a mystical movement of the 16th century in that town in Extremadura. In every case, the orgiastic ceremony of irrationality replaces judgement. The comparison serves to underline that the phenomenon is not new, even though it now takes place within democratic institutions.

The text offers no poll figures or electoral data. Its strength lies in describing the mechanism: emotion as a shortcut that makes argument unnecessary. It is a debatable thesis, and should be read as such, not as a proven fact.