Stephen Fry

And when he goes into the church, the light shines through the stained glass and lights him up.

And it becomes a blaze of gold and colour and jewels.

And it's a wonderful story, but it's a magnificent way of explaining what we all feel, which is every day when you buy something, you know, we all know about...

blood diamonds and so on.

But it's true of almost clothes, cheap fashion.

How is it made?

And he was asking those questions.

So he always had that same instinct of imagination of where do things come from?

What really are they?

What is poverty?

What are riches?

He hid himself from himself.

Where he talks in the passage that I read earlier about, where he talks about what the paradox was for me, you know, in the verbal and the artistic sphere, perversity became for me.

But the paradox and his classic examples of wit are,

are an inversion of what was understood to be true by the Victorians.

And by turning upside down the morality that the Victorians were so proud of and so addicted to and so utterly insistent about, by turning it upside down and showing the reverse is true, he really was...

Humiliating, essentially.

I mean, you can take an obvious example of turning it upside down is a Bon Mo like, work is the curse of the drinking classes.

Now, what's great about that is it's true, the drinking classes.

The leisured classes who go and drink a lot do not like the work.