Hermeneutic

Hermeneutic (pronounced hur-muh-noo-tik or hur-muh-nyoo-tik)

(1) Of or relating to hermeneutics; interpretative; explanatory.

(2) That which explains, interprets, illustrates or elucidates.

(3) In theology, of or relating to the interpretation of Scripture (technically when using or relating to hermeneutics but sometimes used more loosely)

1670s: From the Ancient Greek ἑρμηνευτικός (hermēneutikós) (of, skilled in, interpreting), the construct being hermēneú(ein) (to make clear, interpret (derivative of ἑρμηνεύς (hermēneús) (an interpreter) + -tikos (–tic).  The –tikos suffix was commonly used to form adjectives.  The Greek τικός (-tikos) was derived from the noun τι (-tis) (“one who does” or “related to”).  Typically, when –tikos was appended to a word, it conveyed the sense of “being related to, characterized by, or pertaining to the base word”.  It was used also (n various contexts) to create adjectives that describe qualities or characteristics associated with the base word.  The form in French was herméneutique.  Hermeneutic is a noun & adjective, hermeneuticist & hermeneut are nouns, hermeneutical is an adjective, hermeneutically is an adverb; the noun plural is hermeneutics.

Hermeneutics is now an overarching technical term which can (despite the disapproval of some) be used to describe all or some of the theories and practices of interpretation.  The word started life in academic theology and referred to the interpretation of scripture and biblical scholarship generally but by the early eighteenth century it was used also of the analysis of literature and philosophical texts.  Hermeneutics thus began as a practice which evolved into a formal discipline, the parameters of which have changed as needs arose and can now encompass any aspect of deconstruction, understanding or transmission.  Still most associated by some with scriptural interpretation (with all the controversy that implies), in modern use, hermeneutics is applied to law, philosophy, history or any field in which information is contained in texts (and as the post-modernists told us, “text” exists in many forms beyond the written or spoken word).

Despite the impression given by some sources, the terms hermeneutics and exegesis (from the Ancient Greek ἐξήγησις (exḗgēsis) (interpretation), from ἐξηγέομαι (exēgéomai) (I explain, interpret), the construct being ἐξ (ex-) (out) + ἡγέομαι (hēgéomai) (I lead, guide)) tend not to be used interchangeably, probably because both are elements in the jargon of specialists who field them with the necessary precision.  Both are approaches to the interpretation of texts but they have distinct focuses and differing methods of operation.  Exegesis describes a critical analysis of a text, the purpose being to understand its meaning, the primary focus being the extraction of the original or intended meaning, the historical and cultural context thus a tool of exegesis, undertaken often by the interplay of linguistic analysis and historical research.  Hermeneutics (at least in modern use) casts a wider vista although it too is a discipline built around a theory of interpretation which encompasses a range of principles which can be applied to texts, symbols and any means of communication.  The essence of hermeneutics is that as well as an understanding of original meanings in the context of the time, place and circumstances of their origin, there's also the ongoing process of interpretation which can consider not only previous research but also an understanding of the way interpretation is (and has historically been) influenced by the relationship between the interpreter and the text; the effect of an interpreter's biases (conscious and not), history and culture.  Implicit is this is the need to deconstruct the biases and assumptions inherent in language.  Given all that, although the purists might not approve, the techniques and tools of exegesis can be thought of as a sub-set of those of hermeneutics.

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

The source of the word "hermeneutics" was once tangled up with a folk etymology which attributed a link to Hermes, in Greek mythology the son of Zeus and Maia.  Hermes had a troubled and eventful past which included the theft of livestock from the herd of Admetus which grazed in the (admittedly neglectful) care of his brother Apollo and the invention of the lyre which he fashioned from the shell of a tortoise with strings made from the gut of the unfortunate pair of the cattle he’d earlier sacrificed to the twelve gods.  A bit of a hustler, through a complicated series of trades and negotiations, Hermes emerged with the gift to prophesize the future and assumed the role of psychopomp (from the Latin psȳchopompus, from the Ancient Greek ψῡχοπομπός (psūkhopompós or psȳchopompós) (conductor (guide) of souls), the construct being ψῡχή (psūkhḗ) (the soul, mind, spirit) + πομπός (pompós) (guide, conductor, escort, messenger).  It was the psychopomp who was given the task of escorting the souls of the dead to Hades, the psychopomp most familiar in popular culture being the grim reaper.  It’s not clear which of these many qualities and skills have over the last two centuries so appealed to the admirals of the Royal Navy that they chose HMS Hermes as the name of a dozen-odd warships, the Admiralty website blandly noting his role as divine messenger.  That was certainly what gave rise to the old story (which for years appeared in many dictionaries) of Hermes being the etymological source of “hermeneutic”, based on his role in interpreting divine will: Nephele, Amphion, Heracles, Perseus and Odysseus all benefiting from his skills.  Lending credence to that was the observation of more than one of the philosophers of Antiquity that interpretation of text matters because the same collection of words can be used to spread lies as well as truth so the task of Hermes was an important one although, being Hermes, in some of the myths its recounted how he wasn’t above “bending interpretations” to suit his own purposes.

Hermes, Aglauros & Herse in the chamber of Herse (1573), oil on canvas by Paolo Caliari (1528–1588).  The winged staff held by Hermes was the symbol of his position as divine messenger and Caliari depicts the scene in which Hermes has come to seduce the Athenian princess Herse.  Her sister Aglauros (a jealous type), attempts to prevent him entering her chamber but with a touch of his staff he will transform her into black stone and take what he wants.  Herse is shown apparently sanguine about her sister's sad fate; perhaps it was a difficult family.  It's a rarely painted subject and is from the epic-length Metamorphoses, by the Roman Poet Ovid (Publius Ovidius Naso; 43 BC–17 AD)

The connection with the sometimes dastardly Hermes is obviously an attractive tale but etymologists have concluded the true origin of "hermeneutic" lies in forms related to the Ancient Greek ἑρμηνεύω (hermēneuō) (translate, interpret), from ἑρμηνεύς (hermeneus) (translator, interpreter), of uncertain origin.  As ἑρμηνεία (hermeneia) (interpretation, explanation), it appears in the works of Aristotle (384-322 BC) which are among the oldest surviving philosophical texts in which appears the origins of textual analysis and the theoretical underpinning of the relationship between language and logic.

Swish

Swish (pronounced swish)

(1) Something smart or stylish (mostly UK & Commonwealth use and said historically to be most applied to things with shiny surfaces such as leather); sophisticated; fashionable; (figuratively) smooth.

(2) To move with or make a sibilant sound, as a slender rod cutting sharply through the air or as small waves washing on the shore.

(3) To rustle (especially of flowing fabrics, on the model of the sound made by moving silk).

(4) To move or behave in an exaggerated manner (often described as “effeminate” or “mincing”).

(5) To flourish, whisk, etc with a swishing movement or sound.

(6) To bring, take, cut, etc with such a movement or sound.

(7) To flog or whip (now rare).

(8) A movement (and sometimes (though not necessarily) the sound) of liquid flowing inside a container.

(9) In mathematics (as swish function), a mathematical activation function in data analysis.

(10) A stock or rod used for flogging or the stroke of such a device (now rare).

(11) A contemptuous term used to refer to an effeminate gay man (regarded as an offensive slur and now rare).

(12) A form of table tennis (ping-pong) able to be played both by people who are blind or vision impaired and by those who are sighted.

(13) A building material used mainly in West Africa and composed originally of mortar and mud or laterite; of late it has been made with a xix of earth & cement.

(14) In basketball, a successful shot that does not touch the rim or backboard.

(15) In slang (in and outside prisons), an alcoholic drink made (1) by fermenting whatever ingredients are available or (2) adding small quantities of water to “empty” bottles to obtain whatever alcohol content remains.

(16) As an interjection, a hissing or whistling sound, imitative or suggestive of something travelling quickly through the air.

1756: Of imitative origin, an onomatopoeia covering a range of sounds.  The intransitive verb in the sense of “move with a swish or flourish or with a sound like swish” was the first form, the transitive verb, used in the sense of “cause to swish” (hence “flourish, brandish”) in use by 1799.  Etymologists conclude it was almost certainly imitative of the sound made by something brushing against or through something else (the “rustle” of silk the classic example).  The most attractive derived form is probably the adjective swishity (characteristic of swish or swishing).  The swish noun emerged in the 1820s (as in “with a swish”) was expressive of the sound of something moving through the air, a development from the verb.  The use as a slur directed at “a particularly effeminate homosexual” was a creation of 1930s US slang, based presumably the idea of the stereotypical “mincing motion”.  The slang use meaning “to flog or last” (the noun swish later adapted to describe the whip) was in use by at least 1856 and despite citations, there little to suggest the origin was in the Royal Navy, that institution already having a rich lexicon of slang related to flogging.  Although the British Army formerly abolished flogging in 1881, it the navy it was only ever “suspended” although it's said no sentences have been imposed since 1879.  In idiomatic use, the noun swish-swash is now used to describe “a repeated swishing action or sound, going back and forth”.  An obsolete meaning, dating from the 1540s was “a weak, wishy-washy drink” although it’s documented that by the 1580s, a swish-swash was a “violent or swaggering person”.  From the connection to the weak drink came the use of swish to describe “an alcoholic beverage obtained by filling an (empty) cask from a distillery with water to leech out the residual liquor”.  Swish is a noun, verb & adjective, swisher is a noun & adjective, swishing is a noun & verb, swishness & swishiness are nouns, swished is a verb, swishest & swishity are adjectives and swishingly is an adverb; the noun plural is swishes.

Swishy Ping-Pong (VITT)

Swish is a form of ping-pong which permits people who are blind or vision impaired to compete with the sighted on close to equal terms; the preferred description of Swish is VITT (Vision Impaired Table Tennis).  Played at both a recreational and competitive level, the idea is similar to mainstream ping-pong except that rather than the ball having to be hit over a low net, it must travel along the table’s surface with the net replaced by a screen of a height sufficient to ensure players with varying degrees of sight don’t enjoy an advantage over the totally blind.  Like “blind cricket”, the ball has a bell inside to make it audible and is roughly the size of a tennis ball, the construction of plastic with holes to amplify the sound.  The bats are rectangular with a handle (something like a cricket bat in miniature) with one of the long edges positioned flat against the table.  Like ping-pong, the game can be played either as singles or doubles with a variety of rules in competition ranging from single games to matches of up to eleven.  Some competitions exist for “mixed” teams (sighted and not) and there are "handicap" events in which the sighed competitors wear eye-masks, rendering the totally blind.

The swishy skirt

Lindsay Lohan in three dresses illustrating the possibilities offered by the swishy skirt: thigh high (mini, left), calf length (midi, centre) and ankle length (maxi, right).

A successful design is one in which the fabric "swishes around" when walking and, as a general principle, swishiness increases with length but with heavier fabrics the the law of diminishing returns can operate as the hemline approaches the ankles, weight mitigating against swish.  What this means is the qualities of swishy, swishier & swishiest are an interplay of fabric, cut & volume, not merely length.  The movement of a swishy skirt tends to exaggerate the perception of the volume of fabric used and this can convey the impression of something intricately constructed and while elaborate underpinnings are possible, most are simply an A-line skirt, made with vertical seams, a waistband and hem, the ensemble typically secured with a zipper.  The design does however offer wide scope, not only in terms of length but the bulk of fabric used makes the style highly suited to the provision of pockets, a feature designers often resist including in women’s clothing because if used, they can spoil the line.  In a swishy skirt, the pockets can be both larger and located lower (in the “swish zone”), meaning that unless really stuffed with stuff, the very presence of a pocket can often be imperceptible.

How swishy is done:  The basic A-Line pattern (left) and a swishy skirt with pockets (right).

Designers however caution pockets must be done with some precision; they need to be sufficiently deep and wide to accommodate the hand with the weight of anything put in the pocket to be borne by the waistband and not the less robust side seam.  As a general principle, the pockets should be folded toward the front of the skirt although, anyone tempted to try the more challenging asymmetric pocket might prefer to make them a feature and reverse the geometry.  However it’s done, what matters is any weight introduced into a pocket should not distort the silhouette.  A signature trick used in the making of swishy skirts is the “Hong Kong Finished waistband” (HKFW), achieved by sewing a piece of fabric around the raw edge of another, the advantage being the edge does not then need to be turned under for a finish.  To do this neatly, dressmakers' recommended trick is to use bias tape or a seam binding product to wrap the raw edges of the seam allowances before pressing open the seams.  The HKFW is used on a wide variety of garments but it’s often the technique of choice with swishy skirts because it removes a layer from what is the bulkiest part of the construction.

Digit

Digit (pronounced dij-it)

(1) In anatomy and zoology, a jointed body part at the end of the limbs of many vertebrates. The limbs of primates end in five digits, while the limbs of horses end in a single digit that terminates in a hoof.  In humans, digit is an alternative name for a finger or toe; dactyl.

(2) In zoology, a similar or similar-looking structures in other animals.

(3) As a historical unit of lineal measure, a unit of length notionally based upon the width of an adult human finger, standardized differently in various places and times (and still used as a measure in certain alcoholic spirits and among those fitting bras who recommend the finger as the gauge of the space between skin & fabric).  The most frequently cited is the English digit of 1/16 of a foot (about 19mm).  Prior to standardization, digit was used as a synonym of inch (the synonyms including “finger”, “fingerbreadth” & “fingersbreadth”).

(4) In modern mathematics, the whole numbers from 0 (zero) to 9 and the Arabic numerals representing them, which are combined to represent base-ten numbers; a position in a sequence of numerals representing a place value in a positional number system (ie any of the symbols of other number systems).

(5) In astronomy, the twelfth part of the sun's or moon's diameter; used often to express the magnitude of an eclipse.

(6) In geometry, a synonym for degree (1/360 of a circle) (obsolete).

(7) An index (obsolete).(7) An index (obsolete).

1350–1400: From the Middle English digit, from the Latin digitus (a fingerbreadth; a number); doublet of digitus.  The Latin from the primitive Indo-European deyǵ- (to show, point out, pronounce solemnly), a variant of the root deyḱ- & deik (to show; pronounce solemnly) from which Latin also gained dīcō (I say, speak talk) & dicere (to say, speak) and English picked up toe.  Fingers were thus “pointers & indicators” and digit gained the meanings related to mathematics and numbers; fingers were used for counting up to ten (and, with recycling beyond).  The finger or toe sense in English is documented from the 1640s but the date of origin is speculative.  Indo-European cognates include the Sanskrit दिशति (diśáti) (to show, point out), the Ancient Greek δείκνυμι (deíknumi) (to show) & δίκη (díkē) (manner, custom), the Old English tǣċan (to show, point out (source of the English teach)) and tācen (the English token).  Digit is a noun & verb, digitize is a verb and digital & digitigrade are nouns & adjectives; the noun plural is digits.

Great moments in digits

The phalanx of the ten digits of two human hands are presumed to have been the integers of the hand-held calculator and in this use it would have predated formal structures of language, the concepts of “one” and “two” the origin of mathematics.  All humans naturally having ten digits, the decimal (Base-10) numeral system emerged (apparently independently) in many ancient cultures although there was some intellectual transfer, the Greeks gaining the system from Egypt although neither the Greeks or Romans exclusively used Base-10, some industry-specific methods of calculation based on the capacity of the containers in traditional use.  In China, there’s evidence of use from the first century BC.  The familiar numerals (0, 1, 2, 3, 4, 5, 6, 7, 8, 9 & 0) which underpin all mathematics were developed by Arabic and Indian scholars although the elusive “0” wasn’t in widespread use until the ninth century. 

Zero though had a long history and texts from circa 300 BC detailing Babylonian mathematics display a placeholder symbol for zero in their positional numeral system (without which the representation of big numbers would practically have been impossible) although there is no evidence of the concept of zero existing as a stand-alone number.  Around the fifth century AD, Indian mathematicians documented why zero was so essential although it was a big country and there was no standardization in the symbolic representation of the value; the math however remains recognizably identical as one would expect.  Whether through the exchange of texts or (as many suspect is more likely) through the trade routes, the zero travelled east to the Islamic world where both Persian and Arabic mathematician published works explaining the implications of the still novel digit.  In the Medieval West, translations of the texts appeared but zero’s path to acceptance in Europe was slow and resisted, both by merchants and the Church, institutions with their own system, mastery of which was in the hands of an educated few.  However, so compelling were the advantages offered by adoption that by the thirteenth century, it was clear zero was here to stay.

Ten digit human hands might have been (more or less) universal but historically, Base-10 was not.  The Maya civilization used a vigesimal system (Base-20) and vigesimal components were in the counting systems of the Aztecs and some African cultures, the latter presumably an independent development.  The assumption of anthropologists is the Base-20 is a “fingers & toes” system and it does seem to be something restricted to warm climates where the removal of footwear doesn’t risk frostbite.  Nor were the hands always dealt with in multiples of five, the Yuki language of what is modern California uses Octal (Base-8) which counted the spaces between the fingers rather than the digits.  The ancient Mesopotamians (most famously the Babylonians & Sumerians) had a Sexagesimal (Base-60) system and that endures to this day in the measurement of time (60 seconds in a minute, 60 minutes in an hour) although there was an attempt to change that during the French Revolution (1789), the new republic introducing decimal time in 1793, seen as an act of democratic modernization which would include a programme to decimalize all units of measurement; the day became 10 hours long, an hour was 100 minutes and a minute 100 seconds.  However, the experiment did not prove a success, the critical mass of the old ways too embedded in the culture and the idea was abandoned in 1795 although the metric system did debut in 1799 and thrived, eventually world-wide (except in the US and a couple of quixotic hold-outs).  The Duodecimal (Base-12) system was used by the Mayans and in ancient Egypt and it too persists in commerce in the measures like dozen (12) and gross (12 dozen (144).  Binary (Base-2) of course runs the modern world because that is how (non-quantum) computers work, “0” & “1” being “on” & “off” respectively, most of what a computer does able ultimately to be reduced to a rapid succession of on/off transactions.  Nerds like Hexadecimal (Base-16) which uses the digits 0-9 and the letters A-F, representing values from 0 to 15.  Not the most unambiguous system, developers use hexadecimal numbers because in certain circumstances they make available an easier way to represent binary-coded values.

During an Aegean cruise in October 2016, Lindsay Lohan suffered a finger injury.  In this dreadful nautical incident, the tip of one digit was severed by the boat's anchor chain but details of the circumstances are sketchy although there was speculation that upon hearing the captain give the command “weigh anchor”, she decided to help but, lacking any background in admiralty jargon, misunderstood the instruction.

Detached chunk of the ring-finger's distal digit was salvaged from the deck and expertly re-attached by a micro-surgeon ashore, digit and the rest of the patient said to have both made full recoveries.  Despite the injury to the ring-finger, Ms Lohan still managed to find a husband so all's well that ends well.

Bathtub

Bathtub (pronounced bath-tuhb or bahth-tuhb)

(1) A tub in which to bathe, variations including permanent installations (either built-in fixtures or free-standing units) in a bathroom and (now less commonly in the developed world) portable constructions (historically of metal or timber although for military and outdoor use, foldable bathtubs (of leather or canvas) have a long history).

(2) An automotive style (most common in the 1950s) in which the bodywork resembled an upturned bathtub.

1825–1835: The construct was bath + tub and the previous related word was “wash-tub”, dating from the turn of the seventeenth century.  Bath was from the Middle English bath & baþ, from the Old English bæþ (bath), from the Proto-West Germanic baþ, from the Proto-Germanic baþą (bath), from the primitive Indo-European root bhē- (to warm).  The corresponding inherited verbs were bathe & beath.  The Old English bæð (“an immersing of the body in water, mud, etc” or “a quantity of water etc., for bathing”) was from the Proto-Germanic badan (the source also of the Old Frisian beth, the Old Saxon bath, the Old Norse bað, the Middle Dutch bat and the German Bad), also from the primitive Indo-European root bhē- with the appended –thuz (the Germanic suffix indicating “act, process, condition” (as in “birth”; “death”)). The etymological sense is of heating, not immersing.  Tub was from the late fourteenth century Middle English tubbe & tobbe (open wooden vessel made of staves), from the Middle Dutch & Middle Flemish tubbe or the Middle Low German tubbe & tobbe, of uncertain origin.  Etymologists have concluded there’s no link with the Latin tubus or the English tube but it was related to the Old High German zubar (vessel with two handles, wine vessel) and the German Zuber.  In the seventeenth century tub was slang for “pulpit”, thus since the 1660s a “tub-thumper” was a particularly forceful preacher who literally “thumped his fists on the pulpit” to emphasize some point; the use was later extended beyond the church to politicians and others who spoke in a loud or dramatic way.  The English city in the county of Somerset (in Old English it was Baðun) was so called from its hot springs.  The convention now probably is to refer to any permanently installed unit as a “bath”, a bathtub something portable.  The word can appear both as bath tub and bath-tub.  Bathtub is a noun and bathtubby is an adjective (bathtubesque & bathtubbish (resembling or characteristic of a bathtub) were jocular constructions); the noun plural is bathtubs.

Lindsay Lohan with claw-footed bathtub, music video release of Confessions of a Broken Heart (Daughter to Father) (2005).

A “bathtub cockpit” is a cockpit with recessed seating, so that a pilot or driver is sitting in a bathtub-shaped space.  It was often seen in aircraft but the classic example was that used in the delicate, cigar-shape voiturettes built to contest the Formula One World Championship during the 1.5 litre era (1961-1965).  The bathtub curve is a concept from reliability engineering, describing a particular form of the hazard function taking into account three categories of failure rate.  As a theoretical model it assumes the shape of a bathtub (sectioned in the middle and viewed from the side), the three regions being (1) a decreasing failure rate due to early failures, (2) a constant failure rate due to random failures and (3) an increasing failure rate due to wear-out failures.  The slang term “bathtub gin” is a US prohibition era (1919–1933) term to refer to a gin (or other spirit) of such dubious quality it suggests it may have been distilled by an unskilled amateur in their bathtub.  It’s a similar form to “gutrot”, “moonshine” etc and was applied sometimes to any form of illicit alcohol and not just distilled spirit.  “Bathtub racing” literally describes bathtubs being raced.  One of sports more obscure niches, the variations have included (modified) bathtubs being rowed or sailed on waterways or raced on land (either powered, pushed or run on downhill courses.  In economics, the “bathtub theorem” is the charming illustration of the idea that capital accumulation = production - consumption.  The metaphor is that of the water running from the taps (production) and that exiting from the plughole (consumption).  That seems obvious but where the inflow is too great for the capacity of the plughole, the water in the tub (capital) overflows, flooding the place, an elegant explanation of the effects of over-production which can induce recessions or depressions.

Admiral Sir Reginald Aylmer Ranfurly Plunkett-Ernle-Erle-Drax KCB.  Lest it be thought multi-element names are a thing exclusive to the British Isles, they exist elsewhere, an example of which was the German Count Graf Philipp-Constantin Eduard Siegmund Clemens Tassilo Tobias von Berckheim (1924-1984).

In the intricate hierarchy of the UK’s honours system, The Most Honourable Order of the Bath is an order of chivalry dating from 1725 and the name really is derived from the use of a bathtub, the reference being to the medieval ceremony under which knighthoods were conferred, bathing being a symbol of purification.  More than most British honours, the Order of the Bath has a tangled history, at times limited to the military and with various restrictions on the numbers of members.  One thing which was once constant however was that recipients were entitled to the post-nominal letters “KB” after their name.  This changed in 1815 when the order was re-organized into three classes: Knight Grand Cross (GCB), Knight Commander (KCB) & Companion (CB) and the transition was handled effortlessly by the experts but one thing which these days annoys those who worry about such things (and there are a few) is that inexpert journalists and others not do sometimes attach a KB to a Knight Bachelor.  The Knight Bachelor actually attracts no post-nominal letters; it’s a kind of “entry-level” knighthood and recipients are not inducted as a member of one of the orders of chivalry (although there have been plenty of awards of the latter to those whose lives have been far removed from the chivalrous, not all of them from the colonies or Dominions).  The Order of the Bath also provided one of the amusing anecdotes in the unpromising field of diplomatic protocol.  In 1939, when Admiral Sir Reginald Aylmer Ranfurly Plunkett-Ernle-Erle-Drax KCB (1880-1967) was introduced at a ceremony in Moscow, protocol required his honors be read out in full, the Russian translator rendering his KCB as рыцарь умывальник (rytsar' umyval'nik) (Knight of the Wash Tub).  The Russians honor guard couldn’t help but laugh and fortunately, the admiral shared their amusement.

In December 1917, the US satirist & critic HL Mencken (1880–1956) published a fictitious history of the bathtub.  Intended as an amusing hoax, the story was so convincing that quickly it wildly was promulgated, appearing even in reference works and medical journals.  Around a century later, a similar hoax was perpetrated when a university student edited the electric toaster’s Wikipedia page, claiming it had been invented by a wholly factitious Scottish scientist.  The technique was exactly the same as Mencken’s: use the dry factual approach (ie the classic Wikipedia template) and it remained on-line for some years, presumably because the origin of the toaster is not a matter of great interest or controversy.

1949 Nash Ambassador (left), Evelyn Ay (1933–2008), Miss America 1954, in her “bathtub” Nash Rambler (the official car of the beauty pageant) (centre) and 1957 Nash Ambassador which still showed the legacy of the earlier, more extravagant bathtub styling cues.

The best remembered of the “bathtub” cars were first built in the late 1940s by manufacturers introducing their first genuinely new post-war lines (most of the cars produced in 1945-1946 were slightly updated versions of those which had last been made early in 1942).  Within the industry, engineers first called the motif “envelope styling” but the more evocative (and certainly more accurate because an up-turned bathtub came to mind more than an envelope) “bathtub” quickly became the preferred slang.  Echoes of the lines which became familiar in the next decade can be seen in some of the low-volume and experimental bodies seen in the 1920s & 1930s, many an evolution of the realization the “teardrop” shape was close to aerodynamically optimal (at least on paper, the implications of lift and down-force then not widely understood).  Among the large US manufacturers, Nash and Hudson pursued the bathtub style to its most extreme and persisted the longest.  In the early 1950s, the aerodynamic advantages were apparent and combined with the inherently good weight-distribution afforded by their low-slung “step-down” construction, the Hudson Hornet dominated NASCAR racing between 1951-1954, despite its straight-six engine having both less power and displacement than some of the competition.  Except for the odd quirky niche, the bathtub styling didn’t make it into the 1960s and nor did the Nash & Hudson nameplates, the former in 1954 absorbing the latter to created AMC (American Motor Corporation) and in 1957, both brand-names were retired.

Evolution of the Porsche “bathtub” style 1948-1965, the lines of the original a direct descendant of a pre-war racing car.  1948 Porsche 356-001 (the Gmünd Roadster) (top), 1955 Porsche 356 pre-A 1500 Speedster (centre) and 1965 Porsche 356SC Coupé (bottom).  Although the “bathtub” motif was abandoned with the end of 356 production, the 356’s contribution to the lines of the 911 (introduced in 1964 as the 901) is obvious and in the sixty-odd years since, stylistically, not much has changed.

Cannon

Cannon (pronounced kan-uhn)

(1) In ordnance, heavy artillery: a mounted gun for firing heavy projectiles; a gun, howitzer, or mortar,

(2) In machinery, a heavy tube or drum, especially one that can rotate freely on the shaft by which it is supported (also known as a quill).

(3) In armor, a cylindrical or semi-cylindrical piece of plate armor for the upper arm or forearm; a vambrace or rerebrace (the avant-bras in French and sometimes known as lower cannons in the Middle Ages).

(4) In saddlery, as cannon bit or canon bit, the part of a bit in the horse's mouth.

(5) In the design of bells, the metal loop at the top of a bell, from which it is hung.

(6) In zoology, as the cannon bone or the part of the leg in which the cannon bone is located.

(7) In billiards, a British term for a carom (a shot in which the cue ball is caused to contact one object ball after another); the points scored by this; a rebound or bouncing back, as of a ball off a wall.

(8) In underworld slang, a pickpocket (archaic).

1375–1425: From the late Middle English canon, from the earlier Anglo-Latin and Anglo-French canon, from the Italian cannone (large-tube barrel), the construct being cann(a) (tube) + -one (the augmentative suffix).  The Ancient Greek κάννα (kánna) (reed) was from the Akkadian qanû (reed), from the Sumerian gi.na; a doublet of canyon.  The original meaning was an "artillery piece, mounted gun for throwing projectiles by force of gunpowder" the spelling canon in a variety of languages all from the Italian cannone, augmentative of the Latin canna but the use of the double -n- spelling didn’t emerge until circa 1800.  Cannon is a noun and the plural is cannons but, in military use, when speaking of cannons collectively (especially when assembled in a battery), cannon is often used.

The artillery piece revolutionised warfare, the famous walls which for centuries had protected Constantinople were breached soon after cannon were first deployed and the city fell.  The weapon also influenced language.  Cannon fodder, first noted in 1847, describes the infantry or cavalry deployed against cannon-fire and exists in German as kanonenfutter, echoing William Shakespeare's (1564–1616) “food for gun powder” speech in Henry IV, Part 1 (circa 1596), Act 4 Scene 2) where Falstaff dismisses concern for his soldiers by saying they’re “good enough to toss; food for powder, food for powder. They’ll fill a pit as well as better”.  Cannon-shot (distance a cannon will throw a ball) is from the 1570s and was an important measure in admiralty and (embryonic) international law, the old three-mile (and the later twelve-mile) maritime limits of national borders reflect the range of shore-based cannons at various times.  It was used also from the 1590s to describe the iron-ball fired from a weapon but this by the 1660s came to be replaced by cannon-ball.  A cannonade (a continued discharge of artillery) is from the 1650s as a noun and as a verb (attack with artillery), a decade later.  The contemporary French was cannonade and the Italian cannonata, the related forms being cannonaded and cannonading.  Cannonade was exclusively a army term which was later replace by barrage; the Admiralty always preferred broadside.

The figurative “loose cannon” seems to have be popularised from its appearance in Victor Hugo's (1802–1885) late Ninety Three (1874) to describe someone “wildly irresponsible, unpredictable or freed from usual restraint", based on the literal sense of dread sailors on old warships felt when a cannon already primed to fire became detached from its mounts and began rolling about the deck.  When a loose cannon discharges, bloody carnage can ensue. 

Naval Cannons

USS Iowa firing nine-gun broadside in an August 1984 test-firing during the sea-trials conducted after being recommissioned as part of the military build-up ordered during Ronald Reagan's (1911-2004, US president 1981-1989) first term.

The US Navy’s four Iowa-class battleships, Iowa, Missouri, Wisconsin & New Jersey (the commissioned Illinois and Kentucky were never launched because of the changing nature of naval warfare) were the last battleships used in US fleets, all other dreadnoughts & super-dreadnoughts decommissioned by 1947 and when finally retired, they had for three decades been the last battleships afloat.  Noted for their longevity, their service variously lasting (including periods in reserve) from 1943 until 1992, they’re among the best-remembered battleships but they were neither the biggest (and certainly not the widest, the beam at around 108 feet (33 m) dictated by the need to pass through the Panama Canal) nor the most heavily gunned.  The Iowas were built with nine 16 inch (406 mm) naval cannons in three 3-gun turrets and could fire both high explosive and armour-piercing shells around 23 nautical miles (27.6 miles; 44.5 km).  A novel later innovation was an adaptation of the W19 nuclear artillery shell was adapted to suit the 16-inch bore.  With a yield of 15 to 20 kilotons of TNT (roughly the same as the A-bomb used against Nagasaki), they remain the world's largest nuclear artillery although, because of the Pentagon’s policy of refusing to confirm or deny the presence of nuclear weaponry aboard its ships, it’s unknown if any of the shells were ever carried while the ships were in active service.  Like the US Marine Corps (USMC), the navy was never much enthused at the prospect of nuclear weapons being carried by the surface fleet, regarding the weapons as ideally suited to submarines.  The entire US nuclear artillery inventory was later decommissioned and (officially) dismantled.

Yamato, 1944.

The Imperial Japanese Navy’s Yamato-class battleships, Yamato and Musashi, in service between 1942-1945, were bigger and heavier than the Iowas and also used bigger cannons, each having nine 18.1 inch (460 mm) guns in three triple turrets with a shell-range of 26 miles (42 km).  The big guns had been considered for the Iowas during the design process but were sacrificed as part of the speed/range/armour/firepower compromise which naval architects have to apply to every warship.  Interestingly, for a variety of reasons, even the Iowa's never-built successors (the Montana-class), maintained the 16-inch armament, designed around twelve cannons arrayed in four 3-gun turrets.

German conceptual H-45 battleship.

Before reality bit hard, Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) left physics to the engineers and wasn't too bothered by economics.  After being disappointed the proposals the successors to the Bismarck-class ships would have their main armament increased only from eight 15-inch (380 mm) to eight 16 inch cannons, he ordered OKM (Oberkommando der Marine; the Naval High Command) to design bigger ships.  That directive emerged as the ambitious Plan Z which would have demanded so much steel, essentially nothing else in the Reich could have been built.  Although not one vessel in Plan Z ever left the slipway (the facilities even to lay down the keels non-existent), such a fleet would have been impressive, the largest (the H-44) fitted with eight 20-inch (508 mm) cannons.  Even more to the Führer’s liking was the concept of the H-45, equipped with eight 31.5 inch (800 mm) Gustav siege guns.  However, although he never lost faith in the key to success on the battlefield being bigger and bigger tanks, the experience of surface warfare at sea convinced Hitler the days of the big ships were over and he would even try to persuade the navy to retire all their capital ships and devote more resources to the submarines which, as late as 1945, he hoped might still prolong the war.  Had he imposed such priorities in 1937-1938 so the German Navy could have entered World War II (1939-1945) with the ability permanently to have 100 submarines engaged in high-seas raiding rather than barely a dozen, the early course of the war might radically have been different.

Dazzle

Dazzle (pronounced daz-uhl)

(1) To overpower or dim the vision of by intense light.

(2) Deeply to impress, to astonish with delight

(3) To awe, overwhelm, overpower, stupefy.

(4) To shine or brilliantly reflect.

(5) To excite admiration by a display of brilliance.

(6)To be overpowered by light.

(7) Something that dazzles.

(8) A form of camouflage used on early-mid twentieth century warships.

(9) The collective noun to describe zebras.

1475-1485: A frequentative of daze, the construct being daze + le, from the Middle English dasen, from the Old Norse dasa (as in dasask (to become weary)) and related to the Danish dase (to doze, mope).  1475-1485: Daze was a Middle English, back-formation from the Middle English dazed, from the Old Norse dasaðr (weary) & dasask (to become weary), from the Proto-Germanic dasōjan-, from the adjective daza-, which may have been a variant of the primitive Indo-European der- (to hold, support) and related to the Armenian դադարել (dadarel) (to settle, stop, end).  The -le suffix was a frequentative form from the Middle English -elen, -len & -lien, from the Old English -lian (the frequentative verbal suffix), from the Proto-Germanic -lōną (the frequentative verbal suffix) and was cognate with the West Frisian -elje, the Dutch -elen, the German -eln, the Danish -le, the Swedish -la and the Icelandic -la.  It was used as a frequentative suffix of verbs, indicating repetition or continuousness.

The original, fifteenth century, meaning was “be stupefied, be confused” which many dictionaries list as obsolete but there are certainly at least echoes of that sense in the modern use.  Originally intransitive; the transitive sense of “overpower with strong or excessive light” dates from the 1530s while the figurative sense of “overpower or excite admiration by brilliancy or showy display” is from the 1560s.  As a noun in the sense of “brightness, splendour”, it’s been known since the 1650s.  The verb bedazzle (to blind by excess of light) emerged in the 1590s but is now far more common in figurative use.  The late nineteenth century coining of “razzle-dazzle” originally suggested “bewilderment or confusion, rapid stir and bustle, riotous jollity or intoxication etc but came soon to be used of “deception, fraud; extravagant or misleading claims”.  At the turn of the twentieth century it was used also to mean “a state of confusion” but the modern trend is to use “razzle-dazzle” to mean anything flashy, especially unstructured, inventive performances on the sporting field.  Forms such as overdazzle, outdazzle, outdazzling, overdazzle, overdazzled, overdazzling, redazzle & undazzled have been coined as required.  The adjective antidazzle is commonly used in commerce (often as anti-dazzle).  Dazzle is a noun & verb, endazzlement, dazzlement & dazzler are nouns, bedazzle & (the archaic) endazzle are verbs, adazzle is an adjective, dazzling & dazzled are verbs & adjectives and dazzlingly is an adverb; the noun plural is dazzles.

Dazzling: Lindsay Lohan in zebra-print dress from Balmain's autumn-winter 2013 collection, GQ Men Of The Year Awards, London, September 2014.  Cohort, crossing, harem, herd and zeal have all been cited as the collective noun for zebras but most zoologists seem to prefer dazzle.

Developed first by the Royal Navy during World War I (1914-1918) to counter the German U-Boat (submarine) threat, dazzle camouflage for ships was a counterintuitive adaptation of techniques known to have been used during antiquity, the fleets of both the Greeks and Romans having been painted in shades of green and blue to blend with the surface and horizon.  The modern approach however was rather than concealment, the vessel would be exposed to the enemy.

View through periscope, with and without dazzle.

The British Admiralty adopted the scheme as an experiment.  It had been suggested in 1917 by a Royal Navy Volunteer Reserve (RNVR) lieutenant commander with a pre-war background in painting, his argument being that while it wasn’t possible actually to conceal a ship, a suitable paint scheme should make difficult the task of a submarine captain trying to estimate a vessel’s speed and direction while viewing through a periscope for a limited time and that was no easy task in 1917.  A U-Boat captain, while maintaining a distance from his target between around a quarter mile (400m) and a mile (1600m), had to predict the speed and direction of the target’s travel while factoring in ocean currents which could affect a torpedo’s travel, all within the short time he could risk his periscope being visible above the surface.  The dazzle concept of camouflage differed from traditional methods of concealment in that it sometimes made the target easier to see; the object was to make it harder to sink; it's thus better thought of as "subterfuge" rather than "camouflage".  A U-Boat carried very few torpedoes and they couldn't be wasted.  The captain had to hit a moving target, often in a rolling sea and to maximize the chance of success, needed the torpedo to hit the ship in her most vulnerable spots and this was done by aiming not at where the target was, but where the target would be more than half a minute later.  The idea of the dazzle was not to hide the ship but to make it even harder for a U-Boat commander to estimate variables like direction and speed of travel.    

After encouraging findings in small-scale tests, the admiralty authorised trials and artists experimented with both colours and shapes, intending usually to distort the perception of the shape of the bow and stern, disrupting perspective and falsely suggesting a ship’s smokestacks or superstructure pointed in a different direction than truly it sat on the water.  Many of the ideas were shamelessly borrowed from modernist art, especially the concepts of cubism, a theft so blatant that Pablo Picasso (1881–1973), in conversation with the American poet and novelist Gertrude Stein (1874–1946), observed the Cubist movement deserved some credit from the Admiralty.

French light cruiser Gloire (laid down 1933, launched 1935, commissioned 1937, scrapped 1958) in dazzle camoflage, off the North African coast, 1944.

The programme spread to merchant vessels and then across the Atlantic.  Soon thousands of ships were painted in lurid colour schemes but unfortunately, the extensive archive of photographs from this era are mostly monochrome which not only fail fully to capture the vivid variety of the artists’ work but also don’t convey the contrasts created by the blues, reds, greens, purples and greys light & dark which created the optical illusions.  Both navies undertook analysis of the losses in shipping to evaluate the effectiveness of dazzle but the results, so impressive in laboratory conditions, were inconclusive, it being statistically impossible to account for external factors but U-Boat captains interviewed after the war attested to the problems dazzle created for them.

RMS Olympic (RMS Titanic's sister ship) in in dazzle, Pier 2 in Halifax, Nova Scotia, Canada, 1918, oil on canvas by Arthur Lismer (1885–1969).

Despite there being no consensus about the advantage of dazzle, allied naval authorities continued to employ it on both some warships and merchant fleets in World War II (1939-1945).  The Imperial German Navy had shown little interest in camouflaging ships during the Great War but did adopt a variation of dazzle early in World War II although OKM’s ((Oberkommando der Marine, high command of the Kriegsmarine (Navy)) designs were intended to disguise the identity of a ship from surface and air observation rather than raise doubts about speed or direction.  It’s not documented why this was abandoned by OKM (which is surprising given most of the navy's records survived the war) but, after 1941, all naval assets were repainted in regulation shades of grey.

Although never as widely used as in 1917-1918, allied navies retained faith in the subterfuge throughout the war although this time it was the Americans who were much more systematic and it wasn’t until late in 1942 the Admiralty released their Intermediate Disruptive Pattern and not until 1944 was a Standard Scheme promulgated.  Wartime developments in radar were already reducing the effectiveness of dazzle and this was accelerated by post-war advances in range-finding which rendered dazzle wholly obsolete.  For decades after 1946, no dazzle schemes were commissioned but (much toned-down) aspects of the idea have in recent years been interpolated into modern "stealth" naval architecture.