1828: An adoption in Modern English, borrowed from the French cosmopolite (citizen of the world),
ultimately derived from the Ancient Greek kosmopolitēs
(κοσμοπολίτης), the construct being kósmos (κόσμος) (world) + politēs
(πολίτης) (citizen); word being modeled
on metropolitan. The US magazine Cosmopolitan was first published in
1886. Derived forms (hyphenated
and not) have been constructed as needed including noncosmopolitan,
subcosmopolitan, ultracosmopolitan, fauxcosmopolitan, anticosmopolitan &
protocosmopolitan. Because
cosmopolitanness is a spectrum condition, the comparative is “more cosmopolitan”
and the superlative “most cosmopolitan”.
Cosmopolitan is a noun & adjective, cosmopolitanism &
cosmopolitanness are nouns, cosmopolitanize is a verb, cosmopolitanist is an
adjective (and plausibly a noun) and cosmopolitanly is an adverb; the noun
plural is cosmopolitans.
An
aspect of Soviet Cold War policy under comrade Stalin
The
phrase rootless cosmopolitans was
coined in the nineteenth century by Vissarion Belinsky (1811-1848), a Russian
literary critic much concerned about Western influences on both Russian
literature and society. He applied it to
writers he felt “…lacked Russian national character” but as a pejorative
euphemism, it’s now an anti-Semitic slur and one most associated with domestic
policy in the Soviet Union (USSR) between 1946 and Stalin's death in
1953. Comrade Stalin (1878-1953; Soviet leader 1924-1953) liked the phrase and applied it to the Jews, a race of which he
was always suspicious because he thought their lack of a homeland made them “mystical,
intangible and other-worldly”. Not a
biological racist like Hitler and other rabid anti-Semites, Stalin’s enemies
were those he perceived a threat; Leon Trotsky (1879-1940), Grigory Zinoviev (1883–1936) and Lev Kamenev (1883–1936) were disposed
of not because they were Jewish but because Stalin thought they might threaten
his hold on power although the point has been made that while it wasn’t because he
was Jewish that Trotsky was murdered, many Jews would come to suffer because
Stalin associated them with Trotsky.
Comrade Stalin signing death warrants.
It was
the same with institutions. He found
disturbing the activities of Moscow’s Jewish
Anti-Fascist Committee (JAC) and did not approve them being accepted by
Western governments as representing the USSR.
Further, he feared the JAC’s connections with foreign powers might
create a conduit for infiltration by Western influences; well Stalin knew the
consequences of people being given ideas; the campaign of 1946-1953 was thus more analogous with the Chinese
Communist Party’s (CCP) opposition to the Falun
Gong rather than the pogroms of Tsarist times. Authoritarian administrations don’t like independent
organisations; politics needs to be monolithic and control absolute. In a speech in Moscow in 1946, he described
certain Jewish writers and intellectuals, as “rootless cosmopolitans” accusing
them of a lack of patriotism, questioning their allegiance to the USSR. This theme festered but it was the creation
of the state of Israel in 1948, fostering as it did an increased self
consciousness among Soviet Jews, combined with the Cold War which turned Stalin
into a murderous anti-Semite.
Rootless cosmopolitan Comrade Trotsky, murdered with an ice axe on comrade Stalin's orders.
Before
the formation of the state of Israel, Stalin's anti-Semitism was more a Russian mannerism than any sort of obsession. For years after assuming absolute power in
the USSR, he expressed no disquiet at the preponderance of Jews in the foreign
ministry and it was only in 1939, needing a temporary diplomatic accommodation
with Nazi Germany, that he acted. Having
replaced the Jewish Foreign Commissar, Maxim Litvinov (1876–1951; People's
Commissar for Foreign Affairs of the Soviet Union 1930–1939) with Vyacheslav Molotov
(1890-1986; USSR Minister of Foreign Affairs 1939-1949 & 1953-1956), he
ordered him to purge the diplomatic corps of Jews, his memorable phrase being
"clean out the synagogue".
Concerned the presence of Jews might be an obstacle to rapprochement
with Hitler, Stalin had the purge effected with his usual efficiency: many
were transferred to less conspicuous roles and others were arrested or shot.
Meeting of minds: Joachim von Ribbentrop (left), comrade Stalin (centre) and comrade Molotov (right), the Kremlin, 23 August 1939.
Negotiations
began in the summer of 1939, concluding with German Foreign Minister Joachim von Ribbentrop (1893–1946; Nazi foreign minister 1938-1945) leading a delegation to Moscow to meet with Molotov and
Stalin. It proved a remarkably friendly
conference of political gangsters and agreement was soon reached, the German-Soviet Nonaggression Pact
(usually called the Nazi-Soviet Pact
or Molotov-Ribbentrop Pact) being
signed on 23 August. The pact contained
also a notorious secret protocol by which the two dictators agreed to a
carve-up of Poland consequent upon the impending Nazi invasion and the line dividing Poland between the two was
almost identical to the Curzon Line, a demarcation between
the new Polish Republic created in the aftermath of World War I (1914-1918) and the emergent Soviet
Union which had been proposed by Lord Curzon (1859–1925;
UK foreign secretary 1919-1924). At the
Yalta Conference in 1945, during the difficult negotiations over Polish
borders, Molotov habitually referred to "the Curzon Line" and the UK Foreign Secretary, Anthony
Eden (1897–1977; thrice UK foreign secretary & prime minister 1955-1957),
in a not untypically bitchy barb, observed it was more common practice
to call it the “Molotov-Ribbentrop line”.
"Call it whatever you like" replied Stalin, "we still
think it's fair and just". Comrade Stalin rarely cared much to conceal the nature of the regime he crafted in his own image. When asked by Franklin Roosevelt (FDR, 1882–1945, US president 1933-1945) if Molotov had been to New York during his visit to the US, Stalin replied: "No, he went to Chicago to be with the other gangsters".
Whatever
the motives of Stalin, rootless cosmopolitans
has joined the code of dog-whistle politics, a part of the core demonology to
label the Jews a malign race, a phrase in the tradition of "Christ killers", "Rothschild-Capitalists and Untermenschen (the sub-humans). Despite that, there are always optimists, Jewish
writer Vincent Brook (b 1946), suggesting the term could convey the positive, a
suggestion the Jews possess an “adaptability and empathy for others”. It’s not a view widely shared and rootless
cosmopolitan remains an anti-Semitic trope although it's not unknown for Jews to use it ironically.
The Cosmopolitan cocktail
A brace of Cosmos.The
Cosmopolitan was based on the "Cosmopolitan 1934" cocktail, a mix from inter-war New York which included gin, Cointreau & and lemon juice, raspberry
syrup lending the trademark pink hue.
The modern Cosmopolitan was also concocted in New York and seems to have
appeared first in the Mid-1980s although it was appearances in the HBO (Home
Box Office) television series Sex and the
City (1998-2004) which made it as emblematic of a certain turn-of-the-millennium New York lifestyle as Manolo
Blahnik’s stilettos but, the implications of that connotation aside, the enticing pink drink survived to remain a staple of cocktail lists. Cosmopolitans can be made individually or as
a batch to be poured from a pitcher; just multiply the ingredient count by
however many are to be served.
Ingredients
2 oz (¼ cup) vodka (or citrus vodka
according to taste)
½ ounce (1
tablespoon) triple sec, Cointreau (or Grand Marnier)
¾ oz (1½
tablespoons) cranberry juice
¼-½ ounce (1 ½-3 teaspoons) fresh lime
juice
One 2-inch (50
mm) orange peel/twist
Instructions
(1) Add vodka,
Cointreau, cranberry juice, and lime juice to a cocktail shaker filled with
ice.
(2) Shake
until well chilled.
(3) Strain
into a chilled cocktail glass (classically a coupé or Martini glass).
(4) An
orange or lemon twist is the traditional garnish.
Notes
(1) As a
general principle, the higher the quality of the vodka, the better the
Cosmopolitan, the lower priced sprits tending to taste rather more abrasive which for certain purposes can be good but doesn’t suit a “Cosmo”.
(2) The
choice of unsweetened or sweetened cranberry juice (the latter sold sometimes as
“cranberry juice cocktail”) is a matter of taste and if using the unsweetened
most will prefer if a small splash of sugar syrup (or agave) is added because tartness
isn’t associated with a Cosmopolitan.
(3) There
is however a variant which is sometimes mixed deliberately to be tart. That’s the “White Cosmo”, made by using white
cranberry juice.
(4) Of the
orange liqueur: Most mixologists recommend Cointreau but preference is wholly subjective
and Cointreau & Grand Marnier variously are used, the consensus being Cointreau
(a type of Triple Sec) is smoother, stronger and more complex. Grand Marnier is also a type of Triple Sec, one
combined with Cognac so the taste is richer, nutty and caramelized which some
prefer.
(5) Of the
lime juice: It really is worth the effort to cut and squeeze a fresh lime. Packaged lime juice will work but something
of the bite of the citrus always is lost in the processing, packaging, storage
and transporting the stuff endures.
(6) Art of the
orange peel: The use of the term “garnish” of suggests something which is merely
decorative: visual bling and ultimately superfluous but because cocktails are
designed to be sipped, as one lingers over ones’s Cosmopolitan, from the peel
will come a faint orange aroma, adding to the experience as the fumes of a cognac
enhance things; spirits and cocktails are “breathed in” as well as swallowed.
(7) Science of the orange peel: When peeling
orange, do it over glass so the oil spurting (viewed close-up under high-magnification,
it really is more spurt than spray) from the pores in the skin ends up in the
drink. For the ultimate effect, rub the
rim of the glass with the peel, down a half-inch on the outside so lips can
enjoy the sensation.
The presidential
“parade convertible” 1950 Lincoln Cosmopolitan, parked outside 1600 Pennsylvania
Avenue, Washington DC.
In the US, the Ford Motor Company (FoMoCo) produced the Lincoln
Cosmopolitan between 1949-1954 but only in its first season was it the “top-of-the-range”
model, “designation demotion” something which would over the decades become
popular in Detroit. Political legend has
it Harry Truman (1884–1972; US president 1945-1953) personally selected Lincoln
to supply the presidential car fleet as an act of revenge against General
Motors (GM), the corporation having declined to provide him with cars to use
during the 1948 election campaign. It’s
assumed GM’s management was reading the polls and assumed they’d need only to
wait to wait for a call from president elect Thomas Dewey (1902–1971) but as
things turned out, Mr Dewey never progressed beyond president-presumptive so GM
didn’t get the commission, the keys to Cadillacs not returning to the Oval
Office until the administration of Ronald Reagan (1911-2004; US president
1981-1989). While it wouldn’t much have consoled
the GM board, there was some of their technology in the Lincolns because, FoMoCo
was compelled to buy heavy-duty Hydra-Matic transmissions from Cadillac, their
own automatic gearbox not then ready for production.
The presidential “parade
convertible” 1950 Lincoln Cosmopolitan with “Bubbletop” fitted.
The White House
leased ten Lincoln Cosmopolitans which were modified by coach-builders who
added features such as longer wheelbases and raised roof-lines. Nine were full-enclosed limousines while one
was an armoured “parade convertible” (a “cabriolet D” in the Mercedes-Benz
naming system) which was an impressive 20-odd feet (6 metres) in length. The car used a large-displacement version of
the old Ford flathead V8 (introduced in 1932) and weighing a hefty 6,500 lb
(2,900 kg), performance wasn’t sparkling but given its role was slowly to percolate
along crowd-lined boulevards, it was “adequate.
In 1954, during the administration of Dwight Eisenhower (1890-1969; US
president 1953-1961), the parade convertible was fitted with a Plexiglas roof (a
material the president would have been familiar with because it was used on
some World War II (1939-1945) aircraft and in this form the Lincoln came to
share the aircrafts’ nickname: “Bubbletop”.
The “Bubbletop” Cosmopolitan remained in service in the White House
fleet until 1967.
The Glossies
Lindsay
Lohan, Cosmopolitan, various international
editions: April, May & June, 2006.
Cosmopolitan
Magazine was launched in 1886 as a family journal of fashion, household décor,
cooking, and other domestic interests. It
survived in a crowded market but its publisher did not and within two years
Cosmopolitan was taken over by another which added book reviews and serialized fiction to
the content. This attracted the specialist
house founded by John Brisben Walker (1847-1931), which assumed control in 1889, expanding its circulation
twenty-fold to become one of America’s most popular literary magazines. The Hurst Corporation acquired the title in
1905, briefly adding yellow-journalism before settling on a format focused on short
fiction, celebrities and public affairs.
The formula proved an enduring success, circulation reaching two million
by 1940 and this was maintained until a decline began in the mid 1950s, general-interest
magazines being squeezed out by specialist titles and the time-consuming
steamroller of television.
It was
the appointment in 1965 of Helen Gurley Brown (1922–2012) as editor which signalled Cosmopolitan’s shift to a magazine focused exclusively on an emerging
and growing demographic with high disposable income: the young white women of
the baby boom. In what proved a perfect
conjunction, a target market with (1) economic independence, (2) social freedom,
(3) an embryonic feminist awareness and (4) the birth control pill, the
magazine thrived, surviving even the rush of imitators its success
spawned. Gurley Brown had in 1962
published the best seller advice manual, Sex and the Single Girl and
Cosmopolitan essentially, for decades, reproduced variations on the theme in a monthly,
glossy package. It was clearly a gap in
the market. The
approach was a success but there was criticism.
Conservatives disliked the choices in photography and the ideas young
women were receiving. Feminists were
divided, some approved but others thought the themes regressive, a retreat from
the overtly political agenda of the early movement into something too focused
on fun and fashion, reducing women yet again to objects seeking male
approbation.
Taylor Swift (b 1989), in purple on the cover of Cosmopolitan, December, 2014.
Still
published in many international editions, Cosmopolitan Australia was one casualty of market forces, closed after a
final printing in December 2018. However,
surprising many, Katarina Kroslakova (b 1978) in April 2024 announced her
publishing house KK Press, in collaboration with New York-based Hearst Magazines
International, would resume production of Cosmopolitan
Australia as a bi-monthly and the first edition of the re-launched version was released in August, 2024.
Other than appearing in six issues per year rather than the traditional
twelve, the format remained much the same, echoing Elle Australia
which re-appeared on newsstands in March, ending a four-year hiatus. Both revivals would as recently as 2023 have surprised industry
analysts because the conventional, post-Covid wisdom was there existed in this segment few niches for time consuming and expensive titles in glossy
print.
Amelia
Dimoldenberg (b 1994) in
polka-dots, on the cover of Cosmopolitan Australia
April | May, 2025 (
Issue 5, digital edition) which is downloadable file (96 MB in Adobe's PDF (portable document format) format.
Where digital titles have a history in print, the convention is to use
the traditional cover format. Even in
the digital age, some legacy items have a genuine value to be exploited.
Ms Kroslakova clearly saw a viable business model and was quoted as saying print magazines are “the new social
media” which was an interesting
way of putting it but she explained the appeal by adding: “We need that 15
minutes to drop everything and actually have something tangible and beautiful
in our hands to consume. If we can
present content which is multi-layered and deep and has authenticity and
connection with the reader – that’s a really excellent starting point.”
She may have a point because in an age where screen-based content is intrinsically
impermanent, the tactile pleasure of the traditional glossy may have genuine
appeal, at least for an older readership who can remember the way things used
to be done, something perhaps hinted at by her “15 minutes” reference, now regarded by many media analysts as a long-term
connection given the apparent shortening of attention spans and after all, bound glossy pages are just another technology. The revival of the print
editions of Elle and Cosmopolitan will be an interesting experiment in a
difficult economic environment which may get worse before it gets better. Whether the novelty will attract enough of the "affluent readers" (what used to be called the A1, A2 & B1 demographic) to convince advertisers that it's a place to run their copy will likely decide the viability of the venture and while it's not impossible that will happen, Cosmopolitan is a couple of rungs down the ladder from the "prestige" titles (Vogue the classic mainstream example) which have maintained an advertising base. Cosmopolitan Australia offers a variety of subscription offers, the lowest unit cost available with a two-year, print + digital bundle (12 issues for Aus$105).
Lindsay
Lohan on the cover of Cleo: March 2005 (left) and May 2009 (right).
Published
in Australia between 1972-2016, Cleo was a monthly magazine targeted broadly at
the demographic buying Cosmopolitan. It
was for decades successful and although there was some overlap in readership
(and certainly advertising content), there was a perception there existed as
distinct species “Cleo women” and “Cosmo women”. Flicking through
the glossy pages, husbands and boyfriends might have struggled to see much
thematic variation although it’s likely they looked only at the pictures. In the same vein, other than the paint, actual
Cleo & Cosmo readers mostly probably wouldn’t have noticed much difference
between Ford & Chevrolet V8s so it’s really a matter of where one’s
interests lie (just because something is sexist stereotyping doesn’t mean it’s
not true). Had the men bothered to read the editorial
content, they wouldn’t have needed training in textual deconstruction to detect
both titles made much use of “cosmospeak”, a sub-dialect of English coined to
describe the jargon, copy style and buzzwords characteristic of post 1950s Cosmopolitan
magazine which contributed much to the language of non-academic “lipstick feminism”. To summarize
the market differentiation in women’s magazines, the industry joke was: “Cosmopolitan
teaches you how to have an organism”, Cleo teaches you how to fake an organism
and the Women’s Weekly teaches you how to knit an organism”.
As a footnote, when in 1983 the Women’s Weekly changed from a weekly to
monthly format, quickly rejected was the idea the title might be changed to “Women’s Monthly”.
Martyrdom of the Saints Cosmas and
Damian, oil on
canvas by Fra Angelico (Guido di Pietro, circa 1395-1455), Musée du Louvre,
Paris, France). Fra was from the Italian
frate (monk) and was a title for a
Roman Catholic monk or friar (equivalent to Brother).
“Cleo” was a spunky two syllables but “Cosmopolitan”
had a time-consuming five so almost universally it was used as “Cosmo”. In Italy, Cosmo is a male given name and a variant
of Cosimo, from the third century saint Cosmas who, with his brother Damian, was
martyred in Syria during one of the many crackdowns on Christianity. The name was from the Ancient Greek κόσμος (kósmos) (order, ordered universe), source
of the now familiar “cosmos”. Cosmas and
Damian were Arab physicians who converted to Christianity and while ostensibly
they suffered martyrdom
for their faith, there may have been a financial motive because the brothers
practiced much “free medicine”, not charging the poor for their “cures” so their
services were understandably popular and thus a threat to the business model of
the politically well-connected medical establishment. The tension between medicine as some sort of
social right and an industry run by corporations for profit has occasionally
been suppressed but it’s never gone away, illustrated by the battles fought
when the (literally) socialist post-war Labour government (1945-1951)
established the UK’s NHS (National Health Service) and the (allegedly)
socialist “Obamacare” (Affordable Care Act (ACA, 2010)) became law in the
US. By the twenty-first century, the
medical establishment could no longer arrange decapitations of cut-price competitors
threatening the profit margins but the conflicts remain, witness the freelancing
of Luigi Mangione (1998).
The Mazda Cosmo
1968 Mazda
Cosmo 110S (110S the export designation).
Although the
Mazda corporation dates from 1920, it was another 40 years before it produced
its first cars (one of the tiny 360 cm3 “kei cars” (a shortened form
of kei-jidōsha, (軽自動車) (light vehicle)) so the appearance
at the Tokyo Motor Show of the Cosmo Sport created quite an impression and that
it was powered by a two-rotor Wankel rotary engine produced under licence from
the German owners added to international interest. Over two series, series production lasted
from 1967 until 1972 but the intricate design was labour intensive to build and
being expensive, demand was limited so in five years fewer than 1,200 were
sold. That makes it more of a rarity
than a Mercedes-Benz 300 SL Gullwing (1,400 of those built 1954-1957) and while
Cosmo prices haven’t reached the level of the German car, it is a collectable
and a number are now in museums and collections. Mazda continued to use the Cosmo name until
1996 and while none of the subsequent models were as intriguing as the
original, some versions of the JC Series Eunos Cosmo (1990–1996) enjoy the
distinction of being the world’s only production car fitted with a three-rotor
Wankel engine (the 1969 Mercedes-Benz C111 was a Wankel test-bed).
1975 Mazda Roadpacer (HJ model)
The Eunos Cosmo is not the only Mazda with a unique place in the troubled history of the Wankel engine, the Roadpacer (1975-1977) the only car built by General Motors (GM) ever sold with a Wankel engine. Most Holden fans, as one-eyed as any, don’t have fond memories of the HJ (1974-1976) Premier. Usually, all they’ll say is its face-lifted replacement, the HX (1976-1977), was worse. With its chassis not including the "radial tuned suspension" (RTS) which lent the successor HZ (1975-1980) such fine handling and with engines strangled by the crude plumbing used in the era to reduce emissions, driving the HJ or HX really wasn’t a rewarding experience (although the V8 versions retained some charm) so there might have been hope Mazda’s curious decision to use the HJ (and later the HX) Premier as their top-of-the range executive car, complete with a smooth two-rotor Wankel, might have transformed the thing. That it did but the peaky, high-revving rotary was wholly unsuited to a relatively large, heavy car. Despite producing less power and torque than even the anaemic 202 cubic inch (3.3 litre) Holden straight-six it replaced, so hard did it have to work to shift the weight that fuel consumption was worse even than when Holden fitted their hardly economical 308 cubic inch (5.0 litre) V8 for the home market. Available only in Japan and sold officially between 1975-1977, fewer than eight-hundred were built, the company able to off-load the last of the HXs only in early 1980. The only thing to which Mazda attached its name not mentioned in their corporate history, it's the skeleton in the Mazda closet and the company would prefer were forget the thing which it seems to think of as "our Edsel".
The archbishop and the abdication
Archbishop Cosmo
Gordon Lang (1932), oil on canvas by Anglo-Hungarian society portraitist Philip
Alexius László de Lombos (1869–1937 and known professionally as Philip de
László). Lang was christened Cosmo in
honor of the local Laird (in Scotland, historically a feudal lord and
latterly the “courtesy title” of an area’s leading land-owner, most prominent
citizen etc). The noun Laird was from the
northern or Scottish Middle English lard & laverd (a variant of lord).
Scottish
Anglican prelate Cosmo Gordon Lang (First Baron Lang of Lambeth, 1864–1945;
Archbishop of York 1908–1928 & Archbishop of Canterbury 1928–1942 was a
clergyman with uncompromising views about much.
This type was once common in pulpits and although those of his faction exist still in the the modern Church of England, they tend now to exchange view
only behind closed doors. He’d probably
be today almost forgotten were it not for an incendiary broadcast he made (as
Archbishop of Canterbury and thus spiritual head of the Church of England and
the worldwide Anglican community) on BBC (British Broadcasting Corporation) Radio
on 13 December, 1936, two days after the abdication of Edward VIII (1894–1972;
King of the UK & Emperor of India January-December 1936, subsequently Duke
of Windsor). The address to the nation
remains the most controversial public intervention made by a Church of England
figure in the twentieth century, judged by many to be needlessly sanctimonious
and distastefully personal, its political dimension the least objectionable
aspect.
As a piece
of text it did have a pleasingly medieval feel, opening with some memorable
passages including: “From God he received a high and sacred trust. Yet by his
own will he has abdicated” and “It is tragic that the sacred trust was not held with a
firmer grip”. That set the
tone although when he said: “There has been much sympathy with the king in his great
personal difficulty, and I do not forget how deeply he has touched the hearts
of millions with his warm interest in the homes and lives of his people”
his large audience may have thought some Christian charity did lurk in the
Archbishop’s soul but quickly he let that moment pass, returning to his theme: “The causes which
led to the king's decision are fully known to the nation. But it has been made plain that the reigning
sovereign of this country must be one whose private life and public conduct can
be trusted to reflect the Christian ideal."
Unlike many
modern Archbishops, there was no ambiguity about Lang so in his defense it can
be argued be provided the Church with a moral clarity of greater certainty than
anything detectable in Lambeth Palace in recent decades. So there was that but by the 1930s the mood
of opinion-makers in the UK had shifted and Lang’s text was seen as morally
judgmental and the idea Edward VIII had failed not so much as a constitutional
monarch but in his divine duty seemed archaic, few in the country framing
things as the king’s personal failure before God. What was clear was the point Edward’s
relationship with a twice-divorced woman disqualified him morally and
spiritually from being king which many critics within the church thought a bleak
approach to a clergyman’s pastoral role.
In a sermon from the pulpit to the faithful it might have gone down well
but as a national address, the tone was misplaced. In self-imposed exile, privately Edward
privately described the broadcast as “a vile and vindictive attack” and in his
ghost-written memoirs (A King's Story (1951)), he accused the archbishop of “cruelty”.
Remembered
also from the broadcast’s aftermath was a satirical verse printed in Punch by the
novelist Gerald Bullett (1893–1958 (who published also under the pseudonym
Sebastian Fox)). Bullet’s included the
words “how
full of cant you are!”, using “cant” in the sense of “to speak in a
manner speak in a hypocritical or insincere), an allusion to Lang signing his
documents : “Cosmo Cantuar” (Cantuar the abbreviation for Cantuarium (Latin for Canterbury)):
“My Lord Archbishop, what
a scold you are!
And when your man is
down, how bold you are!
Of Christian charity
how scant you are!
And, auld Lang swine,
how full of cant you are!”
