Fluke

Fluke (pronounced flook)

(1) In nautical jargon, the part of an anchor that catches in the ground, especially the flat triangular piece at the end of each arm (also called flue).

(2) A barb, or the barbed head, of a harpoon, spear, arrow etc (also called flue).

(3) A metal hook on the head of certain staff weapons (such as a bill), made in various forms depending on function, whether used for grappling or to penetrate armour when swung at an opponent.

(4) In metal casting, a wing-like formation on a central piece (similar to a spur and often a product of the vesting process to be filed off.

(5) In industrial processing, waste cotton.

(6) Either half (the triangular lobes) of the tail of cetacean (whales, dolphins, porpoises and such).

(7) An accidental advantage; a stroke of good luck; a fortuitous event.

(8) An accident or chance happening.

(9) In cue sports (billiards and such), a successful shot, achieved wholly by accident.

(10) In ichthyology, any of several American flounders of the genus Paralichthys, found in the Atlantic Ocean; used loosely, any of various other flatfishes (an often used an an alternative name for the flounder).

(11) Any parasitic flatworm (notably the blood fluke and liver fluke), of the classes Monogenea and Digenea (formerly united in a single class Trematoda (as trematodes)).

Pre 900: From the Middle English flok, fluke & flewke, from the Old English flōcand cognate with the Old Norse flōki; It may be compared with the and the Old High German flah (flat (source of the modern German flach)), from the Proto-Germanic flakaz although for technical reasons related to the phonetics, etymologists seem to prefer a link with the Middle Low German vlögel (wing) and Germanic vlōch & vlucht (used in the sense of both “wing” & “flight”) or even vlunke (the modern Low German Flunk (wing, pinion)).  The modern use in German of fluke to describe the tail of whales and such is thought to be borrowed from English.  The use of fish came from the Old English flōc (flatfish), of Germanic origin, related to the German flach (flat), the Old Saxon flaka (sole), the Old High German flah (smooth) and the Old Norse floke (flatfish, flounder, flak, floe; disk), all ultimately from Proto-Germanic flakaz, from the primitive Indo European root plak- (to be flat).  The parasitic worm was so named in the 1660s by virtue of the distinctive (flat) shape.  Fluke is a noun & verb, flukishness is a noun, fluking is a verb, fluked is a verb & adjective, flukeless, fulkesque, flukelike, flukier, flukish, fluky, flukier & flukiest are adjectives and flukily is an adverb; the noun plural is flukes (the plural fluke used of the fish; flukes used otherwise including of the flatworms).

Lawyer and feminist activist, Sandra Fluke (b 1981), Ms magazine, Vol XXII, No 2, Spring-Summer 2012.

The use to describe the components of anchors, harpoons and such dates from the mid-sixteenth century and is of obscure origin, most etymologists concluding it was adopted cognizant of the original sense of “flat”, the reference used originally of the flat, pointed end of a anchor and that may have been picked up either from fluke in the sense of “the flatfish” (based on the shape) or from the Low German flügel (wing).  What is certain is the anchor’s triangular fitting was transferred to the tails of whales (and later other cetaceans), that in use by at least 1725.  Fluke has been used in the sense of “a lucky stroke, a chance hit” only since 1857 (when it appeared in the press also as “flook” and the origin is obscure although most sources suggest it came from billiards.  The speculative theories include (1) a reference to a whale's use of flukes rapidly to propel themselves in the ocean, (2) a re-purposing of the contemporary sailors slang “going-a-flunking” (to sail quickly; to go fast) or (3) an English dialectal origin (in the sense of “a guess”).  The adjective fluky (depending on chance rather than skill (“pure ass” a modern form)) was in use by at least 1867.  The “fluke” usually is something “lucky or fortuitous” but there are also the idiomatic phrases “fluke out”, “flukes out”, “fluking out” & “fluked out” which is “to lose or fail due to a fluke; to deserve to win or succeed but instead lose due to a fluke, especially a last-minute or unpredictable fluke” and thus connected with the notion of “defeat from the jaws of victory”.  The “fluke up” (also as “flukes up”, “fluking up” & “fluked up”) is not dependent on the existence of a “fluke” (in any sense) but means “to mess up; to blunder; to fail” and is a polite form of “fuck up”.  The special coinings flukicide & flukicidal are used in relation to the killing of the parasitic fluke worms.

Fluke Networks Cable Tester RJ45, LinkIQ (Part Number LIQ-KIT).

Fluke Corporation is a highly-regarded US manufacturer of industrial test, measurement and diagnostic equipment best known for their electronic test gear.  The company was founded in 1948 by John Fluke (1911-1984), then working at General Electric (GE).

In medical use, the variations include bile fluke (Clonorchis sinensis), blood fluke (Schistosomatidae spp.), bladder fluke (Schistosoma haematobium), cat liver fluke (Opisthorchis felineus), cecal fluke (Postharmostomum gallinum), Chinese liver fluke (Clonorchis sinensis), deer fluke (Fascioloides magna), lancet fluke (and lancet liver fluke) (Dicrocoelium dendriticum), sheep liver fluke (Fasciola hepatica),  lung fluke (Paragonimus spp.), giant intestinal fluke (Fasciolopsis buski) and giant liver fluke (Fascioloides magna); the last two sounding most ominous.  In ichthyology, the names include bannock fluke (Rhombus maximus), Gulf fluke (Paralichthys albiguttus), long fluke (Hippoglossoides limandoides), pole fluke (Glyptocephalus cynoglossus), sail fluke (Lepidorhombus whiffiagonis), American fluke (Fascioloides magna) and sand fluke (Hippoglossoides limandoides).

Poster for Just My Luck (2006, left) and four of the shots (right) from the roll taken by Larry Schwartzwald on Madison Avenue in 2005.

Being one of the industry’s notorious nictators, it was perhaps something not especially flukish when a paparazzo took a photograph of Lindsay Lohan winking but what was a fluke was the shot was perfect for a movie poster, the thought being the wink was a midliminal device which convey the message “you will have a marvellously good time if you watch this film” and the starlet must have agreed because for a while, the wink became her signature gesture.  According to the authoritative PosterWire, Ms Lohan sat for a photo shoot so promotional shots would be ready for the release (even wearing an auburn wig because she had by then entered her famous blonde phase) but the studio rejected what was offered because they were “too high style which was not the vibe of the film.”  Another photo session was scheduled but then someone remembered the paparazzi “winking shot”; not only did it become the poster but it also inspired the film’s tag line: “Everything changed in the wink of an eye.”  The shot used for Just My Luck (2006) was taken the previous year on Madison Avenue by New York Post photographer Larry Schwartzwald (1953-2021) who had the untypical background (among the paparazzi) of studying literature at New York University and, as he proved, “everything is text”.

Donald Trump (b 1946; US president 2017-2021; president elect 2024), Butler, Pennsylvania, 13 July 2024, the “blood shot” (left) and the “bullet shot” (right), both by Doug Mills (b 1960), who has shot (in the photographic sense) every president since Ronald Reagan (1911-2004; US president 1981-1989).

The “blood shot” is destined to become one of the images of twenty-first US politics and while in many ways “perfect”, it’s really not a “fluke” because at that point, every photographer on site was snapping away and something similar was guaranteed to emerge.  Noting the injury was to Mr Trump’s right ear, some immediately dubbed the “bullet shot” the “In one ear and out the other” but it was a genuine fluke because if snapped a millisecond earlier or later, the “speeding bullet” would not have been in the frame; a “one in a million” (at least) shot and therefore flukish.

Macropterous & Brachypterous

Macropterous (pronounced muh-krop-ter-uhs)

(1) In zoology (mostly in ornithology, ichthyology & entomology), having long or large wings or fins.

(2) In engineering, architecture and design, a structure with large, untypical or obvious “wings” or “fins”.

Late 1700s: The construct was macro- +‎ -pterous.  Macro is a word-forming element meaning “long, abnormally large, on a large scale”, from the French, from the Medieval Latin, from the Ancient Greek μακρός (makrós), a combining form of makrós (long) (cognate with the Latin macer (lean; meager)), from the primitive Indo-European root mak (long, thin).  In English it is used as a general purpose prefix meaning “big; large version of”).  The English borrowing from French appears as early as the sixteenth century but it tended to be restricted to science until the early 1930s when there was an upsurge in the publication of material on economics during the Great Depression (ie as “macroeconomy” and its derivatives).  It subsequently became a combining form meaning large, long, great, excessive et al, used in the formation of compound words, contrasting with those prefixed with micro-.  In computing, it covers a wide vista but describes mostly relatively short sets of instructions used within programs, often as a time-saving device for the handling of repetitive tasks, one of the few senses in which macro (although originally a clipping in 1959 of “macroinstruction”) has become a stand-alone word rather than a contraction.  Other examples of use include macrophotography (photography of objects at or larger than actual size without the use of a magnifying lens (1863)), macrospore (in botany, "a spore of large size compared with others (1859)), macroeconomics (pertaining to the economy as a whole (1938), macrobiotic (a type of diet (1961)), macroscopic (visible to the naked eye (1841)), macropaedia (the part of an encyclopaedia Britannica where entries appear as full essays (1974)) and macrophage (in pathology "type of large white blood cell with the power to devour foreign debris in the body or other cells or organisms" (1890)).

The –pterous suffix was from the Ancient Greek, the construct being πτερ(όν) (pter(ón) (feather; wing), from the primitive Indo-European péthr̥ (feather) and related to πέτομαι (pétomai) (I fly) (and (ultimately), the English feather) +‎ -ous.  In zoology (and later, by extension, in engineering and design), it was appended to words from taxonomy to mean (1) having wings and (2) having large wings.  Later, it was used also of fins.  The –ous suffix was from the Middle English -ous, from the Old French –ous & -eux, from the Latin -ōsus (full, full of); a doublet of -ose in an unstressed position.  It was used to form adjectives from nouns to denote (1) possession of (2) presence of a quality in any degree, commonly in abundance or (3) relation or pertinence to.  In chemistry, it has a specific technical application, used in the nomenclature to name chemical compounds in which a specified chemical element has a lower oxidation number than in the equivalent compound whose name ends in the suffix -ic.  For example, sulphuric acid (H₂SO₄) has more oxygen atoms per molecule than sulphurous acid (H₂SO₃).  The comparative is more macropterous and the superlative most macropterous.  Macropterous & macropteran are adjectives and macropter & macroptery are nouns; the noun plural is macropters.

Google ngram: Because of the way Google harvests data for their ngrams, they’re not literally a tracking of the use of a word in society but can be usefully indicative of certain trends, (although one is never quite sure which trend(s)), especially over decades.  As a record of actual aggregate use, ngrams are not wholly reliable because: (1) the sub-set of texts Google uses is slanted towards the scientific & academic and (2) the technical limitations imposed by the use of OCR (optical character recognition) when handling older texts of sometime dubious legibility (a process AI should improve).  Where numbers bounce around, this may reflect either: (1) peaks and troughs in use for some reason or (2) some quirk in the data harvested.

Brachypterous (pronounced bruh-kip-ter-uhs)

In zoology (mostly in ornithology & entomology), having short, incompletely developed or otherwise abbreviated wings (defined historically as being structures which, when fully folded, do not reach to the base of the tail.long or large wings or fins.

Late 1700s: The construct was brachy- + -pterous.  The brachy- prefix was from the Ancient Greek βραχύς (brakhús) (short), from the Proto-Hellenic brəkús, from the primitive Indo-European mréǵus (short, brief).  The cognates included the Sanskrit मुहुर् (múhur) & मुहु (múhu), the Avestan m̨ərəzu.jīti (short-lived), the Latin brevis, the Old English miriġe (linked ultimately to the English “merry”) and the Albanian murriz.  It was appended to convey (1) short, brief and (2) short, small.  Brachypterous & brachypteran are adjectives and brachyptery & braˈchypterism are nouns.  The comparative would be more brachypterous and the superlative most brachypterous but because of the nature of the base word, that would seem unnatural.  The noun brachypter does not means “a brachypterous creature; it describes taeniopterygid stonefly of the genus Brachyptera”.

The European Chinch Bug which exists in both macropterous (left) and brachypterous (right) form; Of the latter, entomologists also use the term "micropterous" and use does seem interchangeable but within the profession there may be fine distinctions. 

The difference in the use of macropterous (long wings or fins) and brachypterous (short wings) is accounted for less by the etymological roots than the application and traditions of use.  In zoological science, macropterous was granted a broad remit and came to be used of any creature (form the fossil record as well as the living) with long wings (use most prevalent of insects) and water-dwellers with elongated fins.  The word was applied first to birds & insects before being used of fish (fins being metaphorical “wings” and in environmentally-specific function there is much overlap.  By extension, in the mid-twentieth century, macropterous came to be used in engineering, architecture and design including of cars, airframes and missiles.

Brachypterous (short wings) is used almost exclusively in zoology, particularly entomology, the phenomenon being much more common than among birds which, being heavier, rely for lift on wings with a large surface area.  Short wing birds do exist but many are flightless (the penguin a classic example where the wings are used in the water as fins (for both propulsion and direction)) and this descriptor prevails.  Brachypterous is less flexible in meaning because tightly it is tied to a specific biological phenomenon; essentially a “short fin” in a fish is understood as “a fin”.  Cultural and linguistic norms may also have been an influence in that while “macro-” is widely used a prefix denoting “large; big”, “brachy-” has never entered general used and remains a tool in biology.  So, in common scientific use, there’s no recognized term specifically for “short fins” equivalent to brachypterous (short wings) although, other than tradition, there seems no reason why brachypterous couldn’t be used thus in engineering & design.  If so minded, the ichthyologists could coin “brachyichthyous” (the construct being brachy- + ichthys (fish)) or brachypinnate (the construct being brachy- + pinna (“fin” or “feather” in Latin)), both meaning “short-finned fish”.  Neither seem likely to cath on however, the profession probably happy with “short-fin” or the nerdier “fin hypoplasia”.

The tailfin: the macropterous and the brachypterous

Lockheed P-38 Lightning in flight (left) and 1949 Cadillac (right).

Fins had appeared on cars during the inter-war years when genuinely they were added to assist in straight-line stability, a need identified as speeds rose.  The spread to the roads came from the beaches and salt flats where special vehicles were built to pursue the world land speed record (LSR) and by the mid 1920s, speeds in these contests were exceeding 150 mph (240 km/h) and at these velocities, straight-line stability could be a matter of life and death.  The LSR crew drew their inspiration from aviation and that field also provided the motif for Detroit’s early post-war fins, the 1949 Cadillac borrowing its tail features from the Lockheed P-38 Lightning (a US twin-boom fighter first flown in 1939 and built 1941-1945) although, despite the obvious resemblance, the conical additions to the front bumper bar were intended to evoke the image of speeding artillery shells rather than the P-38’s twin propeller bosses.

1962 Ford (England) Zodiac Mark III (left) and 1957 DeSoto Firesweep two-door hardtop (right).

From there, the fins grew although it wasn’t until in 1956 when Chrysler released the next season’s rage that extravagance truly began.  To one extent or another, all Chrysler’s divisions (Plymouth, Dodge, DeSoto, Chrysler, Imperial) adopted the macropterous look and the public responded to what was being described in the press as “futuristic” or “jet-age” (Sputnik had yet to orbit the earth; “space-age” would soon come) with a spike in the corporation’s sales and profits.  The competition took note and it wasn’t long before General Motors (GM) responded (by 1957 some Cadillac fins were already there) although, curiously Ford in the US was always tentative about the fin and their interpretation was always rather brachypterous (unlike their English subsidiary which added surprisingly prominent fins to their Mark III Zephyr & Zodiac (1961-1966).

Macropterous: Lindsay Lohan with wings, generated with AI (artificial intelligence) by Stable Diffusion.

Even at the time the fins attracted criticism although it was just as part of a critique of the newer cars as becoming too big and heavy with a notable level of inefficiency (increasing fuel consumption and little (if any) increase in usable passenger space with most of the bulk consumed by the exterior dimensions, some created by apparently pointless styling features of which the big fins were but one.  The public continued to buy the big cars (one did get a lot of metal for the money) but there was also a boom in the sales of both imported cars (their smaller size among their many charms) but the corporation which later became AMC (American Motor Corporation) enjoyed good business for their generally smaller offerings.  Chrysler and GM ignored Ford’s lack of commitment to the macropterous and during the late 1950s their fin continued to grow upwards (and, in some cases, even outwards) but, noting the flood of imports, decided to join the trend, introducing smaller ranges; whereas in 1955, the majors offered a single basic design, by 1970 there would be locally manufactured “small cars”, sub-compacts”, “compacts” and “intermediates” as well as what the 1955 (which mostly had been sized somewhere between a “compact” and an “intermediate”) evolved into (now named “full-size”, a well-deserved appellation).

1959 Cadillac with four-window hardtop coachwork (the body-style known also as the "flattop" or "flying wing roof") (left) and 1961 Imperial Crown Convertible (right).

It was in 1959-1961 that things became “most macropterous” (peak fin) and the high-water mark of the excess to considered by most to be the 1959 Cadillac, east of the towering fins adorned with a pair of taillights often described as “bullet lights” but, interviewed year later, a member of the General Motors Technical Center (opened in 1956 and one of the mid-century’s great engines of planned obsolescence) claimed the image they had in mind was the glowing exhaust from a rocket in ascent, then often seen in popular culture including film, television and advertising.  However, although a stylistic high, it was the 1961 Imperials which set the mark literally, the tip of those fins standing almost a half inch (12 mm) taller and it was remembered too for the “neo-classical” touch of four free-standing headlights, something others in the industry declined to follow.

Tending to the brachypterous: As the seasons went by, the Cadillac's fins would retreat but would not for decades wholly vanish.

It’s a orthodoxy in the history of design that the fins grew to the point of absurdity and then vanished but that’s not what literally happened in all cases.  Some manufacturers indeed suddenly abandon the motif but Cadillac, perhaps conscious of having nurtured (and in a sense “perfected”) the debut of the 1949 range must have felt more attached because, after 1959, year after year, the fins would become smaller and smaller although decades later, vestigial fins were still obviously part of the language of design.  In Europe, others would also prune.

Macropterous to brachypterous.  Sunbeam Alpine: 1960 Series I (left) and 1966 Series V. 

Built in five series between 1959-1968, the fins on the Sunbeam Alpine would have seemed a good idea in 1957 when the lines were approved but trend didn’t persist and with the release in 1964 of the revised Series IV, the effect was toned down, the restyling achieved in an economical way by squaring off the rake at the rear, this lowering the height of the tips.  Because the release of the Series IV coincided with the debut of the Alpine Tiger (fitted initially with a 260 cubic inch (4.2 litre) V8 (and later a 4.7 (289)), all the V8 powered cars used the “low fin” body.

Macropterous to brachypterous. 1961 Mercedes-Benz 300 SE Lang (Long) (left) and 1971 Mercedes-Benz 280 SE 3.5 coupé.

Regarded by some as a symbol of the way the Wirtschaftswunder (the post war “economic miracle” in the FRG (Federal Republic of Germany, the old West Germany)) had ushered away austerity, the (slight) exuberance of the fins which appeared on the Mercedes-Benz W111 (1959-1968) & W112 (1961–1965) seemed almost to embarrass the company, offended by the suggestion they would indulge in a mere “styling trend”.  Although the public soon dubbed the cars the Heckflosse (literally “tail-fins”), the factory insisted they were Peilstege (parking aids or sight-lines (literally "bearing bars")), the construct being peil-, from peilen (take a bearing; find the direction) + Steg (bar) which marked the extent of the bodywork, this to assist while reversing.  That may have been true (the company has never been above a bit of myth-making) but when a coupé and cabriolet was added to the W111 & W112 range, the fins were noticeably smaller, achieving an elegance of line Mercedes-Benz has never matched.  Interestingly, a la Cadillac, when the succeeding sedans (W108-W109 (1965-1972) & W116, (1972-1979)) were released, both retained a small hint of a fin although by 1972 it wasn’t enough even to be called vestigial; the factory said the small deviation from the flat was there to increase structural rigidity.

Macropterous to brachypterous: 1962 Vanden Plas Princess 3 Litre (left) and 1967 Vanden Plas Princess 4 Litre R (right).

The Italian design house Pinninfarina took to fins in the late 1950s and applied what really were variations of the same basic design to commissions from Fiat, Lancia, Peugeot and BMC (British Motor Corporation, a conglomerate created by merger in 1952 which brought together Morris, Austin (and soon Austin-Healey), MG, Riley, Wolseley & Vanden Plas under the one corporate umbrella.  There were a several BMC “Farinas” sold under six badges and the ones with the most prominent fins were the “big” Farinas, the most expensive of which were Princess 3 Litre (1959-1960), Vanden Plas Princess 3 Litre (1960-1964) and Vanden Plas Princess 4 Litre R (1964-1968); the “R” appended to the 4 Litre’s model name was to indicate its engine (which had begun life as a military unit) was supplied by Rolls-Royce, a most unusual arrangement.  The 4 Litre used the 3 Litre’s body with a number of changes, one of which was a change in the shape and reduction in the size of the rather chunky fins.  Although the frumpy shell remained, the restyling was though quite accomplished though obviously influenced by the Mercedes-Benz W111 & W112 coupés & cabriolets but if one is going to imitate, one should choose the finest.

Bourse

Bourse (pronounced boors)

(1) A stock exchange, the term used variously (depending on context): (1) as a synecdoche for “stock exchange”, (2) collectively of the stock exchanges of continental Europe and (3) specifically the Paris stock exchange (the Bourse de Paris, known usually in English as the “Paris Bourse”).

(2) Figuratively, any place, real, virtual or imaginary where (1) something of value is traded or (2) the value of something tradable is set or settled.

(3) In philately, a meeting of stamp collectors and or dealers where stamps and covers are sold or exchanged.

(4) In botany, the swollen basal part of an inflorescence axis at the onset of fruit development; it bears leaves whose axillary buds differentiate and may grow out as shoots.

1590s: From the mid sixteenth century French burse (meeting place of merchants), from the French bourse (meeting place of merchants (literally “purse”)), from the twelfth century Old French borse (money bag, purse), from the Medieval Latin bursa (a bag), from the Late Latin bursa (oxhide, animal skin and a variant of variant of byrsa (hide)), from the Ancient Greek βύρσα (búrsa or býrsa), (hide, wine-skin) of unknown origin.  Linked terms are used for other European stock exchanges including the Danish børs, the Swedish börs and the German Börse with the roots evident in Modern English words including bursar and reimburse.  Bursa in Late Latin meant “oxhide, animal skin” (reflecting the origins in the Greek) but, by association with use, in Medieval Latin came to mean “purse made of leather” and that meant it came also to mean “supply of money, cash, funds”, extending later to “pension”.  The modern sense of “exchange where stocks are registered and exchanged” dates from 1845, taken directly from the Bourse de Paris (Paris stock exchange).  In one legend, the use of the word “bourse” for such places was said to be derived from the House of Van der Buerse, a family in Bruges, Belgium.  There, merchants and bankers would gather to conduct financial transactions and the a variant of the name “Buerse” came to be used.  The alternative history relates how there was a sign on the front of the Buerse’s house adorned with a painting of three burses (purses).  Bourse is a noun; the noun plural is bourses.

A modern bull scrotum purse.

In French, bourse is also a slang term (usually in the plural) for the scrotum and from gift-shops and street markets around the world, one can buy coin purses (various with clasps, zips and tie-strings) made from the scrotums of various slaughtered creatures.  It appears also in the (usually affectionate) French vulgarity: “Ça remonte à quand, la dernière fois que tu t’es vidé les bourses?” (When was the last time you emptied your balls?  In more polite use, there the bourse d’études (educational scholarship, stipend, student allowance), bourse d’excellence (merit scholarship; fellowship) and boursicaut (small coin purse (mostly archaic though still a favorite among antique dealers).

A bull scrotum purse in a traditional style.

One linguistic development in French might explain something about why the fluctuations in financial markets came increasingly to send ripples throughout economies: In the sixteenth century the verb boursicoter meant “to set money aside” (ie keep it in one’s purse) but by the mid-nineteenth century (under the influence of bourse coming to mean “stock exchange”, it had shifted to mean “having a flutter on the markets; dabbling in the stock market”.  In a similar vein, a boursier (feminine boursière, masculine plural boursiers, feminine plural boursières) could be (1) a scholarship beneficiary, a recipient of a bursary or grant, (2) a stockbroker or trader or (3) one who makes purses and handbags.  In idiomatic use (which survives as a literary device there was sans bourse délier (literally “without opening one's purse”) which is English aligns with “without spending a penny” or “not spending a dime”.

The Modern English purse was from the Middle English purse, from Old English pursa (little bag or pouch made of leather, especially for carrying money), partly from pusa (wallet, bag, scrip) and partly from burse.  The Old English pusa was from the Proto-West Germanic pusō, from the Proto-Germanic pusô (bag, sack, scrip), from the primitive Indo-European būs- (to swell, stuff) and was cognate with the Old High German pfoso (pouch, purse), the Low German pūse (purse, bag), the Old Norse posi (purse, bag), the Danish pose (purse, bag) and the Dutch beurs (purse, bag).  The Old English burse was from the same source as the French bourse.  “Purse” (as a synecdoche for “financial matters generally” is widely used in idiomatic English and persists in the UK persists in the office of Keeper of the Privy Purse, a member of the royal household who manages the financial affairs of the sovereign.  The office dates from the early sixteenth century (things in the palace don’t often change) and can be understood as something like a CFO (chief financial officer) or FC (financial controller (comptroller the historic use)).  Purse had been used in the sense of “the royal treasury” as early as the late thirteenth century and the figurative sense of “money, means, resources, funds” emerged by the mid-1300s, this extending to specific defined instances (such as “prize for winning a horse race etc”) by the 1640s.  The thirteenth century use in Middle English to mean “scrotum” was indicative of the shape and size of the leather pouches used to carry coins.

Lindsay Lohan illustrates the purse and the handbag: The clutch purse (left) would everywhere be understood as “a purse” but in the US such a thing commonly would be called “a clutch” because “purse” is used also of larger items.  The red one (centre) would often be called a purse in the US but elsewhere in the English-speaking world it is certainly a handbag.  By the time something assumes the dimensions of a Louis Vuitton Doctor's Bag (right), it is definitely a handbag, tote or something beyond a purse.

Purse was first used of a “woman's handbag” in the late 1870s.  Originally a purse was “a small bag for carrying money” and that use persisted even after purses became less scrotum-like but in the US it came to be used also of what would in the UK be called a “handbag” (a small bag carried usually by women and typically containing personal items (lipsticks, other makeup and often a “purse” (in the original sense)).  Not infrequently, in trans-Atlantic use, the terms “purse” and “handbag” are used interchangeably, but confusion can arise if there’s no accompanying visual clue which is why the term “clutch purse” has proved so useful.  A clutch purse is a small, often rectangular bag designed conveniently to be carried in one hand (although many are supplied with an (often detachable) chain or strap which can be slung over the shoulder or used in cross-body style.  In the industry, not only is there no set of parameters which defines where a purse ends and a handbag begins and shamelessly manufacturers will use the labels indiscriminately if they suspect it will stimulate sales.  The US usage has infected the rest of the world including places like the UK where once there was a clear distinction and now it’s something really in the eye of the beholder, perhaps recalling the judgment Potter Stewart (1915–1985; associate justice of the US Supreme Court 1958-1981) handed down (in another context) in Jacobellis v Ohio (378 U.S. 184 (1964)): “I shall not today attempt further to define… and perhaps I could never succeed in intelligibly doing so.  But I know it when I see it…”

Bear & bull statues outside the Börse Frankfurt (Frankfurt Stock Exchange, formerly known as the Frankfurter Wertpapierbörse), the world's third oldest stock exchange.  Located in the German state of Hesse, Frankfurt is the country's financial centre.

About the only thing which can be guaranteed of a stock market is it will fluctuate and the most famous terms used of bourses are “bear market” & “bull market”, describing respectively the market conditions as they respond to the central dynamics of the business: fear & greed, both of which tend to manifest in waves because of what is known as the “herd mentality” of investors (gamblers as some prefer to describe themselves).  The collective noun for a group of bulls is a herd (less commonly a gang while bears assemble (a less common behavior for them) in a sloth (or sleuth).  The bull & bear metaphors have been in use since the early eighteenth century and the origin of the “bull” is uncontested and refers to the habit aggressive bulls display in pushing forward and tossing their heads upward, the idea being a herd of “bullish investors” will drive up the prices of the stocks they’re pursuing, thus creating a “bull market”.  The math of these terms is not precisely defined but, as a general principle, the view seems to be they are used of a market in which prices rise (bull) of fall (bear) 20% or more from a recent trough or peak, usually over a period or weeks or months depending on the state of an economy.  The labels can be applied to a single asset, an asset class, a group of securities, or a market as a whole and if the trends are mild or seem tentative, things can be called “bullish” or “bearish”.

One of several bull statues, DPRR (Democratic People's Republic of Rockhampton), Queensland, Australia.

The origin of the bestial analogy of the bear is contested.  The oldest story concerns the London trader who sold a shipment of Canadian bearskins sometime before they had come into his possession, his strategy being a gamble the market would fall and he’d just have to pay less for something he’s already sold at a higher price, thus gaining from “the spread” (the difference between the cost and selling prices and a variation on the mechanism used today by the “short sellers”).  These traders came to be known as “bearskin jobbers”.  The alternative history is more directly from behavioral zoology: the way bears with their powerful limbs and big, sharp claws will, if in the mood “claw stuff down”.

Lindsay Lohan with Valentine’s Day stuffed teddy bear.

The use may also have been influenced by the unfortunate history in England of bull and bear-baiting, gruesome, fight-to-the-death contests between the beasts which seem first to have been held during the thirteenth century and reaching an apex of popularity during the reign of Elizabeth I (1533–1603; Queen of England & Ireland 1558-1603).  An audience would bet on the outcome and the link with stock exchanges is that while markets may percolate for sometimes long periods, there will always be battles between “the bears” and “the bulls” and it’s during these events that great fortunes are made and lost.  The language appealed to writers and was used by the English poet & satirist Alexander Pope (1688-1744) in Book II of The Dunciad (1728), a work mocking the greed and folly of investors (gamblers) associated with the South Sea Bubble, a financial scandal of the early eighteenth century and one of many examples of herd mentality and “irrational exuberance”:

Come fill the South Sea goblet full;
The gods shall of our stock take care:
Europa pleased accepts the Bull,
And Jove with joy puts off the Bear.

Gynandromorph

Gynandromorph (pronounced ji-nan-druh-mawrf, gahy-nan-druh-mawrf or jahy-nan-druh-mawrf)

(1) In biology, an organism exhibiting both male and female morphological characteristics.

(2) An insect, crustacean or bird literally having physical characteristics of both sexes, usually displaying a bilateral difference.

(3) A person having certain physical characteristics of both sexes (use now rare).

1895–1900: The construct was the Ancient Greek gýnandro(s) (gynandrous) + -morph.  It deconstructs as gyn- (from the Ancient Greek gynē (γυνή) (woman; female organism) + -andro- (from the Ancient Greek ἀνήρ & ἀνδρός (anēr & andros) (man; male organism) + -morph (from the Ancient Greek μορφή (morphē) (form; shape).  The word cab thus be understood as “female-male form”, an individual organism with a mix of both male and female physical traits, such exhibit such characteristics due typically to genetic or developmental anomalies.  Gynandromorph, gynandromorphism & gynandromorphy are nouns and gynandrous, gynandromorphic & gynandromorphous are adjectives; the noun plural is gynandromorphs.

In biological science, the terms cosexual, dichogamic and gynandromorph are all to describe states where the binaries “male” and “female” in some way co-exist and each is a distinct phenomenon: (1) Cosexual refers to organisms which simultaneously possess and can function as both male and female.  The state is best known in botany (hermaphroditic plants) but there are also such animals, the common earthworm a cosexual as they have both male and female reproductive organs and can mate with any other earthworm.  (2) A dichogamic is an organism which at different points in its life-cycle have male and female reproductive functions at different times in their lifecycle.  Dichogamy ensures self-fertilization is minimized and biologists distinguish between protandry (male phase precedes the female phase (best documented in the ways of the clownfish)) and protogyny (female phase precedes the male phase (noted in some wrasses).  (3) In zoology (prevalent particularly in entomology), a gynandromorph is an organism (insect, crustacean, bird etc) with both male and female physical characteristics, typically split across the body (ie one side male, one female), manifesting often in a distinctive and often dramatic “two-tone” body of different color left & right.  Although visually the creatures appear in this aspect usually to be exactly (ie 50/50) symmetrical, a gynandromorph’s expression of genitalia can vary greatly between instances of the phenomenon.

In the context of humans, the noun hermaphrodite (plural hermaphrodites) used to be the accepted technical term in human physiology to describe an individual in which both male and female reproductive organs (and sometimes also all or some of the secondary sex characteristics) were present (ie a cosexual), or in which the chromosomal patterns did not fall under typical definitions of male and female.  It’s no longer in general use to describe people (although it does still appear in technical publications (medicine or pathology) and is now considered offensive, “intersex” now the preferred term).  In the past, “hermaphrodite” was used even of some military platforms (including warships and tanks) because the labels “male” & “female” had been used of certain designs so “hermaphrodite” was applied to hybrid designs which combined features from both.  The noun androgyne refers to a person who expresses a combination of male and female characteristics, often in the context of gender identity or presentation; it is used of behavior, not biology.

True bibateral gynandromorphs: A tarantula (left), lobster (centre) and cardinal (right).  The physiology of the cardinal is typical of the phenomenon, a functional ovary on its left side, one functioning testis on its right; the mechanism which created the genetic anomaly was that inside its egg were two yokes which combined to give life to one bird, half male, half female.

Let That Be Your Last Battlefield: Star Trek (1969).

While there was nothing to suggest gynandromorphism was part of the plot-line, the visual device was used in “Let That Be Your Last Battlefield”, an episode in the third season (1969) of the US SF (science fiction) television show Star Trek.  The two central characters in the tale are to survivors of a war-torn planet, each half black and half white, the only difference between them being their colors were on different sides.  The script was an earnest (if unsubtle) critique of racism (then, as now, the central fault-line in US society) but, ominously (though realistically), the episode concludes with the pair still at each other’s throats.

Lindsay Lohan, SLS Hotel, Los Angeles, April 2009.

Although humans use all sorts of colors for body-detailing (lipstick, hair dyes, eye shadow etc), the “half one color, half another” motif has never been a thing.  Inadvertently though, it can be achieved.  In April 2009, photographs circulated of Lindsay Lohan in Los Angeles, attending the launch of A|X (Armani Xchange) Watches at the SLS Hotel, Beverley Hills, her strapless Balmain mini-dress much admired, the white fabric accenting her skin’s golden tan.  Next day however, a shot appeared of her from behind, suggesting the fake tan had been applied only to the front half.  It was a bit of a cheat shot because of the way the color-saturation was set but it seems, on the night, things might have looked a bit gynandromorphic.  

Sable

Sable (pronounced sey-buhl)

(1) An Old World, small, carnivorous, weasel-like mammal, Mustela zibellina, of cold regions in Eurasia and the North Pacific Islands, valued for its fur which exists in shades of brown.  They are solitary & arboreal, with a diet largely of eat small animals and eggs.

(2) A marten, especially the Mustela americana & Martes zibellina.

(3) The fur of the sable.

(4) A garment made from sable (as descriptor or modifier)

(5) An artist's brush made from the fur of the sable.

(6) A type of French biscuit of a sandy texture and made with butter, sugar, eggs & flour.

(7) The stage name of Rena Marlette-Lesnar (née Greek, formerly Mero; b 1968), a US model & actress, best known for her career (1996-1999 & 2003-2004) as a professional wrestler.

(8) The color black, especially when in heraldic use.

(9) The color of sable fur (a range from yellowish-brown to dark brown).

(10) A locality name in North America including (1) a cape at the southern Florida (the southern-most point of the continental US and (2) the southernmost point of Nova Scotia, Canada.

(11) In the plural (as sables), black garments worn in mourning.

(12) In literary use, dark-skinned; black (archaic when used of people but used still in other contexts).

(13) In figurative use, a “black” or “dark” mood; gloominess (now rare).

1275–1325: From the Middle English sable, saibel, sabil & sabille (a sable, pelt of a sable; (the color) black), from the Old French sable, martre sable & saibile (a sable, sable fur), from the Medieval Latin sabelum & sabellum (sable fur), from the Middle Low German sabel (the Middle Dutch was sabel and the late Old High German was zobel), from a Slavic or Baltic source and related to the Russian со́боль (sóbol), the Polish soból, the Czech sobol, the Lithuanian sàbalas and the Middle Persian smwl (samōr).  Sable is a noun & adjective; the noun plural is sables or sable.

The modern funeral: @edgylittlepieces take on the sable.  Their funeral dress included a mode in which it could be “tightened up to make it super modest for the funeral”, later to be “loosened back down for the after-party.”  The promotional clip attracted many comments, some of which indicated scepticism about whether funerals had “after-parties” but the wake is a long-established tradition.  Wake (in this context) was from the Middle English wake, from the Old English wacu (watch), from the Proto-Germanic wakō and wakes could be held before or after the funeral service, depending on local custom.  In James Joyce's (1882–1941) Finnegans Wake (1939), Tim Finnegan's wake occurs before the funeral service so the young lady would have “loosened” first before “tightening” into “super modest” mode for the ceremony.  “Modest” is of course a relative term and it's literature's loss Joyce never had the chance to write about this sable although how he'd have interpolated it into the narrative of Finnegans Wake is anyone's guess but fragments from the text such as “…woven of sighed sins and spun of the dulls of death…” and “…twisted and twined and turned among the crisscross, kisscross crooks and connivers, the curtaincloth of a crater let down, a sailor’s shroud of turfmantle round the pulpit...” lend a hint.

In Western culture black is of course the color of mourning so funeral garments came to be known as “sables” but the curious use of sable to mean “black” (in heraldry, for other purposes and in figurative use) when all known sables (as in the weasel-like mammal) have been shades of brown (albeit some a quite dark hue) attracted various theories including (1) the pelt of another animal with black fur might have been assumed to be a sable, (2) there may in some places at some time have been a practice of dying sable pelts black or (3) the origin of the word (as a color) may be from an unknown source.  It was used as an adjective from the late fourteenth century and in the same era came to be used as a term emblematic of mourning or grief, soon used collectively of black “mourning garments”.  In the late eighteenth century it was used of Africans and their descendants (ie “black”) although etymologists seem divided whether this was originally a “polite” form or one of “mock dignity”.

AdVintage's color chart (left) and a Crusader Fedora hat in True-Sable with 38mm wide, black-brown grosgrain ribbon, handcrafted from Portuguese felt (right).

The phrase “every cloud has a silver lining” was in general use by the early nineteenth century and is used to mean even situations which seem bad will have some positive aspect and thus a potential to improve.  That’s obviously not true and many are probably more persuaded by the derivative companion phrase coined by some unknown realist: “Every silver lining has a cloud” (ie every good situation has the potential to turn bad and likely will).  “Every cloud has a silver lining” dates from the seventeenth century and it entered popular use after the publication of John Milton’s (1608–1674) masque Comus (1634) in which the poet summoned the imagery of a dark & threatening cloud flowing at the edges with the moon’s reflected light of the moon, symbolizing hope in adversity:

I see ye visibly, and now believe
That he, the Supreme Good, to whom all things ill
Are but as slavish officers of vengeance,
Would send a glistering guardian, if need were
To keep my life and honor unassailed.
Was I deceived, or did a sable cloud
Turn forth her silver lining on the night?
I did not err; there does a sable cloud
Turn forth her silver lining on the night,
And casts a gleam over this tufted grove.

Who wore the sable-trimmed coat better?  The Luffwaffe's General Paul Conrath (1896–1979, left) with Hermann Göring (1893–1946; leading Nazi 1922-1945, Hitler's designated successor & Reichsmarschall 1940-1945, centre), Soviet Union, 1942 and Lindsay Lohan at New York Fashion Week, September 2024.  Given modern sensibilities, Ms Lohan's “sable” presumably was faux fur and appeared to be the coat's collar rather than a stole but the ensemble was anyway much admired.  Count Galeazzo Ciano (1903–1944; Italian foreign minister 1936-1944 wasn’t an impartial observer of anything German but he had a diarist’s eye and left a vivid description of the impression the Reichsmarschall made during his visit to Rome in 1942: “At the station, he wore a great sable coat, something between what motorists wore in 1906 and what a high grade prostitute wears to the opera.”  Ciano was the son-in-law of Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943) who later ordered his execution, a power doubtlessly envied by many fathers-in-law.

1996 Mercury Sable.  The styling of the third generation Sable (and the Ford Taurus) was upon its release controversial and, unlike some other designs thought “ahead of their time”, few have warmed to it.  To many, when new, it looked like something which had been in an accident and was waiting to be repaired.

Over five generations (1986–1991; 1992–1995; 1996–1999; 2000–2005 & 2008–2009), the Ford Motor Company (FoMoCo) produced the Mercury Sable, a companion (and substantially “badge-engineered”) version of the Ford Taurus (discontinued in the US in 2016 but still available in certain overseas markets).  Dreary and boring the FWD (front wheel drive) Taurus & Sable may have been but they were well-developed and appropriate to the needs of the market so proved a great success.  The Mercury brand had been introduced in 1939 to enable the corporation better to service the “medium-priced” market, its approach until then constrained by the large gap (in pricing & perception) between Fords and Lincolns; at the time, General Motors’ (GM) “mid-range” offerings (ie LaSalle, Buick, Oldsmobile & Pontiac (which sat between Chevrolet & Cadillac)) collectively held almost a quarter of the US market.  Given the structure of the industry (limited product ranges per brand) at the time it was a logical approach and one which immediately was successful although almost simultaneously, Ford added the up-market “Ford De Luxe” while Lincoln introduced the “Lincoln Zephyr” at a price around a third what was charged for the traditional Lincoln range.  It was a harbinger of what was to come in later decades when product differentiation became difficult to maintain as Ford increasingly impinged on Mercury’s nominal territory.  After years of decline, Ford took the opportunity offered by the GFC (Global Financial Crisis, 2008-2011) and in 2010 closed-down the Mercury brand.

Midler v. Ford Motor Co., 849 F.2d 460 (Ninth Circuit Federal Courts of Appeal, 1988)

Apart from the odd highlight like the early Cougars (1967-1970), Mercury is now little remembered and the Sable definitely forgotten but it does live on as a footnote in legal history which, since the rise of AI (Artificial Intelligence), has been revisited because of the advertising campaign which accompanied the Sable’s launch in 1996.  The case in which the Sable featured dates from 1988 and was about the protectibility (at law) of the voice of a public figure (however defined) and the right of an individual to prevent commercial exploitation of their “unique and distinctive sound” without consent.  FoMoCo and its advertising agency (Young & Rubicam Inc (Y&R)) in 1985 aired a series of 30 & 60 second television commercials (in what the agency called “The Yuppie Campaign”, the rationale of which was to evoke in the minds of the target market (30 something urban professionals in a certain income bracket) memories of their hopefully happy days at university some fifteen years earlier.  To achieve the effect, a number of popular songs of the 1970s were used for the commercials and in some cases the original artists licenced the material but ten declined to be involved so Y&R hired “sound-alikes” who re-recorded the material.  One who rejected Y&R’s offer was the singer Bette Midler (b 1945).

Sable (the stage name of Rena Marlette-Lesnar (née Greek, formerly Mero; b 1968)); promotional photograph issued by WWE (World Wrestling Entertainment) to which she was contracted.

Y&R had from the copyright holder secured a licence to use the song, Do You Want to Dance which Ms Midler had interpreted on her debut album The Divine Miss M (1972) and neither her name nor an image of her appeared in the commercial.  Y&R’s use of the song was under the terms of settled law; the case hung on whether Ms Midler had the right to protect her voice from commercial exploitation by means of imitation.  At trial, the district court described the defendants' conduct as that “...of the average thief...” (“If we can't buy it, we'll take it”) but held there was no precedent establishing a legal principle preventing imitation of Midler's voice and thus gave summary judgment for the defendants.  Ms Midler appealed.

Years before, a federal court had held the First Amendment (free speech) to the US constitution operated with a wide latitude in protecting reproduction of likenesses or sounds, finding the “use of a person's identity” was central; if the purpose was found to be “informative or cultural”, then the use was immune from challenge but if it “serves no such function but merely exploits the individual portrayed, immunity will not be granted.”  Moreover, federal copyright law overlays such matters and the “...mere imitation of a recorded performance would not constitute a copyright infringement even where one performer deliberately sets out to simulate another's performance as exactly as possible.”  So Ms Midler’s claim was novel in that it was unrelated to the copyrighted material (the song), thus excluding consideration of federal copyright law.   At the time, it was understood a “voice is not copyrightable” and what she was seeking to protect was something more inherently personal than any work of authorship.  There had been vaguely similar cases but they had been about “unfair competition” in which people like voice-over artists were able to gain protection from others emulating in this commercial area a voice, the characteristics of which the plaintiffs claimed to have “invented” or “defined” (the courts never differentiated).

On appeal, the court reversed the original judgment, holding that it was not necessary to “…go so far as to hold that every imitation of a voice to advertise merchandise is actionable.  We hold only that when a distinctive voice of a professional singer is widely known and is deliberately imitated in order to sell a product, the sellers have appropriated what is not theirs and have committed a tort in California.  Midler has made a showing, sufficient to defeat summary judgment, that the defendants here for their own profit in selling their product did appropriate part of her identity.”  What this established was an individual's voice can be as integral to their identity as their image or name and that is reflected in recent findings about AI-generated voices that mimic specific individuals; they too can infringe on similar rights if used without consent, particularly for commercial or deceptive purposes.  The “AI generated voice” cases will for some time continue to appear in many jurisdictions and it’s not impossible some existing (and long-standing) contracts might be declared void for unconscionability on the grounds terms which once “signed away in perpetuity” rights to use a voice will no longer enforced because the technological possibilities now available could not have been envisaged.