Cereal & Serial

Cereal (pronounced seer-ee-uhl)

(1) Any plant of the grass family yielding an edible grain (wheat, rye, oats, rice, corn, maize, sorghum, millet et al).

(2) The grain from those plants.

(3) An edible preparation of these grains, applied especially to packaged, (often process) breakfast foods.

(4) Of or relating to grain or the plants producing it.

(5) A hamlet in Alberta, Canada.

(6) As Ceres International Women's Fraternity, a women's fraternity focused on agriculture, founded on 17 August 1984 at the International Conclave of FarmHouse fraternity.

1590s: From the sixteenth century French céréale (having to do with cereal), from the Latin cereālis (of or pertaining to the Roman goddess Ceres), from the primitive Indo-European ker-es-, from the root ḱer- (to grow”) from which Latin gained also sincerus (source of the English sincere) and crēscō (grow) (source of the English crescent).  The noun use of cereal in the modern sense of (a grass yielding edible grain and cultivated for food) emerged in 1832 and was developed from the adjective (having to do with edible grain), use of which dates from 1818, also from the French céréale (in the sense of the grains).  The familiar modern use (packaged grain-based food intended for breakfast) was a creation of US English in 1899.  If used in reference to the goddess Ceres, an initial capital should be used.  Cereal, cereology & cerealogist are nouns and ceralic is an adjective; the noun plural is cereals.

Lindsay Lohan mixing Pilk.

Cereal is often used as modifier (cereal farming, cereal production, cereal crop, non-cereal, cereal bar, pseudocereal, cereal dust etc) and a cereologist is one who works in the field of cerealogy (the investigation, or practice, of creating crop circles).  The term “cereal killer” is used of one noted for their high consumption of breakfast cereals although some might be tempted to apply it to those posting TikTok videos extolling the virtue of adding “Pilk” (a mix of Pepsi-Cola & Milk) to one’s breakfast cereal.  Pilk entered public consciousness in December 2022 when Pepsi Corporation ran a “Dirty Sodas” promotion for the concoction, featuring Lindsay Lohan.  There is some concern about the high sugar content in packaged cereals (especially those marketed towards children) but for those who want to avoid added sugar, Pepsi Corporation does sell “Pepsi Max Zero Sugar” soda and Pilk can be made using this.  Pepsi Max Zero Sugar contains carbonated water, caramel color, phosphoric acid, aspartame, acesulfame potassium, caffeine, citric acid, potassium benzoate & calcium disodium EDTA.

TikTok, adding Pilk to cereal and the decline of Western civilization.

A glass of Pilk does of course make one think of Lindsay Lohan but every mouthful of one’s breakfast cereal is something of a tribute to a goddess of Antiquity.  In 496 BC, Italy was suffering one of its periodic droughts and one particularly severe and lingering, the Roman fields dusty and parched.  As was the practice, the priests travelled to consult the Sibylline oracle, returning to the republic’s capital to report a new goddess of agriculture had to be adopted and sacrifices needed immediately to be made to her so rain would again fall on the land.  It was Ceres who was chosen and she became the goddess of agriculture and protector of the crops while the caretakers of her temple were the overseers of the grain market (they were something like the wheat futures traders in commodity exchanges like the Chicago Board of Trade (CBOT)).  It was the will of the goddess Ceres which determined whether a harvest was prolific or sparse and to ensure abundance, the Romans ensured the first cuttings of the corn were always sacrificed to her.  It’s from the Latin adjective cereālis (of or pertaining to the Roman goddess Ceres) English gained “cereal”.

For millennia humanity’s most widely cultivated and harvested crop, cereal is a grass cultivated for its edible grain, the best known of which are rice, barley, millet, maize, rye, oats, sorghum & wheat.  Almost all cereals are annual crops (ie yielding one harvest per planting) although some strains of rice can be grown as a perennial and an advantages of cereals is the differential in growth rates and temperature tolerance means harvesting schedules can be spread from mid-spring until late summer.  Except for the more recent hybrids, all cereals are variations of natural varieties and the first known domestication occurred early in the Neolithic period (circa 7000–1700 BC).  Although the trend in cultivated area and specific yield tended over centuries to display a gradual rise, it was the “green revolution” (a combination of new varieties of cereals, chemical fertilizers, pest control, mechanization and precise irrigation which began to impact agriculture at scale in the mid twentieth century) which produced the extraordinary spike in global production.  This, coupled with the development of transport & distribution infrastructure (ports and bulk carriers), made possible the increase in the world population, now expected to reach around 10 billion by mid-century before declining.

Serial (pronounced seer-ee-uhl)

(1) Anything published, broadcast etc, in short installments at regular intervals (a novel appearing in successive issues of a magazine (ie serialized); a radio or TV series etc).

(2) In library & publishing jargon, a publication in any medium issued in successive parts bearing numerical or chronological designation and intended to be continued indefinitely.

(3) A work published in installments or successive parts; pertaining to such publication; pertaining to, arranged in, or consisting of a series.

(4) Occurring in a series rather than simultaneously (used widely, serial marriage; serial murderer, serial adulterer etc).

(5) Effecting or producing a series of similar actions.

(6) In IT, of or relating to the apparent or actual performance of data-processing operations one at a time (in the order of occurrence or transmission); of or relating to the transmission or processing of each part of a whole in sequence, as each bit of a byte or each byte of a computer word.

(7) In grammar, of or relating to a grammatical aspect relating to an action that is habitual and ongoing.

(8) In formal logic and logic mathematics (of a relation) connected, transitive, and asymmetric, thereby imposing an order on all the members of the domain.

(9) In engineering & mass-production (as “serial number”), a unique (to a certain product, model etc) character string (which can be numeric or alpha-numeric) which identifies each individual item in the production run.

(10) In music, of, relating to, or composed in serial technique.

(11) In modern art, a movement of the mid-twentieth century avant-garde in which objects or constituent elements were assembled in a systematic process, in accordance with the principles of modularity.

(12) In UK police jargon, a squad of officers equipped with shields and other protective items, used for crowd and riot control.

1823: From the New Latin word seriālis, from the Classical Latin seriēs (series), the construct being serial + -al on the Latin model which was seriēs + -ālis.  It was cognate to the Italian seriale.  The Latin seriēs was from serere (to join together, bind), ultimately from the primitive Indo-European ser- (to bind, put together, to line up).  The -al suffix was from the Middle English -al, from the Latin adjectival suffix -ālis, ((the third-declension two-termination suffix (neuter -āle) used to form adjectives of relationship from nouns or numerals) or the French, Middle French and Old French –el & -al.  It was use to denote the sense "of or pertaining to", an adjectival suffix appended (most often to nouns) originally most frequently to words of Latin origin, but since used variously and also was used to form nouns, especially of verbal action.  The alternative form in English remains -ual (-all being obsolete).  The –alis suffix was from the primitive Indo-European -li-, which later dissimilated into an early version of –āris and there may be some relationship with hel- (to grow); -ālis (neuter -āle) was the third-declension two-termination suffix and was suffixed to (1) nouns or numerals creating adjectives of relationship and (2) adjectives creating adjectives with an intensified meaning.  The suffix -ālis was added (usually, but not exclusively) to a noun or numeral to form an adjective of relationship to that noun. When suffixed to an existing adjective, the effect was to intensify the adjectival meaning, and often to narrow the semantic field.  If the root word ends in -l or -lis, -āris is generally used instead although because of parallel or subsequent evolutions, both have sometimes been applied (eg līneālis & līneāris).  Serial, serializer , serialization serialism & serialist are nouns, serialing, serialize & serialed are verbs, serializable is an adjective and serially is adverb; the noun plural is serials.

The “serial killer” is a staple of the horror film genre.  Lindsay Lohan’s I Know Who Killed Me (2007) was not well received upon release but it has since picked up a cult following.

The adjective serial (arranged or disposed in a rank or row; forming part of a series; coming in regular succession) seems to have developed much in parallel with the French sérial although the influence of one on the other is uncertain.  The word came widely to be used in English by the mid nineteenth century because the popular author Charles Dickens (1812–1870) published his novels in instalments (serialized); sequentially, chapters would appear over time in periodicals and only once the series was complete would a book appear containing the whole work.  The first use of the noun “serial” to mean “story published in successive numbers of a periodical” was in 1845 and that came from the adjective; it was a clipping of “serial novel”.  By 1914 this had been extended to film distribution and the same idea would become a staple of radio and television production, the most profitable for of which was apparently the “mini-series”, a term first used in 1971 although the concept had been in use for some time.  Serial number (indicating position in a series) was first recorded in 1866, originally of papers, packages and such and it was extended to soldiers in 1918.  Surprisingly perhaps, given the long history of the practice, the term, “serial killer” wasn’t used until 1981 although the notion of “serial events” had been used of seemingly sequential or related murders as early as the 1960s.  On that model, serial became a popular modifier (serial rapist, serial adulterer, serial bride, serial monogamist, serial pest, serial polygamy etc)

For those learning English, the existence of the homophones “cereal” & “serial” must be an annoying quirk of the language.  Because cereals are usually an annual crop, it’s reasonable if some assume the two words are related because wheat, barley and such are handled in a “serial” way, planting and harvesting recurrent annual events.  Doubtless students are told this is not the case but there is a (vague) etymological connection in that the Latin serere meant “to join together, to bind” and it was used also to mean “to sow” so there is a connection in agriculture: sowing seeds in fields.  For serial, the connection is structural (linking elements in a sequence, something demonstrated literally in the use in IT and in a more conceptual way in “serial art”) but despite the differences, both words in a way involve the fundamental act of creating order or connection.

Serial art by Swiss painter Richard Paul Lohse (1902–1988): Konkretion I (Concretion I, 1945-1946), oil on pavatex (a wood fibre board made from compressed industrial waste) (left), Zwei gleiche Themen (Two same topics, 1947), colored pencil on paper (centre) and  Konkretion III (1947), oil on pavatex.

In modern art, “serial art” was a movement of the mid-twentieth century avant-garde in which objects or constituent elements were assembled in a systematic process in accordance with the principles of modularity.  It was a concept the legacy of which was to influence (some prefer “infect”) other artistic schools rather than develop as a distinct paradigm but serial art is still practiced and remains a relevant concept in contemporary art.  The idea was of works based on repetition, sequences or variations of a theme, often following a systematic or conceptual approach; the movement was most active during the mid-twentieth century and a notable theme in Minimalism, Donald Judd (1928-1994), Andy Warhol (1928–1987), Sol LeWitt (1928-2007) (there must have been something “serial” about 1928) and Richard Paul Lohse (1902-1988) all pioneers of the approach.  Because the techniques of the serialists were adopted by many, their style became interpolated into many strains of modern art so to now speak of it as something distinctive is difficult except in a historic context.  The embrace by artists of digital tools, algorithms, and AI (Artificial Intelligence) technologies has probably restored a new sort of “purity” to serial art because generative processes are so suited to create series of images, sculptures or digital works that explore themes like pattern, progression, or variation, the traditional themes of chaos, order and perception represented as before.  In a way, serial art was just waiting for lossless duplication and the NFT (Non-fungible token) and more conservative critics still grumble the whole idea is little different to an architect’s blueprint which documents the structural framework without the “skin” which lends the shape its form.  They claim it's the engineering without the art.

Relics of the pre-USB age; there were also 25 pin serial ports.

In IT hardware, “serial” and “parallel” refer to two different methods of transmitting data between devices or components and the distinction lies in how data bits are sent over a connection.  In serial communication, data was transmitted one bit at a time over as little as single channel or wire which in the early days of the industry was inherently slow although in modern implementations (such as USB (Universal Serial Bus) or PCIe (Peripheral Component Interconnect Express)) high speeds are possible.  Given what was needed in the early days, serial technology was attractive because the reduction in wiring reduced cost and complexity, especially over the (relatively) long distances at which serial excelled and with the use of line-drivers, the distances frequently were extended to hundreds of yards.  The trade-off was of course slower speed but these were simpler times.  In parallel communication, data is transmitted multiple bits at a time, each bit traveling simultaneously over its own dedicated channel and this meant it was much faster than serial transmission.  Because more wires were demanded, the cost and complexity increased, as did the potential for interference and corruption but most parallel transmission was over short distances (25 feet (7½ metres) was “long-distance”) and the emergence of “error correcting” protocols made the mode generally reliable.  For most, it was the default method of connecting a printer and for large file sizes the difference in performance was discernible, the machines able to transmit more data in a single clock cycle due to simultaneous bit transmission.  Except for specialized applications or those dealing with legacy hardware (and in industries like small-scale manufacturing where such dedicated machines can be physically isolated from the dangers of the internet, parallel and serial ports and cables continue to render faithful service) parallel technology is effectively obsolete and serial connections are now almost universally handled by the various flavours of USB.

Reaper

Reaper (pronounced ree-per)

(1) A machine for cutting standing grain; reaping machine; a machine used to harvest crops.

(2) One who reaps; a person employed to harvest crops from the fields by reaping; a machine operator who controls a mechanical reaper.

(3) A short form of grim reaper (often capitalized), the personification of death as a man or cloaked skeleton holding a scythe.

(4) The recluse spider (Loxosceles and Sicarius spp).

Pre 1000: From the Middle English reper, repare & repere (a harvester, one who cuts grain with a sickle or other instrument) from the Old English compound rīpere (the agent-noun from the verb reap), the construct being reap (from the Middle English repen, from the Old English rēopan & rēpan, variants of the Old English rīpan (to reap), from the Proto-Germanic rīpaną and related to the West Frisian repe, the German reifsen (to snatch) and the Norwegian ripa (to score, scratch); source was the primitive Indo-European hireyb- (to snatch)) + -er (from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, probably borrowed from Latin –ārius and later reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant was -our), from the Latin -(ā)tor, from the primitive Indo-European –tōr; the suffix was added to verbs to form an agent noun).  The agent noun meaning "a reaper" is from the 1590s whereas the sense of "a machine for cutting grain" dates from 1841 and that of a “machine for reaping and binding field crops" appeared in 1847.  Variations of the spelling including Riper, Ryper & Riper appear in pre-1000 parish records as surnames and the presumption is most would have had some sort of vocational relationship to “reap”; Repere was first noted as a surname in the early fourteenth century.  Reaper is a noun; the noun plural is reapers.

The Grim Reaper as often depicted.

The use as the name of a personification of death dates from 1818 and “grim reaper” was first attested in 1847 although the association of grim and death is document from at least the seventeenth century with actual common use probably much earlier; a Middle English expression for "have recourse to harsh measures" was “to wend the grim tooth” and has been found as early as the 1200s.  The adjective grim was from the Old English grimm (fierce, cruel, savage; severe, dire, painful), from the Proto-Germanic grimma- (source also of the Old Saxon, Old Frisian, Old High German & German grimm (grim, angry, fierce), the Old Norse grimmr (stern, horrible, dire), the Swedish grym (fierce, furious), from the primitive Indo-European ghremno- (angry), thought to be imitative of the sound of rumbling thunder (and may thus be compared with the Greek khremizein (to neigh), the Old Church Slavonic vuzgrimeti (to thunder) and the Russian gremet' (thunder).  Grim by the late twelfth century had lost the worst of the earlier connotations of violence and foreboding, by then understood to impart a sense of "dreary, gloomy".  The verb form in the Old English was grimman (past tense gramm; past participle grummen), while the noun grima (goblin, specter) may also have been a proper name or attribute-name of a god, the source of its appearance as an element in so many place names.

The Grim Reaper: Public health initiative, Australia, 1987.

The Grim Reaper was a 60 second-long television advertisement, run in 1987 as part of a public health campaign to increase awareness of the danger of HIV/AIDS.  It depicted the Grim Reaper of popular imagination in a ten-pin bowling alley, using a seven foot high (2.1 m) bowling ball to knock over men, women and child "pins", each of which represented a victim of the disease.  It was part of what would later be called a multi-media campaign which included radio broadcasts and printed material and certainly provoked a reaction, more sophisticated consumers of messaging thinking it at least banal and perhaps puerile while others found it disturbing and reported it scared their children.  The public response was hardly “hysterical” as has sometimes been claimed although the even then assertive gay community didn’t like that they were explicitly mentioned, fearing scapegoating although, given the publicity which by then had been documenting the track of AIDS for some four years, that horse had already bolted.  It was by the standards of the time confronting and criticism meant the government cancelled broadcasting, three weeks into a run which was intended to be twice the duration yet the public health community was pleased with the results and the programme was praised internationally, the direct Australian approach influencing others.  Some Australian state governments subsequently used even more graphic imagery in public health initiatives around matters such as smoking and road safety but it’s notable that attempts to use similar techniques to promulgate messages during the COVID-19 pandemic were thought a failure.  With various platforms having desensitized most to all but the most horrific sights, the public’s capacity to be shocked may have moved beyond what television advertising agencies can manage.

Blue Öyster Cult (Don't Fear) The Reaper (1976) © Donald Roeser (b 1947).

All our times have come

Here but now they're gone

Seasons don't fear the reaper

Nor do the wind, the sun or the rain, we can be like they are

 

Come on baby, don't fear the reaper

Baby take my hand, don't fear the reaper

We'll be able to fly, don't fear the reaper

Baby I'm your man

 

La, la, la, la, la

La, la, la, la, la

 

Valentine is done

Here but now they're gone

Romeo and Juliet

Are together in eternity, Romeo and Juliet

40,000 men and women everyday, Like Romeo and Juliet

40,000 men and women everyday, Redefine happiness

Another 40,000 coming everyday, We can be like they are

 

Come on baby, don't fear the reaper

Baby take my hand, don't fear the reaper

We'll be able to fly, don't fear the reaper

Baby I'm your man

 

La, la, la, la, la

La, la, la, la, la

 

Love of two is one

Here but now they're gone

Came the last night of sadness

And it was clear she couldn't go on

Then the door was open and the wind appeared

The candles blew then disappeared

The curtains flew then he appeared, saying don't be afraid

 

Come on baby, and she had no fear

And she ran to him, then they started to fly

They looked backward and said goodbye, she had become like they are

She had taken his hand, she had become like they are

Come on baby, don't fear the reaper

Although they’d led a discursive existence since 1967, by the early 1970s, Blue Öyster Cult was in the crowded field of post-psychedelic acts blending quasi-classical motifs, mysticism, neck-snapping riffs and pop panache.  Coming from this milieu, the commercial success in 1976 of the single (Don't Fear) The Reaper was unexpected although more predictable was the controversy triggered by the lyrics being interpreted as advocating suicide.  It’s tempting to read the words that way, the eye drawn to the mention of Shakespeare's star-cross'd lovers, but the musician who wrote the lyrics claimed the song was about mortality and the inevitability of death, not its hastening and that in Romeo and Juliet he saw a couple with a faith in eternal love, not icons of a death cult.  The forty-thousand souls mentioned being taken by the reaper is way too high to refer to the daily suicide toll and actually references the total daily death take, the “forty thousand” being a bit of artistic license because the real number (125-135,000 at the time the lyrics were penned) would have too many syllables for the rhythm of the music.

Coming & going, dressed for the occasion.  Lindsay Lohan in Grim Reaper mode fulfilling a court-mandated community service order at LA County Morgue, October, 2011.

Terrible

Terrible (pronounced ter-uh-buhl)

(1) Distressing; severe.

(2) Extremely bad; horrible; of poor quality.

(3) Exciting terror, awe, or great fear; dreadful; awful.

(4) Formidably great; awesome.

1400–1450: From the late Middle English, from the Latin terribilis, from terrēre (to terrify), the construct being terr(ēre) (to frighten) + -ibilis (-ible).  The suffix –ible was from the Middle English, from the Old French, from the Latin –ibilis (the alternative forms were –bilis & -abilis.  An adjectival suffix, now usually in a passive sense, it was used to form adjectives meaning "able to be", "relevant or suitable to, in accordance with", or expressing capacity or worthiness in a passive sense.  The suffix -able is used in the same sense and is pronounced the same and –ible is generally not productive in English, most words ending in -ible being those borrowed from Latin, or Old & Middle French; -able much more productive although examples like collectible do exist.  

Because the earlier meanings (formidable; great; awesome) have faded from use, the synonyms now deployed tend to be: cruel, atrocious, ghastly, horrendous, disturbing, dreadful, horrid, abhorrent, unpleasant, unfortunate, hideous, disastrous, dire, harrowing, awful, gruesome, extreme, dangerous, appalling, frightful, horrible, horrifying & terrifying.  Terrible is a noun & adverb, terribly is an adverb, terribility & terribleness are nouns and terribler & terriblest are adjectives; use of the noun plurals is rare, the same applying to the alternative comparative (terribler) & supurlative (terriblest), "more terrible & "most terrible" both more elegant and preferred.  The adjective unterrible apparently exists. 

Technically, terrible can also mean “causing terror” but the related word terrifying is much more commonly used to mean this and now, to use “terrible” in this sense would probably be thought an error.  Terrible also once was a somewhat formal way of describing something as having great power or being worthy of awe, a sense present when used to describe supernatural power and, especially in Christianity, God and all his works.  In the Bible, the number varies according to the translation (some modern editions omit completely describing God as in any way “terrible” because of the confusion it’s likely to cause but in older translations, the word in its various senses appears dozens of times, a few examples from the 1611 King James Version (KJV) being:

Thou shalt not be affrighted at them: for the LORD thy God [is] among you, a mighty God and terrible. Deuteronomy 7:21

And he said, Behold, I make a covenant: before all thy people I will do marvels, such as have not been done in all the earth, nor in any nation: and all the people among which thou [art] shall see the work of the LORD: for it [is] a terrible thing that I will do with thee. Exodus 34:10

And when we departed from Horeb, we went through all that great and terrible wilderness, which ye saw by the way of the mountain of the Amorites, as the Lord our God commanded us; and we came to Kadeshbarnea. Deuteronomy 1:19

And he said, Behold, I make a covenant: before all thy people I will do marvels, such as have not been done in all the earth, nor in any nation: and all the people among which thou art shall see the work of the LORD: for it [is] a terrible thing that I will do with thee. Exodus 34:10

And said, I beseech thee, O LORD God of heaven, the great and terrible God, that keepeth covenant and mercy for them that love him and observe his commandments. Nehemiah 1:5

And in thy majesty ride prosperously because of truth and meekness [and] righteousness; and thy right hand shall teach thee terrible things. Psalms 45:4

And I will punish the world for [their] evil, and the wicked for their iniquity; and I will cause the arrogancy of the proud to cease, and will lay low the haughtiness of the terrible. Isaiah 13:11

For the terrible one is brought to nought, and the scorner is consumed, and all that watch for iniquity are cut off. Isaiah 29:20

Our skin was black like an oven because of the terrible famine. Lamentations 5:10

After this I saw in the night visions, and behold a fourth beast, dreadful and terrible, and strong exceedingly; and it had great iron teeth: it devoured and brake in pieces, and stamped the residue with the feet of it: and it was diverse from all the beasts that were before it; and it had ten horns. Daniel 7:7

He and his people with him, the terrible of the nations, shall be brought to destroy the land: and they shall draw their swords against Egypt, and fill the land with the slain. Ezekiel 30:11

When speaking of the awesome, formidable power of God, the Hebrew word translated as "terrible" in the KJV reflects English usage that was common and well-understood in the seventeenth century.  The type of "terror" associated with the word at that time was a reverent fear of God, which even today, theologians would suggest is the appropriate response to a Being immeasurably greater and more powerful than any living thing, Jesus telling his followers to have this kind of fear of God (Luke 12:4-5).  One can understand why some modern translations express the Hebrew word as "awesome" or "to be held in reverence", the dominant modern meaning of "terrible" as "extremely bad", "appalling" or "atrocious" not helpful in spreading the Christian message.  Interestingly, some translations use "dreadful" instead of and as well as "terrible", the meaning shift there a similar linguistic phenomenon.

Terrible in the seventeen century Biblical sense also appears in the first verse of the nineteenth century Battle Hymn of the Republic, written as a patriotic anti-slavery song during the American Civil War.

Mine eyes have seen the glory of the coming of the Lord

He is trapling out the vintage where the grapes of wrath are stored

He have loosed the faiteful lightening of his terrible swift sword

His truth is marching on

 

Glory, Glory halleluhja

Glory, Glory halleluhja

Glory, Glory halleluhja

His truth is marching on

Battle Hymn of the Republic, lyrics (1861) by Julia Ward Howe (1819-1910), music (1856) by William Steffe (1830-1890).

Although in the hymn there are allusions to several passages of scripture, the most vivid imagery is that which recalls the wrathful God of terrible power in Revelation 14:14–19.

14 And I looked, and behold a white cloud, and upon the cloud one sat like unto the Son of man, having on his head a golden crown, and in his hand a sharp sickle.

15 And another angel came out of the temple, crying with a loud voice to him that sat on the cloud, Thrust in thy sickle, and reap: for the time is come for thee to reap; for the harvest of the earth is ripe.

16 And he that sat on the cloud thrust in his sickle on the earth; and the earth was reaped.

17 And another angel came out of the temple which is in heaven, he also having a sharp sickle.

18 And another angel came out from the altar, which had power over fire; and cried with a loud cry to him that had the sharp sickle, saying, Thrust in thy sharp sickle, and gather the clusters of the vine of the earth; for her grapes are fully ripe.

19 And the angel thrust in his sickle into the earth, and gathered the vine of the earth, and cast it into the great winepress of the wrath of God.

20 And the winepress was trodden without the city, and blood came out of the winepress, even unto the horse bridles, by the space of a thousand and six hundred furlongs.

Ivan the Terrible (Ivan IV Vasilyevich, 1530–1584), Tsar of Russia 1547-1584), oil on canvas (1897) by Viktor Vasnetsov (1848–1926).

Russia over the centuries has been ruled by some difficult souls, tsars and tsarinas both but only one is remembered in history as "the terrible" although, in his lifetime he was referred to also as "Ivan the Fearsome" & "Ivan the Formidable" so there appears little doubt about his character.  His rule of Russia seems to have begun rather well, a period of liberal reform and improvement by the standards of the age but, what with one thing and another, some personality disorders emerged and they didn't improve with age, his reign associated with repression, torture and gruesome forms of execution.  Some of the stories are doubtless apocryphal but there's enough documentary evidence to confirm Ivan deserved to be called terrible.  One of his noted contributions to public administration in Russia was the creation of a secret police called the Oprichnina which he used as an instrument of terror although, he came later to suspect them of disloyalty, dissolving the operation and executing many of its members.  Later Russian and Soviet leaders would however be impressed with the achievements of the Oprichnina and there were many revivals, most famously the various formations of Soviet and post-Soviet times (Cheka, GPU, OGPU, NKGB, NKVD, MGB, KGB, SMERSH & FSB).  In 1584, Ivan the Terrible suffered a massive stroke while playing chess with one of his few friends, dying hours later at the age of fifty-three.  The kingdom passed to his middle son, the feeble-minded Feodor (1557-1598) who died childless, after which Russia descended into lawlessness and anarchy, a period which came to be known as the "Time of Troubles" (1598-1613), an era which ended only when the rule of the Romanovs was established, the dynasty lasting until the revolutions of 1917.

Phrases like "not terrible" belong to the class known as "damning with faint praise".

Bespoke

Bespoke (pronounced bih-spohk)

(1) A simple past tense and past participle of bespeak.

(2) Of clothes, those made to individual order and custom custom-made.

(3) The making or selling such clothes.

(4) By extension, anything (physical or weightless) produced to a customer’s specifications, especially if a one-off creation.

(5) To ask for in advance; to reserve (obsolete).

(6) As bespeak & bespoken, betrothed or engaged to be married; spoken for (obsolete except in the literary novel).

1745–1755: The adjective was a coining in Modern English in the sense of “custom-made goods; made to order (as distinguished from ready-made; an item on the shelf of a shop)” from the late sixteenth century Middle English bespoken, the past-participle adjective from bespeak (in its sense of “arrange beforehand”), a prefixed variant of speak.  The verb bespeak was from the Middle English bispeken, from the Old English besprecan (speak about, speak against, complain), the construct being be- + sprecan (to speak).  A common Germanic compound (the cognates including the Old Saxon bisprecan, the Dutch bespreken, the Old High German bisprehhan and the German besprechen) originally meaning “to call out”, it evolved by the 1580s to enjoy a wide range of meaning in English, including “speak up”, “oppose”, “request”, “discuss”, “arrange” and “order (goods)”.  By virtue of the different application of the be- prefix, the connections between the various meanings of bespoke, bespeaking; bespeak etc are thought at least very loose and it’s clear some arose independently of others.  Bespoke long was used usually of tailored suits and other clothing but in recent decades it has been applied (with some enthusiasm) to products as diverse as a one-off Rolls-Royce and customized hacking software offered on the dark web.  Bespeak was from the Middle English bespeken & bispeken, from the Old English bespecan & besprecan (to speak about, speak against, accuse of, claim at law, complain), from the Proto-Germanic bisprekaną (to discuss, blame), the construct being be- +‎ speak.  It was cognate with the Scots bespeke (to beseech, speak or negotiate with), the West Frisian besprekke (to discuss), the Dutch bespreken (to discuss, review; debate) and the German besprechen (to discuss, review, talk about).  Bespoke & bespoken are verbs & adjectives, bespeak is a noun & verb, bespeaking is a verb, bespeaker & bespokeness are nouns and bespokely is an adverb; the noun plural use is rare.

Wartime bespoke tailoring, Henry Poole & Co (1806), Savile Row, London, 1944.

The be- prefix was from the Middle English be- & bi-, from the Old English be-, from the Proto-Germanic bi- (be-), from the Proto-Germanic bi (near, by), ultimately from the primitive Indo-European hepi (at, near) and cognate with the Saterland Frisian, West Frisian, Dutch, German Low German, German and Swedish be-.  Although there remain in English many relics of its use, (becalmed, beseige et al), the be- prefix has long ceased to be productive.  It was used to modify other forms to create various meanings: (1) By, near, next to, around, close to (beset), (2) Around; about (belay, bestir, belive), (3) About, regarding, concerning, over (bemoan, bewail), (4) On, upon, at, to, in contact with something (behold, befall), (5) Off, away, over, across (behead, besleeve), (6) As an intensifier (ie thoroughly, excessively; completely; utterly) (belabour, bedazzle), (7) All around; about; abundantly; all over (belick, bescatter), (8) Forming verbs derived from nouns or adjectives, usually with the sense of "to make, become, or cause to be" (becalm, befriend) and (9) Used to intensify adjectives meaning "adorned with something", often those with the suffix -ed (now mostly archaic or informal) (besequined, befeathered, beclawed, beloved).

Artist Louise Duggan (b 1974) delivers the bespoke "mixed-media work" Blue Lips, commissioned by Lindsay Lohan to hang in her villa in Dubai, June 2023.

Bespoke is an uncontroversial word if applied in the way which for centuries mostly it was: clothing custom made for an individual, based on measurements taken prior to the a tailor or seamstress cutting the fabric.  It was used also of the shoes made by cobblers, the gloves sewed by glove makers, the hats created by milliners and so on, all of whom had their own methods of maintaining their customer records, those dealing with body parts which usually didn’t much change able to use the same dimensions for decades; other had to re-measure with some frequency.  In the case of cobblers, for regular customers they would keep a pair of wooden lasts which emulated exactly the shape of the feet.  The synonyms for bespoke in this context included “custom-made”, “customized”, “purpose-built”, “tailored” & “tailor-made” and the traditional antonyms were “off the peg”, “off the rack” & “off the shelf”.  In recent years, “bespoke” has become a marketing term and stuff which is far from unique and in many cases produced in great volume (perhaps with some minor change) is now often labeled “bespoke” and “bespoke solution” is a favorite in the software business, whether it be something to manage a hairdressing salon or code on the dark web supplied by Russian hackers to the DPRK (North Korean) military for enable theft or covert operations.

Because of the way Google harvest it data, their ngrams tracking trends in the use of words aren’t wholly accurate and even the degree of accuracy can’t be assessed but the trend lines are thought vaguely indicative and it appears bespoke came increasingly to be used in the late twentieth century and the rate of increase has shown no signs of subsiding.  That may to some extent be accounted for by Google’s methods or the publications over-represented in its catchment but, impressionistically it seems plausible and in the US, scholars by the 1990s were noting the way bespoke was tending to supplant the traditional American “custom”, apparently because the word had appeal because it conveyed “wealth and prestige” whereas custom had been devalued by its association with things like hotted-up motor cycles.  If bespoke is uncontroversial when used of anything genuinely one-off, the appropriateness when used of anything else needs to be assessed on a case by case basis and because it’s so popular in the business of expensive cars, they provide a good case-studies.

The Maserati 5000 GT (1959-1966)

1959 Maserati 5000 GT (Shah of Iran) by Touring.

Before the Ayatollahs ran Iran, it was ruled by the Shah (king) and he got a lot more fun out of life than his clerical successors, noted especially as a connoisseur and of fast, exotic and expensive cars, his collection including multiple models from Lamborghini, Mercedes-Benz, Rolls-Royce, Ferrari and Maserati among others.  In 1958 he’d driven Maserati’s then popular 3500 GT but thought it lacking in power and, because hundreds a year were sold to the (rich) public, it seemed "a bit common".  Accordingly, after receiving material advertising both the 3500 GT and the remaining 450S race cars the factory wished to dispose of after withdrawing from racing, the shah decided he wanted a combination of the two, the race engine in the road car.  To have it created, essentially he sent Maserati a blank cheque and asked them to call when it was ready.  Delivered to the shah (Mohammad Reza Pahlavi, 1919-1980) in 1959, it was almost a secret but when a second, commissioned by a South African customer,  was displayed at the 1959 Turin Motor show, it generated such interest that Maserati were soon fielding enquiries from rich commoners wanting what royalty had.  Priced stratospherically however, there weren’t enough rich folk on the planet to make it a viable option for their production lines so it entered the catalogue as a bespoke item, Maserati modifying the 3500 chassis which, frankly had been a bit over-taxed by the big V8 and tweaking the engine still further, slightly increasing the capacity but in a way that rendered it more docile, yet still a howler when stirred.  The chassis appeared in the list and buyers could choose their own coachbuilder and eventually eight produced their own interpretations, the most numerous being by Carrozzeria Allemano which, over the years, finished twenty-two although at the time the Allemano were thought the most alluring.

1959 Maserati 5000 GT by Allemano.

So the conclusion must be that the Shah’s original was and remains a true bespoke creation because exclusively it was built for him.  Of the other 33 5000 GTs built, although they were all variations on the theme and mechanically similar, no two were exactly alike and each was built in response to an order from an individual customer, some of whom specified certain touches.  Given that, all probably deserve to be regarded as bespoke though pedants might insist the chassis was a regular production item and only the coachwork was truly bespoke.  Few seem to agree and on the rare occasions the things are offered for sale, they’re almost always described as “bespoke”.

The Rolls-Royce Phantom IV (1950-1956)

1950 Rolls-Royce Phantom IV pick-up truck.  "Luxury" pick-up trucks have been produced in volume since the 1970s and the first existed in the pre-war years but the Phantom IV was the most exclusive of them all.

Among collectors, the Phantom IV has quite an allure because it was one of the few cars produced in any number never offered for sale to the general public, only 18 produced and available only to head of state or crowned royalty (a distinction important in royal circles which has its own pecking order).  In a manner similar to the Maserati 5000 GT, no two Phantom IVs were exactly the same although all were built on substantially the same underpinnings (the only Rolls-Royce passenger cars ever to use a straight-8).  Thus all should be thought “bespoke” in the context of the industry but there was one version which was radically different, a Phantom IV pick-up truck (a style in some places called a "ute", a back-formation from "utility" which in linguistics is described as a "complex clipping" or "elliptical abbreviation" although the punchier "short for" is the more common use) which was used by the factory to ferry bits and pieces from place to place.  So it’s a genuine one off pick-up truck but because it was just a functional workhorse which existed only because an unsalable prototype chassis was available, it’s never been regarded as something bespoke, the long ago scrapped “shop ute” just a historic curiosity.  The other 17 Phantom IVs used the body-styles more expected of the Phantom lineage (limousines, cabriolets and landaulets) and three were built for Generalissimo Francisco Franco (1892-1975; Caudillo of Spain 1939-1975) but even in the less litigious 1950s there was a awareness words needed carefully to be chosen.  When ordering one of the two built as formal limousines (in five and seven-seat configurations), the Spanish embassy in London specified "bullet-proof bodywork" but the coach-builder (H. J. Mulliner), aware there were now some very big bullets, replied what they could do was fit "armoured panels" but a guarantee of "bullet proof" wasn't possible.  A practical military man, the Generalissimo must have accepted that because all were built and remain in the possession of the Spanish Army, still sometimes use for state occasions.    

The Rolls-Royce Phantom V (1959-1968) & Phantom VI (1968-1990)

1973 Rolls-Royce Phantom VI "All Weather Cabriolet" (four-door convertible) by Fura (right) and 1971 Rolls-Royce Phantom VI DHC by Fura (left). 

By comparison with the exclusive Phantom IV, its two successors were almost mass-produced, 1206 (832 of the Phantom V & 374 of the VI respectively) crafted over three decades.  In this case, it’s thought only some should be thought truly bespoke because although there were a few variations in the coachwork, many were substantially the same and its only the ones with the greatest differences (notably the odd sedanca de ville, the handful of landaulets or the other “state” cars with their elevated rooflines) which are usually thought “bespoke” and even they weren’t unique things like the Phantom IVs.  Two of the Phantom VI chassis however were indisputably bespoke.  By the 1970s, it was only the big Phantom VI which Rolls-Royce still built on the separate chassis which made bespoke bodies easier to mount so anyone wanting a really exclusive Rolls-Royce had no other choice.  Accordingly the Italian house Fura fashioned two very big bespoke creations, one a drophead coupé (DHC, which by then the rest of the world was calling a cabriolet or convertible), the other described as an "all weather cabriolet" (which eventually was re-fashioned as a four-door convertible).  Both were on a scale not seen since seen since the 1930s and nothing like them has since been attempted.  Because the limousine chassis was designed for something long, narrow and tall, both the Fura cars were fundamentally ill-proportioned although skilled photographers have managed to create pleasing images by selecting just the right angle.  Flawed though they were, at the time there was probably nothing on four wheels which so conveyed disposable wealth which, in many cases, is of course often the essence of the bespoke.  It was a good thing they made such an impression because presumably it dissuaded people from looking too closely: underneath the engineering was pure Phantom VI which meant drum brakes and a rear axle suspended on semi-elliptic (cart) springs so it was (refined) Ford Model T (1908) technology under all that leather and burl walnut veneer.  Such was the attention to detail those cart spring were encased in Wefco leather gaiters so those enjoying the seclusion of the rear compartment (trimmed usually in West of England cloth rather than the leather on which the chauffeur sat) weren't disturbed by any tiresome squeaks.   

1956 Mercedes-Benz 300c (W186 "Adenauer") Estate Car by Binz.

Consumption can be conspicuous yet still subtle, achieved usually if a bespoke creation is both expensive and functional.  The Mercedes-Benz 300 saloons and four-door cabriolet of (W186 & W189 1951-1962) were large, stately and beautifully built and the platform attracted coachbuilders who saw the potential for estate cars (station wagons), ambulances and (especially) hearses.  Many were built and the hearses in particular typically aren't regarded as bespoke because they were essentially catalogue items with little variation between editions.  Some of the rare estates ("shooting brakes" to the English, "station wagons" in North America and for a time, "station sedans" if built by Holden, General Motors' (GM) Australian outpost) however have always been treated as bespoke even though from an engineering point of view the changes were minimal and the styling hardly imaginative.  The reason for the association seems to be that they “dripped money”; even to the uninformed they were obviously expensive so it seems possible there is the matter of "bespoke by acclamation".  Interestingly, in 1960 the factory did their own one-off 300 Estate, this one a “telemetry car” built in the era before sensors to travel at high speed on a test track, recording data from the vehicle ahead, the two tethered with long cables.  Styled in an almost avant-garde manner with rear glass which curved into the roof, the factory regarded it rather as Rolls-Royce treated their pick-up: a mule to be used until something better came along.  They never called it bespoke.

1965 Aston Martin DB5 Shooting Brake.

Sir David Brown (1904–1993) liked his DB5 coupé (which the factory in their English way called a "saloon") but found it too cramped comfortably to accommodate his polo gear, shotguns and hunting dogs.  Now, that would be called a “first world problem” but because Brown then owned Aston Martin, he simply wrote out a work order and had his craftsmen create a bespoke shooting brake (an English term which means “station wagon owned by someone rich”) which they did by hand-forming the aluminum with hammers over wooden formers.  It delighted him and solved his problem but created another because good customers stared writing him letters asking for their own.  Unfortunately, Aston Martin was at full capacity building DB5s and developing the up-coming DB6 and V8 models.  With a bulging order book, the resources didn’t exist to add another niche model so the project was out-sourced to the coachbuilder Radford which built a further 11 (and subsequently another 6 based on the DB6).  That Brown’s original car was bespoke seems clear but the others are a gray area because the coachbuilder’s records and assessments of the cars indicate they were identical in all but the color of the paint and leather trim.  There may have been only 12 DB5s and 6 DB6s but by conventional definition, they came of a production line, albeit a leisurely and exclusive one so can all but the original be thought truly bespoke?  According to the Aston Martin website, they are bespoke so that’s presumably the last word on the subject.

The Smart Fortwo (top left) and some bespoke imaginings.

The happy combination of the internet, Photoshop and a large cohort of gullible viewers some years ago encouraged the creation of a meme purporting to be a survey of the bespoke carbon fibre bodies available to be bolted to the diminutive Smart Fortwo (C451; 2007-2015).  Even a cursory look at the scale of the humans included in some of the photos should have been enough for people to work out this was fake news but the factory is said to have received “some” enquiries asking where the bespoke bodies could be bought.

There is even bespoke Nutella.  In 2014, while appearing on-stage in a London production of David Mamet's (b 1947) Speed-the Plow (1988), Lindsay Lohan stayed at the Mandarin Oriental hotel which supplied her with a personalized jar of the nutty treat.