Sabotage

Sabotage (pronounced sab-uh-tahzh (U) or sab-oh-tahzh (non-U))

(1) Any underhand interference with production, work etc, in a plant, factory etc, as by enemy agents during wartime or by employees during a trade dispute; any similar action or behavior.

(2) In military use, an act or acts with intent to injure, interfere with, or obstruct the national defense of a country by willfully injuring or destroying, or attempting to injure or destroy, any national defense or war materiel, premises, or utilities, to include human and natural resources.

(3) Any undermining of a cause.

(4) To injure or attack by sabotage.

1907: From the French sabotage from saboter (to botch; to spoil through clumsiness (originally, to strike, shake up, harry and literally “to clatter in sabots (clog-like wooden soled shoes)”).

The noun sabotage is said to have been absorbed by English in 1907, having been used as a French borrowing since at least 1903.  The sense of the French usage was “malicious damaging or destruction of an employer's property by workmen", a development from the original idea of mere deliberate bungling and inefficiency as a form of ad-hoc industrial action.  Contemporary commentators in England noted "malicious mischief" was likely the “nearest explicit definition” of sabotage before point out “this new force in industry and morals” was definitely something associated with the continent.  As the meaning quickly shifted from mere lethargy in the means to physically damaging the tools of production, the story began to circulate that the origin of the word was related to instances of disgruntled strikers (something the English were apt to ascribe as habitual to French labour) tactic of throwing their sabots (clog-like wooden-soled shoes) into machinery.  There is no evidence this ever happened although it was such a vivid image that the tale spread widely and even enjoyed some currency as actual etymology but it was fake news.  Instead it was in the tradition of the French use in a variety of "bungling" senses including the poor delivery of a speech or a poorly played piece of music, the idea of a job botched or a discordant sound, like the clatter of many sabots on as a group walked on a hardwood floor.  The noun savate (a French method of fighting with the feet) from French savate (literally "a kind of shoe") is attested from 1862 and although linked to footwear, is unrelated to sabotage.

Prepared for sabotage: Lindsay Lohan in Gucci Black Patent Leather Hysteria Platform Clogs with wooden soles, Los Angeles, 2009.  The car is a 2009 (fifth generation) Maserati Quattroporte leased by her father.

What sabotage was depended also from where it was viewed.  In industry it was thought to be a substitute for striking in which the workers stayed in his place but proceeded to do his work slowly and badly, the aim being ultimately to displease his employer's customers and cause loss to his employer.  To the still embryonic unions seeking to organize labour, it was a reciprocal act of industrial democracy, going slow about the means of production and distribution in response to organized capital going slow in the matter of wages.  The extension by the military to describe the damage inflicted (especially clandestinely) to disrupt in some way the economy by damaging military or civilian infrastructure emerged during World War I (1914-1918).  The verb sabotage (to ruin or disable deliberately and maliciously) dates from 1912 and the noun saboteur (one who commits sabotage) was also first noted in the same year (although it had been used in English since 1909 as a French word); it was from the French agent noun from saboter and the feminine form was saboteuse.

The word exists in many European languages including Catalan (sabotatge), Czech (sabotáž), Danish (sabotage), Dutch (sabotage), Galician (sabotaxe), German (Sabotage), Hungarian (szabotázs), Italian (sabotaggio), Polish (sabotaż), Portuguese (sabotagem), Russian (сабота́ж) (sabotáž), Spanish (sabotaje), Swedish (sabotage) & Turkish (sabotaj).  Sabotage is so specific that it has no direct single-word synonym although, depending on context, related words include destruction, disruption, subversion, treachery, treason, vandalism, cripple, destroy, disrupt, hamper, hinder, obstruct, subvert, torpedo, undermine, vandalize, wreck, demolition, impairment, injury & disable.  Sabotage is a noun & verb, sabotaged is a verb & adjective, saboteur is a noun, sabotaging is a verb and sabotagable is an adjectival conjecture; some sources maintain there is no plural of sabotage and the correct form is “acts of sabotage” while others list the third-person singular simple present indicative form as sabotages.

Franz von Papen.

Although his activities as German Military Attaché for Washington DC during 1914-1915 would be overshadowed by his later adventures, Franz von Papen’s (1879–1969) inept attempts at sabotaging the Allied war effort would help introduce the word to the military vocabulary.  He attempted to disrupt the supply of arms to the British, even setting up a munitions factory with the intension of buying up scare commodities to deny their use by the Allies, only to find the enemy had contracted ample quantities so his expensive activities had no appreciable effect on the shipments.  Then his closest aide, after falling asleep on a train, left behind a briefcase full of letters compromising Papen for his activities on behalf of the central powers.  Within days, a New York newspaper published details of Papen’s amateurish cloak & dagger operations including his attempt to induce workers of Austrian & German descent employed in plants engaged in war production for the Allies to slow down their output or damage the goods.  Also in the briefcase were copies of letters he sent revealing shipping movements.

Even this wasn’t enough for the US to expel him so he expanded his operations, setting up a spy network to conduct a sabotage and bombing campaign against businesses in New York owned by citizens from the Allied nations.  That absorbed much money for little benefit but, undeterred, he became involved with Indian nationalists living in the US, arranging with them for arms to be shipped to India where he hoped a revolt against the Raj might be fermented, a strategy he pursued also with the Irish nationalists.  Thinking big, he planned an invasion of Canada and tried to enlist Mexico as an ally of the Central Powers in the event of the US entering the war with the promise California and Arizona would be returned.  More practically, early in 1915 he hired agents to blow up the Vanceboro international rail bridge which linked the US and Canada between New Brunswick and Maine.  That wasn’t a success but of greater impact was that Papen had departed from the usual practices of espionage by paying the bombers by cheque.  It was only his diplomatic immunity which protected him from arrest but British intelligence had been monitoring his activities and provided a file to the US State Department which in December 1915 declared him persona non grata and expelled him.  Upon his arrival in Berlin, he was awarded the Iron Cross.

Hopelessly ineffective though his efforts had proved, by the time Papen left the US, the words sabotage and saboteur had come into common use including in warning posters and other propaganda.  Papen went on greater things, serving briefly as chancellor and even Hitler’s deputy, quite an illustrious career for one described as “uniquely, taken seriously by neither his opponents nor his supporters”.  When one of the Weimar Republic's many scheming king-makers suggested Papen as chancellor, others thought the noting absurd, pointing out: "Papen has no head for politics."  The response was: "He doesn't need a head, his job is to be a hat".  Despite his known limitations, he proved one of the Third Reich’s great survivors, escaping purges and assassination and, despite being held in contempt by Hitler, served the regime to the end.  Even its coda he survived, being one of the few defendants at the main Nuremberg trial (1945-1946) to be acquitted (to be fair he was one of the few Nazis with the odd redeeming feature and his sins were those of cynical opportunism rather than evil intent) although the German courts did briefly imprison him, albeit under rather pleasant conditions.

The Simple Sabotage Field Manual (SSFM) was published in 1944 by the US Office of Strategic Services (OSS), the predecessor of the Central Intelligence Agency (CIA).  Its original purpose was as a resource for OSS field agents to use in motivating or recruiting potential foreign saboteurs and permission was granted permission to print and disseminate portions of the document as needed.  The idea was to provide tools and instructions so just about any member of society could inflict some degree of damage of a society and its economy, the rationale being that of a “death of a thousand cuts”.  In contrast, the more dramatic and violent acts of sabotage (high-risk activities like killings or blowing stuff up) were only ever practiced by a handful of citizens.  The SSFM was aimed at US sympathizers keen to disrupt war efforts against the allies during World War II (1939-1945) in ways that were barely detectable but, in cumulative effect, measurable and thus contains instructions for destabilizing or reducing progress and productivity by non-violent means. The booklet is separated into headings that correspond to specific audiences, including: Managers and Supervisors, Employees, Organizations and Conferences, Communications, Transportation (Railways, Automotive, and Water), General Devices for Lowering Morale and Creating Confusion & Electric Power.  The simplicity of approach was later adopted by the CIA when it distributed its Book of Dirty Tricks.

Of great amusement to students (amateur and professional) of corporate organizational behavior was that a number of the tactics the SSFM lists as being disruptive and tending to reduce efficiency are exactly those familiar to anyone working in a modern Western corporation.

Middle Management

(1) Insist on doing everything through “channels.” Never permit short-cuts to be taken in order to expedite decisions.

(2) Make “speeches.” Talk as frequently as possible and at great length. Illustrate your “points” by long anecdotes and accounts of personal experiences.

(3) When possible, refer all matters to committees, for “further study and consideration.” Attempt to make the committee as large as possible — never less than five.

(4) Bring up irrelevant issues as frequently as possible.

(5) Haggle over precise wordings of communications, minutes, resolutions.

(6) Refer back to matters decided upon at the last meeting and attempt to re-open the question of the advisability of that decision.

(7) Advocate “caution.” Be “reasonable” and urge your fellow-conferees to be “reasonable” and avoid haste which might result in embarrassments or difficulties later on.

Senior Management

(8) In making work assignments, always sign out the unimportant jobs first. See that important jobs are assigned to inefficient workers.

(9) Insist on perfect work in relatively unimportant products; send back for refinishing those which have the least flaw.

(10) To lower morale and with it, production, be pleasant to inefficient workers; give them undeserved promotions.

(11) Hold conferences when there is more critical work to be done.

(12) Multiply the procedures and clearances involved in issuing instructions, pay checks, and so on. See that three people have to approve everything where one would do.

Employees

(13) Work slowly.

(14) Contrive as many interruptions to your work as you can.

(15) Do your work poorly and blame it on bad tools, machinery, or equipment. Complain that these things are preventing you from doing your job right.

(16) Never pass on your skill and experience to a new or less skillful worker.

Sabot & Clog

Sabot (pronounced sab-oh or sa-boh (French)

(1) A shoe made of a single block of wood hollowed out, worn especially by farmers and workers in the Netherlands, France, Belgium etc.

(2) A shoe with a thick wooden sole and sides and a top of coarse leather.

(3) In military ordinance, a wooden or metal disk formerly attached to a projectile in a muzzle-loading cannon.

(4) In firearm design, a lightweight sleeve in which a sub-caliber round is enclosed in order to make it fit the rifling of a firearm; after firing the sabot drops away.

(5) In nautical use, a small sailing boat with a shortened bow (Australia).

1600–1610: From the French sabot, from the Old French çabot, a blend of savate (old shoe), of uncertain origin and influenced by bot (boot).  The mysterious French savate (old shoe), despite much research by etymologists, remains of unknown origin.  It may be from the Tatar чабата (çabata) (overshoes), ultimately either from the Ottoman Turkish چاپوت‎ (çaput or çapıt) (patchwork, tatters), or from the Ottoman Turkish چاپمق‎ (çapmak) (to slap on), or of Iranian origin, cognate with the modern Persian چپت‎ (čapat) (a kind of traditional leather shoe).  It was akin to the Old Provençal sabata, the Italian ciabatta (old shoe), the Spanish zapato, the Norman chavette and the Portuguese sapato.  The plural is sabots.

Young women in clogs, smoking cigarettes.

Sabot is the ultimate source of sabotage & saboteur.  English picked up sabotage from the French saboter (deliberately to damage, wreck or botch), used originally to refer to the tactic used in industrial disputes by workers wearing the wooden shoes called sabots who disrupted production in various ways.  The persistent myth is that the origin of the term lies in the practice of workers throwing the wooden sabots into factory machinery to interrupt production but the tale appears apocryphal, one account even suggesting sabot-clad workers were simply considered less productive than others who had switched to leather shoes, roughly equating the term sabotage with inefficiency.

Vintage Dutch sabots.

The words saboter and saboteur appear first to have appeared in French dictionaries in 1808 (Dictionnaire du Bas-Langage ou manières de parler usitées parmi le peuple of d'Hautel) suggesting there must have been some use of the words in printed materials some time prior to then.  The literal definition provided was “to make noise with sabots” and “bungle, jostle, hustle, haste” but with no suggestion of the shoes being used in the “spanner in the works” sense suggested by the myth.  Sabotage would not appear in dictionaries for some decades, noted first in the Dictionnaire de la langue française of Émile Littré (1801-1881) published between 1873-1874 and curiously, it’s defined as referencing that specialty of cobbling “the making of sabots; sabot maker”.  It wouldn’t be until 1897 that the use to describe malicious damage in pursuit of industrial or political aims was recorded, anarcho-syndicalist Émile Pouget (1860-1931) publishing Action de saboter un travail (Sabotaging or bungling at work) in Le Père Peinard, which he helpfully expanded in 1911 in the user manual Le Sabotage.  In neither work however was there mention of using sabots as a means of damaging or halting machinery, the sense was always of things done by those wearing sabots, the word a synecdoche for the industrial proletariat.  Contemporary English-language sources confirm this.  In its January 1907 edition, The Liberty Review noted sabotage was a means of “scamping work… a device… adopted by certain French workpeople as a substitute for striking.  The workman, in other words, purposes to remain on and to do his work badly, so as to annoy his employer's customers and cause loss to his employer”.

Clog promotion, H&M catalog 2011.

Clog (pronounced klog or klawg)

(1) To hinder or obstruct with thick or sticky matter; choke up.

(2) To crowd excessively, especially so that movement is impeded; overfill.

(3) To encumber; hamper; hinder.

(4) To become clogged, encumbered, or choked up.

(5) A shoe or sandal with a thick sole of wood, cork, rubber, or the like; a similar but lighter shoe worn in the clog dance.

(6) A heavy block, as of wood, fastened to a person or beast to impede movement.

(7) As clog dance, a type of dance which specifically demands the wearing of clogs.

(8) In British dialectal use, a thick piece of wood (now rare).

(9) In the slang of association football (soccer), to foul an opponent (now rare).

(10) A heavy block, especially of wood, fastened to the leg of a person or animal to impede motion.

(11) To use a mobile phone to take a photograph of (someone) and upload it without their knowledge or consent, the construct being c(amera) + log, a briefly used term from the early days of camera-equipped phones on the which never caught on.

1300s: Of unknown origin, most likely from the Middle English clogge (weight attached to the leg of an animal to impede movement) or from a North Germanic form such as klugu & klogo (knotty tree log) from the Old Norse, the Dutch klomp or the Norwegian klugu (knotty log of wood).  The word was also used in Middle English to describe big pieces of jewelry and large testicles.  The meaning "anything that impedes action" is from the 1520s, via the notion of "block or mass constituting an encumbrance” although it became nuanced, by 1755 builders were distinguishing between things clogged with whatever naturally belonged then and becoming “choked up with extraneous matter”, a distinction doubtlessly of great significance to plumbers.  The sense of the "wooden-soled shoe" is attested from the late fourteenth century, used as overshoes until the introduction of rubber soles circa 1840.  Related forms include the adjective cloggy, the noun clogginess, the verbs clogged & clog·ging and the adverb cloggily.  A frequently used adjectival derivative is anticlogging, often as a modifier of agent and, unsurprisingly, the verb unclog, first noted circa 1600, is also common.

Lindsay Lohan in Gucci Black Patent Leather Hysteria Platform Clogs with wooden soles, Los Angeles, 2009.  The car is a 2009 (fifth generation) Maserati Quattroporte leased by her father.

Clogs were originally made entirely of wood (hence the name), the more familiar modern form with leather uppers covering the front being noted first in the late sixteenth century but may have been worn earlier.  Long popular with men working in kitchens (always with a rubber covering on the sole), the first revival as a fashion item occurred circa 1970, primarily for women and clog-dancing, a form "which required the wearing of clogs" is attested from 1863.  There are now a variety of variations on the clog sole including the Tengu geta, having a single tooth in the centre and the Albarcas which features extensions something like a three-legged stool.  None look very comfortable but their users appear content.

Lindsay Lohan's promotion for the collaboration between German fashion house MCM & Crocs, introducing the "pragmatic" Mega Crush Clog.  Not that there was ever much doubt but now we know clogs can be "pragmatic".

Luddite

Luddite (pronounced luhd-ahyt)

(1) A member of any of various bands of workers in England (1811–1816) organized to destroy manufacturing machinery, under the belief that its use diminished employment.

(2) Someone opposed or resistant to new technologies or technological change.

(3) Of or relating to the Luddites

1805–1815: Said to be named after a Mr Ned Ludd, a Leicestershire worker who in the late eighteenth century, a fit of rage destroyed mechanical knitting machines he believed were threatening his livelihood by displacing him from his job.  There is doubt (1) whether there was an actual mill worker called Ned Ludd and (2) whether the famous act of industrial sabotage really happened in the circumstances described.  The origin of the name Ludd can be traced to the ancient Anglo-Saxon tribes of the British Isles and was occupational, used by those employed as pages or servants, the Old English Ladde a term which described a household servant.  That’s generally accepted among genealogists but there are sources which note that in the Old English and Scotch, the word lade meant “a canal or duct for water” and that Ludd evolved as a geographical name, used to describe one who worked near or lived on the banks of a waterway.  It’s entirely possible the two forms evolved separately and while the name was probably in use earlier, the first traces of it in the parish records of England appear circa 1100 variously as Ladda, Ladde, le Ladd, Ludd & Ludde.  Variations in spelling were common and it wasn’t until the late Middle English that a widespread standardization can be said to have begun and because elements of Greek, the various flavours of Latin, French and Germanic languages mixed with the native tongues of the British Isles, the influences were many, the differences in pronunciation accounting for at least some of the variations.  Related to what would become the lineage of Ludd included Ladd, Ladde, Laddey, Ladds, Lade, Ladey, Laddy and others.  The -ite suffix was from the French -ite, from the Old French, from the Latin -ītēs, from the Ancient Greek -ῑ́της (-ī́tēs).  It had a wide application including (1) the formation of nouns denoting the followers or adherents of a individual, doctrine or movement etc, (2) the formation of nouns denoting descendants of a certain historic (real or mythical) figure (widely used of biblical identities), (3) the formations of demonyms, (4) in geology the formation of nouns denoting rocks or minerals, (5) in archeology, the formation of nouns denoting fossil organisms, (6) in biology & pathology to form nouns denoting segments or components of the body or an organ of the body, (7) in industry & commerce to form nouns denoting the product of a specified process or manufactured product & (8) in chemistry to form names of certain chemical compounds (historically especially salts or esters of acids with names with the suffix –ous).  Luddite & Ludditism are nouns; the noun plural is Luddites.

The Luddites were a social movement of textile workers in England during the early nineteenth century who protested against the introduction into factories of machinery, their concern being their jobs would be lost and they and their families would face destitution because they would be forced into manual labor at a very low rate of pay.  Real though the movement was, there is no documentary evidence to support the suggestion a Mr Ned Ludd was a real figure associated with the Luddites and the English parish records of the era are comprehensive and regarded as accurate.  Historians have trawled through the ledgers covering the relevant decades and have been unable to verify that a Mr Ned Ludd was ever employed in the factories.  The consensus is that the identity of Ned Ludd was a construct with which the cause of the workers could be identified although whether the name emerged organically from the movement or was created by a writer as a narrative device is unknown.

Lindsay Lohan with sledge-hammer demonstrating a Luddite technique by attacking Volvo.  This wasn’t an industrial protest and was actually an event staged to protest about the cancellation of a television show.  Actually, a sledge-hammer or some other suitable tool may have been what the Luddites used for their sabotage.  English picked up sabotage from the French saboter (deliberately to damage, wreck or botch), used originally to refer to the tactic used in industrial disputes by workers wearing the wooden shoes called sabots who disrupted production in various ways.  The persistent myth is that the origin of the term lies in the practice of workers throwing the wooden sabots into factory machinery to interrupt production but the tale appears apocryphal, one account even suggesting sabot-clad workers were simply considered less productive than others who had switched to leather shoes, roughly equating the term sabotage with inefficiency.

Even the extent to which weavers (and other factory workers) actually sabotaged machines in the manner of the legendary of Ned Ludd is unclear and while it clear from the reports of the time there were instances of sabotage, it does appear they were sporadic and opportunistic acts and certainly not part of a planned movement, much less a revolutionary one.  However, the term has endured to be applied broadly to encompass anyone who opposes new technology or social change and it’s now rarely used with any hit the recipient is contemplating violent resistance.  In this sense, the term is often used in a pejorative way to describe individuals or groups who are seen as reactionary or obstructionist.  Ludditism can exist even at high technological levels, some users accustomed to the familiarity of certain apps or operating systems resistant to change, usually on the basis that the change offers no benefits and sometimes even brings disadvantages.

Monologue & Soliloquy

Monologue (pronounced mon-uh-lawg or mon-uh—log)

(1) A form of dramatic entertainment, comedic solo, or the like by a single speaker, delivered to others.

(2) In casual use, a prolonged talk or discourse by a single speaker, especially one dominating or monopolizing a conversation; a monopolizing utterance.

Circa 1550: From the French monologue (on the model of dialogue), from the Ancient Greek, via the Byzantine Greek μονόλογος (monólogos) (speaking alone or to oneself), the construct being monos (single, alone), from the primitive Indo-European root men- (small, isolated) + logos (speech, word), from legein (to speak), from the primitive Indo-European root leg- (to collect, gather), with derivatives meaning "to speak” (as in “to pick out words”).  The travelogue (originally a talk on travel), dates from 1903, the construct a hybrid of travel + logue (abstracted from monologue) and coined by US traveler, photographer and filmmaker Burton Holmes (1870-1958), who essentially invented the multi-media documentary lecture in its modern understanding. The alternative spelling is monolog.  Monologue, monologist & monology are nouns, monologuing, monologed, monologuer & monologize are verbs, monologic & monological are adjectives and monologically is an adverb; the noun plural is monologs.  There was once a debate about whether the noun monologician existed and it seems not, monologist used on the rare occasions such a form is thought needed.

Although the term “monologue is used in a number of senses, the core of the concept is a single individual speaking alone, sometimes to an audience, sometimes not.  In the Western tradition, many prayers, much lyric verse and all laments are monologues, but beyond those, they tend to be listed in four classes: (1) the monodrama (a (usually) theatrical performance in which there is only one character (an exemplar being Samuel Beckett's play Krapp's Last Tape (1958))), (2) the soliloquy, (3) a solo address to an audience (such as Iago in William Shakespeare’s (1564–1616) Othello (1603) explaining what he’s about to do and (4) the dramatic monologue in which one imaginary speaker addresses an imaginary audience (as in Robert Browning’s (1812–1889) poem My Last Duchess (1842)), such a fine example it has appeared in dozens of anthologies to illustrate the technique).  James Joyce's (1882–1941) Ulysses (1922), which purports to be an account of the actions, thoughts, feelings & experiences of two men over some 24 hours in Dublin on 6 June 1904, famously contains the 40-odd page interior monologue of Molly Bloom (a passage with but a single punctuation mark).  One of literature’s longer “fragments”, from it one learns much about Joyce but probably less about the thoughts of women, rather as in all he wrote of women, Philip Roth (1933–2018) revealed a lot about himself but little about them, despite the often elegant internal logic.

Lindsay's Lohan in tiara, delivering Spring Fling Queen monologue, Mean Girls (2004).

In Mean Girls, while there are moments that could be called monologues there are, in the strict theatrical sense, no soliloquies.  Ms Norbury’s speech about girl-on-girl sabotage and self-esteem in the “gym scene” are both monologues as is that given by Janis mocking the social hierarchy while Cady’s Spring Fling Queen speech is a monologue which does double-duty as part of the plot resolution.  As a technical point, when Cady narrates her thoughts in voice-over, she’s not literally alone on stage speaking to herself; rather it’s a narration to the audience, so is more a voice-over commentary than a theatrical soliloquy.  A variant is interior monologue, distinguished by it being a recording of the continuum of impressions, thoughts and impulses, prompted either by conscious experience or arising from the well of the subconscious.  The phrase was first used in a 1921 essay on Joyce by the French poet Valery Larbaud (1881–1957) and was long regarded as synonymous with “stream of consciousness” although use in popular works has made the latter the more frequently used form.  Mere popularity however isn’t enough to satisfy literary theorists and there are factions, some arguing the stream of consciousness includes all imitations of interiority, the interior monologue just one method among many.  Others maintain the interior monologue is the overarching category and stands for all methods of self-revelation (including some kinds of dramatic monologue) and in this model, a stream of consciousness is an uninterrupted flow in which logic, conventional syntax and punctuation can be abandoned (emulating the not always formally-structured human thought processes).  For the reader, the result can be exhilarating or incomprehensible but the beat poets of the 1950s made it fashionable.  In the English tradition, usually, the dramatic monologue appears on paper as spoken text but often (rapidly or eventually) it becomes reverie and the speaker patently is not the poet (imaginary speaker; imaginary audience).  French writers (especially the symbolist poets) often rendered their interior musings as something more ambiguous but the idea was the same.  

Soliloquy (pronounced suh-lil-uh-kwee)

(1) As a theatrical device, an utterance or discourse by a person who is talking to himself or herself or is disregardful of or oblivious to any others present (often used as a device in drama to disclose a character's innermost thoughts).

(2) The act of talking while or as if alone.

1595–1605: From the Late Latin sōliloquium (a talking to oneself), the construct being sōli- (from sōlus (sole)) + loqu(ī) (to speak) from primitive Indo-European root tolkw- (to speak) + -ium.  English picked up the word from the title of Saint Augustine's (354-430) somewhat unsatisfactory treatise Soliloquiorum libri duo (Two Books of Soliloquies (387-388)), Augustine said to have coined the word, by analogy with the Ancient Greek monologia.  In the technical jargon of musical criticism (used widely in many languages), a soliloquent is a soloists.  In psychiatry, there’s even a distinction between “the internal soliloquy” in which the patient imagines speaking to themselves and the “internal monologue” in which others might in the mind be summoned to listen or respond.  Soliloquy & soliloquist are nouns, soliloquize, soliloquing, soliloquied & soliloquiaste are verbs; the noun plural is soliloquies.

In drama, there are three types of soliloquy: (1) the most common form is where the character speaks either to themselves or the universe, essentially thinking out loud (or in the technical language of theatre direction “talking to an empty room”.  As a dramatic device, it’s the expression of the character’s inner thoughts and the structural equivalent of first-person narration in written fiction. (2) Soliloquies are sometimes delivered to some specific but non-human; that might be a skull, a book, an animal or a corpse (the (sort-of) exception to the non-human rule), it being necessary only that what is being addressed cannot hear or respond.  (3) The third type appears to break the rules but theorists insist it remains a soliloquy.  This is the so-called “breaking the fourth wall” (ie the (imaginary) wall between the actor and audience (the other three being the backdrop and the wings)) during which the actor directly will speak to the audience.  If this is just a few words then it’s a stage whisper or an aside but if a long-form speech, then it’s a soliloquy.  Soliloquy is sometimes wrongly used where monologue is meant, even the most famous in English literature ("to be, or not to be") from Shakespeare’s Hamlet is sometimes called a monologue.  In general use, monologue is the more popular word and, of course, except on stage, soliloquies rarely are seen in public.

Although etymologists note rather than endorse the tale, it’s possible the word “soliloquy” came from a Latin compound coined by the theologian Saint Augustine of Hippo (354–430), the construct of soliloquiam being solus (alone) + loqui (to speak).  A soliloquy is a speech (often one of some length) in which a character (alone on the stage), expresses their thoughts and feelings and it has long been accepted as a dramatic convention of great significance.  Its utility came from it being a device which enabled a dramatist directly to convey to their audience important information about a character: state of mind, intimate thoughts & feelings, his motives and intentions.  Soliloquies were rare in Classical drama and it was in the Elizabethan era of the late 1500s and the Jacobean period in the following century it became an integral part of theatre production, the technique honed and exploited to a degree not since equalled.  Shakespeare’s soliloquies are of course among the most performed and celebrated but there are structuralist critics who claim the best executed examples appear in Christopher Marlowe’s (1564–1593) Doctor Faustus (1601).

One thing the use of a soliloquy lent a author was a way of “fleshing out” the plot with a speech of a few minutes, something which might otherwise have absorbed many time-consuming scenes and a prime exponent was “the villain” who, being often manipulators of the plot and commentators on the action, could use their prolonged asides as direct addresses to the audience; then, the trick had yet to be called post-modern.  Although use faded, dramatists continued include soliloquies during the Restoration and even into the early nineteenth century although as more naturalistic works came to be preferred, it was only in the niche of the verse play that use persisted.  However, in its very structural subversiveness the soliloquy had appeal and the device appeared in WH Auden’s (1907-1973) The Ascent of F6 (1937) and Robert Bolt's (1924–1995) A Man for All Seasons (1960).

The Death of Juliet. Oil on canvas, 1793, by Matthew William Peters (circa 1742-1814).

Juliet’s “Farewell!” speech (Act IV, Scene 3) in Shakespeare’s Romeo and Juliet (1597) is the definitive soliloquy because (1) she’s alone on stage having sent away the nurse so she can drink the poison, (2) what she says are her own, private thoughts, not an address to another character or the audience and (3) the speech exists to reveal her fears and resolve the plot.  For that reason, a soliloquy (in the Elizabethan sense) was often described as “a monologue to oneself”.  Shakespeare didn’t invent the soliloquy but, debatably, he may have perfected it and scholars have detected his stagecraft “formula”, one which was not especially subtle because the bard wanted his audience to recognize the device; it would help them “follow the plot”.  Blatantly, he had Juliette say to the nurse: “Let me now be left alone”, a trigger warning for the audience to prepare for a soliloquy and the scholars have deconstructed Shakespeare’s "soliloquy algorithm": (1) There’s an “opening hook” of a direct emotional outburst, rhetorical question, or statement of purpose (“To be, or not to be—that is the question”), (2) Then there’s a self-dialogue or internal debate in which a dilemma is explored, often imagining consequences, illustrated sometimes with vivid mental imagery & hypotheticals (ghosts, poison, deathbeds), (3) That proceeds towards resolution, the making of a decision to pursue a certain course of action which (4) must conclude with the physical acts matching the decision, be they happy or tragic.

Juliet's farewell soliloquy, Romeo and Juliet (1597) Act 4, Scene 3.

Farewell.—God knows when we shall meet again.
I have a faint cold fear thrills through my veins
That almost freezes up the heat of life.
I’ll call them back again to comfort me.—
Nurse!—What should she do here?
My dismal scene I needs must act alone.
Come, vial.
What if this mixture do not work at all?
Shall I be married then tomorrow morning?
No, no, this shall forbid it. Lie thou there.
What if it be a poison which the Friar
Subtly hath ministered to have me dead,
Lest in this marriage he should be dishonored
Because he married me before to Romeo?
I fear it is. And yet methinks it should not,
For he hath still been tried a holy man.
How if, when I am laid into the tomb,
I wake before the time that Romeo
Come to redeem me? There’s a fearful point.
Shall I not then be stifled in the vault,
To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or, if I live, is it not very like
The horrible conceit of death and night,
Together with the terror of the place—
As in a vault, an ancient receptacle
Where for this many hundred years the bones
Of all my buried ancestors are packed;
Where bloody Tybalt, yet but green in earth,
Lies fest’ring in his shroud; where, as they say,
At some hours in the night spirits resort—
Alack, alack, is it not like that I,
So early waking, what with loathsome smells,
And shrieks like mandrakes torn out of the earth,
That living mortals, hearing them, run mad—
O, if I wake, shall I not be distraught,
Environèd with all these hideous fears,
And madly play with my forefathers’ joints,
And pluck the mangled Tybalt from his shroud,
And, in this rage, with some great kinsman’s bone,
As with a club, dash out my desp’rate brains?
O look, methinks I see my cousin’s ghost
Seeking out Romeo that did spit his body
Upon a rapier’s point! Stay, Tybalt, stay!
Romeo, Romeo, Romeo! Here’s drink. I drink to thee.

Mandamus

Mandamus (pronounced man-dey-muhs)

At common law, an order of a superior court or officer commanding (an inferior tribunal, public official, or organ of the state) a specific thing be done.  Formerly a writ, now issued as an order.

1530-1535:  From Middle English, a borrowing from the late fourteenth century Anglo-French, from the Latin mandāmus (we order (which were printed as the opening words of a writ of mandamus), first person plural present indicative of mandāre (to order).

Some writs

A mandamus was a writ compelling a court or government official correctly to perform that which the law required; for technical reasons it’s now issued as an order rather than a writ.  It’s one of a number of procedures called the prerogative writs, an evolutionary fork of the common law which ensured courts could compel governments to adhere to the law.  These devices constitute the means by which the rule of law is maintained and, because of the intent, a mandamus must follow black-letter law.  If a law says a minister must review something, the court can force only the review and cannot instruct what the finding should be.  The use is now generally limited to cases of complaint someone having an interest in the performance of a public duty, when effectual relief against its neglect cannot be had in the course of an ordinary action.

There are other mechanisms in this class.  The subpoena duces tecum (order for production of evidence) is a summons ordering the recipient to appear before the court and produce documents or other tangible evidence for use at a hearing or trial.  It’s similar to the subpoena ad testificandum (summoning a witness orally to testify) but differs in that it requires the production of physical evidence.  The literal translation was "under threat of punishment, you will bring it with you", the construct being sub (under) + poena (penalty) + duces (you will bring) + te (you) + cum (with).  Habeas corpus in the Medieval Latin meant literally "that you have the body".  It provides recourse in law by which a person can report an unlawful detention to a court and request the court order those holding the person to bring the prisoner before a court so it might decide whether the imprisonment is lawful; it is best understood in modern use as "bring us the body".  The quo warranto, which in Medieval Latin was literally "by what warrant?" required a person to show the court by what authority they have for exercising some right, power, or franchise they claim to hold.  A prohibito (literally "prohibited") directed the stopping of something the law prohibits.  A procedendo, from Medieval Latin in the sense of the meanings “proceed; prosecute”, was a writ sending a case from an appellate court to a lower court with an order to proceed to judgment and was also the writ by which the suspended commission of a justice of the peace was revived.  A writ of certiorari was a request for judicial review of the findings or conduct of an inferior court, tribunal, or other public authority ands in its pure form it existed by right, not by leave of the court.  The Medieval Latin was certiorārī (volumus), a literal “we wish to be informed".  Certiorari is the present passive infinitive of the Latin verbs certioro, certiorare (to inform, apprise, show).

William Marbury (left) & James Madison (right).  Marbury's former house in Georgetown, Washington DC is now the Ukrainian Embassy to the United States.

Marbury v Madison (5 U.S. (1 Cranch) 137 (1803)) was the US Supreme Court case which established the principle of judicial review in the United States, the consequence being US courts have the power to strike down laws they find to violate the US Constitution; it’s thus regarded as the single most important decision in US constitutional law, establishing that the constitution, although a foundation political document, is also actual law and thus the country’s basic law.  It was this decision which made possible the enforcement of the separation of powers between the federal government’s executive and judicial branches.

The case had an unlikely origin in a political squabble which sounds remarkably modern.  John Adams (1735–1826; US president 1797-1801) had lost the election of 1800 to Thomas Jefferson (1743–1826; US president 1801-1809) and in March 1801, two days before his term ended, Adams appointed several dozen Federalist Party supporters to judicial offices, intending to sabotage the Democratic-Republican Party’s incoming administration.  A compliant Senate confirmed the appointments with a haste which would seem now extraordinary but the outgoing Secretary of State John Marshall (1755–1835; US secretary of state 1800-1801 & chief justice 1801-1835) did not deliver all of the papers of commission before Jefferson's inauguration, thus encouraging the new president to declare them void.  One undelivered commission was that of William Marbury (1762–1835) and in late 1801, after Madison had more than once declined to deliver his commission, Marbury filed suit in the Supreme Court requesting the issue of a writ of mandamus, requiring Madison to deliver the papers.

The court’s judgement was handed down by John Marshall, now the chief justice.  The court held that (1) the president’s refusal to deliver the commission was illegal and (2) in those circumstances a competent court would order the official in question to deliver the commission.  However, despite the facts of Marbury v Madison, no writ of mandamus was issue, the rationale being that upon examining the law with which Congress had granted the Supreme Court jurisdiction in such matters, the legislature had expanded the definition of its jurisdiction beyond that which was specified in the constitution.  The Court then struck down that section of the law, announcing that American courts have the power to invalidate laws they find violate the Constitution.  The finding in Marbury v Madison was the origin of judicial review in the US.

Forrest-Marbury House, 3350 M Street NW, Georgetown, Washington DC, once the home of William Marbury.  It was in this house on 29 March 1791 that George Washington (1732–1799; president of the US 1789-1797) negotiated the real-estate deal for the land that would become Washington DC.  Since 1992, it has been the chancery of the Embassy of Ukraine.

Fount

Fount (pronounced phont)

(1) A spring of water; fountain (now mostly poetic use).

(2) A receptacle in church for holy water.

(3) A receptacle for oil in a lamp.

(4) In metal typesetting, a set of type sorts in one size.

(5) In phototypesetting, a set of patterns forming glyphs of any size, or the film on which they are stored; in digital typesetting, a set of glyphs in a single style, representing one or more alphabets or writing systems, or the computer code representing it.

(6) In computing, a file containing the code used to draw and compose the glyphs of one or more typographic fonts on a computer display or printer (now always with the spelling font).

(7) A source or origin; often used in a mystical sense such as a “fount of wisdom”.

1250-1300: A back formation (as a shortened form) from fountain, from the Old English font, a borrowing from the From Middle French fonte, feminine past participle of verb fondre (to melt), from the Latin fons (fountain)  It came from a primitive Indo-European root cognate with the Sanskrit धन्वति (dhanvati) (flows, runs), possibly dhenhz- (to flow).  The Old French fonte (a founding, casting), came apparently from the (unattested) Vulgar Latin funditus (a casting), from the Latin fundere (to melt). Fount is a noun; the noun plural is founts.

Fount:  Baptism Fount, Christ Church Cathedral, Fredericton, New Brunswick, Canada.

The two meanings are unrelated.  The sense of font (and fount) as a "complete set of characters of a particular face and size of printing type" dates from the 1680s and such things have been referred to from the 1570s as a "casting" (now more commonly as "typeface".  The meaning in mechanical printing became attached because of the link with the Middle French fonte (a casting), noun use of feminine past participle of fondre (to melt) from the fundere (past participle fusus) (to melt; cast; pour out) from a nasalized form of the primitive Indo-European root gheu- (to pour).  The fount became so-called because all the letters in a given set were cast at the same time; fonte is also the root of foundry (the places where metal for the typefaces was melted) and, because of the melting cheese: fondue.  In modern use, the preferred convention is for font to be used when referring to digital typefaces and fount for metal and other older systems of typesetting.  Fount should be used for all other senses although many US dictionaries do suggest font may be used for all purposes.

Font: One font even has a biography.

While the long-running operating system (OS) wars and the bus wars of the 1980s & 1990s were landmark events in the digital revolution and followed with great interest by nerds, they were barely noticed by most consumers.  By contrast, the font wars of the early 1990s were little more than brief skirmishes but their implications proved immeasurably greater for most users.  In the 1980s, for all but a handful of computer users, the font used was almost always whatever was an application’s default and most wouldn’t have known its name, features like “italics” or “bold” sometimes possible but usually key-stroke intensive selectively to apply.  The sub-set using graphical interfaces such as Apple’s Macintosh (1984; it didn’t become the “Mac” until 1999) and the fondly-remembered Amiga Workbench (1985) enjoyed a wider range and more control but even then what a font looked like on a screen and how it appeared when printed didn’t always align and for those who needed professional-standard output, high-quality fonts were expensive.  For most, even if there were fonts available, there were many limitations including frequent limitations on the number which could be included in a single document.

The industry standard then was Adobe’s PostScript but that nice, profitable niche was upended when Apple and Microsoft cross-licensed their technologies, the breakthrough being the bundling of a number of TrueType fonts (emulating some publishing stalwarts) with Windows 3.1, released to general availability in March 1992.  Not best pleased, Adobe’s CEO called a press conference at which tearfully he announced Adobe’s Type 1 format was now in the public domain; now not best pleased were those many customers who’d recently paid Adobe’s high prices.  Adobe also circulated a document explaining why PostScript was better than TrueType, something with which analysts agreed but the almost all also agreed it was the latter to which consumers would flock.  They were right and within weeks the bulletin boards were offering dozens of TrueType character sets, some derivative, some fanciful and many exactly what the market wanted.  There are now thousands of TrueType fonts.

During her campaign (which she actually won!) for the Democratic nomination for the 2016 presidential election, crooked Hillary Clinton's Burn Book probably would have been referred to internally as her "Bern Book" because it would have been so filled with tactics designed to sabotage the campaign of Bernie Sanders (b 1941; US senator (Independent, Vermont) since 2007) (digitally altered image).  In Mean Girls (2004), the Burn Book's cover used the "ransom note" technique which involved physically cutting letters from newspapers & magazines and pasting them onto a page, a trick of the pre-DNA analysis age which left no identifiable handwriting.  There are a number of "ransom" fonts which emulate the appearance in software.