Sad

Sad (pronounced sad)

(1) Affected by unhappiness or grief; sorrowful or mournful; depressed, glum, melancholy; feeling mentally uncomfortable, discomforted, distressed, uncomfortable.

(2) Expressive of or characterized by sorrow.

(3) Unfortunate; unsatisfactory; shabby; in poor condition.

(4) Of color, somber, dark, or dull; drab; lacking brightness.

(5) Of music, an identifiable set of characteristics in composition which humans (with some cultural variations) perceive as evoking melancholy; poignant, touching.

(6) In slang, unfashionable; socially inadequate or undesirable deplorably bad; lamentable (probably interchangeable with “lame”).

(7) In slang (New Zealand), strongly to express displeasure.

(8) In baking (pastry, cakes etc) not having risen fully; heavy, soggy (no rare except regionally).

(9) As SAD, seasonal affective disorder.

(10) Heavy; weighty; ponderous; close; hard (obsolete).

(11) Valiant, firm or steadfast (obsolete).

(12) Dignified, serious, grave (obsolete).

(13) Sated, having had one's fill; satisfied, weary (obsolete).

(14) Naughty; troublesome; wicked (obsolete).

Pre 1000: From the Middle English sad, from the Old English sæd (grave, heavy, weary (originally “sated, full; having had one’s fill of food, drink, fighting etc)), from the Proto-Germanic sadaz (sated, satisfied), the source also of the Old Norse saðr, the Middle Dutch sat, the Dutch zad, the Old High German sat, the German satt and the Gothic saþs (satiated, sated, full)), akin to the Old Norse sathr, the Latin satis (enough) & satur (sated), and the Greek hádēn (enough), from the primitive Indo-European seto or seh- (to satiate, satisfy) from the root sa- (to satisfy).  Synonyms include unhappy, despondent, disconsolate, discouraged, gloomy, downcast, downhearted, depressed, dejected & melancholy; the antonyms including happy, cheerful, gleeful, upbeat & joyous.  Sad & saddening are nouns, verbs & adjectives, sadness is a noun, saddenest, sadded & sadding are verbs, sadly is an adverb, sadder & sadest are adjectives and sadden is verb & adjective; the noun plural is sads.  The special noun use of sad (plural sads) is as an alternative form of saad (the letter ص in the Arabic script which is the 14^th letter of the Arabic alphabet).

In Middle English & early Modern English the prevailing senses were "firmly established, set; hard, rigid, firm; sober, serious; orderly and regular but such notions (except in dialect) survive only among some bakers where the word is used to describe anything which has failed to rise and remains soggy, heavy and lacking fluffiness.  Etymologists assume the sense development was based on a transference of the idea of “heavy, ponderous” to Being “full” mentally or physically (ie “weary; tired of).  By the early fourteenth century, the familiar modern use to suggest “unhappy, sorrowful, melancholy, mournful” was established although a less supported alternative path of the change traces a course through the common Middle English sense of “steadfast, firmly established, fixed” (sad-ware described some notably tough pewter vessels) and “serious” to “grave.”  In the way sad is most used in Modern English, ultimately it replaced the Old English unrot which was the negative of rot (which confusingly to modern ears, meant “cheerful, glad”.  By the mid fourteenth century, the dominant meaning was to express “sorrow or melancholy” while the meaning “very bad, wicked” dates from the 1690s; that use faded but re-emerged in the late twentieth century, use the same way “lame” is deployed to describe the unfashionable or socially lamentable, a variation on the slang sense of “inferior, pathetic”, documented since 1899.  The “sad sack” (a usually miserable person)” dates from the 1920s and was popularized by World War II (1939-1945) era cartoon character published in US military magazine Yank, assumed by all to be a euphemistic shortening of the alliterative armed forces slang phrase sad sack of shit.

The verb sadden picked up the meaning “to make sorrowful” in the 1620s; until around circa 1600 it had meant “to make solid or firm” and the early verb was the simple sad, from the Middle English saden (become weary or indifferent (also “make (something) hard or stiff”, from the Old English sadian which may be the source of the modern verb but the history is tangled.  The intransitive meaning “to become sorrowful” dates from 1718.  The noun sadness developed from the early fourteenth century Middle English sadnesse (seriousness) and the reason it’s not entirely clear when the meaning shift to “sorrowfulness, dejection of mind” evolved is probably because there was such regional variation but it appears to have unfolded over the fifteenth & sixteenth centuries; throughout Middle English the word usually referred to “solidness, firmness, thickness, toughness; permanence, continuance; maturity; sanity”.  The adjective sadder (more sad) was from the Middle English sadder and saddest persist as the comparative & superlative forms.  The adverb sadly originally meant “heavily” & “solidly”, the use to convey “sorrowfully” emerging by the mid-fourteenth century.

Acronym Finder lists an impressive 104 acronyms or initialisms, some of the more memorable being Sex, Alcohol, Drugs; Social Anxiety Disorder; Search and Destroy; Seasonal Affective Disorder; Schizoaffective Disorder; Separation Anxiety Disorder; Stand Alone Dump; Single, Available & Desperate; Single Awareness Day (ie Valentine's Day); System Administrator (they prefer sysadmin or syscon); Scotland Against Drugs and Sullen, Angry, Depressed.

Seasonal Affective Disorder (SAD)

Avoiding SADness: Lindsay Lohan soaking up some sun in Prussian blue bikini with high-waist brief and halter-style top.

Seasonal affective disorder (SAD) is a particular instance of depression which is sometimes referred to as seasonal depression or winter depression.  SAD was first described in 1984 and included in the revision to the third edition (DSM-III-R (1987)) of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) as a “seasonal pattern”, a modifier applied to recurrent forms of mood disorders, rather than as an independent entity.  In the DSM-IV (1994), its status as a standalone condition was changed, no longer classified as a unique mood disorder but instead a specifier (called “with seasonal pattern”) for the “recurrent major depressive disorder that occurs at a specific time of the year and fully remits otherwise”.  In the DSM-5 (2013), although there were detail changes in terminology, the disorder was again identified as a type of depression (Major Depressive Disorder with Seasonal Pattern).  The symptoms of SAD often overlap with the behaviors & mood changes noted in clinical depression, the novelty being the condition manifesting usually during the fall (autumn) & winter when temperatures and lower and the hours of sunlight fewer, the symptoms tending to diminish with the onset of spring.  While notably less common, there are those who experience SAD during the summer and in either case it’s seen more frequently in women. SAD appears to be possible at any age but is most typically suffered in the age range 18-30.  In the US, the dynamic of the condition is illustrated by the diagnosis of SAD ranging from 1.4% of the population in sunny Florida to 9.9% in often gloomy Alaska and, after some initial scepticism, the condition was accepted as legitimate by most of the profession although there has been some contradictory research.  Although in a sense SAD has for centuries been documented in the works of poets and artists, it wasn’t until the mid-twentieth century that structured research began and it has been linked to a biochemical imbalance in the brain prompted by exposure to reduced hours of daylight and a reduction in sunlight.  It’s thought that as the seasons go by, some experience a shift in their internal “biological clock” (circadian rhythm) which induces the mechanism to become asynchronous with their daily schedule.  SAD appears more prevalent among those living far from the equator where the conditions in winter are exaggerated.

Common symptoms of SAD include fatigue (even among those who increase their daily hours of sleep) and the weight gain associated with overeating and carbohydrate cravings.  The symptoms can vary from mild to severe and in many cases are little different to those associated with major depression including:

(1) Feeling sad or having a depressed mood.

(2) Loss of interest or pleasure in activities once enjoyed.

(3) Changes in appetite; usually eating more, craving carbohydrates.

(4) Change in sleep patterns (usually sleeping too much).

(5) Loss of energy or increased fatigue despite increased hours of sleep.

(6) Increase in purposeless physical activity (eg inability to sit still, pacing, handwringing) or slowed movements or speech (to be clinically significant these actions must be severe enough to be observable to others).

(7) Feelings of worthlessness or guilt.

(8) Difficulty thinking, concentrating, or making decisions.

(9) Thoughts of death or suicide.

Risking SADness: Lindsay Lohan's strangely neglected film Among the Shadows (Momentum Pictures, 2019) was also released in some markets as The Shadow Within.  It's a gloomy piece, shot almost wholly in darkness and revolves around murderous werewolves and EU politicians (two quite frightening species).

There are several treatments for SAD including light therapy, antidepressant medications & talk therapy, sometimes used in combination.  Light therapy involves sitting in front of a light therapy box which emits a very bright light (while filtering-out harmful ultraviolet (UV) rays), usually for at least 20 minutes per day, typically first thing in the morning, during the winter months.  Most report some improvement after undergoing light therapy within 1-2 weeks of beginning treatment but the best results are obtained and relapse is most often prevented if the treatment is continued through the winter.  This is definitely a treatment rather than a cure and many re-start the therapy in the early fall to prevent any onset.  Talk therapy, particularly cognitive behavior therapy (CBT), has been used to treat SAD and the results appear to be similar to those suffering other forms of depression.  Selective serotonin reuptake inhibitors (SSRIs) are the anti-depressants most commonly used to treat SAD.

Rjukan's three-mirror array (each unit 17²m (183 square feet), left), reflecting the Sun's rays on the town square below and citizens in the reflected sunshine (right).  

The Norwegian town of Rjukan sits some 3 hours north-west of the capital, Oslo and is famously one of the darkest inhabited settlements on Earth, wholly without sunlight for five months of the year.  Some 3400 souls live in Rjukan, the town created by Norsk Hydro, the electricity company which built a hydro-electric plant on the nearby falls to generate large quantities of electricity.  The reason it spends so long in darkness is because it sits in a valley, surrounded by mountains which block the light.  In 1928, Norsk Hydro built a cable car to permit the town's residents to travel to the mountain top to enjoy some sunshine but recently, the town spent 5 million Norwegian Kroner (US$4.95 million) to install an array of moving mirrors to direct sunlight to the town square.  Solar-powered, the mirrors sit 450-metres up the slope and track the movement of the sun.  Not only has the innovation brought light into the lives of the locals but the motorized mirrors have become a tourist attraction.  The idea of such a mirror was actually not new and had been discussed since 1913 but the device was installed only in 2013.

Tenebrous

Tenebrous (pronounced ten-uh-bruhs)

Dark; gloomy; obscure.

1375-1425: From the late Middle English tenebrose (full of darkness, gloomy), from the Anglo-Norman tenebrous (the earlier spelling was tenebrus), from the eleventh century Old French tenebros (dark, gloomy) (which endures in modern French as ténébreux), from the Latin tenebrōsus (dark), from tenebrae (darkness, shadows).  The Latin forms may have been dissimilated from the earlier temebrai, from the primitive Indo-European root temsro- (dark), an adjective from temos- (darkness).  The adjective tenebrous indicates a high degree of darkness but not an absolute absence of light, the comparative is thus more tenebrous and the superlative most tenebrous.  Tenebrous is now a literary word valued by poets because of the relative novelty of the rhyming and is used also figuratively (as early as the 1670s it was deployed to suggest someone was “morally or mentally dark”.  Tenebrous, tenebricose & tenebrific are adjectives, tenebrity, tenebrousness & tenebrosity are nouns and tenebrously is an adverb; the noun plural is tenebrosities.  The alternative spelling is tenebrious and except in literary use, the verb tenebrize is now obsolete.

Salomè con testa del Battista (Salome with the Head of John the Baptist, circa 1608), oil on canvas by Caravaggio (Michelangelo Merisi da Caravaggio; 1571–1610), National Gallery, London.

Tenebrosity (darkness, gloom, obscurity) was from the early fifteenth century, tenebrious (pertaining to darkness, of a dark nature) dates from the 1590s, tenebrity (quality of being dark) was in use by at least 1792 while tenebrific (producing darkness), dating from the late 1760s, was implied in the earlier tenebrificating, recorded in 1743.  In 1818, it was reported in a London publication there was a theory darkness was not simply the absence of light, but that certain heavenly bodies (called Tenebrific Stars), emitted rays of positive darkness, which produced what commonly was called “night”.  This is how science evolves, theories existing to compete as explanations for this and that until disproved.  The early fifteenth century Tenebrer (bearer of darkness) was an epithet of Satan.  One variant which didn’t endure was recorded in the mid-seventeenth century was tenebrion (one that will not be seen by day, a lurker, a night-thief (also a “night-spirit” and “hobgoblin”)).  In Christianity, the Tenebrae is a religious service celebrated by the Western Church on the evening before or early morning of Maundy Thursday, Good Friday, and Holy Saturday, involving the gradual extinguishing of candles while a series of readings and psalms are chanted or recited.  In fine art, the related tenebrism describes a style of painting using very pronounced chiaroscuro, with darkness a dominating feature of the image and a tenebrist is an artist applying the method.  Works in the genre are said to be tenebristic and in the late nineteenth century those painting in this manner (described usually as “in the style of Caravaggio” were called the tenebrosi; by 1959 the preferred term among art historians was tenebrism.

Illustrating the adjectival: Lindsay Lohan tenebrous (left), more tenebrous (centre) and most tenebrous (right), from Pop Magazine photo-shoot, Fall/Winter 2007.

The MOGAI

MOGAI stands for “Marginalized Orientations, Gender Alignments and Intersex” and is something of an omnibus term, acting as an umbrella term for sexual orientations, gender identities and intersex traits not considered “mainstream” although the very notion of “mainstream” is now a morass of cross-cutting claims, some factions demanding inclusion, others insisting on their separateness.  Whatever has been the track of MOGAI since its emergence in 2015, the original intent seems to have been one of “inclusiveness” and in that sense it’s both a logical extension of the LGBTQ+ concept and a recognition that so many categories could be identified the “extended model” (ie LGBTQQIAAOP and such) was becoming unmanageable.  Even “LGBTQ+” was in a sense counter-productive because in relegating certain letters (and thereby individuals or groups) to the “+”, there was an act of marginalization which, in the modern construct could be deemed a microaggression.  What advocates emphasize is that MOGAI exists for marginalized identities and it’s also as a kind of clearing house for novel or less recognized gender labels.  

DSM-5-TR (Text revision (2022) of DSM-5 (2013)).

In the narrow technical sense, MOGAI is a classification system but its focus on non-binary and other gender identities that are not cisgender seems to have acted to encourage the growth in the creation of categories and while some have “filled a gap”, there’s also clearly been linguistic adventurism in the same way some have been beyond imaginative in the coining of long German compound nouns and others have describe phobia despite there being no evidence of the particular fear ever having been defined as a clinical condition or even reported, a phenomenon the marvellously comprehensive Phobiapedia cheerfully acknowledges.  Whereas the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM) exists to codify mental health conditions including phobias, MOGAI is just one of many list of gender identities but one which commands interest simply on the basis of numbers: it has spawned literally hundreds of entries and while some are “variations on a theme”, the breadth is striking.

The DSM contains two obviously tenebricose conditions, Social Anxiety Disorder and Seasonal Affective Disorder (a mood disorder characterized by recurrent depressive episodes that occur at particular times of the year, usually in winter), tenebrous used of the former figuratively, of the latter literally.  In a decision which may have been an agenda item on one of the editorial committee's meeting, it was decided the acronym “SAD” would be applied to Seasonal Affective Disorder (presumably on the basis it described the sadness associated with dark, wintery conditions); Social Anxiety Disorder typically is abbreviated as SoAD and the differentiation makes sense because while sadness can be associated with SoAD, it's the prime dynamic of SAD.  Multiple uses of acronyms is of course common but within the one publication it could confuse for the editors made a wise choice.  First described in 1984, SAD was included in the revision to the third edition (DSM-III-R (1987)) as a “seasonal pattern”, a modifier applied to recurrent forms of mood disorders, rather than as an independent entity.  In the DSM-IV (1994), its status as a standalone condition was changed, no longer classified as a unique mood disorder but instead a specifier (called “with seasonal pattern”) for the “recurrent major depressive disorder that occurs at a specific time of the year and fully remits otherwise”.  In the DSM-5 (2013), although there were detail changes in terminology, the disorder was again identified as a type of depression (Major Depressive Disorder with Seasonal Pattern).  The symptoms of SAD often overlap with the behaviors & mood changes noted in clinical depression, the novelty being the condition manifesting usually during the fall (autumn) & winter when temperatures and lower and the hours of sunlight fewer, the symptoms tending to diminish with the onset of spring.

A gathering of high tech, robotic lawnmowers: Four Stihl iMows of the apocalypse.

Suggested collective nouns for lawnmowers have included “graze”, “scythe”, “lawn” & “swathe” but the most evocative was the (presumably Australian) “startyafuquer” (pronounced stahrt-yuh-fuhk-ah).  Most “high tech” lawnmowers are controlled using a cell phone app but some include the feature of a user being able to create their own voice-activation command set so “startyafuquer” could be recorded as the “start command”, the obvious companion phrase being “stopyafuquer”.

While notably less common, there are those who experience SAD during the summer and in either case it’s seen more frequently in women; SAD appears to be possible at any age but is most typically suffered in the age range 18-30.  In the US, the dynamic of the condition is illustrated by the diagnosis of SAD ranging from 1.4% of the population in sunny Florida to 9.9% in often gloomy Alaska and, after some initial scepticism, the condition was accepted as legitimate by most of the profession although there has been some contradictory research.  Although in a sense SAD has for centuries been documented in the works of poets and artists, it wasn’t until the mid-twentieth century that structured research began and it has been linked to a biochemical imbalance in the brain prompted by exposure to reduced hours of daylight and a reduction in sunlight.  It’s thought that as the seasons go by, some experience a shift in their internal “biological clock” (circadian rhythm) which induces the mechanism to become asynchronous with their daily schedule.  Predictably, SAD appears more prevalent among those living far from the equator where the conditions in winter are exaggerated.  Seemingly paradoxically, clinicians treating SAD do in some cases recommend “outdoor activities” on the basis (1) of “confronting the problem” as is sometimes done for fears (heights, spiders etc) and (2) its frequent effectiveness in countering depression.  One popular activity suggested is gardening and while many have reported it as therapeutic, those suffering from Sponeopapaaughprosebeeanthropopcacareophobia (the phobia describing the “fear of high tech lawn mowers”) would need to be cautious in their choice and handling of equipment.   

Gender lists are however not “peer reviewed” in the traditional sense (controversial as that model of academic publishing has become) so in a sense all the categorization systems are of equal validity with users free to determine which works best for them.  That’s democratic and how a classic marketplace of ideas operates but does mean it’s a field in which most are left to make of it what they will.  It would be interesting to compare a “comprehensive list” curated by academics in the now well-populated discipline of “gender studies” with the hundreds of entries which the MOGAI community hosts.  In the most recent edition of the DSM (DSM-5-TR, 2022), while there are five sub-types of specific phobias: (1) animals, (2) the natural environment, (3) blood, injections, medical procedures and such, (4) situational types (airplanes, elevators, enclosed spaces etc) and (5) other types, officially, terms like nomophobia, coulrophobia, globophobia, arachibutyrophobia etc) are no longer accepted clinical terms used in psychiatry and instances are grouped to be diagnosed as “Specific Phobia, other type”.  Remarkably, given the frequency of use of xxx-phobia in general use, only two explicitly are mentioned in the DSM and they are not unrelated: Agoraphobia (an extreme or irrational fear of entering open or crowded places or leaving one's home) and Social Anxiety Disorder (SoAD or Social anxiety).

The MOGAI community's lists of gender types are an invaluable resource but can be challenging for those suffering Albumistaphobia (the phobia describing the “fear of lists”).

Still, even if many of MOGAI’s entries might not survive an academic cull, there would be gender theorists or activists who might acknowledge the entire set because a syndrome need not be widespread to be defined as such: a single case can establish the diagnosis.  Word nerds too must have been impressed by the diversity and intricacy (if not always the grammar and spelling) because MOGAI definitions can also be mapped onto specific systems or sets of labels, such as the Celestial Gender System (based on celestial bodies) or the Restaurant System (based on restaurants and eateries).  What that has meant is that as well as serious contributions, the MOGAI community has seen the creation of new labels of dubious practical validity which, like some alleged phobias, clearly exist just because their creation was possible and fun.  Those schooled in labelling theory might also be interested because, once created and vested with the “validity” of appearing in a “gender list” on the internet, a label can gain some gravitational pull and convince readers they’ve just discovered their “true gender” identity or identities.  As patients can create the diagnosis, so the diagnosis can create the patient.

Xenogender

A xenogender identity is one in which a person's gender is connected to an aesthetic or sensory experience.  It is non-binary and applies concepts beyond traditional male, female or androgynous categories to describe a gender that cannot be contained by traditional human understandings of gender.  Xenogender claims to be all-encompassing and is this positioned as an umbrella term for identities related to abstract sources like animals, plants, concepts and imaginary or inanimate objects; the linkages need not in any way be literal or concrete and can be simply a device people use to best articulate how their gender “feels” (or “appears” for those who view themselves from beyond their own physical body) to them.  Some xenogenders are used by the neurodivergent community but the essence of xenogenderism is they cannot be exclusive and thus cannot be used in an exclusionary way.

Hallowgender

Hallowgender (or Halloweengender) is an aesthetigender in which one's gender is tied closely to “the silly part of Halloween and the Halloween aesthetic” (ie it focuses on the fun rather than the dark and scary).  The first known use of hallowgender was by Tumblr user asukazepplinsoryu in 2014.

Flags of the Hallowgender.

Left to right: (1) The original hallowgender flag, designed by an anonymous user; (2) the first alternate hallowgender flag designed by Tumblr user ask-pride-color-schemes; (3) the second alternate hallowgender flag designed by Tumblr user momma-mogai-sphinx, (4) the third alternate hallowgender flag designed by Tumblr user momma-mogai-sphinx and (5) the fourth alternate hallowgender flag designed by FANDOM user WriterThatArts.  In the ecosystem of gender-diversity, flags have become a thing; the gay liberation movement's Rainbow flags are the best-known but there are banners for many non-cisgender sub-sets and other divergencies including the still much-marginalized Objectum community.  

TFS: The Tenebrous Gender System

A fork of the MOGAI community, the TGS (Tenebrous Gender System) was said to have been created by Tumblr user Hallowgender who on 12 September 2020 published a codified version; under TGS, all sub-types are in some way and to some degree connected to “darkness and gloominess”.  All are related also to other things or concepts and that some of those might stand in stark contradiction to darkness and gloominess was noted without further comment.  In a sign of the times, TGS, with seven categories, is said to be “one of the smallest gender systems” and that reflects the recent proliferation from something which for millennia usually was represented as a binary.  Each TGS category has a flag:

Tenebrariarumian: A gender that is dark, enveloping, and colorful.  It is gloomy, calming and cold.  Exemplar: Billie Eilish (b 2001).

Tenebrasian: A gender that is dark, separating, and sullen.  It is gloomy, tumultuous and warm.  Exemplar: Lindsay Lohan (b 1986).

Tenebellariumian: A gender that is flamboyant, dark, cool, and wintry. It is gloomy, calming, and freezing as well but may tend also to fluidity and can be similar to Burlesgender.  Exemplar: Kim Kardashian (b 1980).

Tenebrationisian: A gender that is masculine, toasty, calming, and similar to the sea at night.  It is gloomy, calming, and connected to anchors, boats, and summer.  Exemplar: Alexandria Ocasio-Cortez (AOC, b 1989).

Tenebricosumian: A gender that is cautious, wintry, dark and comforting.  It is small, fluid, and flux.  Exemplar: Bernie Sanders (b 1941).

Tenebricumian: A gender that is icy, soft, watery and comforting. It is large, fluid, and flux.  Exemplar: Sydney Sweeney (b 1997).

Tenebrosumian: A gender that is icy, soft, electric and powerful.  It is large, fluid and flux as well.  It can be connected to lights in a city at night, blankets and snowy afternoons.  Exemplar: Jessica Simpson (b 1980).

Aesthetigender

Aesthetigender was said to have been coined in 2014 by Tumblr user curiosityismysin and the original description read: “a gender experience that is derived from, or the embodiment of, an aesthetic”; from that came the mission creep which saw the term evolve from a “standalone gender” to being an entire sub-category of MOGAI genders to the point where it is one of the largest.  The nature of the beast is such that within the rubric of aesthetigender it’s an irrelevance to try to determine where one ends and another begins and the extent of proliferation anyway made overlap inevitable.  As might be imagined, a category in which the imperative is “a gender which in some ways relates to an aesthetic” is so broad that probably all MOGAI genders could be made to fit under the umbrella, including terms that aren't obviously “aesthetically linked” because just as “everything is text”, in a sense, “everything has an aesthetic”.  That has to be right because the root of aesthetigender ultimately can be traced back to a rejection of gender as a binary and the nonbinary activist movement really began as something aesthetic before a conceptual framework was built.  The MOGAI community now lists over 600 known aesthetigenders and while some (like many entries in the phobia lists) are variants, jocular coinings or exercises in novelty, such is the breadth, there must be something for just about everyone; some illustrative examples are:

Abandoe: a gender similar to that of an abandoned house; could be dead, genderless or of themes being empty and intimidating.

Adorbian: a xenic alignment to cuteness or cute things.

Aesthetigxrl: a girl or woman who is also aesthetifluid.  Your aesthetigenders act as an overlay, affecting pronouns and desired presentation.  If the aesthetic is heavily aligned with a different gender, your gender might be obscured until the aestheticgender changes. Comes under the genderfluid umbrella. (Gxrl can be substituted with your main gender (bxy, boy, girl, xen, enby ect).

Ancientus: a gender that feels like it is becoming ancient and unused, regardless of whether it is or is not.

Animecoric: a gender related to animecore.

Antiancientius: a gender that feels like it is coming back from being ancient and unused to being new and used

Arcage: a gender that feels locked up in a coffin or mausoleum, it’s desolate and unused but can be revisited and used for a small amount of time.  It can also be related to coffins, cemeteries and Halloween.

Autumnusian: a slightly neutral gender related to autumn (fall), fallen leaves, oak trees, the smell of maples, rain, and/or the sun.

Bellusgender: a gender relating to anything beautiful to the user’s eye (can be flowers, pets etc).

Burlesgender: A gender that is ineffable, extremely hard to label, but is flamboyantly and fabulously androgynous.  It was first coined as Ziggystardustgender but changed due to this referencing a fictional character.

Camogender: a gender that’s hard to see on the outside, almost invisible, but very deep and full of meaning on the inside. Can be thick or thin but is always not what it appears to be.

Cosmiccoric: a gender that feels like you’re a cosmic entity, one with the universe, especially when meditating.

Crystalforestgender: a gender associated with both crystals and forests or that is easily described by both forests and crystals.

Demi-Smoke: a transcendental, spiritual gender roughly drifting to other genders that are unable to be foreseen or understood, shrouded in darkness within your inner visual.  Elevating through mystery and caused by a lack of inner interpretation and one’s dark emotional states.

Derkazgender: where you feel like parts of your gender are hidden or concealed in darkness.

Djender: a gender that is harsh and jagged.

Elegender: a gender up to interpretation by individuals, but in essence is an ethereal gender that is unable to be understood by either the individual or others; a gender that cannot be explained; a dainty, elegant, or delicate gender.

Estetikgender: when your gender is influenced by your current aesthetic.

Fatugender: a useless gender.

Fractigender: a gender identity characterized by different genders occurring with different intensities, and yet still connected (either through expression, interpretation, or being experienced simultaneously).  This identity is based on the Latin fractus (broken), perfect passive participle of frangō (break, fragment), the idea being a pattern that repeats on smaller and smaller scales, and different locations.

Genderabyssalis: a gender that is dark, deep, and abyssal.  It may be connected to darkness, dimness, and cold nights.  It can be masculine or neuter-aligned, but need not be.

Genderamburo: a gender that feels slightly scorched or burnt.

Genderardere: a gender that feels like it has been burnt/scorched, but still remains.

Genderatrum: a gender shrouded into darkness. It feels gloomy and unwelcoming, isolating itself from other genders.

Gendercalefecere: a gender that feels like it warms, and then quickly cools again.

Gendercimiterium: a gender related to graveyards.  It feels buried underneath other genders, and trapped forever more.

Genderclock: a xenogender related with time and clocks.

Gendergothica: a gender that feels Gothic or related to Gothic architecture or literature.

Gendermortes: A gender that fades into death.

Gendermortuss: A gender that feels dead or is barely clinging to life.

Gendernoir: A gender related to the noir aesthetic.

Genderplush: A gender related to teddy bears.

Gendertextus: a gender that is woven into other genders.

Icegender: A cold gender that's disconnected from emotion

Lolitagender: A gender related to Lolita fashion.

Magikavine: A gender related to the color purple, dark circus aesthetics, and magic.

Mermaidcoric: A gender related to mermaidcore.

Multioculaec: a gender related to having or wanting multiple eyes (Based off Wingphinaec).

Naufragiumgender: a gender simply abandoned.  It is similar to a shipwreck in that it just plainly disappears for a while, later to be rediscovered by advancing into the depths of gender.

Necrogender: a gender that used to exist but is now 'dead' or nonexistent.

Nightshadegender: when your gender feels ominous and dangerous if wrongly handled.

Noirgender: an aesthetic gender based on being goth.

Noxnidorian: A gender that’s related to the night and specifically the smell of the night.

Nymphetic: genders relating to the nymphet/doelette/coquette/faunlet aesthetic & fashion, without k!nk attatched

Ophthalmogender: a gender described by your own eye and its characteristics at some point.

Opscugender: a dark, murky gender, hard to describe or see.

Pastelgothcoric: a gender related to pastel gothcore, or just pastel goth in general!

Petrichic: a xenic-alignment with rain, storms, and water.

Pictogender: a gender that can only be described through imagery. A pictogender individual might only be able to describe their gender with icons, symbols, emojis, color gradients, or some other visual.

Pinkcoric: A gender related to pinkcore.

Punque: a gender characterized by the punk aesthetic, fashion, culture, music and attitude.  Can be used as a descriptor or as a noun.

Puppetic: A xenogender related to puppets/marionettes.

Sadcoric: A gender related to sadcore

Sapphiregender: A gender that is aesthetically related to sapphires, a gender that is feminine, non-binary, and vaguely fluid.

Savmysterius: a masculine xenogender that feels shrouded in fog and is hard to define. It’s slightly fluid, golden and ancient, and draws influence from many sources, including: crystals & forests, stars & death, old gods & demons, angels and the fae.

Sexygender: a gender that is very, very sexy

Shampooium: a dermagender that feels sudsy like shampoo, and makes other genders feel healthy as well.

Shipwreckian: a gender somehow connected to shipwrecks, the deep sea, shades of blue and warm ocean waters.

Sliwarmasix: a slightly warm gender, it hovers slightly above other genders and never flares up.

Somnigender: a gender identity related to, dependent upon, or inexorably connected to a feeling of sleepiness or tiredness. Alternately, it can refer to a gender that is difficult or impossible to perceive or identify due to feelings of sleepiness or tiredness.  Not a narcolepsy/insomnia-based neurogender, just general sleepiness.

Squishyic: a xenogender related to squishies.

Starboy: A gender related to boasting, cyberpunk, and crime.

Tenebric: a gender that feels cold and dark; it smells of moss and nature.

Traumacoric: A gender related to traumacore.

Urbisgender: a gender built like a city, composed of many, many parts that all function to help one another; full of many small parts and things to discover.

Vampcoric: a coric gender related to vampirecore.

Wanderlust Gender: a labyrinthine, eerie gender that’s impossible to navigate or map, but which causes no anxiety.  This gender is fun to explore even if it’s easy to get lost in.

Windowgender: a gender feeling like the space between the glass and the screen of the window thus either a free-flowing gender or for those who feel their genders are transparent!

Wingphinaec: a gender related to wings or having wings!

Witchcoric: a xenogender related to witchcore.

Xenoirgender: A gender based in emo, scene and other offshoots of goth.

Zombiecoric: a masculine, feminine or neutral gender based around zombiecore; feels decayed & dark, which isn’t necessarily a bad thing.

Compunction

Compunction (pronounced kuhm-puhngk-shuhn)

(1) A feeling of uneasiness or anxiety of the conscience caused by regret for doing wrong or causing pain; contrition; remorse; sorrow.

(2) Any uneasiness or hesitation about the rightness of an action.

1350–1400: From the Middle English compunccion, from the Old French compunction (from which in the twelfth century Modern French gained compunction), from the Late Latin compunctionem (a pricking) & compūnctiōn- (stem of the Ecclesiastical Latin compunctiō) (remorse; a stinging or pricking (of one’s guilty conscience)), the construct being the Classical Latin compūnct(us) (past participle of compungere (to sting; severely to prick), the construct of which was (com- (used as an intensive prefix) + pungere (to prick; to puncture) (from a suffixed form of the primitive Indo-European root peuk- (to prick)) + -iōn- (stem of –iō and a suffix forming nouns, used especially on past participle stems).  The origin of the meaning in Latin (transferred from the element pungere (to prick; to puncture)) was the idea of “a pricking of one’s guilty conscience” which could induce some feeling of regret although, like many injuries cause by pin-pricks, recovery was often rapid.  The adjective compunctious (causing compunction, pricking the conscience) dates from the late sixteenth century.  Compunction & compunctiousness are nouns, compunctious & compunctionless are adjectives and compunctiously is an adverb; the noun plural is compunctions.

The Ecclesiastical Latin compunctiō (and compunction in other forms) appears frequently in the texts of the early Church, used in a figurative sense originally to convey a more intense sense of “contrition” or “remorse” than that familiar in modern use.  Contrition and remorse were of course a thing vital for the Church to foster, indeed to demand of the congregation.  The very structure of Christianity was built upon the idea that all were born in a state of guilt because the very act of conception depending upon an original sin and this was what made Jesus unique: the virgin birth meant Christ was born without sin although centuries of theological squabbles would ensue as the debate swirled about his nature as (1) man, (2) the son of God and (3) God.  That was too abstract for most which was fine with the priests who preferred to focus on the guilt of their flock and their own importance as the intermediaries between God and sinner, there to arrange forgiveness, something which turned out to be a commodity and commodities are there to be sold.  Forgiveness was really the first futures market and compunction was one of the currencies although gold and other mediums of exchange would also figure.

Sorry (Regretful or apologetic for one's actions) was from the From Middle English sory, from the Old English sāriġ (feeling or expressing grief, sorry, grieved, sorrowful, sad, mournful, bitter), from the Proto-West Germanic sairag, from the Proto-Germanic sairagaz (sad), from the primitive Indo-European seh₂yro (hard, rough, painful).  It was cognate with the Scots sairie (sad, grieved), the Saterland Frisian seerich (sore, inflamed), the West Frisian searich (sad, sorry), the Low German serig (sick, scabby), the German dialectal sehrig (sore, sad, painful) and the Swedish sårig.  Remarkably, despite the similarities in spelling and meaning, “sorry” is etymologically unrelated to “sorrow”.  Sorrow (a state of woe; unhappiness) was from the Middle English sorow, sorwe, sorghe & sorȝe, from the Old English sorg & sorh (care, anxiety, sorrow, grief), from the Proto-West Germanic sorgu, from the Proto-Germanic surgō (which may be compared with the West Frisian soarch, the Dutch zorg, the German Sorge, and the Danish, Swedish and Norwegian sorg), from the primitive Indo-European swergh (watch over, worry; be ill, suffer) (which may be compared with the Old Irish serg (sickness), the Tocharian B sark (sickness), the Lithuanian sirgti (be sick) and the Sanskrit सूर्क्षति (sū́rkṣati) (worry).

Johnny Depp & Amber Heard saying sorry in Australia and Johnny Depp deconstructing sorry in London.

Sorry indicates (1) one is regretful or apologetic for one’s thoughts or actions but it can also mean (2) one is grieved or saddened (especially by the loss of something or someone), (3) someone or something is in a sad or regrettable state or (4) someone or something is hopelessly inadequate for their intended role or purpose.  Such is human nature that expressions of sorry in the sense of an apology are among the more common exchanges and one suspects something like the 80/20 rule applies: 80% of apologies are offered by (or extracted from) 20% of the population.  So frequent are they that an art has evolved to produce phrases by which an apology can be delivered in which sorry is somehow said without actually saying sorry.  This is the compunction one fells when one is not feeling compunctious and a classic example was provided when the once (perhaps then happily) married actors Johnny Depp (b 1963) & Amber Heard (b 1986) were in 2015 caught bringing two pet dogs into Australia in violation of the country’s strict biosecurity laws.  Ms Heard pleaded guilty to falsifying quarantine documents, stating in mitigation her mistake was induced by “sleep deprivation”.  No conviction was recorded (the maximum sentence available being ten years in jail) and she was placed on a Aus$1,000 one-month good behavior bond, the couple ordered to make a “public apology” and that they did, a short video provided, the script unexceptional but the performances something like a Monty Python sketch.  However, whatever the brief performance lacked in sincerity, as free advertising for the biosecurity regime, it was invaluable.  Mr Depp later returned to the subject when promoting a film in London.

The synonyms for “sorry” (as in an apology) include regret, apologize, compunctious, contrite, penitent, regretful, remorseful & repentant (which is more a subsequent act).  Practiced in the art of the “non-apologetic” apology are politicians (some of whom have honed it to the point where it’s more a science) who have a number of ways of nuancing things.  Sometimes the excuse is that simply to say “sorry” might subsequent legal proceedings be construed as an admission of liability, thus exposing the exchequer and there was some basis for that concept which has prompted some jurisdictions explicitly to write into legislation that in traffic accidents and such, simply to say “sorry” cannot be construed as such an admission.  That of course has had no apparent effect on the behaviour of politicians.  Even when there is no possibly of exposing the state to some sort of claim, politicians are still averse to anything like the word “sorry” because it’s seen as a “loss of face” and a victory for one’s opponents.

There are exceptions.  Some politicians, especially during periods of high popularity, worked out that such was the novelty, saying sorry could work quite well, especially if delivered in a manner which seemed sincere (and the right subject, in the right hands, can learn such tricks) although some who found it worked did overdo it, the repetition making it clear it was just another cynical tactic.  An example was Peter Beattie (b 1952; Premier of Queensland 1998-2007) who found the electorate responded well to a leader saying sorry but such was the low quality of the government he headed that there was often something for which to apologize and having set the precedent, he felt compelled to carry on until the sheer repetitive volume of the compunctiousness began merely to draw attention to all the incompetence.

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

The other exception is the set-piece event.  This is where a politician apologizes on behalf of someone else (a previous government, hopefully the opposition or something a vague as the nation in some dim, distant past) while making it clear that personally it’s nothing to do with them personally.  There has been a spate of these in recent decades, many apologizing for egregiously appalling acts by white men against ethnic minorities, indigenous populations, the disabled or other powerless groups.  Again, some of the apologies have been in the form of “personally sorry it happened”, thereby ticking the box without costing anything; people like and indigenous population apparently deserving words but not compensation.  For the rest of us, ranging from the genuinely sincere to the cynically opportunistic nihilistic psychopaths, the most obvious tool is the adverb: to say “I am so sorry” can be more effective than “I’m sorry” provided the tone of voice, inflections and the non-verbal clues are all in accord.  Sorry is recommend by many because it so easily can be made to sound sincere with a ease that’s challenging with compunctious, contrite, penitent, regretful, and remorseful, the longer words ideal for one politician “apologizing” to another in a form which is linguistically correct while being quite contemptuous.