Scientist

Scientist (pronounced sahy-uhn-tist)

A person who studies or practises any of the sciences or who uses scientific methods, especially in the physical or natural sciences.

1833: Modeled after artist, the construct was the Latin stem scientia (knowledge) +‎ -ist.  Science was from the Middle English science & scyence, from the Old French science & escience, from the Latin scientia (knowledge), from sciens, the present participle stem of scire (to know).  The -ist suffix was from the Middle English -ist & -iste, from the Old French -iste and the Latin -ista, from the Ancient Greek -ιστής (-istḗs), from -ίζω (-ízō) (the -ize & -ise verbal suffix) and -τής (-tḗs) (the agent-noun suffix).  It was added to nouns to denote various senses of association such as (1) a person who studies or practices a particular discipline, (2), one who uses a device of some kind, (3) one who engages in a particular type of activity, (4) one who suffers from a specific condition or syndrome, (5) one who subscribes to a particular theological doctrine or religious denomination, (6) one who has a certain ideology or set of beliefs, (7) one who owns or manages something and (8), a person who holds very particular views (often applied to those thought most offensive).

Natural Philosopher versus Scientist

Founded in 1831 and modelled on the Gesellschaft Deutscher Naturforscher und Ärzte (Society of German Researchers and Physicians), the British Association for the Advancement of Science (BAAS) was formed as an organisation open to anyone interested in science, unlike the exclusive Royal Society (originally Royal Society of London for Improving Natural Knowledge), founded on 28 November 1660 and granted a royal charter by Charles II (1630–1685; King of Scotland 1649-1651, King of Scotland, England and Ireland 1660-1685).  The Royal Society is the world's oldest continuously existing scientific academy and it's list of fellows range from Sir Isaac Newton (1642–1727) in 1672 to Elon Musk (b 1971) in 2018.  In an indication of the breadth of its attraction, at the meeting of the BAAS on 24 June 1834, unexpectedly in attendance was the poet Samuel Taylor Coleridge (1772-1834); he’d not left his home in Highgate Hill for years and would die within weeks.  That a poet should attend a meeting about science was not at the time a surprise, the division between science and the arts coming later and Taylor had previously written about the scientific method.

Scientists study all sorts of things.  Research like this can attract an Ig Nobel prize.

For most of history, those we would now think of as scientists had been called natural philosophers.  Coleridge declared true philosophers were those who sat in their armchairs and contemplated the cosmos; they did not scratch around in digs or fiddle with electrical piles.  Cambridge don, the Reverend William Whewell, an English polymath, responded by suggesting, by analogy with artist, they should be called scientists and added those studying physics could be styled physicists, the French having already applied physicien (physician) to the surgeons and etymologists once dated the word “scientist” from that meeting but it was later discovered Whewell had coined the term in 1833 and it first appeared in print a year later in his anonymous review of Mary Somerville's (1780-1872) On the Connexion of the Physical Sciences published in the Quarterly Review.  It took a while to catch on but was in wide use in the US by the late nineteenth century and the rest of the English-speaking world a few years later although as late as 1900 there were publishers which had scientist on their “not-acceptable” list.

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

Basic

Basic (pronounced bey-sik)

(1) Of, relating to, or forming a base; fundamental.

(2) In chemistry, pertaining to, of the nature of, or containing a base; alkaline.

(3) In metallurgy, noting, pertaining to, or made by a steelmaking process (basic process) in which the furnace or converter is lined with a basic or non-siliceous material, mainly burned magnesite and a small amount of ground basic slag, to remove impurities from the steel.

(4) In geology, descriptor of a rock having relatively little silica.

(5) In military use, the lowest or initial form of anything (chiefly US).

(6) In popular culture, the adjectival part of a slang term for a sub-set of females characterized by predictable or unoriginal style, interests, or behavior.

(7) Of things elementary in character, essential, key, primary, basal, underlying.

(8) As a computer industry acronym, (BASIC and its forks, QBASIC, BASICA etc), a long-lived programming language: B(eginner's) A(ll-purpose) S(ymbolic) I(nstruction) C(ode).

1832:  Originally from chemistry (base + ic) and adopted by about every other field.  The programming language was created in 1964 by Hungarian-born US-based computer scientist John Kemeny (1926-1992) and US computer scientist Thomas Kurtz (b 1928).  Use to describe a female sub-set dates from 2005.

The Basic Bitch

Basic bitch, often truncated to the (sometimes affectionate) "basic", is a US pop-culture term.  Although use outgrew its origins, it was intended as a pejorative descriptor of white, middle class females with boringly predictable, mainstream tastes in consumer goods and culture.  Variously interpreted as a variation on the earlier airhead, a general expression of misogyny and another unsuccessful attempt to invent a term white people would find offensive, basic bitch briefly generated a sizable critique.  Although expressions of disapproval of hollow consumer culture had became common even before publication of JK Galbraith's (1908–2006) The Affluent Society (1958) made it a bit of a thing, basic bitch seemingly offended just about all the usual suspects in the grievance industry.

Feminists found it misogynistic and weren’t at mollified by the emergence of a term of male equivalence, their general position probably demanding the dismissal of all cultural feminine signifiers.  To them, the specifics were tiresomely irrelevant; basic bitch was just another way to demean women.  The left generally agreed, arguing it was unhelpful to target a stereotype of late capitalist femininity rather than adhere to their critique of consumer culture.  Western capitalism, neutral on the squabble, soon commodified:

Less predictable was the race-based criticism.  Basic bitch was considered yet another attempt to create a term of disparagement to describe the white folk which they would find actually offensive and in that, like all previous attempts, it didn’t work.  However, it clearly made sense only if applied to white, middle-class females so had the effect of creating yet another exclusive enclave of white privilege and one which, by definition, excluded other ethnicities, even if becoming a basic bitch was their aspiration.  First noted in 2005 in a sub-set of popular music, "basic bitch" entered mainstream use circa 2009 and use appears to have peaked in 2014 although term may persist because it references a mode of behavior rather than anything specific to a time or place; it’s thus adaptable and generationally transferrable.  It’s also an amusing example of one aspect of how Sisyphean battles in the pop-culture wars are waged.  All those who coined the alliterative basic bitch were saying was “our taste in pop music is better than their taste in pop music”.

In the matter of Judge Eugene Fahey

Lindsay Lohan v Take-Two Interactive Software Inc et al, New York Court of Appeals (No 24, pp1-11, 29 March 2018) was a case which took an unremarkable four years from filing to reach New York’s highest appellate court; Lindsay Lohan’s suit against the makers of video game Grand Theft Auto V was dismissed.  In a unanimous ruling in March 2018, six judges of the New York Court of Appeals rejected her invasion of privacy claim which alleged one of the game’s characters was based on her.  The judges found the "actress/singer" in the game merely resembled a “generic young woman” rather than anyone specific.  Unfortunately the judges seemed unacquainted with the concept of the “basic white girl” which might have made the judgment more of a fun read.

Beware of imitations: The real Lindsay Lohan and the GTA 5 ersatz, a mere "generic young woman".

Concurring with the 2016 ruling of the New York County Supreme Court which, on appeal, also found for the game’s makers, the judges, as a point of law, accepted the claim a computer game’s character "could be construed a portrait", which "could constitute an invasion of an individual’s privacy" but, on the facts of the case, the likeness was "not sufficiently strong".  The “… artistic renderings are an indistinct, satirical representation of the style, look and persona of a modern, beach-going young woman... that is not recognizable as the plaintiff" Judge Eugene Fahey (b 1951) wrote in his ruling.  Judge Fahey's words recalled those of Potter Stewart (1915–1985; associate justice of the US Supreme Court 1958-1981) when in Jacobellis v Ohio (378 U.S. 184 (1964) he wrote: “I shall not today attempt further to define… and perhaps I could never succeed in intelligibly doing so.  But I know it when I see it…”  Judge Fahey knew a basic white girl when he saw one; he just couldn't name her.  Lindsay Lohan's lawyers did not seek leave to appeal.

Bathtub

Bathtub (pronounced bath-tuhb or bahth-tuhb)

(1) A tub in which to bathe, variations including permanent installations (either built-in fixtures or free-standing units) in a bathroom and (now less commonly in the developed world) portable constructions (historically of metal or timber although for military and outdoor use, foldable bathtubs (of leather or canvas) have a long history).

(2) An automotive style (most common in the 1950s) in which the bodywork resembled an upturned bathtub.

1825–1835: The construct was bath + tub and the previous related word was “wash-tub”, dating from the turn of the seventeenth century.  Bath was from the Middle English bath & baþ, from the Old English bæþ (bath), from the Proto-West Germanic baþ, from the Proto-Germanic baþą (bath), from the primitive Indo-European root bhē- (to warm).  The corresponding inherited verbs were bathe & beath.  The Old English bæð (“an immersing of the body in water, mud, etc” or “a quantity of water etc., for bathing”) was from the Proto-Germanic badan (the source also of the Old Frisian beth, the Old Saxon bath, the Old Norse bað, the Middle Dutch bat and the German Bad), also from the primitive Indo-European root bhē- with the appended –thuz (the Germanic suffix indicating “act, process, condition” (as in “birth”; “death”)). The etymological sense is of heating, not immersing.  Tub was from the late fourteenth century Middle English tubbe & tobbe (open wooden vessel made of staves), from the Middle Dutch & Middle Flemish tubbe or the Middle Low German tubbe & tobbe, of uncertain origin.  Etymologists have concluded there’s no link with the Latin tubus or the English tube but it was related to the Old High German zubar (vessel with two handles, wine vessel) and the German Zuber.  In the seventeenth century tub was slang for “pulpit”, thus since the 1660s a “tub-thumper” was a particularly forceful preacher who literally “thumped his fists on the pulpit” to emphasize some point; the use was later extended beyond the church to politicians and others who spoke in a loud or dramatic way.  The English city in the county of Somerset (in Old English it was Baðun) was so called from its hot springs.  The convention now probably is to refer to any permanently installed unit as a “bath”, a bathtub something portable.  The word can appear both as bath tub and bath-tub.  Bathtub is a noun and bathtubby is an adjective (bathtubesque & bathtubbish (resembling or characteristic of a bathtub) were jocular constructions); the noun plural is bathtubs.

Lindsay Lohan with claw-footed bathtub, music video release of Confessions of a Broken Heart (Daughter to Father) (2005).

A “bathtub cockpit” is a cockpit with recessed seating, so that a pilot or driver is sitting in a bathtub-shaped space.  It was often seen in aircraft but the classic example was that used in the delicate, cigar-shape voiturettes built to contest the Formula One World Championship during the 1.5 litre era (1961-1965).  The bathtub curve is a concept from reliability engineering, describing a particular form of the hazard function taking into account three categories of failure rate.  As a theoretical model it assumes the shape of a bathtub (sectioned in the middle and viewed from the side), the three regions being (1) a decreasing failure rate due to early failures, (2) a constant failure rate due to random failures and (3) an increasing failure rate due to wear-out failures.  The slang term “bathtub gin” is a US prohibition era (1919–1933) term to refer to a gin (or other spirit) of such dubious quality it suggests it may have been distilled by an unskilled amateur in their bathtub.  It’s a similar form to “gutrot”, “moonshine” etc and was applied sometimes to any form of illicit alcohol and not just distilled spirit.  “Bathtub racing” literally describes bathtubs being raced.  One of sports more obscure niches, the variations have included (modified) bathtubs being rowed or sailed on waterways or raced on land (either powered, pushed or run on downhill courses.  In economics, the “bathtub theorem” is the charming illustration of the idea that capital accumulation = production - consumption.  The metaphor is that of the water running from the taps (production) and that exiting from the plughole (consumption).  That seems obvious but where the inflow is too great for the capacity of the plughole, the water in the tub (capital) overflows, flooding the place, an elegant explanation of the effects of over-production which can induce recessions or depressions.

Admiral Sir Reginald Aylmer Ranfurly Plunkett-Ernle-Erle-Drax KCB.  Lest it be thought multi-element names are a thing exclusive to the British Isles, they exist elsewhere, an example of which was the German Count Graf Philipp-Constantin Eduard Siegmund Clemens Tassilo Tobias von Berckheim (1924-1984).

In the intricate hierarchy of the UK’s honours system, The Most Honourable Order of the Bath is an order of chivalry dating from 1725 and the name really is derived from the use of a bathtub, the reference being to the medieval ceremony under which knighthoods were conferred, bathing being a symbol of purification.  More than most British honours, the Order of the Bath has a tangled history, at times limited to the military and with various restrictions on the numbers of members.  One thing which was once constant however was that recipients were entitled to the post-nominal letters “KB” after their name.  This changed in 1815 when the order was re-organized into three classes: Knight Grand Cross (GCB), Knight Commander (KCB) & Companion (CB) and the transition was handled effortlessly by the experts but one thing which these days annoys those who worry about such things (and there are a few) is that inexpert journalists and others not do sometimes attach a KB to a Knight Bachelor.  The Knight Bachelor actually attracts no post-nominal letters; it’s a kind of “entry-level” knighthood and recipients are not inducted as a member of one of the orders of chivalry (although there have been plenty of awards of the latter to those whose lives have been far removed from the chivalrous, not all of them from the colonies or Dominions).  The Order of the Bath also provided one of the amusing anecdotes in the unpromising field of diplomatic protocol.  In 1939, when Admiral Sir Reginald Aylmer Ranfurly Plunkett-Ernle-Erle-Drax KCB (1880-1967) was introduced at a ceremony in Moscow, protocol required his honors be read out in full, the Russian translator rendering his KCB as рыцарь умывальник (rytsar' umyval'nik) (Knight of the Wash Tub).  The Russians honor guard couldn’t help but laugh and fortunately, the admiral shared their amusement.

In December 1917, the US satirist & critic HL Mencken (1880–1956) published a fictitious history of the bathtub.  Intended as an amusing hoax, the story was so convincing that quickly it wildly was promulgated, appearing even in reference works and medical journals.  Around a century later, a similar hoax was perpetrated when a university student edited the electric toaster’s Wikipedia page, claiming it had been invented by a wholly factitious Scottish scientist.  The technique was exactly the same as Mencken’s: use the dry factual approach (ie the classic Wikipedia template) and it remained on-line for some years, presumably because the origin of the toaster is not a matter of great interest or controversy.

1949 Nash Ambassador (left), Evelyn Ay (1933–2008), Miss America 1954, in her “bathtub” Nash Rambler (the official car of the beauty pageant) (centre) and 1957 Nash Ambassador which still showed the legacy of the earlier, more extravagant bathtub styling cues.

The best remembered of the “bathtub” cars were first built in the late 1940s by manufacturers introducing their first genuinely new post-war lines (most of the cars produced in 1945-1946 were slightly updated versions of those which had last been made early in 1942).  Within the industry, engineers first called the motif “envelope styling” but the more evocative (and certainly more accurate because an up-turned bathtub came to mind more than an envelope) “bathtub” quickly became the preferred slang.  Echoes of the lines which became familiar in the next decade can be seen in some of the low-volume and experimental bodies seen in the 1920s & 1930s, many an evolution of the realization the “teardrop” shape was close to aerodynamically optimal (at least on paper, the implications of lift and down-force then not widely understood).  Among the large US manufacturers, Nash and Hudson pursued the bathtub style to its most extreme and persisted the longest.  In the early 1950s, the aerodynamic advantages were apparent and combined with the inherently good weight-distribution afforded by their low-slung “step-down” construction, the Hudson Hornet dominated NASCAR racing between 1951-1954, despite its straight-six engine having both less power and displacement than some of the competition.  Except for the odd quirky niche, the bathtub styling didn’t make it into the 1960s and nor did the Nash & Hudson nameplates, the former in 1954 absorbing the latter to created AMC (American Motor Corporation) and in 1957, both brand-names were retired.

Evolution of the Porsche “bathtub” style 1948-1965, the lines of the original a direct descendant of a pre-war racing car.  1948 Porsche 356-001 (the Gmünd Roadster) (top), 1955 Porsche 356 pre-A 1500 Speedster (centre) and 1965 Porsche 356SC Coupé (bottom).  Although the “bathtub” motif was abandoned with the end of 356 production, the 356’s contribution to the lines of the 911 (introduced in 1964 as the 901) is obvious and in the sixty-odd years since, stylistically, not much has changed.

Philadelphus

Philadelphus (pronounced fil-ah-del-fiss)

(1) Any shrub of the temperate genus Philadelphus, cultivated for their strongly scented showy flowers (family Hydrangeaceae).

(2) As Philadelphus coronaries (mock orange), a deciduous, early summer-flowering shrub with arching branches that bear racemes of richly scented, cup-shaped, pure white flowers in profusion with finely toothed, bright green foliage.  The plant is grown for its ornamental value.

(3) A male given name with origins in the Ancient Greek.

1600s (in botanical use): From the Ancient Greek Φιλάδελφος (Philádelphos) (brotherly love) & philadelphon (loving one’s brother).  Philadelphus is a proper noun.

Philadelphus coronaries (mock orange) in flower.

The mock orange plant has long been valued for its decorative and functional properties.  Thomas Jefferson (1743–1826; US president 1801-1809) was a keen gardener and horticulturalist of some note and on 19 April 1807 noted in his “garden book”: “Planted 9 Philadelphus coronarium, Mock orange in the 4 circular beds of shrubs at the 4 corners of the house.”  Although the origin is uncertain, biologists suspect the strong growing, medium-sized shrub is native either to northern Italy, Austria & Central Romania or Central & North America and Asia; in Europe & North America it has been cultivated at least the sixteenth century.  Before modern standards of taxonomy were codified in the eighteenth century, the plant was classified under the genus Syringa (covering the species of flowering woody plants in the olive family or Oleaceae (commonly called lilacs) and a typically comprehensive description was recorded by Lady (Jean) Skipwith (circa 1748–1826), a Virginia plantation owner and manager still celebrated among botanists for her extensive garden, botanical manuscript notes, and library, the latter reputedly the largest at the time assembled by a woman.  Lady Skipwith called the plant a “Syringa or mock orange” while the US naturalist, explorer & explorer William Bartram (1739–1823) preferred the former, reflecting a scientist’s reverence for anything Greek or Latin.  Syringa was from the stem of the Latin syrinx, from the Ancient Greek σῦριγξ (sûrinx) (shepherd's pipe, quill), the name reflecting the use of the plant's hollow stem to make pipes, flutes & tube.  In modern use, “Mock Orange” tends to be preferred by most, the name derived from the fragrance of the flowers being so reminiscent of orange blossoms.  The origin of the scientific name “Philadelphus” (first applied in the early seventeenth century) is attributed usually to being a tribute to Ptolemy II Philadelphus (Ptolemaîos Philádelphos (Πτολεμαῖος Φιλάδελφος in the Ancient Greek) 309-246 BC, pharaoh (king) of Ptolemaic Egypt (284-246 BC), said to be a keen gardener (which can be translated as “he kept many slaves to tend his gardens”).

The literal translation of the Greek philadelphon was “loving one’s brother”, something used in the sense of “brotherhood of man” as well as when referring to family relationships.  For the pharaoh, the use was a little more nuanced because, after some earlier marital problems, he married his older sister Arsinoe II (316-circa 269 BC).  This appalled the Greeks who condemned the arrangement as incestuous and the couple thus picked up the appellation Philadelphoi (Φιλάδελφοι in the Koinē Greek (sibling-lovers)).  Historians however are inclined to be forgiving and suggest the union was purely for administrative convenience, Egyptian political & dynastic struggles as gut-wrenching as anywhere and there’s no evidence the marriage was ever consummated.  Just to make sure there was the appropriately regal gloss, the spin doctors of the royal court circulated documents citing earlier such marriages between the gods (such as Zeus & Hera).  It certainly set a precedent and the intra-family model was followed by a number of later Ptolemaic monarchs and the practice didn’t end.  The scandalous marriage of Heraclius (circa 575–641; Byzantine emperor 610-641) to his youthful niece Martina resulted in her becoming “the most hated woman in Constantinople” and it was a union certainly consummated for “of the nine children she bore her husband, only three were healthy, the rest either deformed or died in infancy.”

The Philadelphi corridor

The Latin proper noun Philadelphi was the genitive/locative singular of Philadelphus.  In 2024 use spiked because the Israel Defense Forces (IDF) use “Philadelphi Corridor” as military code for the narrow (14 km (9 miles) long & 100 m (110 yards) wide) stretch of land used to separate the Gaza Strip from Egypt; it runs from the Mediterranean coast to the Kerem Shalom crossing with Israel and includes the Rafah crossing into Egypt.  The IDF created the corridor (from Gaza territory) as a “buffer zone” (or “cordon sanitaire”), ostensibly to prevent the Hamas, the PIJ (Palestine Islamic Jihad) and others smuggling weapons and other contraband into Gaza through a remarkable network of underground tunnels.  The corridor assumed great significance after Israel's withdrawal from the Sinai Peninsula in 1982 and later after its disengagement from Gaza in 2005; it has long been among the more contested spaces in the Middle East.  According to the IDF, the term “Philadelphi Corridor” was allocated during a routine military planning conference and the choice was wholly arbitrarily with no historical or geographical significance related to the region or any individual.

Just because a military say a code-name has no particular meaning doesn’t mean that’s true; the IDF is no different to any military.  The most obvious possible inspiration for the “Philadelphi corridor” was the Egyptian pharaoh Ptolemy II Philadelphus but one influence may have been cartographic, the geographic shapes of the Gaza Strip (left) and the US city of Philadelphia, Pennsylvania (right) quite similar and were the monstrosities Northwest, West & Southwest Philadelphia to be annexed by adjacent counties, the shapes of the two would be closer still.  

Lindsay Lohan in Philadelphia, 2012.

The Philadelphi corridor has assumed a new importance because Benjamin Netanyahu (b 1949; Israeli prime minister 1996-1999, 2009-2021 and since 2022) has added Israeli control of it to his list of pre-conditions for any ceasefire in negotiations between his government and the Hamas.  It was designated as a demilitarised border zone after the withdrawal of Israeli settlements and troops from Gaza in 2005, prior to which, under the terms of Israel’s Camp David peace treaty with Egypt (1979), the IDF had been allowed to maintain limited troop formations in corridor but without heavy weapons or heavy armour.  Old Ariel Sharon (1928–2014; prime minister of Israel 2001-2006) arranged the Israeli withdrawal from Gaza subsequently forming the Kadima (Forward) political party because he could persuade the Likud (The Consolidation) party to follow his vision.  Very much a personal vehicle for Mr Sharon, Kadima did not survive his incapacitation from a stroke while the Likud fell into the hands of Mr Netanyahu.  Following the Israeli withdrawal, responsibility for the corridor’s security fell to Egypt and the Palestinian Authority, this maintained until the Hamas took control of Gaza in 2007; it was seized by Israel in May 2024 as the IDF’s Gaza ground offensive extended into Rafah.

Over the years, the tunnel complex has proved a remarkably effective means by which to facilitate cross-border smuggling of weapons, other materiel, fuel and a variety of stuff including food, medicine and consumer goods, despite many attempts by the IDF and Egyptian authorities to end the traffic, the latter perhaps a little less fastidious in their endeavours.  The tunnels are impressive pieces of civil engineering, including electricity, ventilation systems, air-conditioning and communications facilities; some are sufficient large to allow heavy trucks to pass and there has long been speculation about the extent to which financial and logistical support for tunnel construction, maintenance & repair is channelled from the Gulf Arab states.  In Cairo, the government viewed the IDF’s seizure of the corridor with some alarm and remain a “status quo” power, insistent that an ongoing Israeli presence will “endanger” the Camp David peace treaty, no small matter because the “ripple effect” of the 1979 agreement had profound consequences in the region.

Pointing the way: Mr Netanyahu (left) explains the Philadelphi corridor (right).      

Still, Mr Netanyahu has made clear he intends to maintain a military presence in the corridor (including the Rafah crossing) and that remains an unnegotiable condition for a ceasefire with the Hamas; opposition to this stance has come from Cario, the Hamas and some of the third parties involved in the negotiation.  In Tel Aviv, that would not have been unexpected but there is now an increasingly persistent protest movement among Israeli citizens, the allegation being the prime-minister is cynically adding conditions he knows the Hamas will be compelled to reject because as long as the war continues, he can remain in office and avoid having to face the courts to answer some troubling accusations pre-dating the conflict.  Mr Netanyahu responded to this criticism by saying as long as the Hamas remained a threat (later refined to “as long as Hamas remained in control of Gaza”), the offensive needed to continue.  One of the great survivors of Middle East politics, Mr Netanyahu recently assured the more extreme of his coalition partners (described as “right-wing” which, historically, is misleading but descriptive in the internal logic of Israeli politics) by engineering a vote in cabinet binding Israel to retaining control of the corridor.  Despite this, opposition within the cabinet to the ongoing “moving of the goalposts” to prevent any possibility of a ceasefire is said to be growing.  The opposition accused the prime-minister of being more concerned with placating the extremists in his government than securing the release of the remaining hostages seized by the Hamas in the 7 October 2023 attack and left unstated but understood by implication was the message Mr Netanyahu regards them as the “collateral damage” in his manoeuvres to avoid the courts.

Absinthe or Absinth

Absinthe or Absinth (pronounced ab-sinth)

(1) A green, aromatic liqueur (alcohol content 45-74%), made with wormwood and other herbs; it has a bitter, liquorice flavour and has from time-to-time been banned in many Western countries.  Technically, because of the high wormwood content, it’s a gin.  The colloquial name was "green fairy".

(2) An alternative name for the herb Artemisia absinthium (grande wormwood); essence of wormwood which correctly should be spelled only absinth).

(3) Bitterness; sorrow (archaic except as a literary or poetic device).

(4) As colors, labeled on color charts as “absinthe green” or “absinthe yellow”, shades on a spectrum from dark to bright.  For commercial purposes , it's sometimes clipped to “absinthe” and the choice between the general descriptors “greenish-yellow” & “yellowish-green” depend on which hue is thought prevalent.

(5) A rare alternative name for the sagebrush (US).

1350-1470: From the French absinthe (essence of wormwood (short for extrait d'absinthe)), from the Latin absinthium (wormwood and a doublet of absinthium), from the Ancient Greek ἀψίνθιον (apsínthion) (wormwood) of uncertain origin although its speculated the source may be a Persian root (spand or aspand, or the variant esfand) which meant Peganum harmala, also called Syrian Rue which, while not actually a variety of rue, is another famously bitter herb.  The alternative etymology is that the genus was named after Queen Artemisia, the wife and sister of Mausolus, ruler of Caria 377–353.  When Mausolus died, he was buried in the Mausoleum at Halicarnassus, one of the seven wonders of the ancient world, and traces of the ruins can still be seen at Bodrum in modern-day Türkiye Cumhuriyeti (Republic of Türkiye).  In the Hellenic myths, Ἄρτεμις (Artemis) was  goddess of the hunt, and protector of the forest and children; her equivalent in Roman mythology was Diana.  Absinthe & absinthism are nouns and absinthic is an adjective; the noun plural is absinthes.

An absinthe drinker's paraphernalia.

The highly alcoholic, anise-flavored liquor originally made from grande wormwood, anise, and other herbs was first distilled in 1842, lending its name to the yellow-green color which became commercially available in the late 1800s.  The early spelling was absinth (which survived longer than absynthe and absenta) and although extinct in English use, absinth remains the spelling variant most commonly applied to varieties of the spirit produced in Central and Eastern Europe; specifically it's associated with Bohemian-style absinthes.  The wormwood (Artemisia absinthium) plant itself has long been figurative of "bitter" sorrow and was known in English as absinth in English from circa 1500; the earlier tradition, drawn from the Old English, used the word in the Latin form.  The drink first gained popularity in Europe after being consumed in some abundance by French soldiers in Algiers and North Africa appears to have been a place with a long fascination with similar drinks, historians noting an association with “magical properties” as far back as ancient Egypt.

Some bottles are sold bundled with a drip spoon and sometimes glasses.  No retailer seems to include sugar cubes.

Before being outlawed in many Western countries in the early twentieth century, it was known colloquially as the green fairy, a “green muse” who would visit to liberate the visions of poets and artists.  The health authorities fretted over the alleged hallucinogenic qualities and, after the usual moral panic, imposed a ban.  Historians of such things suspect the spirit probably didn't induce hallucinations to anywhere near the extent of the legends of the era suggest and that its reputation was probably gained from excessive consumption of mixes with unusually high concentrations of wormwood being sold, the regulation of the content of strong drink paying little attention to anything except the taxable component (alcohol).  However, absinthe (in a strictly regulated form) is again available in Australia and La Fee Absinthe NV Absinthe (700 ml) is available from Cool Wine at Aus$83.95.

Death in the afternoon

Death in the Afternoon, also called The Hemingway or Hemingway Champagne, is a mix of absinthe and Champagne, invented by Ernest Hemingway (1899-1961) himself.  The concoction shares its name with a novel from what Zelda Fitzgerald (née Sayre; 1900–1948) called his “bullfighting, bull-slinging, & bullshit” period (Death in the Afternoon (1932)), the recipe published in a 1935 anthology of cocktails with contributions from noted authors. 

(1) Pour one jigger of absinthe into a Champagne glass.

(2) Add iced Champagne until it attains the proper opalescent milkiness.

(3) Drink three to five of these, slowly.

Traditional French Method

(1) Pour a shot (1oz/30ml) of absinthe into a tall, wide rimmed glass.

(2) Rest specially slotted absinthe spoon across top of the glass.

(3) Place a sugar cube atop absinthe spoon.

(4) Slowly drizzle ice-cold water over sugar cube so water is evenly displaced into absinthe until drink is diluted to a ratio between 3:1 and 5:1.

(5) Stir gently and enjoy.

Bohemian Method

(1) Pour a shot (1oz/30ml) of absinthe into a tall, wide rimmed glass.

(2) Put lump of sugar on a spoon and dip it in the absinthe until cube is saturated.

(3) Hold spoon over glass and set the cube alight; it will bubble and caramelize.

(4) When flame has died down, stir sugar into absinthe.

(5) Add iced-water until drink is diluted to a ratio between 3:1 and 5:1.

(6) Stir gently and enjoy.

French purists disapprove of these Bohemian ways, claiming the caramelizing of the sugar impairs the true flavor of absinthe.

Ernest Hemingway wasn’t the only one fond of the green fairy.  Oscar Wilde (1854–1900) is claimed to have said “After the first glass of absinthe you see things as you wish they were. After the second you see them as they are not. Finally you see things as they really are, and that is the most horrible thing in the world.”  He applied his empirical research into the spirit’s psychoactive and degenerative properties in The Picture of Dorian Gray (1890-1891) in which the eponymous protagonist takes those staples of decadent Victorian hedonism, opium and absinthe, in seedy places among London's Docklands.

The French poet Paul Verlaine (1844–1896) infamously was fond of absinthe, his lust for the spirit shared with his lover and fellow poet Arthur Rimbaud (1854-1891), the pair having a drunken tiff during which Rimbaud was shot, sustaining a minor wound.  After that, Verlaine’s alcoholism worsened and he died in poverty, on his deathbed damning as “the green witch” which governments should ban.  Rimbaud may have been more open-minded, one of his works containing the line: “Wise pilgrims, let us reach / The Absinthe with its green pillars.”  Shortly after being shot, he renounced poetry, briefly serving in the military before deserting to take up a life in commerce.

Kidspattern's illustration of the absinthe green color range.

When water has been added to a glass of absinthe, it’s said to have “been louched”.  Although more familiar as a noun meaning “a somewhat dubious or disreputable person or thing or an adjective used to impart a sense of (1) “questionable taste or morality; the decadent” (2) “neither reputable or decent” or (3) “one unconventional and slightly disreputable in an attractive manner; raffish, rakish” there’s was also the use as a transitive verb meaning “to make an alcoholic beverage cloudy by mixing it with water (due to the presence of anethole)”. Most associated with the louche crowd who drank the green fairy, among chemists and in the industry, louching was known as “the ouzo effect”.  Louche was from the French louche (cross-eyed (now archaic); cloudy; obscure (by extension) and (figuratively) shady; dubious; seedy; shifty), from the Old French lousche, from the Latin lusca, feminine of luscus (one-eyed) and existed in the Italian (of character) as losco and the Portuguese (of vision) as lusco.

Le Buveur d'absinthe (The Absinthe Drinker (1859)) by Édouard Manet (1832-1883).

The first major painting by the French painter Édouard Manet was Le Buveur d'absinthe, a study of an alcoholic rag-picker who frequented the area around the Louvre.  The work caused a stir in polite society because of its seedy realism and the concern at the time about the corrosive effects of absinthe among Parisian bohemians and although there’s nothing to prove Manet was even an occasional drinker of the stuff, he did among some gain the reputation on the basis of "guilt by association".  Very few in the art establishment liked the painting and even Manet would later admit the earliest version of the work contained technical flaws but it was the content which so offended and there was something of the "shock of the new" in that it was one of the first depictions of Absinth drinking in representational art.  Manet submitted Le Buveur d'absinthe for inclusion in the Paris Salon in 1859 and almost unanimously the selection committee voted "non".  The establishment may not have wanted moral  degeneracy hanging in their galleries but the avant garde wanted little else and Manet's painting was among the first admitted to the Salon des Refusés (literally "exhibition of rejects") in 1863.  

A Le Buveur d'absinthe (The Absinthe Drinker) (1901) by Pablo Picasso (1881-1973).

A Le Buveur d'absinthe would be also be painted by Pablo Picasso, competed in the autumn of 1901, just as his “blue period” was beginning.  Although nowhere near as monochromatic as later blue period works such as Femme aux Bras Croisés (Woman with Folded Arms (1901-1902)) or La Vie (Life (1903)), the work is an early example of the themes associated with this phase, melancholy, alienation & desolation.  The blue period began after Picasso became depressed over the suicide of a close friend and for some years he would explore aspects of human misery.  For someone who looks this unhappy absinthe might be a good choice but it didn't suit everyone.  The French symbolist writer Alfred Jarry (1873-1907) was renowned for his particularly erratic and eccentric behavior and often indulged in while drinking in Paris’s absinthe cafes; it’s said, with his face painted green, he once rode his bicycle through a village to celebrate the joy of the spirit.  He died of consumption, the severity of his condition aggravated by drug and alcohol use.

Absente Absinthe Refined.

Vincent Van Gogh (1853–1890) was known to drink absinthe, not anything unusual at the time and while he suffered from what would now be called “mental health issues” (then it was simply “went mad”), what part the drink played in his breakdown isn’t known although in letters to friends, he did note the effect it had on his work.  The mere connection however was enough for Crillon Importers to collaborate with Absente to produce the Van Gogh themed packaging for Absente Absinthe Refined when in 1999 it was the first brand to offer the green fairy in the US since the ban was imposed in 1912.  Absente made much of its spirit being “authentic” by which they meant it was distilled from wormwood and therefore contained thujone, the fabled and allegedly psychoactive substance naturally present in the herb and the reason for the original ban although cautiously, when permitting sales in 1999, the ATF (Bureau of Alcohol, Tobacco, Firearms and Explosives) limited the thujone content to 10 milligrams per litre.

Lindsay Lohan in absinthe green, Pure Leaf Green Tea promotion, 2024.

Once one of France’s most famous poets and essayists, Charles Baudelaire (1821-1867) was probably no more fond of absinthe than any other strong drink but certainly didn’t avoid the green fairy, even writing the poem Enivrez-vous (Get drunk, first published in 1864) in which it's mentioned.  For years he drank heavily and used a variety of opioids before suffering a massive stroke in 1866, lingering in a semi-paralysis for almost a year before dropping dead.  In fashion, the term “absinthe green” was used opportunistically and was never exactly defined beyond it being associated usually with a vibrant hue.  The use began during the era in which the drink was in many places outlawed so attraction was it conveyed some sense of “edginess”.  Because the imagery of the “green fairy” and its alleged consequences became part of Western folklore, often it’s forgotten there was also “absinthe blanche” (Suisse absinthe, known also as “absinthe bleue”), which was colorless and in its time much sought for the high alcohol content.  Absinthe blanche was the product extracted before the final maceration process with a blend of herbs which lent the fluid its green hue and more complex taste.

Death in the evening.

Lindy Chamberlain (holding Azaria) and her sons Reagan (b 1976) & Aidan (b 1973), Stuart Highway, Northern Territory, Australia.  The 1977 Holden LX Torana SL Hatchback was finished in in Absinth Yellow (GMH code 1886 (Dulon code 15949 / Berger code 1D008)) over Slate Black Vinyl & Cloth trim (18X) and was fitted with the 4.2 litre (253 cubic inch) V8 (L32) & four-speed manual transmission (M20).  The photograph was taken opposite the Erldunda Roadhouse (gas (petrol) stations and the distance between them are of great importance in the Northern Territory) at the Lasseter Highway turn-off from the Stuart Highway.  Some 200 km (125 miles) from the desolate and depressing township of Alice Springs, from there it's a further 245 km (150 miles) to the Ayers Rock Resort which is the tourist hub for Uluru.  In the happy days before speed limits were in 2007 imposed (by a female chief minister for whom any desire to drive faster than 80 km/h (50 mph) must have been beyond comprehension), in the right car, it was an entertaining drive but with an absurdly low maximum of 130 km/h (80 mph) now set, flying is recommended.  

This is the Absinth Yellow LX Torana made infamous because of the part it played in the 1982 conviction of Lindy Chamberlain (b 1948) for the murder in August 1980 of her nine-week old daughter Azaria.  The family had been camping close to Uluru (Ayers Rock) in Australia’s Northern Territory and, on the fateful evening, in an agitated state, Lindy Chamberlain claimed Azaria had been “taken by a dingo” (a kind of wild dog).  It was a remarkable case in which the prosecution succeeded in convincing the jury a mother had murdered her child despite there being no body, no murder weapon and no apparent motive.  The car was of great significance because of flawed evidence from a forensic scientist who claimed certain material found in the interior was the infant’s blood and it was only a subsequent analysis which confirmed the “blood spatter” was not foetal haemoglobin (something present in those under six months old) but overspray from the bitumen-based sound deadening paint then used by the manufacturer, spilled milkshake and copper dust.

The “Azaria Torana”, now on display at the National Museum of Australia in Canberra.

Convicted of being an accessory after the fact, Lindy’s husband, preacher Michael Chamberlain (1944–2017), was handed a suspended sentence but his wife received the mandatory life term and was imprisoned for more than three years, appeals as far as the HCA (High Court Of Australia) not overturning the verdicts; she was released only when the baby’s bloodied matinee jacket was found near a dingo’s den, prompting an inquest into the matter.  They were finally exonerated by the findings of a 1987 royal commission but the case remains of interest because it raised examples of flaws and inconstancies in matter of evidence and the administration of criminal law.  There was also much analysis of the media’s coverage, especially as it related to Lindy Chamberlain who was deemed by many commentators not to be “playing the part” of a distraught and grieving mother.  Not always with subtleness, aspersions were cast on the “religious fundamentalism” of the Seventh-day Adventist couple and, implications made, among the public, inferences were drawn with one event of note being reported by the press.  When the murder verdict was announced on a television playing in a Darwin pub, there were shouts of “The dingo didn't do it!” and much cheering.