Trope

Trope (pronounced trohp)

(1) In art and literature, any literary or rhetorical device, as metaphor, metonymy, synecdoche, and irony, that consists in the use of words in other than their literal sense and which tends to become a motif.

(2) In rhetoric, a figure of speech in which words or phrases are used with a non-literal or figurative meaning, such as a metaphor.

(3) In geometry, a tangent space meeting a quartic surface in a conic or the reciprocal of a node on a surface (archaic).

(4) In music, a short cadence at the end of the melody in some early music; a pair of complementary hexachords in twelve-tone technique.

(5) In the rituals of Judaism, a chanting (cantillation) pattern, or one of the marks that represents it.

(6) In medieval Christianity (and preserved in the rituals of certain factions in Roman Catholicism), either a phrase or verse added to the Mass when sung by a choir or a phrase, sentence, or verse formerly interpolated in a liturgical text to amplify or embellish.

(7) In Athenian philosophy, any of the ten arguments used in scepticism to refute dogmatism.

(8) In Santayanian philosophy, the principle of organization according to which matter moves to form an object during the various stages of its existence.

(9) In metaphysics, a particular instance of a property, as contrasted with a universal.

1525–1535: From the Latin tropus (a figure of speech (in rhetoric)) from the Ancient Greek τρόπος (trópos) (a turn, direction, course, way; manner, fashion; a mode in music; a mode or mood in logic (in rhetoric, "a turn or figure of speech)) and related to τροπή (tropḗ) (solstice; trope; turn) and τρέπειν (trépein) (to turn).  Root was the primitive Indo-European trep (to turn), related also to the Sanskrit trapate (is ashamed, confused, literally "turns away in shame") which Latin picked up trepit (he turns), the Latin adoption in the figurative.  The meaning is now understood as something more diffuse but technically, in rhetoric, a trope was "a figure of speech in which a word or phrase is used in a sense other than the usual definition".  In English, the word is found often in combined form (such as heliotrope) and occurs also in concrete nouns that correspond to abstract nouns ending in -tropy or -tropism.  Trope is a noun & verb, troper, tropist, tropology & tropism are nouns and tropey is an adjective; the noun plural is tropes.

Use of the noun “tropism” is now generalized but in literary history it’s used in the sense of the “technique” (really more a concept) attributed to the Russian-born French-Jewish novelist and lawyer Nathalie Sarraute (1900-1999).  An exercise in abstract thought, madame Sarraute’s approach was to refer to mental and imaginative life as perceived by her and, thus perceived, it comprised (literally) millions of tiny little responses to innumerable stimuli, the classic example being her experimental narrative Tropismes (begun in 1932 but not published until 1939).  In that, with a most unconventional use of language, she “translated” her “vision of reality” into a construct of a “different reality”, the book consisting of 24 short vignettes, capturing brief scenes, described in intricate detail; it was compared by one modern critic to “a MRI (Magnetic Resonance Imaging) machine able to scan what the brain is doing to construct perceptions and render it all sequentially in text.”  The work came to be regarded as proto nouveau roman (“new novel”, an originally French literary movement that emerged in the mid-1950s); it was described by Jean-Paul Sartre (1905–1980) as un chef-d'œuvre (a masterpiece) and the Paris-based newapaper Le Monde included it in their “100 Books of the Century”.  The title of Tropismes was a botanical reference, tropisms being stimuli to plant growth and this idea madame Sarraute applied to human thought processes, tropisms imagined as “interior movements that precede and prepare our words and actions, at the limits of our consciousness.”

Tropisms (first edition of the English language edition (1963)).

In reading Tropisms, some mental gymnastics are demanded because among the mysteries of the abstract and imaginary are interspersed the real and living; with often no clear break between where one ends and the other starts, it can be helpful to re-read the odd passage.  Even in 1939 when the French language edition first was published, that “modernist” approach hardly was new but it wasn't yet part of mainstream literature.  That “slurring between” what's “real” and what's not adds to the experience and, within the internal logic of the author's premise, probably is essential but the traditionalists of the pre-Nouveau Roman world likely have dismissed the “blurring” as a technical flaw.  After the “very modern” novelist Sir Martin Amis (1949–2023) told one interviewer people “should read my books twice” fully to understand them, his father (Sir Kingsley Amis (1922–1995)), possibly with a glance at the Booker on his shelf, observed: “Well that means the little shit has failed doesn't it?”

One can see why it seduced Sartre but the idea of the Nouveau Roman becoming fashionable didn’t at the time appeal to most of the “reading for pleasure” segment of the market (ie those who paid for and read novels rather than “deconstructing” them in seminar rooms).  For a mainstream readership, the conventions of the nineteenth century novel (beginning, middle, end; plots; characters, right & wrong etc) that seemed dreary to literary theorists were the essence of fiction and to replace these with “cold, meticulous descriptions of external objects” seemed hardly “literature”; for “that sort of thing”, there were repair manuals and political science tracts.  Read however on its own terms and not as an “exemplar of a genre”, Tropismes can be compelling in the way a half-century before, those prepared to spend time looking from different angles at the work of the early cubists must have found fascinating new insights.

Nu descendant un escalier n° 2 (Nude Descending a Staircase, No. 2), oil on canvas by Marcel Duchamp (1887–1968), Philadelphia Museum of Art,  Philadelphia, Pennsylvania.  The Spanish illustrate the meaning of “enigmatic” with the example “of meeting a man on the stairs and being unable to tell if he's going-up or coming down”.  One could describe Tropisms as: “an enigmatic work”.   

Just as the cubists could depict the human form simultaneously in the way the brain might separately process the sight viewed in different aspects, what Nathalie Sarraute did was explore spaces variously unremarkably mundane or threateningly claustrophobic, populated with dream-like figures, her idea being of the mind working in the almost animalistic, pre-verbal, “instinctual movements” she thought arose from human unconscious.  These she said, “constitute the secret source of our existence” and the old existentialist Sartre concurred, saying: “it is existence itself”.  Even Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955), fond of the novels of Anthony Trollope (1815-1882) and unlikely to have found much of worth in nouveau roman, in a way, thought like Sarraute and Sartre.  In 1949, after a minor stroke, his personal physician (Lord Moran (Charles Wilson), 1882-1977; President of the RCP (Royal College of Physicians) 1941-1949), seeking to reassure his patient the consequences were minor, explained: “…there was no paralysis; it had only cut off the nutrition of certain central cells concerned with sensation”, adding, in the clinician’s reductionist way: “Sensation doesn’t matter.”  Churchill at once interrupted: “Life is sensation; sensation is life.”

Visitatio Sepulchri Double Bass Sheet Music by Sir James MacMillan (b 1959).

In modern use, “trope” continues to be used to denote any rhetorical or figurative device but the history was varied, one special use occurring during the Middle Ages when it came to be applied to a verbal amplification of the liturgical text used Church rituals.  Regionally, there were likely a few (now lost) but the best–documented of such interpolations was the Quem quaeritis trope preceding Easter Sunday's Introit.  The Latin phrase Quem quaeritis (Whom do you seek?) was used as the opening line (of four) in the Easter liturgical dialogue introduced during the tenth century and which came to be the basic structural element in what became a vast body of medieval liturgical drama (known also as isitatio sepulchri (Visit to the tomb)).  From this perhaps unpromising ecclesiastical origin came the rebirth of European theatre as it developed into a dramatized form (detached from the sacred Liturgy); what was genuinely a new genre became a trope of great significance in the evolution of European drama.  The Easter Introit (a short musical piece or chant sung at the start of an Easter service) was in a sense “ready-made” for adaptation and proved in the hands of many authors ideal for elaboration into the dialogues that were the basis of an entire school of liturgical drama.  Although never long pieces, so influential was their form the English literary critic and Shakespearean scholar Sir Edmund Kerchever “E.K.” Chambers (1866–1954) devoted many pages to tracing their lineage in his two volume The Mediaeval Stage (1903), a work long overshadowed by his four-volume The Elizabethan Stage (1923) but which benefited from the latter-day revival of interest in and re-assessment of the period dubbed the “Late Middle Ages”.

DVD covers: (The Parent Trap (1998), Freaky Friday (2003) and I Know Who Killed Me (2007).  

When younger, Lindsay Lohan's signature trope was playing dual roles (The Parent Trap, Freaky Friday and I Know Who Killed Me while during her “troubled Hollywood starlet” phase” (2007-2012) she became emblematic of the “downward spiral” trope.  In 2022, she appeared in Falling for Christmas, a Netflix take on the "Christmas movie trope".  Although the scripts for tropes have long followed an algorithm, the studios are said now to be using a predictive form of AI (artificial intelligence) to hone the generation of whatever should have the most audience appeal (an approach with a history in popular music pre-dating AI).  The flesh & blood screen-writers (most of whom have for decades driven cars and made their toast using products manufactured in plants where machines (industrial robots) substantially have displaced the human labor content) are are unlikely ultimately to succeed in keeping AI out of their profession; in the medium term, their future may lie in the creation of the quirky and bizarre (in the pop-culture ecosystem, that's a niche to inhabit until AI also perfects those tropes and at marginal cost).  Indeed, what's predictable is the emergence of the "obviously not AI generated" trope although, presumably, it's a matter of time until machines master also that genre.  For the formulaic stuff (most commercial screen product), the studios are likely to find the AI path "better, cheaper, faster" and the history of US industrial relations suggests these imperatives will prove irresistible.  It's doubtful whether, over the last 40-odd years, many screen-writers gave much thought to the blue-collar workers displaced by robots from assembly lines; it's likely they were just delighted by cheap toasters and better-built cars.  Whether the quality of what ends up on screen will much be improved by AI remains to be seen but the studios will benefit from lower production costs while hoping those rendered redundant will find ways to generate sufficient disposable income to be able to pay to watch what the machines are making.       

Of the Stage 5 Clinger trope, most sources cite the origin as the movie Wedding Crashers (2005) although there are claims it merely popularized the use; without earlier citations however, the source must be assumed to be the film.  As a technical point, a stage one clinger isn’t initially labelled as such, the term applied retrospectively after syndrome is diagnosed.  If men are smart or lucky, they’ll by stage two realize what is happening but some men are so stupid things don't "click" until stage four.  While in movie there was no discussion of stages other than “5”, by implication that was most extreme and memes soon fleshed out 1-4.  Although unverified, the following cautionary tale reputedly was written by Bill Clinton:

SC1, the Stage 1 Clinger: She seems fine

First date went well, she was attentive, interested, and even sometimes got the drinks.  Best of all, she made breakfast!.  Afterwards, the text messages were fun and flirtatious.

SC2, the Stage 2 Clinger: Hunter and game

The text messages become frequent and your first impression was of course positive but, in retrospect, that was the first first hint of the lure / engage / trap strategy of the lone hunter, the point of a lure being to tempt prey and "lure them into a false sense of security".  Lures are of course used because they work and, before long, you'll be exchanging texts with her, most of which will demand little more than agreeing with her about innocuous topics like the weather or the day's traffic.  She has engaged her prey.  When the conversational dynamic has achieved the required level of "naturalness", she’ll suggest a second date and will extract a commitment to a specific time / date / place.  That will be soon.  At this point, an escape still is simple but appears not necessary because a second date seems hardly a threat.

"I've got a stage five clinger", Wedding Crashers (2005).         

SC3, the Stage 3 Clinger: Tactical Manoeuvres

The second day was maybe something you'd not wish to repeat because there was a creepiness in the way she knew so much about your life.  Of course, in the age of social media, such "biodata mining" is hardly a challenge but her knowledge seemed so comprehensive as to suggest the skills of a stalker.  The most dopey men at this point are flattered because they enjoy a date in which about the only topic of conversation was themselves but the more socially sophisticated should at this point sense danger.  The mistake is to continue the engagement by agreeing to a third date, even if thought a clever ploy by not confirming a time; at this point, delusions remain comforting.  Within hours, text messages become frequent to the point of nuisance; you check Facebook and find she's friended everybody one knows while on Instagram she's posted positive comments on your posts.  Needing time to think, you ignore the texting and eventually it goes quiet… for about an hour.  Then she phones.  By being terse to the point of brutish, it can now be ended but many men allow themselves to be trapped into a third date, usually with the illusion they'll use the event to end things.  The S3C stage frequently is the point of no return and exactly when you should have acquainted yourself with the tale of Julius Caesar (100-44 BC; Roman general and dictator of Rome 49-44 BC) crossing the Rubicon and pondered whether to cast the di or cut your losses and run.      

SC4, the Stage 4 Clinger: The circling vulture

By stage four, clinging has slurred effortlessly into stalking and S4C is likely to send your mother flowers on her birthday and attempts at avoidance will prompt texting and calling from other phones.  SC4s who drive are even more of a threat because, wherever you go, she can follow; you'll "run into her" at the most improbable places and usually she’ll suggest taking advantage of the coincidence by going to lunch, dinner or whatever else might be close.  No matter how studiously you might watch the rear-view mirror, she’ll hunt you down and find you.

S5C, the Stage 5 Clinger: Thrill of the kill

A "cheater's" Volvo C30 (2006-2013).  Over dark blue, a stark white "CHEATER" probably is a better contrast the the traditionally preferred red or lurid fuchsia.

The "Cheater Car" phenomenon is due often to wanton philandering but also in some instances because S5C-APCs seek to "dissuade the competition"; Hell hath no fury like a S5C-APC.  In the days of solid machines like the 140/160 (1966-1975) and 240/260 series (1974-1993) series cars, it was once accepted, as a sociological reality, no Volvo ever would suffer the fate but clearly, both Volvos and their ownership profile have changed.  While obviously not desirable, some vehicles have suffered more.

At this point, her life is scheduled around you, even to the point where she may now work in the same building; she expects to have lunch with you every day and a drink after work whenever possible.  Should you try to avoid these meetings, emotional meltdowns (sometimes in public) ensue, the only way to avoid a scene being to agree.  Your friends will start asking you out as a couple and tell one how lucky you are to have her because "she’s wonderful"; the most helpful will hint "she's too good for you" and "you won't do any better".  They know that because they've invited her to their dinner parties where she talks about your plans together.  The S5C can also be APC ("actual psycho-chick", the two not synonymous but there’s frequent overlap).  Pursuing another relationship (even in desperation a fake one) as in an attempt to dissuade her brings its own problems; the S5C-APC will spray-paint CHEATER on their car (usually in some reddish hue but black or white also are used, the required contrast depending on the car's color; these are APC conventions of use).  At this point, faking your own death begins to seem a good tactic.

Cling on and no matter what, never let go: Victorious S5C crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) and Bill Clinton (b 1946; POTUS 1993-2001) under gloomy skies for the formal dedication of the William J Clinton Presidential Center, Little Rock, Arkansas, November 2004.  

The significance of dividing the path of the clinger into stages is it’s vital to extricate yourself from their clutches at the earliest stage possible; it needs to be remembered progression can be rapid, some clingers so adept at the art they're able to skip one or even two stages.  The longer delayed the excision, the harder it becomes and if allowed to reach the later stages, one may be stuck with her forever, the hunter has been captured by the game and for that, you can’t blame her: You're trapped and it's all your fault; you have only yourself to blame.

Mainline

Mainline (pronounced meyn-lahyn)

(1) A slang term for the intravenous (injected directly into a vein as opposed to subcutaneous (skin popping)) use of injectable drugs (historically associated most with opium and its derivatives, especially heroin);  a principal or prominent vein into which a drug can be injected.

(2) To use, enjoy or imbibe something without restriction.

(3) The normal, established, or widely accepted position; major (a synonym of mainstream although without any of the the negative connotations mainstream has in recent years acquired.

(4) In rail transport (1) of or pertaining to the principal route or line of a railway or (2) of or pertaining to a surface railway as distinct from an underground, elevated or light rail one (originally as main line or main-line).

(5) In computing, to integrate (code etc) into the main repository for a software project, rather than separate forks.

(6) In civil aviation, an airline's main operating unit, as opposed to codeshares or regional subsidiaries (by extension from the railroad use).

(7) As Mainlinie (line of the Maine), a (historical and political) boundary between northern and southern Germany, roughly following the River Main.

(8) In chess, of a sequence of opening moves, the principal, most important, or most often played variation of such (ie the "main line", the orthodox sequence of opening moves considered to be "best play").

(9) In foodie slang, voraciously to consume.

(10) In longline fishing, the central line to which the branch lines with baits are attached.

(11) In plumbing, the pipeline carrying wastewater to the public drains or a septic tank.

(12) In the US and Australia, related but different models of Ford cars sold during the 1950s.

1841 (1933-1934 as applied to injectable drugs): All senses of mainline (sometimes variously as main-line or with initial capital) are Americanisms and a compound of main + line.  Main is from the Middle English mayn, main, maine, mæin & meyn, from main (noun) and related to the Old English mægen (strong, main, principal) and the Old Norse megn & megenn (strong, main).  It was cognate with Old High German megīn (strong, mighty) from which Modern German gained Möge & Vermögen (power, wealth) and akin to the Old English magan (to be able to).  Line is from the Middle English line & lyne, from Old English līne (line, cable, rope, hawser, series, row, rule, direction) from the Proto-Germanic līnǭ (line, rope, flaxen cord, thread) from the Proto-Germanic līną (flax, linen), from the primitive Indo-European līno (flax).  Influenced in Middle English by the Middle French ligne (line), from Latin linea, it was cognate with the Scots line (line), the North Frisian liin (line), the West Frisian line (line), the Dutch lijn (rope, cord), the German Leine (line, rope), the Danish line (rope, cord), the Swedish lina (line, rope, wire) and the Icelandic lína (line). It was related also to Dutch lijn (flax), the German Lein (flax, linen), the Gothic lein (linen, cloth), the Latin linea (linen, thread, string, line) & linum (flax, thread, linen, cable), the Ancient Greek λίνον (línon) (flax, linen, thread, garment), the Old Church Slavonic линъ (linŭ) (flax), the Russian лён (ljon) (flax), the Lithuanian linai (flax) and the Irish līn (lion) (flax).  The oldest sense of the word is "rope, cord, thread"; from this the senses "path" & "continuous mark" were derived.  Mainline is a noun in the sense of railways and a verb (used without object) if injecting drugs; those doing the latter known, inter alia, as "mainers" or "mainliners", the mainlined not infrequently ending up on a pathologist's autopsy table.  Mainline is a noun, verb & adjective, mainliner is a noun and mainlinging & mainlined are verbs; the noun plural is mainlines.

Basic motoring: 1952 Ford Mainline Business Coupe (with after-market whitewall tyres & sun visor, neither of which were standard equipment).

Ford in the US produced the Mainline between 1952-1956.  It was the base-model of its three tier offering (Ford at that time in the US producing a single range of passenger cars), the more highly specified models being the Customline and premium-level Crestline.  The name was dropped for 1957 when the layers in the range was expanded to four (Custom, Custom 300, Fairlane & Fairlane 500) although this had nothing to do with the association of “mainline” with injecting drug users; while that connection had existed since 1933, not until the 1960s did it in that sense come into general use.  In the US, the Mainline was offered as a sedan with two (informally dubbed "Tudor") or four doors (Fordor), a business coupe (the two-door sedan with no rear seat, a configuration aimed at the “business traveller” who travelled alone and valued additional storage space) and (between 1952-1954) a two-door a station wagon (called Ranch Wagon); convertibles were restricted to the more expensive lines.  A classic “stripper” (ie “stripped” of much trim and non-essential accessories so able to be sold at a lower price), as a consumer level product the Mainline was rather obscure, often mentioned only in the small print in catalogues and brochures and rarely afforded the honor of a photograph.  That was because, in an era of rising prosperity, it really wasn’t photogenic, the exterior lacking much of the chrome adorning the Customline & Crestline (although Studebaker would would later go further down the austerity path with its “Scotsman” models) while the interiors drably were utilitarian, rubber matting on the floor rather than carpet.  One quirk of production-line meant the Mainline did retain the extravagance of a chrome hood emblem, the cost of a separate run of hoods without the screw-holes higher than that of the emblem and the minute or so of labor required for the fitment.  Mercedes-Benz later (and belatedly) discovered similar math when some chrome trim was omitted from the tail-fins on the lower cost versions of its Heckflosse range (1959-1968), the labor required to hand-finish the metal a more expensive process than fitting the part and its fitting.  The Mainline's equipment levels were similarly spartan, only the driver's side fitted with a sun visor while passengers were denied armrests and unless paying extra to the dealer, no cigarette lighter was included, a painted metal plug (ancestor of the later “switch blanks) covering the hole in the dashboard.  An ashtray was however included and, in a sign of the times, the cigarette lighter was a popular option.

1956 Ford Mainline "Coupé Utility" (Australia).

Australia was a smaller market and neither the three trim options nor all the body styles were offered, sales between 1952-1959 restricted to the four-door Customline (some station wagons were imported in fully-built form) and a locally developed “coupé utility”, created by adding a rear section in the style of a light pickup truck.  A feature of the Australian market since the 1930s, in the Australian way, the six syllable “coupé utility” quickly was shortened to “ute”, remaining a profitable market sector until motor vehicle production in the country ceased in 2017.  The coupé utility used the Mainline name and was built on the station wagon chassis with the addition of the convertible’s X-member to permit a higher load carrying capacity, a further quirk being the Australian Fords continued until 1954 to use the old flathead V8 (introduced in 1932 not in the US used in passenger cars after 1953), the new overhead valve (OHV) Y-Block V8 not introduced until 1955.  The Mainline remained in the Australian line-up until 1959 when the Fairlane replaced the Customline but Ford didn’t develop a coupé utility version of the new car, the body style instead offered on the compact platform (standard-size in Australian terms) when the Falcon (1960-2016) entered local production.  The Australian ute proved influential across the Pacific, Ford in the US offering several generations of Ranchero (1957-1979), the success of which encouraged Chevrolet to adopt the same concept, an El Camino model sold between 1959-1960 and 1964-1987.

Basic military motoring: 1952 Ford Mainline, the teddy bear in sailor suit an alusion to this car once being USN (US Navy) staff car 07-141953.

GM (General Motors) and Chrysler of course also had “stripper” models in their ranges the cheapest and most basic being those offered respectively by Chevrolet and Plymouth but the concept was in every case became corporation-wide although to speak of the cheapest Cadillacs as “strippers” was misleading and it’s better to refer to them as “selectively de-frilled” (something distinct from the more general “de-contenting ” strategy GM would begin in the late 1960s).  For sociological reasons, the “cheapest Cadillac” once had real appeal because in the US it was for decades the ultimate “aspirational brand” appealing very much to those who really couldn’t afford one; the extent of Cadillac purchasing by the “lower middle class” was once of the markers of the “American dream” although caution did need to be exercised: tick to many of the option boxes for a “stripper” Cadillac Calais and the invoice price began to overlap with that of the even more aspirational DeVille.  While the Mainline may not much have been seen in the brochures, in local newspaper advertising, frequently one would appear, usually with its temptingly low price in large bold type (often with an exclamation mark).  That price typically was between 15-20% less than what buyers typically paid for a Customline or Crestline (a “new Ford” in the public imagination) but the advertising copy in the newspaper tended not to dwell on details and in the pre-internet age, the sight of $1,389! was enough to entice buyers to visit the showroom.  Of course, once there they would discover a Mainline business coupe wasn’t all that appealing and the salesman would agree, showing them the better value offered by a two-door Customline sedan at $1,570.  Dealerships really didn’t want to see too many Mainlines because the profit margins were slim compared to the more expensive Fords although the most skilled salesmen (they were then all men) could “add a little fat” by “up-selling” the odd accessory (mudflaps, whitewall tyres, the cigarette lighter etc).

Stripper at speed: 1956 NASCAR (National Association for Stock Car Auto Racing) Ford Mainline, Southern 500, Darlington Raceway, South Carolina, USA.

Darlington was known for the infamous “Darlington stripe”, left on the right side of the cars because the angle of the track made it challenging for drivers to maintain a competitive speed without sometimes “kissing the wall” at turns three & four.  The drivers called the concept “fender prints” (an allusion to the various shades of paint the circulating cars left on an oval’s wall) but Darlington was especially honoured with the notorious “Darlington stripe” because, over the course of a race, multiple “scrapes” were inevitable.  The start-finish line on the unusual egg-shaped track was in 1997 moved so the critical section now starts at turn one and although the guard rails are now less hazardous, the Darlington stripe remains something of a NASCAR rite of passage. 

The sales tactic must have worked because relatively few private buyers chose Mainlines, despite a saving of $180-odd being in 1952 a compelling argument (the method of calculation vary but US$180 expressed in 2026 purchasing power would be over US$2,000).  That was however just side-business for the Mainline.  The real reason the industry built strippers was for fleet sales to corporations and government instrumentalities such as the military, police forces, fire departments and such.  While a saving of $180 might be enough to persuade a few frugal customers to forgo carpets and armrests, for purchasing managers buying by the dozen (or even the thousand), the lower unit-cost multiplied into a lot of money and of course, at those volumes, further discounts were applied.  The other minor career of the stripper came on race tracks or drag strips, buyers for that purpose wanting the cheapest, lightest platform; for them armrests and cigarette lighters were just pointless excess weight and, wherever possible, they undertook further “striping”, discarding anything not absolutely essential.  For them, the Mainline was a good starting-point.

Map of southern England's Great Western Main Line. 

Main Line had since 1841 been used generally to mean "principal line of a railway" and the Main Line was once Philadelphia's most desired suburban district.  Once just another rural hamlet, in the 1870s & 1880s it was transformed by the Pennsylvania Railroad Company that built expensive housing developments and hotels, hence the association of "Main Line" with the meaning "affluent area of residence", noted by 1917 and eventually used in that sense without capital letters and as the unhyphenated "mainline".  Essentially creating a fashionable suburb, the Railroad's urban development project linked Philadelphia to Paoli along the Paoli Local train-line via the station stops Overbrook, Merion, Narberth, Wynnewood, Ardmore, Haverford & Bryn Mawr.  Eventually, the Main Line connected Philadelphia with Pittsburgh via Harrisburg but was later split into two lines, Amtrak's Philadelphia to Harrisburg Main Line and the Norfolk Southern Railway's Pittsburgh Line.

A depiction of Lindsay Lohan's "mainlines" (digitally altered image, left), an illustrative diagram of an urban light-rail system showing the mainlines (thick lines) and branch lines (thin lines) (centre) and a human's entire blood circulatory system, created from a corpse donated (by the subject) for the purpose (right).  The technique used (right) is called “vascular corrosion casting”, achieved by replacing the blood in arteries, veins & capillaries with a specially mixed resin; after the resin has set and cured, all other tissue is dissolved in a highly alkaline chemical (typically sodium hydroxide).  To ensure the resin remains, it needs to be of a specific viscosity, with a chemical composition a-reactive to both natural tissue and the chemical used in the dissolution process.

The original slang among drug users, dating from 1933, was "mainline" the noun, referring the principal or prominent vein into which a drug was most effective if injected.  The verb in the sense of "inject (drugs) intravenously" was noted the following year although the associated verb "mainlining" didn't enter regular use until the mid-1960s and the unfortunate companion verb "mainlined" (dead from a drug overdose) soon followed, referred to in that sense by Mimi Fariña (1945–2001) in the song In the Quiet Morning (1970), recorded by Joan Baez (b 1941) after the messy, drug-related death of singer Janis Joplin (1943–1970).  Joplin's death, although technically caused by an impact injury, happened under the influence of heroin.  Counterintuitively, despite injecting drug-use being so obviously associated with veins and arteries, it seems it was the imagery of main and secondary railway lines rather than the human vascular system (also called the circulatory system) that prompted the simile of mainline in drug-related slang.  It was probably because of the general familiarity with the word being used to describe train tracks and the often-seen graphical representation of them at stations and in carriages.  Even in medicine, mainline appears hardly used by physicians when speaking of arteries, veins or capillaries, specific anatomical names (femoral artery, jugular vein etc preferred), the term apparently not useful within the profession because of the need for precision when discussing such things although it may be handy for pathologists who work mostly "in retrospect".  However, there are citations where physicians and neurologists have adopted a similar metaphor (based perhaps on the "rabbit warrens" that are hospitals) to  explain the process of the brain using the “back passages” to restore blood-flow to areas affected by a stroke which has blocked the “main passage”, again drawing on the idea of primary and secondary lines.

In the Quiet Morning (1970) by Mimi Farina © Universal Music Publishing Group, recorded by Joan Baez.  

In the quiet morning, there was much despair

And in the hours that followed, no one could repair

That poor girl, tossed by the tides of misfortune

Barely here to tell her tale, rolled in on a sea of disaster

Rolled out on a mainline rail

 

She once walked tight at my side, I'm sure she walked by you

Her striding steps could not deny, torment from a child who knew

 

That in the quiet morning, there would be despair

And in the hours that followed, no one could repair

That poor girl, she cried out her song so loud

It was heard the whole world round, a symphony of violence

The great southwest unbound

 

La la la la la la la

La la la la la la la

La la la la la la la la la

La la la la, la la la

 

In the quiet morning, there was much despair

And in the hours that followed, no one could repair

That poor girl, tossed by the tides of misfortune

Barely here to tell her tale, rolled in on a sea of disaster

Rolled out on a mainline rail

 

La la la la la la la

La la la la la la la

La la la la la la la la la

La la la la, la la la

Bastard

Bastard (pronounced bas-terd, br-sted, or bar-stad)

(1) A person born of unmarried parents; an illegitimate child (technically gender-neutral but historically applied almost exclusively to males).  Use is now mostly in a historic context.

(2) In slang as a term of disparagement, a vicious, despicable, or thoroughly disliked person.

(3) In slang, an expression of sympathy for a man who has suffered in some way (unlucky bastard, poor bastard etc).

(4) In slang, an expression used of someone who has been fortunate (lucky bastard).

(5) In jocular slang, a term of endearment (chiefly Australia & New Zealand).

(6) Something fake, phony, irregular, inferior, spurious, or unusual; of abnormal or irregular shape; of unusual make or proportions (now rare).

(7) In engineering, politics, architecture etc, something which is a mixture of inputs as opposed to pure versions.

(8) In metalworking & woodworking, a type of file.

(9) In informal use an extremely difficult or unpleasant job or task.

(10) In animal breeding, a mongrel (biological cross between different breeds, groups or varieties) (now rare).

(11) A sword midway in length between a short-sword and a long sword.

(12) In sugar refining, (1) an inferior quality of soft brown sugar, obtained from syrups that have been boiled several times or (2) a large mold for straining sugar.

(13) A very sweet fortified wine, often with spices added.

(14) In commercial printing, paper not of a standard size.

(15) In theatre lighting, one predominant color blended with small amounts of complementary color; used to replicate natural light because of their warmer appearance.

(16) In theology, a heretic or sinner; one separated from one's deity (archaic).

(17) In biology, a botanical tendril or offshoot (rare and used only in the technical literature).

(18) In linguistics, any change or neologism in language that is viewed as a degradation.

1250–1300: From the Middle English bastarde, basterd & bastart, from the Anglo-Norman bastard (illegitimate child), from the eleventh century Medieval Latin bastardus of unknown origin but perhaps from the Germanic (Ingvaeonic) bāst- (related to the Middle Dutch bast (lust, heat)), a presumed variant of bōst- (marriage) + the derogatory Old French –ard (the pejorative agent noun suffix), taken as signifying the offspring of a polygynous marriage to a woman of lower status (ie the acknowledged child of a nobleman by a woman other than his wife), a pagan Germanic custom not sanctioned by the Christian church.  The Old Frisian boask, boaste & bost (marriage) was from the proto-Germanic bandstu- & banstuz (bond, tie), a noun derivative of the Indo-European bhendh (to tie, bind).  It was cognate with the French bâtard (bastard), the West Frisian bastert (bastard), the Dutch bastaard (bastard), the German Bastard (bastard) and the Icelandic bastarður (bastard).  Etymologists caution that charming as it is, the traditional explanation of Old French bastard as derivative of fils de bast (literally “child of a packsaddle”, the source of this the idea of a child conceived on an improvised bed (medieval saddles often doubled as beds while traveling)) is dubious on chronological and geographical grounds.  The Medieval Latin Bastum (packsaddle) is of uncertain origin.

One etymologist noted that while the origin of bantling (a young child known or believed to be "a bastard") was uncertain, it could be from the German Bänkling (bastard-child) which was from the Luxembourgish Bänk, from the Middle High German and Old High German bank, from the Proto-West Germanic banki, from Proto-Germanic bankiz (and cognate with the German Bank, Dutch bank, English bench, Swedish bänk and Icelandic bekkur.  The alleged link with bastard offspring is that conception took place on "a bank" rather than in a bed where responsible & respectable folk did such things.  In music, a song titled Lindsay Lohan List was released by an artist named That Trending Bastard.  The noun bastarditis is pseudo-Latin used (usually in an offensive or derogatory way) to suggest some tendency to act like a bastard; the formation of the word hints the behavior may be due to disease or affliction (the -itas suffix was from the Proto-Italic -itāts & -otāts (-tās added to i-stems or o-stems, later used freely) and ultimately from the primitive Indo-European -tehats.  There are literally dozens of uses of "bastard" as a modifier and it has been applied to plants animals and devices but it has also proved one of English's more productive nouns:  Bastard is a noun, verb & adjective, bastardliness, bastardizatio, bastardness, bastardy, bastardship, bastardism, bastardhood & bastardling are nouns, abastard, abastardized, abastardizing, bastardise & bastardised are verbs, bastardish, bastardous, bastardly, bastardless & bastardlike are adjectives and bastardly is an adjective & adverb; the noun plural is bastards.

US film star James Dean (1931–1955) with 1955 Porsche 550 Spyder (chassis 550-0055) shortly before his death.

The 1955 Ford Country Squire with tandam-axle trailer (behind Little Bastard) was the the team’s tow vehicle while the Cadillac to the right was a 1953 model.  Beyond both having four wheels and running on gas (petrol), one of the few things the Cadillac had in common with the Porsche was the availability of a manual transmission (Porsche at the time offered no self-shifting choice).  The black Cadillac was probably fitted with the company's four-speed Hydra-Matic automatic transmission although, after a fire destroyed the factory, almost 30,000 were in 1953 equipped with Buick's famously smooth but inefficient two-speed Dynaflow.  After the end of production of the 1953 Series 75, almost three decades would pass before Cadillac again offered a model with a manual transmission although that didn't end well (among the Cadillac crowd the Cimarron (1982-1988) is never spoken of except in the phrase "the unpleasantness of 1982") but in a much more convincing way the option returned to the list in 2004 and by 2013, while one could buy a Cadillac with a clutch pedal, one could not buy such a Ferrari.  For most of the second half of the twentieth century, few would have thought that anything but improbable or unthinkable.

The Little Bastard being serviced.

James Dean was pronounced dead on 30 September, 1955, shortly after crashing the Porsche 550 Spyder he'd bought for use as a race car.  Like the prototype Porsche 356/1 of 1948 the 550 was mid rather than rear-engined as all Porsches had to that point been and while an ideal configuration for racing, it did possess quirks which meant it was best handled by experts.  It was never envisaged as a road car and had few of the then rudimentary safety features which were beginning to appear in series production models.  Dean clearly was a gifted driver and had enjoyed some success but since his death, a minor industry has existed to create or perpetuate myths about the Porsche and it's not certain why the Little Bastard nickname was bestowed (the stories differ) thought it may not be related to the car's handling characteristics.  What is agreed is the name was painted in black script on the 550's tail by Dean Jeffries (1933–2013) who divided his time between stunt work for film production and customizing cars.

The crash aftermath.

The crash happened on SR (South Route) 466 (now SR 46) near Cholame, California, en route to October’s upcoming Salinas Road Races and Mr Dean was driving to familiarize himself with the machine.  In the dimming light of the late afternoon, the Porsche collided with the passenger-side of a 1950 Ford Tudor (two-door sedan) which had just entered the highway, driven by California Polytechnic State University student Donald Turnupseed (1932-1995).  Mr Turnupseed (later cleared by authorities of any blame) suffered only minor injuries while Mr Dean, less than an hour later, was pronounced DoA (dead on arrival) at hospital.  The wreck of Little Bastard was sold and parts were used in other race cars and although the legend of the Little Bastard curse remains entrenched in US urban mythology, the extent of its links to other racing accidents seems overstated and although there was certainly one confirmed death, more then than today, motorsport was a dangerous business and in some seasons it wasn't unknown for drivers to attend a couple of funerals. 

Little Bastard's salvaged transaxle in display frame mounted on wheels.

There is a corner of the collector market which focuses on the trade in macabre items and while a big event like the sinking of RMS Titanic on her maiden voyage in 1912 has provided a wealth of memorabilia (watches, menus, crockery, flatware etc), the death toll need not be in the dozens for collectors to be drawn to relics associated with tragedy; one celebrity can be enough.  In 2021, the four-speed transaxle from film star James Dean’s 1955 Porsche 550 Spyder (550-0055) sold in an on-line auction for US$382,000.  Again, based on the serial number (10 046) & part number (113 301 102), factory verified the authenticity and of the auction lot and it was only the transaxle which had been salvaged from the wreck, the display stand and peripheral bits & pieces (axles, axle tubes, brake assemblies etc) all fabricated.

The bastard son of a hundred maniacs: Mr Krueger with glove.

Freddy Krueger, the fictional antagonist of the A Nightmare on Elm Street horror film franchise (first seen in A Nightmare on Elm Street (1984) was best known for his gloved hand with "built-in" blades.  In the third and best of the series (A Nightmare on Elm Street 3: Dream Warriors), Mr Kruger's origin was revealed as the son of a nurse in a lunatic asylum who, because of a filing error or some other oversight, was for a long weekend locked in a ward with hundreds of the worst of the criminally insane, the consequences predictable.  Thus was Mr Kruger known as "the bastard son of a hundred maniacs".

In pre-modern Europe, being born to unmarried parents was not always regarded as a stigma although the Church in canon law prohibited bastards from holding clerical office without an explicit papal indult.  Royalty and the aristocracy, famously prolific in the production of bastards, seemed often unconcerned, Norman duke William, the Conqueror of England, is referred to in state documents as "William the Bastard" and one Burgundian prince was even officially styled “Great Bastard of Burgundy”.  From this, came the idea of something bastardized being associated with the creation of an inferior copy or version of something, hence the sense of corruption, degradation or debasement, hence the association with words like counterfeit, fake, imperfect, irregular, mongrel, phony, sham, adulterated, baseborn, false, impure, misbegotten, mixed & spurious, the adjectival form common by the late fourteenth century.  However, the word eventually became used to describe things deliberately designed to be variations of something, typically between two established types.  Thus emerged bastard agrimony, the bastard alkanet, bastard bar, bastard hartebeest, bastard file, bastard hemp, bastard hogberry, bastard pennyroyal, bastard pimpernel, bastard quiver tree, bastard tallow-wood, bastard tamarind, bastard teak, bastard musket, bastard culverin, bastard gemsbok, bastard mahogany, bastard toadflax, bastard trumpeter, bastard cut, bastard eigne & bastard amber.

All Men are Bastards diary, 1995.

Variations of the word existed in many languages including the Scots bastart & bastert, the French bâtard, the Old French bastardus, the Galician bastardo, the Middle Dutch bastaert, the Dutch bastaard, the Italian bastardo, the Late Latin bastardus, the Indonesian bastar, the Saramaccan bása, the Sranan Tongo basra, the Middle English bastard, bastarde, basterd & bastart.  Use as a generic vulgar term of abuse for a man appears to date from circa 1830 although presumably it may have be slanderously applied in the past.  The early fourteenth century noun bastardy (condition of illegitimacy) was from the Anglo-French and Old French bastardie and appears from the 1570s in contemporary documents in the sense of "begetting of bastards, fornication".  The early seventeenth century verb bastardize meant "to identify as a bastard", predated by the figurative sense, "to make degenerate, debase" which dates from the 1580s, probably because bastard since the 1540s had also served as a verb meaning "to declare illegitimate".  The later use of bastardize, bastardized, bastardizing & bastardization to mean “rituals and activities involving harassment, abuse or humiliation as a way of initiating a person into a group or organization” was associated with the military, crime gangs and university fraternities, (ie structures where the membership is predominately made up of males aged 17-25.  The terms hazing, initiation, ragging & deposition were synonymous and all began as regionally-specific but soon tended towards the internationalism which marks modern English.  The once useful phrase “political bastardry” is still seen but is now rare, a victim of association; as children born out of wedlock are now no longer described as bastards, the word is also being banished from some other contexts, including political discourse which is also losing many gender-loaded expressions.

One of the opening sequences used for Alexei Sayle's Stuff, a comedy sketch show that, over 18 episodes, was shown on BBC2 for three seasons (1988-1991).  Alexi Sayle (b 1952) was a left-wing comedian and one of the show's signature lines was "Who is that fat bastard?"

Notable bastards include Confucius (circa 551-479 BC), William the Conqueror (circa 1028-1087), Leonardo da Vinci (1452-1519), Thomas Paine (1737-1809), Lawrence of Arabia (1888-1935), Eva Peron (1919-1952), Fidel Castro (1926-2016) & Marilyn Monroe (1926–1962).  There was once some sensitivity to any admission of the status and as late as 1971, in The Gorton Experiment (a study of the prime ministership of Sir John Gorton (1911-2002; prime-minister of Australia 1968-1971)), the journalist Alan Reid (1914-1987) mentioned his subject was "A bastard by birth" but added the footnote: "Normally, I would ignore as irrelevant the circumstances of Gorton’s birth, but Alan Trengrove [1929-2016] in a biography of Gorton, written with Gorton’s full cooperation, recorded the facts until then unknown even to Gorton intimates."  He noted also: "Trengrove suggests that the mature Gorton can be understood fully only in the light of Gorton’s childhood 'insecurity' which was the product of his illegitimacy."  Journalists still find it hard to resist acting as amateur psychologists. 

The bastard file.

A bastard file is a half-round file.  It gained the name from being rendered with an intermediate cut, neither very coarse nor very fine and was thus neither one thing nor the other; it was something impure.  The concept of things in engineering, architecture, literature etc being thought bastardized versions if in any way hybrids or deviations from established forms can apply also to proper nouns.  Bob Cunis (1941-2008) was a New Zealand cricketer described as a “medium pace bowler”.  That may have been generous though he also extracted little movement from the ball without ever being classed a a spinner.  Still, between 1964-1972 he played in 20 test matches and coached the national side for three seasons in the late 1980s.  His contribution to the list of linguistic amusements came when BBC Radio commentator John Arlott (1914-1991), unimpressed by the bowler’s pedestrian deliveries commented: “Cunis, a funny sort of name, like his bowling, neither one thing nor the other."  It passed into the sporting annals but may have be plagiarized, apparently appearing in an earlier newspaper report on a match the tourists played against a county side and Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955) had sometime before 1952 used the line after learning the name of a MP (member of parliament) was Alfred Bossom (1881–1965).