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Friday, September 4, 2026

Cheater

Cheater (pronounced chee-ter)

(1) A person who cheats.

(2) Specifically, an adulterer (although used in the same sense of infidelity generally, even when neither party is married). 

(3) A device or component used to evade detection of non-compliance with rules or regulations (such as the (Dieselgate) mechanical and electronic devices used by Volkswagen and others to cheat emissions testing programmes).  As a mechanical device a cheater is thus "a modifier" and the word is also often used as one.

(4) Slang (in the plural) for eyeglasses or spectacles (archaic).

(5) In mechanical repair, an improvised breaker bar made from a length of pipe and a wrench (spanner), used typically to free screws, bolts etc proving difficult to remove with a ratchet or wrench alone; any device created ad-hoc to perform a task not using the approved or designated tools.

1300-1350: From the Middle English cheater from cheat, from cheten, an aphetic variant of acheten & escheten, from the Old French eschetour, escheteur & escheoiter, from the noun; it displaced native Old English beswican.  The -er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, probably borrowed from the Latin -ārius.  The adoption was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant was -our), from the Latin -(ā)tor, from the primitive Indo-European -tōr.  The suffix was added to a person or thing that does an action indicated by the root verb, thereby forming the agent noun.  The noun cheatery is now rare, existing only in old texts.  Escheat refers to the right of a government to take ownership of estate assets or unclaimed property, most often when an individual dies without making a will and with no heirs.  In common law, the theoretical basis of escheat was that (1) all property has a recognized owner and (2) if no claimants to ownership exists or can be identified, ownership reverts to the King (in modern terms the state).  However, in some circumstances escheat rights can also be granted when assets are held to be bona vacantia (unclaimed or lost property).  The original sense was of the "royal officer in charge of the king's escheats," and was a shortened form of escheater, agent noun from escheat.  The meaning “someone dishonest; a dishonest player at a game” emerged in the 1530s as the Middle English chetour, a variant of eschetour following the example of escheat +‎ -er which evolved in English in the modern form cheater (cheat + -er).  Cheater & cheatery are nouns; the noun plural is cheaters.

Cheater cars are a frequent sight on several social media platforms, posted presumably by impressed spectators rather than victims or perpetrators.  Techniques and artistry vary but there does seem to be a trend whereby the more expensive the car, the larger and more lurid will be the lettering.  Red, pink and fuchsia appear the colors of choice (the connotation perhaps "scarlet") except where the automotive canvas is some hue of red; those artists adorn mostly in black or white; the use of upper and lower case characters seems to vary.  Like many trends on social media, all may not be what it appears and it's believed some of the "cheater cars" posted are "fake", daubed just as click-bait.

Although the consequence of having violated the the Seventh Commandant, those suffering a "cheatered" care are in a sense "victims" so the following notes are provided as a courtesy to cheaters: If the philandering cheater is (obviously undeservingly) lucky, they’ll find the attack on their car has been symbolic rather than destructive in that the paint is water-based.  If so, if discovered soon after application, it may be possible for it to be dissolved and washed away without having to resort to strong chemicals.  Specialists recommend cleaning the car with just mild, soapy water (thereby removing anything abrasive) and then soaking microfiber towels in the same mix.  Place a wet towel over the affected area for 5-10 minutes (obviously more difficult with vertical surfaces so some improvisation may be demanded) and then gently wipe away the softened paint (do not scrub aggressively because some grit may be embedded; if possible use water spray from domestic garden hose).  If some time has elapsed and the paint fully has dried, usually it's safe to use a rubbing alcohol (such as Isopropyl); this should break down the latex or acrylic binder without harming the paint beneath.  Pour a small quantity of rubbing alcohol onto a clean microfiber cloth, hold on the paint for a few seconds and then gently rub with a circular motion.  Also potentially effective are the citrus-based solvents but these must be used with caution because they’re remarkably strong (left on some plastics, they can melt the surface!) so fluid should be tested on some small, hidden part of the vehicle (such under the hood (bonnet) or beneath carpets).  There are also dedicated clay-based lubricants (they come as conveniently sized bars) that can be “glided” across dampened paint to lift what’s atop without damaging the paint below.  The clay works on as similar basis to rubbing compounds and these may be necessary for any “stubborn spots”.  If the paint used is oil-based or something just as “sticky”, an expert should be consulted because aggressive solvents (industrial paint strippers, acetone, lacquer thinner etc) quickly can eat through to bare metal or whatever material was used for the bodywork.

An sinner's Audi: A Trotskyesque death by pick-axe, Burgas, Bulgaria, September 2005.  Press reports suggested this attack was a "business matter" but it could have been the work of a S5C-APC.

So that’s of paint which is bad enough.  However if one had cheated on a S5C (stage-five clinger, a breed always prone to using paint) who is also APC (actual psycho-chick), the consequences may be worse and S5C-APC may resort to fire-bombing car, attacking it with a baseball bat, slashing tyres or leaving a half-dozen pick-axes buried in the bodywork.  That may sound extreme but the S5C-APC can be exactly that and, after all, cheaters have only themselves to blame and all that can be recommended is following either (1) the Seventh Commandant (Thou shall not commit adultery) or (2) the unwritten eleventh (Thou shall not get caught).  As a technical point, it's acknowledged that suggesting all cheaters are men and all painters (or axe-wielders) are women is sexual stereotyping may be wrong but probably only to the extent almost all cheaters are men and almost all painters (or axe-wielders) are women.

Hell also hath no fury like a woman cheated upon.   

Because it sounds Shakespearian (a construct in literature), the (anyway incorrectly quoted) phrase “Hell hath no fury like a woman scorned” often is attributed to William Shakespeare (1564–1616).  That's thought plausible because it seems to be in "his voice" and in modern use, often about the only time the Middle English “hath” is seen is in some Shakespearian quote so the association sticks.  The real author however was Restoration playwright William Congreve (1670–1729) who coined the phrase for his 1697 play The Mourning Bride, the protagonist of which, although becoming a bit unhinged by the cruel path of doomed love, doesn’t resort to leporidaecide (bunny boiling).  Congreve’s line, “Heav'n has no rage, like love to hatred turn'd, nor Hell a fury like a woman scorn'd.” was good but actually was a more poetic rendition of a similar but less elegantly expressed version another playwright had used a year earlier.  The Mourning Bride is the source also of another fragment for which the bard is often given undeserved credit: “Music has charms to soothe a savage breast” although that’s often bowdlerized as “Music has charms to soothe a savage beast”.  Politicians notoriously are liars and cheaters, some even cheerfully admitting it (usually when safely in their well-provided for retirement) but in the privacy of their diaries, they're fond of happily (and usually waspishly) admitting it of others.  Although he has a deserved reputation for telling not only lies but big lies, no one has ever disputed Joseph Goebbels’ (1897–1945; Reich Minister of Propaganda 1933 to 1945) assessment of a fellow cabinet member, foreign minister Joachim von Ribbentrop (1893–1946; Minister of Foreign Affairs 1938-1945) of whom he said “He bought his name, married his money and cheated his way into power”.  Goebbels was a serial adulterer and in his home town was known as "Die Ziege von Berlin" (the goat of Berlin). 

Volkswagen: Cheating as a science 

Guilty as sin.

Oliver Schmidt (b 1969; inmate number 09786-104 in US Federal, York Township, Michigan. right) received a seven year sentence for his involvement in the Volkswagen diesengate scandal.  Herr Schmidt (right) is pictured here receiving a Ward’s “Best Engine” award in 2015.  In US$ terms, dieselgate is thus far the most expensive of the many "gates".  In falsifying things so its diesel engines appeared to be less polluting than they were (certain particulates emitted at up to 40 times the volumes claimed with some 11 million "cheating" vehicles built) Volkswagen certainly gave cheating a bad name and, in addition to the hefty fines imposed in the US and EU (European Union (1993)), the multi-national aggregation which evolved from the EEC (European Economic Community), the Zollverein formed in 1957), in May 2022 the company announced an out-of-court settlement of Stg£193 million (US$242 million) with UK regulators, following the Aus$125 million (US$87 million) imposed by the PVA (Federal Court of Australia).  To date, Dieselgate has cost the company some US$34 billion with guilty verdicts handed down in criminal cases including two former Audi executives: head of engine development Wolfgang Hatz (b 1959) and lead diesel engineer Giovanni Pamio (b 1963) who were handed suspended jail sentences of 24 months and 21 months, respectively.  Hatz was fined €400,000 (US$437,000) and Pamio €50,000 (US$55,000).  All three were guilty as sin so the verdicts were unsurprising.  Volkswagen suffered greater consequences for having be "caught cheating" than did Pontiac in 1973 but that was a single vehicle submitted for testing so really was a case of "attempted cheating".

1971 
Volkswagen Karmann Cheetah prototype.

Before they became the industry’s most notorious (although not only) cheats, Volkswagen flirted with the idea of producing a “Cheetah”; designed by Italy’s Italdesign and built by German coachbuilder Karmann, the Volkswagen Karmann Cheetah first appeared in March 1971 at the Geneva Motor Show.  Reflecting the view there were still developmental possibilities in the company’s long-running and highly successful platform used first for the Type 1 (Beetle, 1938-2003), the Cheetah was thought a way to wring one last drop from what had begun life in 1938 as an attempt by the Third Reich (1933-1945) to produce a "people's car".  Over the decades, the approach had yielded much success with the Beetle’s underpinnings yielding military applications and utility vehicles as well as the famous Type 2 (1949-1979, as Microbus, Kombi etc in a wide range of configurations and the lovely Karmann Ghia (in two series, Type 14: 1955–1974 & Type 34: 1961–1969) coupé and cabriolet.  Additionally, conventional (in the then current European style) coachwork had been used for the Type 3 models (1961-1973), built as two door sedans, (including a fastback) and station wagons, the market responding well to more spacious and modern bodies being placed atop the Beetle’s famously reliable and durable drive-train.


1980 Triumph TR8 (left) and Triumph Bullet design study (circa 1970, right).  The "wedge" design language is evident but the lines of the earlier Bullet design study  are even closer to those of the Cheetah; the Volkswagen didn't enter production but many wedges appeared in the 1970s & 1980s.  Like not a few ventures from the doomed British Leyland (1968-1986), as a successor to the highly regarded TR6 (1968-1976), the Triumph TR7 (1974-1972) should have been a success but corporate and governmental ineptitude saw it added to Leyland's large scrapheap.  The TR8 (1977-1982) transformed the TR7's dynamics by use of Rover's 3.5 litre (215 cubic inch) V8 but, as was emblematic of the corporation, just as the concept had been perfected, production ended.  There has been much analysis of the UK's motor industry in the 1970s and 1980s and while conditions (internal and external) often were "difficult", most published accounts conclude Leyland "deserved to fail".  

The idea of the Cheetah was a variation on the theme that had produced the Kombi, Karmann Ghia and such: a low-cost roadster suitable for mass production on existing assembly lines using a 1.6 litre version of the Beetle’s familiar flat-four engine, the power output of 50 HP judged “adequate” because of the light weight and slippery aerodynamics.  In a sign of the times, anticipating US regulations, not only were the front and rear sections designed to accommodate large bumpers but rather than a classic roadster, from Giorgetto Giugiaro's (b 1938) drawing board came a targa, the modernist wedge-shape then highly fashionable.  Because it was then anticipated the traditional convertible would in the US be outlawed, the there was a built-in roll-over bar, integrated into pillars designed to resemble a roadster’s detachable hardtop and the clever targa mechanism was the work of Karmann, the soft-top featuring a translucent sunroof panel above cockpit; it slid down the length of the top's sidebows, tucking neatly between the seats.  However, Volkswagen’s management were by the late 1960s not disconnected from reality and understood the days of mass-market machines with air-cooled rear-engines were coming to an end.  Although still a success, the writing was on the wall for the Beetle and the attempt to translate the concept into larger, four-door form had failed, the 411 (1968–1972) & 412 (1972–1974) ranges never coming close to meeting expectations.  By 1971, work was already advanced on what would be the template to carry the company into the next century (FWD (front wheel drive) with water cooled front-mounted engines) and that program would by 1974 begin to yield the new generations (Sirocco, Passat, Golf, Polo etc).

1972 publicity still for Fiat X1/9.  Because of the juxtaposition of (1) lime green paint and (2) a model in orange hot-pants, no knowledge of automotive history is required to date this photograph from the 1970s.

But the Cheetah seemed compelling because there was rear-engined, air-cooled hay to be made while the sun still shone and the formula (a small, economical, sports car able to be mass-produced at low cost by using components from high volume models) had long been a staple of the UK’s industry (MG, Triumph and Austin Healy all booking good profits through big export sales, especially to the lucrative US market.  On paper, the Cheetah thus made sense and although, (given the 50 HP) the name might have been at least optimistic, the Karmann Ghia sold well despite never having been a high performance car despite the glamorous lines (indeed, slightly heavier than a Beetle, acceleration suffered although the shape added a little to the modest top speed).  Anyway, the Triumph Spitfire’s pace hardly lived up to its illustrious name and the Cheetah was envisaged as something that would sell to those who valued the Beetle’s virtues (economy of operation, reliability, resale value) but would be drawn to its avant-garde looks; at a time when the phrase still could be used, it was a “lady’s car”.  As it was, the decision was taken not to proceed and not long after the debut in Geneva, the Cheetah faded into obscurity although Fiat would in 1972 release the similar-looking X1/9 using the same concept of parts-sharing although with contemporary engineering (water cooled, mid-engined, no swing axles) and it was a success, needing only minimal updates until production ended in 1989.  Volkswagen doubtlessly was right not to proceed with the Cheetah; the historic moment had passed.

Smokey Yunick: Cheating as an art  

Smokey Yunick’s 1966 Chevrolet Chevelle (1963-1977) #13 that some alleged was a 7:8 or 15:16 rendition, here aligned against a grid with a stock body.

In simpler, happier times, cheating could be an accepted part of the process and just something of a contest between poacher and gamekeeper.  In the 1960s, NASCAR (National Association for Stock Car Auto Racing) racing in the US was a battle between scrutineers amending their rule-book as cheating was detected and teams scanning the same regulations looking for loopholes and anomalies.  The past master at this cheating was Henry "Smokey" Yunick (1923–2001), a World War II (1939-1945) bomber pilot whose ever-fertile imagination seemed never to lack an imaginative venture aimed at securing some advantage while remaining compliant with the letter of the law (at least according to his interpretation).  His cheats were legion but probably the most celebrated (and there were some who thought this one legitimate) concerned his interpretation of the term “fuel tank capacity”.  NASCAR's rulebook specified the maximum quantity of fuel a tank could hold but said nothing about the steel fuel line running from tank to engine so Mr Yunick replaced the modest ½ inch (12.5 mm) tube with one 11 feet (3.6 m) long and two inches (50 mm) wide, holding a reputed 5 (US) gallons (19 litres) of gas (petrol).  That was his high-tech approach.  Earlier he’d put an inflated basketball into an oversized tank before the car was inspected by scrutineers: when they filled the tank, it would appear to conform to regulations; these days it’d be called “inflategate”.  After passing inspection, Mr Ynuick would deflate the ball, pull it out and top-up his oversized tank for the race.  Pointing out there was nothing in the rules about basketballs didn’t help him but did lead to the rule about a maximum “fuel tank capacity”, hence the later 11 foot-long fuel line.

NASCAR's letter of approval.

Mr Yunick’s 1966 Chevrolet Chevelle was different from the stock models but by the mid 1960s, all NASCAR’s "stock" cars were, the days long gone when what were raced were essentially "stripped-out versions of showroom-stock cars".  The difference certainly was perceptible to the naked eye and an urban legend arose it was a 7:8 (some said 15:16) scale version.  The body’s external dimensions were however those of a stock Chevelle although the body was moved back three inches for better weight distribution, the floor was raised with the underside smoothed to improve the aerodynamics, the same reason the bumpers were flush-fitted to the fenders.  The first car passed inspection (after making the modifications decreed by NASCAR) and took pole position at the 1967 Daytona 500.  He built another imaginative Chevelle for the 1968 race but it never made it past inspection.  In 1990, Smokey Yunick was inducted into the International Motorsports Hall of Fame, a recognition as richly deserved as it was overdue.

The speedy cheetah

Singer and dancer Josephine Baker (1906–1975) with Chiquita, her pet cheetah.

A true homophone of cheater, cheetah (the plural cheetahs) wholly is unrelated.  Cheetahs are large cats (Acinonyx jubatus) of south-western Asia and Africa, resembling a leopard but noted for certain dog-like characteristics which is why they’re sometimes been trained for hunting game (deer, antelope etc) and they have even occasionally been fully domesticated as pets; they're said to be "affectionate and protective but never fully house trained".  Dating from the early eighteenth century, cheetah was from the Hindi चीता (cītā (leopard, panther), from the Sanskrit citraka (leopard) & citrakāya (tiger) the construct being चित्र (citra) (multicoloured; speckled) + काय (kāya) (body, thus “beast with a spotted body”).  The Sanskrit citra was akin to the Old High German haitar (bright), the German heiter and the Old Norse heiðr (bright) and ultimately was from the primitive Indo-European kit-ro-, from the root skai- (to shine, gleam, be bright).  Kāya ultimately was from the primitive Indo-European kwei- (to build, make).  The now archaic alternative spellings were cheetah & cheetah and historically, the creatures were known also as the guepard, hunting cat or hunting leopard.  Understandably, given their size and predatory nature, it’s not uncommon for cheetahs to be referred to as “big cats” but in zoological taxonomy, felinologists restrict the “big cat” classification to the genus Panthera (lions, tigers, leopards, snow leopards & jaguars) and one defining feature of the Panthera cats is their ability to roar, made possible by a specific structure in their larynx.  Lacking the anatomical feature, cheetahs can purr, chirp & hiss but not roar.

A female cheetah at speed.

According to Dr Anne Marie Helmenstine, computer modelling suggests a cheetah should be able (briefly) to attain a speed of 75 mph (120 km/h) although its hunting technique is to maintain an average of 40 mph (65 km/h), sprinting to the maximum only when making a kill.  Cheetahs have been verified as attaining 60 mph (96.5 km/h) and if required, the quick cats can go from 0-60 mph in 3 seconds (three strides), putting them in the class of the quickest Lamborghinis, Ferraris and such but they're sprinters with little endurance, able to sustain top speed for little more than a quarter-mile (400 metres).  Like engineering, nature imposes trade-offs and although pronghorn antelopes have been recorded running at a slightly slower 55 mph (88 km/h), they're able to sustain that for around a half-mile (800 metres) although 40 mph (70 km/h) can be maintained for several miles and their "natural cruising speed" of 30 mph is possible for as much as 20 miles (32 km) depending on the terrain and weather conditions.  The speed and endurance differentials between cheetahs and antelopes explains why the cat's tactic is to get as close as possible before closing for a kill; if the prey is not caught within 300-400 metres, it'll likely escape although, in the wild, not every encounter is one-on-one; a antelope seeking to outrun one cheetah runs the risk of running into the path of another.

Easily, cheetahs can out-sprint humans, the men’s world record for the 100 metre dash standing a 9.58 seconds, compared with an eleven year-old cheetah (in captivity) clocked at 5.95 and her top speed of 61 mph (98 km/h) remaining the highest verified.  For now, the cats remain quicker than even robots, the record at the 2026 World Humanoid Robot Games in Beijing set at 9.39 seconds but while the cheetah probably has reached its evolutionary peak, humanoid robots are still (in evolutionary terms) in an early stage of development so one going quicker then 5.95 may be just a question of whether resources are devoted to the quest; it does seem more likely the CCP (Chinese Communist Party) will direct companies to focus instead on making humanoid robots more "useful" such as for military purposes (neutralizing other machines or killing people).  So for now the pace of the cheetah remains impressive but it's still not the fastest creature on the planet.  In the ocean, Black Marlin have been clocked at 82 mph (132 km/h) while sailfish can for periods swim at 70 mph 110 km/h.  Land and sea creatures are how ever slow compared with birds, the “calculated maximum theoretical speed” of the “ideal Peregrine Falcon” being between 250-388 mph (400-625 km/h) depending on altitude (and thus air density) and while many are sceptical about that, Guinness World Records has accepted the bird’s speed being recorded at 242 mph (389 km/h) in a dive.  Despite that, there are ornithologists who doubt such a velocity has been reached and claim a top speed around 150 mph (240 km/h) is likely more realistic.  Still, that makes them the fastest known animal in the universe.

The Bill Thomas Cheetah

Cheetah cutaway, published in Sports Car Graphics, November, 1963.  Not many front-engined cars had space sufficient to for a usefully-sized frunk.

A contemporary of the Shelby American AC Cobra (1962-1967) and very much in the same vein, the Cheetah (1963-1966) was designed and constructed by California-based race car builder Bill Thomas (1921-2009).  As part of his work as an engineering consultant, Mr Thomas undertook projects for GM (General Motors), his focus on the somewhat clandestine motorsport activities of its Chevrolet division and he parlayed this influence into securing corporate support for the concept that became the Cheetah.  The support was practical in that it yielded most of the mechanical components needed for a prototype including a Chevrolet Corvette's 327 cubic inch (5.3 litre) V8 engine, Muncie four-speed gearbox, independent rear suspension and a miscellany of stuff from the GM parts bin.  It was obviously the pre-CAD (computer-aided-design) era but Mr Thomas didn’t trouble himself with drawing boards or blueprints, instead laying out the drive-train components on the floor of his workshop in what seemed to his practiced eye an ideal arrangement and, with white chalk, he then sketched on the concrete the outline of the chassis frame members.  At that point, a draftsman (with tape measure) was brought in and blueprints were rendered; remarkably, Mr Thomas with great success for decades used this novel design technique (don't try this at home, it needs a gifted engineer).  Once the chassis dimensions were finalized, a body was designed and it’s important to note the project was initially envisaged only as a “concept car”, built for the purpose of impressing GM and thus securing further contracts.  So, conceived as something to be admired rather than used for any serious purpose, it was only as construction continued Mr Thomas sort of “fell in love” with his creation and decided to use it in competition, something to which its low weight and prodigious power should have made it well-suited.  However, the compromises in chassis design which mattered not at all for a concept car meant some structural rigidity had been sacrificed and that was a quality essential in race cars; later rectification work would be required.  The first two Cheetahs were fabricated in aluminum (later models used GRP (glass reinforced plastic, better known as fibreglass) and one was sent to the Chevrolet Engineering Center for testing and evaluation.

1964 Cheetah with clamshell hood open.

The layout was not so much radical as extreme, the conventional F/R (front engine-rear drive) approach taken to a kind of logical conclusion with the engine located so far back the driver’s legs were alongside the block.  In the same way the “mid-engine” configuration was being defined as “engine behind the driver and in front of the rear axle line”, the Cheetah’s variation was “engine in front of driver and behind the front axle line”, already familiar in race cars and in a handful of exotic machines but in the early 1960s still.  As well as offering most of the weight-distribution and handling advantages offered by a mid-engine, the Cheetah’s layout avoided the complication of a transaxle but the drawbacks included inefficiencies in packaging (ie a cramped cockpit) and extraordinary heat-soak, the latter a familiar issue in an era when small, low volume coupés were fitted with large displacement US V8 engines, the elegant AC 428 “Fura” (1965-1973) an exemplar of the phenomenon.  When the Cheetah was tested prior to being used on the track, it was found to be prone to over-heating, largely because the body had been designed to look decorative and no vents had been installed to extract hot air from under the long hood.  That was addressed by the use of a larger radiator and the addition of various vents & ducts, along with a full-length belly pan, meaning subsequent versions lacked the visual purity of the original, the effect not dissimilar to the way the addition of this and that to provide for heat management meant the production versions of the Lamborghini Countach (1974-1978) lacked the sleek starkness of the original prototype, first shown at the 1971 Geneva Motor Show (attracting rather more attention that that other prototype wedge, the Volkswagen Karmann Cheetah).  Still, compared with how subsequent versions of the Countach (1978-1990) would be adorned, the elegance of the early run 160-odd of the LP400 Periscopios remains compelling.

1964 Cheetah, note the cut-outs and vents, subsequent additions to handle the heat generation.  As might be guessed, AC (air conditioning) was not on the option list.

The Cheetah’s dubious structural rigidity was a result of the original chassis being merely a quickly-assembled platform on which the striking body could be mounted to be admired but it was marginal for use even as a road car, let alone one subjected to the stresses of competition; even before testing it was anticipated substantial changes would have to be made.  Because so little triangulation had been incorporated in the original build, the chassis was susceptible flex as the loads imposed by lateral forces increased as high-speed curves were negotiated, meaning the suspension geometry changed, challenging even skilled drivers accustomed to rigid frames that guaranteed the point at which characteristics became frightening was at least predictable.  Additionally, for the testing, the Cheetah was provided with more power (perhaps not the car's most most obvious need) which exacerbated the alarming tendencies, including the rear suspension’s trailing arms bending, slighting altering (sometimes while at high speed!) the location of the wheels.  Adding gusseting and triangulation to the frame and redesigning the trailing arms ameliorated the worst of the characteristics but some vices were inherent in DNA so subsequently, some owners of Cheetahs, seduced by its many virtues, undertook what was essentially a re-engineering of the underpinnings; most of the many replicas and "continuation" editions differ significantly from the originals.  So it was flawed but it was an age of charismatic, imperfect machines and whatever the quirks, the Cheetah was powerful, light and clearly aerodynamic for in a straight line, few could match its pace; the name was chosen for a reason.

Unfortunately, the early 1960s were the end of an era in sports car racing because in addition to the regulatory body (the FIA (Fédération Internationale de l'Automobile (the International Automobile Federation) already on its descent to becoming world sport's dopiest regulatory body) changing the rules for the class for which the Cheetah was intended so that 1,000 rather than 100 would be required for homologation, in the top flight, the days of the classic front-engined roadsters and coupes in top-line competition were nearly done and the future lay with the rear-mid configuration.  Given all that, Chevrolet withdrew its support although small-scale production continued and some two-dozen were constructed before the last was built in 1965.  The survivors are now high-priced collectables and there have been dozens of replicas although in the twenty-first century, this cottage industry was stalled by a dispute over ownership to the intellectual property associated with the design.  Predictably, although the Cheetah wasn’t obviously a car in need of more power, some owners of the replicas have (commendably) concluded exactly that and fitted a variety of engines including big-block V8s while others have added forced aspiration (turbochargers or superchargers).  Fundamentally, what this approach meant was the “handle with care” injunction wisely applied to the original remained; just more so.

1929 Mercedes-Benz SSK (left) and 1964 Cheetah (right)

The distinctive lines of the Cheetah, its driver sitting over the rear wheels behind a long nose, recalled the pre-war roadsters that provided the model for most of the era’s grand prix cars, the motif lasting into 1960 when (in the unusual circumstances prevailing for Italian Grand Prix at Monza), a Ferrari secured one last win for the front-engined anachronisms.  The Mercedes-Benz SSKs (W06, 1928-1932) & SSKLs (WS06RS, 1931) were classic examples and among the last of the road cars able to win top-flight grand prix events.  The red example (above left) is a 1929 model SSK (one of 33 built) and although the hue is untypical of the breed, in fashion and on the highways, the interwar (1919-1939) years were more colourful that the impression left by the volume of monochrome and sepia images making up so much of the photographic record.  Interestingly, although Mercedes-Benz race cars are much associated with white (the racing color originally allocated to Germany) and silver (adopted by the factory racing team in the 1930s although in not quite the circumstances once claimed) there was a precedent for the use of red because that was the paint applied to the Mercedes Tipo Indy 2.0 used to win the 1924 Targa Florio (setting a race-record time which would stand for a decade), chosen because of the habit of the Sicilian crowds to pelt with rocks any car not painted in Italian Racing Red.  Not since 1920 had a non-Italian car won so it was a wise precaution.

1969 Pontiac Grand Prix Model J.  The name was opportunistic, the big Pontiac having as much in common with a grand prix as the Volkswagen Karmann Cheetah had with speed.

Such is the appeal to stylists of the “long nose” that over the years many have ignored the packaging inefficiencies its use imposes.  It was one of the most commented-upon aspects of the Jaguar E-type (1961-1974) and probably it’s rare for an analysis of that shape to have been written without the word “phallic” appearing at least once.  Even when the effect is not so exaggerated it can be effective, the third generation Pontiac Grand Prix (1969-1972) the last of the memorable designs to emerge from the golden years of GM’s PMD (Pontiac Motor Division) during the 1960s.  Intended to be evocative of the aspect ratios of machines such as the big Duesenbergs of inter-war years, PMD even purloined the “J” & “SJ” designations although with its apple-green straight-8 engines a Duesenberg really did need a long nose; under the hood of the exclusively V8-powered Grand Prix, there was much empty space.

Sublime to ridiculous 

Modified 1973 Volkswagen 1303 Super Beetle.

Nor was it just manufacturers with a fondness for the style.  In Canada, somebody with the requisite skills decided the “Cheetah look” was what a 1973 Volkswagen Super Beetle really needed and while it’s obvious the body extensively has been modified, the distorted dimensions are deceptive because the (presumably unique) project sits on an unmodified chassis, the wheelbase unchanged.  Unfortunately or not, the opportunity was not taken to install up front a straight-8 or V16, the car still running the modest, rear-mounted, 1.6 litre (97 cubic inch) flat-4 fitted by the factory (ie underneath, it's the same specification as the abortive Karmann Cheetah prototype).  As well as the curved windscreen, the 1303 featured the 1302’s improved front suspension (an enhancement one tester claimed made it faster point-to-point than a 1963 Porsche 356), the design of which allowed the capacity of the frunk to be increased and this one will be more capacious still; given it’s now a two seater, luggage capacity should be adequate although the front bucket seats have been replaced with a full-width bench so three adults could be accommodated, BMIs (body mass index) and a willingness to rub shoulders permitting.  Because it’s on the same wheelbase, any increase in weight should be minimal and the handling (anyway improved by the revised suspension) presumably will be affected (for better or worse) only by the change in weight distribution.  That said, given the thing is now more tail-heavy, the Beetle's inherent tendency to oversteer (somewhat tamed by 1973) might be more apparent but with the power available, even if it behaves something like an early Porsche 930, should a situation drama occur, probably it'll be at a lower speed.

Ridiculous to absurd     

1980 Cadillac Eldorado “Valentino” by the unimaginatively named Conversions Incorporated, a Michigan-based customizing house (left) and 1981 Cadillac Eldorado "Regal Coach" by Florida's International Coach Works Company, a selling point the Rolls-Royceish “flying lady” hood ornament, said to make it a “real head turner” (right).  Heads can of course turn for reasons good and bad.

In the sometimes weird world that was the ecosystem of modified PLCs (personal luxury coupe) in the US of the 1970s and 1980s, the “long nose” style didn't exist in isolation.  It was one of a number of design elements part of the “neo-classical” movement that included also side-exit, flexible exhaust pipes (referencing the often supercharged pre-war machines (a la the Mercedes-Benz SSK but by the 1970s almost always fake), upright chrome-plated grills (Rolls-Royce the preferred inspiration), T-roof assemblies (a modern take on the old sedanca de ville coach-work), fake wire wheels and external spare tyres, the rear one in a "Continental kit" (a look that to this day refuses to die), the fender-mounted pair taking advantage of the eighteen-odd inches (460 mm) spliced between A-pillar and front wheel.  The spares used the space where sometimes sat the external exhaust pipes so it was a choice to be made by customers although some builders just left the expanse of sheet metal, emphasizing the elongation.  For all its foibles, the US is one of the most remarkable nations ever created and, having the the previous quarter century mastered nuclear fission & fusion, produced the Bill Thomas Cheetah and sent a dozen men to walk on the Moon, other Americans turned to doing this to Cadillac Eldorados.  It's a cliché to say "American has the best of everything and the worst of everything" but the phrase endures for good reason. 

Monday, August 10, 2026

Prosaic

Prosaic (pronounced proh-zey-ik)

(1) Of writing or speaking, straightforward; matter-of-fact; lacking the feeling or elegance of poetry.

(2) Something commonplace or dull; matter-of-fact or unimaginative; overly plain, simple or commonplace, to the point of being boring.

(3) Of or having the character or form of prose, the ordinary form of spoken or written language, rather than of poetry (now of technical use only).

1650-1660: From the fifteenth century Middle French prosaïque and directly from the sixteenth century Medieval Latin prōsaicus (in prose), from the Classical Latin prōsa (prose), from prorsus (straightforward, in prose), from the Old Latin provorus (straight ahead), the construct being pro- (forward) + vorsus (turned), from vertō (to turn), from the primitive Indo-European wer- (to turn, to bend).  The original meaning was technical, distinguishing text as prose rather than poetry and in this sense was usually written as prosaicus (in prose).  The first hints of literary hierarchy were first noted in French in 1746 when used to contrast the “character” of prose in contrast to the “feeling” of poetry.  The sense of describing something ordinary or mundane first seen in French in 1813, a meaning soon adopted in English.  Prosaic & prosaical are adjectives, prosify is a verb, prosified & prosifying are verbs & adjectives, prosaicness is a noun and prosaically is an adverb.

Figurative use of poetic & prosaic:  Jaguar E-Type (XK-E, 1961-1974) (left) & Jaguar XJ-S (1975-1996) (right).  "Poetry in motion" is a cliché but when the E-Type first was seen, that was the phrase some journalists chose.

Whether Enzo Ferrari (1898-1988) ever called the E-Type "the most beautiful car in the world" remains uncertain (though he certainly never issued a denial) but over the decades plenty have echoed the sentiment, sometimes using the phrase "poetry in motion".  By 1975, the world had changed and there were now rules with which to comply and although the XJ-S (later XJS) wasn't really a replacement for the E-Type, because of the timing, that was the basis on may of the early reports based at least some of their critique.  Dynamically, on about any objective measure, it was a better car than the E-Type but nobody is known to have claimed it was better looking and in some contemporary reviews, the styling was described as "prosaic".  It might have been more accurate to use the word "pragmatic" and the lines perhaps aged better than many at the time anticipated, the car in (almost) continuous production for over twenty years and the platform endured until 2006, providing the underpinnings for the first generation of Jaguar's XK8 (1996-2005) and the Aston Martin DB7 (1997-2004), both of which looked better than the XJ-S although neither matched the timeless E-Type.  Upon release, there was much comment about the styling lacking the appeal of the E-Type but the XJ-S was less a replacement than an entry into a new market segment, the anyway declining sports car segment abandoned.  Regarding its capabilities, the press were fair, one publication noting it was smooth, quiet and luxurious yet "capable of speeds that would have won a grand prix not 15 years ago".  That comparison was admittedly with Formula One's voiturette (1.5 litre, naturally aspirated) era but it was an indication that even in the troubled 1970s, there had been progress.   

1983 Jaguar XJ-S Lynx Eventer shooting brake.

What many regard as the best-looking XJS version were the "shooting brakes" (a kind of station wagon) made by specialist coach-builders, the best-known of which was the Lynx Eventer, 67 of which were made.  Critics at the time noted the rear treatment rendered a better balanced shape and much the same observation was made of the convertible (1988-1996) version (less so the SC "cabriolet" (1983-1988)).  Although the pre-war shooting brakes often were built for the HFS (hunting, fishing & shooting) set who needed space for shotguns, fishing rods, hunting hounds and such, in the 1980s they emerged in the niche of the "horsey" set although there was obviously appeal for those who liked the image even if they never sat in a saddle.  In naming the Eventer, Lynx may have had in mind the sport of "eventing", an equestrian sport in which a single horse & rider compete against others across the three disciplines of dressage, cross-country, and show jumping, the roots in the drills European armies conducted to ensure officers seeking a commission in the cavalry possessed the requisite skills.  Eventing has a reasonably impressive death toll of both riders and beasts but it continues to exert a pull with women especially drawn; that's not surprising because some girls fall in love with horses at pony club and never quite recover.

1986 "Daimler S Design Study".

The shooting brake coachwork eliminated the buttresses that were the design's most distinctive feature and interestingly, they were sacrificed also when the factory in 1986 undertook a “design-study” for a proposed "luxury version", to be sold as the “Daimler S”.  The shape was judged most pleasing, unlike the “Coupé” version of the Jensen Interceptor (1966-1976), a reputed 60 of which were built in 1975-1976.  Without the dramatically expansive rear window (nicknamed "the fishbowl"), the design didn't please many and it was later revealed that, struggling to recover from the mid-1970s recession and collapse in demand for big, thirsty cars (both a consequence of the first oil shock), the company had exhausted their supply of closed body shells so "cobbled together" a top to be attached to some of remaining convertible (1974-1976) bodies awaiting completion.  That's may account for why it looked like something of a design college project that may (generously) have been graded a "C-" but, approaching bankruptcy, Jensen was in its death throes.

The original Jensen Interceptor (1966-1976, left) "saloon" and the hastily improvised Coupé (1975-1976, right).  The vinyl glued to the roof didn't help and it was a difficult time for the dying company but Jaguar's execution of the same concept (add a roof to a convertible) on the one-off Daimler S was more accomplished.  Verging on the brutish, nobody ever called the Interceptor's lines "poetic" but the appeal has endured and even today there are companies offering "refurbishment packages" including modern power-trains and electronics.

One thing the Daimler S had in common with the unfortunate Interceptor Coupé was the project being relatively cheap to execute because much of the engineering work had already been done in creating open versions (a full convertible by Jensen; the “SC” version of the XJS with a Triumph Stag-like fixture atop).  Sales of the XJ-S SC were sufficiently encouraging for a team to be formed to produce a conventional convertible, one aspect of the project a removable hard-top (always a factory option for the smaller E-Type).  Because of the sheer size (and consequently weight) of such a structure, that proved unviable but, the styling done, the idea of a “notchback coupé” was explored, the “Daimler” brand available to enable the thing to be sold at a higher price.  The prototype Daimler S required more than welding on the aborted hard-top but not much more, the main differences the different rear-side windows and fluted fittings on the grill & trunk (boot) lid trim.  The planned interior fit-out (a more lavish use of timber veneers, carpet & leather) was never fitted to the prototype and wilder thoughts in the engineering office included AWD (all-wheel drive) but none of the speculation ever even reached the drawing boards.  The one-off Daimler S did get as far as US focus groups for "market reaction" to be assessed but it had the misfortune of being displayed with a prototype XJ-S convertible and while the response to the coupé was polite, the convertible was received with an enthusiasm matched by the US dealer network, none of whom needed a focus group to tell them where demand lay.  While the lines of neither the Lynx Eventer or Daimler S would be likely to attract the epithet "poetic", both shapes improved on the original.  

Prosaic is an example of the figurative adoption of a word with a precise technical meaning assuming such popularity that the original sense became relegated to specialists.  Once, any text not poetic was “prosaic” (ie “written in prose”), and this description denoted nothing negative; it was just a way of distinguishing between written forms, reflecting prosaic’s origins in the Latin prosa (prose).  However, by the seventeen century, poetry had come to be regarded as a most superior form of expression, considered more beautiful, imaginative, and emotional, prose relegated to the status of the mundane and procedural.  The figurative use evolved from this and prosaic came to be used to refer to anything thought ordinary or unimaginative including music, ideas, architecture, Jaguars etc.  The adjective thus transformed into a synonym for "colorless, drab, lifeless, lacklustre, humdrum, dull, pedestrian, unimaginative" etc and this resulted in phrases which once would have been thought bizarre or tautological: “prosaic poetry” & “prosaic prose”.  In its original technical sense (distinguishing the style of writing used for poetry from other literature), the word is now rarely used other than by those somewhere in the "literature business" and, even there, use can be challenging because of the implications of the modern sense(s).  Still, for those who wish to emphasise certain bad texts are worse even than others, the comparative is "more prosaic" and the superlative, "most prosaic".

Dylan Thomas (1914–1953, left) and his wife Caitlin Thomas (née Macnamara; 1913-1994, right) in the bar of Brown’s Hotel, Laugharne, Wales, 1938.

As the origin in the Latin prosa or pronersa oratio (straightforward discourse) suggests, “prose” is the language in its direct, unadorned form, flowing in the way of style(s) written or spoken in everyday life.  It differs from poetry or verse in not being restricted in rhythm, measure or rhyme although, in literary theory, there exists also “poetic prose” and the “prose poem”.  Literary theory however has, in the last sixty years-odd, constructed a large and sometimes bewildering array of technical terms and categories and the possible number of distinct prose forms may be close to limitless.  Poetic prose is prose which approximates to verse in the use of rhythm (perhaps even a kind of meter) in the elaborate and ornate use of language, and especially in the use of figurative devices like onomatopoeia, assonance and metaphor.  Except in experimental form, poetic prose usually is deployed only as a literary device, appearing in short works or in brief passages in longer pieces in order to achieve a (not always entirely clear) specific effect although the common element seems to be something like “an elevation of the emotional temperature”.  Authors interpolating passages of poetic prose have included Thomas De Quincey (1785–1859, best known for his Confessions of an English Opium-Eater (1821)), Herman Melville (1819–1891), Arthur Rimbaud (1854–1891), James Joyce (1882–1941, whose use of poetic prose wasn’t always immediately accessible), Virginia Woolf (1882–1941) and William Faulkner (1897–1962).  Classic examples of the “hybrid form” are sectionsof the narrator’s narrative in the radio play Under Milk Wood (1952) by Dylan Thomas (1914–1953).

The Collected Prose of T.S. Eliot (2024), in four volumes, edited by Archie Burnett.

A prose poem is a composition printed as prose but distinguished by elements common in poetry, such as often elaborately contrived rhythms, figures of speech, rhyme, internal rhyme, assonance, consonance and startling imagery.  In academic use, it’s the tragic and only posthumously recognized French proto-symbolist Aloysius Bertrand (pen name of Louis Jacques Napoléon Bertrand, 1807-1841) who is acknowledged as having introduced prose poetry to French writing and, more that others, it was him who (retrospectively) made it a fashionable sub-genre among the avant-garde, the seminal work being Gaspard de la Nuit-Fantaisies à la manière de Rembrandt et de Callot (Gaspard of the Night-Fantasies in the Manner of Rembrandt and Callot, 1842), a collection of fantasies in the manner of the Dutch painter Rembrandt (Rembrandt Harmenszoon van Rijn; 1606-1669) and Jacques Callot (circa 1592–1635, a printmaker in the baroque style, born in the then independent Duchy of Lorraine).  Although it was the intricacy of the ornate and rhythmical language that contributed to the recognition of the prose poem as a literary form, upon publication, it made little impact and only later became influential though for more than a century it remained neglected in English.  When French critics finally took notice, the initial spread of the work owed much to the dazzling images, a number of which were, by the standards of the age, monumentally grotesque.  The influence on the French poet, essayist, translator and art critic Charles Baudelaire (1821–1867) was obvious in his Le Spleen de Paris (Paris Spleen, 1869 and better known by its subsequent title Petits Poèmes en prose (Little Poems in Prose)), a collection of 50 short prose poems and one of the building blocks of literary modernism.  The symbolist poets and surrealists also acknowledged a debt, as did T. S. Eliot (1888–1965) although his fork of modernism was so striking it seems almost unfair much to dwell on the precursors.

Lindsay Lohan, a poem by Amber Tambling, from the collection Dark Sparkler (2015).

Actress and author Amber Tamblyn (b 1983) solved the writer's dilemma about whether to handle the subject of Lindsay Lohan in prose or poetry by using no text at all.  The publisher HarperCollins described her third collection Dark Sparkler (2015) as a “…hybrid of poetry and art exploring the lives and deaths of actresses who began their careers as child stars.”  The book, which included original artwork by a number of artists, was well received, critically and commercially.  The title was well-chosen because Dark Sparkler was a catalogue of murder and suicide but what attracted much comment was the inclusion of one living soul: Lindsay Lohan, her entry (on page 47) blank but for her name as the title.  An author’s relationship ultimately is with their readers but first it’s with their critics and the response to that one proved it’s possible to deconstruct text even when it doesn’t appear.  As the postmodernists explained, even a blank page is "text" to be deconstructed to find meaning and should the conclusion be there is "no meaning", that too is "a meaning".  Whether fashionable or not, postmodernism made a contribution to literary criticism and remains available for readers to take from it what they will.  Some of the critical reaction to Ms Tambling's Lindsay Lohan was something in vein of those who approached John Cage’s (1912–1992) 4:33 (1952) in that, without much with which to work, the only obvious question seemed to be “What did you mean?”  Ms Tamblyn did say she found it “upsetting” when, after reading several of the poems dedicated to starlets who died young, she spoke the words “Lindsay Lohan” and the audience laughed; perhaps, in the age of the TikTokers she’d not now be surprised.  The poet claimed the inclusion of the piece in its unusual form was not to say “you’re next” but explicitly to avoid writing anything about a life in progress, the idea being Ms Lohan’s life was her own story to write.  Like any work of prose or poetry, page 47 was there for people to take from it what they found but presumably, the interpretative range might be wider than for those reading something like John Keats’ (1795-1821) ode To Autumn (1820).

Prose & poetry: shifting sensibilities

Products in the marketplace, prose and poetry are as subject to the whims of fashion as cars or frocks.  Some products fail while others succeed and that success may be fleeting or endure for generations but “success” is also nuanced, some items receiving critical acclaim but few sales while other are derided by the critics yet achieve either a brief or sustained popularity.  More intriguingly, some fade into obscurity for a century or more, only to be “re-discovered” by a new generation, often to enjoy a brief revival (as happens in fashion) or even enter the canon (as happened with the music of the Italian composer of the Baroque Antonio Vivaldi (1678–1741) who, neglected for centuries, gained recognition in the 1920s).  The trend of “coming and going” from favour is a feature of literature, partly explained by the use of language shifting, making something once accessible seem to new generations stilted and clumsy.  A handful of authors have benefited from this, William Shakespeare’s (1564–1616) texts in many places needing explanatory notes yet valued as “period pieces”, the works surviving by virtue of timeless thematic power.  Similarly, were a modern author to adopt the style of Jane Austen (1775–1817) it would seem absurd but her writings remain valued because they’re imagined as “capturing the moment of their time” (although the evidence suggests even the subset of society she documented were likely in speech not often so precise).

Frontpiece for first edition of The Faerie Queene (1590).  It's an example of one of those works essential in the study of English literature yet now hardly read (at least by choice, students may find it imposed).

Even among professional critics, opinions will be divided, the English poet & satirist Alexander Pope (1688-1744) in his last days noting approvingly of Edmund Spenser’s (circa 1552-1599) Epic poem The Faerie Queene (1590-1596; some 35,000 lines in stanzas): “…there is something Spenser that pleases one as strongly in one’s old age as it did in one’s youth. I read the Faerie Queene when I was about twelve with a vast deal of delight; and I think it gave me as much when I read it over about a year or two ago.”  Although dutifully still acknowledged as Spenser’s magnum opus, it’s now read only by students of literary history or linguistics; it’s unlikely many of them go much beyond what they need for their purposes to extract because it’s so tiresomely archaic.  Even in the nineteenth century it was thought “hard work with not enough reward”, the Whig historian Thomas Babington “T.B.” Macaulay (1800–1859) in 1831 summing up: “Spenser, though assuredly one of the greatest poets that ever lived, could not succeed in the attempt to make allegory interesting.  It was in vain that he lavished the riches of his mind on the House of Pride and the House of Temperance.  One unpardonable fault, the fault of tediousness, pervades the whole of The Faerie Queene.  We become sick of cardinal virtues and deadly sins, and long for the society of plain men and women.”  His call for modernism would within decades be answered and his view of the poem’s fate in the hands of readers would not differ greatly if written today:  Of the persons who read the first canto one in ten reaches the end of the first book, and not one in a hundred perseveres to the end of the poem.  Very few and very weary are those who are in at the death of the Blatant Beast.”  Even before TikTok, attention spans had shortened.

By the twentieth century, tastes certainly had shifted to prose that was punchier and conveyed meaning with less of the author’s display of erudition.  Writing of Gertrude Stein (1874–1946), the author and critic (Percy) Wyndham Lewis (1882-1957; best remembered for his seminal contribution to short-lived Vorticist movement that was extinguished by the blast of World War I (1914-1918)) dismissed her prose as “…a cold, black suet-pudding.  We can represent it as a cold suet roll of fabulously reptilian length.  Cut it at any point, it is the heavy, sticky, opaque mass all through and all along . . . it is mournful and monstrous composed of dead and inanimate material.”  As Vorticism demonstrated, even in artful form, Lewis knew how to make meaning clear, but Stein may have had the last laugh, he mostly forgotten while she often still is referenced although that’s more for her place in the LGBTQQIAAOP pantheon than any literary contribution.

Portrait of Virginia Woolf (circa 1917), oil on canvas by Roger Fry (1866-1934).

Still, Gertrude Stein is at least remembered for something.  In the rich field of novelists with diminished reputations there’s no example better than the Scottish author Sir Walter Scott (1771-1832), among the most widely read (to the bafflement of some critics) of the nineteenth century.  His legacy endures curiously in those he inspired (notably Jane Austen) but the wordy style didn’t survive the onset of modernity, E. M. Forster (1879–1970) in Aspects of the Novel (1927) finding him prolific yet slight, saying: “He is seen to have a heavy mind and a trivial style.  He cannot construct.  He has neither artistic detachment nor passion, only a temperate heart, gentlemanly feelings and an intelligent affection for the countryside; this is not basis enough for great novels.”  The English vicar John Skinner (1772–1839) made scant contribution to theology but is remembered as one of the amateur antiquarians and archaeologists England produced in the days of empire and his writings make clear he had the qualities of patience of perseverance demanded by all his callings.  He’d have needed both to plod through Scott’s The Black Dwarf (1816 and one of the “Waverley Novels”), Skinner noting in his diary in 1830: “…strive to amuse myself by reading novels and have finished that of the Black Dwarf by Sir Walter Scott.  I must be reduced to a sad state when I feel obliged to read such nonsense for a pastime.”  While unfair to suggest any connection, some years later, Skinner committed suicide, blowing his brains out with a shotgun.  Although still sometimes the subject of academic study (it transpired Scott’s texts were rich pickings for the deconstructionists of postmodernism), Scott is now little read although, counterintuitively, Virginia Woolf (1882–1941) was a fan, in 1932 lamenting him as among the last to echo the Shakespearean style in dialogues: “We have lost the art of the poetic speech” she concluded.  When madness overtook her, Woolf chose a more romantic form of suicide.

The Tay Bridge Disaster

William Topaz McGonagall (circa 1825–1902) was a Scottish poet of Irish ancestry, now acknowledged as perhaps the worst poet ever to have been published in English, a fair achievement given the wealth of modern competition.  His best known work remains The Tay Bridge Disaster (1880), lamenting the disaster of 28 December, 1879 when, during a severe gale, the central section of Dundee's Tay Rail Bridge collapsed, sending to their deaths in the freezing water the 80-odd souls aboard the Wormit-Dundee train passing at the time.  Regarded during its brief existence as a triumph of Victorian (1837-1901) engineering, the Tay Rail Bridge was nearly two miles (3.2 km) long and then the longest in the world but it had been built with an insufficient allowance for lateral wind-load, the structure that night succumbing to the gale-force winds estimated at 80 mph (130 km/h, 70 knots).  An enquiry was conducted and the designer, Sir Thomas Bouch (1822-1880) (dubbed a Knight Bachelor at Windsor Castle on 26 June, 1879 by Victoria (1819–1901; Queen of the UK 1837-1901) in recognition of the quick and economic construction of the bridge) was found for primarily responsible for the disaster.  His health suffered as a consequence of the event and within a year of the collapse, he was dead.

The Tay Bridge after the collapse (National Library of Scotland image).

Whether the The Tay Bridge Disaster can be said to be prosaic is debatable because there are probably better adjectives but critics have long been united that it's a very bad piece of poetry and it's doubtful a re-rendering in prose would be much of an improvement, one writing of it that McGonagall was “deaf to poetic metaphor, employing inappropriate rhythms that resulted in unintentionally amusing poetry.”  Said to be wholly oblivious to the invective almost universally directed to his oeuvre of over two-hundred pieces of verse, his sheer awfulness and tenacity caused him to be remembered to this day for at least something while countless poets who were merely earnest and competent are long forgotten.  Whether The Tay Bridge Disaster is the "worst ever" poem is up to readers but the problem with poetry is that its appreciation is a specific skill-set and not all possess the skill.  Were the critics to have praised the piece as a work or rare genius and pronounced it a masterpiece, many of us would have taken their word for it.

The Tay Bridge Disaster by William McGonagall

Beautiful Railway Bridge of the Silv’ry Tay!
Alas! I am very sorry to say
That ninety lives have been taken away
On the last Sabbath day of 1879,
Which will be remember’d for a very long time.
 
’Twas about seven o’clock at night,
And the wind it blew with all its might,
And the rain came pouring down,
And the dark clouds seem’d to frown,
And the Demon of the air seem’d to say-
“I’ll blow down the Bridge of Tay.”
 
When the train left Edinburgh
The passengers’ hearts were light and felt no sorrow,
But Boreas blew a terrific gale,
Which made their hearts for to quail,
And many of the passengers with fear did say-
“I hope God will send us safe across the Bridge of Tay.”
 
But when the train came near to Wormit Bay,
Boreas he did loud and angry bray,
And shook the central girders of the Bridge of Tay
On the last Sabbath day of 1879,
Which will be remember’d for a very long time.
 
So the train sped on with all its might,
And Bonnie Dundee soon hove in sight,
And the passengers’ hearts felt light,
Thinking they would enjoy themselves on the New Year,
With their friends at home they lov’d most dear,
And wish them all a happy New Year.
 
So the train mov’d slowly along the Bridge of Tay,
Until it was about midway,
Then the central girders with a crash gave way,
And down went the train and passengers into the Tay!
The Storm Fiend did loudly bray,
Because ninety lives had been taken away,
On the last Sabbath day of 1879,
Which will be remember’d for a very long time.
 
As soon as the catastrophe came to be known
The alarm from mouth to mouth was blown,
And the cry rang out all o’er the town,
Good Heavens! the Tay Bridge is blown down,
And a passenger train from Edinburgh,
Which fill’d all the peoples hearts with sorrow,
And made them for to turn pale,
Because none of the passengers were sav’d to tell the tale
How the disaster happen’d on the last Sabbath day of 1879,
Which will be remember’d for a very long time.
 
It must have been an awful sight,
To witness in the dusky moonlight,
While the Storm Fiend did laugh, and angry did bray,
Along the Railway Bridge of the Silv’ry Tay,
Oh! ill-fated Bridge of the Silv’ry Tay,
I must now conclude my lay
By telling the world fearlessly without the least dismay,
That your central girders would not have given way,
At least many sensible men do say,
Had they been supported on each side with buttresses,
At least many sensible men confesses,
For the stronger we our houses do build,
The less chance we have of being killed.