Choke & Choker

Choke (pronounced chohk)

(1) To be unable to breathe because of obstruction of the windpipe (solid & semi-solid objects such as food or fumes or particles in the air which cause the throat to constrict); asphyxiate, strangle, suffocate, throttle.

(2) Full to the point of obstruction (usually as “choked with”); block up, bung up, clog, congest, jam, obstruct, stop up.

(3) In forestry, to seize a log, felled tree etc with a chain, cable, or the like, so as to facilitate removal.

(4) In engineering, any mechanism which, by narrowing or blocking a passage, regulates the flow of air, gas etc.

(5) In fluid mechanics (of a duct), to reach a condition of maximum flow-rate (immediately before the choke-point), due to the flow at the narrowest point of the duct becoming sonic.

(6) In electronics, an inductor having a relatively high impedance, used to prevent the passage of high frequencies or to smooth the output of a rectifier (also called the choke-coil.

(7) In combat sports (wrestling, karate etc), a type of hold (of the throat) which can result in strangulation.

(8) A constriction at the muzzle end of a shotgun barrel which varies the spread of the shot.

(9) To enrich the fuel mixture of an ICE (internal-combustion engine) by diminishing the air supply to the carburetor (a choke a specific component of a carburetor althouh the term is used loosely).

(10) To make or install a choke in a device.

(11) To stop by or as if by strangling or stifling:

(12) To stop by filling; obstruct; clog

(13) To suppress a feeling, emotion, etc (often as “choke up”, choke down” or “choke back”).

(14) In sport, to grip a bat, racket, club etc) farther than usual from the end of the handle (to shorten the grip).

(15) To suffer from or as from strangling or suffocating.

(16) To become obstructed, clogged, or otherwise stopped.

(17) To become too tense or nervous to perform well (used most often in competitive sport, specifically in the sense losing by performing badly at a critical point, when in a winning position).

(18) In slang, the inedible centre of the head of an artichoke.

1150–1200: From the Middle English choken & cheken, a variant of achoken & acheken, from the Old English ācēocian (to suffocate), from the Old English ċēoce & ċēace (jaw, cheek) and cognate with the Old Norse kōk (gullet) and the Icelandic kok (throat) & koka (to gulp).  The transitive verb emerged in the late thirteenth century and by the late 1300s was being used in the sense of “to stop the breath by preventing air from entering the windpipe”; “to make to suffocate, deprive of the power of drawing breath” and that was used of persons as well as swallowed objects.  In that. It was a shortened form of the twelfth century acheken, from Old English ācēocian, probably from the root of ċēoce & ċēace (the spelling ceoke was also used).  In the narrow technical sense “choking” has been the cause of death of a number of rock stars including the guitarist Jimi Hendrix (1942-1970), Led Zeppelin’s drummer John Bonham (1948-1980) and AC/DC’s vocalist Bon Scott (1946-1980) although in all cases the critical “inhalation of vomit” which induced them to choke to death was caused by substance abuse.  In the same vein, the singer Janis Joplin suffered a fatal head injury in a fall while affected by drugs and alcohol; all these deaths may be regarded as “death by misadventure”.  The alternative forms choak & choake are obsolete; chock is dialectal.  Choke is a noun & verb, chokage & choker are nouns, choking is a noun & verb, chokeable is an adjective and choked is a verb & adjective; the noun plural is chokes.

The intransitive verb dates from the early fifteenth century when it was used to mean “gasp for breath”, in line with the figurative use in agriculture & horticulture (the Biblical notion of weeds stifling the growth of useful plants a Biblical image).  The term “choked up” (overcome with emotion and unable to speak) seems first to have been documented in 1896, the use possibly related to the earlier use of the word (choke-pear (1530s), crab-apple (1610s), choke-cherry (1785)) of fruits with an untypical degree of astringency and it’s thought the botanical link inspired Dr Johnson (Samuel Johnson (1709-1784)) to define the figurative use as “any aspersion or sarcasm, by which another person is put to silence”.  The noun chokage emerged in the 1840s while the term chokehold (tight grip around a person's neck to restrict breathing) was first used in 1962. The idea of a “choke” in sport in the sense of “losing by performing badly at a critical point, when in a winning position” dates from 1907 and comes from baseball where it referred to a “clutch hitter” (the hitter at the plate upon whom winning depended) “choking up” and failing to perform; the phrase “to fail in the clutch” similar in meaning.

Interchangeable choke for shotgun.

Although (except in the odd, curious niche), rendered obsolete by fuel injection, the carburetor is a device which continues to exert a fascination in those with a fondness for mechanical intricacy and an inclination to tinker.  Carburetors are devices used on ICEs (internal combustion engine) to produce the mix of fuel (typically petrol (gas)) & air required for combustion and in mainstream use they lasted into the twenty-first century.  Most carburetor were fitted with a choke, an instrument controlled by the driver and what the choke did was provide an enriched mixture (ie more fuel, less air) to make starting easier from cold.  The term “choke” was already known in engineering but the most direct comparison was probably from ballistics, chokes (some types described as “adjustable chokes”) fitted to shotguns as early as 1875.  A shotgun’s choke is a device (or constriction) at the muzzle end of the barrel which controls the spread (or pattern) of the shot as it exits the barrel.  By altering the spread, chokes allow shooters to customize their gun's performance for different purposes (ie hunting, target shooting, home defense et al).  When a shotgun cartridge is discharged, the begin to spread out immediately upon leaving the barrel (in slang they’re sometimes called “scatter guns” and a choke modifies this spread by narrowing or widening the diameter of the barrel at the muzzle.  This affects the density and size of the shot pattern at different distances.

Pellet field streams using various chokes.

In the industry, the classification of chokes is determined by the extent to which they narrow the barrel and the most common types are: (1) Cylinder: these are not fitted with a choke and thus there’s no constriction; they’re most suitable for short-range shooting. (2) Improved Cylinder: These have a slight constriction, thereby offering a moderately wide spread suitable for short and medium range targets. (3) Modified: A variation of the Improved with more constriction, lengthening the effective range.  (4) Full: Thos provides a narrow bore, creating a tight pattern for long-range accuracy, (5) Extra full: As the name implies, an even smaller bore, popular for turkey hunting or precision shooting.  There are also (1) fixed chokes (integral with the barrel and thus unchangeable) and (2) interchangeable chokes which are detachable inserts a shooter can swap according to the shooting to be done.

1971 Chrysler (Australia) Valiant Charger R/T E38 (choke knob arrowed).

Confusingly, although it was almost always the case a choke would be part of a carburetor (cable activated by a control in the driver’s cabin), the word “choke” was also used of carburetors in a different context and potentially more confusingly still, when used thus, it was often synonymous (and sometimes used interchangeably) with “throat”, “barrel” and “venturi”.  In the now arcane world of carburetors inhabited by those familiar with the things, this casual use isn’t a problem because the four words are known to refer to different components, although even experts rarely dwell on the details: (1) The throat is the main passage (there can be as many as four in a single carburetor, not necessarily all of the same bore (although if there are four they are usually sized in pairs)) through which air flows and a throat encompasses the entire internal air pathway.  (2) The barrel is the cylindrical tube that houses the throat, venturi and in many cases the throttle valve; the barrel is the structural element through which the air and fuel are mixed and delivered.

Weber-style IDF twin choke downdraft carburettor with chrome ram tubes (left), pair of Weber 40 IDA triple barrel carburetors (centre) and Holley Dominator 4500 1150 CFM Square Bore four barrel carburetor with fitting kit.

In US use, “barrel” is the most common way of describing carburetors (two barrel, four barrel) and the standard abbreviation is “bbl”.  That seems inexplicable by the usual conventions of English but is a historic legacy from the petroleum industry where it was used to denote a barrel of oil.  The specification and paint scheme of early oil barrels were standardized by Standard Oil, and the abbreviation “bbl” became widely used to signify a “standardized blue barrel”, hence the apparently superfluous “b”; over time, “bbl”, became the universal shorthand for barrel, even outside the oil industry. (3) The venturi is a specific narrowing of a carburetor's throat or barrel, the primary purpose of which is to create a pressure drop due to the “venturi effect” (a phenomenon of fluid dynamics) in which as air flows through the narrowed section, its velocity increases and its pressure decreases (surface friction at this scale not significant).  The pressure drop induced by the venturi effect draws fuel from the fuel bowl into the air stream for mixing and atomization.  (4) Choke in this context is simply another way of saying “barrel” and the choice is dictated by local conventions of use; In Europe it was common to speak of a “two choke” carburetor whereas if used by a US manufacturer this would be a “two barrel”.  There was trans-Atlantic respect for this tradition and in both communities tend to use the correct terminology of each other’s devices although hot-rodders in the US did like slang such as the evocative “four-holer”.  Despite that, Ford did for a while muddy the waters by using the terms to 2V and 4V (ie 2 venturi & 4 venturi) to refer both to two & four barrel carburetors but also the two different cylinder heads designed for each.  People got used to that but it did latter induce confusion elsewhere when 2V & 4V came to be understood as “two valve” & “four valve” (ie per cylinder).

Model Tessa Fowler (b 1992) wearing fabric chokers.

Choker (pronounced choh-ker)

(1) In fashion, a piece of jewelry or ornamental fabric, worn as a necklace or neckerchief, snug around the throat (use based on the “choker chain” used to restrain dogs).

(2) One who, or that which, chokes or strangles.

(3) A person administering a choking device (depending on context, either a class or machine operator or a murderous strangler).

(4) A neckcloth or high collar.

(5) As choker chain, a dog collar designed to pinch or squeeze the dog or other animal when the leash is pulled.

(6) In forestry, a chain or cable used to haul logs to a transportation point.

(7) In slang, any disappointing or upsetting circumstance.

(8) In slang, the traditional clerical collar worn by Christian clergy.

(9) In slang, a cigarette.

(10) A person who pratices autoerotic asphyxiation or paraphilia, a practice where someone temporarily cuts off their own air supply by means of a ligature or some other sort of self-asphyxiation device during sex or masturbation.

(11) In sport, one who “chokes” (losing by performing badly at a critical point, when in a winning position).

1550s: The construct was choke + -er.  The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought most likely to have been borrowed from the Latin –ārius where, as a suffix, it was used to form adjectives from nouns or numerals.  In English, the –er suffix, when added to a verb, created an agent noun: the person or thing that doing the action indicated by the root verb.   The use in English was reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  When appended to a noun, it created the noun denoting an occupation or describing the person whose occupation is the noun.  The noun emerged in the 1550s in the sense of “one who chokes” an agent noun from the verb and from 1848 it was used to mean “large neckerchief”.  The use to mean “a kind of necklace worn against the throat” dates from 1928.  Choker is a noun; the noun plural is chokers.

Lindsay Lohan with choker at Moschino Fashion Show, London, June 2014.  A choker is a decorative accessory worn around the neck and differs from a necklace in that it sits higher (typically mid-way up the neck) and fits snugly.

In fashion, choker is a clipping of “choker chain”, a dog collar designed to pinch or squeeze the dog or other animal when the leash is pulled.  Chokers can be for any material (fabric, leather (studded varieties popular), metal etc), and are sometimes adorned with jewels or logos.  There are also chokers with LED (light-emitting diodes) displays in a variety of colors which are powered by a small button-battery, rechargeable via a USB (universal serial bus) port.  According to a normally reliable source (Urban Dictionary), a choker is (1) a symbol used by emos to convey a desire to engage in self-harm or even suicide or (2) a way certain young ladies advertize their especial fondness for and skill in performing fellatio (this should be treated as a gaboso (Generalized Association Based On Single-Observation).  In the BDSM (Bondage, Discipline (or Dominance) & Submission (or Sadomasochism) community, chokers are sometimes used as the “submissive collar”, given by dominants as a symbol of possession and sometimes augmented with a leash for purpose of public display.

Anna Teshu (b 1994, right), in choker and on leash with ex-boyfriend Nathan Riely (b 1988. left) while role-playing as a dog and handler.  If consensual, the "leashed partner" thing is a kink and a genuine ALC (alternative lifestyle choice), albeit one which has attracted some criticism, some suggesting the "leashed" are suffering from "false consciousness", an idea explored in other contexts by both Karl Marx (1818-1883) and Sigmund Freud (1856-1939).

Cynophagia

Cynophagia (pronounced)

The practice of eating dog meat.

Late 1700-early 1800s: The construct was cyno- + phagia.  Cyno was a combining form of the Ancient Greek κύων (kúōn or kýon) (dog) and the suffix –phagia was from the Ancient Greek -φαγία (-phagía) (and related to -φαγος (-phagos) (eater)), corresponding to φαγεῖν (phageîn) (to eat), infinitive of ἔφαγον (éphagon) (I eat), which serves as infinitive aorist for the defective verb ἐσθίω (esthíō) (I eat).  In English, use is now most frequent in mental health to reference the consumption of untypical items.  Being a cynophagist (a person who engages in cynophagia) is not synonymous with being a cynophile (a person who loves canines) although it’s not impossible there may be some overlap in the predilections.  The construct was cyno- +‎ -phile.  The –phile suffix was from the Latin -phila, from the Ancient Greek φίλος (phílos). (dear, beloved) and was used to forms noun & adjectives to convey the meanings “loving”, “friendly”, “admirer” or “friend”.  In the context of metal health, the condition would be described as cynophilia.  The -philia suffix was from the Ancient Greek φιλία (philía) (fraternal) love).  It was used to form nouns conveying a liking or love for something and in clinical use was applied often to an abnormal or obsessive interest, especially if it came to interfere with other aspects of life (the general term is paraphilia).  The companion suffix is the antonym -phobia. The related forms are the prefixes phil- & philo- and the suffixes -philiac, -philic, -phile & -phily.  Cynophagia, cynophagy, cynophagism & cynophagist are nouns and cynophagic is an adjective; the noun plural is cynophagists.

The word cynophagia was coined as part of the movement in European scholarship in the late eighteenth & early nineteenth centuries which used words from classical languages (Ancient Greek & Latin) as elements to create the lexicon of “modern” science & medicine, reflecting the academic & professional reverence for the supposed purity of the Ancient world.  The reason there was a cynophagia but not a “ailourphagia” (which would have meant “the practice of eating cat meat”) is probably because while the reports from European explorers & colonial administrators would have sent from the orient many reports of the eating of dogs, there were likely few accounts of felines as food.  The construct of “ailourphagia” would have been ailour-, from the Ancient Greek αἴλουρος (aílouros) (cat) + phagia.  The Greek elements of ailouros were aiolos (quick-moving or nimble) & oura (tail), the allusion respectively to the agility of cats and their characteristic tail movements.  There are of course ailurophiles (one especially fond of cats), notably the "childless cat ladies" and disturbingly, there's also paedophage (child eater). 

Historically, east of Suez, consuming dog meat was not uncommon and in some cultures it was a significant contribution to regional protein intake while in other places it was either unlawful of taboo.  Carnivorism (the practice of eating meat) is an almost universal human practice but what is acceptable varies between cultures.  Some foods are proscribed (such as shellfish or pig-meat) and while it’s clear the origin of this was as a kind of “public heath” measure (the rules created in hot climates in the pre-refrigeration age) but the observance became a pillar of religious observance.  Sometimes, a similar rule seems originally to have had an economic imperative such as the Hindu restriction on the killing of cattle for consumption, thus the phrase “sacred cow”, the original rationale being the calculation the live beasts made an economic contribution which much outweighed their utility as a protein source.  So, what is thought acceptable and not is a cultural construct and that varies from place-to-place, the Western aversion to eating cats & dogs attributable to the sentimental view of them which has evolved because of the role for millennia as domestic pets.  Over history, it’s likely every animal in the world has at some point been used as a food source, some an acquired taste such as the “deep fried tarantula” which, long a tasty snack in parts of Cambodia, became a novelty item in Cambodian restaurants in the West.  There are though probably some creatures which taste so awful they’re never eaten, such as parrots which ate the seeds of tobacco plants, lending their flesh a “distinctive flavor”.  The recipe for their preparation was:

(1) Place plucked parrot and an old boot in vat of salted water and slow-cook for 24 hours.
(2) After 24 hours remove parrot & boot.
(3) Throw away parrot and eat old boot.

Analysts had expected “more of the same” from Donald Trump (b 1946; US president 2017-2021) in his debate with Kamala Harris (b 1964; US vice president since 2021): the southern border, illegal immigrants, inflation et al.  What none predicted was that so much of the post-debate traffic would be about Mr Trump’s assertion Haitian immigrants in Springfield, Ohio (one of literally dozens of localities in the country so named, one factor which influenced it becoming the name of the town in the Fox cartoon series The Simpsons) were eating the pets of the residents (ie their cats & dogs).  As racist tropes go, it followed the script in terms of the “otherness, barbarism, incompatibility” etc of “outsiders in our midst” although there seemed to be nothing to suggest there was any tradition of such consumption in Haiti.  Still, at least it was something novel and it wasn’t the first time pet cats had been mentioned in the 2024 presidential campaign, Mr Trump’s choice of running mate as JD Vance (b 1984; US senator (Republican-Ohio) since 2023) bring renewed attention to the latter’s 2021 interview then Fox News host Tucker Carlson (b 1969) in which he observed the US had fallen into the hands of corporate oligarchs. Radical Democratic Party politicians and “…a bunch of childless cat ladies who are miserable at their own lives and the choices that they've made and so they want to make the rest of the country miserable, too.”

Eventually, that would be answered by the childless cat ladies, notably the most famous: the singer Taylor Swift who posted an endorsement of Kamala Harris, posing with Benjamin Button, the Ragdoll she adopted in 2019.  Benjamin Button was no stranger to fame, the seemingly nonplussed puss appearing of the cover announcing Ms Swift as Time magazine’s 2023 Person of the Year.

Childless cat lady Taylor Swift with ragdoll Benjamin Button (as stole).  Ragdoll cats make good stoles because (apparently because of a genetic mutation), they tend to "go limp" when picked up.  

Ms Swift is of course a song-writer so well accustomed to crafting text to achieve the desired effect and one word nerd lawyer quickly deconstructed, much taken by the first three paragraphs which interlaced the first person (“I” & “me/my”) and the “you” while avoiding starting any sentence with “I” (a technique taught as a way of conveying “objectivity”) until the she announces her conclusion:

 “Like many of you, I watched the debate tonight. If you haven’t already, now is a great time to do your research on the issues at hand and the stances these candidates take on the topics that matter to you the most. As a voter, I make sure to watch and read everything I can about their proposed policies and plans for this country.”

“Recently I was made aware that AI of ‘me’ falsely endorsing Donald Trump’s presidential run was posted to his site. It really conjured up my fears around AI, and the dangers of spreading misinformation. It brought me to the conclusion that I need to be very transparent about my actual plans for this election as a voter. The simplest way to combat misinformation is with the truth.”

“I will be casting my vote for Kamala Harris and Tim Walz in the 2024 Presidential Election. I’m voting for @kamalaharris because she fights for the rights and causes I believe need a warrior to champion them. I think she is a steady-handed, gifted leader and I believe we can accomplish so much more in this country if we are led by calm and not chaos. I was so heartened and impressed by her selection of running mate @timwalz, who has been standing up for LGBTQ+ rights, IVF, and a woman’s right to her own body for decades.”

So, a classic example of a technique which might be used by someone disinterested: two premises which lead to a conclusion, the rhythm of the lyric being “I, I, you, you, you.”  Then, after the “you, you, you” of the “discussion” has made it clear where her focus is, every sentence in the third paragraph begins with “I”, emulation a cadence which might appear in a musical track: “I’ve done my research, and I’ve made my choice. Your research is all yours to do, and the choice is yours to make.”  One can see why her songs are said to be so catchy.

The intervention of Ms Swift and Benjamin Button produced reactions. 

Newspapers haven’t always been effective in changing voting intentions or nudging governments in particular public policy directions.  During the inter-war years the Beaverbrook (the Daily & Sunday Express and the less disreputable Evening Standard) press in the UK ran a long and ineffective campaign promoting “empire free trade” and the evidence suggests the editorial position a publication adopted to advocate its readers vote one way or the other was more likely to reflect than shift public opinion.  One reason is that in the West, while politics is very interested in the people, the people tend not to be interested in politics and most thoughtful editorials are barely read.  People are however rabid consumers of popular culture and one opposition leader would later claim an interview a woman’s magazine conducted with his (abandoned) ex-wife did him more political damage than anything written by political or economics reporters, however critical.  With 283 million followers on Instagram (Ms Harris has 18 million), Ms Swift’s intervention may prove decisive if she shifts just a few votes in the famous “battleground states”.

Celebrity endorsements are not unusual; some successful, some not.  In 2016, Lindsay Lohan endorsed crooked Hillary Clinton (who did win the popular vote so there was that).

Whether Ms Swift’s endorsement of Kamala Harris will shift many opinions isn’t known (many analysts concluding the electorate long ago coalesced into “Trump” & “anti-Trump” factions) but the indications are she may have been remarkably effective in persuading to vote those who may not otherwise have bothered, the assumption being most of these converts to participation will follow her lead and it’s long been understood that to win elections in the US, the theory is simple: get those who don’t vote to vote for you.  In practice, that has been difficult to achieve at scale (the best executions in recent years by the campaign teams of George W Bush (George XLIII, b 1946; US president 2001-2009) in 2004 and Barack Obama (b 1961; US president 2009-2017) in 2008.

However, in including a custom URL which directed people to vote.gov where they could register to vote produced a spike in voter registration, the US General Services Administration (GSA) revealing an “unprecedented” 338,000-odd unique visits to their portal in the hours after Ms Swift’s post.  Although the “shape” of the hits isn’t known, most seem to be assuming that (as well as some childless cat ladies), those who may be voting for the first time will tend to be (1) young and (2) female, reflecting the collective profile of Ms Swift’s “Swifties”.  They are the demographic the Democratic Party wants.  The GSA called it the “Swift effect” and added that while in the past there had been events which produced smaller spikes, they were brief in duration unlike the Swifties woh for days kept up the traffic, the aggregate numbers dwarfing even the “intensity and enthusiasm” in the wake of the US Supreme Court (SCOTUS) overturning Roe v Wade (1973) prior to the 2022 mid-term congressional elections.

In an interview with JD Vance, Fox News asked what he thought might be the significance of Ms Swift mobilizing the childless cat lady vote and he responded: “We admire Taylor Swift’s music. But I don’t think most Americans, whether they like her music, or are fans of hers or not, are going to be influenced by a billionaire celebrity who I think is fundamentally disconnected from the interests and problems of most people.  When grocery prices go up by 20 per cent, it hurts most Americans. It doesn’t hurt Taylor Swift. When housing prices become unaffordable, it doesn’t affect Taylor Swift, or any other billionaire.”  Fox News choose not to pursue the matter of whether self-described “billionaire celebrity” Donald Trump could be said to be “…fundamentally disconnected from the interests and problems of most people.”

In “damage-limitation” mode, the Trump campaign mobilized generative AI in an attempt to re-capture the childless cat lady vote.  After the debate, Mr Trump had added geese to the alleged diet of Springfield’s Haitian residents.

Mr Trump may have himself to blame for Ms Swift’s annoying endorsement because he’d earlier posted fake, AI-generated images on his social media platform, Truth Social, suggesting she’d urged her the Swifties to vote for him.  Such things were of course not foreseen by the visionary AI (artificial intelligence) researchers of the 1950s, the genie is out of the bottle and given that upholding the “freedom of speech” guaranteed by the First Amendment to the constitution is one of the few things on which the SCOTUS factions agree, the genie is not going back.

The meme-makers have really taken to generative AI.

So while generative AI doesn’t allow mean the meme makers can suddenly create images once impossible, it does mean they can be produced by those without artistic skills or specialized resources and the whole matter of the culinary preferences of Haitians in Ohio is another blow for the state.  It was only in May 2024 that a number of schools in issued a ban on Gen Alpha slang terms including:

Ohio: It means “bad” with all that implies (dull, boring, ugly, poor etc).  Because of the way language evolves, it may also come to mean “people who eat pet cats & dogs”.  The implication is it’s embarrassing to be from Ohio.

Skibidi: A reference to a viral meme of a person’s head coming out of a toilet; it implies the subject so described is “weird”.

Sigma: Unrelated to the 18^th letter of the Greek alphabet, it’s been re-purposed as a rung on the male social hierarchy somewhat below the “alpha-male”.

Rizz: This one has a respectable pedigree, being the the Oxford English Dictionary’s (OED) 2023 word of the year.  It’s said technically to be a “Gen Z word”, short for “charisma”.  It has been banned because Gen Alpha like to use it in the negative (ie “lacking rizz”; “no rizz” etc).

Mewing: A retort or exclamation used to interrupt someone who is complaining about something trivial.  Gen Alpha are using it whenever their teachers say something they prefer not discuss.

Gyatt: A woman with a big butt, said originally based on the expression “goddam your ass thick.”

Bussin’: “Good, delicious, high quality” etc.

Baddie: A tough, bolshie girl who “doesn’t take shit form no one”.  It’s a similar adaptation of meaning to a term like “filth” which means “very attractive”.

Psyche

Psyche (pronounced sahyk or sahy-kee)

(1) In the mythology of Ancient Greece and Classical Rome, the personification of the soul.  The beautiful nymph was originally a mortal princess who later married Eros (Cupid, the god of love), was deified and bore him a daughter Hedone (Voluptas).

(2) In the popular imagination, the human soul, spirit, or mind.

(3) In psychology & psychoanalysis, the mental or psychological structure of a person, especially as a motive force (as opposed to the pure physicality of the body).  The psyche is the centre of thought, feeling, and motivation, consciously & unconsciously directing the body's reactions to external influences (the social and physical environment).

(4) In philosophy (in neo-Platonism), the second emanation of the One, regarded as a universal consciousness and as the animating principle of the world.

(5) A variant of the noun, verb & adjective psych (mostly in colloquial use as a clipping of psych(ology)).

(6) In cosmology, a main belt asteroid.

(7) A female given name.

(8) A small white butterfly, Leptosia nina, family Pieridae, of Asia and Australasia; a taxonomic genus within the family Psychidae (bagworm moths).  The butterfly was the symbol of the waif Psykhē, thus the frequency with which depictions of a “departed soul, spirit, ghost” were rendered as winged creatures with some resemblance to butterfly.

(9) As “psyche knot”, a technique of knotting up a woman's hair, said to be imitative of the style used in Ancient Greece but because so many of these notions were based on depictions by Medieval and Renaissance artists, the historical efficacy is dubious (known also as the Grecian knot).

(10) As “psyche mirror”, a tall (originally free-standing, framed & mounted between two posts which allowed vertically to pivot) mirror.  Psyche mirrors are still used as decorative pieces although most full-length mirrors are now wall-mounted or function also a wardrobe doors.  The name was gained from the idea that because it reflected the whole body, it symbolized introspection.  The alternative name is “cheval glass”.

1650s: The seventeenth century adoption of “psyche” as an expression of the notion of “animating spirit, the human spirit or mind” reflected the understanding of the time of what was described as “the soul, mind, spirit; life, one's life, the invisible animating principle or entity which occupies and directs the physical body; understanding, the mind (as the seat of thought), faculty of reason”; something which inhabited and controlled the body yet was something separate.  It was used also of the “ghost, spirit of a dead person” although there were differences in interpretation between the religious and secular.  What has long been a puzzle is the extent of the influence of psȳ́chein (to blow, breathe; to cool, to make dry”.  The Ancient Greek ψυχή (psukhḗ) (“soul, spirit” and literally “breath”) was a derivative of psȳ́chein (thus the uses connected with “to live”), the construct being ψῡ́χω (psū́khō) (I blow) +‎ -η (-ē) but the problem is this seems ever to have enjoyed the meaning “breath”, even in the writings of Homer.  More than one etymologist has been recorded as being “tempted” by the long documented connection with the primitive Indo-European root bhes- (to blow, to breathe) which was the source of the Sanskrit bhas- (thought probably imitative).  However, all admit the existence of a link is scant and the theory is thus a conjecture.  Psyche is a noun & verb, psyched is a verb & adjective and psyching is a verb; the noun plural is psyches.

Psych (never psyche) was used as US student slang for the academic study of “psychology” (later extended to references in various senses) by 1895.  Psychology was from the French psychologie, from the Renaissance Latin psychologia, emulating the Greek construct ψυχή (psukhḗ) + -λογία (-logía) (study of), thus in English as psych(o)- +‎ -ology.  The suffix -ology was formed from -o- (as an interconsonantal vowel) +‎ -logy.  The origin in English of the -logy suffix lies with loanwords from the Ancient Greek, usually via Latin and French, where the suffix (-λογία) is an integral part of the word loaned (eg astrology from astrologia) since the sixteenth century.  French picked up -logie from the Latin -logia, from the Ancient Greek -λογία (-logía).  Within Greek, the suffix is an -ία (-ía) abstract from λόγος (lógos) (account, explanation, narrative), and that a verbal noun from λέγω (légō) (I say, speak, converse, tell a story).  In English the suffix became extraordinarily productive, used notably to form names of sciences or disciplines of study, analogous to the names traditionally borrowed from the Latin (eg astrology from astrologia; geology from geologia) and by the late eighteenth century, the practice (despite the disapproval of the pedants) extended to terms with no connection to Greek or Latin such as those building on French or German bases (eg insectology (1766) after the French insectologie; terminology (1801) after the German Terminologie).  Within a few decades of the intrusion of modern languages, combinations emerged using English terms (eg undergroundology (1820); hatology (1837)).  In this evolution, the development may be though similar to the latter-day proliferation of “-isms” (fascism; feminism et al).

Just as Eros (Cupid) was smitten, the word “psyche” seems to have seduced all whoc wrote on the subject of the soul (however understood).  There was much sense development in Platonic philosophy theological writing, especially that written under Jewish influence; in Biblical use the Greek word was used of (1) “the soul as the seat of feelings, desires, affections etc”, (2) “the soul regarded as a moral being designed for everlasting life” and (3) “the soul as an essence which differs from the body and is not dissolved by death.”  In English, the meaning “human soul” dates from the mid-seventeenth century while the modern sense in psychology of “mind” is said only to have some into use after 1910 which seems surprisingly late.  By 1914 the profession was using the verb “psych” to mean “to subject to psychoanalysis” (ie a shortened form of to “psychoanalyse” and the jargon entered general use, from 1934 used as the term “psych out” (to to outsmart) in baseball, (US) football and also in commerce.  In 1952 it was documented in the card game bridge as meaning “to make a bid meant to deceive an opponent” (bridge players thinking their game too complex for the poker player’s mere “bluff”.  By the early 1960s “psych out” had the general meaning “to unnerve” while to “psych (oneself) up” emerged a decade later, building on “psyched up” (stimulate (oneself), prepare mentally for a special effort) first appeared in newspapers in the US in 1968.

The psyche knot

The Hairdo Handbook: A Complete Guide to Hair Beauty (1964) by Dorothea Zack Hanle (1918-1999); the psyche knot was discussed in Chapter XVIII: Handling and Styling Long Hair.  It would be a different, more difficult, world without the "invisible hairpin".

Although Dorothea Zack Hanle was for some time editor of HairDo magazine, she’s remains best remembered for her food writing, her career including a long tenure as an editor at Bon Appetit, several cookbooks and being one of the founders of Les Dames d'Escoffier, an international women's organization that promotes fine dining and wine.  Ms Hanle had quite a journalistic range, he publications including The Surfer's Handbook (1968), Cooking With Flowers (1971), Cooking Wild Game (1974) and the co-authored children's cookbook, The Golden Ladle (1945).  Additionally, she published also on subjects as diverse as gardening, diet and exercise.

The psyche knot (known also as the Grecian knot) was said to be imitative of the style used in Ancient Greece but because so many of these notions were based on depictions by Medieval and Renaissance artists, the historical efficacy is dubious.  Psyche (alone or with Eros (Cupid), her sisters or others) was a popular subject and while in many paintings her hair is stacked high, it was also not unusual for her tresses to be shown flowing as the German illustrator and painter Friedrich Paul Thumann (1834-1908, Berlin) chose for Cupid and Psyche (1900, left).  In Psyche showing her Sisters her Gifts from Cupid, (circa 1753 (centre)) Jean-Honoré Fragonard, (1732–1806) even showed her “having her hair styled”, presumably with an eponymous knot.  In his Expressionist Cupid and Psyche (1907, right), Edvard Munch (1863-1944) decided she deserved a knot.  Now hung in the Munch Museum in Oslo, it’s of interest because it was painted early in the period when Munch had begun to paint human figures, something which would later make him famous, Cupid and Psyche one of 22 works in his collection called The Frieze of Life.  Ominously, the painting was loaned to Musée d'Orsay (Museum d’Orsay) in Paris where it was part of the Crime and Punishment exhibition, organized to emphasize to the population those crimes attracting a death sentence.

The technique used to tie the psyche know wasn’t new in the 1920s but it was then it became a thing.  At that time, the “bob” had become a popular style among bright young things and their many imitators, part of a trend which was both an aesthetic call and a marker of first-wave feminism, a reaction to previous fashions in which clothing had been constricting and voluminous.  Then, called the “garçonne” (a feminized version of the French garçon (boy)), it now remembered as the “flapper style”, distinguished by an angular, slender silhouette, the irony of the look (for all but the genetically lucky) that having abandoned corsets during World War I (1914-1918), most were compelled to seek the help of girdles, garments rather less comfortable than modern shapewear.  Short hairstyles (the bob or the shingle) were an essential part of the “boyish look”, albeit offset by the deliberately obvious application of rouge, eyeliner and lipstick which was famously red.  Some women however wanted “a bob each way” (as it were), liking the short-hair look but wanting to retain the flexibility to display a mane when circumstances demanded or an opportunity was presented.  The solution can be thought of as the “faux bob” and while there were a number of ways to achieve this (including the famous “side-pods”), the psyche know was the simplest to execute and, done properly, would survive an evening’s dancing without the dreaded, annoying “flyaway bits”

The psyche mirror

La Psyché (known in English as The Psyche Mirror, 1876, left), oil on canvas by the French artist Berthe Morisot (1841-1895), Thyssen-Bornemisza Museum, Madrid, Spain shows a woman before a classic “psyche mirror” (known originally as a “psyche glass” (looking-glass still the preferred form among a certain subset (the one in which at cards a jack is called a knave)).  Lindsay Lohan (right) illustrates this generation’s use of the psyche mirror for full-length selfies.  Ms Lohan was with child when this selfie was snapped in New York during 2022 (note the comfortable shoes).  The original psyche mirrors were tall, free-standing, framed & mounted between two posts which allowed them vertically to pivot), the advantage being it made it possible for the subject to view herself in a greater aspect range.  The free-standing designs are still sometimes used as decorative pieces but most full-length mirrors are now wall-mounted or function also a wardrobe doors.  The name was gained from the idea that because it reflected the whole body, it symbolized introspection.  The alternative name is “cheval glass”, from the French form chevel glace (mirror).  Chevel was from the French cheval (horse, supporting frame), from the Middle French cheval, from the Old French cheval, from the Late Latin caballus (horse), from the Classical Latin caballus (pack horse) of uncertain origin.  The term thus deconstructs as glass (mirror) mounted in a supporting frame.

Cupid, Psyche and the Nectar of the Gods

In Greek mythology, Psyche was the youngest and loveliest of a king’s three daughters.  So haunting was Psyche’s beauty that people travelled from afar to pay homage, neglecting the worship of Venus (Aphrodite), the goddess of love and beauty, instead venerating the nymph.  Venus became enraged at finding her altars deserted, men instead turning their devotions to the young virgin, watching as she passed, singing her praises and strewing her way with chaplets and flowers.

Indignant at the exaltation of a mortal, Venus began her righteous rant.  "Am I then to be eclipsed in my honors by a mere mortal girl?  In vain then did that royal shepherd, whose judgment was approved by Jove himself, give me the palm of beauty over my illustrious rivals, Pallas and Juno. But she shall not so quietly usurp my honors. I will give her cause to repent of so unlawful a beauty."  Venus summoned her winged son, the mischievous Cupid and telling him of Psyche, ordered her revenge.  "My dear son, punish that contumacious beauty; give your mother a revenge as sweet as her injuries are great; infuse into the bosom of that haughty girl a passion for some low, mean, unworthy being, so that she may reap a mortification as great as her present exultation and triumph."

Obediently, Cupid set to his task.  In the garden of Venus lay two fountains, one of sweet waters, the other of bitter.  Cupid filled two amber phials, one from each fountain and suspending them from the top of his quiver, hastened to the chamber of Psyche, finding her asleep.  He shed a few drops from the bitter fountain over her lips and although though the sight of her moved him almost to pity, touched her side with the point of his arrow.  At the touch she awoke and her eyes gazed upon the invisible Cupid which so enchanted him he became confused and pricked himself with his own arrow.  Helplessly in love, his only thought now was to repair the mischief he had done and he poured the balmy drops of joy over all her silken blonde ringlets.

Psyche, henceforth frowned upon by Venus, gained no benefit from her charms.  While all cast covetous eyes upon her and all spoke her praises, not prince, plebeian or peasant ever asked for her hand in marriage.  Her two sisters had become betrothed to princes but Psyche sat in solitude, feeling cursed by the beauty which had failed to awaken love.  The king and queen, thinking they had incurred the wrath of the gods turned for guidance to the oracle of Apollo who answered: “The virgin is destined for the bride of no mortal lover. Her future husband awaits her on the top of the mountain. He is a monster whom neither gods nor men can resist."

Her parents, distraught, abandoned themselves to grief but Psyche was fatalistic, saying "Why, my dear parents, do you now lament me? You should rather have grieved when the people showered upon me undeserved honors, and with one voice called me a Venus. I now perceive I am victim to that name.  I submit.  Lead me to that rock to which my unhappy fate has destined me."  Accordingly, amid the lamentations of all, she was taken to the peak of the mountain and there left alone.  When the tearful girl stood at the summit, the gentle Zephyr raised her from the earth and carried her on the breeze, bringing her to rest in a flowery dale where she laid down to sleep.  When she awoke, refreshed, she looked around and beheld nearby a grove of tall and stately trees.  Entering the forest, she discovered in its midst a fountain from which bubbled crystal-clear waters and nearby, a splendid palace, so magnificent she knew it the work not of mortal hands, but the retreat of some god.  Drawn by admiration and wonder, she ventured to enter the door.  Amazed at what she saw, she walked along a marble floor so polished it shimmered, golden pillars supported a vaulted roof, walls were enriched with carvings and paintings of fantastic beasts.  Everything upon which her eye fell delighted her.

Soon, although she saw no one, she heard a voice.  "Sovereign lady, all that you see is yours. We whose voices you hear are your servants and shall obey all your commands with utmost care.  Retire, should you please, to your chamber, recline upon your bed of down and when you see fit, repair to the bath.  Your supper awaits in the alcove”.  Psyche took her bath and seated herself in the alcove, whereupon a table appeared laden with extraordinary delicacies of food and nectarous wines.   While she ate, she heard the playing of lute and harp and the harmony of song.

That night she met he husband but he came only in the darkness, fleeing before the dawn, but his words and caresses were of love and inspired in her a like passion.  Often she would beg him to stay so she might behold him in the light but he refused, telling her never to attempt to see him, for no good would come of it and that he would rather have her love him as a man than adore him as a god.  This, Psyche accepted but the days grew long and lonely and she began to feel she was living in a gilded cage.  One night, when her husband came, she told him of her distress, her charms enough to coax from him his unwilling acquiescence that her sisters could visit.  Delighted, she summoned the obedient Zephyr who brought them to the mountain and in happiness, they embraced.

The splendor and celestial delights of Psyche’s palace astonished her sisters but also aroused their envy and they began to pepper her with questions about her husband and she told them he was a beautiful youth who spent his days hunting in the mountains.  Unconvinced, the soon drew from her that she had never seen him and they began to fill her mind with dark suspicions, recalling the Pythian oracle had declared her doomed to marry a direful and tremendous monster.  Psyche protested but they told her the folk living in the valley say the husband is a terrible and monstrous serpent, amusing himself while nourishing her with dainties that he may by and by devour her.  They told to one night to take with her a lamp and sharp blade so that when he slept she might light the lamp and see his true form.  If truly he is a monster they told her, "hesitate not and cut off its head".

Psyche tried to resist her sisters’ persuasions but knew she was curious and that night she took to bed a lamp and a long, sharp knife.  When he had fallen to sleep, silently she arose and lit her lamp, beholding but the most beautiful of the gods, his golden ringlets falling over his snowy neck, two dewy wings on his shoulders whiter than snow, with shining feathers like the tender blossoms of spring.  Entranced, as she moved her lamp better to see his face, a drop of hot oil fell on the shoulder of the god and startled, he opened his eyes and fixed them upon her.  They both were frozen for a few seconds, then suddenly and without a word, he spread his wings and flew out of the window.  Psyche, crying in despair, in vain endeavored to follow but fell from the window to the ground below.

Hearing her fall, Cupid for a moment paused in his flight and turned to her saying, "Oh faithless Psyche, is it thus you repay my love? After I disobeyed my mother's commands and made you my wife, will you think me a monster and would cut off my head?  Go, return to your sisters, who you trust more than me.  I punish you no more than to forever leave you for love cannot dwell with suspicion."  With those words, he flew off, leaving poor Psyche crying into the earth.  For hours she sobbed and then looked around, but her palace and gardens had vanished and she found herself in a field in the city where her sisters dwelt.  She repaired thither and told them her story at which, though pretending to grieve with her, the two evil sisters inwardly rejoiced for both thought as one: that Cupid might now choose one of them.  Both the next morning silently arose and snuck secretly to the mountain where each called upon Zephyr to bear them to his lord but leaping up, there was no Zephyr to carry them on the breeze and each fell down the precipice to their deaths.

The devastated Psyche meanwhile wandered.  Day and night, without food or rest, she searched for her husband and one evening saw in the distance a magnificent temple atop a lofty mountain and she felt her heart beat, wondering if perhaps there was Cupid.  She walked to the temple and there saw heaps of corn, some in loose ears and some in sheaves, mingled with ears of barley.  Scattered about, lay sickles and rakes, the instruments of harvest, without order, as if thrown carelessly from the weary reapers' hands in the sultry hours of the day.  This unseemly confusion disturbed the neat and tidy Psyche and she put herself to work, separating and sorting everything and putting all in its proper place, believing she ought to neglect none of the gods, but prove by her piety to prove she was worthy of their help.  The holy Ceres, whose temple it was, finding her so religiously employed, thus spoke to her, "Oh Psyche, truly your are worthy of our pity, though I cannot shield you from the frowns of Venus, I can teach you how best to allay her displeasure. Go, then, and voluntarily surrender yourself to your lady and sovereign, and try by modesty and submission to win her forgiveness, and perhaps her favor will restore you the husband you have lost."  Filled with both fear and hope, Psyche made her way to the temple of Venus.

Venus met her with anger.  "Most undutiful and faithless of servants," said she, "do you at last remember you have a mistress or have you come to see your sick husband, the one injured by the wound given him by his worthless wife?  You are so ill favored you can be worthy of your lover only by showing industry and diligence.  I shall put you to work".  She led Psyche to temple’s storehouse in which sat vast piles of wheat, barley, vetches, beans and lentils, the food for her birds.  “Separate these grains, put them all in sacks and have it done by night” she commanded, leaving her to the task.  Shocked, Psyche sat silent, moving not a finger.  While she despaired, Cupid ordered an ant, a native of the fields, to bring all ants from the anthill and they gathered on the piles.  Quickly and with the efficiency of their breed, they took grain by grain, making perfect parcels of each and when done, vanished from sight.  As twilight fell, Venus returned from a banquet of the gods and seeing the sacks neatly stacked, became enraged.  "This is no work of yours, wicked one, but his, whom to your own and his misfortune you have enticed."  So saying, she threw her a piece of black bread for her supper and stormed off.

Next morning Venus ordered Psyche to be called and said to her, "Behold yonder grove which stretches along the margin of the water.  There you will find sheep feeding without a shepherd, with golden-shining fleeces on their backs.  Go now, fetch me some of that precious wool gathered from every one of their fleeces."  Standing on the riverbank, wondering at the difficulty of her task, Psyche was about to cross but river god made the reeds speak, telling her "Oh maiden, tempt not the dangerous flood, nor venture among those rams for as long as the sun shines, they burn with a cruel rage to destroy mortals with their sharp horns or rude teeth.  But when the noontide sun has driven them to the shade, and the serene spirit of the flood has lulled them to rest, you may then cross in safety, and you will find the woolly gold sticking to the bushes and the trunks of the trees."  Psyche did as they said and returned with her arms full of the golden fleece but Venus was not pleased.  "Well I know it is by none of your own doings that you have succeeded I do not believe you are of use but I have another task for you.  Here, take this box and go your way to the infernal shades, and give this box to Proserpine and say, 'my mistress Venus desires you to send her a little of your beauty, for in tending her sick son she has lost some of her own'.  Be not too long on your errand, for I must paint myself with it to appear this evening at the circle of the gods."

Psyche now believed her own destruction was at hand and, with no wish to delay what was not to be avoided, dashed to the top of a high tower, preparing to cast herself headlong, thus to descend the shortest way to the shades below.  But then, a voice from the tower said to her, "Why, poor unlucky girl, do you design to put an end to your days in so dreadful a manner? And what cowardice makes you sink under this last danger when you have been so miraculously supported in all your former?"  Then the voice told her how by a certain cave she might reach the realms of Pluto, and how to avoid all the dangers of the road, to pass by Cerberus, the three-headed dog, and prevail on Charon, the ferryman, to take her across the black river and bring her back again. But the voice also cautioned, "When Proserpine has given you the box filled with her beauty, you must never once open or look into the box nor allow your curiosity to pry into the treasure of the beauty of the goddesses."

Encouraged, Psyche obeyed the advice and travelled safely to the kingdom of Pluto. Admitted to the palace of Proserpine, she delivered her message from Venus and soon, she was handed the box, shut and filled with the precious commodity. Then she returned the way she came, glad once more to be in the light of day.  But as she walked along the path, a longing desire overcame her, an urge to look into the box for, as she imagined, a touch of the divine beauty would make her more desired by Cupid so, delicately, she opened the box.  But in there was nothing of beauty but only an infernal and truly Stygian sleep which, being set free from its prison, took possession of her, and she fell in the road where she stood, plunged into a deep sleep, lying there without sense or motion.

But Cupid was now recovered and could no longer bear the absence of his beloved Psyche and slipping through a crack in the window, he flew to where Psyche lay.  He gathered up the sleep from her and closed it again in the box, waking her with the gentlest touch of one of his arrows. "Again," said he, "have you almost perished by the same curiosity.  But now perform exactly the task imposed on you by my mother, and I will take care of the rest."  Then Cupid, as swift as lightning, presented himself before Jupiter with his supplication.  Jupiter was impressed and so earnestly did he plead the cause of the lovers that he won the consent of Venus and on hearing this, sent Mercury to bring Psyche up to the heavenly assembly, and when she arrived, he handed her a goblet ambrosia saying, "Drink this, Psyche, and be immortal; nor shall Cupid ever break away from the knot in which he is tied, but these nuptials shall be perpetual."  Thus Psyche became at last united to Cupid, and in time, born to them was a daughter whose name was Pleasure.

Wedding Banquet of Cupid and Psyche (circa 1517) by Raphael (1483–1520).

The story of Cupid and the OCD Psyche is told by the Roman writer Apuleius (circa 124-circa 170) in three chapters in his rather risqué picaresque novel, The Metamorphoses of Apuleius (which Saint Augustine dubbed Asinus aureus (The Golden Ass (by which it’s today known)).  The Golden Ass is notable as the only full-length work of fiction in Classical Latin to have survived in its entirety and is a work with aspects which would be regarded as novel centuries later, including fantastical imagery, passages like fairy tales and elements which would now be called magic realism.  Like many modern fairy tales, there is a moral to the story and for Apuleius it was that it is love which makes to soul immortal and there was no need for subtlety, Cupid the son of the goddess of desire and Psyche's name originally meant soul.

With the re-discovery (and some re-invention) of much of antiquity during the Renaissance, the story gained much popularity and attracted the interest of artists and from Raphael’s (Raffaello Sanzio da Urbino, 1483–1520) studio came the best known evocation.  One of the scenes is the wedding feast, painted in the form of a hanging tapestry.  Psyche’s guest list was a roll-call of the gods, Ganymede, Apollo, Bacchus and Jupiter are all at the table, the Graces and the Hours in attendance.  The artists (for some the work was executed by professional painters under Raphael’s guidance) do have some fun, very much in the spirit of Apuleius for above the flying Mercury sits, artfully arranged, a suggestive conjunction of certain vegetables and fruits.

The Wedding Feast of Cupid and Psyche (1532) by Giulio Romano.

The romance of Cupid and Psyche drew other artists including the Italian Giulio Romano (Giulio Pippi, circa 1499-1546), a student of Raphael whose influence permeates.  While not highly regarded by critics and better remembered as an architect, Romano is of note because he was among the earliest of the artists whose work can be called Mannerist and certainly his wedding feast painting includes the mythological, a staged and theatrical setting, eroticism and an unusual sense of perspective; all characteristic of Mannerist art although he remained entirely naturalistic in the callipygian rendering of Psyche’s buttocks.

In Shakespeare's late drama The Winter's Tale there’s an allusion to Romano as “that rare Italian master” but despite the bard’s apparent admiration, historians of art treat him as little more than a footnote; the shadow Raphael cast was long.  Some critics seem determined to devalue his work, the Catholic Encyclopaedia (1913) noting it was “prolific and workmanlike, always competent…” but with “…no originality; as a painter, he is merely a temperament, a prodigious worker. His manual dexterity is unaccompanied by any greatness of conception or high moral principle.  His lively but superficial fancy, incapable of deep emotion, of religious feeling, or even of observation, attracted him to neutral subjects, to mythological paintings, and imaginary scenes from the world of fable. Therein under the cloak of humanism, he gave expression to a sensualism rather libertine than poetical, an epicureanism unredeemed by any elevated or noble quality.  It is this which wins for Giulio his distinctive place in art.  His conception of form was never quite original; it was always a clever and bookish compromise between Raphael and Michelangelo.  His sense of color grows ever louder and uglier, his ideas are void of finesse, whatever brilliancy they show is second-hand. His single distinctive characteristic is the doubtful ease with which he played with the commonplaces of pagandom.  In this respect at least, paintings like those of the Hall of Psyche (1532) are historical landmarks.  It is the first time that an appeal is made to the senses with all the brutal frankness of a modern work”. 

Damning with faint praise perhaps.  Grudgingly, the editors did concede that despite being “…distinguished by such characteristics and marked by such defects, Romano occupies nevertheless an important place in the history of art. More than any other, he aided in propagating the pseudo-classical, half-pagan style of art so fashionable during the seventeenth century. It’s mainly through his influence that after the year 1600 we find so few religious painters in Europe”.

One could hardly expect The Catholic Encyclopedia (sub-titled An International work of reference on the constitution, doctrine, discipline and history of the Catholic Church), to find much worthy in a mannerist (or perhaps anything modern).  Mannerism, novel in some ways as it was, was rarely original in form or content.  It was a reaction against the perceived perfection of the neo-classicism of the High Renaissance and artists from Romano on were drawn to Greek mythology, characters like Psyche and Echo able simply and unambiguously to represent the psychological problems muddied by Christian theology.