Burlesque

Burlesque (pronounced ber-lesk)

(1) An artistic composition, especially literary or dramatic, that, for the sake of laughter, vulgarizes lofty material or treats ordinary material with mock dignity.

(2) A humorous and provocative (often bawdy) stage show featuring slapstick humor, comic skits and a scantily clad female chorus; by the late nineteenth century striptease was often the main element (the usual slang was burleycue).

(3) As neo-burlesque, a late twentieth century revival (with rather more artistic gloss) of the strip-tease shows of the 1920s.

(4) An artistic work (especially literary or dramatic), satirizing a subject by caricaturing it.

(5) Between the seventeenth and nineteenth centuries, a play parodying some contemporary dramatic fashion or event.

(6) A production of some kind involving ludicrous or mocking treatment of a solemn subject; an absurdist imitation or caricature.

(7) Of, relating to, or characteristic of a burlesque; of, relating to, or like stage-show burlesque.

(8) To represent or imitate (a person or thing) in a ludicrous way; caricature.

(9) To make ridiculous by mocking representation.

(10) To in some way use a certain type of caricature.

1650–1660: From the French burlesque, from the Italian burlesco (ludicrous and used in the sense of “parodic”), the construct being burl(a) (joke, fun, mockery) + -esco (the adjectival suffix used in English as –esque).  The Italian burla may ultimately be from the Late Latin burra (trifle, nonsense (and literally “flock of wool”) and thus used to suggest something “fluffy” (in the sense of being “lightweight” rather than serious) which was of unknown origin.  Alternatively, some etymologists suggest burla may be from the Spanish burladero (the protective barrier behind which people in the bullring are protected from the bull).  The verb burlesque (make ridiculous by mocking representation) came directly from the noun and was in use by the 1670s.  The spelling burlesk is archaic.  While the derived form unburlesqued means simply “not burlesqued”, preburlesque is a historian's term meaning “prior to the introduction of burlesque performances”.  Burlesque, burlesquer & burlesqueness are nouns, burlesqued & burlesquing are verbs and burlesquely is an adverb; the noun plural is burlesques.

The original mid-sixteenth century meaning was related to stage performances and meant “a piece composed in the burlesque style, a derisive imitation or grotesque parody, a specific development from the slightly earlier adjectival sense of “odd or grotesque”, taken directly from the French burlesque.  The more familiar adjectival meaning (tending to excite laughter by ludicrous contrast between the subject and the manner of treating it) was in use by at least the late 1690s.  As a definition that’s fine but in the hands of playwrights, satirists and such there was obviously much scope, prompting one journalist (a breed which seems first to have been described thus in the 1680s) in 1711 to clarify things in a London periodical:

“The two great branches of ridicule in writing are comedy and burlesque. The first ridicules persons by drawing them in their proper characters; the other, by drawing them quite unlike themselves. Burlesque is therefore of two kinds; the first represents mean persons in accoutrements of heroes, the other describes great persons acting and speaking like the basest among the people.”

The meaning shifted as what appeared on stage evolved and by the 1880s the typical understanding was something like (1) “travesties on the classics and satires on accepted ideas” and (2) comic opera which tended towards vulgarity.  From this came the still prevalent modern sense of “variety show featuring music, dancing and striptease” although some historians of the industry link this use directly from the mid-nineteenth century tradition of “scantily-clad performers who staged the sketches concluding minstrel shows”.  The implications of that evolution didn’t impress all and by the early twentieth century, in the US, the word “burlesque” had become verbal shorthand for “entertainment designed to titillate, verging on the obscene while avoiding prosecution”.  The term “neo-burlesque” (a revived form of traditional American burlesque performance, involving dance, striptease, dramatic performance etc) emerged in the 1990s, describing the stage shows which sought to re-capture the once respectable spirit of burlesque as it was performed in US clubs before “changing attitudes” saw the performances outlawed or marginalized.  Whether attitudes really much changed among the general population has been debated by historians but the US political system then (as now) operated in a way in which well-funded groups could exert a disproportionate influence on public policy and while this often was used by sectional interests to gain financial advantage, some also decided to impose on others their view of morality; it was in the era of the crackdown on burlesque shows the Motion Picture Production Code (the so-called “Hays Code” which, remarkably, endured, at least on paper, until 1968!) was created as a set of “moral guidelines” with which the Hollywood studios had to conform.  So the “culture wars” are nothing new and in the US, there has always been a tension between puritan religiosity and political freedom, the two forces reflecting the concerns and obsessions of those from the “Old World” of Europe who in the early seventeenth century founded the settlement which ultimate became what came to be known as “America”.

Although often hardly “respectable” theatre, burlesque has a long tradition in performance and almost its techniques will long pre-date recorded history.  The essence of the form was based on an exaggerated “sending up” or a derisive imitation of a literary or musical work and can be anything from a friendly joke to vicious ridicule.  Historically most associated with some form of stage entertainment, burlesque was distinguished from parody in being usually stronger (though not always broader) in tone and style and often lacked the edgy subtlety of satire.   It was the Athenian playwright of Ancient Greece, Aristophanes (circa 446–386 BC), who the late Medieval scribes declared “the father of comedy” and while that was a little misleading, he would occasionally use the device of burlesque in his plays though the satyr plays probably were the first institutionalized form of burlesque.

Empire Burlesque (1985) by Bob Dylan (b 1941).

Early in his long career, Bob Dylan must have noticed the press seemed to be more interested in discussing the stuff about which he didn’t comment that that which he’d taken the time to explain.  Whether or not that’s a factor, Dylan appears never to have explained the meaning behind the title of his 1985 album, Empire Burlesque.  Although some speculated it may have been a metaphor for the nature of “the American Empire” (however defined), there’s nothing substantive to support the speculation and a more grounded theory came from the Beat poet Allen Ginsberg (1926–1997) who recounted how Dylan had once told him: “That was the name of a burlesque club I used to go to when I first came to New York, down on Delancey Street.”  Ginsberg thought it “a good title” for an album.

Intriguingly, the satyr play was a kind of coda.  In Greek theatre, the convention was to present four plays in succession: three tragedies (though not necessarily a trilogy) with a satyr play appended as the final piece.  Typically, in a satyr play, a mythical hero (who may have appeared in one or all of the foregoing tragedies) was presented as a ridiculous personage with a chorus of satyrs (creatures half man and half goat (or half horse) with prominent, erect phalluses (it was satyr imagery which in Europe made the goat a symbol of lust and, two millennia on, cynical Berliners would refer to the notoriously philandering Dr Joseph Goebbels (1897-1975; Nazi propaganda minister 1933-1945) as “the he-goat of Berlin”)).  As far as is known, the satyr plays almost always were ribald in speech and action as well as in costume and their purpose has been debated by historians.  While classical Greek tragedy is almost wholly devoid of comedy (in the sense of set-pieces although there’s the occasional sardonic quip or grim observation that would have enticed a laconic guffaw) the satyr play concluding the tetralogy would have worked as a sort of palliative burlesque after the catharsis of three acts of fear, loathing and, not infrequently, death,  Their dramatic function clearly was a form of comic relief but coming immediately after three works of earnest high-seriousness, they must have has the effect of “calming the senses” of the audience after the intense, exalting spiritual experience of the tragedies.  That’s interesting in that it implies it was thought desirable to return the audience to “earthly life” and remind them what they had just experienced was not “reality” and their emotions had just been manipulated by a technique.  It all sounds rather post-modern and in a similar literary vein, the “clowning interludes” in Elizabethan plays can also be seen as a type of burlesque; in William Shakespeare’s (1564–1616) A Midsummer Night's Dream (1590) the interpolation of the play of Pyramus and Thisbe performed by Bottom and his companions was the bard making fun of the “Interludes” of earlier types.

An expanded vista derailing the Pronomos Vase (red-figure pottery Ancient Greece, circa 400 BC) believed to depict the whole cast and chorus of a satyr play, along with the playwright, the musician Pronomos, and the gods Dionysos and Ariadne.  The scene is thought to capture the figures after a performance which, in modern use, would be thought a “behind the scenes” grab.   The vase was discovered in 1835 in a tomb in Ruvo di Puglia, Italy; it’s now on permanent display in the Museo Nazionale in Naples.

To make things difficult for students, there are linguistic traps in the terminology and despite the similarity in the spelling, there was no connection whatever between satyric drama and satire and some seem convinced there may have been none between it and Greek comedy.  For structuralists, it can be a difficult field to study because over the centuries so many contradictory texts and commentaries emerged and that’s at least partly attributable to the influence of Aristotle (384-322 BC) who looms over the understanding of Greek theatre because his writings came to be so revered by the scholars of the late Medieval period and especially the Renaissance.  As far as in known, the Greeks were the first of the tragedians and it’s through the surviving texts of Aristotle that later understandings were filtered but all of his conclusions were based only on the tragedies and such was his historic and intellectual authority that for centuries his theories came to be misapplied and misused, either by mapping them on to all forms of tragedy or using them as exclusionary, dismissing from the canon those works which couldn’t be made to fit his descriptions.

The Pronomos Vase as displayed in Naples.

Nor was burlesque confined to drama; it was the most common structure used in the mock-heroic poem to ridicule the often overblown works of romance, chivalry and Puritanism.  Dripping often with irony and a confected grave decorum, the classic example is English poet & satirist Alexander Pope’s (1688-1744) The Rape of the Lock (1712), cited by some (however unconvincingly) as the spiritual origin of “high camp”.  Also, because the gothic novel often was written in such self-conscious “high style”, the form lent itself naturally to burlesque re-tellings, something exploited to this day in Hollywood which has often made sequels to horror films in comedic from.  The burlesque (in the sense it was a descendent of the Greek satyr play) could also be positioned as something transgressive although it must be wondered if this sometimes was a product more of the commentator’s view than the positionality intended by the author.  This aspect of burlesque is explored in the genre of literary carnival when a technique is borrowed from the Socratic dialogues (in which what appears to be logic is deconstructed and proved to be illogical).  Carnivalesque elements are inherent in burlesque (and can exist in satire, farce, parody and such) and a theory of Russian philosopher & literary critic Mikhail Bakhtin (1895–1975) was that in its disruption of authority and implication of possible alternatives, carnival in literature was subversive and the use of burlesque in the form was a concealment (in the sense of avoiding the censor’s pen) of what could be a liberating influence; Bakhtin’s particular target was the “suffocatingly sacred word” in Renaissance culture but his theory has more generally been applied.

The noun amphigory (burlesque nonsense writing or verse) dates from 1809 and was from the eighteenth century French amphigouri of unknown origin but presumed by most etymologists to have been a jocular coining although there may have been some influence from the New Latin amphi-, from the Ancient Greek ἀμφί (amphí) (on both sides) and the Greek γύρος (gýros), derived from the “turning of the meat on a spit” (as a calque of Turkish döner into Greek).  The notion was of “making the whole” (ie “circle on both sides”) but a link with the Greek -agoria (speech) (as in allegory, category) has been suggested as a simpler explanation.  The word “amphigory” found a niche in literary criticism and academic use (recommended for students wishing to impress the professor) to describe a particular flavour of burlesque or parody, especially a verse or other text in which the impression is for a while sustained of something which will make sense but ultimately fails, an oft-cited example being Nephelidia (literally “cloudlets”) by the English poet Algernon Charles Swinburne (1837–1909) in which the writer parodies his own distinctive style.

In A Dictionary of Modern English Usage (1926), Henry Fowler (1858–1933) noted the wide application of the words often listed as synonymous with burlesque (caricature, parody, travesty etc), citing the not uncommon use of burlesque to describe a “badly conducted trial” or “a perverted institution”, adding the two critical distinctions were (1) burlesque, caricature & parody have, besides their wider uses, each a special province; action or acting is burlesqued, form and features are caricatured and verbal expression is parodied and (2) travesty differs from the others both in having no special providence and, in being more used than they (though all four may be used either way) when the imitation is intended to be or pass for an exact one but fails.  Were Henry Fowler alive to see TikTok and such, he’d realize not many are reading his book.

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The difficulty in assigning synonyms to “burlesque” is that things are not only nuanced but historically variable; what would in one time and place have been thought satirical might in other circumstances be called a parody.  The earliest known use in English of the noun parody was by the playwright Benjamin Jonson (circa 1572-circa 1637) who would have understood it as something close to the modern definition: “a literary work in which the form and expression of dignified writing are closely imitated but are made ridiculous by the ludicrously inappropriate subject or methods; a travesty that follows closely the form and expression of the original”.  Parody was from the Latin parodia (parody), from the Ancient Greek parōidia (burlesque song or poem), the construct being para- (beside, parallel to (used in this context in the sense “to mock; mockingly to present”)) + ōidē (song, ode) and from the technical use in theatre came the general meaning “a poor or feeble imitation”, in use by at least the late 1820s.  So, depending on the details, a parody could be a type of burlesque but might also be described as a satire, ridicule, lampoon or farce.  It was Benjamin Jonson who in 1609 debuted his “anti-masque” an innovation which took the form of either (1) a buffoonish and grotesque episode before the main masque or (2) a similarly farcical interlude interpolated during the performance (if performed beforehand, it was dubbed an “ante-masque”. One variant of the anti-masque was a burlesque of the masque itself and in that sense there was a distinct affinity with the Greek satyr play.

So in literary use, synonyms for burlesque must be applied on a case-by-case basis, caricature, parody and travesty all used variously to refer to the written or preformed forms imitating serious works or subjects, the purpose being to achieve a humorous or satiric purpose.  In this context, burlesque achieves its effects through a mockery of both high and low through association with their opposites: burlesques of high and low life can thus be though a kind of specific application of irony.  Caricature, usually associated with visual arts or with visual effects in literary works, implies exaggeration of characteristic details, analogous with the technique of the political cartoonist.  Parody achieves humor through application of the manner or technique (typically well-known poets, authors, artists and such), often to an unaccustomed (and, ideally, wholly incongruous) subject while a travesty can be a grotesque form of burlesque, the latter also nuanced because travesties can be intentional or just bad products.  All of these forms can be the work of absurdists, that genre ranging from the subtle to the blatant and they may also be spoofs.  Spoof was a neologism coined in 1884 by the English comedian Arthur Roberts (1852–1933) as the name of a card game which involved deception, trickery and nonsense.  From this the word came to be used of any sort of hoaxing game but it became most popular when used of literary works and staged performances which is some way parodied someone or something but the point about the use of “spoof” is should describe a “gentle” rather than a “biting” satire, elements of the burlesque thus often present in spoofs.

South Park's take on Donald Trump (b 1946; US president 2017-2021 and since 2025).  Somewhere in probably every South Park episode, there are switches between parody, satire, ridicule, lampoon and farce with elements of the burlesque often in each.

A distinction certainly is drawn between political burlesque and political satire.  Political burlesque is a particular application of the satirical which relies on parody and exaggeration (often absurdist) to mock political figures, events, concepts or institutions and the purpose can range from the merely comic to the subversive, the two poles not being mutually exclusive.  In the burlesque, a politician’s traits, patterns of speech or behaviour (scandals are best) are explored and sometimes exaggerated to the point they become obviously ridiculous or absurd, the best practitioners of the art using the amplification to take things to a logical (if improbable) conclusion and while it can be done almost affectionately, the usual purpose is to draw attention to flaws such as incompetence, corruption, indifference to others, hypocrisy or ideological fanaticism.  Essentially a political cartoon writ large, it’s a popular device because in masking the message in humor, there’s usually some protection from a defamation writ, witness the relationship between the animation South Park and Donald Trump.  The tradition is old and evidence is at least hinted in graffiti unearthed in Ancient Rome but material from in recent centuries is extant and techniques of the English artists William Hogarth (1697–1764) and James Gillray (1756-1815) remain in use to this day, illustrating the way political burlesque is best understood as a sub-set of political satire, separate but (often) equal as it were, the differences in tone, method, and degree of exaggeration a matter of tactics rather than strategy.

As an umbrella term, “political satire” has a wide vista in that it can be subtle, dry, ironic & biting, deployed with wit & understatement but it can also switch to (some would say “descend to”) the burlesque in becoming loud, exaggerated and even grotesque in fusing elements of slapstick and farce.  While burlesque amplifies absurdity, venality or whatever is being critiqued, satire need only “point it out” and some very effective satires have done nothing more than quote politicians verbatim, their words “hoisting them with their own petard” if the mixed metaphor will be forgiven.  So, all political burlesque is political satire, but not all political satire is burlesque.  The companion term in politics is vaudevillian and that describes a politician for whom “all the world’s a stage” and politics thus a form of theatre.  Their performances can (sometimes unintentionally) sometimes seem to at least verge on the burlesque but usually it’s about attracting attention and a classic exponent was Boris Johnson (b 1964; UK prime-minister 2019-2022) who was said to have been influenced by Ronald Reagan (1911-2004; US president 1981-1989).  During the 1980 presidential campaign, a reporter asked Mr Reagan: “How can an actor run for President?”, receiving the prompt reply: “How can a president not be an actor?”  Some have of course been more adapt than others at “flicking the switch to vaudeville” and Paul Keating (b 1944; Prime Minister of Australia 1991-1996) whose vocabulary was rich (if not always refined) used to use what he called his “dead cat strategy” which referred to introducing a shocking or controversial issue to divert unwanted attention from other, more embarrassing or damaging news.  It was most graphically expressed as “tossing a dead cat on the table”.

Lindsay Lohan in burlesque mode in I Know Who Killed Me (2007).  Neglected upon its release, IKWKM has since been re-evaluated as a modern giallo and has acquired a cult following, sometimes see on the playbill of late-night screenings.

As popular entertainment, burlesque performance enjoyed a revival which began in the 1990s and in the twenty-first century it’s now an entrenched niche as well a minor industry in publishing.  By the 1960s, what was called burlesque had become rather tatty and the common understanding of the term was something not greatly different from a strip club with a slightly better class of drunk in the audience, the women there to disrobe in the hope of encouraging the sale of expensive alcoholic.  What in the 1990s was dubbed the “neo-burlesque” was not a reprise of how things used to be done but a construct which might be thought a more “women-centric” interpretation of the discipline and while there will be factions of feminism which won’t take that notion too seriously and dismiss as “false consciousness” the idea of women publicly taking off their clothes as a form of “empowerment”, the latter day performers seem to treat it as exactly that.  Despite the criticism of some, burlesque seem now to verge on the respectable and, internationally, there are various burlesque festivals and a Burlesque Hall of Fame (the grand opening, perhaps predictably, in Las Vegas).

Burlesque and the Art of the Teese /Fetish and the Art of the Teese (2006) by Dita Von Teese (stage name of Heather Renée Sweet, b 1972).  Perhaps surprisingly, despite the phrase “the art of the teese” being at least potentially a piece of “ambush marketing” piggy-backing on the success of the acclaimed (48 weeks on The New York Times Best Seller list) book The Art of the Deal by Donald Trump and Tony Schwartz (b 1952), Mr Trump didn’t sue Ms von Teese.  Maybe he’s a burlesque fan-boy.

In the modern era, no figure is more associated with the neo-burlesque than Dita von Teese and her janus-configured book Burlesque and the Art of the Teese / Fetish and the Art of the Teese is similar to Mr Trump’s magnum opus in being a hybrid: part memoir, part instruction manual.  This significance of publishing the burlesque and fetish components as separate sections was presumably to make the point that while there’s obvious cross-fertilization between the two disciplines and for some the former may be a stepping stone to the latter, there is a clear distinction, one a piece of performance art, the other a deliberate statement of deviance; decisively one must step from one into the separate world of the other.  Ms von Teese’s book documents the “dos & don’ts” of each “calling” and. as she explains, the point about the neo-burlesque was it was less a revival than a re-defining, the thematic emphasis on style and glamour rather than sleaze, more aligned with the image (if not exactly the reality) of the Berlin cabarets of the 1920 than the seedy Soho strip joints which once so tarnished the brand.

Mutation

Mutation (pronounced myoo-tey-shuhn)

(1) In biology (also as “break”), a sudden departure from the parent type in one or more heritable characteristics, caused by a change in a gene or a chromosome.

(2) In biology, (also as “sport”), an individual, species, or the like, resulting from such a departure.

(3) The act or process of mutating; change; alteration.

(4) A resultant change or alteration, as in form or nature.

(5) In phonetics (in or of Germanic languages), the umlaut (the assimilatory process whereby a vowel is pronounced more like a following vocoid that is separated by one or more consonants).

(6) In structural linguistics (in or of Celtic languages), syntactically determined morphophonemic phenomena that affect initial sounds of words (the phonetic change in certain initial consonants caused by a preceding word).

(7) An alternative word for “mutant”

(8) In cellular biology & genetics, a change in the chromosomes or genes of a cell which, if occurring in the gametes, can affect the structure and development of all or some of any resultant off-spring; any heritable change of the base-pair sequence of genetic material.

(9) A physical characteristic of an individual resulting from this type of chromosomal change.

(10) In law, the transfer of title of an asset in a register.

(11) In ornithology, one of the collective nouns for the thrush (the more common forms being “hermitage” & “rash”)

1325–1375: From the Middle English mutacioun & mutacion (action or process of changing), from the thirteenth century Old French mutacion and directly from the Latin mūtātion- (stem of mūtātiō) (a changing, alteration, a turn for the worse), noun of action from past-participle stem of mutare (to change), from the primitive Indo-European root mei- (to change, go, move).  The construct can thus be understood as mutat(e) +ion.  Dating from 1818, the verb mutate (to change state or condition, undergo change) was a back-formation from mutation.  It was first used in genetics to mean “undergo mutation” in 1913.  The –ion suffix was from the Middle English -ioun, from the Old French -ion, from the Latin -iō (genitive -iōnis).  It was appended to a perfect passive participle to form a noun of action or process, or the result of an action or process. The use in genetics in the sense of “process whereby heritable changes in DNA arise” dates from 1894 (although the term "DNA" (deoxyribonucleic acid) wasn't used until 1938 the existence of the structure (though not its structural detail) was fist documented in 1869 after the identification of nuclein).  In linguistics, the term “i-mutation” was first used in 1874, following the earlier German form “i-umlaut”, the equivalent in English being “mutation”.  The noun mutagen (agent that causes mutation) was coined in 1946, the construct being muta(tion) + -gen.  The –gen suffix was from the French -gène, from the Ancient Greek -γενής (-genḗs).  It was appended to create a word meaning “a producer of something, or an agent in the production of something” and is familiar in the names of the chemical elements hydrogen, nitrogen, and oxygen.  From mutagen came the derive forms mutagenic, mutagenesis & mutagenize.  Mutation, mutationist & mutationism is a noun, mutability is a noun, mutable & mutant are nouns & adjectives, mutated & mutating are verbs & adjectives, mutational & mutationistic are adjective and mutationally is an adverb; the noun plural is mutations.  For whatever reasons, the adverb mutationistically seems not to exist.

In scientific use the standard abbreviation is mutat and forms such as nonmutation, remutation & unmutational (used both hyphenated and not) are created as required and there is even demutation (used in computer modeling).  In technical use, the number of derived forms is vast, some of which seem to enjoy some functional overlap although in fields like genetics and cellular biology, the need for distinction between fine details of process or consequence presumably is such that the proliferation may continue.  In science and linguistics, the derived forms (used both hyphenated and not) include animutation, antimutation, backmutation, e-mutation, ectomutation, endomutation, epimutation, extramutation, frameshift mutation, hard mutation, heteromutation, homomutation, hypermutation, hypomutation, i-mutation, intermutation, intramutation, intromutation, macromutation, macromutational, megamutation, mesomutation, micromutation, missense mutation, mixed mutation, multimutation, mutationless, mutation pressure, nasal mutation, neomutation, nonsense mutation, oncomutation, paramutation. Pentamutation, phosphomutation. point mutation, postmutation, premutation, radiomutation, retromutation, soft mutation, spirant mutation, stem mutation, stereomutation, ultramutation & vowel mutation.

Ginger, copper, auburn & chestnut are variations on the theme of red-headedness: Ranga Lindsay Lohan demonstrates the possibilities.

Red hair is the result of a mutation in the melanocortin 1 receptor (MC1R) gene responsible for producing the MC1R protein which plays a crucial role also in determining skin-tone. When the MC1R gene is functioning normally, it helps produce eumelanin, a type of melanin that gives hair a dark color.  However, a certain mutation in the MC1R gene leads to the production of pheomelanin which results in red hair.  Individuals with two copies of the mutated MC1R gene (one from each parent) typically have red hair, fair skin, and a higher sensitivity to ultraviolet (UV) light, a genetic variation found most often in those of northern & western European descent.

A mutation is a change in the structure of the genes or chromosomes of an organism and mutations occurring in the reproductive cells (such as an egg or sperm), can be passed from one generation to the next.  It appears most mutations occur in “junk DNA” and the orthodox view is these generally have no discernible effects on the survivability of an organism.  The term junk DNA was coined to describe those portions of an organism's DNA which do not encode proteins and were thought to have no functional purpose (although historically there may have been some).  The large volume of these “non-coding regions” surprised researchers when the numbers emerged because the early theories had predicted they would comprise a much smaller percentage of the genome.  The term junk DNA was intentionally dismissive and reflected the not unreasonable assumption the apparently redundant sequences were mere evolutionary “leftovers” without an extant biological function of any significance.

However, as advances in computing power have enabled the genome further to be explored, it’s been revealed that many of these non-coding regions do fulfil some purpose including: (1) A regulatory function: (the binary regulation of gene expression, influencing when, where, and how genes are turned on or off; (2) As superstructure: (Some regions contribute to the structural integrity of chromosomes (notably telomeres and centromeres); (3) In RNA (ribonucleic acid) molecules: Some non-coding DNA is transcribed into non-coding RNA molecules (such as microRNAs and long non-coding RNAs), which are involved in various cellular processes; (4) Genomic Stability: It’s now clear there are non-coding regions which contribute to the maintenance of genomic stability and the protection of genetic information.  Despite recent advances, the term junk DNA is still in use in mapping but is certainly misleading for those not immersed in the science; other than in slang, in academic use and technical papers, “non-coding DNA” seems now the preferred term and where specific functions have become known, these regions are described thus.

There’s also now some doubt about the early assumptions that of the remaining mutations, the majority have harmful effects and only a minority operate to increase an organism's ability to survive, something of some significance because a mutation which benefits a species may evolve by means of natural selection into a trait shared by some or all members of the species.  However, there have been suggestions the orthodox view was (at least by extent) influenced by the slanting of the research effort towards diseases, syndromes and other undesirable conditions and that an “identification bias” may thus have emerged.  So the state of the science now is that there are harmful & harmless mutations but there are also mutations which may appear to have no substantive effect yet may come to be understood as significant, an idea which was explored in an attempt to understand why some people found to be inflected with a high viral-load of SARS-Cov-2 (the virus causing Covid-19) remained asymptomatic.

In genetics, a mutation is a change in the DNA sequence of an organism and it seems they can occur in any part of the DNA and can vary in size and type.  Most associated with errors during DNA replication, mutations can also be a consequence of viral infection or exposure to certain chemicals or radiation, or as a result of viral infections.  The classification of mutations has in recent years been refined to exist in three categories:

(1) By the Effect on DNA Sequence:  These are listed as Point Mutations which are changes in a single nucleotide and include (1.1) Substitutions in which one base pair is replaced by another, (1.2) Insertions which describe the addition of one or more nucleotide pairs and (1.3) Deletions, the removal of one or more nucleotide pairs.

(2) By the Effect on Protein Sequence: These are listed as: (2.1) Silent Mutations which do not change the amino acid sequence of the protein, (2.2) Missense Mutations in which there is a change one amino acid in the protein, potentially affecting its function, (2.3) Nonsense Mutations which create a premature stop codon, leading to a truncated and usually non-functional protein and (2.4) Frameshift Mutations which result from insertions or deletions that change the reading frame of the gene, often leading to a completely different and non-functional protein.

(3) By the Effect on Phenotype: These are listed as (3.1) Beneficial Mutations which provide some advantage to the organism, (3.2) Neutral Mutations which have no apparent significant effect on the organism's fitness and (3.3) Deleterious Mutations which are harmful to the organism and can cause diseases or other problems.

(4) By the Mechanism of Mutation: These are listed as (4.1) Spontaneous Mutations which occur naturally without any external influence, due often to errors in DNA replication and (4.2) Induced Mutations which result from exposure to mutagens environmental factors such as chemicals or radiation that can cause changes in DNA),

Because of the association with disease, genetic disorders and disruptions to normal biological functions, in the popular imagination mutations are thought undesirable.  They are however a crucial part of the evolutionary process and life on this planet as it now exists would not be possible without the constant process of mutation which has provided the essential genetic diversity within populations and has driven the adaptation and evolution of species.  Although it will probably never be known if life on earth started and died out before beginning the evolutionary chain which endures to this day, as far as is known, everything now alive (an empirically, that means in the entire universe) ultimately has a single common ancestor.  Mutations have played a part in the diversity which followed and of all the species which once have inhabited earth, a tiny fraction remain, the rest extinct.

Nuclear-induced mutations

Especially since the first A-Bombs were used in 1945, the idea of “mutant humans” being created by the fallout from nuclear war or power-plants suffering a meltdown have been a staple for writers of science fiction (SF) and producers of horror movies, the special-effects and CGI (computer generated graphics) crews ever imaginative in their work.  The fictional works are disturbing because radiation-induced human mutations are not common but radiation can cause changes in DNA, leading to mutations and a number of factors determine the likelihood and extent of damage.  The two significant types of radiation are: (1) ionizing radiation which includes X-rays, gamma rays, and particles such as alpha and beta particles.  Ionizing radiation has enough energy to remove tightly bound electrons from atoms, creating ions and directly can damage DNA or create reactive oxygen species that cause indirect damage.  In high doses, ionizing radiation can increase the risk of cancer and genetic mutations and (2) non-ionizing radiation which includes ultraviolet (UV) light, visible light, microwaves, and radiofrequency radiation.  Because this does not possess sufficient energy to ionize atoms or molecules, which there is a risk of damage to DNA (seen most typically in some types of skin cancer), but the risk of deep genetic mutations is much lower than that of ionizing radiation.  The factors influencing the extent of damage include the dose, duration of exposure, the cell type(s) affected, a greater or lesser genetic predisposition and age.

Peter Dutton (b 1970; leader of the opposition and leader of the Australian Liberal Party since May 2022) announces the Liberal Party's new policy advocating the construction of multiple nuclear power-plants in Australia.

The prosthetic used in the digitally-altered image (right) was a discarded proposal for the depiction of Lord Voldemort in the first film version of JK Rowling's (b 1965) series of Harry Potter children's fantasy novels; it used a Janus-like two-faced head.  It's an urban myth Mr Dutton auditioned for the part when the first film was being cast but was rejected as being "too scary".  If ever there's another film, the producers might reconsider and should his career in politics end (God forbid), he could bring to Voldemort the sense of menacing evil the character has never quite achieved.  Interestingly, despite many opportunities, Mr Dutton has never denied being a Freemason.

On paper, while not without challenges, Australia does enjoy certain advantages in making nuclear part of the energy mix: (1)  With abundant potential further to develop wind and solar generation, the nuclear plants would need only to provide the baseload power required when renewable sources were either inadequate or unavailable; (2) the country would be self-sufficient in raw uranium ore (although it has no enrichment capacity) and (3) the place is vast and geologically stable so in a rational world it would be nominated as the planet's repository of spent nuclear fuel and other waste.  The debate as it unfolds is likely to focus on other matters and nobody images any such plant can in the West be functioning in less than twenty-odd years (the Chinese Communist Party (CCP) gets things done much more quickly) so there's plenty of time to squabble and plenty of people anxious to join in this latest theatre of the culture wars.  Even National Party grandee Barnaby Joyce (b 1967; thrice (between local difficulties) deputy prime minister of Australia 2016-2022) has with alacrity become a champion of all things nuclear (electricity, submarines and probably bombs although, publicly, he seems not to have discussed the latter).  The National Party has never approved of solar panels and wind turbines because they associate them with feminism, seed-eating vegans, homosexuals and other symbols of all which is wrong with modern society.  While in his coal-black heart Mr Joyce's world view probably remains as antediluvian as ever, he can sniff the political wind in a country now beset by wildfires, floods and heatwaves and talks less of the beauty of burning fossil fuels.  Still, in the wake of Mr Dutton's announcement, conspiracy theorists have been trying to make Mr Joyce feel better, suggesting the whole thing is just a piece of subterfuge designed to put a spanner in the works of the transition to renewable energy generation, the idea being to protect the financial positions of those who make much from fossil fuels, these folks being generous donors to party funds and employers of "helpful" retired politicians in lucrative and undemanding roles.

Pressing

Pressing (pronounced pres-ing)

(1) Urgent; demanding immediate attention; Insistent, earnest, or persistent.

(2) Any phonograph record produced in a record-molding press from a master.

(3) To act upon with steadily applied weight or force; to move by weight or force in a certain direction or into a certain position; to weigh heavily upon.

(4) To compress or squeeze, as to alter in shape or size.

(5) To flatten or make smooth, especially by ironing.

(6) To extract juice, sugar, oil etc by applying pressure.

(7) To produce shapes from materials by applying pressure in a mold; a component formed in a press.

(8) To bear heavily, as upon the mind.

(9) A ancient form of torture and execution.

(10) The process of improving the appearance of clothing by improving creases and removing wrinkles with a press or an iron.

(11) A memento preserved by pressing, folding, or drying between the leaves of a flat container, book or folio (usually with a flower, ribbon, letter, or other soft, small keepsake).

1300-1350: From the Middle English presing, from the Classical Latin pressāre, (frequentative of premere (past participle pressus)).  In Medieval Latin pressa was the noun use of feminine pressus, similar to Old French presser (from Late Latin pressāre).  In English, the meaning “exerting pressure" dates from the mid-fourteenth century and sense of "urgent, compelling, forceful" is from 1705.  In the sense of a machine for printing, this spread from the machine itself (1530s) to publishing houses by the 1570s and to publishing generally by 1680.  In French, pressing is a pseudo-Anglicism.

The construct was press + ing.  Press dates from the late twelfth century and was from the Middle English press & presse (throng, trouble, machine for pressing) from the Old French, from presser (to press) from the Latin pressāre, frequentative of premere (past participle pressus) and in Medieval Latin it became pressa (noun use of the feminine of pressus).  The noun press (a crowd, throng, company; crowding and jostling of a throng; a massing together) emerged in the late twelfth century and was from the eleventh century Old French presse (a throng, a crush, a crowd; wine or cheese press), from the Latin pressare.  Although in the Late Old English press existed in the sense of "clothes press", etymologists believe the Middle English word is probably from French.  The general sense of an "instrument or machine by which anything is subjected to pressure" dates from the late fourteenth century and was first used to describe a "device for pressing cloth" before being extended to "devices which squeeze juice from grapes, oil from olives, cider from apples etc".  The sense of "urgency, urgent demands of affairs" emerged in the 1640s.  It subsequently proved adaptable as a technical term in sports, adopted by weightlifting in 1908 while the so-called (full-court press) defense in basketball was first recorded in 1959.  The suffix –ing was from the Middle English -ing, from the Old English –ing & -ung (in the sense of the modern -ing, as a suffix forming nouns from verbs), from the Proto-West Germanic –ingu & -ungu, from the Proto-Germanic –ingō & -ungō. It was cognate with the Saterland Frisian -enge, the West Frisian –ing, the Dutch –ing, The Low German –ing & -ink, the German –ung, the Swedish -ing and the Icelandic –ing; All the cognate forms were used for the same purpose as the English -ing).  Pressing is a noun & verb, pressingness is a noun and pressingly is an adverb; the noun plural is pressings.

Tarpeia Crushed by the Sabines (circa 1520) by Agostino Veneziano (Agostino de' Musi; circa 1490–circa 1540).

In Roman mythology it was said that while Rome was besieged by the Sabine king Titus Tatius, the commander of the Sabine army was approached by Tarpeia, daughter of Spurius Tarpeius, commander of the Roman citadel.  Tarpeia offered the attacking forces a path of entry to the city in exchange for "what they bore on their left arms." Although it was sometimes spun that she actually meant they should cast of their shields and enter in peace, the conventional tale is she wanted their gold bracelets.  The Sabines (sort of) complied, throwing their shields (which they carried upon their left arms) upon her, pressing her until she died.  Her body was then cast from (although some accounts say buried beneath) a steep cliff of the southern summit of the Capitoline Hill which has since been known as the Rupes Tarpeia or Saxum Tarpeium (Tarpeian Rock (Rupe Tarpea in Italian)). 

Cassius Convicted of Political Wrong-Doing is Killed by Being Thrown from the Tarpeian Rock Rome (circa 1750), woodcut by Augustyn Mirys (1700–1790).

The Sabines were however unable to conquer the Rome, its gates miraculously protected by boiling jets of water created by Janus, the legend depicted in 89 BC by the poet Sabinus following the Civil Wars as well as on a silver denarius of the Emperor Augustus circa 20 BC.  Tarpeia would later become a symbol of betrayal and greed in Rome and the cliff from which she was thrown was, during the Roman Republic, the place of execution or the worst criminals: murderers, traitors, perjurors and troublesome slaves, all, upon conviction by the quaestores parricidii (a kind of inquisitorial magistrate) flung to their deaths.  The Rupes Tarpeia stands about 25 m (80 feet) high and was used for executions until the first century AD.

Pressing by elephant.

Under a wide variety of names, pressing was a popular method of torture or execution for over four-thousand years; mostly using rocks and stones but elephants tended to be preferred in south and south-east Asia.  The elephant had great appeal because, large and expensive to run, they could be maintained as a symbol of power and authority and there were few better expressions of a ruler’s authority that the killing of opponents, trouble-makers or the merely tiresome.  Properly handled, an elephant could be trained to torture or kill although, being beasts from the wild, things could go wrong and almost certainly some unfortunate souls ear-marked for nothing but the brief torture of a pressing under the elephant’s foot (for technical reasons, they don’t have hooves) ended up being crushed to death.  Even that presumably added to the intimidation and in some places in India, this means of dispatch was said to be known as Gajamoksha (based on the Gajendra Moksha (The Liberation of Gajendra (the elephant)), an ancient Hindu text in which elephants were prominent) although these stories are now thought to have been a creation of the imaginations of British writers who, in the years before, found a ready audience for fantastical tales from the Orient.  As told, a Gajamoksha seems to have been more a trampling than a pressing and the political significance of the business was it was done in public; the manufacturing of entertainment and spectacle apparently common to just about every regime in human history.  That there were public displays of torture and execution using elephants is part of the historical record but the surviving depictions seem to suggest pressing rather than trampling was the preferred method.  A trampling elephant does sound like something which may have had unintended consequences.

As a asset in the inventory, elephants were versatile and in addition to helping to pull or carry heavy loads to battlefields, they could be also a potent assault weapon and, sometimes outfitted with armor (historically of thick leather), were used in a manner remarkably close in concept to the original deployment of tanks by the British Army in 1916, charging the line, breaking up fortifications and troop formations, allowing the infantry to advance through the gaps.  While opponents being trampled underfoot by a charging elephant may not have been the prime military directive, it was a useful adjunct.  For those who survived, it may only have been a stay of execution and while there’s little to suggest elephants were widely used in the bloodbaths which sometimes followed battlefield defeat, there are records of them ritualistically pressing to death a vanquished foe.

A pressing in progress; presumably this profession attracted those who really enjoyed their work and found it a calling.

It’s a myth Henry VIII (1491–1547; King of England (and Ireland after 1541) 1509-1547) invented pressing but he certainly adopted it as a method of torture with his usual enthusiasm.  Across the channel, under the French civil code, Peine forte et dure (forceful and hard punishment) defined pressing: When a defendant refused to plead, the victim would be subjected to having heavier and heavier stones placed upon his or her chest until a plea was entered, or as the weight of the stones on the chest became too great for the subject to breathe, fatal suffocation would occur.

Enthusiastic about if not innovative in torture, Henry VIII continues to influence modern fashion.  His combination of a loose jacket, short skirt and tights is here reprised by Lindsay Lohan.

Not all Kings of England have been trend-setters but Henry VIII’s style choices exerted an influence not only on his court and high society but also elsewhere in Europe.  What came to be known as the “Tudor style” was really defined by him and the markers are elaborate embellishments, rich fabrics (velvet, silk, and brocade much favoured), intricate embroidery and many decorative details.  The Tudor style also took existing motifs such as the codpiece (the pouch or flap covering the front opening of men's trousers or hose) and in the early sixteenth century these became larger and more exaggerated, the function in formal wear more decorative than practical.  He also made popular (again) the padded shoulders and sleeves which had been seen for centuries but Henry’s innovation was deliberately to reference the lines used on suits of armor, something which added to what in later years was his broad & imposing figure and modern critics have noted this was something which would visually have re-balanced his increasingly portly figure.  London wasn’t than the centre of fashion it later became and some historians have noted the distinctly French influence which entered the court after the arrival of Henry’s first wife, the Spanish-born Catherine of Aragon (1485–1536; Queen of England 1509-1533) and at least some of what was imported with the unfortunate bride became part of the Tudor style.

Hermaphrodite

Hermaphrodite (pronounced hur-maf-ruh-dahyt)

(1) In human physiology, an individual in which both male and female reproductive organs (and sometimes also all or some of the secondary sex characteristics) are present, or in which the chromosomal patterns do not fall under typical definitions of male and female.  It’s no longer used to describe people, except in the technical language of medicine or pathology and is now considered offensive, intersex the preferred term).

(2) In zoology, an organism (such as the earthworm) having both the male and female organs of reproduction.

(3) Of, relating to, or characteristic of a hermaphrodite.

(4) In botany, having stamens and pistils in the same flower; the alternative term is monoclinous.

(5) In figurative use, a person or thing in which two opposite forces or qualities are combined.

(6) In historic admiralty use as hermaphrodite brig, a vessel square-masted fore and schooner-rigged aft (obsolete).

1350–1400: From the Middle English hermofrodite, from the Latin hermaphrodītus, from the Greek hermaphródītos (person partaking of the attributes of both sexes).  The French, dating from the 1750s, was hermaphrodisme.  The word was derived from the proper name Hermaphroditus (or Hermaphroditos), a figure in Greek mythology, son of Hermes and Aphrodite, who, in Ovid, who the nymph Salmacis loved so ardently that she prayed for complete union with him,  The gods granted her wish and they were united bodily, combining male and female characteristics.  Hermaphrodite, hermaphroditism & hermaphrodeity are nouns, hermaphroditic & hermaphroditical are adjectives and hermaphroditically is an adverb;the noun plural is hermaphrodites.

It was used figuratively in Middle English to describe "one who improperly occupies two offices" and as a name for the medical condition, Middle English also had the late fourteenth century form hermofrodito and in the early fifteenth, hermofrodisia.  It was an adjective from circa 1600, first as hermaphroditical which must have been too difficult because by the 1620s, that had be replaced by ermaphroditic and about the same time, it came to be applied generally to things possessing two natures although this fell from favor and Janus-faced prevailed.  Although a rare condition, it must have fascinated many because an array of words followed in the wake of the tangle of variations in Middle English.  The Victorians liked to blame medieval writers making a mess of translating from Greek and Latin but the wholly wrong noun morphodite was a colloquial mangling from 1839, based on morpho- (from the Ancient Greek μορφή (morphḗ) (form)) though they could blame the early Georgians, an earlier mangling being mophrodite, noted in 1706.

The slang “dyke”, was used to describe a lesbian (or, more correctly, usually a subset of lesbians) and is now considered a gay slur, unless self-applied or used (with mutual or common consent) within the LGBTQQIAAOP community.  It was applied, usually pejoratively, to lesbians thought “tough, mannish, or aggressive”, unlike the "lipstick lesbians" preferred by the pornography industry and was a creation of American English although the origin is disputed.  Some claim it to be from 1931 as a truncation of morphadike (the dialectal garbling of hermaphrodite) but bulldyker (one known to engage in lesbionic activities) is attested from 1921.  One dictionary of American slang cites an 1896 source where dyke is slang for "the vulva" while another says that at least since 1893, as "hedge on the dyke", it referred to “female pubic hair".  Several texts confirm the long forms, bulldiker & bulldyking, were first part of oral use by African-Americans in the 1920s yet no African antecedents have been found, the assumption by etymologists that these are adaptations of backcountry, barnyard slang, perhaps either influenced by or an actual combination of the sounds of the words “bull” & “dick”.

The noun androgyne was picked up in the mid-twelfth century from the Medieval Latin androgyne (feminine), from the Greek androgynos (a hermaphrodite, a woman-man).  The modern-sounding adjective ambisexual began not with the psychiatrists but was used by clothing manufacturers to describe garments which could (within size-ranges) be worn by men or women without modification.  Bisexual, although it didn’t enter the jargon of psychology until 1912, had been used in its modern sense since appearing in Charles Chaddock's (1861–1936) 1892 translation of an 1886 text of psychiatric illnesses; prior to that volume, bisexual had been used only in botany to refer to hermaphroditic plants or as descriptions of institutions such as (what are now called co-educational) schools.  Bisexous (1838) and bisexuous (1856) were other coinings suggested for use in the sense of hermaphrodite; for a topic often taboo, linguistically, it was becoming a crowded field.  Ambosexual (1935) again sounds modern but ambosexous as another synonym for hermaphrodite was used as early as the 1650s.  Ambisextrous (1929) was a humorous coinage based on ambidextrous and, predictably, came from the fertile imaginations of either schoolboys or undergraduates, depending on the source cited.  The synonym gynandrous was first recorded circa 1765, and was from the Greek gunandros (of uncertain sex; of doubtful sex), the construct being gunē (woman) + anēr (man) + the suffix –ous (used to form adjectives from nouns).  The term pseudohermaphroditism was created in 1876 by German-Swiss microbiologist Edwin Klebs (1834–1913) and that described a a condition in which an individual has a matching chromosomal and gonadal tissue (ovary or testis) sex, but mismatching external genitalia and the nouns hermaphrodeity (circa 1610s) hermaphroditism (1807) are still used in the jargon of medicine and pathology.

Because of the taboo nature of hermaphrodite in some societies, it also attracted the creation of euphemisms.  One used in Old English was skratte (and there were variations) from the Old Norse skratte (goblin, wizard).  The original sense was probably “a monster" and the similar sounding “Old Scratch” (the Devil), from the earlier scrat was known from the 1740s; all hint at negative associations and it’s assumed most were generally aimed at women who didn't conform with the conventional standards of what men thought "attractive".  The familiar adjective androgynous was used from the 1620s in the sense of “a womanish man” and by the 1650s, "having two sexes, being both male and female".  It was from the Latin androgynus, from the Greek androgynos (hermaphrodite, male and female in one; womanish man) and (this time neutrally) as an adjective to describe public baths "common to men and women".  Semi was applied from the 1300s (mostly to men) to convey the sense of “only half masculine”, sem- a word-forming element (half, part, partly; partial, imperfect) from the Latin semi- (half) from the primitive Indo-European semi- (half), source also of the Sanskrit sami (half), the Greek hēmi- (half), the Old English sam- and the Gothic sami- (half).

To convey the sense of disapprobation associated with hermaphroditism, especially as it manifested in effeminate men, probably the best example is “bad”.  It was rare before 1400 and evil remained more frequently used until circa 1700 but the meanings "inadequate, unsatisfactory, worthless; unfortunate" & "wicked, evil, vicious; counterfeit" were universal by the late 1300s.  Unusually for English, it appears to have no relatives in other languages, the conclusion of many etymologists being it’s likely from the Old English derogatory term bæddel and its diminutive bædling (effeminate man, hermaphrodite, pederast), both of which are probably related to bædan (to defile).  The term hermaphrodite was once commonly applied to people, neutrally in medicine and variously otherwise but the latter is thought now offensive, "intersex" the preferred term. It can refer to a person born with both male and female reproductive organs or with a chromosomal pattern that does not align with typical male or female patterns, for instance, an individual with a mix of XX and XY chromosomes or with androgen insensitivity syndrome.

Salmacis and Hermaphroditus

Greek mythology has twists and turns, forks and dead ends.  Sometimes the tales vary in detail, sometimes they’re contradictory and often the myths can in themselves be mythological, the work even of medieval writers rather than anything from antiquity.  That’s never stopped some of the later texts entering the popular imagination becoming part of the mythological canon.  Roman lyric poets were known to pen the myths too.  Although Hermaphroditus is mentioned in Greek literature hundreds of years earlier as a figure of some sexual ambiguity and with no mention of Salmacis, nor with any reference to being the child of Hermes and Aphrodite, the best known rendition of the legend of Salmacis and Hermaphroditus is that written by the Roman poet Ovid (Pūblius Ovidius Nāsō (43 BC–circa 17)).

Ovid relates that Hermaphroditus had been raised in the caves on the slopes of Mount Ida, a sacred mountain in Phrygia.  It was a happy, tranquil youth but in adolescence, he grew restive in the wilderness and like many young men he was drawn to the "corrupting coast" and the "corrosive city" and set off to travel to the large settlement Caria.  He actually took a bit of a risk in his wandering because the naiads (female water spirits who lived near fountains, springs and streams of fresh water who raised and cared for him) could be dangerous, known to be jealous types, but Ovid doesn’t dwell on this, despite rarely having much diffidence in commenting on dangerous women. 

Salmacis and Hermaphroditus (1856), oil on canvas by Giovanni Carnovali (1804–1873).

It was in a forest on the outskirts of Caria, near Halicarnassus that Hermaphroditus and the nymph Salmacis met.  She was bathing in her pool as the beautiful boy walked past and the moment she cast her eyes upon him, she fell in love.  In her lust she fell upon him, begging him to take her but young and unsure, he pushed her away, refusing her every advance.  Tearfully she ran away and hid.  Hot and tired from his long journey, Hermaphroditus, thinking she was gone, undressed and plunged into the cool, clear waters of the pool.  At this, Salmacis sprang from her shelter into the water, wrapping her arms around the struggling youth, her voice begging the gods that they would never part.  The lascivious waif’s wish was granted, their bodies blended into one to become “a creature of both sexes".  The last act of Hermaphroditus as he was transformed was his prayer to his parents Hermes and Aphrodite that all who swam in these waters would be similarly transformed.  They answered his prayer.

Lindsay Lohan as Aphrodite, emerging from the depths.

The archeological record does indicate the idea of some form of sexual dualism is ancient, statutes and surviving art predating any of the known myths of antiquity so depictions of the quality of hermaphroditism as a part of the human condition is certainly ancient.  There are some relicts from the seventh century BC, including a statue of Aphroditos (a figure explicitly both male and female) which scholars speculate may have been either a figure of worship for a cult or a symbol of fertility.  The statue was cast at least three-hundred years before the first known reference to Hermaphroditus in any Greek text and while there are many variations of the story, Ovid’s is the best remembered, certainly because it’s the most complete but probably also because it’s the best.