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 (1897-1945; 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.

Syncategorematic

Syncategorematic (pronounced sin-kat-i-gawr-uh-mat-ik or sin-kat-i-gor-uh-mat-ik)

(1) In traditional logic, of or relating to a word that is part of a categorical proposition but is not a term, as all, some, is (applying to expressions not in any of Aristotle's categories, but form meaningful expressions together with them, such as conjunctions and adverbs).

(2) In contemporary logic, of or relating to a word or symbol that has no independent meaning and acquires meaning only in the context of other words or symbols, as the symbol (or the word of).

1820–1830: From the Late Latin syncatēgorēmat-, stem of syncatēgorēma (part of a discourse that needs another word to become fully intelligible).  The construct was syn- +‎ categorematic.  The syn- prefix (used also as syl- (if preceding a “l” and sym- (if preceding a “b”, “m” or “p”) was from the Ancient Greek συν- (sun-), from σύν (sún) (with, in company with, together with) and may be compare with the Sanskrit सम्- (sam-).  It was appended to create forms with the meanings (1) identical, (2) with, together, or (3) concomitant.  Categorematic was from the Ancient Greek κατηγορῆμα (katēgorēma) (predicate; or something that is affirmed) from the verb κατηγορέω (katēgoreō) (to accuse, assert, or predicate).  The Latinized version of this root (categorema) was adopted by English and was the source of the familiar word “category” (and derivatives).  With the mix of Greek and Latin influences, syncategorematic is one of those words the more fastidious purists dislike.

The suffix -ate was a word-forming element used in forming nouns from Latin words ending in -ātus, -āta, & -ātum (such as estate, primate & senate).  Those that came to English via French often began with -at, but an -e was added in the fifteenth century or later to indicate the long vowel.  It can also mark adjectives formed from Latin perfect passive participle suffixes of first conjugation verbs -ātus, -āta, & -ātum (such as desolate, moderate & separate).  Again, often they were adopted in Middle English with an –at suffix, the -e appended after circa 1400; a doublet of –ee.  The construct of the –atic suffix was –at(e) +‎ -ic; it was a doublet of –age and an alternative form of –tic.  The -ic suffix was from the Middle English -ik, from the Old French -ique, from the Latin -icus, from the primitive Indo-European -kos & -ḱos, formed with the i-stem suffix -i- and the adjectival suffix -kos & -ḱos.  The form existed also in the Ancient Greek as -ικός (-ikós), in Sanskrit as -इक (-ika) and the Old Church Slavonic as -ъкъ (-ŭkŭ); A doublet of -y.  In European languages, adding -kos to noun stems carried the meaning "characteristic of, like, typical, pertaining to" while on adjectival stems it acted emphatically; in English it's always been used to form adjectives from nouns with the meaning “of or pertaining to”.  A precise technical use exists in physical chemistry where it's used to denote certain chemical compounds in which a specified chemical element has a higher oxidation number than in the equivalent compound whose name ends in the suffix -ous; (eg sulphuric acid (H₂SO₄) has more oxygen atoms per molecule than sulphurous acid (H₂SO₃).  Used in linguistics (of a term), syncategorematic describes those terms which demand the appending of other terms to make a meaningful constituent of language; in th more arcane corners of the field, there are terms said to be (the comparative) “more syncategorematic” and (the superlative) most syncategorematic.  Syncategorematic & syncategorematical are adjectives, syncategoreme & syncategorematicity are nouns and syncategorematically is an adverb; the noun plural is syncategoremes or syncategorematicities (the latter apparently not in use).

Sentence: “The girl’s legs were under the table.”  The preposition “under” is syncategorematic because it describes the spatial relationship between her “legs” and the “table” but in isolation, “under” has no meaning.

It’s a long word and the definition might seem convoluted but in English syncategorematic words are in common, everyday use.  In traditional logic, it denotes a word unable to sustain useful meaning if standing alone but must be joined to a categorematic term in order to enter a categorical proposition; “some”, “and” & “all” are among those used most frequently.  In modern logic, the sense was extended to any symbol with no independent meaning.  Some terms which seem grammatically categorematic are often classed as syncategorematic, especially those which are in some way “value loaded” attributive adjectives (such as “good” or “large”).  Neither “good, nor “large” possess independent meaning whereas “red” and “is a Ferrari” are so vested; something can simply be “red” but it there is nothing which can be understood from “large” as a stand-alone term.  Meaning is attained only when something is added because the meaning comes from the sense of being relative-to-something (a “large bacterium” may be big enough to be the biggest bacterium ever seen but, comparatively, it’s nothing close to the size of a “large elephant”.

Sentence: “A girl is sitting on the floor.”  Both “a” and “the” are syncategorematic; they modify the nouns “girl” and “map” but do not, when standing alone, impart meaning.

The common examples of syncategorematic terms in English can be classified into a number of categories: (1) Logical Operators: (and, or, not, if, then) which structure logical relationships between propositions; (2) Articles: (the, a, an) which specify definiteness or indefiniteness but lack standalone meaning; (3) Prepositions: (in, on, at, by, with) which indicate relationships between nouns or pronouns but do not on their own impart meaning; (4) Conjunctions: (and, but, or, because) which connect clauses or ideas; (5) Quantifiers: (all, some, none, many, few) which express quantity or extent without referring to a specific entity; (6) Negations: (not, no) which modify the meaning of other terms or clauses and (7) Adverbs of Degree: (very, quite, somewhat, too) which modify adjectives or adverbs to indicate intensity or degree.

There are nuances in use such as the legendary exchange which gave language the word “laconic” (using few words; expressing much in few words).  In Antiquity, Laconia was the region inhabited and ruled by the Spartans, known for their brevity in speech and in English, the meaning “concise, abrupt” emerged in the 1580s (although laconical was created and went extinct a decade earlier).  The origin of this sense was when Philip II of Macedon (382–336 BC; king (basileus) of Macedonia 359-336) threatened the Spartans with the words: "If I enter Laconia, I will raze Sparta to the ground." to which the Spartans replied: "If.”  In that case, the meaning is derived from the context, a case in which “if” (usually syncategorematic) has meaning as a superficially single, stand-alone word.

Laconic

Laconic (pronounced luh-kon-ik)

(1) Using few words; expressing much in few words.

(2) A reply or phrase of this character.

1580–1590: From the Latin Lacōnicus (Spartan) from the Ancient Greek Λακωνικός (Lakōnikós) (Laconian) from Lakōn (a Laconian).  Laconia was the region inhabited and ruled by the Spartans, noted for their economical use of language.  The alternative spelling laconick is long obsolete.  Because of the long history, there's no exact synonym but words in a similar vein include terse, brusque, pithy, brief, compact, compendious, concise, crisp, curt, sententious, short and sweet, succinct, breviloquent & brevity.  Laconic & laconical are adjectives, laconism is a noun and laconically is an adverb; the noun plural is laconisms.

Taking Hemlock with Socrates, gracefully

In Antiquity, Laconia was the region inhabited and ruled by the Spartans, known for their brevity in speech and in English, the meaning "concise, abrupt" emerged in the 1580s (although laconical was created and went extinct a decade earlier).  The origin of this sense was when Philip II of Macedon (382–336 BC; king (basileus) of Macedonia 359-336) threatened the Spartans with the words: "If I enter Laconia, I will raze Sparta to the ground." to which the Spartans' replied: "If."  Although allied when faced with the threat of Persian invasion, Athens and Sparta had a long tradition of enmity, realized most famously in the Peloponnesian War (431–404 BC).  Their differences were cultural as well as political for while the Spartans were known for their dry, understated wit (which we now call "laconic humor"), the Athenians more readily displayed their "Attic wit" (the Attic peninsula the region encompassing the city of Athens), something refined, poignant and delicate, though often not brief.

Death of Socrates (1787), oil on canvas by Jacques-Louis David (1748–1825), Metropolitan Museum of Art, New York.

In Ancient Greece, it was in Athens that art, education and literature was most valued, virtues never forgotten by modern historians, many of whom contrast the earthier Spartans unfavorably although, at the time, perhaps not all Athenians shared the view.  Socrates (circa 470–399 BC), in Plato's (circa 427-348 BC) dialogue Protagoras, detected some cleverness in the Spartans' economy of language which hid their wisdom, revealing sometimes with a brief remark a sophistication of thought and understanding.  Scholars tend however to take this with a grain of Attic salt, noting Socrates’ fondness for a little gentle irony.

Lindsay Lohan and her lawyer in court, Los Angeles, December 2011.

The Laconia Order

The Laconia-Befehl (Laconia Order) was one of the more controversial documents submitted by the prosecution to the International Military Tribunal (IMT) which in 1945-1946 presided over the trial of the leading Nazis.  The order was issued in 1942 by Grand Admiral Karl Dönitz (1891–1980; head of the German Navy 1943-1945, German head of state 1945) which he was commanding officer of the Kriegsmarine's (the German Navy) Befehlshaber der Unterseeboote (BdU) (U-boat or submarine) fleet and was pursuant to what became known as the Laconia Incident.  RMS Laconia was a Cunard ocean liner which the British Admiralty had converted to an armed merchant cruiser, making her a legitimate military target.  On 12 September 1942, she was sunk in a U-Boat attack and in the aftermath, while several U-Boats were rescuing survivors with the intention of transferring them to other vessels, they were attacked by US bombers, despite having informed Allied forces by radio that both the Allied soldiers and women and children had been rescued and were sheltering on the decks of the submarines.

In response, the Germans abandoned the rescue operation and cast the survivors adrift.  The new policy was formalized on 17 September when the Laconia Order was signalled to the fleet, dictating, inter alia, henceforth no rescue attempts of survivors were to be attempted unless it was to secure prisoners of military value (captains or ships' engineers) and then only if there was no risk to the U-Boat.  The British prosecution team introduced the order as evidence of a war crime ordered by Dönitz which effectively amounted to ordering the murder of shipwrecked survivors and treated it as the beginning of "unrestricted submarine warfare".  However, the British seem genuinely to have been unaware of the circumstances which led to the issuing of the order and the Americans certainly didn't wish to discuss the conduct of their air-crews, some of whom had been awarded medals for the attack, even though their claim to have sunk the U-Boat were erroneous (though understandable, a crash dive and a sinking visually similar when viewed from the air.  The IMT noted the ambiguity in the order but in the circumstances granted Dönitz the benefit of the doubt and they were further swayed by the affidavit of Fleet Admiral Chester Nimitz (1885–1966) who commanded US forces in the Pacific.  Nimitz's submission, supported by others was that the US had conducted unrestricted submarine warfare from the point of the nation's entry into the conflict in December 1941 and that such a policy was wholly lawful under the rules of war at sea.

Defendants in the dock at Nuremberg, Dönitz (in sun glasses), sitting in the back row.

Thus the partial success of Dönitz's sophisticated variation of a tu quoque defense, an attempt by an accused to deny the legitimacy of a charge by alleging those mounting the prosecution committed exactly the same offence and thus stand equally guilty.  The IMT had explicitly banned the use of tu quoque but allowed the argument in this one case because it hung on the notion that unrestricted submarine warfare was, as practiced by both sides, entirely lawful and within the rules of war at sea.  A great many British & US sea captains and admirals agreed (“admirals are a trade union” Anthony Eden (1897-1977; UK prime-minister 1955-1957) would later remark in another context).  The judges must have been impressed but the eventual judgement was certainly murky.  Although convicted on counts two (crimes against peace) and three (war crimes), he received only a ten-year sentence, the shortest term of the seven imposed on those not hanged or acquitted.  Perhaps tellingly, one has to read the summary of the verdicts to work out against which of the indictment's four counts he had been convicted; it really isn't possible to work it out from the judgment and it wasn't until later it emerged it had been written by one of the judges who had voted for his acquittal.

Aphorism

Aphorism (pronounced af-uh-riz-uhm)

An original, laconic phrase conveying some principle or concept of thought.

1520s: From the late Middle English aphorism (concise statement of a principle (especially in reference to the Aphorisms of Hippocrates)), from the Middle French aphorisme, from the (mistaken) fourteenth century Old French aufforisme, from the Late Latin aphorismus (definition), from the Ancient Greek ἀφορισμός (aphorismós) (definition; short, pithy sentence containing a general truth), from aphorizein (to mark off, divide), from from ἀφορίζω (aphorízō) (I define, mark off or determine), the construct being ἀπό (apó) (off) + ὁρίζω (horízō) (I divide, bound), from ὅρος (hóros) (boundary) (from which English gained horizon). Aphorism is a noun & verb, aphorist is a noun, aphorismic & aphorismatic are adjectives and aphoristically is an adverb; the noun plural is aphorisms.

The idea of the aphorism as a “short, pithy statement containing a truth of general application” gained currency in English from the 1580s.  Despite the long history, some confusion seems always to accompany aphorisms, axioms, theories, epigrams and maxims.  An aphorism is a short, pithy statement containing a truth of general import; an axiom is a statement of self-evident truth; a theorem is a demonstrable proposition in science or mathematics; an epigram is like an aphorism, but lacking a generalized application.  Maxim can be often used as a synonym for aphorism while saying applies to just about any generally used piece of text.

Hippocrate refusant les présents d'Artaxerxès (1792), oil on canvas by Anne-Louis Girodet-Trioson (1767–1824), Museum of the History of Medicine, Paris.

The word became widely known in the sixteenth century when a translation was published of the Hippocratic Corpus (the Hippocratic Collection), a compilation of some dozens of medical texts with some association with the physician Hippocrates (circa 460–370 BC), the sayings remembered as the Aphorisms of Hippocrates, a series of propositions about medicine.  His opening aphorism (which flavors the whole) was:  Life is short, art long, opportunity fleeting, experience deceptive, judgment difficult.

Handy Aphorisms

The second half of a man’s life is made up of nothing, but the habits he has accumulated during the first half.  Fyodor Dostoevsky (1821–1881)

Man must be disciplined, for he is by nature raw and wild.  Immanuel Kant (1724–1804)

The more I know the nature of men, the more I seek the company of dogs.  Frederick the Great (1712–1786)

In the natural state of nature, the life of man will be nasty, solitary, brutish and short.  Thomas Hobbes (1588–1679)

For everything you do, there’s a price to be paid.  Epictetus (circa 50–135 AD)

The nice thing about being a celebrity is that when you bore people, they think it's their fault.  Henry Kissinger (b 1923)

The first method for estimating the intelligence of a ruler is to look at the men he has around him.  Niccolò Machiavelli (1469–1527)

The more I see the face of the German cavalry officer, the more I admire his horse.  Ferdinand Foch (1851–1929)

We mustn't count our chickens before they're hatched.  Adolf Hitler (1889-1945)

There are no eternal facts, as there are no absolute truths.  Friedrich Nietzsche (1844–1900)

I'm my own worst enemy and I know that.  I live without regrets. When someone tells me not to do something, I'll do it more.  There are certain things I have done, mistakes that I made, that I would change, but I don't regret them at all, because I've learnt from them.  Lindsay Lohan (b 1986)

When you say that you agree with a thing in principle you mean that you have not the slightest intention of carrying it out in practice.  Otto von Bismarck (1815-1898)

To know the character of a man of forty, look at the world he knew when he was twenty.  Napoleon Bonaparte (1769-1821)

Don’t worry about avoiding temptation... as you grow older, it will avoid you.  Winston Churchill (1875-1965)

Wet & Dry

Wet (pronounced whet)

(1) Moistened, covered, or soaked with water or some other liquid.

(2) In a liquid form or state.

(3) Something that is or makes wet, as water or other liquid; moisture.

(4) Damp weather; rain.

(5) In historic (US prohibition era) use, a person in favor of allowing the manufacture and sale of alcoholic beverages; still used as a descriptor of political candidates or activists in “dry” counties who advocate the status be changed to “wet” but now substantially a retronym.

(6) To make (something) wet, as by moistening or soaking (sometimes followed by through or down).

(7) To urinate on or in (applied usually to pets or children).

Pre 900: From the Middle English wet wett & wette (past participle of weten (to wet)), (wet, moistened), from the Old English wǣtan (to wet, moisten, water), replacing the Middle English weet, from the Old English wǣt, from the Proto-Germanic wētijaną (to wet, make wet), from the primitive Indo-European wed- (water, wet), also the source of “water”.  It was cognate with the Scots weit, weet, wat & wete (to wet), the Saterland Frisian wäitje (to wet; drench) & wäit (wet), the Icelandic væta (to wet) & votur (wet), the North Frisian wiat, weet & wäit (wet), the Old Frisian wēt, the Old Slavonic vedro (bucket), the Swedish and Norwegian våt (wet), the Danish våd (wet), the Faroese vátur (“wet”) and the Old Norse vātr; akin to water.  Wet is a noun, verb & adjective, wetter, wettability & wetness are nouns, wetly an adverb, wetted & wetting are verbs, and wettish, wetter, wettest & wettable are adjectives.  The noun plural is wets and the homophone whet (in accents with the wine-whine merger).

Words in some way related to wet include damp, drench, misty, drizzle, mizzle, humid, dank, fog, mist, muggy, rain, slippery, snow, soak, sodden, soggy, stormy, dip, douse, drench, hose, irrigate & liquid.  For all related words, context and the history of use define the relationship (of extent, type etc).  For example, to drench or soak something implies saturate whereas moistening means only some degree of dampness whereas to soak something suggests an immersion of extended duration until saturated.  With reference to rain, which can always be referred to as wet weather, mizzle & drizzle are expressions of graduation which suggest a lighter fall.

The multi-media US personality Ye (the artist formerly known as Kanye West (b 1977)) with Australian architect & model Bianca Censori (b 1995) in "Wet" themed top, Huacai Intercontinental Hotel, Beijing, China, September 2024.  She wears it well.

The word wet has proved convenient shorthand for many technical purposes including in calligraphy and fountain pens where it referred to depositing a large amount of ink from the nib or the feed.  To audio engineers, a “wet sound” recording is one to which the audio effects have been applied.  In aviation, it’s a reference to having used the afterburners or water injection for increased engine thrust (maximum wet thrust can be more than twice maximum dry thrust (afterburners consuming huge quantities of fuel)).  In mining a “wet extraction” is a method using fluids whereas a dry extraction relies on the employment of dry heat or fusion.  In soldering, to wet is to form an intermetallic bond between a solder and a metal substrate.  In bench-top science, to wet is to employ a liquid (typically water) as a method of chemical analysis.  A wetback (also called a wet-heater) was a form of heater which in addition to radiating heat to an external space was also attached to the building’s hot water supply, thus providing in whole or in part the energy used to maintain its temperature (wetback was applied also from 1924 as a derogatory description of undocumented Mexican immigrant to the US, a reference to their usually sodden state after crossing the Rio Grande.  There presumably have been bed-wetters (involuntary urination while sleeping) since there have been beds but etymologists can find no instance of the term bed-wetting prior to 1844 (it has also gained an idiomatic identity in politics (qv)).  In ecology, a wetland is an area where water covers the soil, or is present either at or near the surface of the soil all year or for varying periods of time during the year, including during the growing season.  The wet-nurse, though an ancient profession, was first so described in the 1610s.

As vulgar slang, as applied to women, it referred to the sexual arousal indicated by the vulva being moistened with vaginal secretions (which may or may not be related to the word “moist” being often rated as the most disliked in the English language).  The sexual slang associated with men is the “wet dream” which most etymologists insist dates only from 1851 although Middle English in the same sense had ludificacioun (an erotic dream), these nocturnal adventures mentioned by Henry VIII in letters as proof of his virility, called into doubt by his inability to be aroused by one of the wives he didn’t wish to keep.

Wet is widely applied in idiomatic use: To be “wet behind the ears” is to be inexperienced; a “wet blanket” (from 1871, from use of blankets drenched in water to smother fires (the phrase attested in this literal sense from the 1660s)) is someone who spoils the fun of others by failing to join or disapproving of their activities; to “wet one's whistle” is to have one or more alcoholic drinks, an allusion to the idea intoxicants stimulate sociability; in politics a “bed wetter” is a politician who reacts nervously to every passing vicissitude, the label usually applied by those with safe seats to those holding marginal electorates; to be “all wet” is (1) to be mistaken or (2) a really bad idea, both used since the early 1920s (thought built on the earlier sense of “ineffectual”, perhaps ultimately from the circa 1700 slang meaning "drunken"; in computing there’s hardware and software and those working in AI (artificial intelligence) refer to the human brain as wetware; In crime and espionage, wet-work is a euphemistic reference to jobs involving assassination (known also as a wet affair, a wet job & wet stuff, all phrases alluding to the spilling of the blood of others).  In historic UK slang, a wet was someone thought ineffectual, feeble or with no strength of character, a weak or sentimental person (although this use faded as the specific political construction (qv) which emerged in the 1980s prevailed).

Dry (pronounced drahy)

(1) Free from moisture or excess moisture; not moist; not wet.

(2) In climatic matters, having or characterized by little or no rain.

(3) Characterized by absence, deficiency, or failure of natural or ordinary moisture.

(4) Not under, in, or on water.

(5) Not now containing or yielding water or other liquid; depleted or empty of liquid.

(6) In dairying and other forms of animal-based milk production, a beast not yielding milk (also used by analogy for oil wells).

(7) The absence of lachrymosity, free from tears.

(8) Drained or evaporated away.

(9) Desiring drink; thirsty; causing thirst.

(10) A food (typically toast) served or eaten without butter, conserves (jam, jelly), honey etc.

(11) Of food, lacking enough moisture or juice to be satisfying or succulent.

(12) Of bread and bakery products, stale.

(13) Of or relating to non-liquid substances or commodities (usually as dry goods, dry measure; dry provisions etc).

(14) Of wines (though now also used of beer, cocktails and other beverages), not sweet.

(15) Characterized by or favoring prohibition of the manufacture and sale of alcoholic liquors for use in beverages (mostly prohibition-era US but still a term used in political debates in “dry” counties).

(16) As a general descriptor, anything plain; bald; unadorned; something expressed in a straight-faced, matter-of-fact way.

(17) Dull; uninteresting:

(18) Indifferent; cold; unemotional.

(19) An unproductive period.

(20) Of lumber, fully seasoned.

(21) Of masonry construction, built without fresh mortar or cement.

(22) Of a wall, ceiling, etc in an interior, finished without the use of fresh plaster.

(23) In ceramics unglazed (if deliberate) or insufficiently glazed (if in error).

(24) In art, hard and formal in outline, or lacking mellowness and warmth in color.

(25) To make something free from moisture (or with its moisture substantially reduced.

(26) Something tedious, barren, boring, tiresome, jejune.

(27) Of wit, shrewd and keen in an impersonal, sarcastic, or laconic way.

(28) In sheep farming, a ewe without a lamb after the mating season

(29) In electronics, an imperfectly soldered electrical joint (where the solder has not adhered to the metal), thus reducing conductance

(30) In food preservation, to preserve (meat, vegetables, fruit etc) by removing the moisture.

(31) In chemistry as anhydrous, free from or lacking water in any state, regardless of the presence of other liquids.

(32) In audio engineering, a sound recording free from applied audio effects (especially reverberations).

(33) In animal breeding, an impotent male beast (applied especially to bulls).

(34) In the rituals of certain Christian denominations, of a mass, service, or rite: involving neither consecration nor communion.

In acting (especially on stage, to forget one’s lines.

Pre 900: From the Middle English drye, dryge, drüȝe & drie (without moisture, comparatively free from water or fluid), from the Old English drӯge, from the Proto-Germanic draugiz (source also of the Middle Low German dröge, the Middle Dutch druge, the Dutch droog, the Old High German truckan & trucchon, the German trocken and the Old Norse draugr), from the Germanic root dreug- (dry), from the primitive Indo-European dherg (to strengthen; become hard), from dher (to hold, support).  Dry is a noun, verb and adjective, dryable, drier, driest, dryer (or dryest) are adjectives, dryly an adverb, dries, drying & dried are verbs and dryness is a noun.  The noun plural is drys or dries; the spelling drie is long obsolete.

The meaning "barren" dates from the mid fourteenth century.  As applied to “persons showing no emotion, use emerged circa 1200; of humor or jests (delivered without show of pleasantry, caustic, sarcastic), it’s of early fifteenth century origin (and implied in dryly).  The sense of "uninteresting, tedious" was from the 1620s.  Of wines, brandy etc which were "free from sweetness or fruity flavor", use dates from circa 1700.  Dry was first used of places prohibiting alcoholic drink in 1870 (although, ad-hoc, there had been “dry feasts” & “dry festivals” at which no alcohol was served since the late fifteenth century and the colloquial dry (prohibitionist) entered US political slang in 1888.  Prior to and during the prohibition era in the US, the “drys” were those who supported prohibition and in the isolated counties in the US where it’s still imposed, they remain a (local) political force.  Dry goods, first so named in the 1560s were those dispensed in dry, not liquid, measure.  Dry land (that not under the sea) as a concept (first in the law of real property) was from the early thirteenth century.  The dry-nurse (a back formation from wet-nurse) was “one who attends and feeds a child but does not suckle it", use dating from the 1590s.  The dry-run (rehearsal) dates from 1941 and was adopted by the military and just about everyone else dates from 1941.  Dry ice "solid carbon dioxide" became available in 1925.  Dry out in the drug addiction sense is from 1967.

The first process of dry-cleaning (to clean clothes or textiles without using water) appears to have been advertised first in 1817.  The long-known "fungal decay in timber" was in 1779 first described as dry rot, the figurative sense of "concealed or unsuspected inward degeneration" dating from 1821.  As a hair-drying device, the first use of blow-dry appears to be a surprisingly late 1971.  The process of preserving vegetables as freeze-dried was a wartime development in the US, first announced as a patented commercial process in 1946, the earlier sun-dried documented since the 1630s although the technique dates from early human culture.  The dry sense of humor (with apparent unintentional humor or sarcasm) was noted first in the early fifteenth century, dryly meaning "without moisture" in the 1560s and "without affection" by the 1620s.  The drywall (plasterboard, sheetrock; gypsum-based manufactured panel used in interior construction) was first sold in 1952, the earlier use (1778) of dry wall meaning (a wall built without mortar).  A drier (used since the early fourteenth century as a surname) as “one who dries and bleaches cloth," agent noun from the verb dry (that which dries or is used in drying), dated from the 1520s.  Dryer was used to describe a piece of machinery in 1848 although the first drying-machine appears to have entered service as early as 1819.

Wet & Dry

Wet and dry must be one of the most obvious and commonly cited dichotomies in English and there are a number of noted examples.

Perilli's Dry, Intermediate and Wet tyres for use in Formula One.

In motorsport, there are wet and dry tyres, the former (obviously) used when the track is wet and the latter (also called “slicks”) when the surface is dry.  There are also various flavors of “intermediate tread” tyres for conditions which are damp rather than wet.  The difference is that dry tyres have no tread (the grooves cut into the contact surface) pattern, the purpose of which is to provide passages into which the water is forced to be expelled at the sides.  In the early 1970s, there were competitions with rules which demanded the use of street tyres (ie those used on street cars as opposed to racing rubber) and some drivers discovered a unique property of BF Goodrich’s square-shouldered T/A Radial was that if the tread was (in advance) carefully worn down to a certain point, it would behave much like a slick and last long enough not to have to be replaced for the duration of most races (or until fuel-stop sessions in endurance events).

In the law of real property, there are wet and dry leases, typically issued in conjunction when handling riparian property.  The leases are often divided because it’s not uncommon for the one commercial operation to have part of a business on land and part on water (such as a marina or docking facility) and being very different, may have different operators.  It’s thus normal commercial practice for a head-lessor (perhaps a hotel operator) to enter into both a dry lease (for the hotel property on land) and the wet lease (for whatever happens on the water) and then sub-lease the wet lease to someone with the appropriate expertise.

Wet and dry sandpaper is the tip of the sanding iceberg.  Wet sanding, which is sanding with the addition of water to act as a lubricant, is less abrasive than dry sanding, and results in a smoother finish and whenever possible, it’s best to wet-sand when finishing a project.  Dry sanding removes more material, and smooths rough material more quickly and if the ultimate in smoothness isn’t required, is the choice of many.  So, wet sand for a super smooth finish but the two are of course frequently combined, dry sanding first to remove most of the unwanted material before wet sanding.

Lindsay Lohan in Cynthia Rowley (b 1968) wetsuit.

In diving, wetsuits and drysuits use different engineering but operate on a similar principle.  Wetsuits use a layer of water (heated by the wearer's body) to provide insulation while a drysuit uses a layer of air and is completely water-proof, stopping water from coming into contact with the skin.  Wetsuits are made from rubber neoprene and are designed so the diver’s body heat is retained but, unlike drysuits, are not waterproof.  For that reason, a loose fitting wetsuit is suitable only for warm-water conditions; skin-tight wetsuits are ideal for cold water surf because they are warm and permit more movement than drysuits.  Where the drysuit excels is in predominately out-of-water conditions such as kayaking, paddle-boarding or water-based photography.  For extreme winter conditions a drysuit is really the only choice because for warmth, additional layers can be added beneath the suit, something not possible with a wetsuit.

In northern Australia, the concepts of spring, summer, autumn (fall) & winter really don’t make climatic sense the way defined seasons do in more temperate regions.  Instead, there’s just the wet and the dry.  The dry is long and hot, rain is rare and towards the end of the dry there is the “build-up” which unfolds over a month or more as the air becomes warmer and heavier, the clouds in the evenings begin to darken and the humidity becomes increasingly oppressive.  Locals call it the period of mango madness because as the fruit ripens, emotional instability is apparent in some, mood swings induced by the inexorable rise in heat and humidity.  The wet usually begins in late November or early December and is marked by heavy monsoonal downpours, spectacular lightning, increased cyclone activity and a rise in crimes of violence.

Makita 20 litre Wet Dry Vacuum Cleaner 1000W.

Wet and dry vacuum cleaners are devices regarded with some awe because we’re all schooled to take care to ensure water is kept way from electrical appliances yet the manufacturers of these things encourage us to suck water into them.  They’re obviously of great utility in handling wet floors or sodden carpets but can be used anywhere where something wet is the problem and suction the answer such as cleaning hot tubs or removing surface condensation.

During the 1980s, in the corrosive, gut-wrenching world of Tory politics, the factions became not quite formalized but certainly well-understood as the “wets and drys”.  The origin lay in the use of the term “wet” which the right-wing fanatics (of which there were a few in the government of Margaret Thatcher (1925–2013; UK prime-minister 1979-1990)) applied to their less hard-line colleagues (defined as those not in favor of repealing the twentieth century).  Wet was an old term of derision in historic UK slang, someone thought ineffectual, feeble or with no strength of character, a weak or sentimental person.  In an effort to retaliate, the wets labelled the fanatics “the drys” but this backfired because the drys loved the idea and were soon describing themselves thus, presumably because while "a bit wet" had long been an insult, "dry humor" had always been thought clever and sophisticated.