Semaphore

Semaphore (pronounced sem-uh-fawr or sem-uh-fohr)

(1) A “line-of-sight” apparatus (mechanical, hand-held or activated and now even electronic) for conveying information by means of visual signals (typically flags or lights, the positions of which are changed as required).

(2) Any of various devices for signaling by changing the position of a light, flag or other identifiable indicator.  Historically, a common use of “semaphore” was as a noun adjunct (also called a noun modifier or attributive noun) including “semaphore flag”, “semaphore chart”, “semaphore operator et al.

(3) A codified system of signaling, especially a system by which a special flag is held in each hand and various positions of the arms denoting specific letters, numbers etc.  It remains part of Admiralty signals training.

(4) In biochemistry (as semaphoring), any of a class of proteins that assist growing axons to find an appropriate target and to form synapses.

(5) In biology (as semaphoront), an organism as seen in a specific time during its ontogeny or life cycle, as the object of identification or basis for systematics.

(6) In botany (as semaphore plant), a synonym for the telegraph plant (Codariocalyx motorius), a tropical Asian shrub, one of the few plants capable of rapid movement and so named because the jerking motions of the leaves recalled in observers the actions of the arms of Admiralty signallers and the name dates from the Raj.

(7) In programming, a bit, token, fragment of code, or some other mechanism which is used to restrict access to a shared function or device to a single process at a time, or to synchronize and coordinate events in different processes, the thread increments the semaphore to prevent other threads from entering the critical section at the same time.

(8) In figurative use (in human and animal behavior), certain non-verbal communications, used consciously and unconsciously, the concept often explored as a literary device.

(9) To signal (information) by means of semaphore

1814: From the French sémaphore, the construct being the Ancient Greek, σῆμα (sêma) (mark, sign, token) + the French -phore (from the Ancient Greek -φόρος (-phóros), the suffix indicating a bearer or carrier) and thus understood as “a bearer of signals”.  The Greek –phóros was from pherein (to carry), from the primitive Indo-European root bher- (to carry).  The verb was derived from the noun.  Semaphore is a noun & verb, semaphorist, semaphoront & semaphorin are nouns, semaphored is a verb, semaphoring is a verb & adjective, semaphoric & semaphorical are adjectives and semaphorically is an adverb; the noun plural is semaphores.  The noun semaphorism is non-standard but is used in behavioral linguistics to describe patterns of language used to convey meaning in a “coded” form which can be deconstructed for meaning only by sender and receiver.  The form semaphoreology seems not to exist but if anyone ever makes a discipline of the study semaphore (academic careers have been built from some improbable origins), presumably there will be semaphoreologists.

Chart of the standard semaphore alphabet (top left), a pair of semaphore flags (bottom left) and Lindsay Lohan practicing her semaphore signaling (just in case the need arises and this is the letter “U”), 32^nd birthday party, Mykonos, Greece, July, 2018 (right).

Semaphore flags are not always red and yellow, but the colors are close to a universal standard, especially in naval and international signalling.  There was no intrinsic meaning denoted by the use of red & yellow, the hues chosen for their contrast and visual clarity, something important in maritime environments or other outdoor locations when light could often be less than ideal although importantly, the contrast was sustained even in bright sunshine.  Because semaphore often was used for ship-to-to ship signalling, the colors had to be not only easily distinguishable at a distance but not be subject to “melting” or “blending”, a critical factor when used on moving vessels in often pitching conditions, the operator’s moving arms adding to the difficulties.  In naval and maritime semaphore systems, the ICS (International Code of Signals) standardized full-solid red and yellow for the flags but variants do exist (red, white, blue & black seem popular) and these can be created for specific conditions, for a particular cultural context or even as promotional items.

L-I-N-D-S-A-Y-space-L-O-H-A-N spelled-out in ICS (International Code of Signals) semaphore.  One can never tell when this knowledge will come in handy.

Early automobiles were sometimes fitted with mechanical semaphore signals to indicate a driver’s intention to change direction; these the British called “trafficators” (“flippers” in casual use) and they were still being fitted in the late 1950s, by which time they’d long been illuminated to glow a solid amber.  What the mechanical semaphores did was use the model of the extended human arm, used by riders or drivers in the horse-drawn age to signal their intentions to others and although obviously vulnerable to damage, the devices were at the time a good solution although the plastics used from the 1930s were prone to fading, diminishing the brightness.  When electronics advanced to the point where sequentially flashing turn indicators (“flashers”) cheaply could be mass-produced the age of the semaphore signal ended although they did for a while persist on trucks where they were attached to the exterior of the driver’s door and hand activated.

Hand-operated semaphore signal on driver's door of RHD (right-hand-drive) truck (left), an Austin A30 with electrically-activated semaphore indicating impending leftward change of direction (centre) and electrically-activated right-side semaphore on 1937 Rolls-Royce Phantom III Gurney Nutting Touring Limousine (right).

The A30 (1952-1956) was powered by an 803 cm³ (49 cubic inch) four cylinder engine while the Phantom III (1936-1939) was fitted with a 7338 cm³ (447 cubic inch) V12 (noted diarist Sir Henry “Chips” Channon (1897–1958) owned one) so the driving experience was very different but both used the same Lucas semaphore assembly.  Note the "BEWARE, TRAFFICATORS IN USE" notice in A30's rear window.  Because drivers are no longer attuned to look for the now archaic semaphores, some jurisdictions (while still allowing their operation), will permit road registration only if supplementary flashing indicators (now usually amber) are fitted.  In the 1960s many trafficator-equipped cars were modernized with flashers and it's now only collectors or restorers who prize the originality of the obsolete.

Left & right semaphore signals (trafficators): Lucas part number SF80 for one’s Austin A30, Morris Minor or Rolls-Royce Silver Wraith.  In the 1950s, the price may have varied between resellers.

Although the grim realities of post-war economics meant standardization began to intrude, even in the 1950s Rolls-Royce made much of things being “bespoke” and while that was still true of some of the coach-work, what lay beneath the finely finished surface was often from the industry parts-bin and the semaphore turn signals the company fitted to the Silver Wraith (1946-1958) and Silver Dawn (1949-1955) was Lucas part number SF80, exactly the same component used by the humble Austin A30 and Morris Minor (1948-1971) where the functionality was identical.  Presumably, were one to buy the part from Rolls-Royce one would have been charged more (perhaps it was wrapped in more elaborate packaging) and that’s a well-understood industry phenomenon.  The internet has made it easier to trace such commonalities but in the 1980s there was a most useful publication which listed shared part-numbers which differed only in the prices charged, a switch for a Lamborghini which might retail for hundreds available from the Fiat parts counter (a busy place folklore suggests) for $12 while those aghast at the price quoted for a small linkage in a Triumph’s Stag’s induction system were pleased the same thing could be bought from a Ford dealer for a fraction of the cost.  Rolls-Royce fitted their last trafficator in 1958 and when Austin updated the A30 as the A35 (1956-1968) flashers were standard equipment, metal covering the apertures where once the semaphores had protruded while internally there was a panel concealing what had once been an access point for servicing.  The Morris Minor, the last of which wasn’t (in CKD (completely knocked down) form) assembled in New Zealand until 1974(!) switched from trafficators to flashers in 1961, the exterior and interior gaps concealed al la the A35.

Left-side semaphore on 1951 Volkswagen Type 1 (Beetle).

The Latin sēmaphorum (the alternative form was sēmaphoru) is thought to be a calque of the Italian semaforo (traffic light), again borrowed from the French sémaphore in the literal sense of “signaling system”.  The modern Italian for “traffic light” is semaforo although (usually for humorous effect) sēmaphorum is sometimes used as Contemporary Latin.  Traffic lights have for over a century regulated the flow of vehicles in urban areas but the first semaphore signal predated motorized transport, installed in London in 1868.  It was introduced not because it would perform the task better than the policemen then allocated but because it was cheaper and was an example of the by then common phenomenon of machines displacing human labor.  The early mechanical devices were pre-programmed and thus didn’t respond to the dynamics of the environment being controlled and that applied also to the early versions of the now familiar red-amber-green “traffic lights” which began to proliferate in the 1920s but by the 1950s there were sometime sensors (weight-sensitive points in the road) which could “trigger” a green light if the pre-set timing was creating a needless delay.  Even before the emergence of AI (artificial intelligence) in the modern sense of the term, implementations of AI had been refining the way traffic light systems regulated vehicular flow and in major cities (China apparently the most advanced), cameras, sensors, face and number plate recognition all interact to make traffic lights control the flow with an efficiency no human(s) could match.

ASMR semaphore porn: 1955 Austin A30.  ASMR (Autonomous Sensory Meridian Response) describes the physical & psychological pleasure derived from specific stimuli (usually a sound).  For some, this can be the sight & sound of South Korean girls on TikTok eating noodles while for those fond of machines it can come from hearing semaphore turn-signals being raised and lowered.

Whether it was the early semaphore signals or the soon to be ubiquitous illumined red-amber-green lights, what the system relied on was compliance; inherently, lacking physical agency, a piece of colored glass can’t stop a car but that almost always is the effect of a “red light”.  In behaviorism, this was described as discriminative stimulus (SD) in that the red light culturally is understood as a universal cue signalling a punishment might follow any transgression (ie “running the red light”), thus the incentive to obey the signal and avoid negative consequences (crashing or being fined).  What SD does is control behavior through learned association.  The use of red comes from semiotics and the color is culturally assigned to “stop” as green is to “go”, these allocated by virtue of historical associations which long pre-date the technology in the same way semiotics are used (as red & blue) to denote “hot” & “cold” water when taps are labelled, meaning for travellers no knowledge of a local language is needed to work out which is which.  In the jargon, the red light is a “signifier” and the “signified” is stop.

Modern Mechanix magazine, January 1933.

Sir William Morris (1877-1963; later Lord Nuffield) held a number of troubling and even at the time unfashionable views and he’d been sceptical about producing the Morris Minor, describing the prototype as looking “like a poached egg”; in that he was right but the Minor proved a highly profitable success.  In the 1930s however, he did have the imaginative idea of adapting the by then familiar traffic light (in miniature form) to the automobile itself.  The concept was sound, Sir William’s proposed placement even anticipating the “eye level brake lights” of the 1980s and the inclusion of green in the code was interesting but the “mini traffic light” wasn’t taken up and lesson which should have been learned is that in the absence of legislation compelling change, the industry always will be most reluctant to invest and not until the 1960s would such mandates (for better and worse) begin to be imposed.

1947 Volvo P444 (1947-1958, left) and 2022 Volvo XC 40 (introduced 2017, right).  Volvo abandoned the semaphores years before the British but the designers clearly haven’t forgotten, the rear reflectors on the XC 40 using the shape.  Volvo also adopted the conventional flasher but not before the modernist Swedes had tried the odd inventive solution.

In idiomatic use, semaphore’s deployment tends to be metaphorical or humorous, the former used as a literary device, borrowed from behavioral psychology.  “To semaphore” can mean “wildly or exaggeratedly gesture” but can also convey the idea of a communication effected without explicitly stating something and that can either be as a form of “unspoken code” understood only between the interlocutors or something unconscious (often called body-language).  “Semaphoring a message” can thus be either a form of secret communication or something inferred from non-verbal clues.  Authors and poets are sometimes tempted to use “semaphore” metaphorically to describe emotional cues, especially across physical or emotional distance and one can imagine the dubious attraction for some of having “her sensuous lips silently semaphoring desire” or “her hungry eyes semaphored the truth”.  Among critics, the notion of “semaphoring” as one of the motifs of modernist literature was identified and TS Eliot’s (1888–1965) style in The Waste Land (1922) included coded fragments, often as disconnected voices and symbols, called by some an “emotional semaphore” while Samuel Beckett (1906-1989 and another Nobel laureate) was noted for having his characters exchange their feelings with repetitive gestures, signals and critically, silences, described variously as “gestural semaphore” or the “semaphoring of despair”.

Veto

Veto (pronounced vee-toh)

(1) In constitutional law, the power or right vested in one branch of a government to cancel or postpone the decisions, enactments etc of another branch, especially the right of a president, governor, or other chief executive to reject bills passed by a legislature.

(2) The exercise of this right.

(3) In the UN Security Council, a non-concurring vote by which one of the five permanent members (China, France, Russia, UK & US) can overrule the actions or decisions of the meeting on most substantive matters.  By practice and convention, in the context of geopolitics, this is "the veto power".

(4) Emphatically to prohibit something.

1620–1630: From the Latin vetō (I forbid), the first person singular present indicative of vetāre (forbid, prohibit, oppose, hinder (perfect active vetuī, supine vetitum)) from the earlier votō & votāre, from the Proto-Italic wetā(je)-, from the primitive Indo-European weth- (to say).  In ancient Rome, the vetō was the technical term for a protest interposed by a tribune of the people against any measure of the Senate or of the magistrates.  As a verb, use dates from 1706.  Veto is a noun, verb and adjective, vetoless is a (non-standard) adjective and vetoer is a noun; the noun plural is vetoes.  In the language of the diplomatic toolbox the related forms pre-veto, re-veto, un-veto & non-veto, used with and without the hyphen.

The best known power of veto is that exercised by the five permanent members (P5) of the United Nations Security Council (UNSC).  The UNSC is an organ of the UN which uniquely possesses the authority to issue resolutions binding upon member states and its powers include creating peacekeeping missions, imposing international sanctions and authorizing military action.  The UNSC has a standing membership of fifteen, five of which (China, France, Russia, the UK and the USA) hold permanent seats, the remaining ten elected by the UNGA (UN General Assembly) on a regional basis for two year terms.  P5 representatives can veto any substantive resolution including the admission of new UN member states or nominations for UN Secretary-General (the UN’s CEO).  The term “united nations” was used as early as 1943, essentially as a synonym for the anti-Axis allies and was later adopted as the name for the international organization which replaced the League of Nations (LoN, 1920-1946) which had in the 1930s proved ineffectual in its attempts to maintain peace.  When the UN was created, its structural arrangements were designed to try to avoid the problems which beset the LoN which, under its covenant, could reach decisions only by unanimous vote and this rule applied both to the League's council (which the specific responsibility of maintaining peace) and the all-member assembly.  In effect, each member state of the League had the power of the veto, and, except for procedural matters and a few specified topics, a single "nay" killed any resolution.  Learning from this mistake, the founders of the UN decided all its organs and subsidiary bodies should make decisions by some type of majority vote (although when dealing with particularly contentious matters things have sometimes awaited a resolution until a consensus emerges).

The creators of the UN Charter always conceived the three victorious “great powers” of World War II (1939-1945), the UK, US & USSR, because of their roles in the establishment of the UN, would continue to play important roles in the maintenance of international peace and security and thus would have permanent seats on the UNSC with the power to veto resolutions.  To this arrangement was added (4) France (at the insistence of Winston Churchill (1875-1965; UK prime minister 1940-1945 & 1951-1955) who wished to re-build the power of France as a counterweight to Germany and (5) China, included because Franklin Roosevelt (1882-1940 US president 1933-1945) was perceptive in predicting the country’s importance in the years to come.  This veto is however a power only in the negative.  Not one of the permanent members nor even all five voting in (an admittedly improbable) block can impose their will in the absence of an overall majority vote of the Security Council.  Nor is an affirmative vote from one or all of the permanent five necessary: If a permanent member does not agree with a resolution but does not wish to cast a veto, it may choose to abstain, thus allowing the resolution to be adopted if it obtains the required majority among the fifteen.

Lindsay Lohan meeting Recep Tayyip Erdoğan (b 1954; prime-minister or president of the Republic of Türkiye since 2003), Ankara, January 2017.

As part of her efforts during 2017 drawing attention to the plight of Syrian refugees, Lindsay Lohan was received by the president of Türkiye.  As well as issuing a statement on the troubles of refugees and IDPs (internally displaced persons) in the region, Ms Lohan also commented on another matter raised by Mr Erdogan: the need to reform the structure of the UNSC which still exists in substantially the form created in 1945, despite the world’s economic and geopolitical realities having since much changed with only the compositional alteration being the PRC (People's Republic of China) in 1971 taking the place of the renegade province of Taiwan, pursuant to UNGA Resolution 2758, which recognized the PRC as “the only legitimate representative of China to the United Nations” and expelled “the representatives” of Generalissimo Chiang Kai-shek (1887-1975; leader of the Republic of China (mainland) 1928-1949 & the renegade province of Taiwan.  In an Instagram post, Ms Lohan used the phrase “the world is bigger than five.  Five big nations made promises but they did not keep them.”  Despite her efforts, reform of the UNSC has advanced little because although consensus might be reached on extending permanent membership to certain nations, it remains doubtful all of the P5 (the permanent five members) would achieve consensus for this including the veto.  That would have the effect of replacing the present two-tier structure with three layers and it seems also unlikely a state like India would accept the “second class status” inherent in a permanent seat with no veto.

The Vatican, the CCP and the bishops, real & fake

A well-known and economically significant niche in modern Chinese manufacturing is fakes.  Most obvious are fake Rolexes, fake Range Rovers et al but Peking for decades produced fake bishops.  After the Holy See and the Chinese Communist Party (CCP) sundered diplomatic relations in 1951, papal appointments to Chinese bishoprics were not recognized by Peking which appointed their own.  In retaliation, popes refused to acknowledge the fakes who in turn ignored him, the amusing clerical stand-off lasting until January 2018 when negotiations appeared to produce a face-saving (sort-of) concordat.  As a prelude, Rome retired or re-deployed a number of their bishops in order to make way for new (once-fake) bishops, nominated by the CCP and, in a telling gesture, Pope Francis (b 1936; pope 2013-2025) re-admitted to "full ecclesial communion" seven living Chinese bishops who were ordained before the deal without Vatican approval, and had thus incurred a latae sententiae (literally "of a judgment having been brought") penalty.  Long a feature of the Catholic Church's canon law, a latae sententiae works as an administrative act, the liability for which is imposed ipsō factō (literally "by the same fact" and in law understood as "something inherently consequent upon the act").  What that means is the penalty is applied at the moment the unlawful act is done; no judicial or administrative actions needs be taken for this to happen.  Thus, at the point of non-Vatican approved ordination, all fake bishops were excommunicated.

On 22 September 2018, a provisional agreement was signed.  It (1) cleared the Chinese decks of any bishops (fake or real) not acceptable to either side, (2) granted the CCP the right to nominate bishops (the list created with the help of a CCP-run group called the Chinese Catholic Patriotic Association (CCPA) and (3) granted the pope a right of veto.  Although not mentioned by either side, the most important understanding between the parties seemed to be the hints the CCP sent through diplomatic channels that the pope would find their lists of nominees “helpful”.  If so, such a document deserved to be thought "a secret protocol" to the "Holy See-CCP Pact but however the sausages were made, it was a diplomatic triumph for Beijing.  Although Rome at the time noted it was a “provisional agreement”, many observed that unless things proved most unsatisfactory, it was doubtful Rome would be anxious again to draw attention to the matter because, whatever the political or theological implications, to acquiesce to the pope as cipher would diminish the church’s mystique.

Things may be worse even than the cynics had predicted.  In late 2020 the two-year deal handling the appointment of Chinese bishops was extended after an exchange of notes verbales (in diplomatic language, something more formal than an aide-mémoire and less formal than a note, drafted in the third person and never signed), both sides apparently wishing to continue the pact, albeit still (technically) on a temporary basis.  The uneasy entente seems however not to have lasted, Beijing in 2021, through bureaucratic process, acting as if it had never existed by issuing Order No. 15 (new administrative rules for religious affairs) which included an article on establishing a process for the selection of Catholic bishops in China after 1 May 2021.  The new edict makes no mention of any papal role in the process and certainly not a right to approve or veto episcopal appointments in China, the very thing which was celebrated in Rome as the substantive concession gained from the CCP.

Still, Beijing’s new rules have the benefit of clarity and while it's doubtful Francis held many illusions about the nature of CCP rule, he certainly had certainty for the remainder of his pontificate.  Order No. 15 requires clergy of the Chinese Patriotic Catholic Church (CPCC) to “adhere to the principle of independent and self-administered religion in China” and actively support “the leadership of the Chinese Communist Party” and “the socialist system,” as well as to “practice the core values of socialism.”  They must also promote “social harmony” which is usually interpreted as conformity of thought with those of the CCP (although in recent years that has come increasingly to be identified with the thoughts of comrade Xi Jinping (b 1953; paramount leader of China since 2012) which, historically, is an interesting comparison with the times of comrade Chairman Mao Zedong (1893–1976; chairman of the Chinese Communist Party (CCP) 1949-1976).  Essentially, the CPCC is an arm of the CCP regime (something like "the PLA (People's Liberation Army" at prayer") and formalizing this is the requirement for bishops and priests to be licensed for ministry, much the same process as being allowed to practice as a driving instructor or electrician.

All this is presumably was a disappointment to the pope though it’s unlikely to have surprised to his critics, some of whom, when the agreement was announced in 2018 and upon renewal in 2020, predicted it would be honored by Beijing only while it proved useful for them to weaken the “underground” church and allow the CCP to assert institutional control over the CPCC.  At the time of the renewal, the Vatican issued a statement saying the agreement was “essential to guarantee the ordinary life of the Church in China.”  The CCP doubtlessly agreed with that which is why they have broken the agreement, and, if asked, presumably they would point out that, legally, it really didn’t exist, the text never having been published and only ever discussed by diplomats.  Although there are (by the Vatican's estimates) only some five million Chinese Catholics among a population of some 1.4 billion, that's still five-million potential malcontents and as the "Godless atheists" of the CCP know from their history books, that's enough to cause problems and if problems can be solved in the "preferred" CCP manner, they must be "managed".

Beware of imitations.  British Range Rover Evoque (left) and Chinese Landwind X7 (right).

Although not matching the original in specification or capabilities, the Landwind X7 sold in China for around a third what was charged for an Evoque and while it took a trained eye to tell the difference between the two, Chinese capitalism rose to the occasion and, within weeks, kits were on the market containing the badges and moldings needed to make the replication closer to exact.  Remarkably, eventually, Jaguar Land Rover (JLR) won a landmark legal case (in a Chinese court!), the judges holding the “…Evoque has five unique features that were copied directly” and that the X7’s similarity “…has led to widespread consumer confusion.”  In a decision which was the first by a Chinese court ruling favor of a foreign automaker in such a case, it was ordered Landwind immediately cease sales of the vehicle and pay compensation to JLR.  It was a bit hypocritical for the British to complain because for years shamelessly the British industry "borrowed" styling from Detroit and in the early, cash-strapped, post-war years, the Standard Motor Company (later Standard-Triumph) sent their chief stylist to sit with his sketch-pad outside the US embassy in London to "harvest" ideas from the new American cars being driven by diplomats and other staff.  That's why Standard's Phase I Vanguard (the so-called "humpback", 1947-1953) so resembles a 1946 Plymouth, somewhat unhappily shrunk in every dimension except height.  One can debate the ethics of what Landwind did but as an act of visual cloning, they did it well and as Chinese historians gleefully will attest, when it comes to cynicism and hypocrisy, the British have centuries of practice.    

Beware of imitations.  Joseph Guo Jincai (b 1968, left) was in 2010 ordained Bishop of Chengde (Hebei) today without the approval of the pope.  He is a member of the China Committee on Religion and Peace and was appointed a deputy to the thirteenth National People's Congress.  Because of the circumstances of his ordination as a bishop, he was excommunicated latae sententiae but later had the consolation of being elected vice-president of Chinese Patriotic Catholic Association.  In September 2018, Francis lifted the excommunication of Joseph Guo Jincai and other six bishops previously appointed by the Chinese government without pontifical mandate.  What Francis did was something like the "re-personing" granted in post-Soviet Russia to those "un-personed" under communist rule.

Politically, one has to admire the CCP’s tactics.  Beijing pursued the 2018 deal only to exterminate the underground Catholic Church which, although for decades doughty in their resistance to persecution by the CCP (including pogroms during the Cultural Revolution (1966-1976)), were compelled to transfer their allegiance to the CPCC once it received the pope’s imprimatur.  After the agreement, Chinese authorities rounded up underground Catholic clergy, warning that they would defy the pope if they continued baptizing, ordaining new clergy and praying in unregistered churches; most of those persuaded became part of the CPCC and those unconvinced resigned their ministries and returned to private life.  According to insiders, a rump underground movement still exists but it seems the CCP now regard the remnant as a terrorist organization (a la the subversive Falun Gong) and are pursuing them accordingly.

The central committee of the CCP's politburo contains operators highly skilled in the art of political opportunism and in 2025 they demonstrated their prowess during the brief interregnum between the death of PFrancis and the election of Leo XIV (b 1955; pope since 2025) when unilaterally they “elected” two bishops, one of them to a diocese already led by a Vatican-appointed bishop.  The clever maneuver took advantage of the fact that during this sede vacante (the vacancy of an episcopal see), the Holy See had been unable to ratify episcopal nominations.  The CCP clearly regards its elections as a fait accompli and one technically within the terms of the 2018 provisional agreement (most recently renewed in October 2024), adopting the pragmatic position of “what’s done is done and can’t be undone”.  The Vatican lawyers might demur and even though the terms of the agreement have never been published, the convention had evolved that Beijing would present to the Vatican a single candidate chosen by assemblies of the clergy affiliated by the CCPA; this nominee the pope could the appoint or not.  In 2025, the argument is that no veto was exercised which, during a sede vacante, was of course impossible but it’s no secret that in recent years Beijing has on a number of occasions violated the agreement.  The CCP are of the “how many divisions has he got” school established by comrade Stalin (1878-1953; Soviet leader 1924-1953), practiced with the “take whatever you can grab” ethos of capitalism which modern China has embraced with muscular efficiency.

The files were among the many piled in Leo’s in-tray and keenly Vaticanologists awaited his response and the new pope didn’t long delay, in June 2025 appointing Bishop Joseph Lin Yuntuan (b 1952) as an assistant in Fuzhou, the capital of the south-eastern Fujian province.  Unlike bishoprics elsewhere, analysts made no mention of whether the appointee belong to the “liberal” or “conservative” factions but focused instead on both sides exhibiting a clear desire to “continue on the path of reconciliation”.  In a statement, the Holy See Press Office stressed “final decision-making power” remained with the pope while for Beijing the attraction was the (substantial) resolution of the decades-long split between the underground church loyal to Rome and the state-supervised CCPA although there are doubtless still renegades being pursued.  Lin had in 2017 been ordained a bishop in the underground church and had the CCP wished to maintain an antagonism it could of course declined to countenance the appointment of a character with such a dubious past but the installation’s rubber-stamping in both states seems a clear indication both wish to maintain the still uneasy accord.  During the ceremony, Bishop Lin swore to abide by Chinese laws and safeguard social harmony.

Combat

Combat (pronounced kuhm-bat or kom-bat (verb); kom-bat (noun))

(1) To fight or contend against; vigorously to oppose.

(2) In military matters, certain parts of branches of the services which engage in armed conflict with enemy forces.

(3) An action fought between two military forces.

(4) As a descriptor (in the military and of weapos and weapons systems), a means to distinguish between an item design specifically for use in combat as oppose to one intended for other purpose.

1535-1540: From the Middle English intransitive verb combat (to fight, struggle, contend), from the sixteenth century French combat, from the twelfth century Old French combattre, from the Late Latin combattere, the construct being com (with (each other) (an an archaic form of cum)) + battuere (to beat, fight) (source of the modern English verb "batter").  The transitive sense dates from the 1580s; the figurative use from the 1620s.  The noun combat (a fight (originally especially "a fight between two armed persons" and later distinguished as single combat in the 1620s)), emerged in the 1560s and soon was applied in a general sense to "any struggle or fight between opposing forces".  Combat is a noun, verb & adjective, combater & combatant are nouns, combatted & combatting are verbs and combative is an adjective; the noun plural is combats.

Combative and dressed for combat: Lindsay Lohan in boxing gloves.

The phrase hors de combat (out of action; disabled; no longer able to fight (literally "out of combat")) was constructed from hors (out, beyond), from the Latin foris (outside (literally "out of doors")) + de (of) + combat.  It dates from 1757 and was related originally to battlefield conduct (the principle of which which would later be interpolated into the the rules of war) and is now a literary and rhetorical device.  It shouldn't be confused with the French expression hors concours (out of competition) which, dating from 1884, is applied to works of art in an exhibition but not eligible to be awarded a prize.  Given the sometimes nasty battles waged in galleries, perhaps hors de combat might sometimes be as appropriate but in exhibitions it's most often used of works which have either already won a prize or have been awarded the maximum number provided for in the competition rules.  Other sporting competitions sometimes use hors concours to describe entries which don't conform with the rules of the event but are for a variety of reasons permitted to run (notably in motorsport).  The adjective combative (pugnacious, disposed to fight) is from 1819 and by the mid nineteenth century had become much associated with the long discredited pseudo-science of phrenology, the related forms being combatively and the earlier (1815) combativeness.  Combatant (contending, disposed to combat) was an adjective by the mid fifteenth century and a noun (one who engages in battle) by circa 1855, both from the Old French combatant (which survives in Modern French as combattant) (skilled at fighting, warlike) where it had also been a noun.    The adjective combative (pugnacious, aggressive; disposed to engage in conflict (though not necessarily violence)) seems not pleasing to some because the incorrect spelling combatative is not uncommon.

The Combat: Woman Pleading for the Vanquished, oil on canvas by William Etty (1787-1849), National Gallery of Scotland.

Unusually for works in this tradition, The Combat is not a depiction of a historical or mythological event but a kind of morality tale exploring “the beauty and quality of mercy”.  Structurally, the picture is of a woman clutching a warrior who, with sword raised, seems poised to inflict a fatal strike on his fallen foe whose own blade lies shattered on the ground, the woman begging he be spared.  Praised for its technical accomplishment The Combat also attracted the criticism the ahistorical piece seemed just another of the artist’s opportunistic pretexts for painting more nude figures, long his favourite motif, but the painter dismissed the carping, reminding critics such imaginative works had a tradition dating from Antiquity, the Romans calling that school of composition “the Roman Visions, works not having their origin in history or poetry”.  Mr Etty certainly made a seminal contribution to the genre and he’s regarded as the first English painter of any skill to produce a substantial number of nudes, something which, predictably, has overshadowed his catalogue of estimable still lifes.  His life was solitary and in some ways strange and in much of the popular press his output was damned as “indecent” but when in 1828 proposed for membership of the Royal Academy, he was elected, defeating no less than John Constable 1776–1837) by 18 votes to five so his fellow artists rated him highly.  

The Norton Commando 750 Combat

1968 Kawasaki 500 Mach III (H1).

British manufacturers once regarded competition from the far-east with little concern but by the late 1960s, Japanese motorcycles had become serious machines enjoying commercial success.  Kawasaki’s 500cm³ (H1, Mach III) two-stroke triple debuted in 1968 while Honda’s 750-Four was released a year later, the former fast but lethally unstable, the latter more refined.  Three years on, the release of Kawasaki’s 900 cm³ Z1 confirmed the maturity of the Japanese product and the era of British complacency was over though the realization was too late to save the industry.

Nothing ever quite matched the rawness of the original Kawasaki Mach III.  Riders of high performance machines had for decades distinguished between fast, well-balanced motorcycles and those which, while rapid, needed to be handled with caution if used in anything but a straight line and on a billiard table smooth surface but even in those circumstances the Mach III could be a handful, the engine's power band narrow and the entry to it sudden and explosive.  Probably the best comparison was something like the BRM grand prix car (1947-1955) which used a supercharged 1.5 litre (91 cubic inch) V16; it was only marginally responsive under 8000 rpm but at that point suddenly delivered its extraordinary power which could be as much as 500-600 horsepower.  Many Mach III owners were soon noting while rear tyre life was short, the front lasted well because it spent so little time in contact with the road.  Adding to the trickiness, lacking the rigidity needed to cope with such stresses, the frame design meant there was something of a gyroscopic tendency under hard acceleration which could be at least disquieting and the consequences were often worse.  Still, nobody denied they were quick.  Clearly, only crazy people would buy such a thing but fortunately for Kawasaki (and presumably this was part of the product planning), by 1968 the Western world was populated as never before with males aged 17-25 (peak craziness years) with sufficient credit or disposable income to indulge the madness of youth.  It helped that under the Bretton Woods system (1944) of fixed exchange rates, at ¥360 to the US$, the Mach III was quite a bargain; on cost breakdown, nothing on two wheels or four came close and even at the time it was acknowledged there really were two identifiable generations of Mach IIIs: the ones built between 1968-1972 and those from 1973 until 1975 when production ended.  Not only was the power-band made a little wider (at the expense of the top-end) but a disk front brake was added, the swing-arm was extended and the frame geometry improved; while this didn’t wholly tame the challenging characteristics created by putting what was then the world’s most powerful two-stroke engine in what was essentially the light and not especially still frame used for their 350, it did mean the later Mach IIIs were a little more forgiving and not quite as quick.

1973 Kawasaki 750 Mach IV (H2).

As a design, the Mach III obviously had its flaws but as a piece of engineering, it exhibited typical Japanese soundness and attention to detail.  They borrowed much and while little was genuinely innovative, they had started with a clean sheet of paper and buyers found, unlike the British bikes, electrics were reliable and mechanical parts were not subject to the oil-leaks which the British had for decades claimed were endemic to the breed; far-eastern engineering was now mass-producing bikes a generation or more advanced.  However, the British industry was chronically under-capitalized so, lacking resources to develop new models, resorted to "improving" existing models.  While they were doing that, the Japanese manufacturers moved on and Kawasaki were planning something which would match the Mach III for performance but deliver it in a more civilized (and safer) manner.  This project was a four-stroke, four cylinder 750, developed while the Mach III was being toned down (a little) while the good idea of a broader power band and a (slightly) stiffer frame was used on the Mach IV (750 H2), the ultimate evolution of the two-stroke triple which delivered best of the the Mach III experience while (somewhat) taming the worst of its characteristics.

1969 Honda 750-Four "Sandcast".  The crankcases of the early 750s are referred to as being sandcast but they were actually gravity cast.  The production method for the first batch was was chosen because of uncertainty about demand.

However, in 1969 Honda, the largest in the Japanese industry and the company which in 1964 had stunned Formula One community when their 1.5 litre V12 car won a Grand Prix, released the motorcycle which threatened the very existence of the new big Kawasaki and the four-stroke Honda 750-Four was for a generation to set the template for its genre, as influential for big motorcycles as the Boeing 707 had in 1957 been for commercial airliners.  Kawasaki reviewed this disturbing intrusion on their planning, concluding the Honda was a touring machine and that the Mach III had proved there was demand machines orientated more to high-performance.  The board looked at the demographic charts and decided to proceed, enlarging their project to 900cm³ which, with double overhead camshafts (DOHC) was tuned more for top-end power than the more relaxed, single cam (SOHC) Honda.  Released in 1972, almost a year after the Mach IV, the Z1 attracted praise for its quality and performance, all delivered while offering a stability the charismatic but occasionally lethal triples never approached.  Internally, Kawasaki did their bit to ensure a good reception for the Z1 by making sure it was just a bit quicker than the Mach IV over a quarter mile, the 750 never tuned to the extent possible although as some found, more horsepower quickly and cheaply was available.    

1973 Kawasaki Z1.

The big Nortons, named Commando since 1967, had long been a benchmark for high-performance motorcycles and although the Mach III had (on paper) matched its speed, its handling characteristics were such that it could really be enjoyed only in a straight line and even then, was best handled by cautious experts.  The Honda 750-Four and Kawasaki Z1 were both vastly better as road machines and clearly the future of the breed.  The long-serving big British twins, while their handling was still impeccable, were now outdated, no longer offered a performance premium and still leaked oil.  Norton’s response in 1972 was the hastily concocted Commando Combat, the engine tweaked in the usual British manner with a high compression ratio, bigger carburetors, larger ports and a high-lift, long-duration camshaft.  These modifications, while the orthodox approach for racing engines, are not suitable for the road and the “peaky” Combat’s only advantage was great top-end power though it was noted the clever isolastic engine mounting did work well to limit the extent to which the greater vibration transmitted through the frame.  Unfortunately, the gains high in the rev-range compromised the low and mid-range performance, just where a road-bike most often operates.  Indeed, at points, the torque-curve actually went the wrong way and the only obvious way to disguise this was to lower the gearing which (1) restricted the top-speed to something embarrassing low and (2) meant even cruising speeds demanded high engine revolutions.  Sadly, it wasn’t possible for all long to enjoy the pleasures of all that power because the Combat's specification exposed weaknesses in pistons, bearings and crankshafts.  In some cases, main bearing life could be as little as 4000 miles (7000 km) but a small number of engines succumbed to other failures long before.  As a consolation, even if the Combat wouldn’t keep going, it was easy to stop, the front disk brake (designed by Norton and built by Lockheed, it used a hard chrome-plated cast-iron rotor because the heat-dissipation qualities were superior to stainless steel) was among the best in the industry.

So the most of the things that were changed made things worse.  Other things stayed the same including the oil leaks (the joke being seals existed to keep the dirt out, not the fluids in) and the absence of electric starting, the right legs of Norton owners reputedly more muscular than the left.  For the engine's problems the solution lay in engineering and metallurgy, a combination of a self-aligning spherical roller bearing called a superblend and un-slotted pistons.  But, by the time things were fixed, the fiasco had had triggered irreparable damage to market perceptions and Norton quietly dropped the Combat, applying the improvements to their mainstream engines without trying to match its top-end power.  Despite the reputation, there are owners (many of whom with great success used their Combats in competition) who reported sterling reliability from their machines and the consensus is it was only a relatively small number of Combat engines which failed but in mass-production, a well-publicized consumer-level failure rate well under 5% is enough to create  reputational damage.  Norton went bankrupt within a few years but the name has been revived several times over the past decades.

For those who can remember how things used to be done: 1972 Norton Commando 750 Combat Roadster (left) and 1972 Norton Commando 750 Combat Interstate (with custom drilled disk brake, right).

Introduced in 1972, the Interstate model was a response (as the name suggests) to US demand and was distinguished by the larger fuel tank, some of the additional capacity gained by removing the scalloped knee indentations seen on the Roadsters (which used a 2.2 imperial gallon (10 litre, 2.6 US gallon) tank.  The early Interstates were fitted with a 5.25 imperial gallon (23.9 litre, 6.30 US gallon) unit but in mid-year this was enlarged to a 5.5 imperial gallon (25 litre, 6.6 US gallon) device, the latter size carried-over as an option when in 1973 the Commando 850 was introduced and this remained available until production ended in 1977, by which time only a handful of Roadsters were leaving the line.

1954 Norton Dominator 500 (left), 1967 Norton Atlas 750 (centre) and 1972 Norton Commando 750 Combat (right).

When introduced in 1949, the 497 cm³ (30.3 cubic inch) parallel twin was as good an engine as any then available on two wheels and a great success but that popularity was ultimately what doomed Norton in the 1970s.  Over the years enlarged and tuned for more power, it proved adaptable to new frame designs and was an engine which kept Norton in the front rank of high-performance motorcycles but in not even half a decade between 1968-1972, the manufacturers in the Far East advanced further than the British industry had achieved in twenty years.  In 1967, well aware of the antiquity of the machinery from which they were coaxing another generation, Norton's management had been surprised at both the positive critical reception to the Commando and the volume of orders being received and for a while the immediate feature looked bright.  It perhaps could have been because the clever Isolastic engine mounting system had made it possible to absorb much of the big twin's chronically insoluble vibrations before they reached the rider and the Commando was a rewarding ride but what it should have been was a stop-gap while something better was developed.  Instead, it proved but a stay of execution.

Isolastic-era advertising: The agencies never depicted women riding Norton Commandos but they were a fixture as adornments, usually with lots of blonde hair and a certain expression.  One reason they may not have been suitable to use as riders was the phenomenon known as “helmet hair” (in idiomatic use, the effects of helmet wearing on those with “big hair”), which, upon removing helmet, manifested either as an unintended JBF or a bifurcated look in which the hair above the shoulders was flattened against the scalp while that beneath sat as the wind had determined.  There was also the challenge of kick-starting the big twins, the long-overdue electric-start not installed until 1975.

Psychache

Psychache (pronounced sahyk-eyk)

Psychological pain, especially when it becomes unbearable, producing suicidal thoughts.

1993: The construct was psyche- + ache.  Psychache was coined by US clinical psychologist Dr Edwin Shneidman (1918-2009) and first appeared in his book Suicide as Psychache: A Clinical Approach to Self-Destructive Behavior (1993).  The prefix psych- was an alternative form of psycho-.  Psycho was from the Ancient Greek ψῡχο- (psūkho-), a combining form of ψυχή (psukhḗ) (soul).  Wit was used with words relating to the soul, the mind, or to psychology.  Ache was from the Middle English verb aken & noun ache (noun), from the Old English verb acan (from the Proto-West Germanic akan, from the Proto-Germanic akaną (to ache)) and the noun æċe (from the Proto-West Germanic aki, from the Proto-Germanic akiz), both from the primitive Indo-European heg- (sin, crime).  It was cognate with the Saterland Frisian eeke & ääke (to ache, fester), the Low German aken, achen & äken (to hurt, ache), the German Low German Eek (inflammation), the North Frisian akelig & æklig (terrible, miserable, sharp, intense), the West Frisian aaklik (nasty, horrible, dismal, dreary) and the Dutch akelig (nasty, horrible).  Historically the verb was spelled ake, and the noun ache but the spellings became aligned after Dr Johnson (Samuel Johnson (1709-1784)) published A Dictionary of the English Language (1755), the lexicographer mistakenly assuming it was from the Ancient Greek ἄχος (ákhos) (pain) due to the similarity in form and meaning of the two words.  As a noun, ache meant “a continuous, dull pain (as opposed to a sharp, sudden, or episodic pain) while the verb was used to mean (1) to have or suffer a continuous, dull pain, (2) to feel great sympathy or pity and (3) to yearn or long for someone or something.  Pyscheache is a noun

Psychache is a theoretical construct used by clinical suicidologists and differs from psychomachia (conflict of the soul).  Psychomachia was from the Late Latin psӯchomachia, the title of a poem of a thousand-odd lines (circa 400) by Roman Christian poet Prudentius (Aurelius Prudentius Clemens; 348-circa 412), the construct being the Ancient Greek Greek psukhē (spirit) + makhē (battle).  The fifth century poem Psychomachia (translated usually as “Battle of Spirits” or “Soul War”) explored a theme familiar in Christianity: the eternal battle between virtue & vice (onto which can be mapped “right & wrong”, “good & evil” etc) and culminated in the forces of Christendom vanquishing pagan idolatry to the cheers of a thousand Christian martyrs.  An elegant telling of an allegory familiar in early Christian literature and art, Prudentius made clear the battle was one which happened in the soul of all people and thus one which all needed to wage, the outcome determined by whether the good or evil in them proved stronger.  The poem’s characters include Faith, Hope, Industry, Sobriety, Chastity, Humility & Patience among the good and Pride, Wrath, Paganism, Avarice, Discord, Lust & Indulgence in the ranks of the evil but scholars of literature caution that although the personifications all are women, in Latin, words for abstract concepts use the feminine grammatical gender and there’s nothing to suggest the poet intended us to read this as a tale of bolshie women slugging it out.  Of interest too is the appearance of the number seven, so familiar in the literature and art of Antiquity and the Medieval period as well as the Biblical texts but although Prudentius has seven virtues defeat seven vices, the characters don’t exactly align with either the canonical seven deadly sins, nor the three theological and four cardinal virtues.  In modern use, the linguistic similarity between psychache and psychomachia has made the latter attractive to those seduced by the (not always Germanic) tradition of the “romance of suicide”.

A pioneer in the field of suicidology, Dr Shneidman’s publication record was indicative of his specialization.

Dr Edwin Shneidman (1918-2009) was a clinical psychologist who practiced as a thanatologist (a practitioner in the field of thanatology (the scientific study of death and the practices associated with it, including the study of the needs of the terminally ill and their families); the construct of thanatology being thanato- (from the Ancient Greek θάνατος (thánatos) (death)) +‎ -logy.  The suffix -ology was formed from -o- (as an interconsonantal vowel) +‎ -logy.  The origin in English of the -logy suffix lies with loanwords from the Ancient Greek, usually via Latin and French, where the suffix (-λογία) is an integral part of the word loaned (eg astrology from astrologia) since the sixteenth century.  French picked up -logie from the Latin -logia, from the Ancient Greek -λογία (-logía).  Within Greek, the suffix is an -ία (-ía) abstract from λόγος (lógos) (account, explanation, narrative), and that a verbal noun from λέγω (légō) (I say, speak, converse, tell a story).  In English the suffix became extraordinarily productive, used notably to form names of sciences or disciplines of study, analogous to the names traditionally borrowed from the Latin (eg astrology from astrologia; geology from geologia) and by the late eighteenth century, the practice (despite the disapproval of the pedants) extended to terms with no connection to Greek or Latin such as those building on French or German bases (eg insectology (1766) after the French insectologie; terminology (1801) after the German Terminologie).  Within a few decades of the intrusion of modern languages, combinations emerged using English terms (eg undergroundology (1820); hatology (1837)).  In this evolution, the development may be though similar to the latter-day proliferation of “-isms” (fascism; feminism et al).

Death and the College Student: A Collection of Brief Essays on Death and Suicide by Harvard Youth (1973) by Dr Edwin Shneidman.  Dr Shneidman wrote many papers about the prevalence of suicide among college-age males, a cross-cultural phenomenon.

Dr Shneidman was one of the seminal figures in the discipline of suicidology, in 1968 founding the AAS (American Association of Suicidology) and the principal US journal for suicide studies: Suicide and Life-Threatening Behavior.  The abbreviation AAS is in this context used mostly within the discipline because (1) it is a specialized field and (2) there are literally dozens of uses of “AAS”.  In Suicide as Psychache: A Clinical Approach to Self-Destructive Behavior (1993) he defined psychache as “intense psychological pain—encompassing hurt, anguish, and mental torment”, identifying it as the primary motivation behind suicide, his theory being that when psychological pain becomes unbearable, individuals may perceive suicide as their only escape from torment.

Although since Suicide as Psychache: A Clinical Approach to Self-Destructive Behavior appeared in 1993 there have been four editions of American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM), “psychache” has never appeared in the DSM.  That may seem an anomaly given much in the DSM revolves around psychological disturbances but the reason is technical.  What the DSM does is list and codify diagnosable mental disorders (depression, schizophrenia. bipolar disorder et al), classifying symptoms and behaviors into standardized categories for diagnosis and treatment planning.  By contrast, psychache is not a clinical diagnosis; it is a theoretical construct in suicidology which is used to explain the subjective experience of psychological pain that can lead to patients taking their own lives.  It thus describes an emotional state rather than a psychiatric disorder.

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

Despite that, mental health clinicians do actively use the principles of psychache, notably in suicide risk assessment and prevention and models have been developed including a number of “psychache scales”, self-reporting tools used to generate a metric measuring the intensity of psychological pain (categorized with headings such as shame, guilt, despair et al).  The approaches do in detail differ but most follow Dr Shneidman’s terminology in that the critical threshold is the point at which the patient’s pain becomes unbearable or inescapable and the objective is either to increase tolerance for distress or reframe troublesome thoughts.  Ultimately, the purpose of tools is to improve suicide risk assessments and reduce suicide rates.

DSM-5 (2013).

Interestingly, Suicidal Behavior Disorder (SBD) was introduced in Section III of the DSM-5 (2013) under “Conditions for Further Study”.  Then, SBD chiefly was characterized by a self-initiated sequence of behaviors believed at the time of initiation to cause one’s own death and occurring in the last 24 months.  That of course sounds exact but the diagnostic criteria in the DSM are written like that and the purpose of inclusion in the fifth edition was to create a framework so systematically, empirical studies related to SBD could be reviewed so primary research themes and promising directions for future research could be identified.  Duly, over the following decade that framework was explored but the conclusion was reached there seemed to be little utility in the clinical utility of SBD as a device for predicting future suicide and that more research was needed to understand measurement of the diagnosis and its distinctiveness from related disorders and other self-harming behaviors.  The phase “more research is required” must be one of the most frequently heard among researchers.

In the usually manner in which the APA allowed the DSM to evolve, what the DSM-5s tentative inclusion of SBD did was attempt to capture suicidality as a diagnosis rather than a clinical feature requiring attention.  SBD was characterized by a suicide attempt within the last 24 months (Criterion A) and that was defined as “a self-initiated sequence of behaviors by an individual who, at the time of initiation, expected that the set of actions would lead to his or her own death”.  That sounds uncontroversial but what was significant was the act could meet the criteria for non-suicidal self-injury (ie self-injury with the intention to relieve negative feelings or cognitive state in order to achieve a positive mood state (Criterion B) and cannot be applied to suicidal ideation or preparatory acts (Criterion C).  Were the attempt to have occurred during a state of delirium or confusion or solely for political or religious objectives, then SBD is ruled out (Criteria D & E).  SBD (current) is given when the suicide attempt occurred within the last 12 months, and SBD (in early remission), when it has been 12-24 months since the last attempt.  It must be remembered that while a patient’s behavior(s) may overlap across a number of the DSM’s diagnosises, the AMA’s committees have, for didactic purposes, always preferred to “silo” the categories.

DSM-5-TR (2022).

When in 2022 the “text revision” of the DSM-5 (DSM-5-TR) was released, SBD was removed as a condition for further study in Section III and moved to “Other Conditions That May Be a Focus of Clinical Attention” in Section II. The conditions listed in this section are intended to draw to attention of clinicians to the presence and breadth of additional issues routinely encountered in clinical practice and provide a procedure for their systematic documentation.  According to the APA’s editorial committee, the rationale for the exclusion of SBD from the DSM-5-TR was based on concerns the proposed disorder did not meet the criteria for a mental disorder but instead constituted a behavior with diverse causes and while that distinction may escape most of us, within the internal logic of the history of the DSM, that’s wholly consistent.  At this time, despite many lobbying for the adoption of a diagnostic entity for suicidal behavior, the APA’s committees seem still more inclined to conceptualize suicidality as a symptom rather than a disorder and despite discussion in the field of suicidology about whether suicide and related concepts like psychache should be treated as stand-alone mental health issues, that’s a leap which will have to wait, at least until a DSM-6 is published.

How to and how not to: Informatie over Zorgvuldige Levensbeëindiging (Information about the Careful Ending of Life, 2008) by Stichting Wetenschappelijk Onderzoek naar Zorgvuldige Zelfdoding (The Foundation for Scientific Research into Careful Suicide) (left) and How Not to Kill Yourself: A Phenomenology of Suicide (2023) by Clancy Martin (right).

Informatie over Zorgvuldige Levensbeëindiging (Information about the Careful Ending of Life, 2008) was published by a group of Dutch physicians & and researchers; it contained detailed advice on methods of suicide available to the general public, the Foundation for Scientific Research into Careful Suicide arging “a requirement exists within society for responsible information about an independent and dignified ending of life.”  It could be ordered only from the foundation’s website and had the advantage that whatever might be one’s opinion on the matter, it was at least written by physicians and scientists and thus more reliable than some of the “suicide guides” which are sometimes found on-line.  At the time research by the foundation had found that despite legislation in the Netherlands which permit doctors (acting within specific legal limits) to assist patient commit suicide, there were apparently several thousand cases each year of what it termed “autoeuthanasia” in which no medical staff directly were involved.  Most of these cases involved elderly or chronically ill patients who refused food and fluids and it was estimated these deaths happened at about twice the rate of those carried out under the euthanasia laws.  Since then the Dutch laws have been extended to included those who have no serious physical disease or are suffering great pain; there are people who simply no longer wish to live, something like the tragic figure in Blue Öyster Cult’s (Don't Fear) The Reaper (1976) © Donald Roeser (b 1947):

Came the last night of sadness
And it was clear she couldn't go on
Then the door was open and the wind appeared
The candles blew then disappeared
The curtains flew then he appeared
Saying don't be afraid

There is a diverse literature on various aspects of suicide (tips and techniques, theological & philosophical interpretations, cross-cultural attitudes, history of its treatment in church & secular law etc) and some are quite personal, written variously by those who later would kill themselves or those who contemplated or attempted to take their own lives.  In How Not to Kill Yourself: A Phenomenology of Suicide (2023) by Canadian philosopher Clancy Martin (b 1967), it was revealed the most recent of his ten suicide attempts was “…in his basement with a dog leash, the consequences of which he concealed from his wife, family, co-workers, and students, slipping back into his daily life with a hoarse voice, a raw neck and series of vague explanations.”

BKA (the Bundeskriminalamt, the Federal Criminal Police Office of the FRG (Federal Republic of Germany (the old West Germany)) mug shots of the Red Army Faction's Ulrike Meinhof (left) and Gudrun Ensslin (right).

The song (Don't Fear) The Reaper also made mention of William Shakespeare's (1564–1616) Romeo and Juliet (1597) and in taking her own life (using her dead lover’s dagger) because she doesn’t want to go on living without him, Juliette joined the pantheon of figures who have made the tragedy of suicide seem, to some, romantic.  Politically too, suicide can grant the sort of status dying of old age doesn’t confer, the deaths of left-wing terrorists Ulrike Meinhof (1934–1976) and Gudrun Ensslin (1940–1977) of the West German Red Army Faction (the RAF and better known as the “Baader-Meinhof gang”) both recorded as “suicide in custody” although the circumstances were murky.  In an indication of the way moral relativities aligned during the high Cold War, the French intellectuals Jean-Paul Sartre (1905–1980) and Simone de Beauvoir (1908–1986) compared their deaths to the worst crimes of the Nazis but sympathy for violence committed for an “approved” cause was not the exclusive preserve of the left.  In July, 1964, in his speech accepting the Republican nomination for that year’s US presidential election, proto-MAGA Barry Goldwater (1909–1998) concluded by saying: “I would remind you that extremism in the defense of liberty is no vice!  And let me remind you also that moderation in the pursuit of justice is no virtue!”  The audience response to that was rapturous although a few months later the country mostly didn’t share the enthusiasm, Lyndon Johnson (LBJ, 1908–1973; US president 1963-1969) winning the presidency in one of the greatest landslides in US electoral history.  Given the choice between crooked old Lyndon and crazy old Barry, Americans preferred the crook.

Nor was it just politicians and intellectuals who could resist the appeal of politics being taken to its logical “other means” conclusion, the Canadian singer-songwriter Leonard Cohen (1934-2016) during the last years of the Cold War writing First We Take Manhattan (1986), the lyrics of which were open to interpretation but clarified in 1988 by the author who explained: “I think it means exactly what it says.  It is a terrorist song.  I think it's a response to terrorism.  There's something about terrorism that I've always admired.  The fact that there are no alibis or no compromises.  That position is always very attractive.”   Even in 1988 it was a controversial comment because by then not many outside of undergraduate anarchist societies were still romanticizing terrorists but in fairness to the singer the coda isn’t as often published: “I don't like it when it's manifested on the physical plane – I don't really enjoy the terrorist activities – but Psychic Terrorism.”

First We Take Manhattan (1986) by Leonard Cohen

They sentenced me to twenty years of boredom

For tryin' to change the system from within

I'm coming now, I'm coming to reward them

First we take Manhattan, then we take Berlin

 

I'm guided by a signal in the heavens

I'm guided by this birthmark on my skin

I'm guided by the beauty of our weapons

First we take Manhattan, then we take Berlin

 

I'd really like to live beside you, baby

I love your body and your spirit and your clothes

But you see that line there moving through the station?

I told you, I told you, told you, I was one of those

 

Ah you loved me as a loser, but now you're worried that I just might win

You know the way to stop me, but you don't have the discipline

How many nights I prayed for this, to let my work begin

First we take Manhattan, then we take Berlin

 

I don't like your fashion business, mister

And I don't like these drugs that keep you thin

I don't like what happened to my sister

First we take Manhattan, then we take Berlin

 

I'd really like to live beside you, baby

I love your body and your spirit and your clothes

But you see that line there moving through the station?

I told you, I told you, told you, I was one of those

First We Take Manhattan performed by Jennifer Warnes (b 1947), from the Album Famous Blue Raincoat (1986). 

Whatever they achieved in life, it was their suicides which lent a lingering allure to German-American ecofeminist activist Petra Kelly (1947–1992) & the doomed poet American poet Sylvia Path (1932-1963) and the lure goes back for millennia, the Roman Poet Ovid (Publius Ovidius Naso; 43 BC–17 AD) in his Metamorphoses telling an ancient Babylonian tale in which Pyramus, in dark despair, killed herself after finding her young love lifeless.  Over the centuries it’s been a recurrent trope but the most novel take was the symbolic, mystical death in Richard Wagner's (1813–1883) Tristan und Isolde (1865).  Mortally wounded in a duel before the final act, Tristan longs to see Isolde one last time but just as she arrives at his side, he dies in her arms.  Overwhelmed by love and grief, Isolde sings the famous Liebestod (Love-Death) and dies, the transcendent aria interpreted as the swansong which carries her to join Tristan in mystical union in the afterlife.  This, lawyers would call a “constructive suicide”.

Austrian soprano Helga Dernesch (b 1939) in 1972 performing the Liebestod aria from Wagner’s Tristan und Isolde with the Berlin Philharmonic under Herbert von Karajan (1908–1989).

While she didn’t possess the sheer power of the greatest of the Scandinavian sopranos who in the mid-twentieth century defined the role, Dernesch brought passion and intensity to her roles and while, on that night in 1972, the lushness of what Karajan summoned from the strings was perhaps a little much, her Liebestod was spine-tingling and by then, Karajan had been forgiven for everything.  Intriguingly, although Tristan und Isolde is regarded as one of the great monuments to love, in 1854 Wagner had written to the Hungarian composer Franz Liszt (1811–1886) telling him:

“As I have never in life felt the real bliss of love, I must erect a monument to the most beautiful of all my dreams, in which, from beginning to end, that love shall be thoroughly satiated.  I have in my head ‘Tristan and Isolde’, the simplest but most full-blooded musical concepion; with the ‘black flag’ which floats at the end of it I shall cover myself to die.”

It’s not known whether Listz reflected on this apparent compositional self-medication for psychache after in 1870 learning from his morning newspaper his daughter Cosima (1837-1930) was to be married to Wagner (then 24 years her senior) but because she’d been for some seven years conducting an adulterous affair with the German the news may not have been unexpected.  He was aware Cosmia’s daughter (Isolde Beidler (1865–1919)) had been fathered not by her then husband (the German conductor Hans von Bülow (1830–1894)) but by Wagner and her second marriage proved happier than the first so there was that.