Centaur

Centaur (pronounced sen-tawr)

(1) In classical mythology, one of a race of monsters having the head, trunk, and arms of a man, and the body and legs of a horse (some modern depictions prefer the upper body of a woman).  The synonym is hippocentaur.

(2) In astronomy, the constellation Centaurus (initial capital).

(3) In astronomy, any of a group of icy bodies with the characteristics of both asteroids and comets, orbiting the Sun in elliptical paths mostly in the region between Saturn & Neptune.

(4) In modern slang, a skillful (male or female) rider of a horse.

(5) In rocketry, a US-designed and built upper stage (with re-startable liquid-propellant engine), used with an Atlas or Titan booster to launch satellites and probes.

(6) In chess, team comprising a human player and a computer.

(7) By extension, in AI (artificial intelligence), a human and some form or AI, working together.

1325–1375: From the Middle English, from the Old English, from the Latin centaurus, from the Ancient Greek, from Κένταυρος (Kéntauros), thought to mean “a member of a savage race from Thessaly” although some etymologists are sceptical.  Historically, Thessaly was known as Αἰολία (Aiolía (Aeolia in modern use)) and that’s how it was referred to in the Odyssey (Homer’s epic poem from the eighth or seventh century BC); the gentlemen in Athens were very quick to describe as savages or barbarians, those from elsewhere.  The half-human, half horse Centaur from Greek mythology belongs in the class of mixtumque genus, prolesque biformis (a mixed or blended race, offspring of two forms), the phrase made famous when it appeared in the Roman poet Virgil’s (Publius Vergilius Maro (70–19 BC)) Aeneid (29-19 BC) description of the Minotaur, the mythical creature with a bull's head and a human body.  Centaur & centaurdom are nouns, centaurian is a noun & adjective and centauresque, centaurial & centauric are adjectives; the noun plural is centaurs.  The most common use of the adjective centauric was a reference to the mythological creatures (resembling or of the nature of a centaur) but in the sometimes weird world of spiritualism it was defined as "characterized by an integration of mind and body for consciousness above the ego-self" (whatever that means).  When the adjective is used in SF (SciFi or science fiction) it's with an upper case if referring to the residents or natives of the constellation Centaurus.  The case difference matters because there no reason why in SF half human, half-horse beasts can't be part of the ecosystem in Centaurus and they would have to be described as Centauric centaurs.  In fantasy fiction, a centauress was a female centaur (a she-centaur) and the term centaurette has also been used; it does not (as the -ette prefix might be thought to imply) mean a “a small centaur”.  Presumably, a centauress, while possessing the secondary sex characteristics of a human female could, anatomically, in the hind quarters either colt, stallion, filly or mare so it could be helpful if authors differentiated centauress & centaurette thus.

Centaurus, copperplate engraving by Polish astronomer Johannes Hevelius (1611–1687) from Firmamentum Sobiescianum sive Uranographia (1687), his atlas of constellations.  In English, the southern constellation of Centaurus has been so described since the 1550 but was known by that name to the Romans and known as a centaur to the Greeks.  The ninth largest constellation, visible in the far southern sky in the months around March, since classical times, it has been confused with Sagittarius.

Judy Volker’s annotation of Sea & Sky’s sky-chart of the Centaurus constellation.

Centaurus is one of two constellations said to represent Centaurs and is associated primarily with Chiron (Cheiron), a wise, immortal being who was King of the Centaurs and said to be a scholar and prophet skilled in the healing arts.  In some of the myths, from his cave on Mount Pelion, he is said to have raised, tutored, or counselled several figures prominent in Greek mythology, including Jason, Heracles and Asclepius.  Of Chiron's association with the constellation, there are several tales.  In one legend, Chiron was the first to identify the constellations and teach them to mortal humans, placing an image of himself in the sky to help guide Jason on his quest for the Golden Fleece.  A different story has Chiron was placed in the sky by Zeus and of this telling there are variants but the most common element is Chiron being accidentally wounded by a poisoned arrow and giving up his immortality as a way to escape the never-ending pain.  A twist on this has Chiron simply bored with life and wanting it to be over and this came to the attention of Prometheus, the Titan undergoing permanent torture for stealing fire from the gods to give to humans.  For Prometheus to be released from his torture, an immortal had to volunteer to renounce eternal life and go to Tartarus in his place.  Someone (Zeus, Heracles, or Chiron himself depending on the author) suggested Chiron's offer be used to release Prometheus and for this Zeus honored Chiron with his place in the sky.  There’s even a tale in which the constellation represents the Centaur Pholus, honoured thus by Zeus for his skill in prophecy.

Lindsay Lohan AI generated as a centaur by EnjoyLingerie on DeviantArt.

In astronomy, a centaur is a small, icy celestial body orbiting the Sun in an in elliptical paths, most tracking between Jupiter and Neptune, the name gained from them typically having the characteristics of both asteroids and comets, the dual-nature the link with the half-human, half-horse from mythology.  Centaurs are considered transitional objects which may originally have been Kuiper Belt Objects and often have unstable orbits due to gravitational interactions with the giant planets.  Orbiting mostly between 5.5-30 AU (an “astronomical unit the average distance between the Earth and Sun (about 150 million km (93 million miles)) from the sun, such is the gravitational effect of the big planets that most centaurs (which range in diameter between 100-400 km (60-250 miles) are expected over millennia to be sent into the inner solar system or even ejected into interstellar space.  Astronomers first became aware of the objects in 1977 with the discovery of Chiron but the technology of the time didn’t permit the structure fully to be understood and the body was thus initially classified both as a comet (95P/Chiron) and minor planet.  It was improvements in observational hardware which demonstrated that while appearing as asteroids, when closer to the sun the comet-like behavior of developing a coma or tail will manifest.  The largest known centaur is 10199/Chariklo.  Listed as a minor planet, it orbits the Sun between Saturn and Uranus and in 2014 it was announced it possessed two rings (nicknamed Oiapoque and Chuí after the rivers that define Brazil's borders), the existence confirmed by observing a stellar occultation.  One implication of the rings is that it likely also has at least one shepherd moon and infrared images indicate the Chariklo is named after the nymph Chariclo (Χαρικλώ), the wife of Chiron and the daughter of Apollo.

Front (left) and rear (right) covers of the album Ride a Rock Horse (1975) by The Who's lead singer Roger Daltrey (b 1944).  The artwork was done by his cousin Graham Hughes who produced a number of album covers during the 1970s.

Things rarely were consistent in the evolution of the myths from Antiquity and the mythical centaurs were described variously as being wholly equine from (human) torso down or with the from parts of the legs also human, the latter a popular depiction during the Medieval period while in Classical era, they had four horses' hooves and two human arms.  Living on raw flesh and inhabiting mountains and forests, they were descended either from Centaurus (the son of Apollo & Stilbe) or of Ixion & Nephele although the Centaurs Chiron and Pholus were of a different descent lineage: Chiron was the son of Philyra & Cronus while Pholus was fathered by Silenus and born of an unnamed Nymph; what distinguished that pair was that unlike the other herds, they were hospitable and non-violent.  The cooking of food being a marker of civilization, it was recorded that when Heracles was hunting the Erymanthian boar, he visited Pholus who received him hospitably, giving him cooked meat whereas Pholus himself ate exclusively raw food.  When Heracles asked for wine, Pholus told him that there was only one jar, which either belonged communally to the Centaurs or had been a gift from Dionysus who had told them to open it only if Heracles should be their guest.  Telling his host not to be afraid, Pholus broke the seal but when the Centaurs smelled the wine they galloped from the mountains, armed with rocks, fir trees and torches to attack the cave.  The first two Centaurs to attack were Anchius and Agrius (killed by Heracles) but Pholus was killed in the aftermath of the fight: while burying a fallen Centaur he drew one of Heracles' poisoned arrows from a wound but it fell from his grasp, piercing his leg and almost instantly he died.  Heracles drove off the remaining Centaurs and pursued them to Cape Malea where they took refuge with Chiron.  In the ensuing battle Heracles shot Elatus in the elbow, but Chiron either dropped one of Heracles' arrows on his foot or was shot in the knee by Heracles.  The wounds of Heracles' arrows could not be healed and the immortal Chiron begged the gods to make him mortal.  It was Prometheus agreed to take on his immortality, and Chiron died, leaving most of the Centaurs to take refuge in Eleusis.  Their mother (Nephele) aided them by summoning a rain storm but that didn’t deter Heracles who slaughtered a dozen including Daphnis, Argeius, Amphion, Hippotion, Oreius, Ispoples, Melanchaetes, Thereus, Doupon, Phrixus & Homadus.

Wedding reception gone bad: Rape of Hippodamia (The Lapiths and the Centaurs) (1636-1637), oil on canvas by Peter Paul Rubens (1577-1640), Museo Nacional del Prado, Madrid, Spain.  The painting was one of a large cycle of mythologies by Rubens for the Torre de la Parada, Philip IV's (1605–1665; King of Spain 1621-1665 and (as Philip III) King of Portugal 1621-1640) newly built hunting lodge on the outskirts of Madrid.  One of Rubens’ oil sketches for the work is on display at Musees Royaux des Beaux-Arts de Belgique in Brussels, Belgium and is of interest to art students and critics because of the detail differences in the final composition.

The Centaurs also fought a legendary battle against the Lapiths (a Thessalian people who originally inhabited Pindus, Pelion and Ossa; they drove out the native people, the Pelasgians).  Pirithous invited the Centaurs (who regarded themselves as his parents) to his wedding feast and it went well until, unaccustomed to the effects of wine, the Centaurs became drunk and one of them tried to rape (in the classical sense of "abduction") Deidamia (Pirithous' bride and more commonly known as Hippodamia), resulting in a violent brawl which ended with the Lapiths driving the Centaurs out of Thessaly after killing many.  Containing so many wonderful subjects (Centaurs, a feast, a rape scene, a brawl), the disrupted wedding reception (which came to be known as “the Centauromachy”) for centuries drew artists to the theme.  In Antiquity the Centaurs got a bad press because and they appear in other appear in other legends involving rape, abductions and violence.  In many ways the myths can be deconstructed as violent soap operas with an undercurrent of licentiousness, typified by the tales of Eurytion attempting to rape Hippolyta or Mnesimache, the daughter of Dexamenus.  In one version Dexamenus had betrothed his daughter to Azan (an Arcadian) and Eurytion (again as a guest at the wedding feast) attempted a kidnapping but was saved by the hero Heracles arrived in time to kill him, returning bride safely to groom.  Most scribes were member of the Heracles admiration society and there also the story of how Heracles, on his way to Augias, seduced the girl, promising to marry her upon his return.  While he was away, forcibly she was betrothed to Eurytion but just as the wedding ceremony was about to begin, Heracles stormed in, killed the Centaur and had himself declared her husband.

1976 Chrysler Centura GL.  Despite the visual resemblance, the (optional) styled steel wheels were unrelated to those used on Oldsmobiles between 1966-1987.

Whatever processes led to Chrysler Australia adopting the name “Centura” for their local version of the European Chrysler 180 (1970-1982) may still exist in the corporation’s archives but it seems the details have never been published though it can be assumed it was not an Anglicized adaptation of the Romanian centură (belt, girdle).  In Latin centum meant "one hundred" and the term centuria referred to (1) a unit of the Roman army, nominally consisting of 100 soldiers (historians suggest in practice the establishments varied between 60-160) and headed by a centurion, (2) in real estate a unit of area, equal to 100 heredia or 200 iugera (circa 125 acres (50  hectares)), (3) a group of citizens eligible to vote, the system apparently one of the reforms introduced by Servius Tullius (king of Rome 578-535 BC) and based on the ownership of land, one of the many systems which, over millennia, have codified a relationship between ownership of property (usually land) with a right to in some way participate in the polity (usually by voting) and (4) figuratively or literally, things in some way related to "100".  In modern Romance languages, things of course evolved: the Romanian centura (belt or girdle) was from the French ceinture (belt), from the Latin cinctura (girdle, belt), thus by extension used also to refer to the to beltways (ring roads) around cities.  In Spanish & Portuguese, the related cintura (waist; belt) is from the same Latin root cingere (to gird; surround).

The name of the short-lived Chrysler Centura (1975-1978) may have been an allusion to the Centaurs of myth because, like them it had a dual nature, combining the platform of a European four-cylinder with a much more powerful (and heavier) Australian built six.  That had been a concept Holden (the General Motors (GM) outpost) in 1969 introduced when they installed their six-cylinder engine in a modified Vauxhall Viva and called it the Torana.  It proved a great success and Ford Australia in 1972 responded by fitting it’s even bigger sixes to the Cortina which, being longer than the Viva, didn’t need the four inch (100 mm) odd stretch of the wheelbase required for things (tightly) to fit in the Torana.  Given the way local journalists would within a few years decry the inherently unbalanced Cortina six, it is remarkable how well the press received it upon debut.

1975 Chrysler Centura brochure shot (GL left; XL right).

Had the Centura been released in 1973 as planned, it might have been a success but the timing was unfortunate, the decision by the French government of Georges Pompidou (1911–1974; President of France 1969-1974) to conduct tests of nuclear weapons in its South Pacific territories causing the trade unions to blacklist French goods arriving in ports (Australian trade unions in those days running an independent foreign policy and the ACTU (Australian Council of Trade Unions) a kind of co-government).  As a consequence, it wasn’t until 1975 the Centura arrived in showrooms and by then the market had moved on, competition rather more intense.  Although the Centura offered class-leading performance (indeed, in a straight line it could out-run some V8s) by virtue of its optional 4.0 litre (245 cubic inch) straight-six, increasingly buyers were more tempted by the equipment levels and perceptions (sometimes true) of superior build quality and economy of operation offered by vehicles with origins in the Far East.  As it was, Chrysler in 1976 began local production of the Japanese Mitsubishi Sigma and it proved a great success, even without the six cylinder engine once thought such a selling point.  Tellingly, although a prototype Centura with the 5.2 litre (318 cubic inch) V8 was built, the project rapidly was abandoned.  Officially, the explanation was the body structure lacked the rigidity to come with the additional torque, the same reason Ford never contemplated their V8 Cortina entering production; engineers familiar with the structures of both platforms agree that was true of the Cortina but maintain the Centura was robust enough and suspect both companies, having observed the subdued demand for the V8 Holden Toranas (1974-1978) decided Holden was welcome to its exclusive presence in the niche sector.  Fewer than 20,000 Centuras were built during its dismal three year run, a fraction of what was projected as its annual production.

Stormy Daniels (2019) by Robert Crumb (b 1943).

It’s not known if than Donald Trump (b 1946; US president 2017-2021 & since 2025) is a student of Greek mythology (stranger things have happened) but he did provide us with his unique version of the half horse, half human beast, labeling pornographic actress & director Stormy Daniels (Stephanie Gregory Clifford; b 1979) “horse face”.  In May, 2024, the memorable phrase returned to the news as matters came before court related to “hush money” allegedly paid to Ms Daniels (on behalf the of the President) in exchange for her maintaining a silence about a certain “intimate encounter” they had shared, their apparently brief tryst including her spanking him on the butt with a rolled-up magazine featuring his picture on the cover.  Mr Trump denies not only the spanking but the very encounter, claiming it never happened.  To give a flavor of the proceedings, at one point counsel asked Ms Daniels: “Am I correct in that you hate President Trump?” to which she replied: “Yes.”  No ambiguity there and although not discussed in court, her attitude may not wholly be unrelated to Mr Trump’s rather ungracious description of her as “horse face”.  Really, President Trump should have been more respectful towards a three-time winner of F.A.M.E.'s (Fans of Adult Media and Entertainment) much coveted annual “Favorite Breasts” award.

Death of a Centaur (1912), oil on canvas by Arthur Lemon (1850–1912).  For Lemon, the Centaur was what would now be called his "spirit animal" and the work was painted when he was close to death. 

Born on the Isle of Mann, Arthur Lemon spent his childhood in Rome before moving to California to work as a cowboy; there he became a devotee of what he would call en plain air (by which he meant “an outdoor life”.  Later he would return to Europe to study art and for the rest of his life he would travel between Italy and England where regularly he staged exhibitions at London's Royal Academy; his work most associated with scenes of the Italian countryside and the daily lives of the rural peasantry.  Lemon's fine eye for painting a Centaur was a thing of practice.  He became close friends with English artist Henry Scott Tuke (1858–1929), noted for his prolific output of works in the Impressionist tradition focused on nude adolescent boys and during the 1880s the pair for a time lived Florence where they “spent time sketching male nudes in the Italian sunshine.”

The Wooing of Daphnis (exhibited 1881), oil on canvas by Arthur Lemon.

Daphnis possessed the youthful beauty of the kind idealized by Tuke and the many nymphs who so adored him.  A victim of that beauty, his life ended badly.  The artistic approach of Lemon and Tuke was interesting in that their nude youths often were shown in a contemporary setting and in that they differed from the many paintings and sculptures of Ancient Greek gods and mythological which, historically, enabled an exploration of the male nude without upsetting public decency; what Lemon and Tuke especially did was eroticise their young subjects.  From his time as a cowboy, Lemon was well acquainted with the physicality of the horse and knew from his studies that in Greek art Centaurs often were depicted as highly sexed figures; being not wholly human, Centaurs could be treated as creatures able to ignore the strict moral expectations of society and accordingly, formed their own community.  Lemon and Tuke in their own ways noted this and both took the Centaur as something of a model although while Lemon devoted much of his energy to painting horses, Tuke’s attention on the nude male youth was an obsession and today, among sections of the gay community, he’s a minor cult.

Demimonde

Demimonde (pronounced dem-ee-mond or duh-mee-mawnd (French))

(1) That class of women existing beyond or on the margins of respectable society because of their indiscreet behavior or sexual promiscuity; typically they were mistresses but not courtesans and certainly not prostitutes (classic meaning from the mid-late nineteenth century).

(2) A group, the activities of which are ethically or legally questionable (later use).

(3) Any social group considered to be not wholly respectable (though vested sometimes with a certain edgy glamour).

(4) By extension, a member of such a class or group of persons.

1850–1855: From the French demi-monde, the construct being demi- (half) + monde (world (in the sense of “people”)), thus literally “half world” and translatable as something like “those really not ‘one of us’”.  It may have been coined by the French author and playwright Alexandre Dumas (1802-1870) but certainly was popularized in his comedic play, Le Demi Monde (1855).  The hyphenated original from French (demi-monde) is sometimes used in English.  Demimonde is a noun; the noun plural is demimondes.

In English, demi dates from the mid-1300 and was from the Middle English demi (half, half-sized, partial), from the twelfth century Anglo-Norman demi (half), from the Vulgar Latin dimedius, from the Classical Latin dīmidius, the construct being dis- (apart; in two) + medius (middle).  The French demi (which English borrowed) was a combining form which existed as noun, adjective, and adverb.  The French monde was from the twelfth century Old French monde, a semi-learned form of the tenth century mont (etymologists trace the alteration to ensure the word was distinct from the unrelated mont (mountain)), from the Latin mundus which could mean (1) clean, pure; neat, nice, fine, elegant, sophisticated, decorated, adorned or (2) universe, world (especially the heavens and heavenly bodies with the sense “universe” being a calque of the Ancient Greek κόσμος (kósmos)).or mankind (as in "inhabitants of the earth").  In Medieval Latin it was used also the mean "century" and "group of people".  The Latin mundus may have been from the Etruscan munθ (order, kit, ornament) or the primitive Indo-European mhnd- (to adorn) which was cognate with the Old High German mandag (joyful, happy; dashing).  As well as the historically pejorative sense in demimonde, “demi” appeared in other loanwords from French meaning “half”  including demilunes (in the shape of a half-moon (semi-circular)) and demitasse (a small coffee cup of the type associated with the short black) and, on that model, is also prefixed to words of English origin (eg demigod).

Treading Water Perfume's Demimonde.  The Trending Water brand is described as “queer-owned” and the products are “hand crafted”.

Similar forms in French included beau monde (literally “beautiful world”, the plural being beaux mondes) which meant “the fashionable part of society” (ie the “beautiful people”) and demi-mondaine (plural demimondaines) which was used in a variety of ways ranging from “women of equivocal reputation and standing in society” to “a sexually promiscuous woman” (ie, one of the demimonde).  Of lifestyles in some way disreputable (or at least unconventional), the terms “bohemian” and “demimonde” are often used although if one is to acknowledge the history of use, they should be differentiated despite both being associated with non-conformity.  Bohemianiam is best used of artistic and intellectual milieus where there’s a pursuit of the non-orthodox and often a rejection of societal norms (or they are at least ignored).  Demimonde, reflecting the specific origin as describing a social class of women financially able to sustain a lifestyle deemed morally dubious, retains to this day the hint of something disreputable although with the decline in the observation of such things, this is now more nuanced.  The gradual distancing of the word from its origins in the intricacies of defining the sexual morality of nineteenth century French women meant it became available to all and in her politely received novel The Last Thing He Wanted (1996), Joan Didion (1934-2021) explored the murky world of the back-channel deals in politics as it is practiced, a demimonde in which individuals are “trying to create a context for democracy” but may be “getting [their] hands a little dirty in the process.”

The Canyons (2013), Lindsay Lohan's demimonde film.

It was Alexandre Dumas’ play Le Demi Monde (1855) which popularized the use but in earlier works, notably La Dame aux Camélias (1848), the character of the demi-mondaine is identifiable although in that work the doomed protagonist is more of a courtesan whereas as used during the second half of the century, the term really wasn’t applied to that class and was most associated with women on the margins of “respectable society” who lived lavishly thanks to wealthy patrons; subtly different from a courtesan.  The literal translation “half-world” implied an existence halfway between the “proper" world and that of the disreputable and that was the sense in the late Victorian era of the Belle Époque era: glamorous but morally ambiguous women, living on the margins of high society in a state of the tolerably scandalous.  Social mores and moral codes are of course fluid and in the first half of the twentieth century the meaning shifted to encompass some other marginalized or shadowy subcultures and ones which encompassed not only women and the association was no longer of necessity associated with sexual conduct.  Thus bohemian artists, the underground nightlife, those who live by gambling and later the counter-cultural movements all came to be described as demimonde.  What that meant was these was less of a meaning shift than an expansion, the word now applied to many groups existing in some way not wholly outside the mainstream but neither entirely in conformity.  There were thus many demimondes and that use persists to this day although the air of the glamorous depicted by Dumas is now often absent, some demimondes distinctly squalid and definitely disreputable.

By the late nineteenth century the notion of the demimonde had attracted the avant-garde and non-conformists, their circles of artists, writers and intellectuals in their own way vested with the edgy glamour of the type attached to the salons the well-kept mistresses conducted in parallel with those of the establishment ladies and it’s easy to draw parallels with Andy Warhol’s (1928–1987) Factory in the 1960s which was a magnet for New York’s non-mainstream “creatives” as well as the flotsam and jetsam of the art schools.  Sometimes too, there are echos, the demimonde of Berlin after the fall of the wall (1989) drawing comparisons with that described in the city during the last years the Weimar Republic (1918-1933).  So, the track of demimonde has been (1) mistresses, and women not quite respectable but with funds enough to defy conventions (nineteenth century), (2) the more subversive of the avant-garde added (early twentieth century), (3) bohemian subcultures, various “underground” scenes (mid-late twentieth century) and (4) reflecting the implication of post-modernity, anyone who likes the label.

Sarah Bernhardt (1876), oil on canvas by Georges Clairin (1843-1919).

The Parisian Belle Époque (beautiful era) was the time between the late 1800s and the outbreak of World War I (1914-1918).  For more than a century the period has been celebrated (accurately and not) in art and literature, the great paintings mush sought by collectors.  The Belle Époque is considered still one of Europe’s “golden ages” and although its charms would have escaped most of the working population, for the fortunate few it was a time of vitality and optimism and in some ways modernity’s finest hour until ended by the blast of war.  One trend was the way the cultural hegemony of the private salons of the networks of artists, aristocrats and intellectuals lost some its hold as discourse shifted to the more public (and publicized) realm of the stage, cabriolets and cafés, lending a new theatricality to society life and an essential part was the demimonde, those who operated in the swirling milieu yet were not quite an accepted part of it, their flouting of traditional mores and bourgeois politeness perhaps a little envied but not obviously embraced.  While it could be said to include drug-takers, gamblers and such, the classic exemplar in the spirit of Dumas’ demimonde was the demimondaine, those thrusting women who maintained their elevated (if not respectable) position by parlaying their attractiveness and availability to men willing to pay for the experience.  It usually wasn’t concubinage and certainly not prostitution (as understood) but it was clear les demimondaines belonged with the bohemians and artists of the avant-garde and they were known also as les grandes horizontals or mademoiselles les cocottes (hens) among other euphemisms but for youth and beauty much is tolerated if not forgiven and in all but the inner sanctums of the establishment, mostly there was peaceful co-existence.  Among the demimondaines were many actresses and dancers, a talent to entertain meaning transgressions might be overlooked or at least not much dwelt upon.  Sarah Bernhardt (1844–1923) benefited from that and her nickname monstre sacré (sacred monster) was gained by her enjoying a status which proved protective despite her life of ongoing controversy.  The Irish writer Oscar Wilde (1854–1900) also found a niche as an amusing proto-celebrity with a good stock of one-liners and being part of the demimonde of the not quite respectable was integral to the appeal although being convicted of the abominable crime of buggery proved social suicide. 

Marthe de Florian (1898), oil on canvas by Italian-born society portraitist Giovanni Boldini (1842–1931).  The painter’s style of brushwork saw him dubbed le maître du swish (the master of swish) and he was another of Mademoiselle de Florian’s many lovers.

What tends now to be forgotten is that among the demimonde it was only figures like Bernhardt and Wilde who were well known outside of society gossip.  The once obscure Marthe de Florian (1864–1939) joined the “half worlders” by being, inter-alia, the one-time lover of four subsequent prime ministers of France (a reasonable achievement even given the churn rate in the office) although she took the name she adopted from a banker; nothing really matters except money.  When the details of her life emerged, they inspired the novel A Paris Apartment (2014) by US author Michelle Gable (b 1974), a theme of which was une demimondaine could be distinguished from a common prostitute because the former included (at least as a prelude) romance with the le grande acte (acts of intimacy) and ultimately some financial consideration.  That seems not a small difference and unlike the transactional prostitute, the implication was that to succeed in their specialized profession (debatably a calling), a demimondaine needed the skills associated with the Quai d'Orsay: tact, diplomacy, finesse, daring, low cunning and high charm.  It needed also devotion to the task because for Mlle de Florian to get where she did, she inspired “some three duels, an attempted suicide and at least one déniaisé (sexual initiation) of one lover’s eldest son”.

Quondam

Quondam (pronounced kwon-duhm or kwon-dam)

(1) As a pronominal, former; one-time; having been formerly.

(2) As a pronominal, of an earlier time.

1580s: An adaptation of the earlier (1530-1550) from earlier use as an adverb (formerly) and noun (former holder of an office, title or position), from the Latin adverb quondam (formerly, at some time, at one time; once in a while) the construct being quom, cum (when, as), from the primitive Indo-European root kwo- (stem of relative and interrogative pronouns) + -dam (the demonstrative ending).  Quondam is an adjective, quondamship is a noun and quondamly is an adverb; the noun quondam is now archaic but can be used in the sense of “one’s ex” and if one is prolific in the generation of quondamship, the noun plural is quondams.  According to one severe critic on Urban Dictionary, “quondamness” is defined as “A thesaurus full of imaginary yet important sounding words that shoddy authors use in order to find strange obscure or even imaginary words to use in their stories, in the hopes of sounding more intelligent than they will ever be.” 

For a simple concept ("used to be"), quondam enjoys an impressive number of synonyms including former, previous, erstwhile, old, one-time, past, late, once, whilom, sometime, defunct, bygone, vanished, gone, departed, extinct and expired.  Some (extinct, expired, defunct) have specific technical meanings which limit their use while others (late, departed, gone) are most associated with the dead but otherwise quondam is available as a way of enriching a text.  In informal use, quondam has been used as a noun in the sense of one's ex-partner being “a quondam” and, as a re-purposed literary word, it has been adapted to the social media age with helpful, non-standard forms coined:

Quondam: One's ex-partner.

Quondaming: The act of dumping a partner.

Quondamed: The act of being so dumped.

Quaondamer: One who dumps a partner (in the form “serial quondamer”, applied to those who frequently dump).

Quondamee: One who has been quonadmed by a quandamer (in the form “serial quondamee”, applied to those frequently dumped).

Quondamish: An act which can be interpreted as being dumped but requires confirmation.

Quondamesque: Behavior which suggests having been dumped.

Quondamism: The study of dumped ex-partners (a branch of behaviorism).

Quondamist: A practitioner of quondamism (employed often by internet gossip sites) who can distinguish between genuine quondamees and those exhibiting quondam-like characteristics.  The experts have developed predictive models which they apply to work out who is next to be quondamed.

A quondam atheist who changed his mind: The Rage Against God: How Atheism Led Me to Faith (2010) by Peter Hitchens.

As a pronominal, writers like to use somewhat obscure quondam when drawing attention to those who were once “something” have for whatever reason become “something else”.  There are quondam atheists who became Christians including the (1) British academic & writer CS Lewis (1898–1963) who seems most to have be influenced in his conversion by JRR Tolkien (1892–1973), the US journalist Lee Strobel (b 1952) who set out to disprove Christianity after his wife converted, but the hunter ended up captured by the game, becoming a Christian, (3) the Physician-geneticist Francis Collins (b 1950) who lead the Human Genome Project and was either atheist or agnostic during his early scientific career but became affected by his encounters with expressions of faith among his patients although reading CS Lewis seems also have had a profound effect, (4) the writer Peter Hitchens (b 1951) who was a most truculent militant atheist (more so even than his brother Christopher) but returned to the faith of his youth after a period of personal reflection (which soon he’d call “soul-searching”) and witnessing “the consequences of godlessness” (although he writes for the tabloid Mail on Sunday which can’t be good for the soul), (5) the writer and broadcaster Malcolm Muggeridge (1903–1990) who as well as being quondam atheist was also quondam Marxist (a common coupling) and, like a 40-a-day smoker who has kicked the habit, having had his fun, he became a most moralistic Christian and (6) TS Eliot (1888–1965) who probably never was a quondam atheist but certainly had his moments of doubt so may qualify as an (off & on) quondam agnostic until his thirties and some of his later poetry does suggest he was keeping to a Godly path.

In political science there was a whole school of quondam communists of the “God that Failed” school, often arrayed in lists by conservatives anxious to rub in the “I told you so” moment.  The favorites though are the quondam Trotskyites (“Trots” to friend & foe alike) and while variously they’ve swung to some to conservatism, liberalism, nationalism or even God, it’s remarkable how many include the term “ex-Trotskyist” in their biodata, there being something romantic about comrade Leon Trotsky (1879-1940) and his Fourth International not shared by either comrade Stalin (1878-1953; Soviet leader 1924-1953) who ordered his murder or Karl Marx (1818-1883) although the latter should be treated sympathetically because of his many troubles including constipation (measured in days) but by far the greatest distraction must have been the painful genital boils.  In April 1867, in one of the many letters he sent to his collaborator Friedrich Engels (1820–1895), he lamented: “I shan’t bore you by explaining [the] carbuncles on my posterior and near the penis, the final traces of which are now fading but which made it extremely painful for me to adopt a sitting and hence a writing posture. I am not taking arsenic because it dulls my mind too much and I need to keep my wits about me.”

The Revolution Betrayed: What is the Soviet Union and Where is it Going? (1937) by Leon Trotsky.  Three years after publication, comrade Stalin's assassins finally tracked down comrade Trotsky and murdered him; the weapon was an ice axe.

There was the writer and eternal enfant terrible Christopher Hitchens (1949-2011), in his youth a member of the International Socialists, who drifted away gradually but perceptibly before re-shaping his world-view into Islam vs the West after the 9/11 attacks, becoming a fellow-traveller with the neo-cons.  Across the Atlantic there was Irving Kristol (1920-2009) whose time with the Young People's Socialist League seems to have been more than youthful impetuosity because his faction was the then unfashionable Trotskyist group opposed to the Soviet state being built by comrade Stalin.  The extent to which his hard-right conservative wife changed his intellectual direct can be debated but for those who like “nurture vs nature” discussions, their son William Kristol (b 1952) was born a right-winger and has never deviated.  Perhaps the most famous quondam Trotskyist & Communist (he was inconsistent in his self-identification) of the Cold War years was the quondam Soviet spy Whittaker Chambers (1901-1961) whose testimony was crucial in the trial of State Department official Alger Hiss (1904–1996), the case on which the young congressman Richard Nixon (1913-1994; US president 1969-1974) built his reputation as an anti-communist.  Nixon later became one of many quondam presidents but the only one rendered thus by having to resign in disgrace.

Lindsay Lohan's quondam list (2013), partially redacted for publication by In Touch magazine.

Because her hectic lifestyle had for a decade-odd been chronicled (accurately and not) by the tabloid press, even before In Touch magazine in 2014 published a partially redacted list of three-dozen names Lindsay Lohan had in her own hand compiled of those with whom she’d enjoyed intimacy, she already had a reputation as a serial quondammer.  The list contained 36 names which seemed a reasonable achievement for someone then 27 although it wasn’t clear whether the count of three-dozen quandams was selective or exhaustive and upon publication it produced reactions among those mentioned ranging from “no comment” to denials in the style of a Clintonesque “I did not have sex with that woman”.  Other points of interest included Ms Lohan's apparently intact short & long-term memory and her commendably neat handwriting.  She seems to favor the “first letter bigger” style in which the format is “all capitals” but the first letter of a sentence or with proper nouns such as names is larger.  In typography, the idea is derived from the “drop cap”, a centuries-old tradition in publishing where the opening letter of a sentence is many times the size of the rest, the text wrapping around the big letter.  In many cases, a drop cap was an elaborate or stylized version of the letter.  Her writing was praised as neat and effortlessly legible.  

Ms Lohan was about as pleased the list had been published as Gore Vidal (1925–2012) might have been if gifted the complete anthology (deluxe edition, leather bound with commentaries by the author) of the works of Joyce Carol Oates (b 1938).  It transpired the list of 36 was written as part of the fifth step of the Alcoholics Anonymous (AA) programme Ms Loan was in 2013 undertaking at the Betty Ford Clinic; that is known informally as the “Confession” step and it encourages members to acknowledge the harm caused to themselves and others in their pursuit of alcohol: “Admitted to God, to oneself, and to another human being the exact nature of our wrongs.”  Legally, despite being tagged “confession”, US courts have never extended to the AA the same status of privileged communication which conferred on what passes between penitent and priest in the confession box so committing one’s sins to paper is doubly dangerous.  Subsequently interviewed, Ms Lohan said she could “neither confirm or deny” the accuracy of the list but seemed to confirm what In Touch had published appeared to be a photograph of what she’d written.  That was an interesting distinction to draw but who took the photograph remains a mystery although she concluded: “Someone when I was moving must have taken a photo of it”, adding: “So that’s a really personal thing and that’s unfortunate.”  Ms Lohan’s best-known quondam remains former special friend Samantha Ronson.

There is also much quondamism among those disillusioned by the cults of which they were once devoted followers and there have been many confessed Freemasons who abandoned the pseudo-faith, denouncing it as they stormed from the temple vowing never to return.  Although the Freemasons have centuries of experience in conducting cover-ups and are suspected to have infiltrated many news organizations, the fragmentation of the media in the internet age has meant stories sometimes do hit the headlines.  In 2024, the Rev Canon Dr Joseph Morrow (b 1954) not only resigned as Grand Master of The Freemasons of Scotland but also ceased to be a Mason.  Dr Morrow’s very public exit from the cult saw a flurry of speculation about what low skulduggery might have been involved, suggestions the he had been undermined by a “traditionalist” Masonic faction opposed to his plans to “modernize the craft”.  The conservatives clearly liked things the way then were and it seems there were tensions between members, some spooked by Dr Morrow pledged to oversee reform and widen recruitment, saying: “We will expand the global presence of Scottish freemasonry by inspiring our members to enjoy their involvement and by attracting new members.  This will be achieved by cultivating a positive culture of inclusivity and a meaningful impact on our communities.”  That must have sounded ominously like a DEI (diversity, equity & inclusion) agenda, not welcome by many in the all-male institution that is Scottish-rite Masonry and hearing Dr Morrow speak of “greater transparency” would have sat not well with those who prize Masonic secrecy and opaqueness.

Quondom Grand Master & quondom Freemason Dr Joseph Morrow in his Masonic Grand Master regalia.  Note the ceremonial apron being worn underneath jacket, a style almost unique to The Ancient and Accepted Scottish Rite of Freemasonry.

Suggestions were published alleging Dr Morrow left the cult because he’d learned the traditionalist faction was plotting and scheming against him, planning to propose an alternative grand master while he was on holiday in the Far East; his departure was said to be a case of “jumping before he was pushed”.  Circling the aprons, a spokesman for the Grand Lodge (1) denied any dissident members were plotting and scheming a palace coup, (2) claimed Dr Morrow had never raised “significant concerns”, (3) asserted: “No other candidate was planning to stand against him” and (4) maintained “Dr Morrow’s decision to resign was made for his own personal reasons.”  He concluded: “We are grateful for the huge contribution he has made to Scottish Freemasonry over many years and wish him well for the future.”  Whatever really happened, following his abrupt departure, the quondom Grand Master is also a quondom Freemason.

Effectuate

Effectuate (pronounced ih-fek-choo-yet)

To bring about; give effect to; cause to happen; accomplish; carry out (a wish, order, plan etc).

1570–1580: From the Medieval Latin effectuatus (brought to pass), the past participle of the Renaissance Latin effectuare, the construct being effectu- (stem of effectus (effect) + -atus.  It’s assumed the Medieval Latin was influenced by the Middle French effectuer.  The Latin suffix -ātus was from the Proto-Italic -ātos, from the primitive Indo-European -ehtos.  It’s regarded as a "pseudo-participle" and perhaps related to –tus although though similar formations in other Indo-European languages indicate it was distinct from it already in early Indo-European times.  It was cognate with the Proto-Slavic –atъ and the Proto-Germanic -ōdaz (the English form being -ed (having).  The feminine form was –āta, the neuter –ātum and it was used to form adjectives from nouns indicating the possession of a thing or a quality.  In biology, the noun effector (plural effectors) describes (1) any muscle, organ etc. that can respond to a stimulus from a nerve, (2) the part of a nerve that carries a stimulus to a muscle etc or (3) any small molecule that effects the function of an enzyme by binding to an allosteric site (all some sort of actuator).  Effectuate & effectuating are verbs, effectuator is a noun, effectuation is a noun and effectuated is a verb & adjective; the noun plural is effectuators.

In his A Dictionary of Modern English Usage (1926), Henry Fowler (1858–1933) summed up the cluster of “effect” words with his usual efficiency: Historically, effective, effectual, efficacious & efficient all meant “having an effect, but use varied with both different applications and some often disregarded shades of meaning.  Effective means “having a definite or desired effect, existing in fact rather than theoretically, coming into operation”.  Efficacious should be applied only to things and has long been popular in medicine (treatments, drug regimes etc) and means “certain to have or usually having the desired effect”.  Efficient applies to agents or their actions or to instruments etc, meaning “capable of producing the desired effect, not incompetent or unequal to a task.  Effectual applies to actions apart from the agent and means not falling short of the complete effect aimed at while effective applies to the thing done (or its doer as such) and means having a high degree of effect. 

Something is effectual if the intended result is produced and there’re are degrees of effectiveness, the comparative being “more effectual”, the superlative “most effectual”, and as early as the early sixteenth century the most formal (and still popular) way of expressing that was to suggest something has been efficacious (the comparative “more efficacious”, the superlative “most efficacious”).  Historically, efficacious was a synonym of effective but the latter has been co-opted for many purposes so efficacious gained a career as a “decorative word” of the “dinner party” type.  The act referenced is one of “effectuation” (the act of effectuating) and the antonym is inefficacious.  One who effects the effectuation is an effectuator.  So, effectuate means “to cause something to happen" or “to bring about an effect” and it entered English in the early 1600s with a formal or legal tone, something retained to this day; the legal connection is the distinction between “facilitate” (make it possible for something to be effectuated) and effectuate (do something which has earlier been facilitated).  It’s a useful distinction for lawyers to draw and something like the way cosmologists differentiate between a “point in time” and a “point in space”, something which apparently becomes of increasing significance the further one travels (in theory) from Earth.  To most of us that’s the difference between “when” and “where” but cosmologists understand there’s some overlap between the two.

Google ngram: Effectuate's pattern of use, 1800-2022.  Never a word in common use, it has never gone away and has apparently low been a favorite in essays by students of law and political science.

Because of the way Google harvests data for their ngrams, they’re not literally a tracking of the use of a word in society but can be usefully indicative of certain trends, (although one is never quite sure which trend(s)), especially over decades.  As a record of actual aggregate use, ngrams are not wholly reliable because: (1) the sub-set of texts Google uses is slanted towards the scientific & academic and (2) the technical limitations imposed by the use of OCR (optical character recognition) when handling older texts of sometime dubious legibility (a process AI should improve).  Where numbers bounce around, this may reflect either: (1) peaks and troughs in use for some reason or (2) some quirk in the data harvested.

Karoline Leavitt, the White House, 2025.

Definitely on planet Earth (though sometimes accused of existing in a parallel reality of “alternative facts”), the White House recently introduced many to the word “effectuate”, Karoline Leavitt (b 1997; White House press secretary since 2025) explaining that while the USSC (US Supreme Court) had ruled it was the administration's responsibility to “facilitate the return” of a migrant mistakenly sent to a prison in El Salvador, but “not to effectuate the return.”  That is a reasonable interpretation of the practicalities and not mere legal sophistry because while the court’s unanimous ruling means is the administration has to “make possible” the return of the party. It seems not to impose an obligation actually to make the travel arrangements.

However, this exchange between the two “co-equal” branches of government is merely emblematic of a fundamental dispute in which the Trump administration does not wish to acknowledge the courts may intervene in its efforts to effectuate, on a truly grand scale, mass deportation.  At this stage the White House seems to have decided not to engage in outright defiance and pursue instead strategy of “paralysis by analysis”.  The Supreme Court upheld an order from the US District requiring the DoJ (Department of Justice) to submit plans “to facilitate and effectuate” the return but the DoJ asked the hearing be delayed so it might “evaluate” the USSC’s ruling.  After further extensions of the deadline were granted, the DoJ asserted the court had set an “impractical” deadline and had provided “insufficient” time for plans to be drawn up, adding the department didn’t fully understand the order, given the court had not clarified what it means to “facilitate” or “effectuate” the return.  The USSC refrained from suggesting the DoJ’s lawyers consult a dictionary and instructed the District Court to issue a clarification of “the intended scope of the term ‘effectuate’” but did confirm the order to “facilitate” the return was valid.

There is nothing new in tensions between an administration wanting to do things (often stuff claimed to enjoy an electoral mandate) and courts which insist things, however popular, must be effectuated in accord with the constitution and as long ago as 2019 Donald Trump (b 1946; US president 2017-2021 and since 2025) had discussed Article II (The Executive) of the constitution, claiming it meant “…I have the right to do whatever I want as president.”  Ominous as that may sound, especially in the light of the USSC’s extraordinary 2024 ruling in the matter of presidential immunity from prosecution, it seems still not quite at the point either of that asserted by Richard Nixon (1913-1994; US president 1969-1974 and a trained lawyer) who held “if the president does it, it can’t be illegal” or the state of law in the Third Reich (1933-1945) which by 1943 (at the latest) had degenerated to the point where law had become “what the Führer says it is”.

In democratic societies, respect for the rule of law and constitutions are important and there have been many states in which orders from courts habitually are defied or simply ignored.  The respect is vital because in terms of enforcement of will the difference between the executive and judicial institutions truly is striking; one side with police forces, an army, navy & air force and the other with word processors and shelves of books containing statutes and precedents.  In terms of raw power therefore, all the courts have is moral authority and the expectation others will respect the law while, if so minded, an executive can be of the “…and how many divisions has he got?” school.

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

That school of thought has often been ascribed to Andrew Jackson (1767–1845; US president 1829-1837) who is reputed to have said of a judgment by the chief justice (John Marshall (1755–1835; chief justice of the US 1801-1835) with which he disagreed: “John Marshall has made his decision; now let him enforce it!”  The “quotation” was not revealed until some two decades after Jackson’s death when it appeared in Horace Greeley’s (1811–1872) The American Conflict: A History of the Great Rebellion in the United States of America, 1860–1864 (in two volumes, 1864 & 1866) and most think it apocryphal.  Greeley was usually informative and often entertaining and while that exact sentence may never has passed the president’s lips, historians generally agree it was an accurate paraphrase of the sentiments he at the time expressed to many and, had the court requested the assistance of the executive in enforcing the order, it’s not certain Jackson would have followed constitutional precedent and complied.  As things turned out, no request was ever issued so there never was a “constitutional crisis” but the matter does emphasize how vital it is for the executive (which alone possesses the means of force) to respect the role of the courts which have only a moral authority.