Torch

Torch (pronounced tawrch)

(1) A light to be carried in the hand, consisting of some combustible substance, as resinous wood, or of twisted flax or the like soaked with tallow or other flammable substance, ignited at the upper end.

(2) A portable light-source (now almost universally electric and battery or solar powered); use rare in the US where the preferred term is “flashlight”.

(3) Any of various lamp-like devices that produce a hot flame and are used for soldering, burning off paint etc (blowtorch, oxy-gas torch et al).

(4) Figuratively, something considered as a source of illumination, enlightenment, guidance etc.

(5) In slang, an arsonist (one who to set fires maliciously (ie “torches” stuff).

(6) To burn or flare up like a torch.

(7) As “torch singer”, one who sings “torch songs” (pieces lamenting an unrequited love by one who still “carries a torch” for their object of desire).

(8) As “pass the torch”, the idea (sometimes inter-generational) of a responsibility or office being handed to a successor (synonymous with “pass the baton”).

(9) To insult someone or something, to ruin the reputation of someone or something; to release damaging claims about someone or something (a generalized term, particular flavors of such “torchings” on the internet often now described with specific terms).

1250–1300: From the Middle English noun torch & torche, from the Old French torche & torque (torch; bundle of straw), from the unattested Vulgar Latin torca (something twisted; coiled object) from the Latin torqua, a variant of torquis, from torqueō (twist), from the primitive Indo-European root PIE root terkw- (to twist).  In a very modern twist, it’s from this source that the OnlyFans favourite “twerking” comes.  From the Latin is drawn the modern measure of specific energy (twisting effort): “torque”), the original sense being a “torch formed of twisted tow dipped in wax”.  By at least the 1620s “torch” was in figurative use describing “a source of inspiration or guidance”.  Quite when the term “torch-bearer” (in the literal sense) was first used isn’t known but it’s a very old job and likely therefore also to be used as long as the word “torch” although use seems not to have been documented before the early fifteenth century.  The figurative sense of s “torch-bearer” being the “leader of a cause” dates from the 1530s.  The slang sense of “an arsonist” dates from 1938.  In the way these things happen, electrically powered portable light-sources usually are called “flashlights” in US use while “torch” tended to predominate elsewhere in the English-speaking world although, because so many products are now marketed internationally as “flashlight”, the use has spread.  The verb torch dates from circa 1819 in the sense of “illuminate with a torch” and was derived from the noun while as a regional or dialectal form by mid century it was used to mean “flare up, rise like flame or smoke from a torch”.  In US use, the meaning “set fire to” was in use by 1931, this extended by 1938 to “arsonist”.  Torch & torching are nouns & verbs, torcher is a noun, torched is a verb and torchable, torchless & torchlike (also as torch-like) are adjectives; the noun plural is torches.

In Greek mythology, Θᾰ́νᾰτος (Thánatos) was the personification of Death.  Thánatos was from θνῄσκω (thnēskō) (I die, I am dying) and although his name was transliterated in Latin as Thanatus, his counterpart in Roman mythology was Mors or Letum.  In the Iliad, Thánatos appears as the brother of Sleep (Hypnos) and according to the 7-8^th century BC Ancient Greek poet Hesiod, these two spirits were the sons of Nyx (the personification of the night and its goddess).  The sister of Ertebus and daughter of Chaos, her realm was the far west far beyond the land of Atlas and as well as Death & Sleep, she was the mother of a number of abstract forces including Morus (Destiny), Momus (Reproach), Oizys (Distress), the Moirae (Nemesis), Apate (Deceit), Philotes (Love), Geras (Old Age), Eris (Strife), and the Hesperides (the nymphs of the Setting Sun).  As a dramatic device, Thánatos sometimes appeared as a character in Greek theatre but his presence was otherwise rare.  When he appeared in paintings or sculpture, it was often with the torch he held in his hand being upside-down, signifying death or the end-of-life.

A cooking torch being used to apply a finishing touch to a lemon meringue pie.

There are all sorts of torches including “blow-torch” (a gas-powered tool used by plumbers), “cooking torch” (a gas-powered tool used by chefs usually to induce some sort of “burnt” effect on the surface of dishes), “cutting torch” (the tool attached to cylinders of oxygen & acetylene (ie oxy-acetylene) which, when combined and ignited, enable metal to be cut or joined, “fusion torch” (in nuclear physics, a technique using the high-temperature plasma of a fusion reactor to break apart other materials (especially waste materials) and convert them into reusable elements, “weed torch” (A torch used to kill weeds by means of a high-temperature propane flame, the attraction being precision (ie can be used in close proximity to desirable plants one wishes not to kill) and avoiding the use chemicals or disrupting the soil, “pen torch” (also as “pen-light”) small torches built into functional pens.

In the history of World War II (1939-1945), the word “torch” is most associated with “Operation Torch”, the Allied invasion of French North Africa, conducted between 8–16 November 1942.  One of those “compromises” thrashed out between the British and Americans in the mechanism of the Combined Chiefs of Staff (CCS), it was a vital component in the rhythm of the conflict because (1) it allowed a final “mopping up” of the Axis forces in North Africa, (2) introduced US forces to the European theatre (albeit in Africa) and (3) removed any threat to the Allied control of the Mediterranean, (4) secured Middle East oil supplies and (5) made possible later military action in Italy & southern France.  There was though also a “torch” footnote in the history of the war.  Before things turned against him, Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) would sometimes make (usually inept) attempts at humor and, early in 1941 when the invasion of the Soviet Union was going well, the Führerhauptquartiere (Leader’s Headquarters) was the Wolfsschanze (Wolf's Lair) near the East Prussian town of Rastenburg (now Kętrzyn in present-day Poland).  There one night, he found one of his secretaries (Christa Schroeder (1908–1984)) wandering in the darkness saying she couldn’t find her torch.  He claimed innocence, arguing: “I’m a country thief (Ländledieb) thief, not a lamp (Lämpledieb) thief”.  That was about as good as Anführerhumor got.

Passing the Torch

In use since the late nineteenth century, the idiomatic phrase “pass the torch” is a metaphor drawn from Antiquity: the λαμπαδηδρομία (lampadēdromía) (torch-races), a feature at many festivals in Ancient Greece.  These were relay events, run over a variety of distances, each team member carrying a burning torch, the prize awarded to the team whose runner crossed the finish line first with the torch still burning.  That is of course the long accepted myth but many modern historians regard the "torch relay" from Antiquity as a "manufactured myth", one of many emerged in the centuries long after the purported events were said to have transpired.  The idea entered modern athletics in relay events where each runner carries a baton which they hand to the competitor about to run the next leg (thus “pass the baton” being synonymous with “pass the torch”).  The torch relay idea was revived for 1936 Summer Olympic Games in Berlin and has since been a feature of all games (winter & summer), the design of the devices now part of Olympic history.   

Berlin, 1936.

So much publicity did the torch run from Olympia in Greece to Berlin attract as a prelude to the 1936 Olympic games that it has since been a feature of every subsequent summer & winter games (and within five years the Nazis would occupy Greece although not willingly).  The 1936 run was a genuine relay which involved over 3,000 in a route which included Greece (which within five years the Nazis would occupy although not willingly, Bulgaria, Yugoslavia (invaded by the Nazis in 1941), Hungary (invaded by the Nazis in 1944), Austria (annexed by the Nazis in 1938), Czechoslovakia (annexed by the Nazis in 1938-1939) & Germany.

Rendered in steel and fueled by a flammable paste inside a magnesium tube, each load had a burning time for some 10 minutes, ideal for the relay schedule but there were quality control problems with one batch of torches so the Nazis cheated, some of the torchbearers in more rural regions being driven by car.  The decision to use a torch was a deliberate attempt to link the Third Reich with the classical civilizations of Antiquity.  Although symbolic fires had been kept alight during the games at Amsterdam (1928) and Los Angeles (1932), neither had been lit with flame carried from Olympia in a torch relay.  The first intention of the Berlin organizing committee had been to remain true to the old ways, creating torches of hardwood topped with bundles of narthex stalks, taken from a Mediterranean tree known for its slow combustion but tests soon revealed this to be impractical and so metal torches were fabricated.

Mexico City, 1968.

One of the more pleasing designs was that used for the 1968 summer games in Mexico City.  In a then novel touch, the torch was produced in four versions: (1) An all-steel construction with vertical grooves present on the whole body of the torch, (2) A similar design to the first type except for the bottom part of the body which featured a black leather handle, (3) A design which included a handle made partly from wood and a motif featuring a dove was repeated on the upper part and (4) A silver ring with repeated dove motifs was added to decorate the top of the torch while the caption “Mexico” was reproduced twice at the base of the handle.  Depending on which method of construction was used, the fuel load varied, the solid mix including nitrates, sulphurs, alkaline metal carbonates, resins and silicones.

Lake Placid, 1980.

According to the organizing committee, the design and choice of materials used for the torch for the XIII Olympic Winter Games held at New York’s Lake Placid in 1980 was intended to symbolize the blending of modern technology and the traditions of Ancient Greece.  Accordingly, it was constructed of metal with a bronze finish, a handle wrapped in leather and as fuel it used liquid propane, each torch able to remain alight for an impressive 40 minutes.  The sole decorative element was a silver ring where metal met leather, the inscription reading: “XIII Olympic Winter Games Lake Placid 1980”. Although it pre-dated both the personal computer (PC) revolution and the internet, apparently there was some use of computers in the design.    The committee described the shape of the bowl as a tribute to classical Greek architecture but many couldn’t help but notice some resemblance to a certain plumbing tool.

President Biden passes the torch

Opinion seems divided on whether the remarkable “Pass the torch Joe” advertisement a Democratic Party Super Political Action Committee (PAC) paid to run on what is known to be one of Joe Biden’s (b 1942; US president since 2021) favorite television shows had much to do with his decision to withdraw from seeking his party’s nomination for a second term.  Even if not decisive however, for a Super PAC publicly (and expensively) to advocate something which is usually an internal party matter must have had some sort of “shock effect” on the president because it was unprecedented; to him it must have been something like seeing "something nasty in the woodshed".  While the Super PAC structure is not exclusive to US politics, the American devices (created essentially as a work-around of tiresome campaign finance laws) work on a grand scale compared with those in other countries but previously they have exclusively been devoted to promoting a candidate, not airing the dirty laundry.

The Super PAC’s message (best translated as “Joe, you’re too old and senile to do this”) wasn’t new because it had (in sanitized form) since the first presidential debate in June been either stated or selectively leaked by any number of party grandees including a former president, a former speaker and leading Democrats in both houses of Congress.  That might have been manageable by the Biden faction but what was not was the flow of funds from party donors drying up, another candidate being the only conduction of resumption.  The Super PAC’s choice of “pass the torch” as a metaphor was clever because (1) it’s well understood and (2) with its classical origin it lends an air of nobility, the idea being the old warrior, standing undefeated, handing the torch to someone who was after all his chosen deputy.  Of course, what was left unspoken was that in Ancient Greece the point of the exercise was the torch has to be passed while still aflame, the question being whether it has in Mr Biden’s increasingly unsteady grip, blown out, leaving only smoking embers.

On the way out; on the way in: Time magazine covers after the debate (left) and after the tweet (right).  What the latter cover lacked was a word to replace "panic".  The editorial board would have discussed the matter, pondering possibly "faith", "hope" or "desperation" before deciding to leave it to the readers.  The choice of red for the background was interesting.

By Sunday 21 July it seems the cold hard numbers had been assembled and presented to Mr Biden, explaining that not only could he not win the presidency but that with him as a candidate, The Democrats would likely lose control of the Senate and the Republicans would increase their majority in the House of Representatives.  Senile or not, Mr Biden can still comprehend basic electoral arithmetic and understand the implication for his “legacy” were he to cling to something his very presence was making a losing cause.  His statement on X (formerly known as Twitter) was essentially the same as that of Lyndon Johnson (LBJ, 1908–1973; US president 1963-1969) who realized the war in Vietnam had destroyed his presidency:

President Biden, 2024 (edited): “My Fellow Americans, over the past three-and-a-half years, we have made great progress as a nation.  Today, America has the strongest economy in the world.  America has never been better positioned to lead than we are today.  I know none of this could have been done without you, the American people.  Together, we overcame a once in a century pandemic and the worst economic crisis since the Great Depression.  We've protected and preserved our democracy. And we've revitalised and strengthened our alliances around the world.”

“It has been the greatest honour of my life to serve as your President. And while it has been my intention to seek re-election, I believe it is in the best interest of my party and the country for me to stand down and to focus solely on fulfilling my duties as President for the remainder of my term.  For now, let me express my deepest gratitude to all those who have worked so hard to see me re-elected.  I want to thank Vice President Kamala Harris for being an extraordinary partner in all this work. And let me express my heartfelt appreciation to the American people for the faith and trust you have placed in me.”

The Washington Post, 1 April 1968.

President Johnson, 1968 (edited): “With America's sons in the fields far away, with America's future under challenge right here at home, with our hopes and the world's hopes for peace in the balance every day, I do not believe that I should devote an hour or a day of my time to any personal partisan causes or to any duties other than the awesome duties of this office — the presidency of this country.  Accordingly, I shall not seek, and I will not accept, the nomination of my party for another term as your president.”

Not all were happy when crooked old Lyndon announced he would not seek another term, Carl Giles (1916–1995), Daily Express, 2 April 1968.  Reaction to senile old Joe's tweet will also be mixed.

LBJ’s legacy is now better regarded than would have been thought likely in 1968 but it’s not possible to predict what will be the fate of Mr Biden’s except to say it will at least be influenced by the outcome of the 2024 election and perception of what part his long delayed withdrawal from the contest played.  The comparisons with 1968 are inevitable for a number of reasons, not least because both presidents were products of and operatives in the Democratic Party machine and both achieved the highest office in unlikely circumstances, having earlier failed while attempting a more conventional path.  The other echo of 1968 is the prospect of an open party convention in Chicago, something the political junkies would welcome for the same reasons the party leadership will wish to avoid one; on both sides, the conventions have for decades been stage-managed affairs, something in no small part encouraged by the scenes of violence and chaos in Chicago in 1968.  Thus, what’s planned is to have Kamala Harris (b 1964; US vice president since 2021) position on the ticket stitched up by a “virtual vote” of the delegates, well in advance of the mid-August convention which can then be allowed to function as a combination of coronation and formal campaign launch.  Details about which white, male governor of which battleground state will be named as running mate have yet to be confirmed.  It’s impossible to say how good Ms Harris will be as a candidate (or for that matter as president) because until they’re in the arena (having “the blowtorch applied to the belly” as Neville Wran (1926–2014; premier of the Australian state of New South Wales (NSW) 1976-1986) put it), it won’t be known and political history is littered with examples of those of whom much was expected yet failed and of those expected to fail yet who prospered for a decade or more and not un-noticed in both parties is her unprecedented electoral advantage in being (1) not white and (2) not male, thus making available at any time accusations of racism or misogyny.  Already, some Republicans are complaining she’ll be “bubble-wrapped” by the liberal media (the outfits Mr Trump calls “the fake new media”) and they’re suggesting that any time a difficult question is asked (presumably by Fox News) it’ll be answered by “that’s sexist” or “that’s racist”.  Played selectively, they can be good cards.

So the 2024 election will be a very modern campaign.  One who must be mulling over the wisdom of doing such a good job in making Mr Biden’s candidature untenable is Donald Trump (b 1946; US president 2017-2021) and it was notable that in the hours after Mr Biden’s tweet, he couldn’t resist continuing his attacks of the person no longer his opponent.  It was flogging a dead horse but presumably his team had no more appropriate material available for his use.  The Trump campaign team certainly has a problem in that all the resources they have for months devoted to honing the attacks for a Trump-Biden re-match and it’s unlikely much can be re-purposed for a Trump-Harris bout.  Tellingly, perhaps because of concerns about the “racism, sexism thing”, not much thought seems to have been given to Ms Harris and even the occasionally used “laffin’ Kamala” has nothing like the ring of “crooked Hillary”, “sleepy Joe”, “the Biden crime family”, “low energy Jeb”, “crazy Bernie” “lyin’ Ted”, “Mini Mike” or any of the other monikers he used to so effectively import into political campaigning the techniques he’d perfected on reality television.  He does deliberately mispronounce “Kamala” (which, like “lafin’”, some have suggested is a coded racial slur) and, apparently impromptu, recently said “she’s nuts” but none of that suggests anything which had been well-workshopped.  The team will be aware that when dealing with a PoC (person of color) there must be caution so it'll be interesting to see what they come up with.  That caution meant Mr Trump must have regretted he couldn't use the gay slur "mayor Buttplug" of Pete Buttigieg (b 1982 US secretary of transportation since 2021), an allusion to him being (as it's still put in sections of the Republican Party) "a confessed homosexual" because "Alfred E Newman" didn't catch on, Mad Magazine now too remote for most of the population; "must be a generational thing" Mr Buttigieg said, explaining it baffled him although the resemblance certainly was striking.  

It is a whole new dynamic for the campaign but what hasn’t changed is that just as there was no great pro-Biden feeling, nor is there yet much of a pro-Harris feeling (although there may be a pro-woman & pro-PoC factor) and the 2024 poll remains pro-Trump vs anti-Trump.  Unlike a week ago, a Democrat victory is now something many are contemplating.  The critical factors are abortion which in recent months has proved an electoral asset for the Democrats and the potential a PoC has to entice to vote the habitually politically disconnected.  To win the election a party needs a surprisingly small number of these recalcitrant souls to turn out and it’s worth remembering that both Mr Biden and crooked Hillary Clinton (b 1947; US secretary of state 2009-2013) in 2020 & 2016 respectively anyway received substantially more votes than Mr Trump.  The 2024 election can go either way and is now interesting in a way it wasn’t a week ago.

Torch Songs

The notion of “keeping the torch burning” refers to those who remain faithful to causes often thought doomed.  Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) for example never gave up the idea the Orthodox Church might one day return to communion with Rome and thus always “kept burning on the ramparts a torch to guide home the wandering daughter who ran off to Constantinople.”  It’s used also of those who never abandon the idea they might yet be reconciled with a long-lost lover and it’s those feelings which inspire the writers of “torch songs” although they are often tales of unrequited love.  Most “torch singers” seem these days to be women but the original pieces described as “torch songs” during the 1920s were performed by men although when “torch singer” came into wider use the next decades, it seems mostly to be used of women.

Over, a Lindsay Lohan torch song (official music video).

Over by John Shanks, Kara Dioguardi & Lindsay Lohan, © BMG Rights Management, Sony-ATV Music Publishing, Universal Music Publishing Group, released in 2004 on the album Speak.

I watch the walls around me crumble

But it's not like I won't build them up again

So here's your last change for redemption

So take it while it lasts because it will end

My tears are turning into time I've wasted trying to find a reason for goodbye

I can't live without you

Can't breathe without you

I'm dreamin' 'bout you honestly

Tell me that it’s over

'Cause if the world is spinning and I'm still living

It won't be right if we're not in it together

Tell me that it's over

And I'll be the first to go

Don't want to be the last to know

I won't be the one to chase you

But at the same time you're the heart that I call home

I'm always stuck with these emotions

And the more I try to feel the less I'm whole

My tears are turning into time

I've wasted trying to find a reason for goodbye

I can't live without you

Can't breathe without you

I'm dreamin' 'bout you honestly

Tell me that its over

'Cause if the world is spinning and I'm still living

It won't be right if we're not in it together

Tell me that it's over

And I'll be the first to go

Yeah, I'll be the first to go

Don't want to be the last to know

Over, over, over

My tears are turning into time

I've wasted trying to find a reason for goodbye

I can't live without you

Can't breathe without you

I'm dreamin' bout you honestly

Tell me that it’s over

'Cause if the world is spinning and I'm still living

It won't be right if we're not in it together

Tell me that it's over

Tell me that it's over

Honestly tell me,

Honestly tell me,

Don't tell me that it's over

Don't tell me that it's over.

Purgatory

Purgatory (pronounced pur-guh-tree (U), pur-guh-tawr-ee (non-U) or pur-guh-tohr-ee (non-U)

(1) In the orthodox theology of the Roman Catholic Church (and in some other Christian denominations), a condition or place in which the souls of those dying penitent (in a state of grace) are purified from venial sins, or undergo the temporal punishment that, after the guilt of mortal sin has been remitted, still remains to be endured by the sinner.

(2) In the Italian Purgatorio (pronounced poor-gah-taw-ryaw), the second part of Dante's (Dante Alighieri (circa 1265–1321)) Divine Comedy (1320), in which repentant sinners are depicted.

(3) Any condition or place of temporary punishment, suffering, expiation, or the like; any place of suffering, usually for past misdeeds.

(4) Serving to cleanse, purify, or expiate.

1160-1180: From the Middle English purgatorie (place or condition of temporal punishment for spiritual cleansing after death of souls dying penitent and destined ultimately for Heaven), from the Old French purgatore & purgatorie, from the Medieval Latin pūrgātōrium (means of cleaning), noun use of neuter of the Late Latin pūrgātōrius (purging, literally “place of clensing”), the construct being pūrgā(re) (to purge) + -tōrius (-tory), the adjectival suffix, from purgat-, past-participle stem of pūrgāre (to purge, cleanse, purify).  The adjectival form developed in the late thirteenth century, independent of the evolution in Church Latin.  The figurative use (state of mental or emotional suffering, expiation etc) dates from the late fourteenth century, originally used poetically especially despairingly when speaking of unrequited love, or (and this may seem a paradox to same and merely descriptive to others), of marriage.   In old New England it was used of narrow gorges and steep-sided ravines, a reference to the difficulties to be dad when negotiating such terrain.  Purgatory, purgatorium & purgatorian are nouns and purgatorial is an adjective; the noun plural is purgatories.

Mankind's Eternal Dilemma: The Choice Between Virtue and Vice (1633) by Frans Francken the Younger (1581–1642), Museum of Fine Arts (MFA), Boston.

In the teachings of the Roman Catholic Church, the purgatory is the condition of souls of the dead who die with punishment but not damnation due them for their sins committed on Earth.  Purgatory is conceived as a condition of suffering and purification that leads to union with God in heaven and is something thus inherently temporary and has always been a bit of a theological problem because it’s not mentioned (or even alluded to) in the Bible.  The usual rationalization of this scriptural lacuna is the argument that prayer for the dead is an ancient practice of Christianity and one which has always assumed the dead can be in a state of suffering, something which the living can improve by their prayers.  Theological positions have hung on thinner strands than that and within Roman Catholicism, purgatory has never attracted the controversy which so excited critics of limbo, a rather more obviously unjust medieval conjecture, but many branches of Western Christianity, notably the Protestant tradition, deny its existence although among the more ritualistic, there are those who conceive purgatory as a place and one often depicted as filled with fire.  The transitory nature of the condition has often encouraged misunderstanding for it is not a place of probation; the ultimate salvation of those in purgatory assured, the impenitent not received into purgatory.  Instead, the souls in purgatory receive relief through the prayers of the faithful and through the sacrifice of the mass, the confusion perhaps arising from the imagining the destructive nature of fire on Earth whereas upon the soul with no earthly attachment, it can be only cleansing.

So purgatory is the state of those who die in God's grace but are not yet perfectly purified; they are guaranteed eternal salvation but must undergo purification after death to gain the holiness needed to enter heaven.  The purgatory, the framework of which was fully developed at the Councils of Florence (1431-1449) and Trent (1545 and 1563), is totally different from the punishment of the damned who are subject to a cleansing fire, the scriptural explanation being "The person will be saved, but only through fire" (1 Corinthians 3:15) but even then the Church recognized degrees of sin as Pope Gregory I (Saint Gregory the Great, circa 540–604; pope 590-604) helpfully clarified: "As for certain lesser faults, there is a purifying fire."  The possibilities were made explicit during the Council of Trent in the statement “God predestines no one to hell” which made clear that damnation is visited upon sinners only by a persistence in mortal sin until death and God would much prefer "all to come to repentance" (2 Peter 3:9).   In the Roman ritual, the relevant line is "save us from final damnation and count us among those you have chosen" and through purgatory, souls "achieve the holiness necessary to enter the joy of heaven".  Mortal sin incurs both temporal punishment and eternal punishment, venial sin ("forgivable sin” in this context) incurs only temporal punishment. The Catholic Church makes a distinction between the two.

Dante and Virgil Entering Purgatory (1499-1502) by Luca Signorelli (circa 1444-1523), Chapel of San Brizio, Duomo, Orvieto, Italy.  The pair are shown in the first terrace watching souls of the prideful being made to cat stones on their backs.

The noun purgatory appeared perhaps between 1160 and 1180, giving rise to the idea of purgatory as a place but the Roman Catholic tradition of purgatory as a transitional condition has a history that pre-dates even the birth of Christ.  There was, around the world, a widespread practice of both caring for and praying for the dead, the idea that prayer contributed to their purification in the afterlife.  Anthropologists note the ritual practices in other traditions, such as the way medieval Chinese Buddhists would make offerings on behalf of the dead, said to suffer numerous trials so there is nothing novel in the practice which is mentioned in what the Roman Catholic Church has declared to be part of Sacred Scripture, and which was adopted by Christians from the beginning, a practice that pre-supposes that the dead are thereby assisted between death and their entry into their final and eternal abode.

Whether purgatory is actually a place has in Roman circles been discussed for centuries.  In 2011 Pope Benedict XVI (b 1927; pope 2005-2013, pope emeritus since), speaking of Saint Catherine of Genoa (1447–1510), said that in her time the purgatory was pictured as a location in space, but that she saw it as a purifying inner fire, such as she experienced in her profound sorrow for sins committed, such a contrast with God's infinite love.  The failing of man she said was being bound to the desires and suffering that derive from sin and that makes it impossible for the soul to enjoy the beatific vision of God.  Noting that little appeared to have changed, Benedict noted "We too feel how distant we are, how full we are of so many things that we cannot see God. The soul is aware of the immense love and perfect justice of God and consequently suffers for having failed to respond in a correct and perfect way to this love; and love for God itself becomes a flame, love itself cleanses it from the residue of sin."

The Eastern Catholic Churches are Catholic churches sui iuris of Eastern tradition, (in full communion with the Pope) but there are some differences with Rome on aspects of purgatory, mostly relating to terminology and speculation.  The Eastern Catholic Churches of Greek tradition do not generally use the word "purgatory", but agree that there is a "final purification" for souls destined for heaven and that prayers can help the dead who are in that state of "final purification".  In neither east nor west are these matters thought substantive and are regarded as nuances and differences of tradition.  The Eastern Catholic Churches belonging to the Syriac Tradition (Chaldean, Maronite and Syriac Catholic), generally believe in the concept of Purgatory but use a different name (usually Sheol) and claim there is contradiction with the Latin-Catholic doctrine.  Rome appears never to have pursued the matter.

La Divina Commedia di Dante (Dante and His Poem), oil on canvas by Domenico di Michelino  (1417–1491) after Alesso Baldovinetti  (1425–1499), collection of Florence Cathedral, Italy.  This work, in depicting the seven terraces in the form of the mountain were one approach to Dante's Purgatory, the other a focus on one level. 

The Eastern Orthodox Church rejects the term "purgatory" but does admit an intermediate state after death, the determination of Heaven and Hell being stated in the Bible and it notes prayer for the dead is necessary.  The position of Constantinople and environs is that the moral progress of the soul, for better or worse, ends at the very moment of the separation of body and soul; it is in that instant the definite destiny of the soul in the everlasting life is decided.  There is no way of repentance, no way of escape, no reincarnation and no help from the outside world, the eternal place of the soul decided forever by its Creator and judge.  Thus the Orthodox position is that while all undergo judgment upon death, neither the just nor the wicked attain the final state of bliss or punishment before the last day, the obvious exception being the righteous soul of the Theotokos (the Blessed Virgin Mary), "who was borne by the angels directly to heaven".

Generally, Protestant churches reject the doctrine of purgatory although more than one Archbishop of Canterbury may have come to regard Lambeth Palace as Purgatory on Earth.  One of Protestantism's most cited tenets is sola scriptura (scripture alone) and because the Bible (from which Protestants exclude deuterocanonical books such as 2 Maccabees) contains no obvious mention of purgatory, it’s therefore rejected as an unbiblical and thus un-Christian.  There are however variations such as the doctrine of sola fide (by faith alone) which hold that pure faith, apart from any action, is what achieves salvation, and that good deeds are but mere manifestations of that faith so salvation is a discrete event that takes place once for all during one's lifetime, not the result of a transformation of character.  What does seem to complicate that is that most Protestant teaching is that a transformation of character naturally follows the salvation experience; instead of distinguishing between mortal and venial sins, Protestants believe that one's faith dictates one's state of salvation and one's place in the afterlife, those saved by God destined for heaven, those not excluded.  Purgatory is thus impossible.

Divina Commedia, Purgatorio (circa 1478), illuminated manuscript commissioned by Federico da Montefeltro (1422–1482), Vatican Library collection, Rome.  Again, the carring of stones on the first terrace, the style is recognizable in the later schools of mannerism and surrealism.  

Wishing to excise any hint of popery from religion, purgatory was addressed in two of the foundation documents of Anglicanism in the sixteenth century.  Prayers for the departed were deleted in the 1552 revision to the 1549 Book of Common Prayer because they implied a doctrine of purgatory (it was the nineteenth century Anglo-Catholic that saw them restored to some editions) and Article XXII of the the Thirty-Nine Articles of Religion (1571) was most explicit: "The Romish Doctrine concerning Purgatory . . . is a fond thing, vainly invented, and grounded upon no warranty of Scripture, but rather repugnant to the Word of God."  In the twenty-first century, the Anglicans, finding it hard to sit anywhere but on the fence, now say “Purgatory is seldom mentioned in Anglican descriptions or speculations concerning life after death, although many Anglicans believe in a continuing process of growth and development after death.”  The post-modern church writ small; one wonders if the PowerPoint slides of Anglican accountants and Anglican theologians greatly differ.

In Judaism, Gehenna is a place of purification where, according to some traditions, sinners spend up to a year before release.  For some, there are three classes of souls: (1) the righteous who shall at once be written down for the life everlasting, (2) the wicked who shall be damned and (3), those whose virtues and sins counterbalance one another shall go down to Gehenna and float up and down until they rise purified.  Other sects speak only of the good and the bad yet, confusingly, most also mention an intermediate state.  There’s also variance between the traditions regarding the time which purgatory in Gehenna lasts, some saying twelve months and others forty-nine days, both opinions based upon Isaiah 66:23–24: "From one new moon to another and from one Sabbath to another shall all flesh come to worship before Me, and they shall go forth and look upon the carcasses of the men that have transgressed against Me; for their worm shall not die, neither shall their fire be quenched"; the former interpreting the words "from one new moon to another" to signify all the months of a year; the latter interpreting the words "from one Sabbath to another", in accordance with Leviticus 23:15-16, to signify seven weeks.  Whatever the specified duration, there are exceptions made for the souls of the impure which prove resistant to the persuasions of the Gehenna.  According to the Baraita (a Jewish oral law tradition), the souls of the wicked are judged, and after these twelve months are are consumed and transformed into ashes under the feet of the righteous whereas the "great seducers and blasphemers" are to undergo eternal tortures in Gehenna without cessation.  The righteous however and, according to some, also the sinners among the people of Israel for whom Abraham intercedes because they bear the Abrahamic sign of the covenant, are not harmed by the fire of Gehenna even when they are required to pass through the intermediate state of purgatory.

Relief sculpture on a side wall at the Chapel of Souls, (Capilla de Animas) in Compostela, Spain.  These are the souls of the lustful on the seventh terrace, praying for release, which they have been promised will (eventually) be granted by the cleansing flames, something dependent on true repentance.

It was the Florentine poet Dante (Dante Alighieri, circa 1265–1321) who, in the second cantica of the epic poem Divine Comedy (1320) gave the world a vivid depiction of the place he called Purgatorio.  Dante described Purgatory as a mountain which rose on the far side of the world, opposite Jerusalem, with seven terraces, each corresponding to the one of the seven deadly sins, each terrace a place of purification for souls who are penitent and seeking to cleanse themselves of their sins, so to be judged worthy of entering Paradise.  In the valley at the base of the mountain is Ante-Purgatory and here sit the souls of the excommunicated and those who delayed repentance (the so called the “late repentant”) as they await their turn to begin their ascent of the terraces.  Throughout Purgatory, angels and guides assist the souls and Dante's guide is the Roman poet Virgil (symbolizing human reason).  Virgil leads Dante until they reach Earthly Paradise where Beatrice (representing divine wisdom) takes over as the guide to Heaven.

The seven terraces

First Terrace (Pride): Here the souls are humbled by being made to carry heavy stones on their backs, forcing them to bend and contemplate humility.

Second Terrace (Envy): Envious souls are punished by having their eyes sewn shut with twists of iron wire so they may learn to appreciate the beauty of charity and generosity.

Third Terrace (Wrath): Souls of the wrathful Souls enveloped in a thick smoke that blinds them, teaching them to cultivate patience and peace.

Fourth Terrace (Sloth): The slothful are punished by being forced incessantly to run, encouraging diligence and zeal.

Fifth Terrace (Avarice and Prodigality): These souls have to lie face down in the dirt and weep, teaching them to balance their desire for material wealth with the virtues of generosity and moderation.

Sixth Terrace (Gluttony): The gluttonous are starved so extreme hunger and thirst constantly will remind them of the importance of temperance.

Seventh Terrace (Lust): Souls here walk through walls of flames, purging the sin of lust, teaching chastity and love for God.

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

That all sound rather grim but at the mountain’s summit sits the reward: Earthly Paradise (the Garden of Eden).  Here, in this place of peace and beauty, symbolizing the restored innocence and grace, souls are purified completely and ready to ascend to Heaven.  So, the purpose of Dante's Purgatory is less the punishments which must be endured than the possibility of redemption from sin through repentance to purification, leading ultimately to the soul's readiness for Paradise. In this it contrasts with the eternal sufferings which are the fate of those souls condemned to the circles of Hell.

Solemncholy

Solemncholy (pronounced sol-uhm-kol-ee)

(1) Solemn; serious.

(2) Solemn and melancholic.

1772: The construct was solemn +‎ (melan)choly.  The element –choly was never a standard suffix and was a Middle English variant of –colie used in French.  The Middle English adjective solemn dated from the late thirteenth century and was from solemne & solempne, from either Old French or directly from the Late Latin sōlennis & sōlempnis or the Classical Latin sōlemnis, a variant of sollemnis (consecrated, holy; performed or celebrated according to correct religious forms) which has always been of obscure origin although Roman scholars thought it could have come only from sollus (whole; complete), the derivative adjective formed by appending the noun annus (year), thus the idea of sollemnis meaning “taking place every year”.  Not all modern etymologists are convinced by that but acknowledge “some assimilation via folk-etymology is possible”.  In English, the extension of meaning from “annual events; sacred rites, ceremonies, holy days” to “a grave and serious demeanor; mirthless” was associative describing the behaviour expected of individuals attending such events.  Over time, the later sense became dissociated from the actual events and the original meaning became obsolete, surviving only in a handful of formal ecclesiastical calendars.  The word, without any reference to religious ceremonies meaning “marked by seriousness or earnestness” was common by the late fourteenth century, the sense of “fitted to inspire devout reflection” noted within decades.    Solemncholy is an adjective and no sources list the noun solemncholic or the adverb solemncholically as standard forms although, by implication, the need would seem to exist.  Emos presumably apply the adjectival comparative (more solemncholy) & superlative (most solemncholy) and perhaps too (during emo get-togethers) the plural forms solemncholics & solemncholies.

Melancholy was from the Middle English melancolie & malencolie (mental disorder characterized by sullenness, gloom, irritability, and propensity to causeless and violent anger), from the thirteenth century Old French melancolie (black bile; ill disposition, anger, annoyance), from the Late Latin melancholia, from the Ancient Greek μελαγχολία (melancholia) (atrabiliousness; sadness, (literally “excess of black bile”)), the construct being μέλας (mélas) or μελαν- (melan-) (black, dark, murky) + χολή (kholḗ) (bile).  It appeared in Latin as ātra bīlis (black bile) and was for centuries part of orthodox medical diagnosis and the adjectival use was a genuine invention of Middle English although whether the used of the –ly as a component of the suffix was an influence or a product isn’t known.  Pre-modern medicine attributed what would now be called “depression” to excess “black bile”, a secretion of the spleen and one of the body's four “humors” which needed to be “in balance” to ensure physical & mental well-being.  The adjectival use in Middle English to describe “sorrow, gloom” was most associated by unrequited love or doomed affairs but this is likely more the influence of poets than doctors.  As the medical profession’s belief in the four humors declined during the eighteenth century as understanding of human physiology improved, the word was in the mid-1800s picked up by the newly (almost) respectable branch of psychiatry where it remained a defined “condition” until well into the twentieth century.

The physicians from Antiquity attributed mental depression to unnatural or excess "black bile," a secretion of the spleen and one of the body's four "humors," which help form and nourish the body unless altered or present in excessive amounts. The word also was used in Middle English to mean "sorrow, gloom" (brought on by unrequited love, disappointment etc).  In antiquity it was a concept rather than something with a standardized systemization and there existed competing models with more or fewer components but it’s because the description with four was that endorsed by the Greek physician Hippocrates (circa 460–circa 370 BC) that it became famous in the West and absorbed into medical practice.  The four humors of Hippocratic medicine were (1) black bile (μέλαινα χολή (melaina chole)), (2) yellow bile (ξανθη χολή (xanthe chole)), (3) phlegm (φλέγμα (phlegma)) & (4) blood (αἷμα (haima)), each corresponding with the four temperaments of man and linked also to the four seasons: yellow Bile=summer, black bile=autumn, phlegm=winter & blood=spring.  Since antiquity, doctors and scholars wrote both theoretical and clinical works, the words melancholia and melancholy used interchangeably until the nineteenth century when the former came to refer to a pathological condition, the latter to a temperament.  Depression was derived from the Latin verb deprimere (to press down) and from the fourteenth century, "to depress" meant to subjugate or to bring down in spirits and by 1665 was applied to someone having "a great depression of spirit", Dr Johnson (Samuel Johnson, 1709-1784) using the word in a similar sense in 1753.  Later, the term came into use in physiology and economics.

What was for over two-thousand years known as melancholia came gradually to be called depression, a reclassification formalized in the mid-twentieth century when mental illness was subject to codification.  The first edition of the American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM (1952)) included depressive reaction and the DSM-II (1968) added depressive neurosis, defined as an excessive reaction to internal conflict or an identifiable event, and also included a depressive type of manic-depressive psychosis within the category of Major Affective Disorders.  The term Major Depressive Disorder was introduced by a group of US clinicians in the mid-1970s and was incorporated into the DSM-III (1980).  Interestingly, the ancient idea of melancholia survives in modern medical literature in the notion of the melancholic subtype but, from the 1950s, the newly codified definitions of depression were widely accepted (although not without some dissent) and the nomenclature, with enhancements, continued in the DSM-IV (1994) and DSM-5 (2013)

According to the Oxford English Dictionary (OED), the earliest known instance of solemncholy in text dates from 1772 in the writings of Philip Vickers Fithian (1747–1776), peripatetic tutor, missionary & lay-preacher of the Presbyterian denomination of Christianity, now best remembered for his extensive diaries and letters which continue to provide historians with source material relating to the pre-revolutionary north-eastern colonies which would later form the United States of America.  His observations on slavery and the appalling treatment of those of African origin working the plantations in Virginia remain a revealing counterpoint to the rationalizations and justifications (not infrequently on a theological or scriptural basis) offered by many other contemporary Christians.  Those dictionaries which include an entry for solemncholy often note it as one of the humorous constructions in English, based usually on words from other languages or an adaptation of a standard English form.  That’s certainly how it has come to be used but Fithian was a Presbyterian who aspired to the ministry, not a breed noted for jocularity and in his journal entries its clear he intended to word to mean only that he was pursuing serious matters, in 1773 writing: “Being very solemncholy and somewhat tired, I concluded to stay there all night.”

So it was an imaginative rather than a fanciful coining.  In contemporary culture, with mental health conditions increasingly fashionable, solemncholy (although still sometimes, if rarely, used in its original sense) found a new niche among those who wished to intellectualize their troubled state of mind and distinguish their affliction from mere depression which had become a bit common.  In a roundabout way, this meant it found a role too in humor, a joke about someone’s solemncholy still acceptable whereas to poke fun at their depression would be at least a micro-aggression:

Q: Victoria says she suffers from solemncholy.  Do you think that's a real condition?

A: Victoria is an emo; for her solemncholy is a calling.

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

The companion term to solemncholy is the sometimes acronym leucocholy (a state of feeling that accompanies preoccupation with trivial and insipid diversions).  The construct of leucocholy was leuco- + (melan)choly.  The leuco- prefix (which had appeared also as leuko-, leuc- & leuk-) was from the Proto-Hellenic λευκός (leukós) (white; colourless; leucocyte), from the primitive Indo-European lewk- (white; light; bright), the cognates including the Latin lūx, the Sanskrit रोचते (rocate), the Old Armenian լոյս (loys) and the Old English lēoht (light, noun) from which English gained “light”.  In the Ancient Greek, the word evolved to enjoy a range or meanings, just as in would happen English including (1) bright, shining, gleaming, (2) light in color; white, (3) pale-skinned, weakly, cowardly & (4) fair, happy, joyful.  Leucocholy is said to have been coined by the English poet and classical scholar Thomas Gray (1716–1771) whose oeuvre was highly regarded despite being wholly compiled into one slim volume and he’s remembered also for declining appointment as England’s Poet Laureate, thereby forgoing the both the tick of approval from the establishment and the annual cask of “strong wine” which came with the job.  What he meant by a “white melancholy” seems to have been a state of existence in which there may not be joy or enchantment but is pleasant: unfulfilling yet undemanding.  In such a state of mind, as he put it:  ca ne laisse que de s’amuser (which translates most elegantly as something like “all that is left for us is to have some fun”).