Epitaph

Epitaph (pronounced ep-i-taf or ep-i-tahf)

(1) A commemorative inscription on a tomb or mortuary monument about the person buried at that site.

(2) A brief poem or written passage composed in commemoration of a dead person.

(3) A final judgment on a person or thing.

(4) To commemorate in or with an epitaph.

(5) To write or speak after the manner of an epitaph. 

1350–1400: From the Middle English epitaphe (inscription on a tomb or monument), from the Old French epitafe, from the twelfth century Old French epitaphe, from the Latin epitaphium (funeral oration, eulogy), from the Ancient Greek epitáphion (over or at a tomb; a funeral oration), (noun use of neuter of ἐπιτάφιος (epitáphios) ((words) spoken on the occasion of a funeral), the construct being epi- (From the Ancient Greek ἐπί (epí) (at, over; on top of; in addition to (in a special use in chemistry, it denotes an epimeric form))) + τάφος (táph(os)) (tomb) + -ion (the noun-adjectival suffix).  Táphos (tomb, burial, funeral) was related to taphē (interment) & thaptō (to bury) of uncertain origin.  It has long been thought derived (like the Armenian damban (tomb)) from the primitive Indo-European root dhembh- (to dig, bury) but recent scholarship has cast doubts and some etymologists suggest both the Armenian and Greek could be borrowings.  There were equivalent words in the Old English and regional variations were many; the one which survived longest was byrgelsleoð.

The companion words, which differ not only in nuance but in convention of use, include eulogy (an oration about the dead, delivered usually at a funeral or memorial service), obituary (something in written form published soon after death which provides a potted biography and epigraph (a quote engraved on a tombstone, variously plaintive, humorous or barbed).  Not quite the same but very to the point is the Latin hic jacet (literally “here lies”).  Epitaph is a noun or verb (used with object), epitaphic, epitaphial, epitaphed & epitaphless are adjectives, epitaphically is an adverb and epitaphist is a noun.  The noun plural is epitaphs.

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Jonathan Swift's marble memorial, St Patrick's Cathedral, Dublin.

One of the most celebrated epitaphs in English was saeva indignatio (literally “savage indignation”) which appeared on the tomb of the delightfully wicked Anglo-Irish satirist & poet Jonathan Swift (1667-1745), expressing a resigned contempt at human folly.  Swift is probably best remembered for Gulliver's Travels (1726) but it was A Modest Proposal (1729) which defined the genre of satire and work in this vein is often still labeled "Swiftian".  Swift started his political life as a Whig but ended it a Tory, becoming an Anglican cleric who was appointed Dean of St Patrick's Cathedral, Dublin.

Swift not only wrote his own epitaph but left instructions also for the stonemason and the authorities of Saint Patrick’s Cathedral, the memorial to be rendered in black marble, mounted seven feet from the ground, the large letters to be deeply cut and strongly gilded.  His specifications were followed but the stridency of Swift's Latin displeased a few who, finding it harsh or inelegant, didn't always reproduce it with complete fidelity.  The translation into modern English is Here is laid the body of Jonathan Swift.....where savage indignation can no longer tear his heart. Depart, wayfarer, and imitate if you can a man who to his utmost strenuously championed liberty.  Fellow Irish poet William Butler Yeats (1865–1939) rendered it as the punchier Swift has sailed into his rest; savage indignation there cannot lacerate his breast.  Imitate him if you dare, world-besotted traveller; he served human liberty.

Epitaph (1990) by Charles Mingus (CBS–466631 2).

Charles Mingus (1922–1979) was an American double bassist, pianist, composer and bandleader and one of the seminal figures in jazz.  Although lauded for the way his bands would interpolate passages of collective improvisation into performance pieces, he was influential also in his structured compositions, some of which were, by the standards of the genre, unusually long.  None however matched his Epitaph, comprising over four-thousand measures (a grouping of beats, which indicates the meter of a particular piece of music) and demanding more than two hours to perform, ranking with epic-length pieces such as Wynton Marsalis’s (b 1961) Blood On The Fields (1997) and Carla Bley’s (b 1936) Escalator Over The Hill (1968-1971); only Wadada Leo Smith’s (b 1941) sprawling Ten Freedom Summers (2012), unfolding over five hours, runs longer.

It’s not clear how long Mingus worked on Epitaph and its gestation may have absorbed as long as Ten Freedom Summers (thirty-four years in the making) because fragments of Epitaph were performed as early as 1962 although whether it was then envisaged as what it became is unknown.  It was only after his death, while Mingus’s work was being catalogued, that the whole of Epitaph was assembled and the score compiled.  This enabled the piece to be performed in 1989 by a thirty-piece orchestra, conducted by Gunther Schuller (1925-2015) and produced by Mingus's widow, Sue Graham Mingus (b circa 1933).  It has since had a number of performances, several in 2007, and the complete score has been published.

Lindsay Lohan reading the epitaphs, graveyard scene in I know who killed me (2007).

Epitaph, full of melodies, is rewarding and not entirely unfamiliar because Mingus over the years included several snatches in live recordings and concerts preformed with smaller bands, playfully sampling the music of a few others in sections although that’s not typical of Epitaph, a work all have noted for its originality.  A two-hour suite for thirty-one musicians is not necessarily unwieldy but Epitaph is complicated and really demands a band both familiar with each-other and well-rehearsed.  It’s not the sort of piece suited to an ensemble, however virtuosic, assembled for a one-off performance and the definitive performance which one day will be released will likely have been carefully edited and polished from any number of studio sessions.  Technically, it’s challenging for a conductor, there are shifts between melodic strains which sometimes are sudden and sometimes overlap, parts apparently unresolved skid to a stop, tempos pick-up at various paces and there’s an underlying cross-talking between extreme-register instruments; doubtlessly it's no less difficult for the musicians, two pianists, two bassists, a drummer and two percussionists needing peacefully to co-exist although, this is Mingus and that means creative tension is lives between the notes.  Even once détente was established however, there's still the piece itself to conquer, not all of it in the familiar language of jazz for there are vertiginous jumps in register, fast phrases slurring effortlessly to the languid and the jar sometimes of the polytonality of which American composers of the twentieth century were so fond.  Critics and other aficionados of the art were enchanted but it’s suspected there were those who dipped in and out of their CD and listened just to the bits they liked.

Whig

Whig (pronounced wig)

(1) To move along briskly (obsolete except in Scotland).

(2) A political party in Great Britain and the United Kingdom between 1679-circa 1860 and in the and US circa 1834-1855 (initial capital).

(3) Slang for a conservative member of the Liberal Party in Great Britain (used both with and without initial capital).

(4) Slang for certain factions in the US Republican Party (used both with and without initial capital).

(5) A (rarely used) historical term for a seventeenth-century Scottish Presbyterian, especially one in rebellion against the Crown (used both with and without initial capital).

(6) In Northern English dialectal use, acidulated whey, sometimes mixed with buttermilk and sweet herbs, used as a cooling beverage (obsolete).

(7) Buttermilk (now rare)

Circa 1657: The British political movement later called Whig began to emerge in the mid-1650s, (“emerged” is a better expression than “was formed”), in part perhaps a disparaging use of the 1640s whigg (a country bumpkin) but the greater influence was the 1649 Whiggamaire (later Whiggamore) (the Covenanters, adherents of the Presbyterian cause in western Scotland who marched on Edinburgh in 1648 to oppose Charles I)  The sense, from circa 1635, of a country bumpkin may have been linked to "a horse drover," from the dialectal verb whig "to urge forward" + mare (in the sense of a horse).  In 1689 the name was first used in reference to members of the British political party opposed to the Tories.  The American Revolution era sense of "colonist who opposes Crown policies" is from 1768 and, as early as 1825, was applied to opponents of Andrew Jackson and taken as the name of a political party (1834), most of the factions of which were absorbed by the Republican Party between 1854-1856.  The adjective whiggish (used usually as a disparaging way of describing the tendencies of some towards the philosophies of the Whigs while claiming alignment with another political faction) is from the 1670s, the noun whiggery (principles or practices of the Whigs) noted during the next decade.  Whig, Whiggishness & Wiggery are nouns, Wiggish is an adjective; the noun plural is Whigs.

Portrait of Lord Shelburne (1776), oil on canvas, by Joshua Reynolds (1723–1792).

The Whigs were a faction of the Tory party which later became a party in its own right.  In its varied forms, the Whigs operated between 1679 and the late nineteenth-century, their philosophy based on a defense of constitutional monarchism and an opposition to absolutism, the part the Whigs played in British politics later absorbed by Tory factions and the Liberal Party although strains of its philosophy can sometimes be seen still in the Labour Party (depending on which faction is in the ascendant).  Structurally, the morphing of a Tory faction into a formalized party had far-reaching consequences which continue to this day; no prime-minister since Lord Shelburne (1737-1805; UK prime-minister 1782–1783) has attempted to govern without the support of a party.

In the US, a Whig Party was active in the mid-nineteenth-century and four US presidents belonged to the party while in office.  Formed originally in opposition to the policies of Democratic President Andrew Jackson, the Whigs supported the supremacy of the congress over the presidency and favored a program of modernization, banking, and economic protectionism to stimulate manufacturing.  Not directly related to the British Whigs, party founders chose the name to echo those of the eighteenth-century who fought for independence, nodding also in the direction of the earlier Federalist Party but would later dissolve because of internal tensions over the expansion of slavery to the territories.  Charmingly, many joined the short-lived Know Nothing Party; most eventually drifted back to the Democrats or Republicans although the name is revived from time-to-time but without much electoral success.  Of late, some belonging to the more conservative factions in the Republican Party are labeled Whigs and this can be either in disparagement or self-referentially.

The term “Whig historian” was first recorded in 1924.  Despite the temptation, it really can’t be used in any neutral sense because of the legacy of the words of Sir Herbert Butterfield (1900–1979; Regius Professor of Modern History and Vice-Chancellor of the University of Cambridge) who, early in life, published the book for which he is still remembered: The Whig Interpretation of History (1931).  In that slim volume, he defined Whig history as "the tendency in many historians... to emphasise certain principles of progress in the past and to produce a story which is the ratification if not the glorification of the present."  Both "Whig historian" and the "Whig interpretation of history" are thus loaded terms.  Sir Herbert, it was clear, was thinking of the English tradition of historiography but his critique has been widely adopted, the idea of the retrospective creation of a line of progress toward the glorious present a theme now explored not only by the odd Whig but also the post-modernists.

Lindsay Lohan in blonde wig (asymmetric bob) on the Late Night with Jimmy Fallon show, New York, November 2012.

The word wig (a head of real or synthetic hair worn on the head for various reasons) is unrelated to Whig.  Dating from the 1660s, it was a clipping of the French periwig (a wig, especially the large, stylised constructions worn by both men & women) which was an alteration of the Middle French perruque (wig).  The word “wig” in 1730s England was adapted to created the informal “bigwig” (an important person), based on the fashion at the time for those in authority to wear large, elaborate wig, the idea (presumably not without foundation) that the more important the person, the bigger the wig.  The same linkage explains the military slang “brass hat” (a high-ranking officer), based on the brass embellishments or insignia applied to the hats of the upper ranks.  The term persists (even outside the military) even though the metal is now rare even on the hats of dress uniforms but there's still often gold braid to justify the connection.

Wither

Wither (pronounced with-er)

(1) To shrivel; fade; decay.

(2) To lose the freshness of youth, as from age (often followed by away).

(3) To make flaccid, shrunken, or dry, as from loss of moisture; cause to lose freshness, bloom, vigour, etc.

(4) Harmfully to affect.

(5) To abash, as by a scathing glance (the withering look).

(6) The singular of withers (part of the back of a four-legged animal that is between the shoulder blades).

1530s: From the Middle English as an alteration of the late fourteenth century wydderen (dry up, shrivel), intransitive, apparently a differentiated and special use of wederen (to expose to weather), from the Old English hwider, an alteration of hwæder, from the Proto-Germanic hwadrê.  In German, there was verwittern (to become weather-beaten), from Witter (weather).  The transitive sense emerged in the 1550s.  Wither is a verb & adverb, withered is an adjective &  adverb, withering is a noun, verb & adjective and witheringly is an adverb.

Readers ancient & modern

There's also whither (To what place?) which is functionally equivalent to the relative adverb "whereto".  Except in poetry or other literary forms, "whither" is now rare to such an extent that it can be said to have vanished from popular use.  For many students, Shakespeare in the original is close to something in a foreign language and it’s not uncommon for high-school texts to be rendered more accessible.  This has be criticised as dumbing down (and at tertiary level probably is) but is probably a good idea.  One editor actually thought young readers would manage with wither but thought "riggish" too difficult.  In Antony and Cleopatra (Act 2 Scene 2), Shakespeare had Enobarbus say:

Never. He will not.
Age cannot wither her, nor custom stale
Her infinite variety. Other women cloy
The appetites they feed, but she makes hungry
Where most she satisfies, for vilest things
Become themselves in her, that the holy priests
Bless her when she is riggish.

The editor “translated” thus:

He’ll never leave her.
Age won’t wither her,
And her charms are so varied that she never grows boring.
With other women, the longer you know them the less appealing they become. 
Cleopatra, on the other hand, makes you desire her the more you see her.
Even her worst faults are charming
Holy priests bless her even when she acts the slut.

The Withered Garland (1800) by Karl Wilhelm Friedrich von Schlegel (1772–1829)

It was yet May when these you broke,

and in those flowers spoke,

yet a blossom yourself,

that which, now blooming, in your own heart

was awakening and,

in sacred wise, did already stir,

that childlike something your friend, ah! so cherished

when she her heart did lay

upon his own,

where now I do eternally weep.

 

These violets, which as a sign the child did send,

now do so soften my heart

that my eyes

may never bring to an end

the pain they now suck in,

and oft do still to her turn,

now finding but this garland, withered, in my hands.

Like this wreath did she,

chosen early to end,

lose herself self-unbeknownst.

 

Take hither this lofty, precious gift,

the only thing yet left to me

of the precious one,

that it might her image yet renew

when amid tears

my yearning so willingly flees

into death arms, escaping life’s vain notions.

Though let me first in tears

immerse my sweet remembrance!

 

We who found life in the pleasure of death,

who boldly nature understood

amid the flames,

where love and pain together

us unite:

let our foreheads be encircled

by the sign whose sense we have long since found.

For did not from these wounds

oft spring forth roses

in painful caress?

 

Hence may this girl’s own shadow surround us, hovering,

to melancholy devoted,

till in death as one we may again more intimately live,

and this deep striving wholly unite

those who, smiling, for one another weep.

Vulpine

Vulpine (pronounced vuhl-pahyn or vuhl-pin)

(1) Of or resembling a fox.

(2) Possessing or being thought to posses the characteristics often attributed to foxes; crafty, clever, cunning etc.

1620-1630: From the Latin vulpīnus (foxy, fox-like, of or pertaining to a fox), the construct being vulp(ēs) (fox) + -īnus.  Vulpēs was from the earlier volpes (genitive vulpis, volpis) of unknown origin, though though probably from the  primitive Indo-European wl(o)p and cognate with the Welsh llywarn (fox), the Classical Greek ἀλώπηξ (alṓpēx) (fox), the Armenian աղուէս (ałuēs), the Albanian dhelpër, the Lithuanian vilpišỹs (wildcat) and the Sanskrit लोपाश (lopāśa) (jackal, fox).  The Latin suffix -inus was from the Proto-Italic -īnos, from the primitive Indo-European -iHnos and cognate with the Ancient Greek -ινος (-inos) and the Proto-Germanic -īnaz.  It was used to indicate "of or pertaining to, usually a relationship of position, possession, or origin.

The Holy Fox: Lord Halifax

The Rt Hon Edward Frederick Lindley Wood, First Earl of Halifax, KG, OM, GCSI, GCMG, GCIE, TD, PC, was a leading Tory politician of the inter-war and wartime years.  Among other appointments, he was Viceroy of India, Foreign Secretary and Ambassador to the United States.  He was known as the Holy Fox because of his devotion to church, the hunt and Tory politics.  More holy than foxy and perhaps too punctilious ever to be truly vulpine, he was born too late.  Had he lived a century earlier, he’d likely be remembered as a leading statesman of the Victorian era but even before 1945, he seemed a relic of the past.

A fox and other beasts.  Count Galeazzo Ciano (1903–1944; Italian Foreign Minister 1936-1943), Edward Wood, Lord Halifax (1881–1959; UK Foreign Secretary 1938-1940), Neville Chamberlain (1869–1940; UK Prime Minister 1937-1940) and Benito Mussolini (1883–1945; Duce & Prime Minister of Italy 1922-1943), Rome, January 1939.

Some three months after signing the infamous Munich Agreement that permitted Hitler’s occupation of Czechoslovakia, the UK's  prime minister Neville Chamberlain and foreign secretary Lord Halifax visited Rome to confer with the Italian Duce & prime-minister premier Benito Mussolini.  Although it had long been obvious the Duce had been drawn into the German orbit, British foreign policy was still based on the hope war could be avoided and, having seen appeasement prevent immediate conflict over Berlin's demands about Czechoslovakia, the hope was to find a way to appease Rome, a goal no more ambitious than the maintenance of the status quo in the Mediterranean.  Pointless in retrospect, the meeting, held between 11-14 January 1939, was the last attempt through official channels to tempt the Duce away from the entanglement with Hitler to which, in reality, he was already committed although, he certainly didn't expect war to be declared quite so soon.

The spirit of the meeting was well captured in Count Ciano's diary.  Ciano's entries are not wholly reliable but he was one of the century's great diarists, an astute observer and too clever to be much bothered by principles, he painted vivid pictures of some of the great events of those troubled years.  Mussolini, already seeing himself as a Roman emperor, after his meetings with Hitler, must have thought he was being visited by the ghosts of the past, Chamberlain looking like the provincial lord-mayor he'd once been and Halifax the archbishop he probably wished he'd become.  “In substance, the visit was kept on a minor tone, since both the Duce and myself are scarcely convinced of its utility. . . . How far apart we are from these people!" Ciano noted in his diary.  "It is another world."

Foxy Eyes by Skinklink.

After dinner with Mussolini he recorded the Duce's feelings: "These men are not made of the same stuff as the Francis Drakes and the other magnificent adventurers who created the British Empire.  These, after all, are the tired sons of a long line of rich men, and they will lose their Empire,... The British do not want to fight. They try to draw back as slowly as possible, but they do not want to fight."  Whatever other mistakes he may have made, on that night in Rome, Mussolini made no error in his summary of the state of thought in Downing Street and the Foreign Office.  "Our conversations with the British have ended" Ciano concluded and "Nothing was accomplished."  He closed the diary that evening with the note "I have telephoned Ribbentrop (Joachim von Ribbentrop (1893–1946; Nazi Foreign Minister 1938-1945) that the visit was a big lemonade [ie a farce].”

Westphalia

Westphalia (pronounced west-fey-lee-uh or weat-feyl-yua)

(1) Of or relating to the historic north-west German region of Westphalia or its inhabitants (now a subdivision (landschaftsverband) of North Rhine-Westphalia and Lower Saxony).

(2) A term in the Holy Roman Empire to describe the power of second sight for which the peasants of Westphalia were said to be noted

(3) One of the major dialect groups of West Low German spoken in Westphalia.

(4) In geology, a European phase of the upper-Carboniferous period.

(5) A warm-blood horse bred in the Westphalia region.

(6) A term to describe the treaty (Peace of Westphalia) ending the Thirty Years' War (1618-1648).

(7) A description of the international system of co-existing sovereign states said to have originated with the Treaty of Westphalia and formalised first in the new political order created in Europe.

Circa 1200:  A regional & geographical name, from Middle Dutch falen, from Old French faillir (From Old French falir, from Vulgar Latin fallire, from Latin fallere, present active infinitive of fallo.)  The term "Westphalia" contrasts with the much less used term "Eastphalia", which roughly covers the south-eastern part of the present-day state of Lower Saxony, western Saxony-Anhalt and northern Thuringia.

The nation-state and Westphalian sovereignty

Although never a part of the negotiations which culminated in the Peace of Westphalia which in 1648 ended the Thirty Years War (1618-1648), the concept of Westphalian (or state) sovereignty emerged and was refined over the subsequent three-hundred years.  The principle, one of the foundation concepts in international law, is that each state enjoyed exclusive sovereignty within its territory, a principle upheld in its purest form in the nineteenth and early twentieth centuries.  Opinion of its desirably has always been contested, especially by those poor, misguided souls who attempt to inject ethics into international relations but as power-realist Henry Kissinger (B 1923, US national security advisor (1969-1975) & secretary of state 1973-1977)  noted, it was “a practical accommodation to reality, not a unique moral insight…[which depended on] states refraining from interference in each other's domestic affairs and …[maintaining stability and a balance of power].”

The doctrine of absolute state sovereignty began most obviously to fray in the 1920s when the League of Nations was formed, lawyers and political scientists there developing theories which inherently justified intervention in sovereign states.  The League prove ineffectual in translating these theories and policies into effective action but the legal principles subsequently developed for the Nuremberg trials (1945-1946) provided the basis of the framework of what came to be called the “doctrine of the international community", a school of thought which has produced both quasi-legal gestures such as the “responsibility to protect” (R2P) and actual institutions like the international criminal courts.

Treaty of Westphalia in Münster, 24 October 1648, Woodcut after a painting, circa 1900, by Fritz Grotemeyer (1864–1947).

Homonym

Homonym (pronounced hom-uh-nim)

(1) In phonetics, a word pronounced the same as another but differing in meaning, whether spelled the same way or not, as heir and air; a homophone.

(2) In phonetics, a word of the same written form as another but of different meaning and usually origin, whether pronounced the same way or not; a homograph.

(3) In phonetics, a word that is both a homophone and a homograph, that is, exactly the same as another in sound and spelling but different in meaning.

(4) A namesake (a person with the same name as another) (obsolete).

(5) In taxonomy, a name given to a species or genus (that should be unique) that has already been assigned to a different species or genus and that is thus rejected.

1635–1645: The construct was homo- +‎ -onym.  From the French homonyme and directly from the Latin homōnymum, from the Greek homṓnymon, neuter of homṓnymos (homonymous) (of the same name).  Homo was from the Ancient Greek ὁμός (homós) (same).  The –onym suffix was a creation for the international scientific vocabulary, a combining from the New Latin, from the Ancient Greek ὄνυμα (ónuma), Doric and Aeolic dialectal form of ὄνομα (ónoma) (name), from the primitive Indo-European root no-men- (name); the related form –onymy also widely used.

For a word which some insist has a narrow definition, it’s used by many to mean quite different things, the related forms being (1) homograph which is a word that has the same spelling as another word but has a different sound and a different meaning (such as bass which can be wither “a low, deep sound” or “a type of fish”) & (2) homophone which is a word that has the same sound as another word but is spelled differently and has a different meaning (such as to, two & too).  Homograph and homophone are uncontested but homonym is used variously either to mean (1) a word that is spelled like another but has a different sound and meaning (a homograph), (2) a word that sounds like another but has a different spelling and meaning (a homophone) or (3) a word that is spelled and pronounced like another but has a different meaning (a homograph & homophone).  According to the purists, a homonym must be both a homograph and a homophone and prescriptive dictionaries still tend in this direction but the descriptive volumes (usually while noting the strict construction), acknowledge that as used in modern English, a homonym can be a homograph or a homophone.  The sage advice seems to be (1) to stick to the classics and use all three words in their strict sense, (2) maintain consistency in use and (3) don’t correct the more permissive (on the Christian basis of “forgive them for they know not what they do”).

Crooked Hillary Clinton and the crooked spire of the Church of St Mary and All Saints, Chesterfield, Derbyshire, England.  Crooked has two meanings and pronunciations but is the one word used in two senses and thus not homonymic.  Crooked (pronounced krookt) is the past tense of the verb crook (bend or curve out of shape), from the Old English crōcian (to crook, to bend) which was cognate with Danish kroget (crooked; bent) whereas crooked (pronounced lrook-id) is an adjective meaning "bent or not straight" and may be used literally or figuratively to describe someone untrustworthy or dishonest.  Crooked is thus also an example of a hetronym (same spellings with different pronunciations and meanings

Adding to the murkiness, Henry Fowler (1858-1933) noted in Modern English Usage (1926) that some confusion has long clouded homonym and synonym, something he blamed on the “loose” meaning of the latter, explaining that homonyms are “separate words happen to be identical in form” while synonyms exist as separate words which happen to mean the same thing”.  However, at this point an etymological layer intrudes, Fowler noting “pole” in the sense of “a stake or shaft” is a native English word whereas when used to mean “the terminal point of an axis” the origins lie in the Greek.  Rather than one, “pole” is thus two separate words but being identical in form are thought homonyms.  By contrast “cat” the feline and “cat” as a clipping of the Admiralty’s flogging device “cat o' nine tails” “although identical in form and meaning different things are not separate words but the one used in two senses and thus not homonymic.

Lindsay Lohan on the couch, sofa, chesterfield or settee, depending on one’s view.

Layers attach also to synonyms, a word used anyway with notorious sloppiness, true synonyms (separate words identical in meaning in the context in which they’re applied) are actually rare compared with pairs or sets frequently cited, many of which enjoy only a partial equivalence of meaning.  The imprecise use isn’t necessarily bad and often is essential for poetic or literary reasons but technically, synonyms should be separate words identical in denotation (what they reference) and connotation (what they mean); pure synonyms may thus be interchanged with no effect but such pairs or sets are rare although in technical fields (IT & various flavors of engineering) they have in recent decades became more numerous.  However, even when words satisfy Henry Fowler’s standards, nuances drawn from beyond etymology and phonetics can lend a layer of meaning which detract from the purity of the synonymousness.  Sofa & couch for example are often used interchangeably and regarded by most as synonymous but to a student of the history of furniture, because couch is from the French noun couche (a piece of furniture with no arms used for lying) from the verb meaning “to lie down”, it differs from a sofa (a long, upholstered seat usually with arms and a back).  That’s fine but “sofa” is used by some as a class-identifier, being the “U” (upper-class) form while couch, settee and such are “non-U”.

Closet

Closet (pronounced kloz-it)

(1) A small room, enclosed recess, cupboard or cabinet for storing clothing, food, utensils etc.

(2) A small private room, especially one used for prayer, meditation etc.

(3) A state or condition of secrecy or carefully guarded privacy.

(4) A clipping of “closet of ease” and later “water closet” (WC), early names for the flushing loo (toilet; lavatory; privy with a waste-pipe and means to carry off the discharge by a flush of water).

(5) Of or pertaining to that which is private; secluded or concealed; undertaken unobserved and in isolation.

(6) To shut up in a private room for some purpose.

(7) A private room used by women to groom and dress themselves (obsolete).

(8) A private room used for prayer or other devotions (archaic).

(9) A place of (usually either fanciful or figurative in that typically it referred to the state of thought rather than where it took place) contemplation and theorizing (archaic).

(10) The private residence or private council chamber of a monarch accompanied by a staff establishment (page of the chamber; clerk of the closet et al) and related to the bedchamber (archaic).

(11) In a church, a pew or side-chapel reserved for a monarch or feudal lord (regarded as obsolete but the concept endures in that the order of precedence is often used when seating is allocated for ceremonial events conducted in churches).

(12) In heraldry, an ordinary similar to a bar but half the width.

(13) A sewer (Scots dialectical, now obsolete).

1300-1350: From the Middle English closet (a small private room for study or prayer), from the Old French closet (small enclosure, private room), the construct being clos (private space; enclosure) +‎ -et (the suffix used to form diminutives), from the Latin clausum (closed space, enclosure, confinement), the neuter past participle of claudere (to shut).  In French, it tended to be applied to small, open-air enclosures.  The suffix –et was from the Middle English -et, from the Old French –et & its feminine variant -ette, from the Late Latin -ittus (and the other gender forms -itta & -ittum).  It was used to form diminutives, loosely construed.  Some European languages picked up the Old French spelling while others used variations including Czech (klozet) & Spanish (clóset).  Closets can be tiny or fair-sized rooms so the appropriate synonym depends on context and architecture and might include: cabinet, container, locker, room, vault, wardrobe, bin, buffet, depository, receptacle, recess, repository, safe, sideboard, walk-in, ambry, chest of drawers & cold storage.  Closet is a noun, verb & adjective, closeting is a verb (which some dispute) & adjective (plural closets) and closeting is a noun & verb.  The noun plural is closets.

The adjective dates from the 1680s in the sense of “private, done in seclusion”, extended by 1782 as "fitted only for scholarly seclusion, not adapted to the conditions of practical life" (ie in the sense of the “ivory tower”).  The meaning "secret, not public, unknown" was first applied to alcoholism in the early 1950s but by the 1970s had come to be used principally of homosexuality.  This, and the earlier forms (closet anarchist, closet alcoholic, closet Freemason, closet smoker et al) were all based on the idiomatic “skeleton in the closet” (which existed also as “skeleton in the cupboard”), describing some undisclosed fact which, if revealed would cause reputational damage (or worse) to a person.  Literally, the imagery summoned was of someone with a human corpse secreted in a closet in their house, one which had sat there so long the flesh had decomposed to the bone.  The earliest known appearance in print was in 1816 but it’s not known how long it’d been in oral use and it usually implied culpability for some serious offence though not necessarily anything involving a corpse.

Lindsay Lohan's walk-in closet.  To optimize space utilization, the hangers are very thin and covered with black velvet to ensure no fabrics are marked.  In a well-organized closet, items can be arranged in a number of ways such as color, season or type and Ms Lohan does it by manufacturer, the name of the label printed on rail-tags.

The phrase “come out of the closet” (admit something openly) was first recorded 1963 and the use rapidly became exclusive to homosexuals and lent a new meaning to the word “out”.  This meaning itself became nuanced: “To come out” (openly avowing one's homosexuality) emerged as a phrase in the 1960s and was an overtly political statement (obviously different from the earlier “a confessed homosexual” whereas “outing” and “outed” came to be used in the 1970s to refer to people making the homosexuality of others public knowledge.  Outing became controversial because of the argument (made sometimes by those within the gay community) that it was justified if exposing hypocrisy (usually a conservative politician who publicly condemned homosexuality while in private indulging in the practice).  In Spanish use (most notably in Latin America) the noun clóset is used to refer to the state of being secretly gay (from salir del clóset), the plural being clósets.

Lindsay Lohan in another part of her walk-in closet, here choosing what to pack for an appearance at the Cannes Film Festival, May 2014.

The verb closet (shut up as in a closet) was originally usually for purposes of concealment or private consultation and dates from the 1680s.  The water closet (WC and described also in the delightful phrase “closet of ease”) was the ancestor of the familiar modern loo (toilet; lavatory; privy with a waste-pipe and means to carry off the discharge by a flush of water), the term first used in 1755 and later perfected by the famous plumber, Mr Thomas Crapper.  The phrase “walk-in” was used first in the 1890s as a slang term by hotel check-in clerks to refer to those arriving without a reservation (it’s now a standard statistical category in hotels) and by 1928 was used in many forms of commerce to mean “customer who arrived without an appointment”.  The “walk-in closet” was first advertised in the US in 1946 where it described a built-in wardrobe large enough to walk into, some equipped with mirrors, tables, chairs etc).

The Gay Bob Doll

Gay Bob with man-bag.

There’s evidence that for much of human existence, homosexuality has been at least widely tolerated and often accepted but in the West, under the influence of the Christian churches, it came to attract much disapprobation though even in the nineteenth century there were those who (without much success) campaigned for legislative and social change, the odd self-declared homosexual sometimes urging others to out themselves.  However, it wasn’t until the 1960s that the still embryonic “gay liberation” movement understood that “coming out en masse” was of importance because with critical mass came political influence.  Social attitudes did change and it was perhaps an indication of acceptance that in 2005 the cartoon show South Park could run an episode called Trapped in the Closet in which the Scientologist film star Tom Cruise (b 1962) refuses to come out of a closet.  Not discouraged by the threat of writs, South Park later featured an episode in which the actor worked in a confectionery factory packing fudge.  Attitudes and legislative changes didn't always move in unison and things unfolded gradually but that process was still incomplete when, in 1977, the Gay Bob doll was released.

Clothes and accessories were available, including those for dressing the “gay farmer”.

The winds of change were clearly blowing by 1977 because in that year Harvey Milk (1930–1978; member of the San Francisco Board of Supervisors, 1978) became the first openly gay man elected to public office in California (and it’ll never be known how many of his predecessors were still in the closet).  However, if Milk was out of the closet, Gab Bob came neatly packaged in his own (cardboard) closet buyers able to out him and put him back as required.  Designed to look like popular film stars of the era, Gay Bob’s creator described the doll as perfect for “…an executive’s desk, dash board ornament, the attaché case, the bathtub rim or a health club gym bag”, a notable feature was the doll’s “anatomical correctness”, presumably a sales feature but one which necessitated production being out-sourced to Hong-Kong because US manufacturers declined the contract. 

Gay Bob stepping out of the closet.

Just so there were no misunderstandings, Gay Bob was supplied with a fashion catalog which contained an explanation:  Hi boys, girls and grownups, I’m Gay Bob, the world’s first gay doll.  I bet you are wondering why I come packed in a closet. “Coming out of the closet” is an expression which means that you admit the truth about yourself and are no longer ashamed of what you are.  Gay people are no different than straight people.  If everyone came out of their closets, there wouldn’t be so many angry, frustrated, frightened people.  It’s not easy to be honest about what you are, in fact it takes a great deal of courage.  But remember, if Gay Bob has the courage to come out of his closet, so can you!

Popular since the nineteenth century, mail-order was the on-line shopping of the analogue era.

Conservative activists were of course appalled by Gay Bob, his anatomical correctness and his threateningly optimistic message, describing it all as “a threat to family values” and more “…evidence of the desperation the homosexual campaign has reached in its effort to put homosexual lifestyle, which is a death style, across to the American people”.  The forces of capitalism either agreed or were unwilling to risk a backlash because attempts have the big department stores stock Gay Bob on their shelves were unsuccessful so the doll was sold via mail order, advertisements placed in gay magazines.  One doll cost US$19.50 (including shipping and handling within the US) while a pair could be purchased at a discounted US$35 (and to take advantage of the anatomical correctness, buying a brace was presumably in vogue.  Over two thousand were sold within months and in liberal New York and San Francisco, some boutiques would later carry the product.  Something of a footnote to the LGBTQQIAAOP timeline, Gay Bob is a now a collector’s item, examples in good condition realizing over US$200 at on-line auction sites and of course, those with a pristine, un-violated closet will command a premium.