Bolter

Bolter (pronounced bol-tah)

(1) A person or animal (most especially a horse) that bolts or is prone to running away.  The phrase (applied to HWAGs (horses, wives and girlfriends)) is usually “a bit of a bolter” and historically was never applied to unreliable men; for them, women have many other epithets.

(2) In Australian colonial slang, an escaped convict or absconder.

(3) In botany and horticulture, a plant that grows larger and more rapidly than usual.

(4) In flour milling, a machine or mechanism that automatically sifts milled flour; a person who sifts flour or meal; to sift or filter through a sieve or bolter.

(5) In petroleum refining, a filter mechanism.

(6) In the slang of engine builders, to distinguish between the means used to secure the main bearings supporting a crankshaft (2-bolter, 4-bolter, cross-bolter) which is rare except in the US, where it's most common south of the Mason-Dixon line.

(7) In sport, an obscure athlete who wins an unexpected victory or is a surprise selection in a team (Australia & New Zealand).

(8) In horse racing, a horse which wins at long odds (Australia & New Zealand).

(9) In politics, a member of a political party who does not support the party's nominee or (US archaic).

(10) In naval aviation, a missed landing on an aircraft carrier; an aircraft that has made a missed landing.

(11) As the homophone boulter, a kind of fishing line.

(12) In archaic dialectal use, to smear or become smeared with a grimy substance (later by blood).

(13) In zoology (cetology; the study of whales), to swim or turn sideways while eating.

(14) In the design of retail haberdashery outlets, the shafts supporting bolts of fabric for purposes of display and facilitation of cutting (UK).

From the Middle English bolt (verb) and the Old English (noun); it was cognate with the Dutch bout and the German Boltz.  The Old English bolt (short, stout arrow with a heavy head; crossbow for throwing bolts) was from the Proto-Germanic bultas, source also of the Old Norse bolti, the Danish bolt, the Dutch bout & the German Bolzen.  The original meaning may have been or connected in some sense with "arrow, missile" and therefore derived from the primitive Indo-European bheld- (to knock, strike), source also of the Lithuanian beldžiu (I knock) & baldas (pole for striking).  The word has since Middle English been applied to short metal rods (especially those with knobbed ends) meaning variously "stout pin for fastening objects together" and "part of a lock which springs out" both from circa 1400. A bolt of canvas or (circa 1400 and later applied to other fabrics) was so called for its shape.  The adverbial phrase bolt upright (like a bolt or arrow) is from the late fourteenth century.  The sense of a "sliding metal rod that thrusts the cartridge into the chamber of a firearm" is from 1859.  From the notion of an arrow's flight comes the bolt of lightning (1530s) and the sense of "a sudden spring or start" is attested from the 1540s.

The –er suffix was from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, thought usually to have been borrowed from Latin –ārius and reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant was -our), from the Latin -ātor & -tor, from the primitive Indo-European -tōr.  As an abbreviation (or sometimes following a number), it’s written sometimes as -'er.  The suffix was added to verbs, forming an agent noun to describe a person or thing that does an action indicated by the root verb.  The antonym suffix was –ee which was added to nouns to denote an occupation, hobby etc and to numbers to denote a quantified set.  The related forms were the present participle bolting and the simple past and past participle bolted.  In one sense, the use by Shakespeare in Macbeth (1623) made specific what was once more general.  In Middle English, it meant “to smear or be smeared with a grimy substance” and was applied usually to farm animals getting wet with sweat, rain etc and then "boltering" with mud, hair etc.  However, the Shakespearian purloin popularized the term as means to describe getting covered in blood and that became the most common use in that context.  Bolter is a noun; the noun plural is bolters.

Cross bolters

By their bolts they shall be known.  By convention a "four bolter" was one with the four all into the boss while in a "cross bolter" two were in the boss and two into the block.  "Six bolters" (with four in the boss, two in the block) are now common.

Cross bolters (sometimes hyphenated) is engine-builder slang for the main bearing caps in an internal combustion engine (ICE) being secured by bolts which are screwed into ribs in the block as well as the traditional pair (now often four) into bolt bosses.  The bolt sets are thus mounted at 90^o to each other, a diagram of which would form a + shape when viewed from the front of the engine, hence the idea of “cross-bolted”.  The general effect of cross-bolting is to make a crankcase stiffer by reducing the tendency to twist, something made inherent by the the reciprocating motion of the crankshaft.  The additional bolts limit the movement of the bearings (which engine-builders call "walking"), the purpose being to reduce component failure because a break anywhere in the crankcase area can destroy an engine.  Six-bolt arrangements are now common and some specialists even sometimes install the bolts into the bosses at slightly differing angles on the basis that computer modelling confirms this confers a (slight) benefit in torsional rigidity under certain conditions.  Although not unique to the line and far from novel when added, the best known of the cross-bolters were those in two iterations of the Ford FE range (1958-1976) produced between 1962-1968.  Although it would quickly earn a stellar reputation which endures to this day, Ford’s FE V8 engine didn’t enjoy a wholly auspicious start, associated as it was with the ill-fated Edsel (FE really did stand for “Ford-Edsel” despite some post-debacle attempts to suggest “Ford Engine” (the contemporary MEL stood for Mercury-Edsel-Lincoln)).  However, whatever the problems of the Edsel, the use of the FE is some was not one.

The Ford FE 427: Top vs side oiling.

Offered initially in several displacements, the most produced in the 1960s would be the 352 & 390 cubic inch (5.8 & 6.5 litre) versions, both of which briefly were offered in high-performance versions until the decision was taken to develop such engines as a separate FE branch, the first fruit of which was the 406 (6.6 litre) which debuted in 1962.  The 406 had performed well on Ford’s test-rigs, its output slightly exceeding the engineers’ projections and when installed in the new, slippery bodies offered that year, proved fast on the track.  The power and speed however came at the cost of reliability and the increasing speeds on the circuits had exposed weaknesses in the bottom-end, the main bearing caps “walking” when the vibrations reached a certain resonance.  The solution was to “cross-bolt” the caps; an addition two securing bolts (installed sideways through the block) per cap augmenting the pairs mounted in the conventional vertical position.  This approach, still widely used to this day, proved successful and was carried over when in 1963 the FE was further enlarged to 425 cubic inches (7.0 litre), Ford labelling the new mill the 427 to align it with the displacement limit used by both NASCAR (National Association for Stock Car Auto Racing) and the FIA (Fédération Internationale de l'Automobile (the International Automobile Federation and world sport’s dopiest regulatory body)).  However, greater capacity meant more power, higher speeds and increased heat and the 427 began to also to suffer, the higher internal pressures meaning lubrication to the now cross-bolted main bearings had become marginal.  Ford’s solution was to reverse the priority with which oil was delivered.  The original design (retrospectively dubbed the “top-oiler”) lubricated first the valve-train at the top of the engine, then the main bearings which supported the crankshaft.  The new process reversed this order and the design became known as the "side-oiler" so all FE 427s are "cross-bolted" but only some are "side oilers". 

The Bolter

"The Bolter" entered popular culture after the publication in 1945 of Nancy Mitford’s (1904-1973) The Pursuit of Love (1945) in which one character, (the bolter) was so named because of her many marriages, a consequence of her tendency to bolt from one relationship to another; throughout the novel, the bolter is never named and is referred to by all as “the bolter”.  Love in a Cold Climate (1949) was a companion volume to The Pursuit of Love, the title a direct quotation from George Orwell's (1903-1950) Keep the Aspidistra Flying (1936).  The usual form of expression is: “she’s a bit of a bolter”, borrowed from the use to refer to a flighty horse and historically, was applied only to wives and girlfriends; for unreliable men, women have many other epithets.  Mitford based the character on Lady Myra Idina Sackville (1893-1955), daughter of the eighth Earl De La Warr (1869-1915) and Lady Muriel Agnes Brassey (1872-1930).  Known always by her middle name, Idina, she led what many considered a scandalous life and married and divorced five times, her other connection with unconventionality that she was the cousin of the writer Vita Sackville-West (1892-1962), remembered for many things including her long marriage to the writer Harold Nicholson (1886-1968) and being the inspiration for the protagonist of Orlando: A Biography, by Virginia Woolf (1882-1941), one of her lovers.  A modern version of the phrase "a bit of a bolter" is "I'm going to Meghan Markle" meaning (in this context) "I'm leaving".  It must be used with care because as the entries in Urban Dictionary suggest, "to Meghan Markle" can mean many things.

Usage guide: The meaning of "to bolt" from somewhere differs from "to leave" the place in that the former indicates the departure was either (or a combination of) rapid, unexpected, unauthorized or sudden.   

Prosaic

Prosaic (pronounced proh-zey-ik)

(1) Of writing or speaking, straightforward; matter-of-fact; lacking the feeling or elegance of poetry.

(2) Something commonplace or dull; matter-of-fact or unimaginative; overly plain, simple or commonplace, to the point of being boring.

(3) Of or having the character or form of prose, the ordinary form of spoken or written language, rather than of poetry (now of technical use only).

1650-1660: From the fifteenth century Middle French prosaïque and directly from the sixteenth century Medieval Latin prōsaicus (in prose), from the Classical Latin prōsa (prose), from prorsus (straightforward, in prose), from the Old Latin provorus (straight ahead), the construct being pro- (forward) + vorsus (turned), from vertō (to turn), from the primitive Indo-European wer- (to turn, to bend).  The original meaning was technical, distinguishing text as prose rather than poetry and in this sense was usually written as prosaicus (in prose).  The first hints of literary hierarchy were first noted in French in 1746 when used to contrast the “character” of prose in contrast to the “feeling” of poetry.  The sense of describing something ordinary or mundane first seen in French in 1813, a meaning soon adopted in English.  Prosaic & prosaical are adjectives, prosify is a verb, prosified & prosifying are verbs & adjectives, prosaicness is a noun and prosaically is an adverb.

Figurative use of poetic & prosaic:  Jaguar E-Type (XK-E, 1961-1974) (left) & Jaguar XJ-S (1975-1996) (right).

Whether Enzo Ferrari (1898-1988) ever called the E-Type "the most beautiful car in the world" remains uncertain but over the decades plenty have echoed the sentiment, sometimes using the phrase "poetry in motion".  By 1975, the world had changed and there were now rules with which to comply and although the XJ-S (later XJS) wasn't really a replacement for the E-Type, because of the timing, that was how it was viewed.  Dynamically, it was a better car than the E-Type on about any objective measure but it certainly wasn't better looking and in contemporary reviews, the styling was sometimes described as "proasic".  It might have been more accurate to use the word "pragmatic" and the lines have aged better than many at the time imagined, the car in continuous production for over twenty years and the platform endured until 2006, providing the underpinnings for the first generation of Jaguar's XK8 (1996-2005) and the Aston Martin DB7 (1997-2004), both of which looked better than the XJ-S although neither matched the timeless E-Type.

1983 Jaguar XJ-S Lynx Eventer shooting brake.

What many regard as the best-looking XJS version were the "shooting brakes" (a kind of station wagon) made by specialist coach-builders, the best-known of which was the Lynx Eventer, 67 of which were made.  The critics at the time noted the rear treatment rendered a better balanced shape and much the same observation was made of the convertible versions (although not the less happy "cabriolet").  Although the pre-war shooting brakes often were built for the HFS (hunting, fishing & shooting) set who needed space for shotguns, fishing rods, hunting hounds and such, in the 1980s they emerged in the niche of the "horsey" set although there was obviously appeal for those who liked the image even if they never sat in a saddle.  In naming the Eventer, Lynx may have had in mind the sport of "eventing", an equestrian event in which a a single horse and rider compete against others across the three disciplines of dressage, cross-country, and show jumping, the sport having its roots in the drills European armies conducted to ensure officers seeking a commission in the cavalry possessed the requisite skills.  Eventing has a reasonably impressive death toll of both riders and beasts.         

Prosaic is an example of the figurative adoption of a word with a precise technical meaning assuming such popularity that the original sense was effectively lost.  Once, any text not poetic was “prosaic” (ie “written in prose”), and this description denoted nothing negative; it was just a way of distinguishing between written forms, reflecting prosaic’s origins in the Latin prosa (prose).  However, by the seventeen century, poetry had come to be regarded as a most superior form of expression, considered more beautiful, imaginative, and emotional, prose relegated to the status of the mundane and procedural.  The figurative use evolved from this and prosaic came to be used to refer to anything thought ordinary or unimaginative including music, ideas and architecture etc.  The adjective thus transformed into a synonym for "colorless, drab, lifeless, lacklustre, humdrum, dull, pedestrian, unimaginative" etc and this resulted in phrases which once would have been thought bizarre or tautological: “prosaic poetry” & “prosaic prose”.  In its original technical sense (distinguishing the style of writing used for poetry from other literature), the word is now obsolete except for historic references and indeed, it’s now challenging to use in the context of literature because of the implications of the modern meaning.  Still, for those who wish to emphasise that some bad texts are worse than others, the comparative is more prosaic and the superlative, most prosaic.

Lindsay Lohan (2015) by Amber Tambling.

Actress and author Amber Tamblyn (b 1983) solved the writer's dilemma about whether to handle the subject of Lindsay Lohan in prose or poetry by using no text at all.  The publisher HarperCollins described her third collection Dark Sparkler (2015) as a “…hybrid of poetry and art exploring the lives and deaths of actresses who began their careers as child stars.”  The book, which included original artwork by a number of artists, was well received, critically and commercially.  The title was well-chosen because Dark Sparkler was a catalogue of murder and suicide but what attracted much comment was the inclusion of one living soul: Lindsay Lohan, her entry (on page 47) blank but for her name as the title.  An author’s relationship ultimately is with their readers but first it’s with their critics and the response to that one proved it’s possible to deconstruct text even when it doesn’t appear.  The critical reaction was something in vein taken by those who approached John Cage’s (1912–1992) 4:33 (1952) in that, without much with which to work, the only obvious question seemed to be “What did you mean?”  Ms Tamblyn did say she found it “upsetting” when, after reading several of the poems dedicated to starlets who died young, she spoke the words “Lindsay Lohan” and the audience laughed; perhaps in the age of TikTok she’d not now be surprised.  She claimed the inclusion of the work in its unusual form was not to say “you’re next” but explicitly to avoid writing anything about a life in progress, the idea being Ms Lohan’s life was her own story to write.  Like any work of prose or poetry, page 47 was there for people to take from it what they found.

The Tay Bridge Disaster

William Topaz McGonagall (circa 1825–1902) was a Scottish poet of Irish ancestry, now acknowledged as perhaps the worst poet ever to have been published in English, a fair achievement given the wealth of modern competition.  His best known work remains The Tay Bridge Disaster (1880), lamenting the disaster of 28 December 1879, when, during a severe gale, the central section of Dundee's Tay Rail Bridge collapsed, sending to their deaths in the freezing water the 80-odd souls aboard the Wormit-Dundee train passing at the time.  Regarded at the time as a triumph of Victorian engineering, the Tay bridge was nearly two miles (3.2 km) long and then the longest in the world but was built with an insufficient allowance for lateral wind-load, the structure that night succumbing to the gale-force winds estimated at 80 mph (130 km/h / 70 knots).  An enquiry was conducted and the designer, Sir Thomas Bouch (1822-1880) (knighted by Queen Victoria in recognition of the quick and economic construction of the bridge) was found for primarily responsible for the disaster.  He died within a year of the collapse.

The Tay Bridge after it collapsed. Photo credit: National Library of Scotland

Whether the The Tay Bridge Disaster can be said to be prosaic is debatable because there are probably better adjectives but critics have long been united that it's a very bad piece of poetry and it's doubtful a re-rendering in prose would be much of an improvement, one writing of it that McGonagall was “deaf to poetic metaphor, employing inappropriate rhythms that resulted in unintentionally amusing poetry.”  Said to be wholly oblivious to the invective almost universally directed to his oeuvre of over two-hundred pieces of verse, his sheer awfulness and tenacity caused him to be remembered to this day for at least something while countless poets who were merely earnest and competent are long forgotten.

The Tay Bridge Disaster by William McGonagall

Beautiful Railway Bridge of the Silv’ry Tay!
Alas! I am very sorry to say
That ninety lives have been taken away
On the last Sabbath day of 1879,
Which will be remember’d for a very long time.
 
’Twas about seven o’clock at night,
And the wind it blew with all its might,
And the rain came pouring down,
And the dark clouds seem’d to frown,
And the Demon of the air seem’d to say-
“I’ll blow down the Bridge of Tay.”
 
When the train left Edinburgh
The passengers’ hearts were light and felt no sorrow,
But Boreas blew a terrific gale,
Which made their hearts for to quail,
And many of the passengers with fear did say-
“I hope God will send us safe across the Bridge of Tay.”
 
But when the train came near to Wormit Bay,
Boreas he did loud and angry bray,
And shook the central girders of the Bridge of Tay
On the last Sabbath day of 1879,
Which will be remember’d for a very long time.
 
So the train sped on with all its might,
And Bonnie Dundee soon hove in sight,
And the passengers’ hearts felt light,
Thinking they would enjoy themselves on the New Year,
With their friends at home they lov’d most dear,
And wish them all a happy New Year.
 
So the train mov’d slowly along the Bridge of Tay,
Until it was about midway,
Then the central girders with a crash gave way,
And down went the train and passengers into the Tay!
The Storm Fiend did loudly bray,
Because ninety lives had been taken away,
On the last Sabbath day of 1879,
Which will be remember’d for a very long time.
 
As soon as the catastrophe came to be known
The alarm from mouth to mouth was blown,
And the cry rang out all o’er the town,
Good Heavens! the Tay Bridge is blown down,
And a passenger train from Edinburgh,
Which fill’d all the peoples hearts with sorrow,
And made them for to turn pale,
Because none of the passengers were sav’d to tell the tale
How the disaster happen’d on the last Sabbath day of 1879,
Which will be remember’d for a very long time.
 
It must have been an awful sight,
To witness in the dusky moonlight,
While the Storm Fiend did laugh, and angry did bray,
Along the Railway Bridge of the Silv’ry Tay,
Oh! ill-fated Bridge of the Silv’ry Tay,
I must now conclude my lay
By telling the world fearlessly without the least dismay,
That your central girders would not have given way,
At least many sensible men do say,
Had they been supported on each side with buttresses,
At least many sensible men confesses,
For the stronger we our houses do build,
The less chance we have of being killed.

Camarilla

Camarilla (pronounced kam-uh-ril-uh or kah-mah-ree-lyah (Spanish))

(1) A group of unofficial or private advisers to a person of authority, especially a group much given to intrigues and secret plots; cabal; a clique.

(2) The confidential advisers to the Spanish kings.

(3) By extension, an unelected individual in a position of influence in government.

1830-1840: From the Spanish camarilla, the construct being cámara (chamber; room) + -illa, the diminutive Latin suffix.  The Spanish cámara was from the Old Spanish camara, from the Vulgar Latin camara, from the Classical Latin camera (a vaulted building; arched roof or ceiling), from the Ancient Greek καμάρα (kamára) (something with an arched cover, a vaulted chamber).  A doublet of cambra, the Latin was the source also of the Italian camera, the French chamber, the Old Church Slavonic komora, the Lithuanian kamara and the Old Irish camra.  The suffix -illa was an inflection of -illus (nominative/vocative feminine singular & nomminative/accusative/vocative neuter plural).  The suffix -illā was the ablative feminine singular of -illus, itself a misinterpretation of the diminutive suffix -lus on such nouns as sigillum (signum + -lus) and used freely.  It was used to form adjectives from nouns.  Literally translated from Spanish it means “little room” and, in English, the origins of the cabinet, the “kitchen cabinet” and Privy Council are not dissimilar.  Outside of the formal workings of the Spanish court, word tends to be used with suggestions of something secret, sinister and conspiratorial and from this Modern English picked up cabal.  In Italian, camarille is the plural of Camarilla, a feminine proper name, from the Latin, feminine of Camillus, cognomen of several members of the gens Furia, from camillus (noble youth attending at sacrifices), possibly from Etruscan.

Camarilla of regret and renown

Adolf Hitler (1889-1945; German head of government 1933-1945 & head of state 1934-1945) & Martin Bormann (1900–1945), the Berghof Terrace (1942).

Bormann attached himself to the Nazi Party in the 1920s and proved diligent and industrious, rewarded in 1933 by being appointed chief of staff in the office of Rudolf Hess (1894–1987; Nazi Deputy Führer 1933-1941) where he first built his power base.  After Hess made his bizarre flight in 1941, Hitler abolished the post of Deputy Führer, assigning his offices to Bormann and styling him Head of the Parteikanzlei (Party Chancellery), a position of extraordinary influence, strengthened further when in 1943 he was appointed Personal Secretary to the Führer, a title he exploited to allow him to act as a kind of viceroy, exercising power in Hitler’s name.  Known within the party as the “Brown Eminence” (an allusion to an éminence grise (literally “grey eminence”) one who exercises power “behind the scenes” and the brown Nazi Party uniform), he maintained his authority by controlling access to Hitler to whom his efficiency and dutifulness proved invaluable.  He committed suicide while trying to make his escape from Berlin in 1945.

Sir John Gorton (1911-2002; Australian prime-minister 1968-1971) & Ainsley Gotto (1946–2018), Melbourne, Australia, 1970.

Aged 21, the picturesque Ainsley Gotto was appointed personal private secretary to the prime-minister, something which raised eyebrows at the time though had it been reported (the press then more restrained in their intrusions into people’s private lives), that she was at the time having an affair with the leader of the opposition’s chief of staff, that would have been a sensation.  Gorton was less conventional than his predecessors and made no secret of his fondness of sometimes having a drink with younger women so unsubstantiated rumors of course followed.  Also alleged was that she exercised undue influence, one sacked minister blaming his demise on: “It wiggles, it's shapely and its name is Ainsley Gotto.”

Franklin Delano Roosevelt (FDR, 1882–1945, US president 1933-1945) & Harry Hopkins (1890–1946), Washington DC, 1941.

Harry Hopkins held a number of appointments in the Roosevelt administration (including at cabinet level) between 1933-1940 before being attached to the White House staff as the president’s personal advisor, especially in the key aspect of managing the US contribution to the British war effort at a time when the country was a non-belligerent and a substantial part of public and political opinion favoured maintaining neutrality.  After the attack on Pearl Harbor, his role in foreign affairs became more overt and he functioned essentially as Roosevelt’s personal emissary to both London and Moscow.  His influence waned in the later days of the war as US preponderance in military matters in the Pacific & Atlantic theatres and the supply of materiel to the Soviet Union meant political negotiations moved to the background.  Additionally, his health was failing and he died within a year of the end of the war.  In the post-war years he was criticized for being at least naïve in his estimation of comrade Stalin's (1878-1953; Soviet leader 1924-1953) intentions and the very nature of the Soviet state but that was something which could be said of many at the time, including Roosevelt.

Boris Johnson (b 1964; UK prime-minister 2019-2022) & Dominic Cummings (b 1971), London, 2019.

Although he had for years been circulating in populist right-wing politics, Dominic Cummings really came to nation attention for his role in supporting a yes vote in the Brexit referendum (2016) which led to the UK leaving the European Union (EU).  One reward for this success was being appointed chief adviser to Prime Minister Boris Johnson upon his assumption of the premiership.  Johnson would have had his reasons but it’s suspected Cummins rather though the prime-minister might prove “the empty vase into which I poured water” as Spike Milligan (1918-2002) once said of Peter Sellers (1925-1980).  Things didn’t quite work out like that although sections of the press were never subtle in ascribing a to disproportionate influence which some hinted verged on the improper.  In the end it was not constitutional impropriety but denials and cover-ups over COVID-19 related lockdown transgression which saw his role in government sundered.  He wasn’t the first camarilla to have squandered the extraordinary possibilities offered by occupying a position of power without responsibility.

George W Bush (George XLIII, b 1946; US president 2001-2009) & Karl Rove (b 1950), Washington DC, 2007.

Coming out of the roughhouse of Texas politics, Karl Rove was described usually as a political strategist but his range was extraordinary, encompassing everything from data miner & analyst to campaign manager and media handler.  He masterminded a slew of Republican victories in Texas and beyond but is most associated with George W Bush’s gubernatorial and presidential successes.  Bush was generous in naming Rove the “architect” of these victories but in private also bestowed the most illustrious of all Texan terms of endearment: "Turd Blossom".  Although serving as White House Deputy Chief of Staff (2005-2007), the essence of his role was as Senior Advisor to the President and during these years he came to be described as “W’s brain”.  Historians mostly haven’t yet gone that far but do acknowledge his success in mobilizing the reticent Republicans and evangelicals and others to emerge from their basements and vote in 2004, narrowly gaining Mr Bush his second term.

Tony Abbott (b 1957; Australian prime-minister 2013-2015) and Peta Credlin (b 1971), Canberra, Australia, 2014.

Peta Credlin drew interest when employed as Chief of Staff to Tony Abbott as leader of the opposition but was a lightning rod when she fulfilled the role when he was prime-minister.  Anyone who doubts misogyny exists in politics can’t have been paying attention to the treatment Ms Credlin endured, the rumors of affair between her and Abbott utterly unsupported by even a scintilla of evidence.  It was wasted effort really because her reactionary politics of hatred, division and dog-whistling surely offered sufficient scope for critics of her brand of shark-feeding populism.  The office however probably constrained her a bit because in her new role as a commentator on the Murdoch-run Sky News, there’s much more latitude, the business model to say something outrageous or in some way actionable, enjoy the reaction and then issue an apology, if need be accompanied by an out-of-court settlement.  Still, she did come up with one really good line: Her labelling of Malcolm Turnbull (b 1954; Australian prime-minister 2015-2018) as “Mr harborside mansion” was better than anything a man could think of so there was that.

Woodrow Wilson (1856–1924; US president 1913-1921) & Colonel Edward House (1858–1938), New York, 1916.

Colonel (a non-military, honorary title) House was President Wilson’s closest advisor between 1914-1948 and despite lacking a background in European affairs, was the senior US diplomat at the Paris Peace Conference (1919).  Disappointed and feeling deceived by some of the decisions taken at Paris and agreed to in his absence by House, Wilson broke with him; after returning to the US, they would never meet again.  To his dying day House believed his estrangement from the president was engineered at least in part by the second Mrs Wilson, the "blame the wife" theory appearing many times in in dynastic and political history.

Cope

Cope (pronounced kohp)

(1) To struggle or deal, especially on fairly even terms or with some degree of success.

(2) To face and deal with responsibilities, problems, or difficulties, especially successfully or in a calm or adequate manner.

(3) To come into contact; to meet (archaic).

(4) A long mantle, especially of silk, worn by ecclesiastics over the alb or surplice in processions and on other occasions.

(5) Any cloak-like or canopy-like covering (now rare).

(6) The night sky or the sky (archaic except as a literary or poetic device, sometimes in conjunction with “heaven”).

(7) In metallurgy, the upper half of a flask.

(8) In woodworking, to join (two molded wooden members) by undercutting the end of one of them to the profile of the other so that the joint produced resembles a miter joint.

(9) To form a joint between such members in this way or to undercut the end of (a molded wooden member) in order to form a coped joint.

(10) In steel fabrication, to cut away a flange of a metal member so that it may be joined to another member at an angle.

(11) In falconry, to clip or dull the beak or talons of a hawk.

(12) In medieval military use, for infantry forces to meet in battle.

(13) In South Africa, an acronym for Congress of the People, a political party founded in 2008 by dissident members of the African National Congress (ANC).

(14) To buy, barter; make a bargain, exchange for value (obsolete since the seventeenth century.

1175-1225: From the Middle English capa (large outer garment, cloak, mantle) which by the late thirteenth century acquired the specific ecclesiastical sense of “large mantle of silk or other material worn by priests or bishops over the alb on special occasions” from the Medieval Latin capa (cloak), from the Late Latin cappa (hooded cloak) (and source of the Old English cāp and the modern cap).  In figuratively use it was used of the night (the idea of the “cloak” of night's darkness) which was later extended to the "vault of the sky", the notion of the sky enveloping the earth as a cape covers the body, hence the late fourteenth century poetic phrase “cope of heaven”.  Cope is a noun & verb and coping is a noun, verb & adjective; the noun plural is copes.

In Medieval Europe, meanings evolved in parallel.  The verb emerged in the late fourteenth century as coupen (to quarrel) which in the early 1400s had meant “come to blows, deliver blows, engage in combat”, from the Anglo-French & Old French couper, from colper (to strike; to cut; a blow hit, punch), from colp (a blow).  The meaning evolved and by the eighteenth century meant “handle (successfully), deal with” and etymologists suspect this may have been under the influence of the obsolete use of cope to mean “to traffic, bargain for, buy”, in common use between the fifteenth & seventeenth centuries in North Sea trade, from the Flemish version of the Germanic source of English “cheap”.  The construct of København (literally “merchant's port”) (Copenhagen), the capital of Denmark, was køber (merchant (literally “buyer”)) + havn (port) (thus the idea in English of a port as a “haven in a storm”).  English picked up cope in the fifteenth century from its sense in Low German of "to buy, barter, make a bargain”, use lasting until late in the seventeenth.  The noun coping dates from the early seventeenth century as a term in architectural meaning “the top or cover of a wall, usually sloped to shed water”, an allusion to the function of a priest’s cloak-like cope in protecting the wearing from rain.  By the 1660s, this technical sense in building extended to a general description of the form and shape of a typical cope and the verb cope in this context was used to describe “forming a cope, bend as an arch or vault”.  The notion was picked up in carpentry in the 1880s as “coping saw”, a saw with a long, narrow blade used for cutting curved patterns.

Pope Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) in red papal cope & mitre, worn when presiding over the ceremonies marking the opening of the Pauline Year, 29 June 2008.

The cope is a liturgical vestment, a long cloak, open in front and fastened at the breast with a band or clasp, known as a morse.  Always made in a great variety of colors and patterns, the cope has never been restricted to the clergy and although now, in its more elaborate forms, it's most associated with bishops and cardinals, there's no doubt it was originally a functional garment designed for no higher purpose than to protect the wearer and his clothes from the elements.  In Ancient Rome, it was known in Classical Latin as pluviale (rain coat) or cappa (cape) and in design and construction has changed little in two-thousand years.

Cardinal Pell (1941-2023) in Cappa Magna with caudatario.

Among copes, the highlight of any ecclesiastical fashion parade in the Roman Catholic Church is the silk cappa magna (great cape).  Technically a jurisdictional garment, it’s now rarely seen and worn only in processions or when "in choir" (attending but not celebrating services).  Cardinals wear red and bishops violet and both cardinals and papal nuncios are entitled to a cappa magna of watered silk.  Well into the twentieth century, a cappa magna could stretch for nearly 15 metres, (50 feet) but Pius XII’s (1876-1958; pope 1939-1958) motu proprio (literally “on his own impulse”, essentially constitutionally the same as a royal decree which unilaterally creates law) Valde solliciti (1952) laid down that they should not be longer than 7m (23 feet) and later instructions from the Vatican banned them from Rome and curtailed their use elsewhere.  Valde solliciti translates literally as “very worried” and Pius in 1952 was clearly exactly that, concerned at complaints that the extravagance of the Church’s rituals was inappropriate at a time of such troubled austerity.  There was in 1952 still little sign of the remarkable post-war economic recovery which within a decade would be critiqued in Federico Fellini's (1920–1993) film La Dolce Vita (the sweet life, 1960).  Accordingly, Pius wrote:

Being greatly troubled by the peculiar conditions of our times, which laborious experiments and changes make daily more difficult and more difficult, and which make those wishes worthy of the greatest consideration and care, for the attainment of which many strive today with a noble anxiety, We have always thought it opportune and consistent with the duty of Our conscience to respond to them with warnings which arise from it: namely, that all, and in a special way from the sacred order of men, are directed to a more sober, moderate and austere way of life.

For this reason, which also concerns Us, it was decided to set an example in these matters: it was decided to moderate somewhat the external rites which belong to the fulfilment of Our Apostolic office, that is, to reduce the sacred ceremonies to a simpler and shorter form; and for this reason above all we are moved with joy, because we see all men of heart, when in the habit of acting of individuals, as well as in the actions of public life, even in regard to the clergy, more than pride, we are amazed at the painstaking concern for the needs of human society.

It is our intention, therefore, to issue some regulations concerning the vestments of the Cardinal Fathers, who indeed are very dear to Us, and are present to Us so much in the whole Church that we govern. Indeed, we know that they do not look to the admiration of their admirers, but to place their own excellent dignity and authority in their own light; and in the same way it was seen by Us not only to abhor them from empty luxury, but rather those who have attributed to them the piety of the ecclesiastical patrimony of the Christian faithful, and sometimes also family wealth, to spend liberally in projects of beneficence when they are deeply convinced of themselves, to respond to the precepts of evangelical wisdom, as those who the results that remain, even those that arise from a more moderate way of living and dressing, will be invested in divine worship, in charity, in the education of the youth, and in apostolic works.

Therefore, while we honor them with due honor, we think that We will make their laudable Christian plans and purposes easier by these, which we have established by Motu Proprio, norms pertaining to the attitude of the Cardinal Fathers:

(1) Of the robe of the Cardinal Fathers, the cord or tail is to be removed, either of a red or purple color.

(2) The string or tail of their cap, which will not be worn in the Supreme Pontifical Chapels, nor in the Sacred Consistory, should be reduced to half, considering its size, which is in use today.

(3) Their clothes of a purple color (talar clothes, mantles, mozeta) are woolen; that the Cardinal Fathers, who had previously had silk vestments of a purple color, may continue to wear them for the same period.

(4) The norms of the ceremonies in the Roman Court will be reintegrated, according to the habit of those Cardinal Fathers who are recruited into the Sacred College either from among the Canons Regular, or from the Clergy Regular, or from the Religious Congregations.

Amanda Seyfried (b 1985) in cloak, Red Riding Hood (2011).

The caudatari need a practical understanding of physics when dealing with the challenge of stairs; note the parabolic curve a Cappa Magna assumes in ascent.

Over the centuries, there was certainly a bit of mission creep in the cope.  Originally garments like other cloaks of at most of ankle-length, by the mid-twentieth century, those used by cardinal could trail for 7 metres (23 feet).  Formerly introduced as an ecclesiastical vestment by Pope Nicholas III (circa 1225–1280; pope 1277-1280), even when of more modest length, in those dustier, muddier times, the need for an aide (familiar in English as “Page of the Robes”), saw the appointment of those who would follow behind, carrying the tail of the robe and preventing it dragging on the ground.  The first aides were laymen but the role was later assigned to junior clerics, often trainee priests and, in the way of bureaucracy, as bishops and other more junior clerics began to lengthen their trains, their numbers grew, not least because sometimes two were required when a cardinal might be negotiating tricky obstacles like stairs.  In the Church these aides were styled as caudatario (plural caudatari), (from Italian and literally “train-bearer”) and their sole role was to carry the train of the cassock or cappa magna during solemn ceremonies but, again in the way bureaucracies tend to grow, they began to assume the role of a personal assistant (PA) taking charge of the vestments’ cleaning, repair and storage (the role in England of the “Master of the Robes”) and during services, holding the cardinal’s cap or books and prompting him to recall (as required) what came next in the order of service.  However, Pope John XXIII (1881-1963; pope 1958-1963), either moved by the spirit of La Dolce Vita or responding to cardinals complaining about their sartorial emasculation, restored things, setting the Cardinals' copes to 12 meters (40 feet) and the bishops’ to 7m (23 feet).  One quirk in the Orthodox Church is the Latin Patriarch of Jerusalem is required to don an ermine-lined winter cappa, because he is bound by the unalterable rules of the Status quo, an 1852 Ottoman firman (a word from the Persian (فرمان) meaning "decree") which regulates relations between the various religious groups caring for sites in the Holy Land.

Lindsay Lohan in Lavish Alice cape.  Lindsay Lohan is believed to have good coping skills.

In modern use, people seem often to use the words cloak & cape interchangeably, presumably because (1) both are now less common and (2) both are made from a single piece of fabric (though often lined), is sleeveless and hangs loose.  Properly though, capes are shorter, often of hip-length while cloaks are calf-length or descend to the floor.  Perhaps what misleads is the tendency in popular culture (especially film) to depict super-heroes (Superman and his many imitators) in flappy capes which extend sometimes almost to the ankles.  Cloaks also often have hoods which are less common on capes.  Cloak is from the French word cloche (bell), implying a wrap narrow at the top, flaring at the bottom and the envelopment they provide saw the word adopted to mean conceal, used in fields as diverse as coatings which resist detection by radar and masking agents used to suppress the presence of drugs.

Cipher

Cipher (pronounced sahy-fer)

(1) Zero (archaic).

(2) Any of the Arabic numerals or figures (historic use only).

(3) To use figures or numerals arithmetically (historic use only).

(4) To write in or as in cipher.

(5) To calculate numerically; figure (historic use only).

(6) To convert into cipher.

(7) A numeric character (historic use only).

(8) Any text character (historic use only).

(9) A combination or interweaving of letters, as the initials of a name; a device; a monogram.

(10) A method of transforming a text in order to conceal its meaning.

(11) In cryptography, a system using an algorithm that converts letters or sequences of bits into cipher-text.

(12) A grouping of three digits in a number, especially when delimited by commas or periods.

(13) In music, a fault in an organ valve which causes a pipe to sound continuously without the key having been pressed.

(14) In music, slang for a hip-hop jam session (although some etymologists thing this is wholly unrelated to cipher’s accepted lineage.

(15) The path (usually vaguely circular) shared cannabis takes through a group.

(16) Someone or something of no importance.

(17) As cipher.exe, an external filter command in some versions of Microsoft operating systems, used to encrypt and decrypt data on drives using HPFS (High-Performance File System & NTFS (New Technology File System).

Late 1300s: From the Middle English siphre & cifre, from the Old French cyfre & cyffre (nought, zero) (which endures in Modern French as chiffre) from the Medieval Latin cifra & ciphra, (like the Spanish and Italian cifra), ultimately from the Arabic صِفْر‎ (ṣifr) (zero, empty), from صَفَرَ‎ (ṣafara) (to be empty), a loan-translation of the Sanskrit śūnyā-s (empty) The alternative spelling is cypher.  The word came to Europe in the twelfth century with the arrival of Arabic numerals.  Meaning first "zero", by the fifteenth century it had come to mean "any numeral" and then, following the use in French & Italian, "secret way of writing; coded message", a sense which in English emerged by the 1520s, the origin of the shift being the early diplomatic codes, often creations which substituted numbers for letters.  The meaning "the key to a cipher or secret writing" was by 1885 short for “cipher key”, a phrase in use since 1835.  Drawing from the sense of “zero”, the figurative sense of "something or someone of no value, consequence, or power" dates from the 1570s.

The verb in the sense of “doing arithmetic" (with Arabic numerals) emerged in the 1520s and was derived from the noun while the transitive sense (reckon in figures, cast up) was first noted in 1860 and the specific sense of a cipher code being something which might be associated with the occult characters was first attested in 1563.  The verb decipher (an obviously essential companion to cipher) in the 1520s had a now obsolete meaning in mathematics (find out, discover) but by the 1540s it meant "interpret” in the sense of rendering a coded message (a cipher) back into the language or origin by use of a cipher-key.  It may, at least in part, be a loan-translation from the French déchiffrer.  From circa 1600, it moved beyond the literal to the transferred sense of "discover or explain the meaning of what is difficult to understand", the sense of "succeed in reading what is written in obscure or partially obliterated characters" used by 1710.  Cipher is a noun & verb; ciphering is a noun; the noun plural is ciphers.

German Enigma M4 encryption machine.  Introduced for commercial purposes in 1923, it was used by the German Navy from 1926, all branches of the service adopting it by 1935.  Built initially with three rotors, a fourth was added in 1941.

Although used by the Wehrmacht (the German armed forces) throughout the war, work by Polish mathematicians, aided by French intelligence, had enabled Polish cryptographers to break the codes and thus read German military traffic between 1932-1938, at which point additional layers of complexity were added.  In 1939, as war approached, the Poles passed their work to the allies where the code-breaking continued, culminating in the “Ultra” decrypts which would be of such value during the war.

The text "Lindsay Lohan" encrypted using different ciphers:

Standard Vigenère cipher: Nzlslig Nffpg
Beaufort cipher: Rjlmbik Rdrpg
Variant Beaufort cipher: Jrpozsq Jxjlu
Trithemius cipher: Ljpgwfe Swqky

In the decryption process, the British made some of the first use at scale of electronic computers and so secret was the project regarded that the protocols of the existing highest level of secrecy in the machinery of government, “Most Secret”, was thought inadequate and “Ultra Secret” was thus created with a tiny distribution list.  Also deployed was the coat-and-dagger trick of the misleading code-name Boniface, used in a way to convey the impression the British had a master spy they called “Boniface” controlling a network of spies throughout the political, military and industrial structures of the Reich.  The ruse proved successful, the OKM (Oberkommando der Marine; the German naval high command) never taking seriously the suggestion their codes had been broken, instead repeatedly combing their organisation for spies.  The existence of the British code-breaking project and the volume and importance of the Ultra decrypts to the war effort wasn’t widely known until an (at times misleading) account was published  in 1974 in The Ultra Secret by a former RAF officer, FW Winterbotham (1897-1990).  Although criticised in detail, what was revealed did compel a re-evaluation of some of the conclusions drawn by historians about political and military matters during the war.

Zaftig

Zaftig (pronounced zahf-tig, zahf-tik, zawf-tig or zawf-tik)

(1) Of a woman, having a particular and pleasingly curvaceous figure.

(2) By extension, of wine, certain machines, architecture etc, full-bodied; well-proportioned.

1926: From the Yiddish זאַפֿטיק‎ (zaftik) (literally, “juicy, succulent”) from zaft (juice) and cognate with the Middle High German saftec, a derivative of saf & saft, the Old High German saf and the German Saft (juice, sap) & saftig (juicy).  The alternative spellings are zoftig & zaftige, both known in Yiddish texts but in English slang it’s appeared also as zoftik, zoftick, zaftige, zofttig & softic, the variations presumably because the written form came directly from the oral but the latter may have been under the influence of German.  Zaftig is an adjective but in slang has been used as a (non-standard) noun (a zaftig) and zaftigish & zaftigesque are both (non-standard) adjectives; the (non-standard) noun plural is zaftigs.

Rubenesque: The Three Graces (circa 1632) by Peter Paul Rubens (1577-1640), Museo del Prado, Madrid.

According to Jewish linguistic anthropology, zaftig entered Yiddish in the mid-nineteenth century and was picked up in English sometimes early in the next, the first recorded instance of use in 1927 where it became a US colloquialism which referred to a woman whose figure was plump yet sexually attractive.  It implied someone voluptuous and well-proportioned even if large, conveying something like the word Rubenesque which had long been a “polite” way of putting it, the construct being Rubens +‎ -esque, an allusion to many of the women depicted in the paintings of Peter Paul Rubens.  Rubenesque was understood usually to be a compliment because it was thought a reference to sensuousness rather than mere size and in this, like zaftig, it differed from more brutish descriptors such as chunky, flabby, plump, portly, pudgy, stout, rounded, shapely, beefy, corpulent or meaty which tend to the negative, even if modified with a helpful adverb like “pleasingly” or “alluringly”.

Zaftigesque: The Three Charlottes; Charlotte McKinney (b 1993), Encore Player’s Club grand opening, Las Vegas, 2016.  This little black dress (LBD) is optimized for Ms McKinney’s specific instance of selective zaftigism.

Zaftig remains useful because of its comparative rarity, the obscurity of the word meaning if can still often be used to objectify women (if that’s one’s thing) whereas the use of other, more familiar adjectives would see one condemned as sexist, misogynistic or worse.  For students of nuance, the comparative is "more zaftig", the superlative "most zaftig".