Concerto

Concerto (pronounced kuhn-cher-toh or kawn-cher-taw (Italian))

(1) A composition for an orchestra and one or more principal instruments (ie soloists), usually in symphonic form. The classical concerto usually consisted of several movements, and often a cadenza.

(2) An alternative word for ripieno.

1519: From the Italian concertare (concert), the construct being con- + certō.  The Latin prefix con- is from the preposition cum (with) and certō is from certus (resolved, certain) +‎ -ō; the present infinitive certāre, the perfect active certāvī, the supine certātum.  Concerto grosso (literally “big concert”; plural concerti grossi) is the more familiar type of orchestral music of the Baroque era (circa 1600–1750), characterized by contrast between a small group of soloists (soli, concertino, principale) and the full orchestra (tutti, concerto grosso, ripieno). The titles of early concerti grossi often reflected their performance locales, as in concerto da chiesa (church concerto) and concerto da camera (chamber concerto, played at court), titles also applied to works not strictly concerti grossi.  Ultimately the concerto grosso flourished as secular court music.  Concerto is a noun; the noun plurals are  concertos & concerti.

The origin of the Italian word concerto is unclear although most musicologists hold it’s meant to imply a work where disputes and fights are ultimately resolved by working together although the meaning did change over the centuries as musical traditions evolved.  Concerto was first used 1519 in Rome to refer to an ensemble of voices getting together with music although the first publication with this name for works for voices and instruments is by the Venetian composer Andrea Gabrieli (circa 1532-1585) and his nephew Giovanni Gabrieli (circa 1555-1612), a collection of concerti, dated 1587. Up to the first half of the seventeenth century, the term concerti was used in Italy for vocal works accompanied by instruments, many publications appearing with this title although initially, the Italian word sinfonia (from the Latin symphōnia, from the Ancient Greek συμφωνία (sumphōnía) was also used.  It was during the Baroque era the concerto evolved into a recognizably modern form.

Deep Purple and the Royal Philharmonic Orchestra under Malcolm Arnold: Concerto for Group and Orchestra, 24 September 1969.

Although pop groups playing with orchestras is now not rare, there’s never been anything quite like Jon Lord’s (1941-2012) Concerto for Group and Orchestra, performed on 24 September 1969 at the Royal Albert Hall by Deep Purple and the Royal Philharmonic Orchestra under Malcolm Arnold (1921-2006).  The work was a true concerto in three movements: Energico, Lento and Con Fuoco; an attempt to fuse the sound of an orchestra with that of a heavy metal band.  It proved a modest commercial success and has been performed on several occasions.

Cover of the original Tetragrammaton pressing of Deep Purple's second album The Book of Taliesyn (1968).

Although something very different from what most rock bands were doing in 1969, Jon Lord's concerto really was a synthesis of some of the material two of the bands previous three albums, both of which contained threads in the tradition of the German classical music in which Lord Had been trained.  Recorded during their early quasi-psychedelic period, the title of their second album had been borrowed from The Book of Taliesin (Llyfr Taliesin in the Welsh), a fourteenth century manuscript written in Middle Welsh which contains some five dozen poems, some pre-dating the tenth century while the third owed some debt to the seventeenth & eighteenth.  The Concerto for Group and Orchestra was very much in the vein of Deep Purple's early output but what was at the time unexpected was that less than a year after the performance, the band released the album In Rock, a notable change in musical direction and one decidedly not orchestral.  Prior to In Rock, Deep Purple's output had been eclectic with no discernible thematic pattern, a mix of influences from pop, blues and psychedelia, delivered with the odd classical flourish so suddenly to produce one of the defining albums of heavy metal was unexpected in a way the Concerto was not.  For the band however, it was the performance at the Royal Albert Hall which proved the anomaly, In Rock providing the template which would sustain them, through personnel changes and the odd hiatus, well into the twenty-first century.

Cover of the original Harvest pressing of Deep Purple's fourth album: Concerto for Group and Orchestra (1969).

Lord wasn’t discouraged by the restrained enthusiasm of the music press, describing critics as “…an archaic, if necessary, appendage to the music business” and pursued variations of the concept for the rest of his life.  The most noted was Windows (1974), a collaboration with German conductor and composer Eberhard Schoener (b 1938) which included Continuo on B-A-C-H (B-A-C-B# in musical notation), a piece which built on the unfinished triple fugue that closed Johann Sebastian Bach's (1685–1750) Art of the Fugue, written in the last years of his life.  Although not included with the original release on vinyl, the band did perform some of their other material just before the concerto began including a song which would appear on In Rock.  That was Child in Time, a long and rather dramatic piece with some loud screaming which must have been quite unlike anything which some of that night's older critics might previously have enjoyed and perhaps it affected them.  Unlike pop music’s fusions with jazz, attempts to synthesize with classical traditions never attracted the same interest or approbation, the consensus seemingly that while a cobbler could create a hobnail boot for a ballerina, it was hard to imagine why.

Exorcise

Exorcise (pronounced ek-sawr-sahyz)

To seek to expel from a person or place an evil spirit by means of adjuration or solemn religious ceremonies.

1350-1400: Use of the verb predated this date but formerly it entered Middle English from the fourteenth century Old French exorciser from the Late Latin exorcizāre, derived from the Ancient Greek exorkízein (bind by oath; banish an evil spirit) and the sense "call up evil spirits to drive them out" was dominant by the sixteenth century.  In England, exorcize was actually an alternative spelling but this is now one the rare instances in English where the US adopted -ise rather than -ize which some etymologists suggest may have been because of the influence of "exercise" although why that would be compellingly persuasive seems never discussed.  What is more likely is the use of "exorcise" in so many church documents brought to the American colonies, there being more reluctance to edit "sacred" works.  Some US academic sources do suggest exorcize is "a rare but correct" alternative, a concession not extended to exercize.  The rarest of the related forms are exorcismal, exorcisory, exorcistical and the wonderful exorcistic.

The noun exorcism (a calling up or driving out of evil spirits) was a fifteenth century creation formation from the Late Latin exorcismus, from the Ancient Greek exorkismos (administration of an oath) which, in Ecclesiastical Greek existed as exorkizein (exorcise, bind by oath), the construct being ex- (out of) + horkizein (cause to swear), from horkos (oath) of uncertain origin although some have suggested there's a link to  herkos (fence), the idea being of a oath with boundaries one accepts as "restrictions, ties & obligations" or "a magical power that fences in the swearer".  It's speculative and one etymologist noted dryly that the discipline's enthusiasm to adopt the view "was restrained".  A fourteenth century form describing the ritual was spelled exorcization.

Exorcism: Vade retro satana (Step back, Satan)

Saint Francis and the Dying Impenitent (1788) by Francisco Goya (1746-1828)

Exorcism in Christianity is the practice of casting out demons from a person or place possessed by the Devil.  Although the biblical origins are dubious, depending on contested translations, by early in the second century of Christianity, the word was in general use and paintings of exorcists and their ceremonies are among the darker and more dramatic in medieval and later sacred art.

In the Roman Catholic Church, the rituals were formalized in 1614 because of Rome’s concerns about clandestine, underground exorcisms performed without their consent and the guidelines remained substantially unchanged until the Vatican’s revisions in 1999, a process necessitated by a late twentieth-century spike in demand.  Interestingly, for more than a decade after the Second Vatican Council (Vatican II (1962-65)), it was really not done for clergy to speak of Satan as if he really existed, the modernizing church preferring the language of psychology and psychiatry for those displaying symptoms which would once have been blamed on the Devil.

Exorcism of Nicole Aubry (1563), etching by unknown artist.

Popular culture, especially cinema, revived interest in the ritual, with both churches and the medical profession reporting an upsurge in claims of demonic possession and most significantly, Saint Pope John Paul II (1920–2005, pope 1978-2005) had a more robust attitude to the Devil’s role upon earth than any of his twentieth century predecessors.  In 2004, JPII again warned that occult and new age practices were raging out of control in Europe, providing gateways for evil that could result in demonic attachment and possession.

It’s been good business for the Holy See ever since.  The most recent Course on Exorcism and Prayer of Liberatio, held at the Pontifical Athenaeum Regina Apostolorum (an educational institute under the auspices of the Congregation of the Legionaries of Christ) in Rome, attracted some two-hundred and fifty priests from fifty countries.  Until the disruption caused by COVID-19, the week-long course, entitled Exorcism and the Prayer of Liberation had been held every year since 2005, attendance more than doubling over the years.  Cost per head was €300,  (Stg£252, US$315); bookings were essential and an entry-ticket included discounts on rooms and food & beverage in several Rome hotels.

The Exorcism of Charles II of Spain

Charles II of Spain (Carlos Segundo 1661–1700), was the last king of the Spanish Habsburg dynasty, sovereign of the Spanish Empire which stretched from Mexico to the Philippines.  The only surviving son of his predecessor, Philip IV (1605-1665) and his second wife, Mariana of Austria (1634-1696), his birth was greeted with enthusiasm by the Spanish people because, as was the fashion of the time, had the old king died without a male heir, a war of succession would have ensued.

However, Charles was physically disabled, disfigured, mentally retarded and found later to be impotent, usually a drawback for any king but a disovery which brought relief to many courtiers.  He uttered no words until the age of four, didn’t take his first step before he was almost nine, suffering throughout childhood a range of diseases including measles, varicella, rubella, and smallpox.  Left almost uneducated because of his frailty, his mother was regent most of his reign and he came to be known to history as El Hechizado (the Bewitched), the name applied because both court and country believed his mental and physical incapacities were due to an act of witchcraft.  Modern science suggests otherwise, the condition actually the consequence of the strong preference for endogamy within the Spanish branch of the Habsburg royal family which led to its segregation toward neighbor communities and the emergence of consanguinity.  In short, Charles II was inbred: his grandparents were at the same time his great-grandparents; her father, who was married to her sister's daughter, was also her great-uncle, and her mother happened to be her cousin as well.  One could see how things might not have turned out well and the condition was well-known in Europe and not restricted to aristocracy and royalty.  The slack enforcement of marriage laws on much of the continent was one of the reasons there were so many victims of the Nazi euthanasia (Aktion T4, 1939-1945) programme and the scandal of Byzantine Emperor Heraclius (circa 575–641; emperor 610-641) marrying his niece Martina (circa 590-circa 644) had been made still worse by the condition of some of the children the union produced.

However, to speak of incest in the royal family was just not done so the feeling at the time was to blame witches or the Devil and the court sought the advice of Fray Antonio Álvarez Argüelles, vicar of the Encarnación de Cangas del Narcea convent and a noted Asturian exorcist who advised “…last night the demon told me that the King is evilly bewitched to rule and to beget. When he was 14 years old, he was enchanted with a chocolate in which the brains of a dead man were dissolved to take away his health, corrupt his semen and prevent his generation”.

Exorcism of Charles II of Spain, engraving by Lechard, circa 1840.

That must have been convincing because soon after the king was subjected to what was, even by the standards of the time, a most macabre exorcism.  By coincidence, the remains of his ancestors were being transferred to a new pantheon at the Royal Seat of San Lorenzo de El Escorial and the exorcist had their coffins opened, conducting a ceremony in which the corpses of his relatives and, in an advanced state of putrefaction, that of their his beloved first wife (María Luisa de Orleans (1662-1689)), were exhibited, the hope being the array of the dead would drive off the demons so tormenting the king.

It was in vain and the suffering continued.  Ill his whole life and king since the age of three, he lingered until 1700, dying at thirty-nine, the announcement one of the more eagerly awaited events in the courts and chancelleries of Europe, such was the anticipation of the struggles which would erupt to decide the succession.  Summarizing a sad life in Carlos, the Bewitched (1962, published in the US as Carlos: The King who would Not Die), his English biographer John Langdon-Davies (1897–1971) wrote: "Of no man is it more true to say that in his beginning was his end; from the day of his birth, they were waiting for his death".  On his deathbed, his last words were: "Everything hurts".

Nomenclature

Nomenclature (pronounced noh-muhn-kley-cher, noh-men-kluh-cher, noh-muhn-kley-choor or noh-men-kluh-choor

(1) A set or system of names or terms, the terminology used in a particular science, art, activity etc, by an individual, community or institution.

(2) The names or terms comprising a set or system.

1600-1610: From the sixteenth century French nomenclature, from the Latin nōmenclātūra (a calling by name, list of names), from nomenclator (namer), the construct being nōmen (name), from the primitive Indo-European root no-men- (name) + calator (caller, crier), from calāre (call out), from the primitive Indo-European root kele- (to shout); a doublet of nomenklatura.  In many cases, the words classification, codification, glossary, locution, phraseology, taxonomy & terminology will be synonymous and interchangeable.  The related forms include nomenclatural, nomenclatorial & nomenclative, nomenclaturally, nomenclator, nomenclatory (and the equivalent systems using exclusively numbers: numericlature.  The noun plural is nomenclatures.

In Ancient Rome a nomenclator was (1) the title of a steward whose job was to announce visitors and (2) a prompter who helped a politician seeking election recall names and pet causes of his constituents.  The meaning "systematic list or catalogue of names" is attested from the 1630s; that of "system of naming" dating from the 1660s while the modern sense of "the whole vocabulary or terminology of an art or a science" is from 1789.  In English, circa 1600, it also had the meaning “a name” but, being a complicated way of saying something simple, this quickly went extinct.

In the Soviet Union, nomenklatura was the "list of influential posts in government and industry to be filled by Communist Party appointees".  The origin of this predated the formal creation of the USSR (Union of Soviet Socialist Republics; (Союз Советских Социалистических Республик, СССР the Russian abbreviation in Cyrillic, transliterated as SSSR in Latin script)) and was emblematic of the centralization of authority and decision making the party organization imposed almost immediately on the state.  It was too indicative of the way the dictatorial structure of the party, mapped onto the mechanism of the state would, disguised sometimes as a collective model, to almost the end distinguish the USSR from many of the non-communist models of authoritarian rule which flourished during the twentieth century, their corporatist nature often misunderstood because of the way the label “dictatorship” was applied.

Formalized during 1919-1920, the party’s system of control was created in the months after the revolution, the Politburo (a creation of the party’s Central Committee which, technically, exercised only the authority delegated by the committee) dealt with all matters of significance and thus reserved the key decisions exclusively for their remit, the routine and procedural matters handled either by the Orgburo (essentially the body which enacted the Politburo’s edicts and coordinated the regional organizations and thus best understood as a kind of party chancellery) or the famously bureaucratic Secretariat.  It was in the Secretariat (where the paperwork from the higher bodies tended to end up) that the need for a reliably indexed filing system to conquer the developing administrative chaos quickly became apparent and nomenklatura was part of the system.  Accordingly created was the Учраспред (Uchraspred), (the Department of Files & Assignments) which, operating rather as gangsters would run as HR department, handled the registration of party members and their subsequent allocation to positions below the higher-level appointments, which remained in the gift of the Politburo or Orgburo.

Comrade Vyacheslav Molotov (1890–1986; early Bolshevik, Soviet foreign minister 1939-1949 & 1953-1956), Edward R Stettinius Jr (1900–1949; US secretary of state 1944-1945 and ambassador to the UN 1945-1946 (“Stettinius the younger”, his father having been assistant secretary of war 1918-1921)) & Anthony Eden (1897–1977; thrice UK foreign secretary and prime-minister-1955-1957) at the foundation conference of the United Nations, San Francisco, 1945.

Predictably, the structure provided much scope for patronage, nepotism and factionalism but, handling annually thousands of movements, it nevertheless demanded efficient administration, something lacking until in 1921, Vyacheslav Molotov, just elevated to the Central Committee and Orgburo, was put in charge of the Secretariat.  Studious, serious (of the many photographs which exist, in few is he smiling) and with a mind which if not as quick as his colleagues was certainly thorough, he excelled in the role and though the more intellectually illustrious were inclined to decry his “needless and shameful bureaucratism", they couldn’t not be in awe of his capacity to spend long hours sitting at his desk, creating order our of what was a post-revolutionary mess, comrade Lenin (Vladimir Ilyich Ulyanov 1870–1924 and known by his alias Lenin; revolutionary, political theorist and founding head of government (Soviet Russia 1917-1924 and the Soviet Union 1922-1924) dubbing him “stone ass” (often misquoted as “iron ass”), a moniker later used (behind his back) by the negotiators from the West with whom he sat through many meetings and conferences during his long tenure as Soviet foreign minister, his intransigence legendary even by diplomatic standards.  Other ambassadors dubbed him "comrade nyet"; nyet a Russian word meaning a particularly blunt "No!".  "Stone ass" was most productive during those long sessions at his desk, producing endless streams of paper which fed a burgeoning bureaucracy; Lenin also dubbed him "comrade filing cabinet".        

Stone ass: comrade Molotov sitting at his desk.

The English nomenclature was a borrowing in the 1600s of the sixteenth century French which was from the Latin nōmenclātūra (assignment of names to things, mentioning things by name, a list of names).  Almost immediately, the word was picked up by many branches of science (most notably in botany or zoology) where it gained the definitive senses of “a systematic assignment of names” and later in the same century, “the technical terms within a science”.  The noun nomenklatura existed in Russian since the early nineteenth century but it was particular and well-publicized use by the Soviet communists which made it known in the West.  Understanding its implications, the Kremlinologists in the 1950s adopted nomenklatura when discussing bureaucracies and administrative structures in both the USSR and other communist states.

Memo: Team Douglas Productions, 29 July 2004.

Also of interest to students of nomenclature is the process by which the names of people can become objects applied variously.  As Napoleon, Churchill and Hitler live on as Napoleonic, Churchillian and Hitlerite, on the internet is a body of the Lohanic.  Universally, that’s pronounced lo-han-ick but Lindsay Lohan has mentioned in interviews that being a surname of Irish origin, it’s “correctly” low-en, a form she adopted early in 2022 with her first posting on TikTok where it rhymed with “Coen” (used usually for the surname “Cohen” which is of Hebrew origin and unrelated to Celtic influence).  For a generation brought up on lo-han it must have been a syllable too far because it didn’t catch on and by early 2023, she was back to lo-han with the hard “h”.  Curiously, while etymologists seem to agree that historically lo-en was likely the form most heard in Ireland, the popular genealogy sites all indicate the modern practice is to use lo-han so hopefully that’s the last word.  However, the brief flirtation with phonetic h-lessness did have a precedent:  When Herbie: Fully Loaded (2005) was being filmed in 2004, the production company circulated a memo to the crew informing all that Lohan was pronounced “Lo-en like Coen” with a silent “h”.

Strand

Strand (pronounced strand)

(1) To drive or leave (a ship, fish etc) aground or ashore.

(2) To bring into or leave in a helpless position (usually used in the passive).

(3) A shore or beach (now poetic, archaic or regional).

(4) A small brook or rivulet (archaic).

(5) A passage for water; a gutter (Northern England & Scotland)

(6) A foreign country (archaic).

(7) One of a number of fibres, threads, or yarns, plaited or twisted together to form a rope, cord, or the like.

(8) A rope made of such twisted or plaited fibres.

(9) A fibre or filament, as in animal or plant tissue.

(10) A thread or threadlike part of anything.

(11) By extension, a constituent element in a complex argument.

(12) A street in the Westminster district of west-central London, running from Trafalgar Square to Fleet Street parallel to the Thames, so-called because it was the “north strand” (ie shore) of the river; also the areas immediately surrounding the street.

Pre 1000:  From the Middle English strand or strond, (sea shore), from Old English strand (shore), related to the Dutch strand and Middle High German strant (beach) and the Latin sternere (to spread).  The Old English was borrowed from the Proto-Germanic strandaz & strandō (edge, rim, shore), source also of the Danish and Swedish strand (beach, shore, strand), the Old Norse strönd (border, edge, shore) the Middle Low German strant and the German and Dutch strand (beach).  The origin of the Proto-Germanic is uncertain but may be from the primitive Indo-European ster- (to broaden or stretch out), the application of which was “the parts of a shore that lies between the tide-marks” and it applied formerly also to river banks, hence The Strand in London, the name dating from 1246.

Françoise Hardy (b 1944), The Strand, London, 1966.

Historically, in Middle English it described things riparian, the use to refer to “individual fibres of a rope, string etc” or human hair first recorded circa 1500, probably from the Old French estran, from a Germanic source akin to the Old High German streno (lock, tress, strand of hair) from which is derived the Middle Dutch strene (a skein, hank of thread) and the German strähne (a skein, strand) of unknown origin.  The meaning "to drive aground on a shore" from which flowed the figurative sense of "leave lost or helpless" as of a ship left aground by the tide, was first recorded in 1837 and survives in the words stranded & stranding. Descendants of the Germanic root appear in many European languages including Hungarian, Romanian & Serbo-Croatian and it’s a not uncommon proper noun in the Nordic lands, both as a surname and locality name.

The stranded phrase

In linguistic anthropology, a stranded phrase is a once-popular saying that has fallen from use.  The idea is shared with economics where the term stranded asset is used to describe assets held which have been subject to a premature or unanticipated devaluation in their value, the most commonly quoted potential examples being vast, undeveloped coal-fields which decades ago were highly valued, to be capitalized over a productive life which might be forty or more years but which may shortly become worthless because of shifts in the market.  Phrases can fall from favor for structural reasons or just become unfashionable in the way something like “stone the crows” is archaic, stranded in the time of its popularity, sometimes surviving only as period pieces of an era.

The phrase bunny boiler is derived from the film Fatal Attraction (1987) in which an obsessive, spurned woman, in a fit of frenzied jealousy, boils in a pot the pet rabbit of her erstwhile lover's daughter.  The epithet was coined to refer to women unable to remain rational at the end of a romantic relationship and predictably, is only ever applied to women.  In pre-web times, variations in colloquial language tended to spread more slowly than those powered by the latter-day ubiquity of the net and “bunny boiler” seems not to have entered general use until 1994.  The USENET groups which maintain online archives of such things notes bunny boiler was not used on their (pre-web) platform and while there’s no reliable information about use on the web before 1994, given that non-academic use of the internet then was a tiny fraction of today, such data might anyway not be indicative of general use but nor are there more than a handful of instances in the archives of US and British newspapers before that date.  Indeed, the first recorded instance in print is from an interview the rabbit-slaughtering actress Glenn Close (b 1947) gave to the US magazine Ladies' Home Journal in December 1990 during which she observed "…there's nothing like portraying a psychopathic bunny-boiler to boost one's self-esteem”.  If that was the first publication, that’s a plausible reason why it took so long after 1987 to disseminate and it makes sense because the epithet isn't in the original dialogue or promotional material and nor does it appear in any contemporary review.

Despite that, some sources do say it pre-dates 1990 but provide no evidence and all agree it came into wider use only after 1994 when the web began to assist dissemination, a process similar to that described by epidemiologists to illustrate the progress of viruses which, if achieving critical mass, can become an epidemic… or worse.  Bunny boiler thus began to enjoy a rapidity of infection from 1994, use peaking between 1998-2003, then declining to become stranded in its era.  The explanation offered by etymologists is that too much time elapsed between the source in 1987, the origin of the phrase circa 1990 and the mid-decade adoption so it lacked the newness and novelty these things usually require; its historic moment had passed.  Still, for men it remains useful, any needy, possessive, clingy or even talkative woman can be labelled potential or suspected bunny boiler.

Strands of Lindsay Lohan’s hair in an array of colors.

The idea is of course not new.  For some reason, the (anyway incorrectly quoted) phrase “Hell hath no fury like a woman scorned” is often attributed to Shakespeare, possibly because it’s plausibly in his voice or maybe because for most the only time the Middle English “hath” is seen is in some Shakespearian quote so the association sticks.  The real author however was actually Restoration playwright William Congreve (1670–1729) who coined the phrase for his 1697 play The Mourning Bride, the protagonist of which, although becoming a bit unhinged by the cruel path of doomed love, doesn’t resort to leporidaecide.  Congreve’s line, “Heaven has no rage like love to hatred turned, nor hell a fury like a woman scorned” was good but actually was a more poetic rendition of a similar but less elegantly expressed version another playwright had used a year earlier.  The Mourning Bride is also the source of another fragment for which the bard is often given undeserved credit: “Music has charms to soothe a savage breast” although that’s often bowdlerized as “Music has charms to soothe a savage beast”.

Diagnosis & Prognosis

Diagnosis (pronounced dahy-uhg-noh-sis)

(1) In clinical medicine, the process of determining by examination the nature and circumstances of a diseased condition.

(2) The decision reached from such an examination; the abbreviation is Dx.

(3) In general use, a determining or analysis of the cause or nature of a problem or situation; an answer or solution to a problematic situation.

(4) In taxonomy (particularly in biology), a written description of a species or other taxon serving to distinguish that species from all others.  Historically, this was applied especially to a description written in Latin and published.

1675–85: A borrowing from the New Latin diagnōsis, from the Ancient Greek διάγνωσις (diágnōsis) (a distinguishing, means or power of discernment), from διαγιγνώσκω (diagignṓskō or diagignōskein (to distinguish; to discern (literally "to know thoroughly" or "know apart (from another)”)) from gignōskein (inquiry, investigation, knowing; come to know).  The construct was διά (diá) (through) + γιγνώσκω (gignṓskō) (to know).

The early precise meaning in medical Latin was “pre-scientific discrimination" applied especially in pathology, soon becoming a general "recognition of a disease from its symptoms".  The noun plural is diagnoses and derived forms include the nouns diagnostician & the rare (technical use only) prediagnosis (now more often as pre-diagnosis) and the adjective diagnostic.  One that probably should be more common than it appears, given the frequency with which it happens, is misdiagnosis.

Prognosis (pronounced prog-noh-sis)

(1) In clinical medicine, forecasting of the probable course and outcome of a disease, especially of the chances of recovery.

(2) In general use, a forecast or prognostication.

1645-1655: A borrowing from the Late Latin prognōsis, from the Ancient Greek πρόγνωσις (prógnōsis) (foreknowledge, perceiving beforehand, prediction), the construct being προ- (pro-) (before) + γνῶσις (gnôsis (gignōskein)) (inquiry, investigation, knowing; come to know), from γιγνώσκω (gignṓskō) (to know); the primitive Indo-European root was gno- (to know).  The general (non-medical) use in English dates from 1706 and there were (now rare) back-formations, the verb prognose noted in 1837 and the adjective prognostical as early as the 1680s.  In the Classical Latin prognostica meant "sign to forecast weather".

Prognostic (prognostick the obsolete spelling) & prognostication are nouns, prognosticable is an adjective, prognosticate is a verb.  From the Latin root English gained prognosis, French pronostic, German Prognose, Italian prognosi, Norman prog'nose (Jersey), Spanish pronóstico & Hungarian prognózis; in the invented international language of Esperanto, it is prognozo.

Clinical use

Prognosis is the companion word to diagnosis and the two are sometimes confused.  A diagnosis is an identification of a disease via examination or the result of some diagnostic test.  What follows is a prognosis, which is a prediction of the course of the disease as well as the treatment and results.  The schoolbook trick to remember the difference is (1) that a diagnosis comes before a prognosis, and diagnosis is before prognosis alphabetically and (2) diagnosis and detection both start with "d" whereas prognosis and prediction both start with "p".

Former US President Donald Trump was diagnosed with COVID-19 after a positive result to a test.  His prognosis was based on (1) what’s known generally about COVID-19 and (2) risk-factors specific to his case.  His risk factors included:

(1) Old: (74).

(2) Overweight (BMI 30+).

(3) Male (varies between countries but male death rate tends to be higher).

(4) He is sub-Human although, as a risk-factor, this remains speculative.  It’s mostly only some black Africans who are pure Humans; the rest of the world’s population is a sub-human mongrel blend, descendants of inter-breeding between humans and Neanderthals thousands of years ago.  It’s being hypnotized the unexpectedly good outcomes in sub-Saharan Africa during pandemic suggest some genetic advantage in being a pure Human; the research is not complete and there may be other factors (or some statistical quirk) but it is possible a genetic risk-factor related to the SARS-CoV-2 virus was inherited from archaic Neanderthals some sixty-thousand years ago.

Woolsack

Woolsack (pronounced woo l-sak)

(1) A sack intended to carry wool (sometimes wool-sack).

(2) The speaker’s chair in the House of Lords, one of a number of cloth-covered seats or divans, stuffed with wool, once used also by law lords, but best known as the seat of the Lord Chancellor and now the Lord Speaker.

(3) A reference to the historic Lord Chancellor's office.

(4) The historic name for the modern Australian wool bale.

1250-1300: Middle English compound word wool + sack.  Wool came from the Middle English wolle, from Old English wull, from Proto-Germanic wullō (cognate with the Saterland Frisian wulle, the Low German wull, the Dutch wol, German wolle and Norwegian ull.  All are thought derived from the primitive hwĺ̥hneh, thought also to have influenced the Welsh gwlân, the Latin lāna, the Lithuanian vìlna, the Russian во́лос (vólos), the Balau влас and the Albanian lesh.  All meant variously “wool, hair, fleece”.

Sack was from the Middle English sak (bag, sackcloth) from the Old English sacc (sack, bag) and sæcc (sackcloth, sacking), both from the Proto-Germanic sakkuz (sack), from the Classical Latin saccus (large bag), derived from the Ancient Greek σάκκος ((sákkos (bag of coarse cloth)).  Ultimate source is though Semitic, possibly Phoenician.  Word was cognate with the Dutch zak, the German Sack, the Swedish säck, the Hebrew שַׂק‎ ((śaq, sack, sackcloth)), the Aramaic סַקָּא‎, the Classical Syriac ܣܩܐ‎, Ge'ez ሠቅ (śäḳ), the Akkadian saqqu and the Egyptian sꜣgꜣ (to gather together).  There are sack factions among the etymologists.  Some suggest sack was originally Egyptian, a nominal derivative of sꜣq that also yielded the Coptic sok and made its way into Greek by way of a Semitic intermediary.  Others reject this view on the technical grounds that an originally Egyptian word would be expected to yield the Hebrew סַק rather than שַׂק (only they understand this stuff).  This faction posits the Coptic and Greek words are both borrowings from Semitic, with the Coptic word perhaps developing via Egyptian sꜣgꜣ.

The Horsesack

The Woolsack is the seat of the Lord Speaker in the House of Lords, the UK’s upper house although until the constitutional reforms of the twenty-first century, that was the role of the lord chancellor, an office dating at least from the Norman Conquest though references to the title appear as early as 605.  The New Labour government attempted in 2003 to abolish the office but a review determined it couldn’t be done without an act of Parliament and that was a distraction the government at the time preferred not to inflict on itself.  Instead, enabling legislation providing for the creation of the office of Lord Speaker and a redefinition of the role of lord chancellor was drafted in 2004 and, after a few squabbles, received royal assent a year later with the structural changes effected by 2006.

The Lord Chancellor (once styled as Lord High Chancellor of Great Britain) is in the UK’s order of precedence, the highest-ranking among the extant Great Officers of State, out-ranked only by certain royal personages and the Archbishop of Canterbury.  A lord chancellor is appointed by the sovereign on the advice of the prime-minister and before the acts of union which made them constituent parts of Great Britain, there were separate lord chancellors for the Kingdom of England (including the Principality of Wales) and the Kingdom of Scotland, the office of Lord Chancellor of Ireland disestablished in 1922, consequent upon the Anglo-Irish Treaty (1921) which granted Ireland a considerable autonomy which in the years to come would evolve into independence.  That the office of Lord Chancellor for Ireland existed as early as the twelfth century seems certain but whether this was something distinct from the English office is unclear and the oldest surviving records which verify a separate Irish office date from the thirteenth century.  For centuries the Irish appointee was a clergyman, usually English and while lay chancellors tended to be the rule after the Reformation (no cleric appointed after 1665), Irish-born appointments were rare before the mid-nineteenth century.

Emulated woolsack: A pregnant Lindsay Lohan in Sandro Ona sack dress, April 2023.  Historically, crocheted garments were fashioned from wool but the outer fabric of Sandro's Ono was 100% cotton (the lining 62% viscose & 38% polyamide) illustrating what's possible with modern techniques.

Today, as minister for justice, the Lord Chancellor sits in cabinet and is responsible for the administration and independence of the courts.  In this detail things differ from the Australian practice because in the UK, both the attorney-general and solicitor-general sit in parliament, although, by modern convention, the former now does not attend cabinet except when summoned to provide advice.  New Labour’s constitutional changes not only moved the roll of presiding over the Lords to the newly-created lord speaker but also ended the lord chancellor’s roll as head of the judiciary in England and Wales and presiding judge of the Chancery Division of the High Court, these duties assumed respectively by the lord chief justice and the chancellor of the High Court.  The rationale of the changes in 2005 was to give constitutional effect to the separation of powers (in the British context a division between the legislature & executive (which passes and administers the laws) and the judiciary (which interprets and enforces the laws).  In practice, the distinction had for many years been observed but structurally, it looked very murky, the lord chancellor as a cabinet member belonging to (1) the executive, on the Woolsack as presiding officer in the Lords belonging to (2) the legislature and as a judge in the chancery division, belonging to (3) the judiciary, ruling on laws he or she had earlier participated in passing.

It was the fourteenth century Edward III (1312–1377; King of England 1327-1377) who commanded his Lord Chancellor, when in council, should sit on the wool bale which became known as The Woolsack, the king wishing to draw attention to the crucial importance of the wool trade to the economy of medieval England.  In 1938, to symbolize imperial unity, the Lords directed the Woolsack be re-stuffed with wool from throughout the empire at which point it was discovered the Woolsack was actually stuffed with horsehair.  Even when re-stuffed, because of the construction, some horsehair had to be added to ensure structural integrity, the Lord Chancellor, (Quintin Hogg, second Lord Hailsham, 1907–2001; first entered parliament in 1938, Lord Chancellor 1970-1974 & 1979–1987), noting in 1986 that “wise Victorian ancestors” were responsible for the substitution.

Vantablack

Vantablack (pronounced van-tah-blak)

(1) A black material which absorbs 99.965% of light reaching its surface.

(2) A shade of black of extraordinary blackness.

(3) Used loosely, of or pertaining to something very black.   

2014: A coining in Modern English, the construct being Vanta (the acronym for Vertically Aligned NanoTube Arrays) + black.  Black (in the sense of the color (absorbing all light and reflecting none; dark and hueless)) was from the Middle English blak, black & blake, from the Old English blæc (black, dark (also “ink”), from the Proto-West Germanic blak, from the Proto-Germanic blakaz (burnt).  Related were the Dutch blaken (to burn), the Low German blak & black (blackness, black paint (black) ink) and the Old High German blah (black), possibly from the primitive Indo-European bhleg- (to burn, shine).

Vantablack is built from clusters of vertical nanotubes on a substrate using a modified chemical vapour deposition process (CVD).  When light strikes Vantablack, instead of reflecting back and thus being visible, it becomes trapped, bouncing among the tubes until absorbed, dissipating into heat.  The densities are impressive for physical stuff; each square centimetre contains about a billion nanotubes.  Industrially, it’s an improvement over previous products because it can be created at 750°f (400°c) whereas an earlier substance, developed by NASA, demanded a 1380°f (750°c) environment.  However, in manufacturing, this is expensive and, Vantablack can be grown only on materials capable of enduring this temperature, further limiting commercial application.  Despite this Vantablack is a functional improvement which also offers better thermal stability and a greater resistance to mechanical vibration.  First developed in the UK’s National Physical Laboratory, trademark is held by Surrey NanoSystems.  The blackest known material ever in earthly existence, Vantablack is used to improve the performance of both ground and space-based cameras, improve heat-absorption in solar arrays and prevent stray light entering telescopes.  The military apply it to thermal camouflage because if used to coat 3D objects, they appear visually flat “black holes” without any shape or depth.

Potential LVBD customer.  Lindsay Lohan and the quest for the perfect LBD.

Surrey Nanosystems in 2016 granted Sir Anish Kapoor (an Indian-born UK British sculptor), the sole licence exclusively to use Vantablack for all “artistic purposes”, meaning no other artist could produce work using the material.  The exclusivity clause attracted much criticism from other artists who claimed it was absurd to suggest an individual could enjoy sole rights to a color.  While that might have been the consequence, what Surry did was licence the use of a commercial product for certain limited purposes, something hardly unusual in industry.  What triggered the controversy was that it involved restricted artists producing their product for some commercial gain; there is nothing to prevent anyone creating an artwork using Vantablack; it just can’t be exhibited or sold and must exist only for personal enjoyment.  Some artists actually responded by producing and trade-making certain products and making them freely available to any artist except Sir Anish; he was banned.  Legal commentators and philosophers have about the written about what is clearly a restraint of trade and the consensus seems to be Surrey is on sound legal ground but there should be a debate about whether intellectual property in the matter of the use of materials should be extended to art.