Balaclava

Balaclava (pronounced bal-uh-klah-vuh)

(1) A close-fitting, knitted cap that covers the head, neck, and tops of the shoulders, worn especially by mountain climbers, soldiers, skiers and others who operate in cold climates.

(2) A fire-resistant had covering in the style of the traditional balaclava but made of treated material.

1880-1885; named after Balaklava, a village near Sebastopol, Russia, site of a battle on 25 October 1854, during the Crimean War (1853-1856).  However, the term describing the headwear does not appear before 1881 and seems to have come into widespread use only during the Boer War, some half a century after the battle.  The name Balaklava often is thought to be of Turkish origin, but is perhaps folk-etymologized from the Greek original, Palakion.  Balaclava is a noun and balaclavaed is an adjective; the noun plural is balaclavas.  What came to be called the “full-face” crash helmet was briefly advertised during the late 1960s as the “balaclava helmet” (also now used occasionally of what most call a “balaclava”) but the use never caught on.  In engineering, the non-standard verb balaclavaing is used as slang term meaning “the encasing of something with a cover, leaving only a small aperture to permit access for some purpose”.

The Charge of the Light Brigade

The Charge of the Light Brigade was a classic, knee-to-knee cavalry charge by the British Army against Russian forces during the Battle of Balaclava on 25 October 1854, during the Crimean War.  The battle, of which the charge is remembered as the great set-piece event, was a component of the Siege of Sevastopol (1854–1855), maintained in an attempt to capture the port and fortress of Sevastopol, Russia's main naval base on the Black Sea.  Sevastopol was (and remains) the largest city in the Crimean Peninsula which today is recognized internationally as part of Ukraine (except by Moscow which in 2014 annexed the peninsula). The strategic purpose of the charge was to prevent the Russian army removing captured guns from overrun Turkish positions but, because of failures in communications, the Light Brigade was instead sent on a frontal assault against a different artillery battery, one well-prepared and enjoying a textbook field of defensive fire.  Despite coming under heavy fire, the charge did reach the battery and scattered some of the gunners but the brigade was badly mauled and compelled almost immediately to retreat.  Causalities were heavy, some 300 of the 650-odd strong formation including 118 killed.  It prompted the famous comment from the French Marshal Pierre Bosquet (1810-1861): C'est magnifique, mais ce n'est pas la guerre.  C'est de la folie (It is magnificent, but it is not war.  It is madness.)

In many courses in organizational management, the events which led to the charge being ordered are used as a case-study in the breakdown of communications systems and how such processes should be designed to include failsafes.  Long regarded as a military failure, in recent decades, there’s been a body of literature by military historians suggesting the charge was a key incident in helping Britain to secure ultimate victory in the Crimea.  It's not a universally accepted view but it's certainly true many battles in the world wars of the twentieth century achieved less at greater cost.

The Charge of the Light Brigade (1854) by Alfred, Lord Tennyson (1809-1892)

Half a league, half a league,
Half a league onward, 
All in the valley of Death 
Rode the six hundred. 
“Forward, the Light Brigade! 
Charge for the guns!” he said: 
Into the valley of Death 
Rode the six hundred. 
 
“Forward, the Light Brigade!” 
Was there a man dismay’d?   
Not tho’ the soldier knew 
Some one had blunder’d: 
Theirs not to make reply, 
Theirs not to reason why, 
Theirs but to do and die:    
Into the valley of Death 
Rode the six hundred. 
 
Cannon to right of them, 
Cannon to left of them, 
Cannon in front of them   
Volley’d and thunder’d; 
Storm’d at with shot and shell, 
Boldly they rode and well, 
Into the jaws of Death, 
Into the mouth of Hell   
Rode the six hundred. 
 
Flash’d all their sabres bare, 
Flash’d as they turn’d in air 
Sabring the gunners there, 
Charging an army, while  
All the world wonder’d: 
Plunged in the battery-smoke 
Right thro’ the line they broke; 
Cossack and Russian 
Reel’d from the sabre-stroke    
Shatter’d and sunder’d. 
Then they rode back, but not 
Not the six hundred. 
 
Cannon to right of them, 
Cannon to left of them,     
Cannon behind them 
Volley’d and thunder’d; 
Storm’d at with shot and shell, 
While horse and hero fell, 
They that had fought so well   
Came thro’ the jaws of Death, 
Back from the mouth of Hell, 
All that was left of them, 
Left of six hundred. 
 
When can their glory fade?    
O the wild charge they made! 
All the world wonder’d. 
Honor the charge they made! 
Honor the Light Brigade, 
Noble six hundred!

Usually, balaclavas are worn for warmth.

Balaclavas (some lightweight versions of which are usually called ski masks) are a type of (often knitted) cloth headgear which expose only part of the face, usually the eyes, mouth and sometimes the nostrils, thus protecting most of the skin’s surface area.  The more elaborate versions are adjustable and some can be rolled to become a hat or worn around the neck.  Although associated with use during the Crimean War, such garments had long existed and it was only contemporary publicity which led to the name being linked.  The war in Crimea coincided with the advent of convenient, portable cameras and large volumes of photographs produced, making it the first large-scale conflict thus documented.  The military at the time didn't appreciate the implications of journalists and photographers being able freely to report from battle zones and not for some time was it realized just how much intelligence the Russians were able to obtain simply be reading the London newspapers.  It was in some of these early images that the headwear first attracted attention although it wasn’t until the 1880s that "balaclava" (and “balaclava helmet”) came into use and it became a common term only early in the twentieth century, the popularity thought to have been encouraged by the widely published photographs of the polar expeditions to which were a feature of late Victorian explorations.

Camila Cabello (b 1997) in Vetements balaclava in black, Paris Fashion Week, September 2024.

For warmth, British troops wore knitted woolen versions of the headwear, which, early in the war were all handmade, knitted either on the spot (a kind of on-board cottage industry emerging on Royal Navy ships anchored nearby, knitting a commonly held skill of sailors) or sent from home in response to sketches sent in letters.  Later, knitwear companies would enter the market but the need existed only because poor planning and an under-estimation of the duration of the conflict meant most cold weather supplies never reached the troops.  The Crimean War was a shock to the British Army which, organizationally, was little changed from the Battle of Waterloo (1815), two generations earlier and the findings of subsequent boards of inquiry resulted in worthwhile, if still inadequate, reforms.  It was a not uncommon aspect of many colonial wars and exactly the same situation which confronted the Wehrmacht (the German armed forces, 1935-1945) in late 1941 when the harsh Russian winter arrived with the German advance still in open country, far from its objectives.  Balaclava are most associated with protecting the face from the cold but relatively thin, lightweight versions versions made with fibres chemically treated to be fire-resistant are used in motor-racing (FIA 8856-2018 standard) and other fields where exposure to flame is an occupational hazard.  They’re used also by both sides of the crime business to conceal identity; by criminals in an attempt to avoid detection and by those in law enforcement to protect themselves and their families from retribution.

Not all that appears on the catwalk catches on.  Knitted balaclavas were a thing in some collections at fashion shows in 2018 but, not unexpectedly, a high-street trend didn’t follow.

PopSugar's distribution of Lindsay Lohan's "Masked Shoot" for Marc Ecko's (b 1972) Fall 2010 campaign, undertaken during blonde phase and including balaclavas, August 2010.

Hansard

Hansard (pronounced han-sard)

(1) The official verbatim published reports of the debates and proceedings in the British Parliament.  Separate editions are published for both the House of Commons and House of Lords.

(2) A similar report kept by other legislative bodies in other countries, most of which trace their political systems back to colonial origins in the British Empire.

1812: Named after Thomas Curson Hansard, a London printer and publisher, who became the first official printer to the parliament at Westminster.

Prior to 1771, the British parliament was a secretive body, there existed a published official record of action but no record of debate, the publication of anything said on the floor of either house actually a breach of Parliamentary privilege and punishable by a court.  However, as independent newspapers became more numerous, many began publishing unofficial accounts.  Parliament responded with fines, dismissal and imprisonment.  Some editors used the device of styling their reports of debates as those of fictitious societies but parliament continued to resist until 1771 when several judges declined to hear the cases and a number of more far-sighted politicians began to understand how this free publicity could be turned to advantage.  By then, it was not uncommon for speeches to be crafted for the effect they would have when printed, rather than a pieces of oratory intended to impress the house.  The early newspapers, the editors of some which encouraged (and sometimes printed, even if edited) “letter to the editor”, were the slow-motion social medial of the age.

The green and red covers used by the UK Hansards reflect the shades of the leather upholstery in each house.

Eventually, editions of the parliamentary debates were produced by printer Thomas Curson Hansard (1776-1833), issued under his name from 1812.  These were periodicals which circulated by subscription and, in another modern touch, Hansard didn’t employ stenographers to take down notes, instead using a multiplicity of sources most of which were the morning newspapers.  Hansard was thus the Google news feed of the day, an aggregator with the revenue model of on-selling the work of others with no payment to the source.  Google has of late been compelled to offer its sources a few crumbs; Hansard never did.  The early editions of Hansard cannot absolutely be relied upon as a verbatim record of what was said.

In 1909, the parliament established its own staff of official Hansard reporters, a separate office under the auspices of the speaker (Commons) and Lord Chancellor (Lords).  Hansards of today can be thought a comprehensive account of every speech (although one wonders about those of some legislatures with no great tradition of transparency) but the reports are not strictly verbatim but substantially so with repetitions, redundancies (and the odd vulgarity) omitted.  Obvious mistakes (including grammatical errors) are corrected, but nothing can be added or omitted which adds to or detracts from the meaning.  There is some latitude in this: A former Australian prime-minister, the Country Party’s Sir Earle Page (1880-1961; prime minister of Australia 1939) was notorious for quoting whatever figures came into his head, then later providing the correct numbers for inclusion in the official Hansard.

Not all interjections make it into Hansard but the unrecorded homophonous gem of an exchange in the Australian parliament between Sir Winton Turnbull (1899-1980) and Gough Whitlam (1916–2014; prime minister 1972-1975) deserved to:

Sir Winton Turnbull (Country Party, Mallee): "I’m a country member and…"

Mr Gough Whitlam (ALP, Werriwa): "I remember."

List of assemblies which publish Hansards.

Parliament of the United Kingdom and the UK's devolved institutions, Parliament of Canada and the Canadian provincial and territorial legislatures, Parliament of Australia and the Australian state and territory parliaments, Parliament of South Africa and South Africa's provincial legislatures, Parliament of Barbados, East African Legislative Assembly, Parliament of New Zealand, Legislative Council of Hong Kong, Parliament of Malaysia, National Parliament of Papua New Guinea, Parliament of Singapore, Legislative Council of Brunei, Parliament of Sri Lanka, Parliament of Trinidad and Tobago, National Assembly of Kenya, National Assembly of Tanzania, Parliament of Ghana, Parliament of Uganda, Parliament of Mauritius, Parliament of Jamaica, States of Jersey, States of Guernsey, Tynwald, the Parliament of the Isle of Man, National Assembly of Nigeria, National Assembly of Namibia, Parliament of Botswana, Parliament of Zimbabwe.

Lindsay Lohan and Harsard

Lindsay Lohan and the great "slagging off Kettering scandal".

Because her "lifestyle choices" in the early twenty-first century made her name a synecdoche for this and that, Lindsay Lohan has been mentioned in parliamentary proceedings in a number of jurisdictions.  The best known came as one of the few amusing footnotes to the depressing business which was the Brexit referendum, the mechanism through which the UK withdrew from its membership of the European Union (EU), Ms Lohan helpfully keeping the world informed of the vote's progress via tweets on X (the known as Twitter).  One tweet mentioned Kettering and the previously obscure Philip Hollobone (b 1964; Tory MP for Kettering since 2005), knew honor demanded he respond to the actor “slagging off” his constituency.  The offending tweet caught the eye of the outraged MP on that evening in in 2016, after it was announced Kettering (in the Midlands county of Northamptonshire) had voted 61-39% to leave the EU; it read: “Sorry, but Kettering where are you?”

Philip Hollobone MP, official portrait (2020).

Mr Hollobone, a long-time "leaver" (a supporter of Brexit), wasn’t about to let a mean girl "remainer's" (one who opposed Brexit) slag of Kettering escape consequences and he took his opportunity in the House of Commons, saying: “On referendum night a week ago, the pro-Remain American actress, Lindsay Lohan, in a series of bizarre tweets, slagged off areas of this country that voted to leave the European Union.  At one point she directed a fierce and offensive tweet at Kettering, claiming that she had never heard of it and implying that no one knew where it was.  Apart from the fact that it might be the most average town in the country, everyone knows where Kettering is.”  Whether a phrase like “London, Paris, New York, Kettering” was at the time quite as familiar to most as it must have been to Mr Hollobone isn’t clear but he did try to help by offering advice, inviting Miss Lohan to switch on Kettering's Christmas lights that year, saying it would “redeem her political reputation”.  Unfortunately, that proved not possible because of a clash of appointments but thanks to the Tory Party, at least all know the bar has been lowered: Asking where a town sits on the map is now “slagging it off”.  Learning that is an example of why we should all "read our daily Hansards", an observation Mr Whitlam apparently once made, suggesting his estimation of the reading habits of the general population might have differed from reality.

Screen grab from the "apology video" Lindsay Lohan sent the residents of Kettering advising she'd not be able to switch on their Christmas lights because of her "busy schedule".

Drone

Drone (pronounced drohn)

(1) A male bee in a colony of social bees, stingless and making no honey whose sole function is to mate with the queen

(2) An unmanned aircraft or ship that can navigate autonomously, without manned control or beyond line of sight.

(3) In casual use, any unmanned aircraft or ship that is guided remotely.

(4) A person who lives on the labor of others; a parasitic loafer.

(5) A drudge.

(6) To make a dull, continued, low, monotonous sound; a hum or buzz.

(7) To speak in a monotonous tone.

(8) To proceed in a dull, monotonous manner.

(9) In music, originally, a continuous low tone produced by the bass pipes or bass strings of musical instruments (later extended to the notion of "drone music", a "clearing house" term for a range of sub-genres and elements).

(10) The pipes (especially of the bagpipe) or strings producing this tone or the bagpipe equipped with such pipes.

Pre 1000: From the Middle English drane & drone (male honeybee), from the Old English drān & drǣn (male bee, drone), from the Proto-Germanic drēniz, drēnuz & drenô (an insect, drone), from the primitive Indo-European dhrēn- (bee, drone, hornet); the Proto-Germanic was the source also of Middle Dutch drane, the Old High German treno (the German Drohne, is from Middle Low German drone), the origin of which may have been imitative (there was the Lithuanian tranni and the Greek thronax (a drone)).  It was cognate with the Dutch drone & Middle Dutch drōnen (male bee or wasp), the Low German drone & German drohne (drone), the dialectal German dräne, trehne & trene (drone), the Danish drone (drone) and the Swedish drönje & drönare (drone).  An earlier variation was the Old English drān, related to the Old High German treno (drone), the Gothic drunjus (noise) and the Greek tenthrēnē (asp) which was the source of the sense of a sound, the meaning emerging 1490–1500, related also to the Middle English droun (to roar), the Icelandic drynja (to bellow) and the Gothic drunjus (noise).

The meaning referring to pilotless airframes appears first to have been used by the military in 1945-1946, initially in the sense of towed target drones, the "pilotless aircraft directed by remote control".  Even in 1946, military theorists were speculating about the potential use of "drones" although much of what was then described was closer to the modern smart bombs or guided missiles.  The meaning "a deep, continuous humming sound" emerged circa 1500, apparently an independent imitative formation in the sense of the 1630s noun threnody (song of lament), from the Greek thrēnōdia (lamentation), the construct being thrēnos (dirge, lament) + ōidē (ode).  The Ancient Greek thrēnos was probably from the primitive Indo-European imitative root dher- (to drone, murmur, hum), source also of the Old English dran (drone), the Gothic drunjus (sound) and the Greek tenthrene (a species of wasp).  The specific technical use "bass pipe of a bagpipe" was first adopted in the  1590s.   The figurative sense of "an idler, a shiftless, lazy worker" (based on the idea of the male bees which make no honey), dates from the 1520s.  Drone quickly became a popular way to describe a mono-tonal, boring speech delivery.

Drones and UAVs

The modern military term for what most people casually call a drone is unmanned aerial vehicle (UAV) a more accurate descriptor given the original target drones were either objects towed by “target tugs” or radio controlled aircraft dumbly flying on pre-set paths.  Research on the concept of unmanned flying devices for reconnaissance target practice or even ordnance delivery had begun even before the military had adopted combat aircraft and by the mid-1930s, the Royal Air Force (RAF) in the UK had hundreds of radio controlled biplanes but the word drone appears to have been adopted only in 1945-1946 to describe the objects towed behind piloted aircraft.  Used to provide a moving target for either air-to-air or surface-to-air target practice, the target tugs towing the drone tended to be painted in lurid color schemes to differentiate tug from target although tugs still suffered hits from "friendly fire".  Over time, slang developing as it does, the terms “target drone” and “drone” came often to refer not just to the towed target-object but also the “target tug”, the aircraft towing the target, less a leakage from military use than just a misunderstanding that caught on.  Now, most UAVs sold to hobbyists or for commercial use are marketed as drones.

Paint scheme for target tug towing drone used for surface-to-air target practice on de Havilland Mosquito TT (target tug) Mark 35, No 3 CAACU (Civilian Anti-Aircraft Co-operation Unit), Exeter, UK, 1963.

The use as a target tug (TT) was the last operational role for the Mosquito, one of the more remarkable aircraft of World War Two.  Developed as a private venture by de Havilland, it was greeted by the by the Air Ministry with not their usual mere indifference but outright hostility to the very concept of a light, unarmed bomber made from plywood which relied for protection on speed rather than firepower.  The company however persisted and the Mosquito, which first flew in 1940, became one of the outstanding and most versatile combat aircraft of the war deployed as a fighter, fighter-bomber, night-fighter and bomber in roles as diverse as photo-reconnaissance, maritime strike, long-range surveillance, ground-attack and pathfinder missions guiding heavy bombers.  There was even a naval version for carrier operations, operated by the Fleet Air Arm.

The post-war career too was notable.  Equipped with the latest radar, the Mosquito was retained as a front-line, all-weather fighter until 1951-1952 when night-fighter versions of the Gloster Meteor and de Havilland Vampire entered service.  The last of the 7771 Mosquitos produced did not leave the production line until 1950, the long Indian summer necessitated by the UK’s technology deficit and although few probably thing of the Mosquito as a Cold War fighter but that was its unexpected penultimatum.  The less celebrated but valuable swansong came as a target tug, painted in vivid colors to decrease the danger from “friendly fire” and these platforms remained in operational service until finally retired in 1963, some of the decommissioned aircraft subsequently used by film studios for wartime features.  In addition to the RAF’s Mark 35s, a number of Mark 16 bombers were converted to TT Mark 39s, operated also by the Royal Navy and two ex-RAF Mark 6 (fighter-bombers) were in 1953-1954 converted to the TT Mark 6 standard for the Belgian Air Force which used them as target tugs at the Sylt firing ranges.  For an airframe which the authorities were at the time inclined to reject, the Mosquito enjoyed a remarkable operational life of over two decades; the Treasury got their money's worth.

Lindsay Lohan in Netflix's Irish Wish (2024) being filmed by drone (the car is a 1965 Triumph TR4A).  Camera-equipped drones have reduced the cost of filming such scenes.

It's no exaggeration to suggest drones (even the military now often use the term instead of UAV) have been a revolutionary weapon in armed conflict.  Able to function as long duration reconnaissance or weapons platforms, depending on the device, they can in real-time be controlled by soldiers in the field or from command centres thousands of miles away.  Cheap and mass-produced, they have emerged also as a "Kamikaze" weapon and, because off-the-shelf commercial drones can easily be adapted for offensive purposes, they present a challenge to established militaries when used by irregular combatant forces (including terrorist groups) which have not previously had access to weapons which can be deployed in mass at long range.    

The Germans, the Russians and Drone Music

Although musicologists categorize “drone music” as a sub-genre in the minimalist tradition, when produced thus it’s really an application of a element of sound which has been a component of many pieces nobody would describe as even vague drone-like.  Ethno-musicologists also object to the usually Eurocentric treatment of the topic, pointing out that musical traditions from Morocco to Mongolia contain much that can only be called a drone and along with a rhythmic beat, the two are probably the basis of most of the early music created by humans.  As a modern form however, to be thought of as “drone music”, compositions tend to be long and characterized by slight or sudden, jarring harmonic shifts.  The form obviously pre-dates means of electronics production but the availability in the twentieth century essentially allowed the genre to be created and it was figures such as Karlheinz Stockhausen (1928–2007) and Pierre Schaeffer (1910–1995) who created the works which first came to public attention.  The critical response varied, those attracted to the avant-garde anxious not to seem reactionary while others would probably have agreed with comrade Stalin (1878-1953; Soviet leader 1924-1953) who condemned as “formalists” those artists who pursued novelties and technical challenges just to impress their peers and a small elite cohort.  The public reaction to the form in its early years seems mostly to have varied between scepticism and the dismissal of the very idea such sounds could be called “music”.  Still, it endured and although never more than a niche as a stand-alone product, continues to underpin many popular forms, notably those listened to in clubs or at festivals by those under the influence of some substance and as the artists well know, there is a relationship between the drone and the chemicals.

By the time the German experimentalists Tangerine Dream released Zeit (Largo in four movements, 1972), it’s possible all that could be done in droning had been done and it can be argued everything since has been a variation but that hasn’t stopped the explorations, the Europeans especially entranced although it was the film-makers who found snatches of drone so useful in creating dramatic effects.  Curiously, there are those who have argued the credit (or the blame, depending on one’s view) for the emergence of drone music belongs to Richard Wagner (1813–1883), on the basis that by the end of his career, tonality had constantly shifting key centres, modulated so often there was little but ambiguity about what the final notes should be.

That’s fine but, so the argument goes, if there are more and more shifting key centres, there comes a point at which there’s no longer a centre of pitch, thus Arnold Schoenberg (1874–1951) twelve-tone system in which instead of a composition being based on major or minor scales and chords, a tone row was created, the twelve appearing in a specific order (thus the nickname “tone row”).  Musically (and politically, according to some), the idea of a tone row is methodically to avoid a preference for one note over another; all are equal.  Unlike tonal music in which pull active tones “pull” to resolve to resting tones, what came to be called “atonal music” came about because so far had Wagner pushed the boundaries that tonality could do nothing but disintegrate.  For the avant-garde, this created a gap in the market for “critic-ready compositions” because just as a visual form like cubism deconstructed the “bits” of the image and let them be seem in isolation as part of a whole, music could be rediced to a collection of drones and these could be performed singularly, in parallel or as a lineal set.  “By Schoenberg, out or Wagner” is an intriguing explanation for the origin of drone music and not all will agree.

Canossa

Canossa (pronounced kuh-nos-uh or kah-naws-sah (Italian))

(1) A province in Northern Italy (and a name used in other places and not to be confused with the proper noun Canosa).

(2) As Canossa Castle (now a ruin), near Reggio nell'Emili, the scene in 1077 of the penance of Holy Roman Emperor Henry IV of before Pope Gregory VII (the “Walk to Canossa”).

(3) In idiomatic use, for a person to humble themselves.

Circa 940: The castle was built around 940 by a princely family of Lombardy at the summit of a hill overlooking the region.  As well as the family’s seat, the castle incorporated a convent, a Benedictine monastery and the church of Sant'Apollonio.  Reflecting the practice of military architecture in the Middle Ages, the central structure was protested by there, progressively more fortified stone walls and, prior to the development of modern artillery, was close to impregnable under conventional assault, vulnerable only to a protracted siege.

Going to Canossa

The coronation of Christmas Day, 800 when Charlemagne (747-814, Emperor of the Carolingian Empire (and retrospectively regarded first Holy Roman Emperor)), was crowned Emperor was an event which turned out to be one of the most significant of the Middle Ages, the consequences unfolding in Europe over a thousand years, some of which are visible still today.  One aspect of the coronation at the Basilica of Saint Peter in Rome which Charlemagne almost immediately realized as a mistake was that the crown was placed on his head by Leo III (circa 750-816; pope 795-816, described by one historian as “one of the shiftiest” popes and one accused of perjury & adultery) with the words “To Charles, the most pious Augustus, crowned by God, the great and peace-giving Emperor, life and victory.”  The squabble for primacy between the “vicar of Christ on earth” and the earthly rulers wasn’t new but this didn’t help their cause.  In 1804, at Notre Dame de Paris, snatching the crown from the hands of Pope Pius VII (1742–1823; pope 1800-1823), Napoleon Bonaparte (1769–1821, Emperor of the French 1804-1814 & 1815) did not repeat the error.

One famous round in that squabble was Henry IV’s Walk to Canossa (also called the Road to Canossa or the Humiliation of Canossa.  It describes the ritualistic submission in 1077 of the Holy Roman Emperor, Henry IV (1050–1106; King of Germany 1054-1105, Holy Roman Emperor 1084-1105) to Pope Gregory VII (circa 1015–1085; pope 1073-1085) at Canossa Castle, the climax of what came to be called the investiture controversy.  Popes and emperors had for generations argued about the precedence of ecclesiastical or secular authority but Gregory had attempted further to assert the authority of Rome by claiming an exclusivity of right to "invest" bishops, abbots and other clergy, a dispute with modern echoes.  Despite attempts at mediation, the conflict grew, pope and emperor both appointing bishops, not recognized by each-other and eventually, the battle evolved into each side gathering bishops and organizing the numbers to excommunicate the other.  Given the communications of the age it was something of a slow-motion war of words but eventually (though not without the odd close scrape), Gregory prevailed and the excommunicated Henry lost the numbers, clerical and secular.  To seek his throne, he would have to capitulate, apologize and beg forgiveness.

Heinrich IV barefoot in Canossa (1862), woodcut by Hermann Freihold Pluddemann (1809-1868).

Accordingly, in what was said to be the coldest winter in almost forty years, Henry and his party made the trek to Canossa where the pope was staying, a journey made longer, more difficult and colder still by having to “go the long way round” because passage through the more convenient (and safer) alpine passes, controlled by forces aligned with the pope, was denied.  The journey took more than three months, the party reaching Canossa Castle on 25 January 1077.  There, the pope ordered he be refused entry, the suspicion of historians being that some message was passed to the visitors suggesting the gates might be opened were the emperor for three days to display “sufficient penance”.  According to legend, Henry (and perhaps some of his entourage including his wife) for the three days donned the simple robe of a monk, fasted and walked barefoot in the snow.

Fist bump: Holy Roman Emperor Henry IV before Pope Gregory VII (1875), woodcut after a drawing by Friedrich Hottenroth (1840-1917).

On 28 January, the pope ordered the castle gates opened and it’s said Henry supplicated himself on his knees before the pope and begged forgiveness.  Clearly impressed (or at least satisfied), Gregory granted absolution and revoked the act of excommunication, that evening offering the emperor communion in the chapel of Sant'Apollonio.  All’s well that ends well then, the pope lingering for a few months before returning to Rome with his authority confirmed and Henry headed home, soon to extract what vengeance he could.  Almost immediately the alpine pilgrimage was regarded as a humiliation for Henry but even some medieval scholars would soon create a revisionist history, arguing the emperor’s strategy was a masterstroke, gaining much which was important and sacrificing little.  Modern historians tend not to be convinced by the “stoops to conquer” school, regarding it a humiliation still and the phrase "going to Canossa" endures as a reference to an act of penance or submission.

Whether Canossa was much on the mind of President Joe Biden (b 1942; US president since 2021) as he flew to Saudi Arabia hasn’t been revealed but at least Air Force One is comfortable and he certainly didn’t need to go the “long way round”, his 747 granted a direct flight path from Tel Aviv to Jeddah, a presidential first and something long thought unimaginable.  Interestingly, according to the president, as recently as June 2022, also unimaginable was him meeting with Saudi Arabia’s de-facto leader Crown Prince Mohammed bin Salman Al Saud (b 1985 and referred to colloquially as MBS).  “I’m not going to meet with MBS” Mr Biden had last month assured the press.  “I’m going to an international meeting, and he’s going to be part of it.”  That might seem a fine distinction but in the language of diplomacy, a not unreasonable one.

President Biden meets King Salman bin Abdulaziz Al Saud (b 1935; King of Saudi Arabia since 2015) Jeddah, July 2022.

However, the world has changed since the 2020 presidential campaign in which Mr Biden vowed to make the Saudi government “pay the price and make them in fact the pariah that they are”, his stridency a reaction to the murder and dismemberment in Saudi’s Istanbul consulate of Washington Post journalist (and Saudi citizen) Jamal Khashoggi (1958-2018) by agents of the Saudi state.  On advice from the US intelligence community, Mr Biden in 2020 made clear he held MBS personally responsible for Khashoggi’s death although doubts have by some been expressed, their thinking that MBS may well have authorized “an extraction” but not “an execution” and the unfortunate consequences were a product either of misunderstandings as the message proceeded down the line or the allocation of a specialized task to specialists in another field.  MBS has always denied ordering the killing of Mr Khashoggi, answering with an emphatic “Absolutely not” when asked directly by the US press.  “This was a heinous crime” he said in an interview, adding that he took “…full responsibility as a leader in Saudi Arabia, especially since it was committed by individuals working for the Saudi government.”  The taking of responsibility for acts committed by others, including those of which one has no knowledge, is the essence of the Westminster system of ministerial responsibility although a more nuanced expression of the concept which extended to a “collective responsibility” was later developed by Albert Speer (1905-1980) during the first Nuremberg trial (1945-1946).  The Saudi government had initially denied any involvement in the matter although later it would admit the death was an accident which happened when an intelligence team was attempting to extradite (in Turkish law presumably a kidnapping) the journalist, against his will, to Saudi Arabia.

Fist bump: President Biden meets Crown Prince Mohammed bin Salman Al Saud, Jeddah, July 2022.

But the world has changed and to mark that, Mr Biden and MBS met, a friendly fist bump a photo opportunity for the gathered press pack, the entrance to the Al Salman Palace a good backdrop.  According to Mr Biden, MBS “…basically said that he was not personally responsible” for the killing of Khashoggi and “I indicated that I thought he was.”  What’s done is done and can’t be undone so, the discussion of human rights complete, the president and crown prince then got down to the substantive matter of oil and how helpful it would be if the kingdom could pump more of it from their fields, the unchallenging idea being that if supply could be made to exceed demand (which is already the case so presumably what Mr Biden would prefer is a glut), then the price would fall, this eventually being reflected in the cost of a gallon of gas in the US, hopefully in good time for the US mid-term congressional elections in November.

Just like the old days.

Industry analysts have cast doubt on whether the Saudis have the additional extractive and distributional capacity greatly to affect the price of oil which has anyway recently declined in response to concerns about a global economic slowdown although jitters remain, the oil futures market reacting hourly to news of COVID lockdowns and hints about monetary policy from those central banks which matter.  It’s thought MBS is unlikely to have done more than agree to act in unison with whatever increase in supply the Organization of Oil Producing Countries (OPEC) may undertake to implement when it (actually the expanded OPEC+) meets in August.  Still, August is a couple of months before the mid-terms so there’s that but these are troubled times, few anxious to predict what the economy or geopolitics will look like by then, any more than there's a model precisely to measure the effects of what the US Treasury still insist will be the next round of sanctions on Russian oil & gas.  Like the OPEC+ meeting, these are due in August.  

Couplet

Couplet (pronounced kuhp-lit)

(1) In literature, most often in poetic form, a pair of successive lines of verse, usually rhymed and of the same metre.

(2) A pair; a couple.

(3) In musical composition, any of the contrasting sections of a rondo occurring between statements of the refrain.

(4) In computing, a pair of interdependent programming statements.

(5) In the induction or exhaust systems of internal combustion engines, a pipe running between main tubes for the purpose of flow-balancing.

(6) In town planning and traffic management, a pair of one-way streets which carry opposing directions of traffic through gridded urban areas.

(7) In taxonomy, a pair of two mutually exclusive choices in a dichotomous key.

1570-1580: From the Middle French couple (a little pair), the construct being couple from the Old French couple, from the Vulgar Latin cōpla, from the Classical Latin cōpula (doublet of copule) + -et from the Middle French and Old French –et from the Medieval Latin –ittus (Suffix indicating diminution or affection).  Couplet was used first in poetry in the 1570s and in music since 1876.  Later adoptions all emerged in the twentieth century or later.

Closed and Heroic Couplets

A rhyming couplet is two lines of around the same length which rhyme and complete one thought.  Rhyming words are those of a similar sound when spoken; they don't of necessity have to be similar in spelling.  A couplet is closed when the lines form a bounded grammatical unit like a sentence whereas a heroic couplet is written often in iambic pentameter, though with some variation of the meter.

A closed couplet from Shakespeare’s Romeo and Juliet.

Good night, good night. Parting is such sweet sorrow

That I shall say good night till it be morrow.

Several characteristics distinguish the heroic couplet from the regular couplet. A heroic couplet is always rhymed and is usually in iambic pentameter and is also usually closed, meaning that both lines are end-stopped and are a self-contained grammatical unit.

This rhymed, closed, iambic pentameter couplet from Shakespeare’s Sonnet 116 is not however a heroic couplet.

If this be error and upon me prov'd,

I never writ, nor no man ever lov'd.

That’s because for a couplet to be heroic, it demands a heroic setting.  The subjectivity inherent in this is why satirists were attracted to the form, using the heroic form when writing of the mundane or banal; the Dadaists being the twentieth century’s most celebrated practitioners.

This fragment is from John Dryden's translation of Virgil's The Aeneid, and because it’s one of the dramatic epic poems of antiquity, these are heroic couplets. 

Soon had their hosts in bloody battle join'd;

But westward to the sea the sun declin'd.

Intrench'd before the town both armies lie,

While Night with sable wings involves the sky.

Like many seminal literary forms, the heroic couplet attracted parody, known in literary theory as the mock-heroic, most commonly associated with Alexander Pope, his best-known example of this work of this kind being The Rape of the Lock in which a minor transgression is written of in a narrative of epic proportions, recalling the legends and magic of mythology.

Here Thou, great Anna! whom three Realms obey,

Dost sometimes Counsel take—and sometimes Tea.

In a case which legal commentators described as "speculative" and "optimistic" Lindsay Lohan in 2011 sued Rapper Pitbull (Armando Christian Pérez, b 1981), objecting to some lines in his single Give Me Everything (2011), the offending couplet being:

Hustlers move aside, so I’m tiptoein’, to keep flowin’

 I got it locked up like Lindsay Lohan.

Rapper Pitbull.

Grounds for the suit were the negative connotations in the text and claims she should have been compensated for the use of her name in the song.  The suit sought unspecified damages for characterizing her as a person who has been to jail, when actually she is a professional actor, designer, and devotee of charitable causes. It was alleged the lyrics were clearly “destined to do irreparable harm” to Lohan’s reputation.  The case was dismissed by a federal judge who ruled the words were protected by the First Amendment, which covers freedom of speech and creative expression.