Auburn

Auburn (pronounced aw-bern)

(1) A reddish-brown or golden-brown color.

(2) Of something colored auburn (most often used to describe hair).

(3) A widely used locality name.

(4) As the Auburn system (also known as the New York system and Congregate system), a notably severe penal method created in the early nineteenth century and implemented in Auburn Prison, Auburn, New York.

1400–1450: From the late Middle English abron, abrune aborne & abourne (light brown, yellowish brown), a sixteenth century alteration (because of a conflation with the later spelling auburne with the Middle English broune & brun (brown) which also changed the spelling) of the earlier auborne (yellowish-white, flaxen) from the Middle French & Old French auborne & alborne (blond, flaxen, off-white) from the Medieval alburnus (fair-haired, literally “like white or whitish”) and related to alburnum (the soft, newer wood in the trunk of a tree found between the bark and the hardened heartwood, often paler in color than the heartwood) from alba & albus (white).  Since the meaning shifted from blonde to hues of red, auburn has tended to be used exclusively of women’s hair.  The noun use dates from 1852.  Auburn is often associated with the Venetian painter Tiziano Vecellio (circa 1490-1576; known usually in English as Titian), especially the works of his early career when the colors tended to be more vivid but the modern practice is to apply auburn to darker shades although there’s much imprecision in commercial applications such as hair dyes and what some call some sort of auburn, others might list as some variation of burgundy, brown, chestnut, copper, hazel, henna, russet, rust or titian.

The term “medieval scholar” is not of course oxymoronic though the language is replete with errors of translation and misunderstandings replicated and re-enforced over a thousand-odd years.  However, as English began to assume its recognizably modern form, nor were errors unknown and it does seem strange such a well-documented Latin word as alburnus (fair-haired, literally “like white or whitish”) which had evolved in Middle English as auburne could be conflated with the Middle English broune & brun (brown), leading eventually to the modern auburn having morphed from blonde to a range of reddish browns.  Some etymologists however suggests it was deliberate, the late fifteenth century blond being preferred while auburne was re-purposed to where it could be more useful in the color-chart.  The modern blond & blonde were from the Old French & Middle French blund & blont (blond, light brown, feminine of blond) thought most likely of Germanic origin and related to the Late Latin blundus (yellow) from which Italian picked up biondo and Spanish gained blondo.  It was akin to the Old English blondenfeax (gray-haired), derived from the Classical Latin flāvus (yellow) and in Old English, there was also blandan (to mix).  There exists an alternative etymology which connects the Frankish blund (a mixed color between golden and light-brown) to the Proto-Germanic blundaz (blond), the Germanic forms derived from the primitive Indo-European bhlnd (to become turbid, see badly, go blind) & blend (blond, red-haired)).  If so, it would be cognate with the Sanskrit bradhná (ruddy, pale red, yellowish).  In his dictionary (1863-1873), Émile Littré (1801–1881) noted the original sense of the French word was "a color midway between golden and light chestnut" which might account for the notion of "mixed."  In the Old English beblonden meant "dyed," so it is a possible root of blonde and the documentary record does confirm ancient Teutonic warriors were noted for dying their hair.

However the work of the earlier French lexicographer, Charles du Fresne (1610-1688), claimed that blundus was a vulgar pronunciation of Latin flāvus (yellow) but cited no sources.  Another guess, and one discounted universally by German etymologists, is that it represents a Vulgar Latin albundus from the Classical Latin alba & albus (white).  The word came into English from Old French where it had masculine and feminine forms and the English noun imported both, thus a blond is a fair-haired male, a blonde a fair-haired female and even if no longer a formal rule in English, it’s an observed convention.  As an adjective, blonde is now the more common spelling and can be applied to both sexes, a use once prevalent in the US although most sources note the modern practice is to refer to women as blonde and men as fair.  Even decades ago, style guides on both sides of the Atlantic maintained, to avoid offence, it was better to avoid using blond(e) as a stand-alone noun-descriptor of women.

Paintings by Titian (left to right), Portrait of a Lady (circa 1511), National Gallery, London, Flora (1515), Uffizi Gallery, Florence, St Margaret and the Dragon (circa 1559) Museo del Prado, Madrid & Portrait of a Lady in White (circa 1561), Gemäldegalerie Alte Meister, Dresden.

Even the understanding of auburn as “reddish brown” or “golden brown” has changed over the years.  The Venetian painter Tiziano Vecellio (circa 1490-1576 and known in English usually as Titian) lent the name “titian auburn” to the tint of reddish-brown hair which appeared so often in his work.  As so often happens in art, his output darkened as he aged so the term “titian auburn” as a literal descriptor of a particular tincture needs to be understood as a spectrum.  While his fondness for redheads seems not to have diminished with age, the vivid hues which characterized the flowing locks he favored in his youth were later sometimes rendered in more subdued tones.

Lindsay Lohan illustrates the shift from the Latin alburnus to the modern English Auburn.

(1) Alburnus as a Roman would have understood the description; now called blond or blonde depending on context.

(2) The classical understanding of “titian auburn”, a light and vivid shade reddish-brown.

(3) A more cooper-tinged hue, representative of what the hair-dye industry would call something like “light auburn”.

(4) This is a dark alburn; any darker and depending on the tint, it would be described either as burgundy or chestnut.

The Auburn Speedster

1935 Auburn 851 SC Speedster.

Under a variety of corporate structures, the Auburn company produced cars in the US between 1900-1937 and is remembered now for the Speedster 851 & 852, one of the most romantic designs of the mid-1930s.  Although Auburn, along with its corporate stablemates Cord and Duesenberg, succumbed to the affects of the Great Depression, the company’s financial problems long-predated the 1929 Wall Street crash, the conglomerate of the three manufacturers assembled in 1925 as a restructuring.  After this, in the growing economy of the 1920s Auburn began again to prosper and it was in 1925 the company introduced the model which would be the basis of the later 851 & 852.  Auburn-Cord-Duesenberg (A-C-D) actually enjoyed a logical structure in that the brand-names existed at different price points but it lacked any presence in the low-cost mass-market, relying instead on lower volume vehicles which relied on their style, engineering and value for money for their appeal.  Had the depression not happened, the strategy might have worked but, given the austerity of the 1930s, what’s remarkable is that A-C-D endured until 1937.             

1932 Auburn 12-160.  The color is said to be a 1932 factory option and is similar to the apple green with which Duesenberg painted their 6.9 litre (420 cubic inch) straight-eights.

Although now celebrated for their stylish lines, A-C-D’s cars were at the time also noted for innovation and the quality of their engineering.  Cord’s front-wheel-drive proved a cul-de-sac to which US manufacturers wouldn’t for decades return but other aspects of their designs were influential although A-C-D’s trademark quixotic offerings sometimes suggested a sense of disconnection from economic reality; in 1932, in the depth of the depression, Auburn announced a model powered by a 391 cubic inch (6.5 litre) V12, a perhaps questionable approach in an environment which had seen demand collapse for the twelve and sixteen cylinder Lincolns, Packard and Cadillacs.  Elegant and powerful, in less troubled times it would likely have succeeded but was wholly unsuited to the world into which it was released despite being priced from an extraordinary US$1,105; while that was 40% more than even the most expensive Ford V8, it was a fraction the cost of the more comparable Packard or Lincoln V12.

1936 Auburn 852 SC Speedster.

The Boattail Speedster was less ambitious but had already carved its niche.  It was designed in 1928 to create the signature product that encapsulated what A-C-D wished the Auburn marque to represent: fast, sleek, stylish and a value for money no other could match; had the company anticipated the slogan “grace, space & pace” it would have been well understood for what is now called a mission statement was exactly what made Jaguar such a success in the post-war years.  Using Lycoming's smooth, powerful and reliable straight-eight cylinder engine, sleek Speedster delivered the performance the lines promised, a genuine 100 mph (160 km/h) roadster which set speed records when taken to Daytona Beach.  The Speedster’s classic iteration was the 851 (the subsequent 852 all but identical), introduced in 1934, the design clearly a homage to the much-admired (if infrequently purchased) Duesenberg Weymann Speedster though where the Duesenberg was long and elegant, the Auburn was squat and sporty and for those who wanted something more charismatic still, the 280 cubic inch (4.6 litre) straight-eight could be ordered with a Schwitzer-Cummins centrifugal supercharger.  The market responded to the speed and the art deco style but the investment had been considerable, something the under-capitalized A-C-D undertook only because the improving economy provided some confidence sales would be sufficient to ensure profitability.  Had the recovery been sustained, A-C-D may have survived, unemployment in 1937 still high but significantly lower in the demographic which was their target market.  As in was, in mid-1937, the US economy suffered a sudden, sharp, recession which would last over a year, the effects lingering until late 1940 when the combined effected of increased armaments production and a presidential election had a simulative effect.  A-C-D, its finances in a perilous state since the Wall Street Crash, couldn’t survive and the companies all entered bankruptcy, Auburn succumbing in 1937.

A-C-D’s fate provides a cautionary tale which for decades was often ignored by those unable to resist the siren call to make beautiful, fast cars bearing their name.  Unless volumes were sufficient (thereby diluting the lure of exclusivity which tended to be much of the attraction) or else subsidized by the profits of some mass-market offering, enduring success was rare and few of those which did initially flourish were capitalized to the extent necessary to survive the inevitable downturns which disproportionally affects those depending on the more self-indulgent sectors sustained by discretionary expenditure.

Ranga

Ranga (pronounced rang-ah)

In Australian slang, a person with red (ginger, auburn etc) hair

1990s: Based on the name orang-utan (pronounced aw-rang-oo-tan, oh-rang-oo-tan or uh-rang-oo-tan), either of two endangered species of long-armed, arboreal anthropoid great ape, the only extant members of the subfamily Ponginae, inhabiting Borneo (Pongo pygmaeus) and Sumatra (P. abelii).  The alternative spellings are orangutan, orangutang & orangoutang, all of which are used with the same pronunciation variation as the standard form.  In Western zoology, the orang-utan was added to the taxonomic classifications in the 1690s, from the Dutch orang outang, apparently from the Malay ōrang hūtan and translating literally as “forest man”, the construct being ōrang (man, person) + hūtan (forest).  Found in the forests of Sumatra and Borneo, it was noted immediately for its shaggy, reddish-brown hair and this coloration is the source of the Australian slang.  Ranga is a noun; the noun plural is rangas.

A ketchup of gingers?  Roodharigendag in the Netherlands.

Since 2005 (except in 2020 when COVID-19 stopped such things), the Netherlands has hosted what is described as the "world's largest gathering of redheads".  Unadventurously, the three-day festival (which attracts participants from over eighty nations) is known as Roodharigendag (Redhead Day).  There are a variety of events including lectures and pub-crawls; presumably, coffee shops are visited.

An Orangutan in Sumatra.  International Orangutan Day is 19 August.

Because, once deconstructed, to call someone a ranga is to compare them to a sub-human primate, it would seem the word probably would be thought offensive but it remains widely used and is one of the additions to English which has spread from Australia.  It certainly can be offensive and is often (though apparently mostly by children) used that way but it can also be a neutral descriptor or a form of self-identification by the redheaded.  It may be that many of those who deploy ranga (for whatever purpose) are unaware of the origin with a sub-human primate and treat it as just another word and in that sense it’s actually less explicit than some of the many alternatives with a longer linguistic lineage including ginger minge, firecrotch, carrot top, fanta pants, rusty crutch, & blood nut.  There was also the curiously Australian moniker “blue” (and the inevitable “bluey”) to describe the redheads, an adoption in the tradition of “lofty” sometimes being applied to the notably short.  Whether ranga is more or less offensive than any of those (none of which reference apes) is something on which not all redheads may agree but in 2017 (some months on from ranga being added to the Australian Dictionary), presumably so there was a forum to discuss such matters, RANGA (the Red And Nearly Ginger Association) was formed, finding its natural home on social media where it operates to provide social support rather than being a pressure group.

Ginger, copper, auburn & chestnut are variations on the theme of red-headedness: Lindsay Lohan demonstrates the possibilities.  Red hair is the result of a mutation in the melanocortin 1 receptor (MC1R) gene responsible for producing the MC1R protein which plays a crucial role also in determining skin-tone. When the MC1R gene is functioning normally, it helps produce eumelanin, a type of melanin that gives hair a dark color.  However, a certain mutation in the MC1R gene leads to the production of pheomelanin which results in red hair.  Individuals with two copies of the mutated MC1R gene (one from each parent) typically have red hair, fair skin, and a higher sensitivity to ultraviolet (UV) light, a genetic variation found most often in those of northern & western European descent.

Just as blonde women have long been objectified and derided as of limited intelligence (ie the "dumb" blonde), redheads have been stereotyped as sexually promiscuous (women) or having fiery tempers (men & women) but there is no evidence supporting any relationship between hair color, personality type or temperament.  The sample sizes are inherently small (redheads less than 2% of the global population) but there are populations in which the predominance is higher, so further research would be interesting but such questions are of course now unfashionable.  Most style guides list "red-haired”, “redhead” & “redheaded” as acceptable descriptors but the modern practice is wherever possible to avoid references which apply to physical characteristics, much as the suggestion now is not to invoke any term related to race or ethnic origin.  That way nothing can go wrong.  If it’s a purely technical matter, such as hair products, then descriptors are unavoidable (part-numbers not as helpful at the retail level) and there’s quite an array, ranging from light ginger at the lighter end to chestnuts and and auburns at the darker and there was a time when auburn was used as something of a class-identifier.

Jessica Gagen, Miss England, 2022.

Recently victorious in the Miss England 2022 pageant, Jessica Gagen (b 1995) is the first redhead to take the title.  Having been subject to bullying as a child, Ms Gagen has indicated she’ll be using her platform to spread a positive message to those who have also suffered cruel taunts about being red-headed and she’ll represent England at the 71st Miss World in the (northern) spring of 2023.  After leaving school, Ms Gagen discovered one advantage of her hair color was it attracted modeling agencies and she pursued a lucrative international career.  Now studying for a masters degree in aerospace engineering at Liverpool University, she’s involved in a programme to encourage girls to take up the study of STEM (science, technology, engineering and math) subjects and notes her engineering course has made her aware of the extent to which these fields remain male-dominated.

Peak Jessica: Jessica Gagen pictured cooling off during England’s recent heat-wave when temperatures reached a record 42^o C (108^o F), something long thought impossible because of the interplay of the movement of seawater and sea currents around the British Isles.  It's an urban myth that redheads (being "hot-headed" in the popular imagination) need to "cool down" more than most in some conditions. 

Interestingly, Ms Gagen says her participation in beauty contests changed her perception of them as sexist displays, regarding that view as archaic, noting the women involved all seemed to have their own motives, usually involving raising awareness about something of great personal interest.  Being part of the cohort likely to do well in beauty contests is of course just a form of comparative advantage in the way some have a genetic mix which makes them suitable to play basketball.  The beauty contest is thus an economic opportunity and choosing to participate in one can be a rational choice in that one's allocation of time and resources can yield greater returns than the alternatives.  Another notable thing about Jessica Gagen is that being born in 1995, she is part of that sub-set of the population called “peak Jessica”, the cohort which reflected the extraordinary popularity of the name between 1981-1997, overlapping slightly with “peak Jennifer” which occurred between 1970-1984.

Axe

Axe or Ax (pronounced aks)

(1) An instrument with a bladed head on a handle or helve, used for hewing, cleaving, chopping etc.  Axes appear to date from circa 6000 BC.

(2) In the slang of jazz musicians, various musical instruments.

(3) In slang, dismissal from employment.

(4) In slang, any usually summary removal or curtailment.

(5) In rock music, twelve or (especially) six-string electric guitars, a device with both is called a “doubleneck”.

Pre 1000: From the Middle English ax, axe, ex & exe (edged instrument for hewing timber and chopping wood; battle weapon), from the Old English æx and æces (ie ces (the Northumbrian acas)) (axe, pickaxe, hatchet), from the Proto-Germanic akusjo, related to the Old Frisian axa.  All were akin to the Gothic aquizi, the Old Norse øx & ǫx, the Old Frisian axe, the Old High German accus, acchus, akus & ackus (from which modern German gained Axt) and the Middle High German plural exa.  Source was the Germanic akwiz, (which existed variously as akuz, aksi, ákəs, áks) from the Latin acsiā and the Ancient Greek axī́nē, from the primitive Indo-European agwsi & agwsi- (axe).  The word hatchet (a smaller axe) was an imperfect echoic, an evolution of the earlier axxette.  Squabbles surrounded the spelling in the twentieth century and in Modern English Usage (1926), Henry Fowler (1858-1933) noted with regret that while ax, though “…better on every ground, of etymology, phonology and analogy” appeared so strange to modern eyes that “…it suggests pedantry and is unlikely to be restored.”  The phrase "my grandfather's axe" explores the nature of authenticity, the expanded quotation being "This is my grandfather's axe; my father replaced the handle and I replaced the head."

The Axeman Cometh: Eighteenth century line engraving of the execution of Mary, Queen of Scots (1542–1587; Mary Stuart, Queen of Scotland 1542-1567) at Fotheringhay Castle, Northamptonshire, 8 February 1587.  Perhaps remarkably, this image is available as a greeting card.

Although there was a long history of regicide, this was the first lawfully sanctioned killing of an anointed European monarch but it joined the roll call of botched executions, the decapitation requiring three blows with the axe rather than the “best practice” single strike.  The executioner’s first blow was misdirected and struck the back of her head and although the second almost completely severed the neck, a third attempt was needed for a last, recalcitrant piece of sinew.  Following protocol, the executioner took the head by the hair and held it aloft and spoke the words: “God save the Queen” (Elizabeth I (1533–1603; Queen of England & Ireland 1558-1603).  At that moment, it was revealed the luxuriant auburn tresses in his hand were part of a wig and the head tumbled to the floor, the deceased 44 year old having cropped, grey hair.  The reports of the aftermath of her death are contradictory with one account saying as she lay dead, a tiny dog she’d concealed in her petticoats scrambled from the folds, curled up in a pool of her blood and died but what is not disputed is the garment’s fabric was velvet in crimson brown, the liturgical colour of martyrdom in the Roman Catholic Church to which she’d remained attached.  Her last words were: “In manus tuas, Domine, commendo spiritum meum” (Into thy hands, O Lord, I commend my spirit).2009. 

Jimmy Page of Led Zeppelin with Gibson EDS-1275 Doubleneck, Earl’s Court, London, May 1975.

The sense of an axe as a "musical instrument" dates from 1955, originally from the jazz scene where it referred to the saxophone, the now more common use to describe electric guitars emerging only in the summer of love (1967).  The phrase "to have an axe to grind" was first used in 1810 in a matter involving the US politician Charles Miner (1780-1865) but has since the late nineteenth century been often misattributed since to Benjamin Franklin (1706-1790), the latter in this case a victim of the phenomenon of "quotation celebrity" which affects also figures such as William Shakespeare (1564–1616) and Winston Churchill (1875-1965; UK prime-minister 1940-1945 & 1951-1955).  In the case of the bard that always seems strange because all his words exist in print but it does seem that when some see a familiar fragment containing a word like "hath", they assume it comes from Shakespeare.

An Auburn haired Lindsay Lohan in crop top, AXE Lounge, Southampton, New York, June 2009. 

Battleaxes (don't call them old).  Bronwyn Bishop (b 1942) (left), Nancy Pelosi (b 1940) (centre) & crooked Hillary Clinton (b 1947) (right).

The verb axe dates from the 1670s in the sense of "to shape or cut with an axe" and was a direct development from the noun.  The figurative use meaning "to remove" (a person, from a position) or "severely reduce" (expenditure) began circa 1923 and soon extended to the sense of severely cutting the levels of anything to do with money.  Surprisingly, there seems to be no reference to the noun axe-handle or ax-handle prior to 1798.  The noun battleaxe (also as battle-axe & battle-ax) was a military term which referred specifically to a weapon of war, typically a double headed device which cut when swung in either direction although, despite the way they're often depicted in popular culture, they weren't always large and heavy, something not surprising given soldiers' traditional preference for lightweight tools.  The figurative sense meaning "formidable woman" was US slang, dating from 1896.  Unlike most gender-loaded (this one by historical association) terms, it may in some circumstances be still OK to use because "formidable" does have positive connotations although anyone brave enough to try might be well-advised to field "battleaxe" rather than "old battleaxe" and let it do its work synecdochally.

Comrade Stalin (left), an ice axe (centre) and comrade Trotsky (right).

Comrade Leon Trotsky (1879-1940; founder of the Fourth International) in The Revolution Betrayed: What Is the Soviet Union and Where Is It Going? (1936) had a feeling for the political phrase and labelled the state created by comrade Joseph Stalin (1878-1953; Soviet leader 1924-1953) a “Soviet Thermidor” because although Tsarist era capitalism wasn’t re-created (a la the monarchy in France not being restored in the 1790s), the combination of a bureaucracy supporting a personality cult (even if the latter was in 1936 still somewhat disguised) was “a counterrevolutionary regression” which betrayed what was achieved by comrade Vladimir Lenin (1870–1924; head of government of Russia or Soviet Union 1917-1924) between 1917-1924.  The phrase caught the imagination of many, notably those in the Partido Obrero de Unificación Marxista (The POUM, the Workers' Party of Marxist Unification), a non-communist Marxist party (a surprisingly populated fork of left-wing thought) which comrade Stalin correctly associated with Trotskyism.  The POUM was highly productive in thought but drifted increasingly far from the moorings of political reality although rhetoric which included polemics like “Stalinist Thermidorians have established in Russia the bureaucratic regime of a poisoned dictator.”  Agents of the Narodný komissariat vnutrennih del (NKVD, The People's Commissariat for Internal Affairs and one of the many predecessors to the KGB), answerable only to comrade Stalin, killed dozens of POUM’s Central Committee which ended the organization’s effectiveness for a generation.  In his prodigious memory, comrade Stalin filed away annoying phrases and in 1940 he had comrade Trotsky murdered in Mexico.  The murder weapon was an ice-axe.

Cloak and axe of Giovanni Battista Bugatti (1779–1869), official executioner for the Papal States 1796-1864, Criminology Museum of Rome.  Woodcuts and other depictions from the era suggest the blood-red cloak wasn't always worn during executions. 

Giovanni Battista Bugatti began his career at a youthful 17 under Pius VI (1717–1799; pope 1775-1799) and diligently he served six pontiffs before being pensioned off by Pius IX (1792–1878; pope 1846-1878), his retirement induced not by the Holy See losing enthusiasm for the death penalty because one Antonio Balducci succeeded him in the office which fell into disuse only with the loss of the Papal States (756-1870; a conglomeration of territories in the central & northern Italian peninsula under the personal sovereignty of the pope), after the unification of Italy.  Unlike his illustrious predecessor, history has recorded little about Signor Balducci although it’s known he performed his final execution in 1870.  Signor Bugatti was by far the longest-serving of the Papal States’ many executioners and locals dubbed him Mastro Titta, a titular corruption of maestro di giustizia (master of justice) and his 69 year tenure in his unusual role can be accounted for only by either (1) he felt dispatching the condemned a calling or (2) he really enjoyed his work, because his employers were most parsimonious: he received no retainer and only a small fee per commission (although he was granted a small, official residence).  His tenure was long and included 516 victims (he preferred to call them “patients”, the term adopted also by Romans who enjoyed the darkly humorous) but was only ever a part-time gig; most of his income came from his work as an umbrella painter (a part of the labour market which still exists as a tint, artisan niche).  Depending on this and that, his devices included the axe, guillotine, noose or mallet while the offences punished ranged from the serious (murder, conspiracy, sedition et al) to the petty (habitual thieves and trouble-makers).

Cardinal Pietro Gasparri (1852–1934; Cardinal Secretary of State 1914-1930, left) and Benito Mussolini (1883-1945; Duce (leader) & prime-minister of Italy 1922-1943, right), signing the Lateran Treaty, Lateran Palace, Rome, 11 February 1929.

Although as early as 1786 the Grand Duchy of Tuscany became the first Italian state to abolish the death penalty (torture also banned), the sentence remained on the books in the Papal States; then as now, the poor disproportionately were victims of the sanction, similar (or worse) crimes by the bourgeoisie or nobility usually handled with less severity, “hushed-up” or just ignored.  With the loss of the Papal States, the pope’s temporal domain shrunk to little more than what lay around St Peter’s Square; indeed between 1870 and the signing of Lateran Treaty (1929) after which the Italian state recognized Vatican City as a sovereign state, no pope left the Vatican, their status as self-imposed prisoners a political gesture.  The Lateran treaty acknowledged the validity of the sentence (Article 8 of the 1929 Vatican City Penal Code stating anyone who attempted to assassinate the pope would be subject to the death penalty) although this provision was never used, tempted though some popes must have been.  Paul VI (1897-1978; pope 1963-1978) in 1969 struck capital punishment from the Vatican's legal code and the last reference to the sanction vanished in 2001 under Saint John Paul II (1920–2005; pope 1978-2005).

Variation

Variation (pronounced vair-ee-ey-shuhn)

(1) The act, process, or accident of varying in condition, character, or degree.

(2) Amount, rate, extent, or degree of change.

(3) A different form of something; variant.

(4) In music, the transformation of a melody or theme with changes or elaborations in harmony, rhythm, and melody.

(5) In ballet, a solo dance, especially one a section of a pas de deux.

(6) In astronomy, any deviation from the mean orbit of a heavenly body, especially of a planetary or satellite orbit.

(7) In admiralty use as applied to nautical navigation, the angular difference at the vessel between the direction of true north and magnetic north; also called magnetic declination.

(8) In biology, a difference or deviation in structure or character from others of the same species or group.

(9) In linguistics, any form of morphophonemic change, such as one involved in inflection, conjugation, or vowel mutation.

1350-1400: From the Middle English variation (difference, divergence), from the Middle French variation, from the Old French variacion (variety, diversity) and directly from the Latin variationem & variātiōn (stem of variātiō) (a difference, variation, change), from the past participle stem of variare (to change) (the source of the modern English vary).  The use in the context of musical composition wasn't common until the early nineteenth century.  Variation is a noun and the (rare) adjective is variational; the noun plural is variations.

The available synonyms themselves show an impressive variation: deviation, abnormality, diversity, variety, fluctuation, innovation, divergence, alteration, discrepancy, disparity, mutation, shift, modification, change, swerve, digression, contradistinction, aberration, novelty, diversification, mutation, alteration, difference.  Apart from the English variation, European descendants include the French variation, the Italian variazione, the Portuguese variação, the Russian вариация (variacija), the Spanish variación and Swedish variation.

Ginger, copper, auburn & chestnut are variations on the theme of red-headedness: Lindsay Lohan demonstrates the possibilities.  

Glenn Gould and the Goldberg Variations: 1955 & 1981

Published in 1741, JS Bach’s (1685-1750) Goldberg Variations consists of an aria and thirty variations.  Written for the harpsichord, it’s named after German harpsichordist & organist Johann Gottlieb Goldberg (1727-1756), thought to have undertaken the first performance.  The work is now thought part of the canon of Baroque music but before 1955, was an obscure piece of the Bach repertoire, a technically difficult composition for the hardly fashionable harpsichord and known mostly as a device for teachers to develop students’ keyboard skills.  Even for aficionados of the Baroque, it was rarely performed.

Glenn Gould (1932—1982) was a Canadian classical pianist, his debut album on the then novel twelve-inch vinyl LP an interpretation of the Goldberg Variations, played on the piano.  A quite extraordinary performance and a radical approach, played at a tempo Bach surely never intended and with an electrifying intensity, it was beyond mere interpretation.  The work was also his swansong, uniquely for him, re-recorded in 1981 and issued days before his death.  Eschewing the stunningly fast pace which made its predecessor famous and clearly the work of a mellower, more reflective artist, for those familiar with the original, it’s a masterpiece of controlled tension.

In 2002, Sony re-released both, the earlier essentially untouched, the later benefiting from a re-mastering which corrected some of the technical deficiencies found in many early digital releases.  Although critics could understand Gould thinking there were aspects of the 1955 performance which detracted from the whole and why he felt the second version a better piece of art, it’s still the original which thrills.

Tincture

Tincture (pronounced tingk-cher)

(1) In pharmacology, a solution of alcohol or of alcohol and water, containing animal, vegetable, or chemical drugs (an alcohol solution of a non-volatile medicine (obsolete)).

(2) A slight infusion, as of some element or quality; the dipping of something into a liquid to gain to color.

(3) A trace; a smack or smattering; tinge.

(4) In heraldry, any of the colors, metals, or furs used for the fields, charges etc, of an escutcheon or achievement of arms.

(5) A pigment or other substance that colours or dyes; specifically, a pigment used as a cosmetic (obsolete).

(6) To impart a tint or color to; tinge.

(7) To imbue or infuse with something.

(8) A slight flavour, aroma, or trace

(9) In medicine as "tincture of steel", an alcoholic solution of the chloride of iron (obsolete).

(10) A small flaw, an imperfection; a blemish or stain (now rare except as a literary device).

(11) In Christianity, a synonym of baptism (based on the idea of being "dipped into or sprinkled with Holy Water". 

(12) A (small) alcoholic drink (used humorously).

(13) In alchemy, an immaterial substance or spiritual principle which was thought capable of being instilled into physical things; also, the essence or spirit of something; a material essence thought to be capable of extraction from a substance.

(14) In chemistry, the part of a substance thought to be essential, finer, and/or more volatile, which could be extracted in a solution; also, the process of obtaining this.

1350-1400: From the Late Middle English tincture (dye, pigment; colour, hue, tint; process of colouring or dyeing; medicinal ointment or salve (perhaps one discolouring the skin); use of a medicinal tincture; (alchemy) transmutation of base metals into gold; ability to cause such transmutation; substance supposed to cause such transmutation)), the construct being the Latin tīnct(ūra) (act of dyeing) + the Middle English -ure (the suffix indicating an action or a process and the means or result of that action or process).  The construct of tīnctūra was tīnc(tus) (coloured, tinged; dipped in; impregnated with; treated”) + -tūra (the suffix forming action nouns expressing activities or results) while tīnctus was the perfect passive participle of tingō (to colour, dye, tinge; to dip (in), immerse; to impregnate (with); to moisten, wet; to smear), ultimately from the primitive Indo-European teng- (to dip; to soak), (source also of the Old High German dunkon (to soak) and the Greek tengein (to moisten).  It was cognate with the Ancient Greek τέγγω (téngō) and from the Latin Modern English has picked up tint, taint and tainture (an obsolete synonym of tincture).  Tincture is a noun & verb, tinct, tincturation, tincturing & tinction are nouns, verbs & adjectives, tinctured is a verb & adjective, tinctorial & tinctorious are adjectives and tinctorially is an adverb; the noun plural is tinctures.  The noun tinctura is listed by most dictionaries as obsolete but it is still in use poetically.

The fifteenth century use by apothecaries to refer to medicinal ointments (the assumption by historians this use was associated particularly with those used to discolor the skin or from being imbued with the essential principles of the substance).  In pre-modern medicine the meaning lingered, the idea of a tincture being a “solution of medicine in a mixture of alcohol” recorded in the professional texts in the 1640s.  In fashion, parchment preparation and then still rare applications such as wallpaper, the word was used to describe a “process of coloring" from early in the fifteenth century.  The verb was derived from the noun and came into use in the 1610s in the sense of “imbue with color”.  Tincturation (preparation of a tincture) was in use by the mid nineteenth century while tinction has been used to mean “preparation for dyeing, coloring matter ready for use” since the 1890s.

Not following the rules: The Lohan family crest.

In heraldry, the “rule of tincture” (described as “a design philosophy”) is the convention “metal should not be put on metal, nor colour on colour”.  There appears to be no historical basis for the emergence of this rule in the early fifteenth century and the favored modern explanation is that imposing it simply made it easier for the craftsmen of the era, it being technically challenging to inlay metals in metals, the practical point being a high wastage rate of expensive materials (the client paying only for the finished product).  However, the rule took hold rather in the manner the strictures in some religions (such as prohibitions on the consumption of shellfish or pig products) began as public health measures in the pre-refrigeration age endured to become orthodox articles of faith.  Centuries later, although the application of the “rule” began to be relaxed, such was the enduring influence that artisans' guilds formally codified a list of “exemptions” from the rule.

Meaning shift

The historic meaning of tincture (a synonym for dye or pigment) is now entirely obsolete; a tincture is now a subtle shade, tint or variation of an original colour or a smattering of another.  It can be applied to any field vaguely analogous such as tastes or aromas and can be used pejoratively to suggest someone’s knowledge of something might be less than advertised.  It has also found a niche is recipes printed in up-market publications as a word to use instead of "hint".

Lindsay Lohan tinctures: copper and auburn variations of red.

The Dendrobates tinctorius “Giant Orange” (the common name the "Dyeing Poison Dart Frog" (based on the early belief natives used brightly colored frogs to dye feathers & fabrics)).  Described by retailers as a “great beginner frog” (the reason for that presumably understood by collectors) and “best kept in pairs”, the RRP (recommended retail price) is US$59.99.

The adjective tinctorious dates from the late eighteenth century and appears first to have been used of colorful plants.  Even in horticulture it has become rare but an echo survives in the Dendrobates Tinctorius, a frog much prized by collectors and photographers for its striking colors and patterns.  Unsurprisingly referred to usually as "tincs" (the standard abbreviation of "tincture") Dendrobates Tinctorius is one of the largest species of poison dart frogs, although in global terms still hardly large, the largest some 2 inches (50 mm) length. They are native to the rainforests of South America and appear in dramatic color combinations including hues of blue, black, yellow and orange.  They can safely be kept by hobbyists because in captivity they're not poisonous, their toxicity in the wild by virtue of their preferred diet of small invertebrates, not consumed in a captive environment.  Prices of adults in the most desired color mixes can exceed US$120.