Butterfly

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Duet

Duet (pronounced doo-et or dyoo-et (non-U))

(1) In music, a composition for two voices or instruments.

(2) An action or activity performed by a pair of closely connected individuals.

(3) A pair or couple, especially one that is harmonious or elegant.

1730–1740: From the Italian duet (a short musical composition for two voices), from duo (two) and a diminutive of the earlier duett & duetto, the construct being du(o) (duet) + -etto (from the Late Latin -ittum, accusative singular of –ittus, an alternative suffix used to form melioratives, diminutives, and hypocoristics).  The ultimate source was the Proto-Italic duō, from the primitive Indo-European dwóh.  The French adopted duet before the English in 1740 although the noun may have been used in English from circa 1724; as a verb (to perform a duet), use was first noted in 1822.  The technical form duettino (short, unpretentious duet) emerged by 1839.  Duet is a noun & verb, duetting & duetted are verbs and duettist is a noun; the noun plural is duets.

Madam Butterfly

One of opera’s most memorable duets is the long and rapturous love aria in Giacomo Puccini's (1858–1924) Madama Butterfly (1905).  Among the most performed works in the canon, a number are available on disc, the most radiant surely Herbert von Karajan's (1908–1989) 1974 recording for Decca (Decca 417 577-2DH3).  The lustre of the cast Karajan assembled to perform with the Vienna Philharmonic Orchestra and State Opera Chorus has not since been matched; with Mirella Freni (1935-2020) as Butterfly, Luciano Pavarotti (1935–2007) as Pinkerton and Christa Ludwig (1928–2021) as Suzuki, expectations were high but Karajan conducted a lush high-drama which disappointed few.  Freni was of course a standout but Pavarotti, though not yet the superstar he would soon become, was at his peak and took to the role in a way that influences tenors to this day; Ludwig’s Suzuki remains unsurpassed in its style and by then, Karajan had been forgiven for everything.

Although Maria Callas (1923-1977) seemed even then an improbable Butterfly, her 1955 appearance at La Scala (Warner B00NMQTE4C) must have been extraordinary but, because of the mono technology of the age and some unsympathetic cutting, the recording can only hint at the power and passion of what critics at the time hailed a classic performance; Callas at her brilliant best, diction of cut crystal.  She may never have been the most refined of sopranos but she brought to her roles a thrilling intensity; just as other singers have delivered a more technically accomplished Lucia di Lammermoor, it’s Callas’ version all remember because it was spine-chilling and her Butterfly is similarly unique.

Maria Callas (1923-1977), backstage, Civic Opera House, Chicago, 17 November 1955. 

Bud Daley’s famous AP (Associated Press) photograph of diva Maria Callas, still in her Cio-Cio-San’s kimono, caught her snarling at US Federal Marshal Stanley Pringle, one of eight process servers there to serve her with two summonses.  The image was shot just after she'd left the stage, following her third and final performance in Giacomo Puccini's (1858–1924) Madama Butterfly (Madam Butterfly, 1904) and appeared the next morning on the front page of the Chicago Sun-Times with the headline: “Not So Prim a Donna”.  The article reported her words as: “Chicago will hear about this!  I will not be sued!  I have the voice of an angel!  No man can sue me.”  Had Cio-Cio-San been this feisty, she'd have kept Pinkerton.  It transpired however at least one man could sue, the action brought by one Edward “Eddy” Bagarozy, who claimed to be the singer’s agent, an assertion based on a contract dating from 1947; the plaintiff sought (1) specific performance of the contract and (2) in the alternative, damages of US$300,000 (depending on the metrics chosen, equivalent to between US$4-6 million in 2025).  As in many such matters, ultimately, the matter was settled out of court.

1969 Alfa Romeo Spider Veloce 1750 with coda lunga (round tail).

Although The Alfa Romeo (type 105/115) Spider was continuous production between 1966-1993, it was only during the first three years the bodywork featured the memorable Osso di Seppia (round-tail, literally “cuttlefish”) coachwork.  After 1970, the Spider gained a Kamm tail which increased luggage capacity and presumably also conferred some aerodynamic advantage but purists have always coveted the cigar-shaped original.  One often misunderstood aspect of the Kamm tail is that the aerodynamic benefits are realized only if the flat, vertical surface created was no more than about 50% of the total area of the vehicle (as viewed directly from the back).  That’s why even designs which don’t conform to the requirements are often casually referred to as “Kamm tails”.

Two famous reality TV stars performing a "long and rapturous" love duet in a 2016 production.

The Kamm tail (also known as the Kammback) was named after German engineer & aerodynamicist Professor Wunibald Kamm (1893–1966) who during the 1930s pioneered the shape, his work assisted greatly by some chicanery within the Nazi military-industrial complex which enabled the FKFA (Forschungsinstituts für Kraftfahrwesen und Fahrzeugmotoren Stuttgart (Research Institute of Automotive Engineering and Vehicle Engines Stuttgart) institute he established in 1930s to secure funding to construct a full-sized wind tunnel equipped with a two-part steel treadmill in the floor and an 8.8 metre (350 inch) diameter axial fan, able to drive air at up to 400 km/h (250 mph).  What the two concentric floor turntables allowed was that as well as enabling turbulence to be studied from the side on the running steel belt, but slip angles were also possible.   At the time, it was the most modern structure of its kind on the planet and its very existence was owed to the priority afforded by the Nazis to re-armament, especially the development of modern airframes, most of the money eventually coming from the Reichs-Luftfahrt-Ministerium (RLM, the State Air Ministry).

1969 Alfa Romeo Spider Veloce 1750 with coda lunga (round tail).

While Professor’s Kamm’s work on automobile shapes continued, increasingly the facility became focused on military contracts, contributing to the extraordinary range of novel aircraft designs, some revolutionary and most of which would never reach production.  All of this ceased in July 1944 when the facility was severely damaged in air-raids by Royal Air Force (RAF) Bomber Command, a costly campaign which one mission incurred a loss-ration of 20% and it wasn’t until the late 1940s that reconstruction began after it was acquired by Daimler-Benz AG which enlarged and modernized the machinery, the early fruits including the 300 SL (the W194, first gullwing coupé) which won the 1952 Le Mans 24 hour race and the W196R “streamliner” Grand Prix race cars which created such a sensation in 1954.  Although he wasn’t part of “Operation Paperclip” (the US project which secured (by various means including the military “smuggling” them into the country despite many being wanted by those investigating war crimes and crimes against humanity) Professor Kann was acknowledged as one of the world’s leading authorities on turbulence and between 1947-1953 was part of the team working at Wright-Patterson Air Force Base in Dayton, Ohio.  Some of what was undertaken then remains classified but it can be assumed it was all related to military projects and what would later become the space program.

Alfa Romeo in 1965 conducted a competition to find a suitable name for the little roadster and in those days that meant running advertisements in newspapers (which people actually paid for and read) to which readers responded by cutting out and filling in the coupon, writing in their suggestion, putting it in an envelope on which they wrote the address, buying and affixing a stamp and putting envelope in mailbox.  The winning entry was "Duetto" which Alfa Romeo's directors liked because it summed up the romantic essence of a machine definitely built for a couple.  Unfortunately, for some tiresome legal reason relating to an existing trademark, it couldn't officially be used but for decades, among the cognoscenti, it's always been called the Duetto.

Track of the Kamm, Alfa Romeo Spiders: 1973 Series 2 (1970-1983, left), 1984 (Series 3 (1983-1990, centre) and 1992 Series 4 (1990-1993, right).  Things got worse before they got better. 

To keep the tiresome lawyers at bay, when released at the Geneva Motor Show in March 1966, the car was known as the Spider 1600, the advertising making clear it was intended to be a practical sports car, usable year-round rather than something intended for competition.  Among those who like to call them Duettos, there’s a sub-set of pedants who like to point out that while all Duettos are round-tails, not all round-tails are Duettos because in 1967, Alfa Romeo introduced the more powerful 1750 Spider Veloce and the less potent 1300 Junior, the former positioned a notch above the original, the latter one below.  That’s too nerdy for most who prefer to form factions based upon the tail treatment and surprisingly perhaps, many do seem to prefer the appearance of the abbreviated Kamm-tail and, again surprisingly, that included even the editors of the US magazine Road & Track (R&T), a publication in the 1960s inclined to see anything Italian through a rose-tint, called the coda lunga (round tail) “a contrived design with meaningless styling gimmicks.”  Probably much of the appeal of the original is as a period piece in the same way the exaggerated fins on the early Sunbeam Alpines have some period charm although few would claim their pruning didn’t improve the look.

Lindsay Lohan duetting: On stage with Duran Duran (left) and spinning the vinyl with former special friend, DJ Samantha Ronson.

Newmanesque

Newmanesque (pronounced new-min-esk)

The feelings of wonderment, awe, fear and enchantment induced in one when looking to the stars.

1860: From the writings of Cardinal Saint John Henry Newman (1801-1890), the construct being Newman + esque.  The -esque suffix was from the French -esque (-ish, -ic, -esque), from the Italian -esco, from the Latin -iscus, of Germanic origin, from the Lombardic -isc (-ish), from the Proto-West Germanic -isk, from the Proto-Germanic -iskaz (-ish), from the primitive Indo-European -iskos.  It was cognate with the Old High German -isc (from which German gained -isch), the Old English –isċ, the Old Norse –iskr and the Gothic -isks.   It was appended to nouns (particularly proper nouns) to form adjectives in the sense of (1) resembling or tending towards and (2) in the style or manner of.  English picked up the suffix directly as –ish; the -esque suffix technically means a stronger association than -ish or -ite but is often anyway preferred for literary effect.   

Cardinal Saint John Henry Newman (1801-1890).

John Henry Newman was a poet and theologian, first an evangelical Anglican priest (albeit one gradually assuming a higher ecclesiastical tone) who later, despite having once described the Roman church as "…polytheistic, degrading and idolatrous" became a Roman Catholic cardinal.  This appears to have happened because Newman the younger became haunted by the fourth century words of Saint Augustine of Hippo (354–430), Securus judicat orbis terrarum!, usually translated by scholars as “the verdict of the world is conclusive” and by theologians as “wherefore the entire world judges out of security, they are not good who separate themselves from the entire world, in whatever part of the entire world”.

To structuralists, it means “it is good to keep the sinners in our midst if this is the way we may convert them”.  Newman dwelt on this for some time, an indication it’s not good for impressionable souls to read Augustine, Emily Brontë (1818–1848) or Friedrich Nietzsche (1844–1900) at too young an age.  Among the laity, Newman is most remembered for what’s called the newmanesque or the newmanist: the sense of awe wonderment even atheists might feel when gazing at the heavens.  In July 2019, Pope Francis (b 1936; pope since 2013) announced at a Consistory of Cardinals (a formal meeting of the College of Cardinals which a pope can convene at any time and known within the Vatican as “a conspiracy of cardinals”) that Newman would be created a saint and his canonisation was formally announced on 13 October, thus becoming the first English saint since the seventeenth century.  It’s a long process: Newman was proclaimed "Venerable" by the Congregation for the Causes of Saints in 1991 and was beatified in 2010.  Canonisation was the final step.

The Newmanesque; some get it and some don't: Lindsay Lohan (left) and Kim Jong-un (Kim III, b 1982; Supreme Leader of DPRK (North Korea) since 2011) (right).

The Newmanesque: Look back in awe

Hubble Space Telescope Image NGC 6302 (butterfly nebula), 27 July 2009.

Image NGC 6302, commonly called the butterfly nebula, was taken by the Hubble telescope on 27 July 2009.  Something of a celestial Rorschach test card, cosmic reality belies the delicate appearance of this butterfly, those fragile-looking wings actually boiling cauldrons of gas, swirling at some 36,000^o F (20,000^o C) and travelling through space at 600,000 mph (960,000 km/h), fast enough to travel between earth and the moon in little more than twenty minutes.  The butterfly is in our Milky Way galaxy, some 3800 light-years distant in the constellation of Scorpius, the glowing gas the star’s outer layers, expelled over two millennia, the wingspan more than two light-years across.

At the centre lies a dying star once five times the mass of the Sun but, with its envelope of gases ejected, it’s now unleashing the stream of ultraviolet radiation that gives the cast-off material its glow.  The central star can’t be seen because of the surrounding thick belt of dust which constricts its outflow, creating the classic “bipolar” or hourglass shape shared with many planetary nebulae.  The data from Hubble do however allow scientists to construct a picture with the surface temperature estimated to be over 400,000^o F (220,000^o C), making it one of the Milky Way’s hotter stars.  Before losing the extended outer layers, the star had evolved into a red giant, with a diameter a thousand times that of the Sun, some of the cast-off gas creating the doughnut-shaped ring while other gas was ejected perpendicular to the ring at higher speeds, producing the butterfly’s elongated wings.  Later, as the star heated, a faster stellar wind (a stream of charged particles), ploughed through the structure, again modifying the shape.

Viceroy

Viceroy (pronounced vahys-roi)

(1) A person appointed to rule a country or province as the deputy of the sovereign and exercising the powers of the sovereign.

(2) A brightly marked American butterfly (Limenitis archippus), closely mimicking the monarch butterfly in coloration but slightly smaller, hence the analogy with a sovereign and their representative.

1515–1525: From the Middle French, the construct being vice- + roy.  Vice was from the Old French vice (deputy), from the Latin vice (in place of), an ablative form of vicis.  In English (and other languages) the vice prefix was used to indicate an office in a subordinate position including air vice-marshal, vice-admiral, vice-captain, vice-chair, vice-chairman, vice-chancellor, vice-consul, vice-director, vice president, vice-president, vice-regent & vice-principal.  Roy was from the Middle English roy & roye, from the Old French roi (king), from the Latin rēgem, accusative of rēx (king) and related to regere (to keep straight, guide, lead, rule), from the primitive Indo-European root reg- (move in a straight line) with derivatives meaning “to direct in a straight line" thus the notion of "to lead, rule".  It was a doublet of loa, rajah, Rex, rex and rich.  The noun plurals was roys.  The wife of a viceroy was a vicereine, the word also used for female viceroys of whom there have been a few.  The American butterfly was named in 1881.  Viceroy and viceroy are nouns and viceregal is a noun and adjective; the noun plural is viceroys.

The noun viceregent (the official administrative deputy of a regent) attracted the attention of critics because it was so frequently confused with vicegerent (the official administrative deputy of a ruler, head of state, or church official).  Despite the perceived grandiosity of vicegerent, gained from association with offices such as the Pope as Vicar of Christ on Earth or the regent of a sovereign state, it’s merely generally descriptive of one person substituting for another and can be as well-applied to the shop assistant minding the store while the grocer has lunch.  The area of regency can be a linguistic tangle because a regent is a particular kind of viceregent and there was a time when viceregent was used instead of the correct vicegerent and was sometimes used pleonastically for regent.  The grammar Nazis never liked this and attributed the frequency of occurrence to the preference of viceregal rather than vicereoyal as the adjective of viceroy.

Under the Raj, under the pith helmets: King George V, Emperor of India with Lord Hardinge, Viceroy of India, Government House, Calcutta 1911.

In the rather haphazard way British rule in India evolved, the office of Governor-General of India was created by the Charter Act of 1833 and in an early example of the public-private partnership (PPP), the post was essentially administrative and was both appointed by and reported to the directors of the East India Company, functioning also as an informal conduit between the company and government.  The system lasted until 1858 when, in reaction to the Indian Mutiny (1857), the parliament passed the Government of India Act, creating the role of Viceroy (wholly assuming the office of Governor General), the new office having both executive and diplomatic authority and reporting (through the newly-established India Office) to the British Crown.  The viceroy was appointed by the sovereign on the advice of the parliament (ie the prime-minister) and it is this structure which is remembered as the British Raj (from the Hindi rāj (state, nation, empire, realm etc), the rule of the British Crown on the subcontinent although the maps of empire which covered the whole region as pink to indicate control were at least a bit misleading.

Viceroy butterfly.

The best-known viceroys were probably those who headed the executive government of India under the Raj although other less conspicuous appointments were also made including to Ireland when the whole island was a constituent part of United Kingdom of Great Britain and Ireland (1801-1922).  As a general principle (and there were exceptions), in British constitutional law, the Dominions and colonies that were held in the name of the parliament of Great Britain were administered by Governors-General while colonies held in the name of the British Crown were governed by viceroys.  Between 1858-1947, there were twenty viceroys of India including some notable names in British politics such as Lord Lansdowne (1888–1894) who introduced the Indian Councils Act and raised the age of consent for girls from ten to twelve, Lord Curzon (1899–1905) who introduced the Indian Universities Act and presided over the partition of Bengal, Lord Hardinge (1910-1916) who was in office during the Mesopotamian Campaign, Lord Irwin (1926–1931) (better known as Lord Halifax) who summoned the first round table conference and Lord Mountbatten (1947), the last Viceroy of India who, reflecting the change in constitutional status upon independence, was between 1947-1948 briefly the new nation's first Governor-General.  He was also the second-last, the office abolished in 1950 when the Republic of India was proclaimed.

Lindsay Lohan’s NFT for Lullaby with viceroy butterflies.

In 2021, it was announced Lindsay Lohan's non-fungible token (NFT) electronic music single Lullaby had sold for 1,000,001 in Tron (TRX) cryptocurrency (US$85,484.09).   Lullaby featured a vocal track over a beat produced by Manuel Riva and was the first NFT by a woman to be sold on #fansForever, a marketplace created for dealing in celebrity NFTs.  The graphics of the NFT Tron had a viceroy butterfly flapping its wings in unison with Ms Lohan’s eyelids to the beat of Lullaby.  Because of the underlying robustness, the blockchain and the NFT concept has an assured future for many purposes but to date the performance of celebrity items as stores of value has been patchy.

1936 Rolls-Royce Phantom III (7.7 litre (447 cubic inch) V12; chassis 3AZ47, engine Z24B, body 8594 in style 6419) by Hooper, built for the Marquess of Linlithgow (1887-1952) who served as Viceroy of India (1936-1944), seen in its original configuration with a chauffeur (left) and as re-bodied during 1952-1953 (right).  In the centre is a British plumed helmet, circa 1920, this one with a skull in gilt metal, mounted with unusually elaborate gilt ornamentation including helmet-plate (itself mounted with a white metal hobnail star bearing gilt Royal Arms), ornate gilt chins-scales with claw ends and an untypically extravagant white swan's feather plume, notably longer than regulation length.  It was used by the Honourable Corps of Gentlemen-at Arms, a body formed in 1539 and staffed by former army officers as the “nearest guard” to the sovereign. The helmet is based on the “Albert” pattern for Household Cavalry, a style in use for some 150 years.

Viceroys of India were always rather exalted creatures, their status reflecting India’s allure as the glittering prize of the empire and upon recall to London, were usually raised to (or in) the peerage as marquesses while a retiring prime-minister might expect at most an earldom, one notch down.  Their special needs (and some were quite needy) in office also had to be accommodated, an example of which is Lord Linlithgow’s 1937 Rolls-Royce Phantom III, built with a capacity for seven passengers (although no luggage which was always carried separately).  The coachwork by Hooper was most unusual, the engine’s side-panels being 1½ inches taller than standard, a variation required to somewhat balance the very tall passenger compartment, the dimensions of which were dictated by the viceroy’s height of 6’ 7” (2.0 m), the plumed hats of his role elongating things further.  Such high-roof-lines were not uncommon on state limousines and have been seen on Mercedes-Benz built for the Holy See and the Daimlers & Rolls-Royces in the British Royal Mews.  Delivered in dark blue with orange picking out lines and coronets on the rear doors, the interior was trimmed in dark blue leather with two sets of loose beige covers, the woodwork in solid figured walnut rather than veneer.  Signed-off 21 July 1936 and shipped to Bombay (now Mubai) on the SS Bhutan on 24 July, Hooper’s invoice to the India Office listed the price of the chassis at Stg£1405, the coachwork at Stg£725 and a total cost of Stg£2130.

After the Raj, the car passed into private hands and in 1952 was returned to the Hooper works in Westminster for re-modeling, the most obvious aspects of which were the lowering of the roof-line and a re-finishing in grey.  The high cowl (scuttle) and hood (bonnet) line were however retained so the re-configuration actually replaced one discontinuity with another but the changes certainly made it an interesting period piece and its now one of three Phantom IIIs in the collection assembled by Pranlal Bhogilal (1937-2011), displayed in his Auto World Vintage Car Museum in Kathwada, on the outskirts of Ahmedabad.