Bilateral

Bilateral (pronounced bahy-lat-er-uhl)

(1) Pertaining to, involving, or affecting two or both sides, factions, parties, or the like.

(2) Located on opposite sides of an axis; two-sided, especially when of equal size, value etc.

(3) In anatomy and biology, pertaining to the right and left sides of a structure (especially in the region furthest from the median plane).

(4) In contract law, binding the parties to reciprocal obligations.

(5) In anthropology, relating to descent through both maternal and paternal lineage.

(6) In the British education system, a course combining academic and technical components.

(7) In physics, acting or placed at right angles to a line of motion or strain.

(8) In phonetics and phonology, of a consonant (especially the English clear l), pertaining to sounds generated by partially blocking the egress of the airstream with the tip of the tongue touching the alveolar ridge, leaving space on one or both sides of the occlusion for air passage.

1775: The construct is bi + lateral.  Bi-, in the sense of the word-forming element (two, having two, twice, double, doubly, twofold, once every two etc) is from the from Latin bis (twice) or bīnus (double), from the Old Latin which was cognate with the Sanskrit dvi-, the Ancient Greek di- & dis-, the Old English twi- and the German zwei- (twice, double), all from the primitive Indo-European PIE root dwo- (two), ultimate source also of the Modern English duo.  Bilateral is a noun & adjective, bilateralist, bilateralization, bilaterality & bilateralism are nouns and bilaterally is an adverb; the common noun plural is bilaterals.

It may have been in use before but was certainly nativized during the sixteenth century.  The occasionally bin- before vowels was a form which originated in French, not Latin although it’s suggested this may have been influenced by the Latin bini (twofold), the familiar example being “binary”.  In computing, it’s most associated with zero-one distinction in the sense of off-on and in chemistry, it denotes two parts or equivalents of the substance referred to although there are rules and conventions of use to avoid confusion with stuff named using the Greek prefix di- such as carbon dioxide (CO₂).  In general use, words built with bi- prefix can cause confusion.  While biennial (every two years) seems well understood, other constructs probably due to rarity remain, ambiguous: fortnightly is preferable to biweekly and using “every two months” or “twice a month” as required removes all doubt.

Lateral was first adopted as verb in the 1640s from the fourteenth century Old French lateral, directly from Latin laterālis (belonging to the side), a derivation of latus (genitive lateris) (the side, flank of humans or animals, lateral surface) of uncertain origin.  As a noun (and as “bilateral”), the precise definitional meaning "situated on either side of the median vertical longitudinal plane of the body" is from 1722.   Equilateral (all sides equal) was first used in mathematics in the 1560s, a borrowing from the Latin aequilateralis, aequi- being the suffix- meaning “equal”; contra-lateral (occurring on the opposite side) is from 1871; the adjective ipsilateral (on the same side of the body), bolting on the Latin ipse- suffix (self) dates from 1907; the use in US football to describe a lateral pass seems to have appeared in print first in 1934.  Multilateral and trilateral seem to have been seventeenth century inventions from geometry, the more familiar modern applications in international diplomacy not noted until 1802.

Conventions of use

Although one would have to be imaginative, with the Latin, there’s little limit to the compound words one could construct to describe the number of sides of a thing.  The words, being as unique as whole numbers, would also be infinite.  Whether many would be linguistically useful is doubtful; sextilateral may mislead and ūndēquadrāgintālateral (thirty nine sided) seems a complicated solution to a simple problem.

Unilateral             One-sided
Bilateral               Two-sided
Trilateral              Three-sided
Quadrilateral        Four-sided
Quintilateral         Five-sided
Sextilateral          Six-sided
Septilateral          Seven-sided
Octolateral           Eight-sided
Novilateral           Nine-sided
Decilateral           Ten-sided
Centilateral          Hundred-sided
Millelateral           Thousand-sided

The modern convention appears to be to stop at trilateral and thereafter, when describing gatherings of four or more, adopt multilateral or phrases like four-power or six-party.  Trilateral seem still manageable, adopted not only by governmental entities but also by the Trilateral Commission (founded in 1973 with members from Japan, the US, and Europe), a remarkably indiscrete right-wing think-tank.  However, in the organically pragmatic evolution of English, there it tends to stop, quadrilateral now most associated with Euclidean plane geometry (there are seven quadrilateral polygons) and used almost exclusively in that discipline and other strains of mathematics.  Outside of mathematics, it was only in the formal language of diplomacy that quadrilateral was used with any frequency.  The agreement of 15 July 1840, (negotiated between Lord Palmerston (1784-1865; variously UK prime-minister or foreign secretary on several occasions 1830-1865) and Nicholas I (1796–1855; Tsar of Russia 1825-1855) to tidy up things in the Mediterranean) between Great Britain, Russia, Austria, and Prussia was formalised as a quadrilateral treaty but the word fell from favour with quadruple alliance preferred for a later European arrangement.

Bilateral diplomacy: Lindsay Lohan meeting with Recep Tayyip Erdoğan (b 1954; prime-minister or president of the Republic of Türkiye since 2003), Ankara, 27 January 2017.

Although many of the wonks in the foreign policy establishment like to dream of a world in which everything is settled by multi-lateral discussions, in the world of the realists, it's understood the core of conflicts (which are the central dynamic of international relations) are bilateral.  Accordingly, most efforts are devoted to bilateral discussions.  In the business of predictions, it's also the relationships between two states which absorbs most of the thoughts of pundits and the long-term projections of those in the field can make interesting reading, decades later.  In 1988, Richard Nixon (1913-1994; US president 1969-1974) published 1999: Victory Without War, which with no false modesty he suggested was "...a how-to guide in foreign police for whomever was elected president in November 1988".  Given that, it's not surprising one passage has attracted recent comment: "...in the twenty-first century the Sino-US relationship will be one of the most important, and one of the most mutually beneficial, bilateral relationships in the world."  Things do appear to have worked out differently but there is a school of thought that the leadership of Xi Jinping (b 1953; general secretary of the Chinese Communist Party (CCP) and paramount leader of the People's Republic of China (PRC) since 2013) is an aberration and that his replacement is likely to be one who pursues a more cooperative foreign and economic policy because that is more likely to be in China's long-term (ie a century ahead) interest.      

Rare too is the more recent diplomatic creation, the pentalateral (five-power) treaty of which there appear to have been but two.  One was signed on 23 December 1950 between the United States, France, Cambodia, Laos, and Vietnam.  It didn’t end well.  The other pentalateral treaty was sealed in Tehran during October 2007 between Azerbaijan, Iran, Kazakhstan, Russia and Turkmenistan, the littoral countries of the Caspian Sea and was a mechanism to avoid squabbles while carving up resources.  Some assemblies are better described in other ways.  When the five permanent members of the UN Security Council (China, France, Russia, the UK & the US) plus Germany formed a now defunct standing committee to deal with issues raised by Iran’s nuclear programme, although a sextilateral, it was instead dubbed P5+1 although in Brussels, the eurocrats preferred E3+3.

Six men briefing the media about their sextilateral.  The chief negotiators of the six-party talks on North Korea’s nuclear program, Daioyutai State Guesthouse, Beijing, 23 December 2006.

Muse

Muse (pronounced myooz)

(1) To think or meditate in silence, as on some subject; to meditate upon.

(2) To gaze meditatively or in wonder (archaic though used still in poetry).

(3) A state of abstraction (archaic).

(4) Thoughtfully to comment or ruminate upon some topic.

(5) In Classical Mythology, originally the goddesses of song, meditation & memory, but latterly and more commonly as the nine daughters of Zeus and Mnemosyne who presided over various arts.

(6) The goddess or the power regarded as inspiring a poet, artist, thinker, or any goddess presiding over a particular art (sometimes lowercase); just about any source of inspiration.

(7) The genius or powers characteristic of a poet (always lowercase).

(8) As the acronym MUSE (Mainstream US English), the strain of US English considered to be standard or unmarked by dialectal variation in pronunciation, syntactic structures, or vocabulary, used in the mainstream news media and taught in (almost all) schools.

(9) A bar or poet (obsolete).

(10) A gap or hole in a hedge or fence through which a wild animal is accustomed to pass; a muset (rare though the concept is now often part of road or railroad construction as under or overpasses for the use of wildlife).

1300–1350: From the Middle English muse & musen (to mutter, gaze meditatively on, be astonished), from the Middle French muser, from the Old French (which may have been influenced by the Medieval Latin mūsus & mūsum (snout)).  The fourteenth century verb muse (to reflect, ponder, meditate; to be absorbed in thought) has a murky history, one strain of etymological thought being it was based on the idea of “standing with one's nose in the air” or even “to sniff about” (in the manner of a dog which has lost the scent), thus the link to muse (muzzle) from the Old French & Classical Latin mūsa (snout) of unknown origin.  The fourteenth century noun muse (one of the nine Muses of classical mythology) was from the Old French Muse and directly from the Classical Latin mūsa, from Ancient Greek Μοῦσα (Moûsa) (a muse (also music, song)), ultimately from the primitive Indo-European root men- (to think).  The sense of (an inspiring goddess of a particular poet (with a lower-case m-)) dates from the late fourteenth century.  Synonyms of the verb include brood, cogitate, consider, contemplate, deliberate, dream, feel, meditate, moon, percolate, ponder, reflect, revolve, roll, ruminate, speculate, think, weigh, chew over & mull over

The noun musing (act of pondering, meditation, thought) emerged at much the same time as a verbal noun from the verb.  The noun museum was first used in the 1610s to describe the university building in Alexandria and was from the Latin museum (library, study), from the Ancient Greek mouseion (place of study, library or museum, school of art or poetry (originally “a temple or shrine of the Muses”).  The earliest use in reference to English institutions was in the mid-seventeenth century when it was applied to libraries (in the sense of collections of books, documents and other manuscripts) for scholarly study (1640s) while the modern idea of a physical "building or part of a building set aside as a repository and display place for objects relating to art, literature, or science" dates from the 1680s.  Muse is a noun & verb, muser & musing are nouns, musing is a verb museful an adjective and musingly & musefully are adverbs; the noun plural is muses.

Portrait of Emma, Lady Hamilton (circa 1782) by George Romney.  Emma Hamilton (1765-1815) was the mistress of Vice-Admiral Lord Nelson (1758-1805) and muse of the portraitist, George Romney (1734-1802).

The acronym MUSE (Mainstream US English) seems first to have appeared in 1997 and describes what used to be called GA (General American), the unofficial standard accent of the United States.  It’s essentially the accent of much of the Midwest and the West and remains by far the most frequently heard on US broadcast news (regardless of political leanings or affiliation).  It’s thus something of an unofficial standard but does differ from the previous “prestige accent”, the so-called “trans-Atlantic” which was clipped and precise but without the exaggerated form of the UK’s RP (received pronunciation).  The critique of MUSE is that (MUSE) is often treated as morally superior, a view which of course implies negative perceptions of “non-standard languages”, a process of stigmatization which perpetuates dialect discrimination which can result in the disparagement or other mistreatment of users of non-standard varieties.  The acronym MUSE is merely descriptive among academics in the field but is politically divisive in that it’s thought by many as the superior accent in a hierarchy (an idea familiar in the UK) in which the regional forms (such as the Southern Accent) or those influenced by ethnic identity (such as African-American Vernacular English (AAVE)) are thought deviations from what is defined as “correct”.  A similar political movement is now promoting Ebonics (the construct a portmanteau of ebony + phonics which originally referenced the languages spoken by the descendants of slaves in the Caribbean, and North America but which was in the 1970s appropriated by African-American academic psychologist Professor Robert Williams 1930-2020), a defined sociolect of what technically is a sub-set of African-American English as an equally legitimate form of the language.  The dialect certainly differs from standard American English and its adoption as a political marker reflects the strain of multi-stranded separatism which now characterizes the positions taken by activists.  It’ll be interesting to see what happens because Ebonics is an example of how English has in the past evolved and, under the Raj, the British noted the adaptations their colonized peoples made to English and even adopted some of the words or expressions which proved useful.  Identity politics have of course evolved since the Raj and there’s now a view that to plunder something like Ebonics for the odd handy phrase would be an act of cultural appropriation and use must remain exclusive to people of color.

Lindsay Lohan, MUSE Magazine photo-shoot, January 2010.

Amuse (to divert the attention, beguile, delude) was a mid-fifteenth century verb from the Old French amuser (fool, tease, hoax, entrap; make fun of (literally "cause to muse" (in the sense of being distracted from some useful purpose)), the context being a- (from Latin ad- (through; towards), but here thought a causal prefix) + muser (ponder, stare fixedly).  This original sense in English is technically obsolete but echoes of the meaning live on in critiques the more serious-minded sometimes make of the more banal examples of popular culture.  For most of the eighteenth century, the word assumed the usual meaning “to deceive or cheat by first diverting attention”; the modern “bemuse” thus retaining something of the old meaning.  In the Ancient Greek amousos meant "without Muses (and hence "uneducated"), another connection some like to link to popular culture.  The Oxford English Dictionary (OED) noted “amuse” was never used by Shakespeare, indicating it wasn’t in widespread use before the seventeenth century.

In Classical Greek Mythology, the original three goddesses were Aoede (song), Melete (meditation), and Mneme (memory) but later writers fleshed-out the roll-call and scholars consider the standard canon to be the nine daughters of Zeus and Mnemosyne who presided over various arts: Calliope (epic poetry), Clio (history), Erato (lyric poetry), Euterpe (music), Melpomene (tragedy), Polyhymnia (religious music), Terpsichore (dance), Thalia (comedy), and Urania (astronomy).  In Roman mythology the Camenae were goddesses thought originally water deities, inhabiting a sacred grove and spring located outside the Porta Capena (gate in Rome's Servian Wall).  They were believed imbued with magic powers which could cure ailments and prophesy the future so in Roman religious rituals, the Camenae were offered libations of water and milk and it was the poet Quintus Ennius (circa 239–circa 169 BC) who identified them with the Muses; there they’ve remained.

Marilyn Monroe 1962 (left) & Lindsay Lohan 2011 (right).

Marilyn Monroe (1926–1962) has since her death been a visual muse for many in popular culture including Andy Warhol (1928-1987), Cynthia Sherman (b 1954), Richard Avedon (1923–2004), James Rosenquist (1933–2017), Richard Hamilton (1922-2011) & Richard Pettibone (b 1938), all of who followed their pursuit with a seriousness quite unfairly never afforded to her acting while she was alive.  Lindsay Lohan twice made a muse of Marilyn Monroe, in 2008 & 2011 reprising two of her photo sessions.

Reich

Reich (pronounced rahyk or rahykh (German))

(1) With reference to Germany or other Germanic agglomerations, empire; realm; nation.

(2) The German state, especially (as Third Reich) during the Nazi period.

1871: From the German Reich (kingdom, realm, state), from the Middle High German rīche, from the Old High German rīhhi (rich, mighty; realm), from the Proto-West Germanic rīkī, from the Proto-Germanic rīkijaz & rikja (rule), a derivative of rīks (king, ruler), from the Proto-Celtic rīxs and thus related to the Irish rí.  The influences were (1) the primitive Indo-European hereǵ- (to rule), from which is derived also the Latin rēx and (2) the primitive Indo-European root reg (move in a straight line) with derivatives meaning "to direct in a straight line", thus "to lead, rule".  Cognates include the Old Norse riki, the Danish rige & rig, the Dutch rike & rijk, the Old English rice & rich, the Old Frisian rike, the Icelandic ríkur, the Swedish rik, the Gothic reiki, the Don Ringe and the Plautdietsch rikj.

Reich was first used in English circa 1871 to describe the essentially Prussian creation that was the German Empire which was the first unification of the central European Germanic entities.  It was then described simply as “the Reich” with no suggestion of any sense of succession with the Holy Roman Empire.  “Third Reich” was an invention of Nazi propaganda to “invent” the idea of Hitler as the inheritor of the mantle of Charlemagne and Bismarck.  The word soon captured the imagination of the British Foreign Office, German “Reichism” coming to be viewed as much a threat as anything French had ever been.

The term Fourth Reich was popularized by Edwin Hartrich’s (1913-1995) book The Fourth and Richest Reich (MacMillan 1980), a critique both of the modern German state and its influence on the EEC / EC which would become the EU.  The term is still sometimes used by those criticizing the German state, the not so subtle implication being Berlin gradually achieving by other means the domination of Europe which the Third Reich attempted by military conquest.  Fourth Reich is also sometimes used, erroneously to describe the two-dozen day “administration” of Grand Admiral Karl Dönitz (1891–1980; German head of state 30 April-23 May 1945) who in Hitler’s will was appointed Reich President (and therefore head of state); the so-called “Flensburg Government”.  That’s wrong and the only difference of opinion between constitutional theorists is whether it was either the mere coda to the Third Reich or mostly a charade, the German state ceasing to exist by virtue of events on the ground, a situation the finalization of the surrender arrangements on 8 May merely documented.  The latter view, although reflecting reality, has never been widely supported, the formal existence of a German state actually required to ensure the validity of the surrender and other administrative acts.

The word "Reich" does sometimes confuse non-specialists who equate it with the German state, probably because the Third Reich does cast such a long shadow.  Murdoch journalist Samantha Maiden (b 1972) in a piece discussing references made to the Nazis (rarely a good idea except between experts) by a candidate in the 2022 Australian general election wrote:

The history of the nation-state known as the German Reich is commonly divided into three periods: German Empire (1871–1918) Weimar Republic (1918–1933) Nazi Germany (1933–1945).

It's an understandable mistake and the history of the German Reich is commonly divided into three periods but that doesn't include the Weimar Republic.  The point about what the British Foreign Office labelled "Reichism" was exactly what the Weimar Republic (1918-1933), as a "normal" democratic state, was not.  The Reich's three epochs (and there's some retrospectivity in both nomenclature and history) were the Holy Roman Empire (1800-1806), Bismarck's (essentially Prussian) German Empire (1871-1918) & the Nazi Third Reich (1933-1945).  

Sketch of the orgone accumulator.

Wilhelm Reich (1897-1957) was a US-based Austrian psychoanalyst with a difficult past who believed sexual repression was the root cause of many social problems.  Some of his many books were widely read within the profession but there was criticism of his tendency towards monocausality in his analysis, an opinion shared by Sigmund Freud (1856–1939) in his comments about Reich’s 1927 book Die Funktion des Orgasmus (The Function of the Orgasm), a work the author had dedicated to his fellow Austrian.  Freud sent a note of thanks for the personally dedicated copy he’d been sent as a birthday present but, brief and not as effusive in praise Reich as had expected, it was not well-received.  Reich died in prison while serving a sentence imposed for violating an injunction issued to prevent the distribution of a machine he’d invented: the orgone accumulator.

The Space Ritual Alive in Liverpool and London (United Artists UAD 60037/8; referred to usually as Space Ritual) (1973).

The orgone accumulator was an apparently phoney device but one which inspired members of the SF-flavored band Hawkwind to write the song Orgone Accumulator which, unusually, was first released on a live recording, Space Ritual, a 1973 double album containing material from their concerts in 1972.  Something of a niche player in the world of 1970s popular music Hawkwind, perhaps improbably, proved more enduring than many, their combination of styles attracting a cult following which endures to this day.  

The First Reich, the Holy Roman Empire

Holy Roman Empire in the sixteenth century.

The Holy Roman Empire was a multi-ethnic complex of territories in central Europe that developed during the early Middle Ages, the popular identification with Germany because the empire’s largest territory after 962 was the Kingdom of Germany.  On 25 December 800, Pope Leo III (circa 760-816; pope 795-816) crowned Charlemagne (747–814; King of the Franks from 768, King of the Lombards from 774, and Emperor of the Romans (and thus retrospectively Holy Roman Emperor) from 800) as Emperor, reviving the title more than three centuries after the fall of the Western Roman Empire.  Despite the way much history has been written, it wasn’t until the fifteenth century that “Holy Roman Empire” became a commonly used phrase.

Leo III, involved in sometimes violent disputes with Romans who much preferred his predecessor and the Byzantine Empress in Constantinople, had his own reasons for wishing to crown Charlemagne as Emperor although it was a choice which would have consequences for hundreds of years.  According to legend, Leo ambushed Charlemagne at Mass on Christmas day, 800 by placing the crown on his head as he knelt at the altar to pray, declaring him Imperator Romanorum (Emperor of the Romans), in one stroke claiming staking the papal right to choose emperors, guaranteeing his personal protection and rejecting any assertion of imperial authority by anyone in Constantinople.  Charlemagne may or may not have been aware of what was to happen but much scholarship suggests he was well aware he was there for a coronation but that he intended to take the crown in his own hands and place it on his head himself.  The implications of the pope’s “trick” he immediately understood but, what’s done is done and can’t be undone and the lesson passed down the years, Napoleon Bonaparte (1769-1821) not repeating the error at his coronation as French Emperor in 1804.

Some historians prefer to date the empire from 962 when Otto I was crowned because continuous existence there began but, scholars generally concur, it’s possible to trace from Charlemagne an evolution of the institutions and principles constituting the empire, describing a gradual assumption of the imperial title and role.  Not all were, at the time, impressed. Voltaire sardonically recorded one of his memorable bon mots, noting the “…agglomeration which was called and which still calls itself the Holy Roman Empire was in no way holy, nor Roman, nor an empire."  The last Holy Roman Emperor, Francis II (1768–1835; Holy Roman Emperor 1792-1806) dissolved the empire on 6 August 1806, after Napoleon's creation of the Confederation of the Rhine.

The Second Reich, the Prussian Hohenzollern dynasty, 1871-1919.

German Empire, 1914.

The German Empire existed from the unification of Germany in 1871 until the abdication of Wilhelm II (1859–1941; German Kaiser (Emperor) & King of Prussia 1888-1918) in 1918, when Germany became a federal republic, remembered as the Weimar Republic (1919-1933).  The German Empire consisted of 26 constituent territories, most ruled by royal families.  Although Prussia became one of several kingdoms in the new realm, it contained most of its population and territory and certainly the greatest military power and the one which exercised great influence within the state; a joke at the time was that most countries had an army whereas the Prussian Army had a country.

To a great extent, the Second Reich was the creation of Prince Otto von Bismarck (1815–1898; chancellor of the North German Confederation 1867-1871 and of the German Empire 1871-1890), the politician who dominated European politics in the late nineteenth although his time in office does need to be viewed through sources other than his own memoirs.  When Wilhelm II dismissed Bismarck, the Empire embarked on a bellicose new course that ultimately led to World War I and Germany’s defeat.  Following the Kaiser’s abdication, the Empire collapsed in the November 1918 revolution and the Weimar Republic which followed, though not the axiomatically doomed thing many seem now to assume, was for much of its existence beset by political and economic turmoil.  

The Third Reich, the Nazi dictatorship 1933-1945

Nazi occupied Europe, 1942.

“Nazi Germany” is in English the common name for the period of Nazi rule, 1933-1945.  The first known use of the term “Third Reich” was by German cultural historian Moeller van den Bruck (1876-1925) in his 1923 book Das Dritte Reich (The Third Reich).  Van den Bruck, a devotee of Nietzsche and a pan-German nationalist, wrote not of a defined geographical entity or precise constitutional arrangement, his work instead exploring a conceptualized (if imprecisely described) and idealized state of existence for Germans everywhere, one that would (eventually) fully realize what the First Reich might have evolved into had not mistakes been made, the Second Reich a cul-de-sac rendered impure by the same democratic and liberal ideologies which had doomed the Weimar Republic.  Both these, van den Bruck dismissed as stepping stones.

In the difficult conditions which prevailed in Germany at the time of the book’s publication, it didn’t reach a wide audience, the inaccessibility of his text not suitable for a general readership but, calling for a synthesis of the particularly Prussian traditions of socialism and nationalism and the leadership of a Übermensch (a idea from Nietzsche’s Thus Spoke Zarathustra (1883) which describes a kind of idealized man who probably can come into existence only of society is worthy of him), his work had obvious appeal to the Nazis.  It was said to have been influential in the embryonic Nazi Party but there’s little to suggest it contributed much beyond an appeal to the purity of race and the idea of “leader” principle, notions already well established in German nationalist traditions.  The style alone might have accounted for this, Das Dritte Reich not an easy read, a trait shared by the dreary and repetitive stuff written by the party “philosopher” Alfred Rosenberg (1893-1946).

A book channeling Nietzsche wasn’t much help for practical politicians needing manifestos, pamphlets and appealing slogans and the only living politician who attracted some approbation from van den Bruck was Benito Mussolini (1883-1945; Duce & prime minister of Italy 1922-1943).  The admiration certainly didn’t extend to Adolf Hitler (1889-1945); unimpressed by his staging of the Munich Beer Hall Putsch (8–9 November 1923), van den Bruck dismissed the future Führer with a unusually brief deconstruction, the sentiment of which was later better expressed by another disillusioned follower: “that ridiculous corporal”.

The name “Third Reich did however briefly enter the Nazi’s propaganda lexicon.  The official name of the state was Deutsches Reich (German Empire) between 1933-1943 and Großdeutsches Reich (Greater German Empire) between 1943 to 1945 but so much of what was fascism was fake and the Nazis were attracted to the notion of claiming to be the successor of a German Empire with a thousand year history, their own vision of the Nazi state being millennialist .  After they seized power, the term “Third Reich” would occasionally be invoked and, more curiously, the Nazis for a while even referred to the Weimar Republic as the Zwischenreich (Interim Reich) but as the 1930s unfolded as an almost unbroken series of triumphs for Hitler, emphasis soon switched to the present and the future, the pre Beer-Hall Putsch history no longer needed.  It was only after 1945 that the use of “Third Reich” became almost universal although the earlier empires still are almost never spoken of in that way.

Van den Bruck had anyway been not optimistic and his gloominess proved prescient although his people did chose to walk the path he thought they may fear to tread.  In the introduction to Das Dritte Reich he wrote: “The thought of a Third Empire might well be the most fatal of all the illusions to which they have ever yielded; it would be thoroughly German if they contented themselves with day-dreaming about it. Germany might perish of her Third Empire dream.”  He didn’t live to see the rise and fall of the Third Reich, taking his own life in 1925, a fate not unknown among those who read Nietzsche at too impressionable an age and never quite recover.

Plot

Plot (pronounced plot)

A secret plan or scheme to accomplish some purpose, describes especially as such if for some hostile, unlawful, or evil purpose.

(2) In fiction, the plan, scheme, or main story of a literary or dramatic work (play, novel short story etc) (also called storyline or plotline and a plat may include a number of subplots).

(3) A small piece or area of ground (often with a modifier: garden plot; burial plot et al); a measured piece or parcel of land.

(4) A plan, map, diagram or other graphic representation, as of land, a building etc (in US use synonymous with a surveyor's map.

(5) A list, timetable, or scheme dealing with any of the various arrangements for the production of a play, motion picture etc.

(6) A chart showing the course of a craft (ship or airplane).

(7) In military use, a graphic representation of an individual or tactical setting that pinpoints an artillery target (as a point or points located on a map or chart (often as target plot)).

(8) To plan secretly, especially something hostile or evil.

(9) To mark on a plan, map, or chart, as the course of a ship or aircraft.

(10) To draw a plan or map of, as a tract of land or a building.

(11) To divide land into plots.

(12) To determine and mark (points), as on plotting paper, by means of measurements or coordinates; to describe curve by means of points so marked; to represent by means of such a curve; to make a calculation by means of a graph.

(13) To devise or construct the plot of a play, novel etc.

(14) To prepare a list, timetable, or scheme of production arrangements for a play, motion picture etc.

Pre 1100: From the Middle English plot & plotte, (piece of ground) in the sense of “small area, patch, stain, piece of ground” and was often associated with actual legal title to the defined area.  This was an inheritance from the Old English plot (piece of ground) which may (it’s contested among etymologists) be from the Proto-Germanic plataz & platjaz (a patch), the origin of which is unknown.  It was cognate with the Middle Low German plet (patch, strip of cloth, rags), the German Bletz (rags, bits, strip of land) and the Gothic plats (a patch, rags).

In the 1550s it gained the sense of “ground plan, outline, map, scheme”, a variant of the Middle English plat & platte (flat part of a sword; flat piece of ground, plot of ground), itself partly a variant of the Middle English & Old English plot.  The sense of a “secret plan” emerged in the 1580s by association with the Middle French complot (crowd-, plot (ie a combined plan)) of an unknown origin but the Oxford English Dictionary notes the speculation it may have been a back-formation from compeloter (to roll into a ball) from pelote (ball).  The verb was a derivative of the noun.  Plot in the sense “a storyline or main story of a fictional work” dates from the 1640s while the now familiar phrase “plot-line” (main features of a story) seems not to have appeared in print prior to the 1940s although it may earlier have been in oral use as theatre slang in the sense of “a sentence containing matter essential to the comprehension of the play's story” since early in the century.  The noun marplot (one who by officious interference defeats a design) was from 1708 and was the name of a character in Susanna Centlivre's (circa 1669-1723) comedy The busie body.  The phrase sub-plot dates from 1812.  The specific idea of a small piece of land in a cemetery (described variously as “burial plot” or “funeral plot”) was an invention of mid-nineteenth century US English.

HP DesignJet (24 inch (610 mm)) A1 Studio Plotter Printer (steel finish; HP part-number HPDJST24ST).

In the context of (an often secret and for some unscrupulous purpose) plan or scheme, plot can be synonymous with conspiracy but while a plot can be devised by a single individual, a conspiracy by definition involves at least two.  To scheme is to plan (usually with an implication of subtlety) often craftily and typically for one's own advantage.  Words related to plot in this sense includes intrigue, cabal, conspiracy, brew, hatch, frame, design, maneuver, scam & trick.  In the sense of land it can be section, division, parcel, piece etc.  The meaning "to make a map or diagram of, lay down on paper according to scale" was a borrowing from the nefarious sense of scheming and dates from the 1580s while the intransitive sense of "to form a plan or device" is from circa 1600.  In the sense of the lines on a chart or map, there’s no exact synonym (although various shapes (lines, curves, arcs etc) may be describes as a part of a whole plot and the word was (as plotter) adopted as the name of the device (a plotter was previously an individual employed manually to draw) used to draw the lines and mark the points of plans, schematics, blueprints etc.  In idiomatic use, to “lose the plot” is to become confused or disorientated or (more commonly) to lose one's ability or judgment in a (usually stressful) situation.  Plot is really unique to English and other languages picked it up unaltered including French, Dutch, Albanian & Spanish while Czech gained it from the Old Czech which (like Serbo-Croatian), gained it from the Proto-Slavic plotъ; Indonesian picked it up from the Dutch.  Plot is a noun & verb, plotted is a verb, plotting is a noun & verb, plotful & plotless are adjectives and plotter is a noun; the noun plural is plots (the form often also used as a verb).  The verb outplot (to surpass in plotting or scheming) is rare, the derived forms being outplotted & outplotting.

A plot in progress: The Gunpowder Plotters (circa 1610), copperplate engraving conspiring by Crispijn van de Passe the Elder (circa 1564-1637)

Use of the word “plot” spiked suddenly once the “Gunpowder Plot” of 5 November 1605 became well-known.  The Gunpowder Plot was a conspiracy among English Roman Catholics to blow up the houses of parliament, killing, inter alia, King James (James Charles Stuart, 1566–1625; King of Scotland as James VI from 1567 and King of England and Ireland as James I after the union of the Scottish and English in 1603 until 1625), his queen and eldest son.  Henry VIII’s (1491-1547; King of England 1509-1547) creation of the Church of England after breaking with Rome in 1534 meant the Roman Catholic Church vanished only in an institutional sense while many adherents to the denomination remained and in the years after Henry’s fiat, there had been many plots which aimed to restore Romish ways to the Isle.  The gunpowder plot was probably the most dramatic (and certainly the most explosive) and was induced by the anger of some zealous Roman Catholics (the most remembered of whom was Guy Fawkes (1570-1606) at the king’s refusal to extend more rights to Catholics.  Their probably not unreasonable assumption was that with the death of the senior royals and most of the members of the House of Commons and House of Lords, there would be such confusion the English Catholics would have their best chance to take back the government of the country and re-establish their Church.

The idea of killing the king was not new (England, like many of the nations of Europe enjoying something of a tradition of regicide) and prior to the Gunpowder Plot being put in train, there had been attempts to gain political and economic rights by negotiation but the authorities (thin-end-of-the-wedge theorists) remained intransigent and the Penal Laws (a body of laws with the practical effect of outlawing Roman Catholicism) remained in force.  Accordingly, the plotters assembled some dozens of barrels of gunpowder (an even now impressive 1½ tons (1400 kg)) and secured a lease on a vault which sat directly beneath the House of Lords, hiding the explosives beneath piles of sacks, coal and firewood.  The preparations in place, discussions were undertaken among the Catholic elite to allocate the positions in the government which would be formed once James’s daughter, the nine-year old Princess Elizabeth Stuart (1596–1662) was installed as queen.  If that seems now a strange choice (and the plot included having her brought-up as a Roman Catholic and at some tender age married off to a suitably Romish groom) it doubtlessly reflected the view the (exclusively male) plotters held of women.  Confident of their success, emissaries were dispatched to foreign courts likely to be sympathetic which included the Holy See in Rome.

Up to this point, the gunpowder plot flawlessly had evolved because the most vital part (secrecy between the conspirators) had been maintained.  However, shortly before the fuse was to be lit, one of the plotters suffered pangs of conscience at the idea of mass murder (which would include not a few Roman Catholics) and sent an anonymous letter to one member of the Lords with whom he was acquainted:

My lord, out of the love I bear to some of your friends, I have a care of your preservation, therefore I would advise you as you tender your life to devise some excuse to shift your attendance at this parliament, for God and man have concurred to punish the wickedness of this time, and think not slightly of this advertisement, but retire yourself into your country, where you may expect the event in safety, for though there be no appearance of any stir, yet I say they shall receive a terrible blow this parliament and yet they shall not see who hurts them, this counsel is not to be condemned because it may do you good and can do you no harm, for the danger is past as soon as you have burnt the letter and I hope God will give you the grace to make good use of it, to whose holy protection I commend you.

Alarmed, his lordship alerted the authorities and the decision was taken to search the premises but to wait until closer to the day when the members were due to convene so the plotters might reveal themselves.  At this point the plot was unraveling because the nature of the warning letter became known to the plotters but, upon discovering their gunpowder undisturbed, they assumed it had been dismissed as fake news and resolved to continue, placing a lookout to watch over the vault.  It was to no avail because on 4 November, a search was undertaken and the stash uncovered.  Guy Fawkes, linked to the lease taken on the vault was arrested and, under the torture for which the Stuarts were justly famous, named his fellow plotters and the extent of their participation.  The planned insurrection quickly collapsed and while a few of the plotters made good their escape to the continent, most were either killed while fleeing or captured and executed.

Guy Fawkes in effigy burning on a 5 November bonfire.

Their planed act of terrorism caused such revulsion in England that the cause of Catholic emancipation was set back centuries and laws against them were strengthened and to add insult to injury, in January 1606 the parliament established November 5 as a day of public thanksgiving.  Known as Guy Fawkes Day, it was a popular public festival celebrated throughout the land, the highlight of which was the creation of huge bonfires upon which sat an effigy called "a guy" which had been paraded through the streets.  It's from this use that the word "guy" evolved into the present form, losing gradually the negative connotations (especially in the US) and late in the twentieth century also the exclusively male identity (the male proper name originally the French and related to the Italian Guido.).  Guy Fawkes day is still celebrated in England with bonfires and fireworks but in most of the Commonwealth, where “cracker night” had also been a fond tradition, it has suffered the fate of much in the nanny state, the humorous bureaucrats thinking fun must be had without the annual toll of eyes and fingers for which Guy Fawkes nights had become noted, the injuries increasing as fireworks became more powerful.  Australians and others might be surprised if wandering Amsterdam’s streets on new year’s eve, children happily launching some quite impressive ordnance across the canals without apparent ill-effect.

Lindsay Lohan (with body double) on location in Westport, County Mayo, Ireland, for the shooting of Irish Wish.  Lindsay Lohan has (an admittedly remote) connection with the Irish, the surname Lohan an anglicization of the Irish Ó Leocháin, from Middle Irish uí Leochain, from the Old Irish úa Lothcháin (the modern alternative forms being O'Lohan, Loughan, Loghan & Logan).  Car is a Triumph TR4A (1965-1967).  Netflix have released the plotline of the upcoming Irish Wish (release slated for 2024):

When the love of her life gets engaged to her best friend, Maddie puts her feelings aside to be a bridesmaid at their wedding in Ireland. Days before the pair are set to marry, Maddie makes a spontaneous wish for true love, only to wake up as the bride-to-be. With her dream seeming to come true, Maddie soon realizes that her real soulmate is someone else entirely.

Surreal

Surreal (pronounced suh-ree-uhl (U) or sur-reel (non-U))

(1) Of, relating to, or characteristic of surrealism, an artistic and literary style; surrealistic.

(2) Having the disorienting, hallucinatory quality of a dream; unreal; fantastic & and incongruous.

(3) As surrealism, an artistic movement and an aesthetic philosophy that, inter alia, explored the “liberation of the mind” by emphasizing the critical and imaginative powers of the subconscious.

(4) In mathematics as surreal numbers, a collection of numbers which includes both the real numbers and the infinite ordinal numbers, each real number surrounded by surreals, which are closer to it than any real number.

1936: A back formation from surrealism, the construct being ; sur- +‎ realism, from the French surréalisme, the construct being sur- (beyond) +‎ réalisme (realism).  Sur- ((over in the sense of “on top of” & over- in the sense of “excessive; excessively; too much”)) was from the Old French sur-, sour-, sor- & soure-, from a syncopation of the Latin super- (above, on top, over; upwards; moreover, in addition, besides) from the Proto-Italic super, from the primitive Indo-European upér (over, above (and cognate with the Ancient Greek ὑπέρ (hupér) (above) and the Proto-Germanic uber (which in English became “over”)).  The English sur- was from the Middle English sur-, from the Old French sur-, sour-, sor- & soure-, a syncopic form of the Latin super.  Sur is a doublet of super-, over- and hyper-.  Real was from the Middle English real, from the Old French reel, from the Late Latin reālis (actual), from the Latin rēs (matter, thing), from the primitive Indo-European rehís (wealth, goods).  Surreal is a noun & adjective, surreally is an adverb, surrealism & surreality are nouns and surrealistic is an adjective; the noun plural is surreals.

Lobster Telephone (1936) by Salvador Dali, one of a dozen-odd originals (in colors and shades of cream created by the artist).

In French, the noun surréalisme appeared first in the preface to Guillaume Apollinaire's (1880-1918) play Les Mamelles de Tirésias (1916-1917 and first performed in 1917).  The word was taken up in the 1920s by French intellectuals who created a number of (competing) Manifeste de Surréalisme (Surrealist manifesto) which were documents exploring the nature of human psychology and the way the radical imagination could produce transformative art.  Such was the nature of their texts, inspiration was offered to groups as diverse as landscape painters and anarchists and anyone else attracted to the idea (if not the business) of revolution.  The English form of the word appeared first in 1931, the French spelling having been in use since 1927.  Surrealist as an adjective and noun (from the 1917 French surréaliste) has been in use since 1925 while the adjective surrealistic dates from 1930.

La Trahison des Images (The Treachery of Images) (1929), oil on canvas, by Rene Magritte (1898-1967), Los Angeles County Museum of Art.

The French text Ceci n’est pas une pipe (This is not a pipe) is an act of deconstruction, a statement that a painting is a representation of something, not the object itself.  It’s a statement of the obvious but is both in the artistic tradition of opposition to oppressive rationalism and an influential strand in the history of Surrealism and Pop Art.

Mama, papa is wounded! (1927) by Yves Tanguy (1900-1955), oil on canvas, Museum of Modern Art, New York.

One of the motifs of surrealist painters was a deliberate disconnection between the title of a work and any immediately obvious meaning. Tanguy’s Mama, papa is wounded! was a painting in one of the recognized surrealist styles: a landscape of wide vista littered with abstract shapes, the title taken from a case-study in a psychiatry textbook.  Beyond mentioning he’d imagined the whole canvas before lifting a brush, Tangay gave no clue about the meaning, but coming so soon after Great War, many focused on a link with the many French causalities of the conflict, the depiction of their horrific injuries also part of an artistic movement in the post-war years.

Swans Reflecting Elephants (1937), oil on canvas by Salvador Dali (1904-1989)

Salvador Dali remains the best-known surrealist painter and Swans Reflecting Elephants is an example of his paranoiac-critical method, which attempted to use art to represent how subconscious thought might summon the irrational imagery when in a state of psychosis or paranoia.  The work is interesting too in that it’s the most perfect example of a double image, the trees and swans reflected in the mirror-like surface of the water as lake as elephants.  Dali himself would sometimes discuss the usefulness of the mirror as a device to explore the divergence between conscious reality and the world of the subconscious.

Jean-Martin Charcot, documentary photographs of hysteria patients at La Salpêtrière Asylum 1878, printed in Le Cinquantenaire de L’hystérie (La Révolution Surréaliste (1928)) by André Breton (1896–1966) & Louis Aragon (1897–1982).  Breton & Aragon lamented that hysteria (which they called "the greatest poetic discovery of the late nineteenth century") was being redefined by the new discipline of psychiatry as merely a symptom of mental illness which could be eliminated by suggestion alone.

The link between surrealist art and madness long intrigued the medical community and the interest later extended to the relationship with modernism in general.  Remarkably, it wasn’t until 1980 with the publication of the third edition (DSM-III) that the diagnosis “hysteria” was removed from the Diagnostic and Statistical Manual of Mental Disorders.  Hysteria had for centuries been a kind of omnibus diagnosis, applied to those (almost always women) displaying an extraordinary array of mental and physical symptoms, the gendered hysteria derived from the Ancient Greek word for uterus.  To many Surrealists, hysteria was the state in which a poetic expression of the mind’s wilder impulses could be unleashed, meaning that instead of being silenced, this fundamental condition of being female could usefully be objectified.  History and art met in the decade of the surrealists because the 1930s was a time to be hysterical, less about what was happening than the fear of what was to come but the reaction to the Exposition Internationale du Surréalisme, an exhibition by surrealist artists held in Paris in January-February 1938 was not despair or shock but indifference, the novelty of the form having passed, the claim the exhibition needed to be understood as a single installation convincing few.  In the history of the movement, the peak had actually passed and although surrealist works would continue to be produced (and actually mass-produced as wildly popular prints) in the post-war world, the output was repetitive.  The avant-garde having plundered from surrealism what could be carried off, explored other directions.

Woman’s Dinner Dress (February 1937) by Elsa Schiaparelli (1890-1973), printed silk organza and synthetic horsehair, Philadelphia Museum of Art.

The fragments however endure.  Elsa Schiaparelli was an Italian fashion designer who took the objects made famous by the Futurists, Dadaists, & Surrealists and integrated them into clothing, her most memorable piece a white evening gown adorned with a large Daliesque lobster.  A design which would now attract little attention, at the time it was a sensation, its audacity a contrast with the solid pastels and other subdued hues with which Coco Chanel (1883-1971) had defined Parisian sophistication.  The playful designs she adopted (a telephone-shaped handbag, buttons in the shape of lollipops, fingernail gloves and hats in shapes borrowed from industry and agriculture) were not always original but she lent them a respectability in the world of high-fashion. 

In the surreal style: Salvador Dali (2021) by Javier Peña and Lindsay Lohan by Mohamad Helmi on Displate.