Gray

Gray (pronounced grey)

(1) Of a spread of colors between white and black; having a neutral hue; any achromatic color; any color with zero chroma, intermediate between white and black.

(2) Something in or of this color, applied particularly to horses (and sometimes of a horse that appears white but is not an albino).

(3) Conveying a sense of the dark, dismal, or gloomy.

(4) Conveying a sense of the dull, dreary, or monotonous.

(5) In informal use, of older people; pertaining to old age (related to having gray hair; being gray-headed), sometimes expressed as graybeard.

(6) In demography (originally slang but now often used formally), of the aging of a whole population or those in a certain sector or geographic region (such as “the graying of the Freemasons”).

(7) In economics, as “gray dollar” (the purchasing power of older consumers), “gray collar” (the workforce participation of older workers) & “gray market” (a (usually) lawful but unofficial state where goods are produced or imported outside of the usual channels (ie between the (white) market and the “black market”).

(8) As “gray matter” an informal reference to (1) the physical brain, (2) levels of intelligence or (3) thought processes.

(9) Something indeterminate and intermediate in character, often as “gray area” (ie neither black or white; neither one thing or another; a state of uncertainty).

(10) In certain industrial production, an unbleached and un-dyed condition.

(11) In metallurgy and industrial production, the color of freshly broken cast iron.

(12) Documented since 1863 (the oral use presumably earlier), a member of the Confederate (southern) army in the American Civil War or the army itself (based on the standard uniform color, compared with the Union (northern) forces which wore blue, the idea used also in the description of the World War II (1939-1945) German army (Heer) as the Feldgrau (field gray), a later variation in the GDR (the German Democratic Republic, the Old East Germany) being Steingrau (stone-grey) for the National People's Army,

(13) In physics, the standard unit of absorbed dose of radiation (such as x-rays) in the International System of Units (SI), equal to the amount of ionizing radiation absorbed when the energy imparted to matter is 1 J/kg (one joule per kilogram) and a gray is equivalent to 100 rads.  The unit was first used in 1975 and was created in honor of English radiobiologist Louis Harold Gray (1905–1965).  The standard abbreviation is Gy.

(14) In film-stock photography, to give a soft effect to (a photograph) by covering the negative while printing with a ground-glass plate (now emulated in software in digital photography).

(15) In the (mostly US) discipline of ufology (an umbrella term which encompasses all which evolved from the flying saucer sightings of the 1950s), an extraterrestrial humanoid with grayish skin, bulbous black eyes and an enlarged head with an unchanging, serious expression (who sometimes carries an anal probe).

(16) In gambling, a penny with a tail on both sides, used for cheating in the game of two-up (US).

(17) In wastewater management, as “gray water”, household waste water not suitable for human consumption but able to be re-used for some purposes without purification (such as garden irrigation), and thus contrasted with black water (wastewater from toilets, garbage disposal, and industrial processes which demands treatment prior to reintroduction to the environment).

(18) In computing, as "grayed-out", the practice in graphical user interfaces (GUI) to display a non-available menu option in a shade of gray, the choice reverting to a different color when available for selection. 

(19) To make or become gray.

Pre 900: From the Middle English gray, grei & grai (of a color between white and black; having little or no color or luminosity), from the Old English grǣg & grēg, and the Mercian grei, from the Proto-West Germanic grāu, from the Proto-Germanic grewa & grēwaz, from the primitive Indo-European ǵreh- (to green, to grow) and cognate with the German grau, the Old Norse grār & grár, the Dutch grauw, the Latin rāvus (grey), the Old Church Slavonic зьрѭ (zĭrjǫ) (to see, to glance), the (archaic) Russian зреть (zret) (to watch, to look at) and the Lithuanian žeriù (to shine).  There appear to be no certain connections outside Germanic and the French gris, the Spanish gris, the Italian grigio and the Medieval Latin griseus are all loan-words from Germanic. The adjective form was the first, the noun emerging as a derivative circa 1200 while the verb with the sense of “become gray, wither away” came into use in the 1610s although etymologists note there is a single instance of gray as a verb in a late fourteenth century text, an example of the way in which innovations in English don’t always immediately flourish.  As a color, there’s no direct synonym (although silvery, silver & ash inhabit a kind of gray area) but related words in the figurative sense include drab, dusty, clouded, dappled, heather, iron, lead, neutral, oyster, pearly, powder, shaded, silvered, slate, stone, ashen & dingy.  Gray is a noun, verb & adjective, greyness is a noun, greyed is a verb, grayer, grayish & grayest are adjectives, grayly is an adverb; the noun plural is grays.

Lindsey Lohan in Lavish Alice gray suit.

Gray and grey are different spellings of the same word and the meanings are the same for both (except where based on a proper noun such as a surname so a product like Earl Grey Tea is always spelled thus) although there are conventions of use and historic practices should usually be followed.  Except with brand-names or in the SI unit measuring radiation, the spellings can interchangeably be used without causing confusion although use should always be consistent.  In commercial use, there was in the early twentieth century an attempt to create a functional distinction between gray and grey, the former a mixture of “blue & white”, the latter of “black & white” and there are manufacturers who still use the convention but it hasn’t been widely adopted.  The spelling gray is more common in American English, while grey is sometimes preferred in British English despite Samuel Johnson (1709-1784) and just about every English lexicographer since insisting it should for all purposes be gray.

Lindsay Lohan color image rendered in 8-bit gray scale.

Gray (and grey for those who prefer the spelling) is often used figuratively, either as an allusion to the color or to illustrate some degree of uncertainty (ie that zone between the absolutes of black & white).  In economics, the “gray dollar” expresses the purchasing power of older consumers, the “gray collar” the workforce participation of older workers & “gray market” the (usually) lawful but unofficial state where goods are produced or imported outside of the usual channels (ie between the (white) market and the “black market”).  Then classic gray market is that for cars not officially available in a certain market but imported by third-parties (sometimes with the need to modify them to meet local regulations) and re-sold.  The practice was especially prevalent in the US during its more restrictive times in the 1980s and the gray market for desirable (ie usually more powerful) models from Ferrari, Mercedes-Benz and others sold elsewhere in the world saw an industry emerge to meet the need, the processes involved in making gray market vehicles compliant with US regulation known as “federalization”.

Fifty Shades of Grey (2011) was the first erotic novel in a trilogy by EL James (b 1963).  Being English, she spelled the word grey and either for publication in the US or the film adaptation it wasn't changed to gray, the assumption presumably that all would cope.

As an adjective it’s widely used.  In wastewater management, “gray water” is household waste water not suitable for human consumption but able to be re-used for some purposes without purification (such as garden irrigation), and thus contrasted with black water (wastewater from toilets, garbage disposal, and industrial processes which demands treatment prior to reintroduction to the environment).  “White water” is not used in this context because of specific meanings elsewhere, either as “frothy water as in river rapids” or “white water” (and “whitewater”) navy, part of an admiralty hierarchy describing the capabilities of naval forces: (1) a brown water force restricted to rivers and estuaries, (2) a white water force able to operate close to coastlines and (2) a blue water force which can ply the open seas.  In wastewater management, instead of white water, the preferred term is “potable”.

Grayness at the margins: In fashion the distinction between gray, silver & ash varies between manufacturers.

The use with animals is usually literal (gray fox, gray elephant, gray squirrel, gray hare, gray wolf, gray whale etc) but a special use derived from zoology is the “gray mare”, an expression adapted in the 1540s (from “the gray mare is the better horse”) to refer to households in which the husband was dominated by the wife.  The use in this context has long been extinct and was unrelated to the nineteenth century US folk song “The Old Gray Mare”.  In equine classification, a gray horse is a horse with a coat color which appears gray, but is actually a combination of white hairs mixed with hairs of other colors.  Gray horses can be born with a dark coat color that gradually lightens as they age or they can be born with a light-colored coat that darkens over time.  The range of “gray” colorations is not uncommon in horses and such is the variations some are sometimes described as “blue”.

Iowa-class battleship USS Missouri (BB-63, 1944-1992) in battleship gray.

In demography, the use of “gray” as an synecdoche of “aging” (an allusion to gray hair) began as slang but has become so accepted by economists and others it probably should now be thought formal.  It can be used to describe aging of a whole population (the “graying of China”) or those in a certain sector or geographic region (“the graying of the priesthood”).  Still a slang form is “graybeard”, a reference to an older man, one who presumably needs to be bearded if an individual but when applied collectively (“the graybeards”) it’s based on the age of the group rather than any particular hirsuteness.  The phrase “giving me gray hair” is used as a complaint that someone is so troublesome the stress they induce is causing one prematurely to age.  In some cases, stress can literally cause premature aging.  Battleship gray is a (narrow) range of dull, matt shades of gray often used for warships, it being the compromise which worked best as a form of camouflage against the variations in sea color.  Modern paints used of warships still use battleship gray but with special (stealth) treatments to reduce susceptibility to detection by radar or other electronic systems.

Gray hair as a thing: Some now dye their hair gray but as a look it succeeds only in the young and is one of those rare things which succeeds when it's obvious it's fake so the correct term should be "faux gray". In older women, for whom grayness is a thing of the passing of time, the choice is to conceal or celebrate, the latter group growing but still a feminist, anti-ageist niche.  "Blue rinses" seem a thing of the past (there was once the term "blue rinse set" which carried a number of connotations, none positive) but, among the young, blue hair is now not uncommon, usually in variegated form.

In politics an éminence grise (gray eminence) is an influential “backroom operator” who functions as a “power behind the throne”.  The classic éminence grise is someone known to few who influences (in some cases rumored to dictate) the decisions made by someone in a powerful position.  An éminence grise differs from a “king maker” in that the latter is usually much better known and tends to ensure who is appointed to positions of authority rather than being involved in the discharge of their duties.  The first so described as an eminence grise was François Leclerc du Tremblay (1577–1638), an aide to Cardinal Richelieu (1585-1642; chief minister (chancellor or prime-minister) to the King of France 1624-1642).  The cardinal wore the customary and conspicuous scarlet while the monk Leclerc was attired in a habit described at the time as gray although evidence suggests it would now be thought beige.  His influence on matters of church & state was understood to be great though he was hardly ever seen.  In Nazi Germany, the idea of the eminence grise was picked up in the 1940s by party members who resentfully noted the undue influence of Martin Bormann (1900–1945) on Adolf Hitler (1889-1945; German head of government 1933-1945 & head of state 1934-1945), despite him being nominally only the Führer’s secretary.  He was known as the der braune Schatten (literally “the brown Shadow” but translated in English as “brown eminence”), an allusion to the golden-brown party uniform habitually he wore.  The party uniform also provided cynical citizens with the basis of their description of high-ranking party functionaries as Goldfasan (golden pheasants), a sly reference to them always looking well-fed, regardless of the state of rationing imposed during times of food shortages.

Glaucus

Glaucus (pronounce gloh-kus)

(1) Bluish-green, grayish-blue, sea-colored (ie of certain seas) or a gleaming pale blue.

(2) Any member of the genus Glaucus of nudibranchiate mollusks, found in the warmer latitudes, swimming in the open sea, strikingly colored with blue and silvery white.  They’re known also as sea swallow, blue angel, blue glaucus, blue dragon, blue sea slug, blue ocean slug).  If offered the choice, the organisms presumably would prefer to be called swallows, angels or dragons rather than slugs.

(3) A desert lime (Citrus glauca), a thorny shrub species endemic to semi-arid regions of Australia.

From the Ancient Greek γλαυκός (glaukós) (the γλαῦκος (glaûkos) was an edible grey fish although the species is uncertain (perhaps the derbio)) and was taken up by the Medieval Latin as glaucus (bright, sparkling, gleaming” and “bluish-green).  There may be an Indo-European root but no link has ever been found and despite the similarity, other words used to denote gleaming or shimmering light and colors (glow, gleam etc), there’s no known etymological link and it may have been a substratum word from Pre-Greek.  The eighth century BC poet Homer used the Greek glaukos to describe the sea as “gleaming, silvery”, apparently without any suggestion of a specific color but later writers adopted it with a sense of “greenish” (of olive leaves) and “blue; gray” (of eyes).  In English, the adjective glaucous dates from the 1670s and was used to refer to shades of bluish-green or gray; it’s a popular form in botany and ornithology, describing surfaces with a powdery or waxy coating that gives a pale blue-gray appearance.  In fashion, the vagueness of glaucus (especially the adjective glaucous) makes it handy because it can be used to describe eyes or fabrics neither quite blue nor green yet really not suited to being called turquoise, teal, aqua etc.  Glaucus is a noun & adjective; the noun plural is glaucuses.

Translators seem to believe Homer's glauk-opis Athene (Athena Glaukopis) meant “bright-eyed” rather than “gray-eyed” goddess; it was an epithet emphasizing her intelligence and wisdom, the construct being glau(kos) (gleaming, silvery; bluish-green; grey) + opsis (eye; face).  The word γλαύξ (glaux) (little owl) may have been related and linked to the bird’s distinctive, penetrating stare but it may also be from a pre-Greek source.  Owls do however sometimes appear with the goddess in Greek art and, like her, became a symbol of wisdom and intelligence.  The other epithets applied to Athena included Ophthalmitis and Oxyderkous, both references to her sharp, penetrating gaze.  As a descriptor of color, glaucus was applied widely including to eyes, the sea, the sky or fabrics and was used of shining surfaces.  The descendants include the Catalan glauc, the English glaucous, the French glauque, the Romanian glauc, the Italian glauco, the Portuguese glauco, the Romanian glauc and the Spanish glauco.  The Middle English glauk (bluish-green, gray) was in use as late as the early fifteenth century.

Renaissance-era engraving of Athena, the Ancient Greek goddess of wisdom, warfare, and craft, depicted in Corinthian helmet with spear and clothed in a long πέπλος (péplos); her aegis (shield or breastplate), bearing the Gorgon's head, rests nearby.  Athena’s sacred bird, the Athene noctua (little owl) is perched atop a pile of books, symbolizing knowledge & wisdom while the creature at her feet is the chthonic serpent Erichthonius which she raised, used often to stand for the triumph of reason over chaos, thus appearing also as the sacred serpent which protected the Acropolis.  The Greek Inscription on the banner reads: ΜΟΧΘΕΙΝ ΑΝΑΓΚΗ ΤΟΥΣ ΘΕΛΟΝΤΑΣ ΕΥ ΠΡΑΤΤΕΙΝ (Those who wish to do well must undergo toil) a classical aphorism often suggested as being a paraphrasing lines from Pindar or Isocrates, extolling effort and virtue.

In the myths of Antiquity there were many tales of Glaucus and in that the character was not unusual, the figures in the stories sometimes differing in details like parentage, where they lived, the lives they led and even whether they were gods or mortals; sometimes the lives depicted bore little similarity to those in other tales.  The myths in ancient Greece were not a fixed canon in the modern Western literary tradition; they were for centuries passed down orally for centuries before being written and in different regions a poet or dramatist was likely to tell it differently.   That was not just artistic licence because the stories could be a product people would pay to hear and content providers needed new product.  Additionally, as is a well-documented phenomenon when information is passed on orally, over generations, the “Chinese whispers problem” occurs and things, organically, can change.

Lindsay Lohan’s in glaucous (in the Medieval Latin sense of gleaming as well as the color) John Galliano satin gown, worn with Santoni stilettos, Irish Wish (Netflix, 2024) premiere, Paris Theater, New York City, March, 2024.

Nor was there the modern conception of IP (intellectual property) or copyright in the characters, the myths “belonging” literally to all as a shared public cultural heritage.  Were a poet (Ovid, Homer, Hesiod etc) to “re-imagine” an old myth or use well known characters to populate a new plot, that wasn’t plagiarization but simply a creative act in interpretation or reshaping.  There were social and political determinisms in all this: We now refer casually to “Ancient Greece” but it was not a unitary state (a la modern Greece) but an aggregation of city-states with their own distinct cults, local legends and literary traditions.  So, in one region Glaucus might have been depicted as a sea-god while somewhere to the south he was a warrior; a tragedian might make Glaucus tragic, a philosopher might use him as an allegorical device and a poet might map him onto a formulaic tale of jealousy, transformation and redemption.  The best comparison is probably the fictional characters which have entered public domain (as Mickey Mouse recently achieved) and thus become available for anyone to make of what they will.  To be generous, one might suggest what the AI (artificial intelligence) companies now wish to be made lawful (vacuuming up digitized copyright material to train their LLMs (large language models) for commercial gain while not having to pay the original creators or rights holders) is a return to the literary practices of antiquity.

Lindsay Lohan’s eyes naturally (left) are in the glaucus range but with modern contact lens (right), much is possible.

So it wasn’t so much that writers felt free to adapt myths to suit their purposes but rather it would never have occurred to them there was anything strange in doing exactly that.  Significantly, any author was at any time free to create a wholly new cast for their story but just as movie producers know a film with “bankable” stars has a greater chance of success than one with talented unknowns, the temptation must have been to avoid risking market resistance and “stick to the classics”.  Additionally, what’s never been entirely certain is the extent to which the poets who wrote down what they heard were inclined to “improve” things.  The myths were in a sense entertainment but they were often also morality tales, psychological studies or statements of political ideology, a medium for exploring fate, identity, love, betrayal, divine justice and other vicissitudes of life.  The very modern notion of “authorship” would have been unfamiliar in Antiquity, a ποιητής (author; poet) being someone who “shaped” rather than “owned” them and Homer (who may not have been a single individual) was revered not because he “made up” the Trojan War, but because masterfully he recounted it, just as now historians who write vivid histories are valued. 

Some of the many lives of Glaucus (Γλαύκος)

(1) He was the son of Antenor who helped Paris abduct Helen and to punish him, his father drove him out.  He fought against the Greeks, and was said sometimes to have been slain by Agamemnon but the more common version is he was saved by Odysseus and Menelaus; as the son of Antenor, who was bound to them by ties of friendship.

(2) He was the son of Hippolochus and grandson of Bellerophon and with his cousin Sarpedon, he commanded the Lycian contingent at Troy.  In the fighting around the city, he found himself face to face with Diomedes but both recalled their families were bound by ties of friendship so the two exchanged weapons, Diomedes of bronze and Glaucus of gold.  Later, when Sarpedon was wounded, he went to assist him, but was stopped by Teucer, wounded and forced to retire from the fray.  Apollo cured Glaucus in time to recover Sarpedon's body, though he was unable to stop the Greeks stripping the corpse of its arms.  Glaucus was killed during the fight for the body of Patroclus by Ajax and on Apollo's order his body was carried back to Lycia by the winds.

(3) He was the son of Sisyphus and succeeded his father to the throne of Ephyra, which later became Corinth.  Glaucus took part in the funeral games of Pelias but was beaten in the four-horse chariot race by Iolaus; after this his mares ate him alive after being maddened either by the water of a magic well, or as a result of Aphrodite's anger, for in order to make his mares run faster Glaucus refused to let them breed, and so offended the goddess.  In another legend, this Glaucus drank from a fountain which conferred immortality. No one would believe that he had become immortal, however, so he threw himself into the sea, where he became a sea-god and every sailor who cast a gaze upon him was assured an early death.

(4) He was a sea-deity.  Glaucus was a fisherman standing on the shore when he noticed if he laid his catch upon a certain herb-covered meadow, the fish miraculously were restored to life and jumped back into the sea. Curious, he tasted the herb himself and was seized by an irresistible urge to dive into the waters where the sea goddesses cleansed him of his remaining traces of mortality.  With that, he assumed a new form, his shoulders grew broader and his legs became a fish’s tail, his cheeks developed a thick beard (tinted green like the patina of bronze) and he became a part of the oceanic pantheon.  He also received the gift of prophecy to become a protector of sailors, often giving oracles and wisdom drawn from the sea.

Glaucus et Scylla (1726), oil on canvas by Jacques Dumont le Romain (1704-1781), (Musée des Beaux-Arts de Troyes). 

(5) Virgil made him the father of the Cumaean Sibyl and he appeared to Menelaus when the latter was returning from Troy; in some traditions he is said to have built the Argo and to have accompanied the ship on its voyage.  Glaucus courted Scylla unsuccessfully, and also tried to win the favours of Ariadne when Theseus abandoned her on Naxos. In that quest he failed but Dionysus included him in his train when the god took her away and made her his wife.

(6) He was the son of Minos and Pasiphae and while still a child he was chasing a mouse when he fell into a jar of honey and drowned.  When Minos finally found his son's corpse, the Curetés told him the child could be restored to life by the man who could best describe the colour of a certain cow among his herds which changed its colour three times a day.  It first became white, then red and finally became black.  Minos asked all the cleverest men in Crete to describe the colour of the cow and it was Polyidus who answered that the cow was mulberry-coloured, for the fruit is first white, turns red, and finally goes black when ripe. Minos felt that Polyidus had solved the problem and told him to bring Glaucus back to life, shutting him up with Glaucus' body.  Polyidus was at his wits' end, until he saw a snake make its way into the room and go over towards the body. He killed the serpent but soon a second came in and, seeing the first lying dead, went out before returning carrying in its mouth a herb with which it touched its companion.  Immediately, the snake was restored to life so Polyidus rubbed this herb on Glaucus, who revived at once.  Minos, however, was still not satisfied.  Before allowing Polyidus to return to his fatherland he demanded that the soothsayer should teach Glaucus his art.  This Polyidus did, but when he was finally allowed to go, he spat into his pupil's mouth, and Glaucus immediately lost all the knowledge he had just acquired.  In other versions of the legend, it was Asclepius, not Polyidus, who brought Glaucus back to life.

Eminence

Eminence (pronounced em-uh-nuhns)

(1) A position of superiority; high station, rank, or repute.

(2) The quality or state of being eminent; Prominence in a particular order or accumulation; esteem.

(3) In topography, a high place or part; a hill or elevation; height.

(4) As a color, a dark or deep shade of purple.

(5) In anatomy, a protuberance.

(6) In the hierarchy of the Roman Catholic Church, a title used to address or refer to a cardinal (in the form “eminence”, “your eminence”, “his eminence” or “their eminences”).

(7) As “gray eminence” (the usual spelling of éminence grise), a “power behind the throne”.

1375–1425: From the late Middle English eminence (projection, protuberance (and by the early fifteenth century a “high or exalted position”)), from the Anglo-French, from the Old French eminence, from the Latin ēminēntia (prominence, protuberance; eminence, excellence; a standing out, a distinctive feature, most conspicuous part), the construct being equivalent to ēmin- (base of ēminēre (to stand out) + -entia (-ence) (the noun suffix), from eminentem (nominative eminens) (standing out, projecting (and figuratively “prominent, distinctive”)), from an assimilated form of the construct ex- (out) + -minere (related to mons (hill), from the primitive Indo-European root men- (to project).  The adjective eminent dates from the early fifteenth century and was used in the sense of “standing or rising above other places; exceeding other things in quality or degree” and was from the thirteenth century Old French éminent (prominent) or directly from the Latin eminentem.  From the 1610s, it came be used of those “distinguished in character or attainments”.  The noun pre-eminence (also as pre-eminence) was known as early as the twelfth century and then meant “surpassing eminence; superiority, distinction; precedence, a place of rank or distinction”.  It was from the Late Latin praeeminentia (distinction, superiority), from the Classical Latin praeeminentem (nominative praeeminens), the present participle of praeeminere (transcend, excel (literally “project forward, rise above”)) the construct being prae (before) + eminere (stand out, project).  The alternative for eminency is listed usually as archaic or obsolete.  Synonyms include conspicuousness, distinction, prominence, renown, celebrity, note & fame in the context of status and elevation or prominence when applied to topography.  Eminence & eminency are nouns, eminently is an adverb and eminent is an adjective (and a non-standard noun); the noun plural is eminences or eminencies.

The use in anatomy is to describe certain protuberances including (1) hypothenar eminence (plural hypothenar eminences) (the ulnar side of the human hand; the edge of the hand between the pinky and the outer side of the wrist, (2) ileocecal eminence (plural ileocecal eminences) (the ileocecal valve), (3) median eminence (plural median eminences) (part of the inferior boundary for the hypothalamus in the human brain and (4) frontal eminence (plural frontal eminences) (either of two rounded elevations on the frontal bone of the skull (known also as the “tuber frontale”).

Extract from xona.com's color list.

As a name for a deep or dark shade of purple, name eminence has been in regular use since the nineteenth century and there have always been variations in the shades so described; on the color charts of different manufacturers, this continues.  In digital use however, eminence as a shade of purple has been (more or less) standardized since 2001 when xona.com promulgated their influential color list.  Although “eminence” is the form of address for a cardinal in the Roman Catholic Church, it’s presumable this has no relationship with the color eminence because cardinals wear red and it’s the monsignors who don a purple which does look like the shade typically described as eminence.  As far as is known, the name “monsignor” has never been applied to any shade.  Monsignor is one of the honorary titles Popes for centuries granted to priests within their Papal Court and there were many degrees of these, conferred usually on priests worked closely with the Holy Father in Rome.  Over time, the use of monsignor was expanded and could be granted to priests beyond Rome on the recommendation of a bishop.  Recently, Pope Francis (b 1936; pope since 2013) has restricted this, returning to the older ways and this will have please some bishops, not all of whom were anxious to see too much purple in their diocese.  The monsignor’s purple (which most would probably call a magenta) was connected to the tradition in the Roman empire to vest new dignitaries with a purple toga and in medieval heraldry the color symbolized justice, regal majesty and sovereignty although not so much should be made of this in the context of the Vatican’s choices in ecclesiastical fashion: Originally, it was never envisaged monsignors would wander far from the Holy See.

Pope Francis passes the coffin (casket) at the funeral of Cardinal George Pell (1941-2023), St Peter’s Basilica, the Vatican, January 2023.  Within the Roman Curia (a place of Masonic-like plotting & intrigue and much low skulduggery), Cardinal Pell's nickname was “Pell Pot”, an allusion to Pol Pot (1925–1998, dictator of communist Cambodia 1976-1979) who announced the start of his regime was “Year Zero” and all existing culture and tradition must completely be destroyed and replaced.  

Until the sixteenth century bishops wore green and this use persists on the traditional coat of arms that each bishop chooses when elected.  In the 1500s, the switch was made to “amaranth red,” named after the amaranth flower although, despite the name, the actual hue is more like fuchsia but, being similar to a purple, church historians maintain there’s some symbolic value linking with the bishop being charged to govern his local diocese.  Technically, the Holy See describes the color worn by cardinals as “scarlet” and their eminences are described as “princes” of the church although part of the mystique of the place is that the red symbolizes the blood they’re all supposed to be prepared to spill to defend the pope.  When the Pope places the biretta (the hat with 3 or 4 stiffened corners worn as part of liturgical dress) on top of the cardinal’s head, he says, “(This is) scarlet as a sign of the dignity of the cardinalate, signifying your readiness to act with courage, even to the shedding of your blood, for the increase of the Christian faith, for the peace and tranquility of the people of God and for the freedom and growth of Holy Roman Church.”  As a title of honor within the church, eminence was in use as early as the 1650s although apparently since the 1720s, the honorific has been exclusive to cardinals.

Cardinal Richelieu (1636), oil on canvas by Philippe de Champaigne (1602–1674) (left) and Engraving of Francois Leclerc du Tremblay (circa 1630) by an unknown artist.

The term gray eminence was from the French éminence grise, plural eminences grises or eminence grises (literally “grey eminence” and the French spelling is sometimes used in the English-speaking world).  It was applied originally to François Leclerc du Tremblay (1577–1638), also known as Père Joseph, a French Capuchin friar who was the confidant and agent of Cardinal Richelieu (1585–1642), the chief minister of France under Louis XIII (1601–1643; King of France 1610-1643).  The term refers to du Tremblay’s influence over the Cardinal (who bore the honorific of Eminence), and the colour of his habit (he wore gray).  Aldous Huxley (1894–1963) sub-titled his biography of Leclerc (L'Éminence Grise (1941)): A Study in Religion and Politics.  Huxley discussed the nature of both religion & politics, his purpose being to explore the relationship between the two and his work was a kind of warning to those of faith who are led astray by proximity to power.

Use of the term éminence grise suggests a shadowy, backroom operator who avoids publicity, operating in secret if possible yet exercising great influence over decisions, even to the point of being “the power behind the throne”.  In this a gray eminence differs from a king-maker or a svengali is that those designations are applied typically to those who operate in the public view, even flaunting their power and authority.  Probably the closest synonym of the gray eminence is a “puppetmaster” because of the implication of remaining hidden, and although never seen, the strings they pull are if one looks closely enough.  The svengali was named for the hypnotist character Svengali in George du Maurier’s (1834–1896) novel Trilby (1894).  Svengali seduced, dominated and manipulated Trilby who was a young, half-Irish girl, transforming her into a great singer but in doing so he made her utterly dependent on him and this ruthlessly he exploited.

The brown eminence

Adolf Hitler (1889-1945; German head of government 1933-1945 & head of state 1934-1945) followed by his "brown eminence", Martin Bormann (1900–1945).

Bormann attached himself to the Nazi Party in the 1920s and proved diligent and industrious, rewarded in 1933 by being appointed chief of staff in the office of Rudolf Hess (1894–1987; Nazi Deputy Führer 1933-1941) where he first built his power base.  After Hess bizarrely flew to Scotland in 1941, Hitler abolished the post of Deputy Führer, assigning his offices to Bormann and styling him Head of the Parteikanzlei (Party Chancellery), a position of extraordinary influence, strengthened further when in 1943 he was appointed Personal Secretary to the Führer, a title he exploited to allow him to act as a kind of viceroy, exercising power in Hitler’s name.  Known within the party as the der brauner Schatten (the brown shadow) which was translated usually as “Brown Eminence” (an allusion to an éminence grise), he maintained his authority by controlling access to Hitler to whom his efficiency and dutifulness proved invaluable.  The "brown" refers to the Nazi's brown uniforms, a color adopted not by choice but because when the cash-strapped party in the 1920s needed uniforms for their Sturmabteilung (The SA, literally "Storm Division" or Storm Troopers and known as the "brownshirts"), what were available cheaply and in bulk was the stock of brown army clothing intended for use in the tropical territories the Germans would have occupied had they won World War I (1914-1918).  Bormann committed suicide while trying to make his escape from Berlin in 1945 although this wasn't confirmed until 1973.

Lindsay Lohan's inner eminence on film.

Lindsay Lohan (2011) by Richard Phillips & Taylor Steele.

Screened in conjunction with the 54^th international exhibition of the Venice Biennale (June 2011), Lindsay Lohan was a short film the director said represented a “new kind of portraiture.”  Filmed in Malibu, California, the piece was included in the Commercial Break series, presented by Venice’s Garage Center for Contemporary Culture and although the promotional notes indicated it would include footage of the ankle monitor she helped make famous, the device doesn't appear in the final cut.

At the festival, co-director Richard Phillips (b 1962) was interviewed by V Magazine and explained: “Lindsay has an incredible emotional and physical presence on screen.  “[She] holds an existential vulnerability, while harnessing the power of the transcendental — the moment in transition. She is able to connect with us past all of our memory and projection, expressing our own inner eminence.”

Directed by: Richard Phillips & Taylor Steele
Director of Photography: Todd Heater
Creative Director: Dominic Sidhu
Art Director: Kyra Griffin
Editor: Haines Hall
Color mastering: Pascal Dangin for Boxmotion
Music: Tamaryn & Rex John Shelverton
Costume Designer: Ellen Mirojnick

Pale

Pale (pronounced peyl)

(1) Light-colored or lacking in color.

(2) Someone lacking their usual intensity of color due to fear, illness, stress etc.

(3) Not bright or brilliant; dim.

(4) Faint or feeble; lacking vigor (mostly archaic).

(5) To seem less important, significant, remarkable etc, especially when compared with something or someone else.

(6) A stake or picket, as of a fence.

(7) An enclosing or confining barrier; enclosure; a district or region within designated bounds; to encircle or encompass.

(8) Limits; bounds (now rare except if used figuratively in the phrase “beyond the pale”).

(9) In heraldry, an ordinary (band) in the form of a broad vertical stripe at the centre of an escutcheon.

(10) In shipbuilding, a shore used inside to support the deck beams of a hull under construction.

(11) In some of the dialectical English spoken in southern Africa, a euphemism for white.

1375-1400: From the Middle French Palle, from the twelfth century Old French paile & paleir (pale, light-colored (pâle in the Modern French)), from the Latin pallidus (pale, pallid, wan, colorless), from pallēre (be pale, grow pale) from the primitive Indo-European root pel- (pale) of which pallid is a doublet.  Pel was a significant root in many languages and productive, forming all or part of appall; falcon; fallow (in its adjectival sense), pallid, pallor, palomino, Peloponnesus, polio & poliomyelitis.  The linkages were many including the Sanskrit palitah (gray) & panduh (whitish, pale), the Greek pelios (livid, dark) & polios (gray (of hair, wolves, waves)), the Latin pallere (to be pale) & pallidus, the Old Church Slavonic plavu, the Lithuanian palvas (sallow), the Welsh llwyd (gray) and the Old English fealo & fealu (dull-colored, yellow, brown).  Pel also forms the root of words for "pigeon" in Greek (peleia), Latin (palumbes) and Old Prussian (poalis).

As an adjectival descriptor of color, it seems first, from the early fourteenth century to have been applied to human skin-tone and complexion to convey the sense of “whitish appearance, bloodless, pallid".  From the mid-fourteenth century it began to be used as a modifier to nuance the tones of colors in the sense of “lacking chromatic intensity, approaching white".  Late in the century, use was extended to non-human objects or substances (such as ales and other liquors) at which time it became also a frequent figurative form.  Paleface, is said to be a translation of a Native American word form noted in several dialects meaning "European"; attested from 1822 in American English, there are suggestions the tale may be apocryphal and a creation of the palefaces themselves.

The noun paling (stake, pole, stake for vines) was an early thirteenth century adoption of the circa 1200 Anglo Latin from the Old French pal and directly from the Latin palus (stake, prop, wooden post), source also of the Spanish and Italian palo, from the primitive Indo-European pakslo-, a suffixed form of the root pag- (to fasten) and a doublet of pole.  By the 1550s, the adjective form existed to refer to a fence made from palings, formed by connecting the pointed vertical stakes by horizontal rails above and below.

Romanian Vlad the Impaler postage stamp, 1976.

Paling is a word still used in fencing and impale is related.  In the 1520s, impale meant "to enclose with stakes, fence in", from the French empaler or directly from the Medieval Latin impalare (to push onto a stake).  The now better remembered sense "pierce with a pointed stake" (as torture or capital punishment) dates from circa 1610-1630.  In the popular imagination it’s associated especially with the Romanian Vlad the Impaler (Vlad III, circa 1430-circa 1477, thrice Voivode of Wallachia, 1448-Circa 1477).  One of his favorite methods of torture and execution (there’s often a bit of overlap in these matters) was said to be impalement but some of the more lurid tales of his cruelty may be from the imagination of the medieval mind though his rule is thought to have been severe.  Regardless, he remains a Romanian folk hero.

From the late fourteenth century paling came to refer to the constructed boundary as well as the components, understood generally to describe a "fence of pointed stakes", Paler as a surname meaning "fence-builder" being recorded from late twelfth century.  Another Middle English form of the word in the sense of "fence, paling, wall of an enclosure" sense, based on the plural, was the late fourteenth century pales or palis, the surname Paliser attested from early in the century.  Anthony Trollope (1815-1882) used the variant Palliser in his “parliamentary novels” (1864-1879) as the name for the repressed protagonist; Trollope took care with the selection of his character’s names.

Palisade (a fence of strong stakes), is attested from circa 1600 and was from the fifteenth century French palisade, from the Provençal palissada, from palissa (a stake or paling), from the Gallo-Roman palicea, from the Latin palus (stake) from the primitive Indo-European pakslo-.  The earlier Italian form was palisade, noted since the 1580s.  Palisades entered military jargon circa 1690 and described "close rows of strong pointed wooden stakes fixed in the ground as a defensive fortification", a use which remains a standard part of costal defenses against seaborn invasion.  The trap-rock precipices along the Hudson River opposite New York City were named The Palisades in 1823.  The word remains popular with property developers searching for a word with connotations of elevation and luxury.

Three images of a pale Lindsay Lohan.

In English, pale, pallid and wan imply an absence or faintness of color, especially when used to describe the human countenance.  Pale suggests a faintness or absence of color, which may be natural when applied to objects but when used to descript a human face usually means an unnatural and often temporary absence of color, as arising from sickness or sudden emotion.  Pallid, used almost exclusively to describe the human countenance, implies an excessive paleness induced by intense emotion, disease or death.  Wan implies a sickly paleness, usually as a consequence of illness.

The figurative sense of "limit, boundary, restriction" dates from circa 1400 and referenced the notion of "an enclosed space," hence "district or region within determined bounds" and later it meant "territory held by power of a nation or people".  The more modern idiomatic use, referring to the behavior of a person as “beyond the bounds of morality or social acceptability”, is not without critics but now so common it’s doubtless now the assumed meaning.  Using the phrase in the modern sense, in 2009, during one of their many squabbles, Manchester United manager Sir Alex Ferguson (b 1941) said of his Liverpool counterpart, Rafael Benitez (b 1960), "…he's beyond the pale”.  It’s said they’ve not since made up.

The English Pale in Medieval Ireland (1450).

Catherine the Great (Catherine II, 1729–1796; reigning empress of Russia 1762-1796) created the cherta (postaoyannoy yewreskoy) osedlosti (Pale of Settlement) in Russia in 1791. This was the name given to the western border region of the country (modern-day Belarus & Moldova and parts of the Ukraine, Lithuania, Poland, Latvia and western Russia) in which Jews were allowed to live, the motive being to restrict trade between Jews and native Russians.  In a process something like COVID-19 travel exemptions, some Jews were allowed, as a concession, to live “beyond the pale”.  Pales had been enforced in other European countries for similar political reasons.  During the late Medieval period, the Pale (An Pháil in the Irish), often described as the English Pale (An Pháil Shasanach or An Ghalltacht), was that part of Ireland administered directly the English government and the Pale of Calais was formed by the French as early as 1360.

The first printed instance of the phrase is in John Harington's (1560-1612) lyric poem The History of Polindor and Flostella (1657).  In the verse Ortheris withdraws with his beloved to a country lodge for “quiet, calm and ease” but later they’re tempted to wander:

"Both Dove-like roved forth beyond the pale to planted Myrtle-walk".

Clearly it was conveyed no good comes from venturing beyond the pale for soon the lovers are set upon by attacked by armed robbers with “many a dire killing thrust”.