Medieval

Medieval (pronounced mee-dee-ee-vuhl (U), med-ee-ee-vuhl (U), mid-ee-ee-vuhl (non-U) or mid-ee-vuhl (non-U))

(1) Of, pertaining to, characteristic of, or in the style of the Middle Ages.

(2) In informal (usually disparaging) use, extremely old-fashioned; primitive; backward; uncivilized.

1820-1830: A creation of Modern English from the New Latin medium aevum (the middle age, thus pertaining to or suggestive of the Middle Ages), the construct being medi(um) (the middle) + aev(um) (age) + -al (the Latin adjectival suffix appended to various words (often nouns) to make an adjective).  The Latin medium was from the primitive Indo-European root medhyo- (middle); aevum was from the primitive Indo-European root aiw- (vital force, life; long life, eternity), also the source of eon.  Mediaeval & mediæval are the now rare alternative spellings.

Between Rome and the Renaissance

The noun medievalism, originally a descriptor of the beliefs and practices characteristic of the Middle Ages, dates from 1846, later used to describe the academic discipline studying the epoch; the adverb medievally was first noted in 1844; the noun medievalist, first used in 1847, meant "proponent of medieval styles, one who sympathizes with the spirit and principles of the Middle Ages”, but was from 1882 a companion word to the later sense of "medievalism” and used to describe historians and others “versed in the history of the Middle Ages".

Lindsay Lohan dressed in "medieval" flavor, Wendy Nichol's (b 1972) fashion show at the Elizabeth Street sculpture gardens, New York Fashion Week, September 2013.

The Middle Ages (or the Medieval) is one of the three epochs in Western Civilization: (1) Antiquity, (2) the Middle Ages and (3) the Modern Age (itself not to be confused with modernism or modernity).  It’s a modern construct.  The writers and historians working during the Medieval period divided history into periods such as the "Six Ages" or the "Four Empires", and, under the influence of Christian eschatology, seem universally to have though their own time to be the last before the end of the world, all referring to their age as "modern".  The phrase "Middle Ages" appeared first in Latin in 1469 as media tempestas (middle season) and this, over centuries, spawned many variants, including medium aevum (middle age) in 1604 and media saecula (middle ages) in 1625.  The more familiar medieval (and the now rare mediaeval & mediæval) is from medium aevum, its creation reflecting the enduring European reverence for the classical world (which still exists in academic historiography’s Greek and Roman factions).  The tripartite division of Western history had been used by historians for some time and became (more or less) standard after the seventeenth century German classical scholar Christoph Cellarius (1638–1707) in 1683 published his Universal History Divided into an Ancient, Medieval, and New Period.

Be prepared: Medieval armor.

Historians date the beginning of the Middle Ages from either in 410 or 476, depending on whether they prefer the Visigoth’s sack of Rome or the final overthrow of the last Roman Emperor as the crucial turning point.  A date around 1500 is usually accepted as the end of the Middle Ages but there’s no precise end-date and the transition to the modern era was marked by immense regional differences, some parts of Europe remaining distinctly medieval well into the twentieth century.  The end was more a milieu, events such as the discovery of the "New World" (1492), the fall of Constantinople (1453) and the Protestant Reformation (1520s onward) all landmarks of the transition.

Lighting up the Dark Ages: The burning of Protestant heretics, in English historian John Foxe’s (circa 1517–1587) Actes and Monuments (1653) (often published with the title John Foxe's Book of Martyrs).

The once parallel term "Dark Ages" does cause confusion.  It adopts a traditional light-versus-darkness imagery to contrast the “light” (the learning and progress Antiquity and the Modern Age) with the “dark” (the violence, backwardness and stultification of the Middle Ages), the phrase derived from the Latin saeculum obscurum (dark age), originally applied by Italian cardinal and ecclesiastical historian Caesar Baronius (1538–1607) in his writings about an especially tumultuous period during the tenth and eleventh centuries.  A memorable phrase, it caught the popular imagination and the concept came to characterize the entire Middle Ages as a time of intellectual darkness between the fall of Rome and the Renaissance, a slur most widely applied during the eighteenth century Age of Enlightenment.  It’s now less used and English-speaking historians, following their German counterparts, generally subdivide the Middle Ages into "Early", "High", and "Late", avoiding “Dark Ages” completely, those who make any mention generally noting it can apply only to the earliest centuries and then usually in the context of the paucity of documents and other historic records rather than as a damnation of a thousand-odd years.

Christ Rescuing Peter from Drowning (1370) by Lorenzo Veneziano (known as Lorenzo the Venetian, his dates of birth and death are unknown but he was active between 1356–1372).  A number of paintings from the medieval era featured the famous New Testament story in which Christ is said to have walked on water during a mighty storm.  Lorenzo's work depicts the fishing boat in which Jesus’ disciples were traveling in across Israel’s Sea of Galilee.  The story appears in three of the four Gospels (Matthew 14:22-33; Mark 6:45-52 & John 6:16-21), each telling the tale in a subtlety different way.

Chivalry

Chivalry (pronounced shiv-uhl-ree)

(1) The sum of the ideal qualifications of a knight, including courtesy, generosity, valor, and dexterity in arms; the combination of qualities expected of an ideal knight, especially courage, honour, justice and a readiness to help the weak.

(2) The rules and customs of medieval knighthood; Courtesy, respect and honourable conduct between opponents in wartime (often as a historical re-construction).

(3) The medieval system or institution of knighthood.

(4) Cavalry; horsemen armed for battle (historic use only).

(5) Collectively, knights, gallant warriors or gentlemen, fair ladies and noble chivalry (archaic).

(6) The ethical code(s) of the knight prevalent in Medieval Europe, having such primary virtues as mercy towards the poor and oppressed, humility, honour, sacrifice, fear of God, faithfulness, courage and courtesy to ladies.

(7) Courteous behaviour, especially of men towards women.

(8) In historic English law, a tenure of land granted by virtue of knightly service.

Circa 1300: From the Middle English chivalrie and the eleventh century Old French chevalerie (knighthood, chivalry, nobility, cavalry).  The early form was chevaler (knight) from the Medieval Latin caballarius (horseman), from the Latin caballus (nag, pack-horse).  The Medieval Latin caballaria (knighthood, status or fief of a knight) was the most familiar form by the twelfth century, the term chevaler long in use to describe "a knight or horseman".  The meaning (related to cavalier) "the nobility as one of the estates of the realm", dates from the fourteenth century whereas the more modern use "social and moral code of medieval feudalism" appears to be an eighteenth century historical revival.  Chivalry is a noun and chivalrous is an adjective; the noun plural is chivalries.

The Song of Roland

In Medieval Europe, there never was one universal code of chivalry.  The code was a moral construct which several authorities reduced to writing and, despite this disparate history, the concept was well understood in medieval times.  Although only parts of the codes were concerned with warfare, the texts formed the basis of the early rules of war and from here, can be traced the origins of much international law.  The epic-length poem The Song of Roland (written between 1098-1100) is a recount of the eighth century "Knights of the Dark Ages" and the wars fought by Charlemagne; it's essentially Charlemagne's Code of Chivalry but it is a literary work, a tale of betrayal and a normative text of what ought to be rather than a historical document of chivalrous warfare.  In summary, Charlemagne’s code can be reduced to:

To fear God and maintain His Church
To serve the liege lord in valor and faith
To protect the weak and defenseless
To give succor to widows and orphans
To refrain from the wanton giving of offence
To live by honour and for glory
To despise pecuniary reward
To fight for the welfare of all
To obey those placed in authority
To guard the honour of fellow knights
To eschew unfairness, meanness and deceit
To keep faith
At all times to speak the truth
To persevere to the end in any enterprise begun
To respect the honour of women
Never to refuse a challenge from an equal
Never to turn the back upon a foe

The Duke of Burgundy’s Code

In the fourteenth century, the Duke of Burgundy reduced Charlemagne’s code to a list (printed on pigskin), which knights could carry in their Bibles: Faith, Charity, Justice, Sagacity, Prudence, Temperance, Resolution, Truth, Liberality, Diligence, Hope & Valor.  One can credit the Duke of Burgundy with the invention of the credo card.

The High Court of Chivalry

Lindsay Lohan usurping the escutcheon of the Secret Society of the Les Clefs d’Or (digitally altered image).

In London, in December 1954, the High Court of Chivalry was summoned for the first time in two centuries to hear the case of a city council claiming their coat of arms had been usurped by a private company displaying it on their theatre.  Before substantive matters were introduced, the judge had to rule whether the ancient court still existed and if so, if it was the appropriate body to hear the case.  The judge found the court extant and with valid jurisdiction, his reasons a succinct sketch of the UK’s unwritten constitution in operation and a tale of how law and language interacted over several centuries.  The important principle established was to confirm, even in the modern era, there existed an enforceable law of arms and the law takes as much notice of bad heraldic manners as it does of more violent discourtesies, the judge disapproving of the “prevalent” notion that something cannot be unethical if it’s lawful.  That theme has of late been noted by royal commissioners though perhaps not politicians; in the judgement, the temptation to comment on whether chivalry was dead was resisted.

In Manchester Corporation v Manchester Palace of Varieties Ltd [1955] 1 All ER 387, the Manchester Corporation was successful and the court has not since sat but in 2012,  the council of the Welsh town of Aberystwyth issued a statement that they were prepared to lodge a writ against a Facebook page they alleged was usurping its coat of arms.  Before the council made clear whether they were intending to sue facebook.com or the author(s) of the page, the offending image had been removed.  As one of the findings in 1955 had been the High Court of Chivalry could be abolished only by an act of parliament, because New Labour’s judicial reforms didn’t do this, it appears the court would have to be convened in some form to hear similar matters although it's thought the marvellously flexible British constitution would allow a judge at an appropriate level to declare that their court was "sitting as the Court of Chivalry for the purposes of this case".  Given that constitutional flexibility, it's not impossible it may have crossed the minds of either Boris Johnson (b 1964; UK prime-minister 2019-2022) or Liz Truss (b 1975; UK prime-minister Sep-Oct 2022) that a re-constituted Court of Star Chamber might be a way quickly to solve "a few local difficulties". 

Palace

Palace (pronounced pal-is)

(1) The official residence of an emperor, king, queen, bishop or other exalted personage.

(2) A large and stately mansion or building.

(3) A large and often ornate structure used for entertainment, exhibitions etc.

(4) To decorate or ornate (obsolete).

1200–1250: From the Middle English palais (official residence of an emperor, king, queen, archbishop etc), from the earlier paleys, from the Old French palais (palace, court), from the Medieval Latin palācium (“a palace” and a spelling variant of the Classical palātium (generic use of Palātium, in reference to the Palatine (from Mons Palatinus (the Palatine Hill)), one of the seven hills of Ancient Rome, where the aristocracy of the Roman Republic (and later the emperors) built large, splendid residences)).  The hill’s name may be from the Latin palus (stake) on the notion of "an enclosure" while some speculate it’s from the Etruscan and connected with Pales (said to be although this too is contested “an Italic goddess of shepherds, flocks and livestock).  One noted etymologist linked it with palatum "roof of the mouth; dome, vault", the rationale being that because “palate” can be referred to as a “flattened or vaulted” part and the terms “flat” and “vaulted” are often applied to hills in accordance with their shape; on that basis, the idea of a derivation of palatium from palatum seems compelling.  Palācium was the source also of the Spanish palacio and the Italian palazzo.  The modern French palace is a direct borrowing from the English which was from the Old French palais.  In English, the general sense of "magnificent, stately, or splendid dwelling place" emerged by circa 1300 and the ironic sense is documented from the early 1600s although it may have been in oral use earlier.  The French palais was the source of the German Palast, the Swedish palats and other Germanic forms whereas others, such as Old English palant and the Middle High German phalanze (Pflaz in modern German) are from the Medieval Latin word.  Palace is a noun, palaced & palace-like are adjective, palacing is a verb and palaceward an adverb.  The noun plural is palaces.

The noun palazzo (large and imposing building) was from the 1660s, from Italian palazzo.  The adjective palatial (of the nature of a palace, magnificent) dates from 1754 and was from the French palatial (magnificent) from the Latin palātium (see palace); the adverb palatially is noted from 1761.  In Middle English there was palasin (literally "belonging to a palace or court"), dating from circa 1400, from the Old French and palatian (1845) was a revival in that sense and most associated with the palaces of India under the Raj.  Palacious, noted first in the 1620s, meant “magnificent, of the nature of a palace” but is long obsolete.  The noun paladin is from the 1590s and was used by those (many) authors of the medieval romance cycle (one of the twelve knightly champions in attendance on Charlemagne and accompanying him to war) and was from the sixteenth century French paladin (a warrior), from the from Italian paladino, from the Latin palatinus (palace official), noun use of palatinus (of the palace).  In the Old French the spelling was palaisin (from which Middle English gained the circa 1400 palasin) but the Italian form prevailed, even though the subject matter was French, simply because most of the poets attracted to most of the poets attracted to the tales were Italian.  The extended sense of "a heroic champion" dates from 1788 and the modern use is often negative in the sense of describing operatives and functionaries associated with political leaders.

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

The adjective palatine (possessing quasi-royal privileges (literally "pertaining to a palace)), was by the mid-fifteenth century applied to counties and non-sovereign states, conveying the meaning "ruled by a lord who has privileges resembling those of an independent sovereign"; it was from the fifteenth century Old French palatin and directly from the Medieval Latin palatinus (of the palace (ie "of the Caesars”), from palātium.  In Medieval Latin there was palatinus, a title given to one holding any office in the palace of a prince, hence "possessing royal privileges" and best understood as something like the “courtesy titles” which are a feature of the UK’s system of peerage.  The German state of Rhineland-Palatinate was created in 1946 (as part of the abolition of Prussia) and is made up of parts of the former states of Prussia, Bavaria & Hesse (including Bavaria’s former Palatinate kreis (district)).  The historic Rhineland state was once an electorate in the Holy Roman Empire and by the early eighteenth century, Palatinate was also a noun meaning "resident of or immigrant from the German Palatine".

1200-odd rooms and twenty times the size of the White House: The Quirinal Palace, Rome.  Had things worked out better for Napoleon Boneparte (1769-1821), the Quirinal would have be the seat of his imperial rule. 

There had long been houses larger than others but as legend has it, it’s Nero (Nero Claudius Caesar Augustus Germanicus, 37–68; Roman emperor 54-68) who is regarded as having ordered the first.  Rome’s Palantine hill had always been a central part of the city but as the metropolis spread, it became the smartest “suburb” and the place many rich and prominent citizens built their houses.  Noting this, the Emperor Nero ordered all on the hill be evicted and their properties purchased so a vast and elaborate dwelling could be erected for him alone and this was named the palātium (literally “on the site of the palatine”).  From this history is ultimately derived the synecdochic and metonymic use of palace, the general “the palace” historically referring to the views or policies of kings and more recently to whatever may be thought or done by the now more typically non-royal inhabitants.

The Élysée Palace, Paris.

Sometimes, the reference may be specific such as “the Quirinal” (referencing Rome’s Quirinal Palace), used variously and metonymically for (1) the Italian civil government as opposed to that of the Holy See in the Vatican, (2) the (2) the court of the king as opposed to the fascist government of the Duce and (3) in Modern Italy the office of the (indirectly elected and mostly ceremonial) presidency as opposed to that of the (popularly elected and executive) prime-minister.  The use is common in countries where the head of state or government is in some way associated (though not of necessity resident) with a palace although the form of use varies for reasons which may be historic or linguistic.  In France, it’s usually “the Élysée” when speaking of the government (or sometimes of the president vis-à-vis the government) although BBC journalists do seem fond of “the Élysée Palace”.  The BBC may also be a good guide to use in the UK, impressionistically preferring “the palace” for home consumption and “Buckingham Palace” when seeking to make clear to foreign audiences that much of what is attributed to the Queen of England is really the thoughts of the royal court, an operation at the scale of a SMB (small & medium business) which runs “the firm”.  Either way, pronouncements from “the palace” or “Buckingham Palace” which once concerned the great affairs of Church, state and empire, seem now more often about family scandals and squabbles.  In the Philippines, both “Malacañang Palace” and “Malacañang” are used to refer to executive government, the choice dictated seemingly by whichever best suits the sentence construction.

A palace guard, Buckingham Palace, London.

In idiomatic use, a “palace coup” (short for Coup d'état (literally "blow of state")) is a general term indicating one faction or family member has overthrown another, something which can be as innocuous as a vote or as dramatic as actual regicide.  A “palace revolution” is actually the same thing but it would be handy if a convention of use could evolve whereby it indicates the more violent events while coups can suggest more civilized changes.  A “palace guard” is literally a police or military squad which provides both physical security and a ceremonial presence at a palace; figuratively it refers to any group protecting someone or something.  A puck palace is an informal North American terms to describe an especially impressive ice hockey stadium.

Pink gin.

The casual term gin palace (literally “A tavern that serves gin”) is anything thought a bit disreputable and a bit gaudy, reflecting London society’s disapproval of the corroding effects of gin on the working class.  A memorable variation was the “floating gin palace, applied to the Royal Navy’s HMS Agincourt, a dreadnought launched in 1913 and fitted out with unusual elaborateness because it’d originally been built to the specification of a foreign navy, the luxury attracting wits who, noting the corruption of her name (A Gin Court) and the alleged fondness by captains and admirals afloat for Pink Gin (Plymouth Gin with a dash of Angostura bitters, the bitters lending the mix a pinkish hue), decided it should be call the “floating gin palace”.

HMS Agincourt, Scapa Flow, Scotland, 1918.

HMS Agincourt was an unusual ship with a curious history and a design unique in the Admiralty list.  Built originally for the Brazilians, then in the throes of the brief but intense South American naval arms race, before completion she was sold to the Ottoman Empire but, with the outbreak of war in 1914, the ship was seized by the British, an act which some historians maintain influenced Turkey to ally with the Central Powers, thereby triggering a chain of events which included the Allied attempt to force the straits of the Dardanelles (remembered in Australia & New Zealand as the Gallipoli campaign) and the eventual break-up of the Ottoman Empire, unleashing forces which to this day still ripple across the region from the Rock of Gibraltar to the Persian Gulf.  The geopolitical speculations aside, Agincourt was of note for being the dreadnought which mounted more heavy guns (fourteen) and more turrets (seven) than any other.  Although that configuration didn’t represent the current thinking in naval architecture, it was certainly in keeping with the Brazil’s requirement for an especially impressive looking ship, rather than one optimized for a high-seas battle.

HMS Agincourt's stern gun turrets.

Reflecting this too was what remains reputedly the largest wardroom (85 x 60 feet (25.9 x 18.3 m) ever installed on a warship and one luxuriously equipped with tableware, crystal & silverware.  That was said to be an impressive sight but so must have been the wall of flame created the first time she fired those fourteen twelve inch (305 mm) naval canons in a broadside, observers noting it was “was awe inspiring and enough to enough to create the impression the ship had blown up”.  Dramatic though it was, the floating gin palace was undamaged, despite the concern of some that a broadside of 12,040 lb (5461 KG) (14 x 12 inch (305 mm) guns firing 860 lb (390 KG) shells) would impose a damaging load on the superstructure.  However, other dreadnoughts, such as the Iron Duke endured 14,000 lb (6350 KG) broadsides (10 x 13½ inch (343 mm) guns firing 1,400 lb (635 KG) shells) without ill-effect and the Agincourt too sailed serenely on.  However, much of the elegant tableware and glassware did shatter and little of what remained surviving subsequent broadsides.  Like much of the fleet, the floating gin palace saw little action during the war although she was part of the inconclusive Battle of Jutland (1916).  Agincourt was struck from the fleet in 1919 and scrapped in 1922 to meet the terms of the Washington Naval Treaty (1922).

1965 Citroën DS21 Pallas (left) & 2020 Citroën DS E Pallas Homage Study.

Citroën introduced the DS in 1955 and, because "DS" is a homophone of déesse (goddess), almost immediately it picked-up the nickname goddess.  In 1965, the factory introduced an up-market version of the DS called the Pallas, not an allusion to the luxury of palaces but a borrowing from Greek mythology, Pallas the goddess of wisdom and useful arts and prudent warfare; Pallas often used as an epithet of Athena.  The idea was that the Pallas would be thought the "goddess of goddesses".  Citroën have since applied the Pallas moniker to many models and in 2020 a designer created the Citroën DS E Pallas Homage Study, imagining a possible electric vehicle.

Goblin

Goblin (pronounced gob-lin)

(1) In folklore, a small grotesque supernatural creature (depicted often as elf or sprite, regarded as mischievous and malevolent towards people.

(2) In modern fiction, one of various hostile supernatural creatures, in fantasy writing often depicted as malicious, grotesque and diminutive humanoids (sometimes also described as trolls or orcs.

1300–1350: From the Middle English gobelin & gobelyn (a devil, incubus, mischievous and ugly fairy), from the Middle French, from the Old Northern French gobelin (the source also of the Norman goubelin and the Walloon gobelin), perhaps a blend of the Old Dutch kobeholdo (goblin) (related also to the Dutch kabouter, the Middle High German kobold and the German Kobold) and the Late Latin cobalus (mountain sprite), from the Ancient Greek κόβαλος (kóbalos) (rogue, knave; goblin).  It displaced the native Old English pūca and was later picked up by some Easter European languages including Polish and Serbo-Croatian.  Goblin is a noun; the noun plural is goblins.

Curiously, in the twelfth century, there was also the Medieval Latin gobelinus, the name of a spirit haunting the region of Evreux, in chronicle of Orderic (Ordericus in the Latin) Vitalis) (1075-circa 1142) which etymologists say is unrelated either to the Germanic kobold or the Medieval Latin cabalus, from the Greek kobalos (impudent rogue, knave) & kobaloi (wicked spirits invoked by rogues), of unknown origin; it’s speculated it may be a diminutive of the proper name Gobel chosen for some reason (even as an in-joke) by the author.  Orderic’s Chronicles have been extensively cross-referenced against other primary and secondary sources and historians regard them as among the more reliable Medieval texts.  His other great work was the Historia Ecclesiastica, written in the last twenty years of his life (the bulk of the text composed between 1123-1132).  One interesting aspect of the history noted by etymologists was that although the French gobelin seems not to have appeared for over two centuries after the word emerged in English, it does appear in twelfth century texts in Medieval Latin and it’s thought few people who in some way adhered to folk magic used Medieval Latin.  John Wycliffe (circa 1328–1384) must have thought the word sufficiently well-known to use it in his translation of the Bible (published 1382-1395) intended to be read by (or more typically read to) a wide audience.  Psalms 91:5: Thou schalt not drede of an arowe fliynge in the dai, of a gobelyn goynge in derknessis.  Unfortunately, in the King James Version (KJV; 1611), the passage was rendered as the less evocative: Thou shalt not be afraid for the terror by night; nor for the arrow that flieth by day.

A goblin shark (left) and a 1962 Dodge Dart station wagon (right).

The horrid looking goblin shark (Mitsukurina owstoni, also knonw as the elfin shark), goblin shark a calque of its traditional Japanese name tenguzame (tengu a Japanese mythical creature often depicted with a long nose and red face).  The last survivor of ancient lineage and one that retains several "primitive" traits, it's been called a "living fossil" and despite the fearsome appearance, dwelling at great depth, there have been no reports of attacks on people.  There's nothing to suggest Dodge's stylists were in the early 1960s influenced by the sight of a goblin shark; within Chrysler, it was just their time of "peak weirdness".

The system works: A goblin shark eats a fish.  Things didn't work out so well for the 1962 Chryslers which received some hasty re-styles to achieve a more conventional look. 

Folklore (and latter-day fantasy writing) has produced a number of derived terms including gobbo, goblette, gobioid, gobony, goblincore, goblinish, goblinize, goblinkind, goblinry, goblinesque & goblinish.  The history of the goblin’s depiction as something grotesque attracted some in zoology who named the goblin spider (which doesn’t look much more frightening than most arthropods) and the truly bizarre goblin shark which does live up to the name.  The noun hobgoblin dates from the 1520s, the construct being hob (elf), from Hobbe, a variant of Rob (short for Robin Goodfellow, an elf character in German folklore) + goblin.  Hobgoblins & goblins are all supernatural and all regard humans with malicious intent.  Traditionally, they are depicted as human-animal hybrids with an appearance tending to the former and they were said to assail, afflict and generally annoy folk before retreating to their haunts under bridges on in secluded spots in forests; Shakespeare’s contrast being: “Be thou a spirit of health or goblin damn'd,” (Hamlet, act I, scene 4).  Gremlins are a more modern creation and are especially prevalent in machinery, breaking things and disrupting production, their cousins in software being bugs.

Goblins from Texas en masse (left) and the one-off Goblin, Perth, Australia, 1959.

Although there have been Demons and Ghosts, no car manufacture seems ever have been tempted to build a Goblin although one Texas-based operation does offer a minimalist kit-car with the name and an enterprising Australian in 1959 chose it for a home-made special.  The Antipodean Goblin was the bastard offspring of unpromising origins: the chassis of a 1928 Essex, the drive-train from a wrecked Holden 48-215 (aka FX, 1948-1953).  Unusually for the era in which aluminum or fibreglass was preferred by small-scale producers, the body was all steel and apparently recycled from the donor Holden (although the grill components appear borrowed from the later FJ Holden (1956-1956), re-shaped with lines which owed something to both the MGA and AC Ace, later to become famous as the Shelby American Cobra.  Its fate is unknown but, in the ways of such things, survival is unlikely.

1974 AMC Gremlin X.  Despite the ungainly look, it was a commercial success.

There was however a Gremlin, built between 1970-1978 by American Motors Corporation (AMC) (production in Mexico lasted until 1983 under AMC's Vehículos Automotores Mexicanos (VAM) subsidiary).  Created in the AMC manner (in a hurry, at low cost), the Gremlin was essentially a shortened AMC Hornet (1970-1977) with a kammback tail and was a successful foray into the sub-compact (in US terms) market, something well-timed given the importance the segment would assume during the difficult decade the 1970s became.  Purchased almost exclusively on the basis of cost-breakdown, the Gremlin did however attract the interest of the ever imaginative drag-racing crowd because, although AMC never fitted anything more powerful than a distinctly non-powerful (malaise-era) 304 cubic inch (5.0 litre) V8, because (like Pontiac), AMC used much the same block size for all second-generation V8s, fitting their 401 (6.6) to the Gremlin was simple.  Many were produced, some in small runs with factory support and, being relatively light and small, the performance was more than competitive with some of the notably more expensive competition.

De Havilland Goblin jet-engine schematic (left) and prototype Gloster Meteor (DG207G) with Goblin engines, de Havilland airfield, Hatfield, Hertfordshire, 26 October 1945.

The origin of the jet engine lay in designs by French and German engineers which in principle would have worked but, as the authorities at the time realized, the metallurgy of the time hadn’t advanced to the point where alloys light enough to be viable and able to withstand the temperatures to which they’d be subjected, hadn’t been developed.  Progress however was made and in 1931 an English engineer was granted a patent for what was the first recognizably modern jet engine although, bizarre as it seems in hindsight, the Air Ministry allowed the patent to lapse and it was the German Heinkel company which first flew a jet-powered aircraft when the He 178 took briefly to the air in August 1939.  Fortunately, the Luftwaffe high-command was as short-sighted as the Air Ministry (“the bloody Air Marshals” Lord Beaverbrook (1879-1964) called them while minister for aircraft production (1940-1941)) and, knowing their immediate need was for a capable, reliable fighter force within two years, declined to fund development of a project which would absorb at least three years of expensive development to be battle-ready.  The British however by then saw the potential and in June 1939 ordered production of experimental airframes and engines; it was these which would become the basis of the Gloster Meteor, powered by the de Havilland Goblin.  Both would enjoy surprisingly long lives, the Goblin in series production between 1944-1954 while the Meteor, although by then obsolescent, served with the Royal Air Force (RAF) until 1955, while in overseas service, some militaries didn’t retire their last planes until 1974.

Lindsay Lohan in goblin mode.

“Goblin mode” is a neologism for rejecting societal expectations and living in an unkempt, hedonistic manner without regards to self-image and Oxford University Press (OUP), publishers of the Oxford English Dictionary (OED), recently announced “goblin mode” as their 2022 word of the year.  Ignoring (as in the past) criticism from pedants they had picked a phrase rather than a word, OUP also provided a mini-usage guide, suggesting the most popular forms were “I am in goblin mode” or “to go goblin mode” and the meaning imparted was “unapologetically self-indulgent, lazy, slovenly, or greedy”.  This year’s award differs from OUP’s usual practice in that it was chosen by public vote from a choice of three selected by their lexicographers.  Unlike some recent elections, there can be no suggesting this one was “stolen”, goblin mode winning in a landslide with 318,956 votes, 93% of the valid ballots cast.  While it can’t be proven, the margin of victory might have been greater still had those already in goblin mode not been too lazy to bother voting.

The win has provoked some comment because, despite having been used on-line since first appearing (apparently on twitter) in 2009, it’s hardly been popular and some have speculated its success can be attributed to it being the one which most appealed to an audience with memories of COVID-19 lockdowns still raw, a goodly number of voters probably recognizing it was goblin mode into which many had lapsed during isolation.  The other choices OUP offered were “Metaverse” and #IStandWith”, both probably more familiar but, lacking novelty and the quality of self-identification, clearly less appealing.  OUP also noted the suggestion there may be in the zeitgeist, something of a rebellion against “the increasingly unattainable aesthetic standards and unsustainable lifestyles exhibited on social media”.

The Nightmare (1781), oil on canvas by the Swiss-English painter John Henry Fuseli (1741-1825), Detroit Institute of Arts.  It's a popular image to use to illustrate something "nightmare related".

When the political activist Max Eastman (1883–1969) visited Sigmund Freud (1856-1939) in Vienna in 1926, he observed a print of Fuseli's The Nightmare, hung next to Rembrandt's  (Rembrandt Harmenszoon van Rijn; 1606-1669) The Anatomy Lesson.  Although well known for his work on dream analysis (although it’s the self-help industry more than the neo-Freudians who have filled the book-shelves), Freud never mentions Fuseli's famous painting in his writings but it has been used by others in books and papers on the subject.  The speculation is Freud liked the work (clearly, sometimes, a painting is just a painting) but nightmares weren’t part of the intellectual framework he developed for psychoanalysis which suggested dreams (apparently of all types) were expressions of wish fulfilments while nightmares represented the superego’s desire to be punished; later he would refine this with the theory a traumatic nightmare was a manifestation of “repetition compulsion”.  The juxtaposition of sleeping beauty and goblin provoked many reactions when first displayed and encouraged Fuseli to paint several more versions.  The Nightmare has been the subject of much speculation and interpretation, including the inevitable debate between the Freudians and Jungians and was taken as a base also by political cartoonists, a bunch more nasty in earlier centuries than our more sanitized age.

Limbo

Limbo (pronounced lim-boh)

(1) In (informal) Roman Catholic theology, a region on the border of hell or heaven, serving as the abode after death of unbaptized infants (limbo of infants) and of the righteous who died before the coming of Christ (limbo of the fathers, or limbo of the patriarchs); often with initial capital letter.

(2) A place or state of oblivion to which persons or things are regarded as being relegated when cast aside, forgotten, past, or out of date.

(3) An intermediate, transitional, or midway state or place.

(4) A place or state of imprisonment or confinement.

(5) A dance from the West Indies (originally restricted to men), in which the dancer bends backward from the knees and moves with a shuffling step under a horizontal bar that is lowered after each successive pass.  Among university under-graduates (and other disreputable types), the activity is now often combined with drinking contests where the bar's height is inversely proportional to the contestant’s consumption of alcohol.

(6) Used loosely, a synonym for oblivion, nothingness or nowhere.

(7) In the slang of the military slang, a demilitarized zone (DMZ).

(8) A colloquial form used to refer to a Limburger, a person from Limburg (the southernmost of the twelve provinces of the Netherlands; the French form being Limbourgeois).

1300–1350: From the Middle English, from the Medieval Latin phrase in limbō (“on hell's border” literally “on the edge”), the being construct in + limbō, ablative of limbus (edge, border) the term in Medieval Latin best translated as a “place bordering on hell”.  The West Indian English limba (to bend, easily bending) is relatively recent, emerging 1955-1960 and is of uncertain origin but most etymologists suggest it likely came from Jamaica, probably an alteration of limber as it is a test of physical agility.  Limbo is a noun & verb, limbo-like is an adjective (limbolike is a registered trademark and thus a noun), limboed & limboing are verbs; the noun plural is limbos or limboes.

Medieval conjecture which became informal theology

Surprisingly, despite the place it has in language and popular imagination, limbo has never formerly been part of Roman Catholic doctrine and was a bit of a medieval fudge.  It was championed by Italian Dominican friar, philosopher & theologian Saint Thomas Aquinas (1225–1274), taking hold in the western Church and perhaps most influential in the popularity was the Italian Dante (Dante Alighieri (circa 1265–1321) who, in his Divina Commedia (Divine Comedy (circa 1310-1321)) used limbo as the resting place for virtuous pagans.  Dante sticks in the mind.

In April 2007, early in his papacy, Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) authorized the publication of “The Hope of Salvation for Infants Who Die without Being Baptised” which some suggested appeared to render defunct limbo, the place centuries of tradition and much teaching held was the place the souls of babies who die without baptism were sent.  An explanatory memorandum from the Church’s International Theological Commission accompanied the document, suggesting it was issued to correct what was “…an unduly restrictive view of salvation”.

The commission however stressed there was no change to Church doctrine.  It remains Church teaching that baptism removes original sin which stains all souls since the fall from grace in the Garden of Eden and that its conclusions should not be interpreted as questioning original sin or “…used to negate the necessity of baptism or delay the conferral of the sacrament”.  Instead, the document merely notes “… God is just and merciful and would not …exclude infants, who have no personal sins, from eternal happiness… from the kingdom of heaven”.  It added the need for publication was not without urgency because the number of “…non-baptised infants has grown considerably, and therefore the reflection on the possibility of salvation for these infants has become urgent”.

Christ in Limbo (1510), one of a series of twelve woodcuts (eleven scenes and a title page) from The Large Passion by Albrecht Dürer (1471-1528).

In theology, limbo had long been understood in two senses:  Firstly (denoted as limbus partum) as the temporary place of rest for the souls of the just awaiting the salvation of the Messiah and secondly (limbus infantium or limbus puerorum), as the final state of the souls of those who died without baptism yet without mortal sin.  Because the Church never officially defined this as doctrine, it’s regarded as theological supposition or, as Benedict put it “medieval conjecture”, constructed probably to avoid the creation of a loophole which unworthy sinners and lawyers might exploit to get into heaven.  All the same, scripture does seem explicit, Jesus teaching that no one “can enter into God’s kingdom without being begotten of water and Spirit” (John 3:5), thus the old assertion in the old Catechism that God Himself “…affirms that Baptism is necessary for salvation.” 

The term "in limbo" is now used to describe an uncertain, undecided, transitional (though not indeterminate) state or condition and can be applied to people, things or concepts.

In Constantinople, because the Byzantines were never as in thrall of Augustine as the folk in Rome, Limbo never really bothered the many but over the centuries, the issue attracted the attention of notables.  Saint Gregory Nazianzen (circa 329–390) implied somewhere like limbo might exist, believing the unfortunate infants would neither “…be admitted by the just judge to the glory of Heaven nor condemned to suffer punishment” and Tertullian (155–circa 220) before and Saint Ambrose (circa 340–397) after, concurred.  Saint Augustine of Hippo (354–430) was more stern and said there was no limbo, there was just Heaven and Hell and that of course unbaptized souls are sent to Hell because they were born in original sin and nor could they go to Purgatory since that is a pathway to Heaven.  All he would concede was of those in Hell, the torment of infants would be the mildest although he didn't go into detail.  Eight-hundred odd years later, Aquinas was more generous, noting the original sin was committed by the parents and not by the child and since (1) Hell was the place where unrepentant mortal sinners are sent for eternal punishment (2) only the baptized could enter Heaven, then (3) the souls of unbaptized children must go somewhere else and here was the (admittedly shaky) foundation of limbo.  In a quite modern flourish, Aquinas helpfully added that because they’d never been born, the infants would never have learned of the glories of Heaven so, not knowing what they’d missed, they’d probably find limbo rather nice.  It was a fudge worthy of any Lambeth conference.

Luca Signorelli (circa 1444-1523), The Resurrection of the Flesh (1499-1502) Fresco Chapel of San Brizio, Duomo, Orvieto.

The issue didn’t go away and in the eighteenth century, a radical group of neo-Augustinites, a kind of Romish version of the Republican Party's Freedom Caucus and known as the Jansenists, rejected limbo, the idea of which had for hundreds of years provided comfort to grieving parents, forcing Pope Pius VI (1717–1799; pope 1775-1799) in 1794 to issue the Papal Bull Auctorem Fidei (Of our Faith), condemning, inter alia, the denial that there is a place “which the faithful generally designate by the name of limbo for children”.  It was a rare official mention of limbo but well short of a definitive statement.  Interest was renewed in the twentieth century but Pope Pius XII (1876-1958; pope 1939-1958), hardly one fond of radical change, in 1943 issued a statement in the Holy See’s periodic gazette again neither defining nor rejecting limbo.  

So, press releases aside, the commission’s document suggests in the eight centuries between Aquinas and Benedict XVI, in limbo, not much has changed; the Catechism still asserts only that children who die before baptism are entrusted into the mercy of God.  Benedict XVI, no stranger to dancing on the head of a pin, seemed both to clarify and cloud the waters by saying limbo was only ever “medieval conjecture” and given there is no explicit answer from Scripture, people seem still free to make of it what they will.