Melodrama

Melodrama (pronounced mel-uh-drah-muh or mel-uh-dram-uh)

(1) A dramatic form (used in theatre, literature, music etc) that does not observe the laws of cause and effect and that exaggerates emotion and emphasizes plot or action at the expense of characterization.

(2) Loosely, (sometimes very loosely), behavior or events thought “melodramatic” (overly dramatic displays of emotion or behavior and applied especially to situations in which “things are blown out of proportion”).

(3) In formal definition (seventeenth, eighteenth & nineteenth centuries), a romantic dramatic composition characterized by sensational incident with music interspersed.

(4) A poem or part of a play or opera spoken to a musical accompaniment (technically, a passage in which the orchestra plays a somewhat descriptive accompaniment, while the actor speaks).

(5) A popular nickname conferred on highly-strung young women with a Mel*.* given name (Melanie, Melissa, Melina, Melinda, Melisandre, Melodie, Melody etc).

1784 (used in 1782 as melodrame): From the French mélodrame (a dramatic composition in which music is used), the construct being mélo- , from the Ancient Greek μέλος (mélos) (limb, member; musical phrase, tune, melody, song) + drame (refashioned by analogy with the Ancient Greek δρᾶμα (drâma) (deed, theatrical act) and cognate to the German Melodram, the Italian melodramma and the Spanish melodrama.  The adjective melodramatic (pertaining to, suitable for, or characteristic of a melodrama) came into use in 1789 (unrelated to political events that year).  Melodrama, melodramaticism, melodramaturgy, melodramatics & melodramatist are nouns, melodramatize, melodramatizing & melodramatized are verbs, melodramatic is an adjective and melodramatically is an adverb; the noun plural is melodramas or melodramata.

As late as the mid-nineteenth century “melodrama” was still used of stage-plays (usually romantic & sentimental) in which songs were interspersed, the action accompanied by orchestral music appropriate to the situations.  By the 1880s, the shift towards a melodrama being understood as “a romantic and sensational dramatic piece with a happy ending” and this proved influential, the musical element ceasing gradually to be an essential feature, the addition of recorded sound to “moving pictures” (movies) the final nail in the coffin.  Since then, a “melodrama” is understood to be “a dramatic piece characterized by sensational incidents and violent appeals to the emotions, but with (usually) a happy ending”.

The origins of melodrama lie in late sixteenth century Italian opera and reflect an attempt to convince audiences (or more correctly, composers and critics) that the form (ie opera or melodrama) was a revival of the Classical Greek tragedy.  It was a time in Europe when there was a great reverence for the cultures of Antiquity, something the result of the scholars and archivists (and frankly the publicists) of the Renaissance building a somewhat idealized construct of the epoch and the content providers noted the labels, the German-British Baroque composer Frederick Handel (1685–1759) using both for his works.  In the late eighteenth century French dramatists began to develop melodrama as a distinct genre by elaborating the dialogue and adding spectacle, action and violence to the plot-lines, a technique still familiar in the 2020s, sensationalism and extravagant emotionalism as effective click-bait now it was for ticket sales in earlier times.

The use of “melodrama” to refer to the life of a troubled popular culture figure represents a bit of a jump in meaning but it’s now well-understood.

The path of the musical form had earlier been laid in text, something becoming a more significant influence as the spread of the printing press made mass-market publications more accessible and they spread even within non-literate populations because as public and private readings became common forms of entertainment.  Although elements of what would later be understood as melodrama exist in the gloomy tragedies of the French novelist Claude Prosper Jolyot de Crébillon (1707–1777), more of an influence on the composers would be those who wrote with a lighter touch including the Swiss philosopher Jean-Jacques Rousseau (1712–1778) whose Pygmalion (1775) and French theatre director and playwright René-Charles Guilbert de Pixerécourt (1773–1844) whose Le Pèlerin blanc ou les Enfants du hameau (The White Pilgrim (or The Children of the Village)) both came to be regarded as part of the inchoate framework of the genre.  Literary theorists still debate the matter of cause & effect between melodrama and the growing vogue of the Gothic novel, one of fiction’s more emotionally manipulative paths, many concluding the relationship between the two was symbiotic.

There was also the commercial imperative.  Literary historians have documented the simultaneous proliferation of melodramas produced for the English stage during the nineteenth century (notably adaptations of novels by popular authors such as Charles Dickens (1812–1870) and Sir Walter Scott (1771–1832)) and the paucity in original work of substance.  There are some who have argued the writers had “lost their ear” for dramatic verse and prose but it more likely they realized they had “lost their audiences” and these were people with bills to pay (the term “potboiler” was coined later to describe “books written only to provide food for the stove” but few authors of popular fiction have ever been far removed from concerns with their sales).  The reason the melodramas which flourished in the 1800s were so popular will be unsurprising to modern film-makers, political campaign strategists and other content providers for they can be deconstructed as a class of naively sensational entertainment in which the protagonists & antagonists were excessively virtuous or exceptionally evil (thus all tiresome complexities reduced for something black & white), the conflict played out with blood, thrills and violence (spectres, ghouls, witches & vampires or the sordid realism of drunkenness, infidelity or personal ruin used as devices as required).

The word “melodrama” appears often in commentaries on politics and that’s a trend which was probably accelerated by the presentation moving for most purposes to screens and Donald Trump (b 1946; US president 2017-2021) revolutionizing the business by applying the tricks & techniques of reality TV (itself an oxymoron) meant the whole process can now be thought an unfolding melodrama, indeed, the Trump model cannot work as anything else.  The idea of “politics as theatre” was first discussed in the US in the 1960s but then a phenomenon like Mr Trump would have been thought absurdly improbable.

Because of the popularity of the form, melodrama has rarely found much favor with the critics and that old curmudgeon Henry Fowler (1858–1933) in A Dictionary of Modern English Usage (1926) noted (and, one suspects, not without some satisfaction) that the term generally was “…used with some contempt, because the appeal of such plays as are acknowledged to deserve the title is especially to the unsophisticated & illiterate whose acquaintance with human nature is superficial, but whose admiration for goodness and detestation of wickedness is ready & powerful.”  Henry Fowler moved among only a certain social stratum.  He added that the task of the melodramatist’s was to establish in the audience’s mind the notion of the dichotomous characters as good & wicked and then “…provide striking situations that shall provoke and relieve anxieties on behalf of poetic justice.”  One device once used to produce the desired effect was of course music and a whole academic industry emerged in the mid-twentieth century to explain how different sounds could be used to suggest or summon certain emotions and because music increasingly ceased to be an essential part of the melodramatic form, the situations, dialogue and events in purely textual productions became more exaggerated.

Decadence

Decadence (pronounced dek-uh-duhns or dih-keyd-ns)

(1) The act or process of falling into an inferior condition or state; deterioration; decay.

(2) Synonyms: decline, retrogression, degeneration

(3) Moral degeneration or decay; turpitude.

(4) Unrestrained or excessive self-indulgence.

(5) The decadent movement in literature (often with an initial capital and extended sometimes to the visual arts).

1540–1550: From the early fifteenth century French décadence, from the Medieval Latin dēcadentia (decay), from the Late Latin dēcadent-, stem of dēcadēns (falling away), the present participle of the Vulgar Latin dēcadere (to fall away; to decay), an etymologically restored form of the Latin dēcidere (to fall away, fail, sink, perish”), the construct being de- (apart, down) + cadere (to fall (from the primitive Indo-European root kad- (to fall)).  The meaning “process of falling away from a better or more vital state” dates from the 1620s while the use to define epochs is traced by some historians to the sense used of “decadent” in 1837 by Thomas Carlyle (1795–1881): “…in a state of decline or decay (from a former condition of excellence)”, decadent from the from French décadent (a back-formation from décadence).  The use to refer (disparaging) the perceived corruption of literary values began in the 1850s and thirty years later was common in both French and English criticism.  The addition of the sense of decadence being “a form of self-indulgence” seems not to have emerged until the late 1960s when it was applied (negatively) to the counter-culture but modern commerce soon re-packaged to use it of products marketed as “desirable and satisfying”; creamy desserts were often so labeled and the cake “Chocolate Decadence” became a generic term, the recipes varying greatly in detail.  Originally, the term “decadence” was used of “a period of historical decline, particularly of empires or civilizations” but, from the late nineteenth century, it shifted to become a literary & artistic word describing a movement and later a type of moral or cultural behavior, particularly human behavior that is seen as self-indulgent or excessive.  Finally, it became the name of a chocolate cake, something (vaguely) linked to association philosophers and historians would make between the decline of civilizations declined from periods of greatness into moral and structural decay, often with a focus on materialism and indulgence.  Decadence & decadency are nouns, decadent is a noun & verb and decadently is an adverb; the noun plural is decadences.

The related adjective deciduous was from the Latin dēciduus (falling down or off), from dēcidō (fall down) and is now most familiar from the arboreal branch of biology where it describes trees which shed their leaves (variously in winter, the fall (autumn) or the dry season.  However, in the technical language of anatomy it’s used of body parts which fall off or are shed, at a particular time or stage of development (ie not the result of injury or disease) and more generally can be used figuratively of things transitory or ephemeral, this mostly as a literary device.  Obviously also related is the noun decay, from the Middle English decayen & dekeyen (to decrease, diminish), from the Anglo-Norman decaeir (to fall away, decay, decline), from the Vulgar Latin dēcadere.  Decay describes the process or result of being gradually decomposed; rot, decomposition and is widely used of qualities such as (1) a deterioration of condition; loss of status, quality, strength, or fortune, (2) civic, societal or moral decay and (3) systemic decay.  It was also once used of overthrows of governments and even now has a technical meaning in computer programming.

Lindsay Lohan arriving at the Maddox Gallery to attend the Tyler Shields (b 1982) Decadence exhibition private view, London, February 2016.

Despite the spelling, unrelated is the noun “decade”.  Decade (the spelling decad long obsolete) was from the Middle English decade, from the Old French decade, from the Late Latin decādem ((set of) ten), from the Ancient Greek δεκάς (dekás), from δέκα (déka) (ten).  In English, the reference to a “span of ten years” was originally a clipping of the phrase “decade of years”, that seeming tautology existing because over the centuries there have been also “decades of soldiers” (ie ten men), “decades of days” (in history a period of ten days, particularly those in the ancient Egyptian, Coptic, and French Revolutionary calendars, “decades of books” (a work in ten parts or books, particularly such divisions of Roman historian Livy’s (Titus Livius; 59 BC–17 AD) Ab Urbe Condita (literally “From the Founding of the City” and in English usually styled as History of Rome), “decades of prayers” (in the rituals of the Roman Catholic Church, a series of prayers counted on a rosary, typically consisting of an Our Father, followed by ten Hail Marys, and concluding with a Glory Be and sometimes the Fatima Prayer), “decades of stuff” (things which existed as a group, set or series of ten),  The dominant, modern sense of “a period of ten years” dates from the seventeenth century while the notion it “usually” is one beginning with a year ending in 0 and ending with a year ending in 9” was (more or less) formalized in the nineteenth.  In technical use “decade” has been re-purposed in some specialist fields including the Braille language (to refer to the various sets of ten sequential characters with predictable patterns), electronics (of devices or components used to represent digits and physics & engineering (of the interval between any two quantities having a ratio of 10 to 1).

For what most people do most of the time, a decade is “a period of ten years beginning with a year ending in 0 and ending with a year ending in 9” (ie the 1980s, 1990s etc) bit it remains correct that a decade can be any period of that duration (such as 1994-2003).  May style guides don’t approve of this, not because it’s technically wrong but because it can tend to confuse if things are not carefully phrased.  That seems wise advice although the suggestion terms like decennium or decennary can be a substitute for “non-standard” ten-year periods is unlikely to catch on.  Words nerds note that the computation protocol for something like “the 1970s” is xxx0-xxx9 whereas for “real” decades it’s xxx1-xxx0, following the practice for centuries and millennia, something which creates the certain anomalies because there was no “year 0”, the Western calendrical shifting directly from 1 BC to 1 AD.  “Decadence” and “decade” do however sometimes mix: the Japanese term Lost Decade (失われた10年) (Ushinawareta Jūnen) coined in the late 1990s to describe the period of national economic stagnation in precipitated by the collapse of the asset price bubble (notably Tokyo commercial floor-space) which began in 1990.  The phenomenon though endured and economists responded in subsequent decades by adding 失われた20年(lost 20 years) and 失われた30年 (lost 30 years).  The 2020s are showing little indication of a return to high growth and given Japan’s structural challenges (debt rations and an aging & declining population, there’s an expectation 失われた40年 will appear in the late 2020.

The other chocolate cake: Chocolate Decadence Soap by Heritage Downs: Aus$6.50 (inc GST) per cake; the gift for the chocaholic who has everything.

In the history of art or literary theory, “decadent” was in the nineteenth century iused to describe a period during which the output was “qualitatively in decline” compared with the (perceived) excellence of a former age.  Historically, it was applied to the Alexandrine period (300-30 BC) the period after the death of Augustus (Gaius Julius Caesar Augustus (known also as Octavianus (Octavian)); 63 BC-14 AD, founder of the Roman Empire (27 BC-476 AD) and first Roman emperor 27 BC-14 AD).  In modern use it’s applied to the late nineteenth century symbolist movement in France (the poetry a particular target).  The movement emphasized the autonomy of art (exemplified in the contemporary phrase l'art pour l'art (art for art's sake), the need for sensationalism & melodrama, egocentricity, the bizarre or (wholly or partially) artificial, and the superior “outsider” position of the artist who was “in” yet not quite unambiguously “of” society; a critic rather than a participant (which of course was a reference to middle-class (or bourgeois society).  What is now classified as “decadent” poetry was preoccupied with personal experience, self-analysis, perversity, the suffering of artists and elaborate and exotic sensations.

View of Amalfi (1844), pencil, ink & water colour by John Ruskin (1819-1900).

In France the exemplar of decadence was the poet & critic Charles Baudelaire (1821–1867) whose book of lyric poetry Les Fleurs du mal (The Flowers of Evil; the first version published in 1857) is regarded still a manifest of the movement (though some conservative critics prefer “cult”) and the deconstructions who trace the changes in tone (he continued to add material until his death) regard it as something of a “journal” of the times.  In English translation, Les Fleurs du mal is some 300 pages and, in the way of the movement, the poetic forms are not “traditional” and some of the imagery is as suggestive as the thematic motifs of eroticism, suffering, sin, evil and death which will delight some and repel others and the latter wishing to explore the movement might find more accessible the novel À rebours (Against the Grain (published also as Against Nature); 1884) by the French author & art critic Joris-Karl Huysmans (pseudonym of Charles-Marie-Georges Huysmans (1848–1907)); it’s a slimmer volume which English poet & critic Arthur Symons (1865–1945) would later describe as the movement’s “breviary” (in this context “a brief summary”).  There were many notable figures who devoted their lives to proving their allegiance to this aesthetic cult and the preoccupation with decay, ruins sadness and despair was appealing to nihilists and neo-Romantics, linked even with twentieth century German fascism which was styled (however misleadingly) as a revival of purity and a return to Classical roots.  It never caught on in quite the same way in the English-speaking world the influences are clear in the work of “excessively civilized” & “troubled” figures like the Irish writer Oscar Wilde (1854–1900) and English aesthete John Ruskin.

Chocolate Decadence Cake by Vegan Peace (Striving towards peacefully sharing our Earth).

Ingredients (wet & dry to be mixed separately)

1½ cups whole wheat pastry flour (or gluten-free all-purpose flour) (dry).
1 cup organic white sugar (not powdered) (dry).
3 tablespoons cocoa powder, sifted if lumpy (not Dutch process cocoa) (dry).
1 level teaspoon baking soda (dry).
¼ teaspoon sea salt (dry).
1 teaspoon vanilla extract (wet).
1 tablespoon apple cider vinegar (wet).
1½ cup oil (sunflower, non-virgin olive, melted coconut, or safflower) (wet).
1 cup chocolate soymilk (wet).

Freaky Frosting Ingredients

5 tablespoons plus 1 teaspoon non-hydrogenated margarine.
2¼cups plus 4 teaspoons organic powdered (confectioner's) sugar.
5 tablespoons plus 1 teaspoon cocoa powder (sifted if lumpy).
2 teaspoons vanilla extract.
Pinch of sea salt.
½ cup chocolate soymilk.

Directions

(1) Preheat oven to 350° F (175° C).

(2) Oil 9 x 9 inch (230 x 230 mm) pan or a dozen muffin cups.

(3) Mix wet & dry ingredients separately ensuring each is lump-free and well-mixed.

(4) Gently combine wet-mix & dry-mix do not “over-mix” (the batter will at this point taste strange but this will disappear in the baking process.

(5) Pour mix into oiled baking pan or muffin cups and bake until the point where a knife inserted in the centre comes out clean (ie no trace of liquid or semi-liquid batter).  For cupcakes, this should take about 20 minutes; for the pan between 30-40 minutes.

(6) Remove from oven and allow cake to cool before frosting.

Frosting Directions

(7) Using electric beater, whip margarine in a large bowl until fluffy (do not over-whip.

(8) Slowly add in remaining ingredients one at a time, in the order listed.  Beat at high speed until very fluffy, using a rubber spatula to scrape down the sides of bowl as needed.

(9) Refrigerate frosting until cake has cooled.

(10) Frost cake, ideally after allowing frosting to warm to room temperature before serving cake.  A chocolate decadence may be decorated with edible flowers, raspberries, strawberries, chocolate shavings or whatever else seems to suit.

Tchotchke

Tchotchke (pronounced chahch-kuh or chotch-kee)

(1) In Yiddish, an inexpensive, often showy trinket

(2) By adoption in English slang, an inexpensive souvenir, trinket, or ornament.

(3) In Yiddish, an attractive young woman (with variants).

(4) By adoption in English slang, an attractive young woman (now rare).

(5) In slang, objects of inferior quality (now rare US use of the word as a kind of alternative to schwag or swag (trinkets or promotional items given away at an event)) and used also of marijuana of low potency.

1950s: From the Yiddish טשאַטשקע (tshatshke) (ornament; trinket; toy and (figuratively) attractive girl or woman), from a Slavic language, perhaps the Russian цацка (tsatska) (toy or small ornamental object) or Ukrainian цяцька (tsatska (toy or trinket) but many etymologists think the Polish czaczko (trinket; knickknack) the most likely source and probably ultimately imitative of a baby’s utterances.  The Polish czaczko is long obsolete; the modern cacko exists in the same sense (originally dialect, of expressive origin).  Tchotchke is a noun; the noun plural is tchotchkes.

Classic tchotchke: Lindsay Lohan fridge magnet.  In US “tourist spots”, there are “tchotchke shops” (functionally equivalent to souvenirs shops in other places.

Quite what was tchotchke’s path through Slavic languages is not certain; no single root has ever been identified.  The sense of “a small ornament of minor value; a knick-knack, a trinket” seems first to have appeared in the 1950s while the figurative meaning “attractive girl or woman” had come into use by at least 1964.  Both are thought to have origins in Jewish communities in the north-eastern US (almost certainly New York City) from which use spread to cities in south-east Canada.  The time-line of the assumption of meanings (trinket: 1950s & attractive young woman: 1960s) are vague because tchotchke was circulating in oral use for some time before appearing in the written record; in the pre-online era, years could elapse between lexicographers acknowledging a word’s existence and its appearance in a printed volume of a dictionary (or one of the “supplements” issued between releases of revised editions).  That the transferred sense of “pretty girl” is listed as dating from 1964 reflects the publication date; not a verified first use.  With an origin in the Middle Ages, Yiddish is best imagined as beginning as a “concept”, assembled (variously and eventually) from over-lapping dialects, influenced mostly by West Germanic and Middle-Eastern languages.  Although by the 1950s (when tchotchke entered the lexicon) Yiddish was more codified, alternative spellings still were being listed, including chatchka, chachka, chatchke, chotchke, tsatske, tshatshke, tsotchke and tchotchkeleh.  The spelling tchotchke is an English transliteration of the Yiddish, not a form that follows ordinary English phonetic conventions although the OED (Oxford English Dictionary) notes consonant cluster “tch-” sometimes is used in English for “ch” (especially in foreign words) so the adaptation (with the silent “T”) is not unusual).

The dual meanings have survived despite the use to describe women being obviously sexist and sometimes derogatory (ie the latter sense transferred from “cheap trinket”) but it’s said now to be used with an emphasis on the “attractive” or “amusing” rather than any hint of “intellectually unsubstantial” with at least two Yiddish dictionaries adding “sometimes used affectionately”.  However, in many languages, with descriptors of women, there have been those who re-purpose even complimentary terms as pejoratives and documented uses of tchotchke have extended to what would in English be understood as “a kept woman”, “a manipulative minx” and “a bimbo”.  There can also be confusion with the Yiddish tsatskele (either “young woman who exploits her attractiveness to achieve her ends” or “one’s favourite daughter”, an explanatory note in Leo Rosten’s (1908–1997) The Joys of Yiddish (1968) explaining the meaning shift being effected by a change in the tone of voice).  In Yiddish, context matters much, regional uses also including “bruise”, “nobody”, “misfit” and “brat”.  That variety is emblematic of Yiddish because, unlike formal, structured Hebrew, Yiddish long grew without any sense of a “standard canon” and words used in one city district could convey a different meaning than those heard no more remotely than a few suburbs or blocks away.  Even today, not all entries in Yiddish dictionaries are necessarily comprehensive; the language varied by region and community with not every recorded sense universally understood.  If ever the term “melting pot” could be applied to languages, it was of the way Yiddish forms in the nineteenth & twentieth centuries swirled around New York City, entering (sometimes adapted but usually not) US English and the spreading.

Conservatory of Hitler's country house, Berchtesgaden: note wicker chair's incorporated swastika below armrest, “AH” in the embroidered throw and cushions in a variety of colors and designs, all gifts to the Führer from grateful German women.

There are those who inherit their tchotchkes, others acquire them while some have the thrust upon them.  Albert Speer (1905–1981; Nazi court architect 1934-1942; Nazi minister of armaments and war production 1942-1945) had the typical upper-middle class distaste for kitschy stuff and in his (sometimes reliable) memoir Erinnerungen (Memories or Reminiscences; published in English as Inside the Third Reich (1969)) the presence of not a few tchotchkes in Adolf Hitler’s (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) country house, on Obersalzberg of the Bavarian Alps, some years before it was enlarged in the sprawling complex centred on the Berghof: “After Berchtesgaden came the steep mountain road full of potholes, until we arrived at Hitler's small, pleasant wooden house on Obersalzberg.  It had a wide overhanging roof and modest interior: a dining room, a small living room, and three bedrooms. The furniture was bogus old-German peasant style and gave the house a comfortable petit-bourgeois look.  A brass canary cage, a cactus, and a rubber plant intensified this impression. There were swastikas on knickknacks and pillows embroidered by admiring women, combined with, say, a rising sun or a vow of ‘eternal loyalty.’  Hitler commented to me with some embarrassment: ‘I know these are not beautiful things, but many of them are presents.  I shouldn't like to part with them.’”

US rock band Tchotchke (Anastasia Sanchez (b 1999, drums, lead vocals), Eva Chambers (b 1999, bass, keyboards, backing vocals) and Emily Tooraen (b 1996, guitar, backing vocals).

Sanchez and Eva Chambers had been part of a number of musical aggregations and had released some material before in 2020 recruiting Tooraen as lead guitarist and adopting the name Tchotchke.  Most tracks on their eponymous album (2022) had been recorded prior to Tooraen’s arrival but their second release (Playin' Dumb) in 2025 included contributions from all three.  Working in what’s described as a “retro blend” of 1960s “pure pop” and the harder edge of “playlist-friendly power pop”, the band often collaborates with fellow New York outfit the Lemon Twigs, both in packaged recordings and undertaking tours.  Tchotchke’s emphasis on the use of harmonies (a nod to the “girl groups” of the 1960s) and analogue recording techniques produce a “vintage sonic aesthetic” (their material is always concurrently available on vinyl) and reviewers have noted it works as well with a touch of “old time static” as it does in the crystal-clear digital version.  Despite the obvious commercial appeal of their “candy-coated” sound, definitely the trio belong somewhere in the “art house” genre.

Wish You Were a Girl (2022), official music video.

While tempting (for men at least) to assume the band’s name was chosen as an allusion to the photogenic qualities of the members, Ms Sanchez said the origin lay in the fondness she and Ms Chambers have for tchotchkes: “We like tchotchkes and have collections that are constantly growing.  Emily is more of a minimalist, which has been healing to our hoarding tendencies.”  Pleasingly though, an element of nominative determinism appeared in the in official music video of Wish You Were a Girl (2022) with many tchotchkes included as  verisimilitude.

Tchotchke with Volvo 240.  There may be a subliminal message or maybe the girls just like Volvos (sometimes, “a Volvo is just a Volvo”).

The Volvo 200 series, in production between 1974 and 1993, was the famously robust machine that more than any established the brand in the US with some 2.8 million built.  Available mostly as two & four doors sedans and a five-door station wagon, there were some low-volume variants including LWB (long wheelbase) limousines (supplied mostly to the GDR (Deutsche Demokratische Republik (German Democratic Republic; the old East Germany, 1949-1990)) and a distinctive two-door PLC (person luxury coupé) with a lowered roofline (the “chop-top” 262C (1978-1980) that, although designed in-house, was built by in Turin, Italy by Carrozzeria Bertone).  Unusually, although among collectors, as a general principle, desirability tends to rise as cylinder-count and displacement increases, it’s the cars powered by Volvo’s (reputedly indestructible) four-cylinder engines that are preferred to those with the PRV (Peugeot-Renault-Volvo) “Douvrin” V6 that gained a reputation for thirst, sluggishness and fragility even before it appeared in the stainless steel fiasco that was the doomed DMC DeLorean (1981–1983).  Production of the six-cylinder versions ended in 1984.  In that aspect, the long-running 200 series differed from its predecessor.  The 140 Series was produced exclusively in four-cylinder form between 1966 and 1974 but in 1969 the companion 164 appeared, powered by Volvo’s 3.0 litre (182 cubic inch) straight-six.  The 164 was highly regarded (a lack of power one of the few complaints about the 140), the robust engine (used also in marine, military, industrial and other applications) a paragon of reliability.  Unexpectedly, the 164 remained in (limited) production for a season beyond the retirement of the 140, batches needed for certain markets (notably the US and Japan) while the PRV V6 was made compliant with their more onerous emission rules.  That made those PRV less toxic to the environment but further compromised its dubious reputation, the anti-emission plumbing further sapping the anyway modest power.  While to this day the 240 enjoys a following, few lamented the demise of the 260.

Tchotchke with Volvo 240 (while eating bananas).

The NNN designation system (N=Series; N=Cylinders; N=Doors) was in 1983 simplified so 242, 264, 245 etc was replaced by 240 & 260.  The predecessor of the 200 series is a footnote in diplomatic history as what Volvo calls the “biggest car heist in history”.  In 1974, a thousand Volvo 144s were ordered by the government of the DPRK (Democratic People's Republic of Korea (North Korea)) and duly supplied, along with an invoice than went unpaid.  The factory got paid by the Swedish state because the transaction had been underwritten by the SECA (Swedish Export Credit Agency) but, despite SECA periodically sending “reminder notices” to Kim Il-Sung (Kim I, 1912–1994; Great Leader of DPRK 1948-1994), Kim Jong-Il (Kim II, 1941-2011; Dear Leader of DPRK  1994-2011) and Kim Jong-Un (Kim III, b 1982; Supreme Leader of DPRK since 2011), the invoice remains in SECA’s BD (bad debts) ledger and not even the ownership of Volvo passing in 2010 to the Chinese Geely Group seems to have assisted in extracting money from Pyongyang (Beijing among the few “friends” of the “Hermit Kingdom”).  Adding insult to injury, some of the 144s are still in use and the Great Leader, Dear Leader & Supreme Leader never contested the bill; they just ignore the letters of demand.  With the accumulated interest of a half-century odd, the total payable is now some US$455 million.

Monica Lewinsky, pleased to see “big schmuck” Bill Clinton, 1996.

Yiddish has enriched English, the words often a “highlight” of the sentence in which they appear.  Former White House intern Monica Lewinsky (b 1973, with whom Bill Clinton (b 1946; POTUS 1993-2001) “did not have sexual relations") was a good Jewish girl and one of her emails (discussing gifts Mr Clinton had purchased from The Black Dog at Martha’s Vineyard and sent her through the office of his secretary Betty Currie (b 1939)) to college friend Catherine Davis (b 1973) was published in the “Starr report” (Referral from Independent Counsel Kenneth W. Starr in Conformity with the Requirement of Title 28, United States Code, Section 595(c) (1998) by Ken Starr (1946–2022; independent counsel investigating the Clinton-era Whitewater(gate) affair and other matters).  “Well, I found out from Betty yesterday that he not only brought me a t-shirt, he got me 2 t-shirts, a hat and a dress!!!!  Even though he's a big schmuck, that is surprisingly sweet – even that he remembered!”  Some other Yiddish words most frequently used in English include:

Bupkis (or bubkes): Emphatically nothing or a worthless amount (as a Jewish mother telling her daughter: “Your new boyfriend isn't worth bupkis”).

Chutzpah (pronounced hutz-pah): Impudent nerve, supreme self-confidence, or audacity.

Glitch: A minor technical malfunction or sudden error (as in “a glitch in the matrix”).

Klutz: A clumsy, uncoordinated person (from the Yiddish word for a wooden block or beam).

Kvell: To beam with pride and joy, especially over a child or family member.

Kvetch: To whine, complain, or squeeze out a grievance (a word that might have been coined for crooked Hillary Clinton (b 1947; US secretary of state 2009-2013).

Mensch: A good, honorable, and decent person of integrity (rarely used by most people).

Meshuggah (or meshugener): Crazy or senseless.

Nebbish: A timid, ineffectual, or unfortunate simpleton.

Nosh: To snack or nibble on food.

Oy vey: An interjection expressing dismay, exhaustion, or grief.

Plotz: To collapse, burst, or explode from overwhelming emotion (laughter, stress, or anger).

Schlemiel: A clumsy or chronically incompetent person.

Schlep: To drag, haul, or travel with great difficulty or heavy effort.

Schlimazel: A chronically unlucky person (often used in conjunction with “schlemiel”: “The schlemiel spills the soup; the schlimazel is the one on whom it lands”).

Schmaltz: Excessive sentimentality or melodrama (most of the reading list for women’s book clubs).

Schmooze: To chat in a friendly, conversational way, often to make social connections or gain an advantage.

Schmuck: A foolish, obnoxious, or contemptible person (although sometimes used affectionately of one loved despite their flaws).

Schmutz: Dirt, grime, or a smudge of filth.

Spiel: An elaborate, rehearsed, or persuasive sales pitch or story.

Verklempt: Choked up or overcome with emotion.

Yenta: A nosy, gossipy person or busybody.

Teaspoons.

There are words that can be synonyms of tchotchke including “trinket”, “ornament”, “kitsch”, “souvenir”, “knick-knack”, “gewgaw” and “bric-à-brac” but the significance of the Yiddish word is it’s so specific in meaning “small & inexpensive”.  In that, it differs from “ornament”, “kitsch”, “souvenir”, all terms that can be applied to stuff that can be large and costly (sometimes inexplicably expensive) and differs from “trinket” because there's not the same sense of the dismissive; a trinket intrinsically is “useless” while a tchotchke might fulfil some purpose, even if abstract.  Souvenirs, by definition, tended to be “location or event specific” and while tchotchkes certainly could be souvenirs, not all were.  In the US, tchotchke also entered the jargon of business, the small toys in breakfast cereal boxes and the stuff in bags handed out in conferences also described thus.  So, of all these words there’s a definite “evaluative undertone” and while none are exactly positive, as terms of derision all are fairly mild although “ornament” is an outlier in that ornaments can be both exquisite and expensive so are more like bibelots (by convention, used of stuff both beautiful and expensive).  Depending on the context (and item(s)), the term can have a connotation of worthlessness or disposability as well as tackiness: To say: “She’s a collector of porcelain figurines” is neutral whereas: “She collects tchotchkes” probably in the minds of most summons visions of clutter, perhaps a room full of lovingly curated teaspoon collections, all in wall-mounted display cabinets.