Purple

Purple (pronounced pur-puhl)

(1) Any color having components of both red and blue (often highly saturated), the darker the hue, the more likely to be described thus.

(2) In color theory, any non-spectral color on the line of purples on a color chromaticity diagram or a color wheel between violet and red.

(3) A dye or pigment producing such a colour

(4) Cloth or clothing of this hue, especially as formerly worn distinctively by persons of imperial, royal, or other high rank.

(5) In the Roman Catholic Church, a term at various times used to describe a monsignor, bishop or cardinal (or their office), now most associated with the rank, office or authority of a cardinal.

(6) Imperial, regal, or princely in rank or position.

(7) Any of several nymphalid butterflies including the red-spotted purple and the banded purple)

(8) Of or pertaining to the color purple (or certain things regarded as purple).

(9) In writing, showy or overwrought; exaggerated use of literary devices and effects; marked by excessively ornate rhetoric (purpureal).

(10) In language, profane or shocking; swearing.

(11) In modern politics, relating to or noting political or ideological diversity (in the US based on the blending of Democrat (blue) and Republican (red); in other places red & blue indicate different places on the political spectrum).

(12) In drug slang; the purple haze cultivar of cannabis in the kush family, either pure or mixed with others, or by extension any variety of smoked marijuana (“purple haze” a popular name for commercially available weed in those places where such thing are lawful.  Purple haze was originally slang for LSD.

(13) In agriculture, earcockle, a disease of wheat.

(14) To make or become purple (or, in ecclesiastical use, to put on one’s purple vestments) .

Pre 1000: From the Middle English noun and adjective purple, purpel & purpur, from Old English purpuren & purpul, a dissimilation (first recorded in Northumbrian, in the Lindisfarne gospel) of purpure (purple dye, a purple garment), from the adjective purpuren (purple; dyed or colored purple), from purpura (a kind of shellfish, Any of various species of molluscs from which Tyrian purple dye was obtained, especially the common dog whelk; the dye; cloth so dyed; splendid attire generally), from the Ancient Greek πορφύρα (porphýra or porphura) (the purple fish (Murex)), perhaps of Semitic origin.  Purpur continued as a parallel form until the fifteenth century and was maintained in the rules of heraldry until well into the nineteenth.  The verb purple (to tinge or stain with purple) was from the noun and emerged circa 1400.  The earlier form was purpured, a past-participle adjective.  The adjective purplish (somewhat purple, tending to purple) was from the noun and dates from the 1560s.  Purple is a noun, verb & adjective, purpled & purpling are verbs, purplish, purpler, purply & purplest are adjectives and purpleness is a noun; the noun plural is purples.

1974 Triumph Stag in magenta.  Some of the shades of brown, beige, orange and such used in the 1970s by British Leyland are not highly regarded but some were quite striking.

The rhetorical use in reference to “the splendid; the gaudy” began as a description of garments (classically imperial regalia) and since the mid-eighteenth century, as “purple prose” of writing.  In US political discourse and commentary, purple has since been used (often in graphical or cartographic form) to indicating the sectional or geographical spaces in which the increasing division of the country into red (Republican) and blue (Democratic) was less apparent.  That this came into widespread use only by around 2004 is because the use of red & blue by the US news media became (more or less) standardized only by the 1990s, use have begun circa 1980, something without any relationship to the linking of the colors (red=left; blue=right) traditional in other parts of the English-speaking world.  Other words used to describe purplish shades include lavender, mauve, amethyst, violet (with many sub-types) lilac, orchid, indigo, mulberry, plum, eggplant (aubergine seems rare but is used in commerce), fuchsia, heliotrope, periwinkle, purpureus & thistle and while many directly reference the flowers of plants, one curiosity is magenta: It was so called because the dye of that shade was created at the time of the Battle of Magenta (1559) in which French and Sardinian forces defeated those of the Austrians.  Purple is widely used in zoology and botany to create common names of species to some extent colored purple.

Purple patch: 1970 Dodge Challenger (440 Six-Pack) in Plum Crazy (left) and 1971 Plymouth Hemi ‘Cuda in In Violet) (clone; right).

Chrysler had some history in the coining of fanciful names for colors dating from the psychedelic era of the late 1960s when the choices included Plum Crazy, In-Violet, Tor Red, Sub Lime, Sassy Grass, Panther Pink, Moulin Rouge, Top Banana, Lemon Twist & Citron Yella.  Although it may be an industry myth, the story told was that Plum Crazy & In-Violet (lurid shades of purple) were late additions because the killjoy board refused to sign-off on Statutory Grape.  The lurid colors soon disappeared, not only because fashions change but because at the time they depended on the use of lead which was banned from paint in the early 1970s.  Not until the early twenty-first century did manufacturers perfect ways economically to replicate the earlier colors without using lead.

In idiomatic use, purple is popular.  One “born into the purple” was literally one of royal or exalted birth although it’s now often used even of those from families somewhere in the upper middle class.  The “purple death” was hospital slang for Spanish influenza and it was an allusion to the cyanosis which, because of the difficulty breathing, which would turn the skin purple.  In the early post-war years “purple death” was also used to describe a cheap Italian wine.   The phrase “once in a purple moon” was a variation of “once in a blue moon” and some dictionaries include an entry, apparently only for the purpose of assuring us that not only is it extinct but it may never have been in common use.  “Purple bacteria” (the form only ever used in the plural) are a proteobacteria which produce their own food using photosynthesis; they are all classed as purple, even though some are orange, red or brown.  In the analogue-era world of the phone phreaks (hackers who used the telephone networks for other than the intended purpose), a “purple box” was a device which added a hold facility to a telephone line.  It was an allusion to the general term “black box” used in engineering and electronics to describe small devices with specific purposes; not all “purple boxes” were actually purple.  “Purple gas” was a Canadian term which described the gas (motor spirit; petrol) colored with a purple dye to indicate it was sold subject to a lower rate of taxation and for use only in agriculture and not on public roads.  Anyone found using “purple gas” beyond a farm could be charged and many countries use similar methods though the dye is not always purple.  “Purple gold” was a synonym of amethyst gold (a brittle alloy of gold and aluminium, purple in colour).

1994 Porsche 911 Turbo 3.6  (964) in Amethyst Metallic over Classic Gray.

A “purple passage” (also as “purple prose”) was any form of writing thought showy or overwrought, using an exaggerated array of literary devices and effects or marked by excessively ornate rhetoric.  It was a criticism but the later “purple patch” which describes any particular good period or performance (in any context) was wholly positive.  The “purple pill” was an advertising slogan used by a pharmaceutical company but unlike “little blue pill” (Viagra), it never entered the vernacular.  “Purple plague” has specific meanings in chemistry and electronics (relating to a chemical reaction which produces an undesirable purple compound) but a more amusing use is by Roman Catholic bishops noting a unwanted number of monsignors (who wear a purple sash) in their dioceses, sent there by the Vatican.  In US politics a “purple state” is a “swing state”, one which, depending on this and that, may vote either Republican (red) or Democrat (blue).  The “purple star” was the symbol worn by Jehovah's Witnesses in concentration camps in Nazi Germany (1933-1945), one of a number of color-coded patches, the best-known of which was the yellow Jewish star.  The Jehovah's Witnesses were an interesting case in that uniquely among the camp inmates, they could at any time leave if they were prepared to sign a declaration denying their religious beliefs.  In international air-traffic management, a “purple zone” (also “purple airway”) describes a route reserved for an aircraft on which a member of a royal family is flying.  In US military use, the “Purple Heart” dating from 1932, is still awarded to service personnel wounded in combat.  It’s origin was a decoration in purple cloth first awarded in 1782 which came to be known as the “wound stripe”.  In the mid 1960s, “purple haze” was slang for LSD (Lysergic acid diethylamide, a psychedelic drug with a long history verging on academic respectability before becoming a popular hallucinogenic, users clipping the term to "acid"); it was later repurposed for various strains of weed.

Lindsay Lohan, admirer of all things purple.

The dye tyrian purple (all the evidence suggests it would now be thought a crimson), was produced around Tyre and was prized as dye for royal garments, hence the figurative use in the sixteenth century of purple for “imperial or regal power” (it was also the color of mourning or penitence among royalty or the upper reaches of the clergy).  Tyrian purple (also known as shellfish purple) was for long periods the most expensive substance in Antiquity (often (by weight) three times the value of gold, the exchange rate set by a Roman edict issued in 301 AD.  By the fifteenth century when the intricate process to extract and process the dye was lost, Tyrian purple had for millennia been variously a symbol of strength, sovereignty and money and its use had spread from the Classical world to Southern Europe, North Africa, and Western Asia and was so associated with the civilization of the Phoenicians (the color named after their city-state Tyre) that they were known as the “purple people”.  What many didn’t know was that the dye associated with the illustrious came not from a gemstone or some vivid coral but from the slimy mucous of sea snails in the Murex family.  Debate continues about what must have been the process used in extraction and production although, given many factories and artisans were involved over the years, there may have been many variations of the method.

It was in 1453 when the Byzantine capital Constantinople (modern-day Istanbul) fell to the Ottomans that the knowledge of Tyrian purple was lost, something of a footnote to the end of the Eastern Roman Empire but still a loss.  Then, the infamously smelly dyeworks of the old city were the hub of purple production although, after a series of punitive taxes, the Catholic Church had lost control of the pigment which is the origin of the pope’s decision that red would become the new symbol of Christian power and this was adopted for the garb of cardinals; the story that the vivid red symbolized the blood cardinals mush be prepared to spill in the defense of their pope was just a cover story although one obviously approved of by the pontiff.

Beginning in 1968 with Shades of Deep Purple (left), the rock band Deep Purple sometimes used purple-themed album cover art and may have wished they'd stuck with that their eponymous third album (1969).  The original cover (centre), featuring a fragment of one panel of the triptych The Garden of Earthly Delights (1490-1510) by Hieronymus Bosch (circa 1450-1516), was declared "demonic" by the US distributors so an alternative needed hastily be arranged and whether because of the tight schedule or just wanting to play it safe, they stuck to purple (right).  They'd earlier had a similar difficulty with their US label when releasing their second album (The Book of Taliesyn (1968)), the objection that time that one song title (Wring That Neck) was "too violent" (it was an instrumental piece and the reference was to a technique used with the neck of a guitar but it was anyway changed to Hard Road).  Times have changed.

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.

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

Concerto

Concerto (pronounced kuhn-cher-toh or kawn-cher-taw (Italian))

(1) A composition for an orchestra and one or more principal instruments (ie soloists), usually in symphonic form. The classical concerto usually consisted of several movements, and often a cadenza.

(2) An alternative word for ripieno.

1519: From the Italian concertare (concert), the construct being con- + certō.  The Latin prefix con- is from the preposition cum (with) and certō is from certus (resolved, certain) +‎ -ō; the present infinitive certāre, the perfect active certāvī, the supine certātum.  Concerto grosso (literally “big concert”; plural concerti grossi) is the more familiar type of orchestral music of the Baroque era (circa 1600–1750), characterized by contrast between a small group of soloists (soli, concertino, principale) and the full orchestra (tutti, concerto grosso, ripieno). The titles of early concerti grossi often reflected their performance locales, as in concerto da chiesa (church concerto) and concerto da camera (chamber concerto, played at court), titles also applied to works not strictly concerti grossi.  Ultimately the concerto grosso flourished as secular court music.  Concerto is a noun; the noun plurals are  concertos & concerti.

The origin of the Italian word concerto is unclear although most musicologists hold it’s meant to imply a work where disputes and fights are ultimately resolved by working together although the meaning did change over the centuries as musical traditions evolved.  Concerto was first used 1519 in Rome to refer to an ensemble of voices getting together with music although the first publication with this name for works for voices and instruments is by the Venetian composer Andrea Gabrieli (circa 1532-1585) and his nephew Giovanni Gabrieli (circa 1555-1612), a collection of concerti, dated 1587. Up to the first half of the seventeenth century, the term concerti was used in Italy for vocal works accompanied by instruments, many publications appearing with this title although initially, the Italian word sinfonia (from the Latin symphōnia, from the Ancient Greek συμφωνία (sumphōnía) was also used.  It was during the Baroque era the concerto evolved into a recognizably modern form.

Deep Purple and the Royal Philharmonic Orchestra under Malcolm Arnold: Concerto for Group and Orchestra, 24 September 1969.

Although pop groups playing with orchestras is now not rare, there’s never been anything quite like Jon Lord’s (1941-2012) Concerto for Group and Orchestra, performed on 24 September 1969 at the Royal Albert Hall by Deep Purple and the Royal Philharmonic Orchestra under Malcolm Arnold (1921-2006).  The work was a true concerto in three movements: Energico, Lento and Con Fuoco; an attempt to fuse the sound of an orchestra with that of a heavy metal band.  It proved a modest commercial success and has been performed on several occasions.

Cover of the original Tetragrammaton pressing of Deep Purple's second album The Book of Taliesyn (1968).

Although something very different from what most rock bands were doing in 1969, Jon Lord's concerto really was a synthesis of some of the material two of the bands previous three albums, both of which contained threads in the tradition of the German classical music in which Lord Had been trained.  Recorded during their early quasi-psychedelic period, the title of their second album had been borrowed from The Book of Taliesin (Llyfr Taliesin in the Welsh), a fourteenth century manuscript written in Middle Welsh which contains some five dozen poems, some pre-dating the tenth century while the third owed some debt to the seventeenth & eighteenth.  The Concerto for Group and Orchestra was very much in the vein of Deep Purple's early output but what was at the time unexpected was that less than a year after the performance, the band released the album In Rock, a notable change in musical direction and one decidedly not orchestral.  Prior to In Rock, Deep Purple's output had been eclectic with no discernible thematic pattern, a mix of influences from pop, blues and psychedelia, delivered with the odd classical flourish so suddenly to produce one of the defining albums of heavy metal was unexpected in a way the Concerto was not.  For the band however, it was the performance at the Royal Albert Hall which proved the anomaly, In Rock providing the template which would sustain them, through personnel changes and the odd hiatus, well into the twenty-first century.

Cover of the original Harvest pressing of Deep Purple's fourth album: Concerto for Group and Orchestra (1969).

Lord wasn’t discouraged by the restrained enthusiasm of the music press, describing critics as “…an archaic, if necessary, appendage to the music business” and pursued variations of the concept for the rest of his life.  The most noted was Windows (1974), a collaboration with German conductor and composer Eberhard Schoener (b 1938) which included Continuo on B-A-C-H (B-A-C-B# in musical notation), a piece which built on the unfinished triple fugue that closed Johann Sebastian Bach's (1685–1750) Art of the Fugue, written in the last years of his life.  Although not included with the original release on vinyl, the band did perform some of their other material just before the concerto began including a song which would appear on In Rock.  That was Child in Time, a long and rather dramatic piece with some loud screaming which must have been quite unlike anything which some of that night's older critics might previously have enjoyed and perhaps it affected them.  Unlike pop music’s fusions with jazz, attempts to synthesize with classical traditions never attracted the same interest or approbation, the consensus seemingly that while a cobbler could create a hobnail boot for a ballerina, it was hard to imagine why.

Amethyst

Amethyst (pronounced am-uh-thist)

(1) A purple or violet transparent variety of quartz used as a gemstone.  The color is caused by the presence of iron compounds in the crystal structure.

(2) As the oriental amethyst, a purple variety of sapphire.

(3) A variety of shades of purple; darker hues of fuchsia.

(4) A thing containing or set with an amethyst or amethysts.

(5) A nymph from Greek mythology.

1250-1300: From the Middle English amatist, from the twelfth century Old French ametiste (the Modern French being améthyste) and directly from the Medieval Latin amatistus, from the Classical Latin amethystus, from the Ancient Greek αμέθυστος (améthystos) (amethyst) a noun use of the adjective which translated literally as "not intoxicating; not drunken", the construct being a- (not) + methyskein (make drunk) from methys (wine (and a variant stem of methýein (to intoxicate), the source of methylene)) + -tos (the Latin verbal adjective suffix); the source was the primitive Indo-European root medhu- (honey; mead), famous as the nectar the Valkyries would serve to fallen warriors in the halls of Valhalla.  The meaning in Ancient Greek was literal, the belief being that the stone prevented drunkenness, the link to reality being the color which resembled red wine diluted with water which was of course less intoxicating; chemistry then rather than magic but those who took their wine pure were still inclined to wear rings with an amethyst stone in the hope of avoiding a hangover.

One (dodgy) legend of Amethyst

Lindsay Lohan in amethyst-colored tank-top.

In antiquity, the Greeks believed amethyst could prevent intoxication and the practice was to wear the gem in a ring if the drinking session was to be epic although some maintain there were those who kept a stone in their mouth which seems not a good idea when taking strong drink.  As was often the case, later writers also created their own Greek "myths" and one was the story of the how the beautiful nymph Amethyst, while walking to worship at the Temple of Diana, had the misfortune of crossing paths with Bacchus, the god of wine.  Angry (as often he was), he had vowed vengeance on the next person he met so unleashed his two guardian tigers upon the poor waif.  As the great beasts bounded towards her, the goddess Diana intervened and to spare her from her terrible fate, transformed her into a pure, clear stone.  Remorse immediately seized Bacchus and in an attempt to atone, poured his wine over the stone, staining the crystal a deep, violet hue and that's how Amethyst lent her name to the crystal.  Although presented in Classical guise, this "myth" dates only from the Renaissance, the French poet Remy Belleau (1528-1577) creating the tale in 1576.

1994 Porsche 911 Turbo 3.6  (964) in Amethyst Metallic over Classic Gray.

The presence of manganese in clear Quartz produces Amethyst, while additional amounts of iron vary the purple coloration. It ranges in hue from pale red-violet to deep violet and may be transparent or opaque. In addition, it is sometimes layered with white Quartz (as Chevron Amethyst), found in combination with Cacoxenite, mixed with Citrine as Ametrine, or in rare cases, “rutilated” with Goethite.  In the modern system of, it's a semi-precious stone but to the ancients it was a “gem of Fire" and at some points in history has been as highly valued as diamonds.  Anglican bishops wear an episcopal ring often set with an amethyst, an allusion to Acts 2:15 in which the Apostles are noted to be sober at nine in the morning, the piece of scripture from which is derived that measure of English respectability: never taking a G&T before noon.  Medieval European soldiers wore amethyst amulets into battle in the belief the stone had healing properties and in several cultures, they were a popular burial stone, found most often in Anglo-Saxon graves in England.  Faith in the healing power of the stone is maintained by the new-age movement, something probably no more nutty than their other beliefs.

An amethyst crystal cluster.

In the weird word of the new age, crystals are of great significance and each is said to be imbued with its own unique properties, the amethyst known often as the “stone of the dreamers”, apparently because it can inspire positive thoughts and inspire one to go forth and turn one’s dreams into reality.  Long associated with February, the month the Romans dedicated to the water god Neptune, it’s the stone of Saint Valentine and faithful love, signifying ecclesiastical dignity as the Bishop’s Stone.  To new agers, it carries the energy of fire and passion, creativity and spirituality; yet bears the logic of temperance and sobriety and crystal specialists among the practitioners extol its properties:

"In the modern world, Amethyst’s healing properties and meanings are similar to their historic roots and it remains a remarkable stone of spirituality and contentment; known for its metaphysical abilities to still the mind and inspire an enhanced meditative state.  Its inherent high frequency purifies the aura of any negative energy or attachments, creating a protective shield of light around the body, allowing one to remain clear and centred while being open to spiritual direction.  Amethyst stimulates the Third Eye, Crown, and Etheric Chakras enhancing cognitive perception as well as accelerating the development of intuitive and psychic ability. It initiates wisdom and greater understanding and is a stone of comfort for those grieving the loss of a loved one.  Amethyst’s ability to expand the higher mind also enhances one’s creativity and passion, strengthening the imagination and intuition while refining the thinking processes. It helps in the assimilation of new ideas, putting thought into action, and brings projects to fruition; amethyst is also well-known as a talisman of focus and success.  Amethyst is an exceptional crystal for wearing on the body, for use in healing rituals, and for enhancing one’s environment.  It has however been known to fade if left in direct sunlight so care should be taken and it’s wise from time to time to clear its energies by holding the stone under running water for short periods.  Remarkably, an unpolished amethyst also has special properties which can recharge other crystals so keep one in a dark space and leave some crystals with it to re-energize."

Ostrobogulous

Ostrobogulous (pronounced os-truh-bog-yuh-luhs or os-truh-bawg-yuh-luhs)

(1) Something (slightly or tending towards) the risqué or indecent.

(2) Something bizarre, interesting, or unusual.

Circa 1910s: The word was coined by the writer Victor Neuburg (1883–1940), a model of English eccentricity who was Jewish, bisexual and an occasionally intimate associate of the notorious occultist Aleister Crowley (1875–1947) with whom he shared several interests and proclivities.  Neuburg & Crowley travelled near and far to collaborate on many things but the best remembered (and still much celebrated in the cult which to this day surrounds the memory of Crowley) was the blending of occult rituals and certain sexual practices which was systematized as “Sex Magick”, a combination which has been a notable part of many sects and cults since.  Arthur Calder-Marshall (1908–1992) was an author (one with a remarkable eclectic oeuvre) acquainted with both and in one of his memoirs (Magic my Youth (1951) he recalled “Ostrobogulous was Vickybird’s (Victor Neuburg) favourite word. It stood for anything from the bawdy to the slightly off-colour. Any double entendre that might otherwise have escaped his audience was prefaced by, ‘if you will pardon the ostrobogulosity’”.  Ostrobogulous is an adjective, ostrobogulation & ostrobogulosity are nous and ostrobogulously is an adverb; the noun plural is ostrobogulations.

Neuburg claimed ostrobogulous was a most irregular formation, the construct being the Ancient Greek ostro (something rich) + the English bog (in the sense of “dirt” from the schoolboy slang sense of “the toilet”) + the Latin suffix ulus (full of), the literal translation thus “full of rich dirt”.  The Latin suffix -ulus was from the Proto-Italic -elos, from the primitive Indo-European -elós, thematized from -lós; it was cognate with the Proto-Germanic -ilaz & -ulaz and used to form (1) a diminutive of a noun, indicating small size or youth, (2) a diminutive of an adjective with diminished effect (denoting “somewhat” or “-ish”) and (3) an adjective from a verb.  The Oxford English Dictionary (OED) rejected that, claiming the first element was from the Greek adjective oestrous (oyster), from the Latin ostrea, from Ancient Greek ὄστρεον (óstreon) (all related to the Modern English oyster).  Neuburg however ignored the professional lexicographers and decided he was as qualified to determine Classical etymology as he was to coin novel Modern English forms and noted the Greek word ostreon which was a type of mollusc was harvested to obtain a rare and expensive purple dye, hence he decided that figuratively, it meant “something rich”.  In that he was on sound historic ground; what was known as Tyrian purple (also shellfish purple) was for long periods the most expensive substance in Antiquity, often (by weight) three times the value of gold, the exchange rate set by a Roman edict issued in 301 AD.

Upon release, I Know Who Killed Me (2007) received generally bad reviews (it was at one point a popular inclusion on “worst movie ever” lists) but there’s since been a reappraisal by some and the film now has a cult following and appears with some frequency in “midnight screenings”.  Those searching for an adjective to describe I Know Who Killed Me might find ostrobogulous suitable because it leave the viewer free to decide which of its two meanings they prefer.  

However tangled might be the etymology, there’s no doubt Newburg coined ostrobogulous to mean “something (slightly or tending towards) the risqué or indecent” yet by the 1960s it was recorded being used by respectable middle-class folk to mean “something weird, strange, bizarre unusual’ without any hint of indecency; the sense rather of the “harmlessly mischievous”.  Quite how that happened isn’t known but it is an example of the meaning shifts and re-purposing common in English.  Now, it’s only artificially common in that it’s one of those curiosities which are a fixture of lists of strange and obscure words, a lexicographical fetish which has flourished since the advent of the internet.

Teal

Teal (pronounced teel)

(1) Any of several species of small dabbling, short-necked freshwater ducks (such as the Eurasian Anas crecca (common teal)), of worldwide distribution and related to the mallard, travelling usually in tight flocks and frequenting ponds, lakes and marshes.

(2) A color, a medium to dark greenish blue, often mixed with traces of azure, beryl, cerulean, cobalt, indigo, navy, royal, sapphire, turquoise & ultramarine, also called teal blue and (rarely) tealturquoise, peacockblue or blueteal.

(3) As TEAl, the abbreviation of triethylaluminium (in organic chemistry, a volatile organometallic compound (Al₂(C₂H₅)₆ or Al₂Et₆) used in various chemical processes and as an ignitor in rockets and jet engines.)

(4) As TEAL, the (historical) initialism of Tasman Empire Airways Limited, the forerunner to Air New Zealand.

(5) A collective descriptor informally adopted to refer to certain nominally independent candidates contesting certain electorates in the 2022 Australian general election.

1275-1375: From Middle English tele (small freshwater duck), probably from the (unrecorded) Old English tǣle and cognate with the Middle Low German tēlink, from the from West Germanic taili, from the West Frisian tjilling (teal) and the Middle Dutch tēling (teal (source of the Modern Dutch taling)).  The Middle Low German tēlink, was from the Proto-Germanic tailijaz, of unknown ultimate origin, with no cognates outside of Germanic.  As the name of a shade of dark greenish-blue resembling the color patterns on the fowl's head and wings, it is attested from 1923 in clothing advertisements, thereby joining the long list of variations of descriptions of the variations in the shades of blue including: blue; Alice blue, aqua, aquamarine, azure, baby blue, beryl, bice, bice blue, blue green, blue violet, blueberry, cadet blue, Cambridge blue, cerulean, cobalt blue, Copenhagen blue, cornflower, cornflower blue, cyan, dark blue, Dodger blue, duck-egg blue, eggshell blue, electric-blue, gentian blue, ice blue, lapis lazuli, light blue, lovat, mazarine, midnight blue, navy, Nile blue, Oxford blue, peacock blue, petrol blue, powder blue, Prussian blue, robin's-egg blue, royal blue, sapphire, saxe blue, slate blue, sky blue, teal, turquoise, ultramarine, Wedgwood blue & zaffre.  The noun plural is teal or (especially collectively), teals; the spelling teale is obsolete.

TEAL Lockheed L-188 Electra ZK-TEB 1963 (left) & 1965 (right).  The TEAL livery was retained when the corporate name was changed in 1965, the aircraft not immediately re-painted, “Air New Zealand” replacing “TEAL JET PROP” on the fuselage as required by the rules of the Convention on International Civil Aviation (1944).

The airline TEAL (Tasman Empire Airways Limited) emerged from the Tasman Sea Agreement, an intergovernmental treaty between the Australia, New Zealand and the UK, concluded in London early in 1940.  The purpose of the operation was to provide for the trans-Tasman traffic of passengers, cargo and mail, something which had been disrupted by the outbreak of hostilities in 1939.  In the manner of a number of wartime agreements, the treaty contained a sunset clause which stipulated a termination within three months of the end of the war with Germany but such was the state of post-war civil aviation that arrangements were carried over and pre-war practices did not return to the trans-Tasman route until 1954.  As part of that re-organization, the shareholdings, which previously had been spread between the New Zealand Government (20%), Union Airways (19%), BOAC (38%) and Qantas (23%), were dissolved and the two governments assumed co-ownership until 1961 when both decided to maintain separate national carriers, TEAL and Qantas, the relationship having been strained since the Australians had insisted TEAL order the turboprop Lockheed Electra to maintain fleet standardization with Qantas while the New Zealanders wanted to upgrade to jets.  In 1965, TEAL was re-named Air New Zealand.

Lindsay Lohan in teal, Nickelodeon Kids' Choice Awards (2004, left), publicity shot in Greece (2019, centre) & premiere of Mean Girls (2004).

Trooping the color: The teal mafia out campaigning in the Wentworth electorate, Australian general election 2022.

The so-called “teal independents” are a number of nominally independent candidates contesting certain electorates in the 2022 Australian general election.  The teal candidates on which there has been much focus are almost all professional women drawn from outside professional politics, contesting nominally “safe” Liberal Party seats in which there’s a higher than average interest in progressive issues, especially climate change.  The use of the color teal is thought an allusion to the mixing of blue and green, blue a reference either to the “blue-blood” demographic profile of the electorates or it being the traditional color associated with conservative politics and green the environmental consciousness which the teals are making a focus of their campaigns.  Former Liberal Party prime-minister John Howard (b 1939; prime-minister 1996-2007) was not impressed by the practice of styling the teals as “independents”, claiming it was misleading given the source of some of their funding and logistical support from entities which would in the US be understood as PACs (political action committees), entities which combined lobbying with activism on specific issues.  Mr Howard suggested the teals were merely “…posing as independents” and were really “…anti-Liberal groupies”, their aim being “…to hurt the Liberal party, not to represent the middle ground of their electorates” adding “They don’t represent disgruntled Liberals.  They represent a group in the community that wants to destroy the Liberal government. It’s as simple as that.”

Flags of the Australian Liberal Party & Australian Labor Party.

Mr Howard is right in that the consequences really are simple as that, if a sufficient number of teals are successful, they will hurt the Liberal party and destroy the Liberal(-National coalition) government but where the teals would differ from the former prime-minister is in not conflating cause with effect.  The teal candidates have well expressed (if not especially detailed) policy objectives and are seeking to destroy the government because they wish to see alternative policies pursued and about that, voters will agree, disagree or remain indifferent.  What attracted most attention however was Mr Howard’s choice of the word “groupies” to refer to the (mostly female) teals, one critic noting an analysis of the composition of the four ministries he formed while prime-minister did suggest he was inclined to appoint women to the “touchy-feely” portfolios dealing with people while the men got the meatier appointments.  That aside, he does have a point about the word “independent” being misleading.  Historically, in Australia, it’s been understood as meaning a candidate for or member of a parliament who is not a member of a political party (within the legally-defined meaning).  That the teals are not but, though not a conventional party, the teal thing is clearly a concept, a movement or something else beyond a mere state of mind and parts of it are a framework providing the candidates with financial and administrative assistance in a more structured way that that of local volunteers.  The teals (not all of whom use the color in their advertising, one in particular running a “pink” campaign) have also been the victims of some ambush marketing, complaining that others were now muddying the waters by sending out teal-colored flyers.  They might have some difficulty in enforcing an exclusivity of right on a color, about the only restriction enforced is on purple which can’t be used in circumstances where it might be confused with something from the Australian Electoral commission which most jealously guards its purple.  Nor is some fluidity of meaning unknown in Australian politics.  During the 1970s and 1980s, in the Victorian Labor Party, although an apparent contradiction in terms, a faction was formed called the “Independents”, a faction self-described by its members as being a faction for those “who disliked factional politics”.  It was novel then and unthinkable now but happened at a time when the Left had been neutralized by federal intervention and the Right was still obsessed with the DLP (the even more right-wing Roman-Catholic breakaway) and the Cold War.  There was a gap in the market.

Flags of the Australian National Party & the Australian Greens.

Teal as blend of blue and green imparting political meaning works in Australia because the use of the colors red (of the left), blue (of the right) & green (of the greenies) is well understood.  Even the historic association of the National Party with green doesn’t cause confusion.  The National Party (originally the Country Party and briefly in some places the National-Country Party), had always used green to reflect their agrarian origins but adapted well in the 1980s to the emergence of formalized Green parties (which of course chose green for semiotic purposes).  Pragmatists, the Nationals, operating as usual like horse-traders and soft-drink salesmen, settled on a slightly darker shade with gold lettering, the traditional Australian sporting livery.  Briefly, the Nationals had flirted with shades of brown, the idea being to convey “the people of the soil” but the idea was quickly abandoned, not because brown was so associated with the Nazis (the Braunes Haus (Brown House) was their early Munich headquarters and the Surmabteilung (the SA and literally "Storm Detachment" but usually called storm-troopers) were street thugs known as the “brownshirts” because of their uniform) but because brown is such an unappealing colour and difficult for graphic artists to handle.         

Crooked Hillary Clinton liked teal pantsuits and retained a fondness for the shade, even as the cut of her clothes became more accommodating.

The origin of red being associated with the politics of radicalism and revolution is generally assumed to date from the use in the French revolution where the idea was to represent the blood spilled in the overthrow of the ancien régime although the shade used should perhaps have been darkened a little in the years that followed as the revolution began “to consume its children”.  Around the planet, colors are widely used as political identifiers and, with different traditions of use and history of origin, there’s a wide divergence of meaning; what a color in one country conveys can mean the opposite in another.  There’s also the point that at one, important level, a color is just a color and the choice, even for political purposes, may be purely on aesthetic grounds:  Hitler made no secret that he choose red, white and black as for the early depictions of the swastika and other Nazi imagery because his ideological opponents, the communists, had used it with such success.  Among the best known color adoptions are orange and green in Ireland, yellow and red in Thailand and black by the so-called Islamic State (داعش, Dāʿish) and a number of Islamist and Islamic fundamentalist movements (as a symbol of jihad), saffron in India because of the traditional association with Hinduism and the Hindu nationalist movement.  The association of certain blue & red with political parties or ideologies is fairly consistent in the English-speaking world except for the curious pattern of use in the United States.

Flags of the US Republican Party (Elephants) & US Democrat Party (Donkeys).

In the US, although the idea of blue states (Democrats) and red states (Republicans) is now entrenched as part of the political lexicon, it's been that way only for two decades odd.  Red and blue had long been used to illustrate the US electoral map but there was never any consistency in how they were allotted to the parties and in some elections, different television networks might use them differently or even use different colors entirely, one of the considerations being what worked best on the then novel medium of color television.  The other influence was possibly political culture, there being in the US little tradition of a mainstream, radical party of the left so the red-blue contrast as it was understood elsewhere in the English-speaking world didn't register in the same way.  It was in the 2000 presidential election that the television networks agreed to standardize the red and blue designations for Republicans and Democrats, the incentive simply one of convenience in the reporting of the drawn-out Electoral College numbers that year.  As the red and blue imagery flowed across screens for weeks before the numbers were settled, the color associations became set in stone.

Shades of purple, the US 2004 presidential election: outcomes from Electoral College represented by state (left) and county (right). 

The idea of the US as a divided society of red states (emblematically the fly-overs) and blue states (with populations on the corrupting coastlines) is graphically illustrated when the states are colored according to the winner-takes-all system electoral college system but if the red-blue map is instead constructed county by county, a more nuanced spectrum emerges as one that is in shades of purple (purple a mix of red & blue as teal is of green & blue).  The US is a country of divisions and many of the cleavages are cross-cutting but the state by state maps do exaggerate the extent of the political polarization.

2021 McLaren GT Coupé in teal (Serpentine in the McLaren color chart).