Swansong

Swansong (pronounced swon-sawng)

(1) The last act or manifestation of someone or something; farewell appearance.

(2) According to legend, the first and last song a dying swan was said to sing.

1831: A compound word, swan + song and a calque from the original German Schwanenlied (that construct being Schwan + Lied).  Swan dated from before 900 and was from the Middle English & Old English swan, from the Proto-Germanic swanaz (swan, literally “the singing bird”), from the primitive Indo-European swonhz- & swenhz- (to sing, make sound”).  It was cognate with the West Frisian swan, the Low German Swaan, the Dutch zwaan, the German Schwan, the Norwegian svane and the Swedish svan.  It was related also to the Old English ġeswin (melody, song) & swinsian (to make melody), the Latin sonus (sound), the Old Norse svanr, the Middle Low German swōn and the Russian звон (zvon) (ringing) & звук (zvuk) (sound).  Song was from the Middle English & Old English song & sang (noise, song, singing, chanting; poetry; a poem to be sung or recited, psalm, lay), from the Proto-Germanic sangwaz (singing, song), from the primitive Indo-European songwh-o- (singing, song) from sengwh- (to sing). It was cognate with the Scots sang & song (singing, song), the Saterland Frisian Song, the West Frisian sang, the Dutch zang, the Low German sang, the German Sang (singing, song), the Swedish sång (song), the Norwegian Bokmål sang, the Norwegian Nynorsk (song), the Icelandic söngur and the Ancient Greek ὀμφή (omphḗ) (voice, oracle).  It was related to the Gothic saggws and the Old High German sang.  Swansong (used also a swan song & swan-song) is a noun; the noun plural is swansongs.

The English swansong (which has always existed also as swan song and swan-song) was a calque of the German Schwanenlied (Schwan (swan) + Lied (song)) (also as Schwanengesang), the term alluding to the old belief that swans normally are mute but burst into beautiful song moments before they die.  Although the idea is much older, swansong appeared first in English translation in 1831 but did not pass into common use until after 1890 which is perhaps surprising giver Chaucer mentions the singing of swans as early as the late fourteenth century.  To date, Lindsay Lohan's last single release was Back to Me (2020), released on the Casablanca label.  She has hinted it may be included on a yet to be released third album but this far, musically, it's her swansong.

The romantic roadster's swansong

Ferrari's Dino 246 F1 on the Monza banking, Italian Grand Prix, September 1960.

The swansong for the front-engined open wheel racing cars which had since the early twentieth century dominated top-flight motorsport came in the 1960s.  In 1959, both the driver’s and constructor’s championships were claimed using rear-engined machines and as the new decade began, it was obvious to all in the once unpredictable behaviour of the layout had been mastered (at least on race tracks in the hands of expert drivers) and the opening eight rounds of the season did nothing to change that view, rear-engined cars winning the lot.  Ferrari, still running the front-engined Dino 246 F1, were not happy and that meant most of Italy was similarly grumpy, something which induced the organizers of the Italian Grand Prix to stage their event under conditions designed to suit the Scuderia’s last remaining advantage: straight-line speed.  Accordingly, it was announced the event would be held using the combined road and oval course at the Monza Autodrome, making what was already the championship’s highest speed circuit faster still.  With both the driver's & constructor's titles already decided, other leading teams opted to boycott the event, attracted by neither the prospect of their delicate machines being subjected to the notorious roughness of the concrete banking nor the prospect of a high-speed accident following mechanical damage.  As planned, Scuderia Ferrari enjoyed a 1-2-3 result, delighting the Italian crowd.  It was the last World Championship grand prix won by a front-engined car.

The rebodied 246 F1, Lady Wigram Trophy weekend, RNZAF (Royal New Zealand Air Force) Wigram Air Base, Christchurch, New Zealand, 1964.

The winning Dino 246 F1 therefore became a machine of some historical significance but even though Enzo Ferrari (1898-1988) may have suspected the success would not again be repeated, he was not sentimental about yesterday’s car, happy usually to sell anything obsolete to gain funds so he might build something with which to win tomorrow.  The Monza winner was thus sold to a private racer in New Zealand who, with a similar pragmatism, removed the 2.5 litre V6 in favour of the greater power and torque offered by a 3 litre V12 Testa Rossa engine in sports car trim.  In that form, he campaigned the hybrid Ferrari for two quite successful years but found no buyers when he tried to sell it, most agreeing with Il Commendatore that, big engine and all, it was just another, uncompetitive relic with the engine in the wrong place.  Thinking laterally, the owner took a very modern approach, having a coachbuilder fabricate in sixteen gauge aluminium a body strikingly similar to the factory’s own 250 GTOs, creating a very fast road car and one of the few on the road with the underpinnings of the machine which won an Italian Grand Prix.  The rules were rather more relaxed in those days.  In that form it was run until 1967 when it was sold, along with its original body, to an English collector who restored it to it with its V6 engine to the configuration in which it ran at Monza in 1960.  It’s still seen as an entry in historic events on the European calendar.

Ran just before crashed, nicely patinaed, one headlamp believed matching numbers and many parts still original: 1954 Ferrari 500 Mondial, as sold (left & centre) and in period (right).

To Enzo Ferrari for whom old race cars were usually just assets to be sold, it would in 1960 have amused him had anyone suggested decades later, people would pay millions of dollars for old, battered Ferraris, some of which never came close to winning anything.  Improbable as it would have sounded, he might have conceded such things could one day happen if the vehicles had four wheels and were drivable but the state of the 1954 Ferrari 500 Mondial which in August 2023 sold at auction for US$1.875 million would have been beyond comprehension.  The second Mondial built and one of 13 examples with Pininfarina spider coachwork, it was one of the rare “customer” race cars which used two litre, four cylinder engines and was campaigned extensively in Italy and the US where, sometime between 1963-1965 (the stories vary) it crashed and was incinerated, apparently while fitted with a Chevrolet V8, the swap a common practice at the time.

Some assembly required.

The provenance is solid if not illustrious.  It was raced by a one-time Scuderia Ferrari team driver and its many appearances included starts in the Mille Miglia, Targa Florio, and Imola Grand Prix.  Although the original engine was long gone, the sale included a comparable 3.0-liter Tipo 119 Lampredi four while the transmission was original and thus the prized “matching numbers”.  Belying the (usually undeserved reputation) Italian corporations have for chaotic record keeping, the supplied documentation was an impressive wad, including the precious factory build sheets and homologation papers.  In the hands of experts, such a thing can be restored although without the original engine, it hard to predict if it will realise the same value as the US$4.15 million a fully-restored Mondial (Chassis number 0448 MD and all “matching numbers”) achieved in 2019.

The Offenhauser-powered Watson Special, winner of the 1964 Indianapolis 500.

In the US, the swansong of the front-engined roadsters at the Indianapolis 500 came a little later, the last victory coming in 1964.  As in so many things however, the end came quickly and the next year a solitary roadster completed the full race distance, finishing a creditable fifth.  The last roadster to appear in the event in 1968 qualified on the second to last row of the grid and completed only nine laps of the 200, retiring with a collapsed piston.  That run was at the time little noted but it’s now remembered as the swansong of the front-engined roadsters in top flight racing. 

Richard Strauss, Vier Letzte Lieder (Four Last Songs)

Richard Strauss (1864-1949), was the last great German composer in the Romantic tradition and Vier Letzte Lieder (Four Last Songs) was his swansong, the last set of work he wrote.  Inspired by the poetry of Nobel Laureate Hermann Hesse (1877-1962) and Joseph Freiherr von Eichendorff (1788-1857), all four are pieces of exquisite beauty but Strauss didn’t live to hear them performed, the premiere delivered posthumously in London in 1950, sung by Kirsten Flagstad (1895–1962), accompanied by the Royal Philharmonic Orchestra under Wilhelm Furtwängler (1886–1954).

Many notable sopranos have sung the songs but the definitive performance remains the 1965 recording by Elisabeth Schwarzkopf (1915-2006) with the Radio-Symphonieorchester Berlin under György Széll (1897–1970).  (CD: EMI Classics Cat: 0724356696020[9]).

Four Last Songs Since their collaboration, the need again to record the songs vanished; it's simply not possible to improve on  Schwarzkoph's achievement in 1965.  Re-mastered versions from the original master-tapes have been released and they're of interest to audiophiles but add nothing to the atmospherics so well captured in the Berlin sessions. 

Spring (Hermann Hesse)

Wandering in darkness under your high
vaulting branches, I have dreamed so long
of your green leaves and breezy blue sky,
the vibrant fragrances–and the bird song!
 
Now, as you open your robe of winter night,
your brilliance staggers every sense.
The world sparkles in the light
of a Miracle, your recurring presence.
 
I feel the healing touch
of softer days, warm and tender.
My limbs tremble–happily, too much–
as I stand inside your splendor.

September (Hermann Hesse)

The garden mourns.
The flowers fill with cold rain.
Summer shivers
in the chill of its dying domain.
 
Yet summer smiles, enraptured
by the garden’s dreamy aphasia
as gold, drop by drop, falls
from the tall acacia.
 
With a final glance at the roses–
too weak to care, it longs for peace–
then, with darkness wherever it gazes,
summer slips into sleep.

When I Go to Sleep (Hermann Hesse)

Now that day has exhausted me
I give myself over, a tired child,
to the night and to my old friends, the stars–
my watchful guardians, quiet and mild.
 
Hands–let everything go.
Head–stop thinking.
I am content to follow
where my senses are sinking.
 
Into the darkness, I swim out free:
Soul, released from all your defenses,
enter the magic, sidereal circle
where the gathering of souls commences.

 At Sunset (Joseph Karl Benedikt Freiherr von Eichendorff)

We have passed through sorrow and joy,
walking hand in hand.
Now we need not seek the way:
we have settled in a peaceful land.
 
The dark comes early to our valley,
and the night mist rises.
Two dreamy larks sally
forth–our souls’ disguises.
 
We let their soaring flight delight
us, then, overcome by sleep
at close of day, we must alight
before we fly too far, or dive too deep.
 
The great peace here is wide and still
and rich with glowing sunsets:
If this is death, having had our fill
of getting lost, we find beauty, –No regrets.

Variation

Variation (pronounced vair-ee-ey-shuhn)

(1) The act, process, or accident of varying in condition, character, or degree.

(2) Amount, rate, extent, or degree of change.

(3) A different form of something; variant.

(4) In music, the transformation of a melody or theme with changes or elaborations in harmony, rhythm, and melody.

(5) In ballet, a solo dance, especially one a section of a pas de deux.

(6) In astronomy, any deviation from the mean orbit of a heavenly body, especially of a planetary or satellite orbit.

(7) In admiralty use as applied to nautical navigation, the angular difference at the vessel between the direction of true north and magnetic north; also called magnetic declination.

(8) In biology, a difference or deviation in structure or character from others of the same species or group.

(9) In linguistics, any form of morphophonemic change, such as one involved in inflection, conjugation, or vowel mutation.

1350-1400: From the Middle English variation (difference, divergence), from the Middle French variation, from the Old French variacion (variety, diversity) and directly from the Latin variationem & variātiōn (stem of variātiō) (a difference, variation, change), from the past participle stem of variare (to change) (the source of the modern English vary).  The use in the context of musical composition wasn't common until the early nineteenth century.  Variation is a noun and the (rare) adjective is variational; the noun plural is variations.

The available synonyms themselves show an impressive variation: deviation, abnormality, diversity, variety, fluctuation, innovation, divergence, alteration, discrepancy, disparity, mutation, shift, modification, change, swerve, digression, contradistinction, aberration, novelty, diversification, mutation, alteration, difference.  Apart from the English variation, European descendants include the French variation, the Italian variazione, the Portuguese variação, the Russian вариация (variacija), the Spanish variación and Swedish variation.

Ginger, copper, auburn & chestnut are variations on the theme of red-headedness: Lindsay Lohan demonstrates the possibilities.  

Glenn Gould and the Goldberg Variations: 1955 & 1981

Published in 1741, JS Bach’s (1685-1750) Goldberg Variations consists of an aria and thirty variations.  Written for the harpsichord, it’s named after German harpsichordist & organist Johann Gottlieb Goldberg (1727-1756), thought to have undertaken the first performance.  The work is now thought part of the canon of Baroque music but before 1955, was an obscure piece of the Bach repertoire, a technically difficult composition for the hardly fashionable harpsichord and known mostly as a device for teachers to develop students’ keyboard skills.  Even for aficionados of the Baroque, it was rarely performed.

Glenn Gould (1932—1982) was a Canadian classical pianist, his debut album on the then novel twelve-inch vinyl LP an interpretation of the Goldberg Variations, played on the piano.  A quite extraordinary performance and a radical approach, played at a tempo Bach surely never intended and with an electrifying intensity, it was beyond mere interpretation.  The work was also his swansong, uniquely for him, re-recorded in 1981 and issued days before his death.  Eschewing the stunningly fast pace which made its predecessor famous and clearly the work of a mellower, more reflective artist, for those familiar with the original, it’s a masterpiece of controlled tension.

In 2002, Sony re-released both, the earlier essentially untouched, the later benefiting from a re-mastering which corrected some of the technical deficiencies found in many early digital releases.  Although critics could understand Gould thinking there were aspects of the 1955 performance which detracted from the whole and why he felt the second version a better piece of art, it’s still the original which thrills.

Psychache

Psychache (pronounced sahyk-eyk)

Psychological pain, especially when it becomes unbearable, producing suicidal thoughts.

1993: The construct was psyche- + ache.  Psychache was coined by US clinical psychologist Dr Edwin Shneidman (1918-2009) and first appeared in his book Suicide as Psychache: A Clinical Approach to Self-Destructive Behavior (1993).  The prefix psych- was an alternative form of psycho-.  Psycho was from the Ancient Greek ψῡχο- (psūkho-), a combining form of ψυχή (psukhḗ) (soul).  Wit was used with words relating to the soul, the mind, or to psychology.  Ache was from the Middle English verb aken & noun ache (noun), from the Old English verb acan (from the Proto-West Germanic akan, from the Proto-Germanic akaną (to ache)) and the noun æċe (from the Proto-West Germanic aki, from the Proto-Germanic akiz), both from the primitive Indo-European heg- (sin, crime).  It was cognate with the Saterland Frisian eeke & ääke (to ache, fester), the Low German aken, achen & äken (to hurt, ache), the German Low German Eek (inflammation), the North Frisian akelig & æklig (terrible, miserable, sharp, intense), the West Frisian aaklik (nasty, horrible, dismal, dreary) and the Dutch akelig (nasty, horrible).  Historically the verb was spelled ake, and the noun ache but the spellings became aligned after Dr Johnson (Samuel Johnson (1709-1784)) published A Dictionary of the English Language (1755), the lexicographer mistakenly assuming it was from the Ancient Greek ἄχος (ákhos) (pain) due to the similarity in form and meaning of the two words.  As a noun, ache meant “a continuous, dull pain (as opposed to a sharp, sudden, or episodic pain) while the verb was used to mean (1) to have or suffer a continuous, dull pain, (2) to feel great sympathy or pity and (3) to yearn or long for someone or something.  Pyscheache is a noun

Psychache is a theoretical construct used by clinical suicidologists and differs from psychomachia (conflict of the soul).  Psychomachia was from the Late Latin psӯchomachia, the title of a poem of a thousand-odd lines (circa 400) by Roman Christian poet Prudentius (Aurelius Prudentius Clemens; 348-circa 412), the construct being the Ancient Greek Greek psukhē (spirit) + makhē (battle).  The fifth century poem Psychomachia (translated usually as “Battle of Spirits” or “Soul War”) explored a theme familiar in Christianity: the eternal battle between virtue & vice (onto which can be mapped “right & wrong”, “good & evil” etc) and culminated in the forces of Christendom vanquishing pagan idolatry to the cheers of a thousand Christian martyrs.  An elegant telling of an allegory familiar in early Christian literature and art, Prudentius made clear the battle was one which happened in the soul of all people and thus one which all needed to wage, the outcome determined by whether the good or evil in them proved stronger.  The poem’s characters include Faith, Hope, Industry, Sobriety, Chastity, Humility & Patience among the good and Pride, Wrath, Paganism, Avarice, Discord, Lust & Indulgence in the ranks of the evil but scholars of literature caution that although the personifications all are women, in Latin, words for abstract concepts use the feminine grammatical gender and there’s nothing to suggest the poet intended us to read this as a tale of bolshie women slugging it out.  Of interest too is the appearance of the number seven, so familiar in the literature and art of Antiquity and the Medieval period as well as the Biblical texts but although Prudentius has seven virtues defeat seven vices, the characters don’t exactly align with either the canonical seven deadly sins, nor the three theological and four cardinal virtues.  In modern use, the linguistic similarity between psychache and psychomachia has made the latter attractive to those seduced by the (not always Germanic) tradition of the “romance of suicide”.

A pioneer in the field of suicidology, Dr Shneidman’s publication record was indicative of his specialization.

Dr Edwin Shneidman (1918-2009) was a clinical psychologist who practiced as a thanatologist (a practitioner in the field of thanatology (the scientific study of death and the practices associated with it, including the study of the needs of the terminally ill and their families); the construct of thanatology being thanato- (from the Ancient Greek θάνατος (thánatos) (death)) +‎ -logy.  The suffix -ology was formed from -o- (as an interconsonantal vowel) +‎ -logy.  The origin in English of the -logy suffix lies with loanwords from the Ancient Greek, usually via Latin and French, where the suffix (-λογία) is an integral part of the word loaned (eg astrology from astrologia) since the sixteenth century.  French picked up -logie from the Latin -logia, from the Ancient Greek -λογία (-logía).  Within Greek, the suffix is an -ία (-ía) abstract from λόγος (lógos) (account, explanation, narrative), and that a verbal noun from λέγω (légō) (I say, speak, converse, tell a story).  In English the suffix became extraordinarily productive, used notably to form names of sciences or disciplines of study, analogous to the names traditionally borrowed from the Latin (eg astrology from astrologia; geology from geologia) and by the late eighteenth century, the practice (despite the disapproval of the pedants) extended to terms with no connection to Greek or Latin such as those building on French or German bases (eg insectology (1766) after the French insectologie; terminology (1801) after the German Terminologie).  Within a few decades of the intrusion of modern languages, combinations emerged using English terms (eg undergroundology (1820); hatology (1837)).  In this evolution, the development may be though similar to the latter-day proliferation of “-isms” (fascism; feminism et al).

Death and the College Student: A Collection of Brief Essays on Death and Suicide by Harvard Youth (1973) by Dr Edwin Shneidman.  Dr Shneidman wrote many papers about the prevalence of suicide among college-age males, a cross-cultural phenomenon.

Dr Shneidman was one of the seminal figures in the discipline of suicidology, in 1968 founding the AAS (American Association of Suicidology) and the principal US journal for suicide studies: Suicide and Life-Threatening Behavior.  The abbreviation AAS is in this context used mostly within the discipline because (1) it is a specialized field and (2) there are literally dozens of uses of “AAS”.  In Suicide as Psychache: A Clinical Approach to Self-Destructive Behavior (1993) he defined psychache as “intense psychological pain—encompassing hurt, anguish, and mental torment”, identifying it as the primary motivation behind suicide, his theory being that when psychological pain becomes unbearable, individuals may perceive suicide as their only escape from torment.

Although since Suicide as Psychache: A Clinical Approach to Self-Destructive Behavior appeared in 1993 there have been four editions of American Psychiatric Association's (APA) Diagnostic and Statistical Manual of Mental Disorders (DSM), “psychache” has never appeared in the DSM.  That may seem an anomaly given much in the DSM revolves around psychological disturbances but the reason is technical.  What the DSM does is list and codify diagnosable mental disorders (depression, schizophrenia. bipolar disorder et al), classifying symptoms and behaviors into standardized categories for diagnosis and treatment planning.  By contrast, psychache is not a clinical diagnosis; it is a theoretical construct in suicidology which is used to explain the subjective experience of psychological pain that can lead to patients taking their own lives.  It thus describes an emotional state rather than a psychiatric disorder.

Lindsay Lohan and her lawyer in court, Los Angeles, December, 2011.

Despite that, mental health clinicians do actively use the principles of psychache, notably in suicide risk assessment and prevention and models have been developed including a number of “psychache scales”, self-reporting tools used to generate a metric measuring the intensity of psychological pain (categorized with headings such as shame, guilt, despair et al).  The approaches do in detail differ but most follow Dr Shneidman’s terminology in that the critical threshold is the point at which the patient’s pain becomes unbearable or inescapable and the objective is either to increase tolerance for distress or reframe troublesome thoughts.  Ultimately, the purpose of tools is to improve suicide risk assessments and reduce suicide rates.

DSM-5 (2013).

Interestingly, Suicidal Behavior Disorder (SBD) was introduced in Section III of the DSM-5 (2013) under “Conditions for Further Study”.  Then, SBD chiefly was characterized by a self-initiated sequence of behaviors believed at the time of initiation to cause one’s own death and occurring in the last 24 months.  That of course sounds exact but the diagnostic criteria in the DSM are written like that and the purpose of inclusion in the fifth edition was to create a framework so systematically, empirical studies related to SBD could be reviewed so primary research themes and promising directions for future research could be identified.  Duly, over the following decade that framework was explored but the conclusion was reached there seemed to be little utility in the clinical utility of SBD as a device for predicting future suicide and that more research was needed to understand measurement of the diagnosis and its distinctiveness from related disorders and other self-harming behaviors.  The phase “more research is required” must be one of the most frequently heard among researchers.

In the usually manner in which the APA allowed the DSM to evolve, what the DSM-5s tentative inclusion of SBD did was attempt to capture suicidality as a diagnosis rather than a clinical feature requiring attention.  SBD was characterized by a suicide attempt within the last 24 months (Criterion A) and that was defined as “a self-initiated sequence of behaviors by an individual who, at the time of initiation, expected that the set of actions would lead to his or her own death”.  That sounds uncontroversial but what was significant was the act could meet the criteria for non-suicidal self-injury (ie self-injury with the intention to relieve negative feelings or cognitive state in order to achieve a positive mood state (Criterion B) and cannot be applied to suicidal ideation or preparatory acts (Criterion C).  Were the attempt to have occurred during a state of delirium or confusion or solely for political or religious objectives, then SBD is ruled out (Criteria D & E).  SBD (current) is given when the suicide attempt occurred within the last 12 months, and SBD (in early remission), when it has been 12-24 months since the last attempt.  It must be remembered that while a patient’s behavior(s) may overlap across a number of the DSM’s diagnosises, the AMA’s committees have, for didactic purposes, always preferred to “silo” the categories.

DSM-5-TR (2022).

When in 2022 the “text revision” of the DSM-5 (DSM-5-TR) was released, SBD was removed as a condition for further study in Section III and moved to “Other Conditions That May Be a Focus of Clinical Attention” in Section II. The conditions listed in this section are intended to draw to attention of clinicians to the presence and breadth of additional issues routinely encountered in clinical practice and provide a procedure for their systematic documentation.  According to the APA’s editorial committee, the rationale for the exclusion of SBD from the DSM-5-TR was based on concerns the proposed disorder did not meet the criteria for a mental disorder but instead constituted a behavior with diverse causes and while that distinction may escape most of us, within the internal logic of the history of the DSM, that’s wholly consistent.  At this time, despite many lobbying for the adoption of a diagnostic entity for suicidal behavior, the APA’s committees seem still more inclined to conceptualize suicidality as a symptom rather than a disorder and despite discussion in the field of suicidology about whether suicide and related concepts like psychache should be treated as stand-alone mental health issues, that’s a leap which will have to wait, at least until a DSM-6 is published.

How to and how not to: Informatie over Zorgvuldige Levensbeëindiging (Information about the Careful Ending of Life, 2008) by Stichting Wetenschappelijk Onderzoek naar Zorgvuldige Zelfdoding (The Foundation for Scientific Research into Careful Suicide) (left) and How Not to Kill Yourself: A Phenomenology of Suicide (2023) by Clancy Martin (right).

Informatie over Zorgvuldige Levensbeëindiging (Information about the Careful Ending of Life, 2008) was published by a group of Dutch physicians & and researchers; it contained detailed advice on methods of suicide available to the general public, the Foundation for Scientific Research into Careful Suicide arging “a requirement exists within society for responsible information about an independent and dignified ending of life.”  It could be ordered only from the foundation’s website and had the advantage that whatever might be one’s opinion on the matter, it was at least written by physicians and scientists and thus more reliable than some of the “suicide guides” which are sometimes found on-line.  At the time research by the foundation had found that despite legislation in the Netherlands which permit doctors (acting within specific legal limits) to assist patient commit suicide, there were apparently several thousand cases each year of what it termed “autoeuthanasia” in which no medical staff directly were involved.  Most of these cases involved elderly or chronically ill patients who refused food and fluids and it was estimated these deaths happened at about twice the rate of those carried out under the euthanasia laws.  Since then the Dutch laws have been extended to included those who have no serious physical disease or are suffering great pain; there are people who simply no longer wish to live, something like the tragic figure in Blue Öyster Cult’s (Don't Fear) The Reaper (1976) © Donald Roeser (b 1947):

Came the last night of sadness
And it was clear she couldn't go on
Then the door was open and the wind appeared
The candles blew then disappeared
The curtains flew then he appeared
Saying don't be afraid

There is a diverse literature on various aspects of suicide (tips and techniques, theological & philosophical interpretations, cross-cultural attitudes, history of its treatment in church & secular law etc) and some are quite personal, written variously by those who later would kill themselves or those who contemplated or attempted to take their own lives.  In How Not to Kill Yourself: A Phenomenology of Suicide (2023) by Canadian philosopher Clancy Martin (b 1967), it was revealed the most recent of his ten suicide attempts was “…in his basement with a dog leash, the consequences of which he concealed from his wife, family, co-workers, and students, slipping back into his daily life with a hoarse voice, a raw neck and series of vague explanations.”

BKA (the Bundeskriminalamt, the Federal Criminal Police Office of the FRG (Federal Republic of Germany (the old West Germany)) mug shots of the Red Army Faction's Ulrike Meinhof (left) and Gudrun Ensslin (right).

The song (Don't Fear) The Reaper also made mention of William Shakespeare's (1564–1616) Romeo and Juliet (1597) and in taking her own life (using her dead lover’s dagger) because she doesn’t want to go on living without him, Juliette joined the pantheon of figures who have made the tragedy of suicide seem, to some, romantic.  Politically too, suicide can grant the sort of status dying of old age doesn’t confer, the deaths of left-wing terrorists Ulrike Meinhof (1934–1976) and Gudrun Ensslin (1940–1977) of the West German Red Army Faction (the RAF and better known as the “Baader-Meinhof gang”) both recorded as “suicide in custody” although the circumstances were murky.  In an indication of the way moral relativities aligned during the high Cold War, the French intellectuals Jean-Paul Sartre (1905–1980) and Simone de Beauvoir (1908–1986) compared their deaths to the worst crimes of the Nazis but sympathy for violence committed for an “approved” cause was not the exclusive preserve of the left.  In July, 1964, in his speech accepting the Republican nomination for that year’s US presidential election, proto-MAGA Barry Goldwater (1909–1998) concluded by saying: “I would remind you that extremism in the defense of liberty is no vice!  And let me remind you also that moderation in the pursuit of justice is no virtue!”  The audience response to that was rapturous although a few months later the country mostly didn’t share the enthusiasm, Lyndon Johnson (LBJ, 1908–1973; US president 1963-1969) winning the presidency in one of the greatest landslides in US electoral history.  Given the choice between crooked old Lyndon and crazy old Barry, Americans preferred the crook.

Nor was it just politicians and intellectuals who could resist the appeal of politics being taken to its logical “other means” conclusion, the Canadian singer-songwriter Leonard Cohen (1934-2016) during the last years of the Cold War writing First We Take Manhattan (1986), the lyrics of which were open to interpretation but clarified in 1988 by the author who explained: “I think it means exactly what it says.  It is a terrorist song.  I think it's a response to terrorism.  There's something about terrorism that I've always admired.  The fact that there are no alibis or no compromises.  That position is always very attractive.”   Even in 1988 it was a controversial comment because by then not many outside of undergraduate anarchist societies were still romanticizing terrorists but in fairness to the singer the coda isn’t as often published: “I don't like it when it's manifested on the physical plane – I don't really enjoy the terrorist activities – but Psychic Terrorism.”

First We Take Manhattan (1986) by Leonard Cohen

They sentenced me to twenty years of boredom

For tryin' to change the system from within

I'm coming now, I'm coming to reward them

First we take Manhattan, then we take Berlin

 

I'm guided by a signal in the heavens

I'm guided by this birthmark on my skin

I'm guided by the beauty of our weapons

First we take Manhattan, then we take Berlin

 

I'd really like to live beside you, baby

I love your body and your spirit and your clothes

But you see that line there moving through the station?

I told you, I told you, told you, I was one of those

 

Ah you loved me as a loser, but now you're worried that I just might win

You know the way to stop me, but you don't have the discipline

How many nights I prayed for this, to let my work begin

First we take Manhattan, then we take Berlin

 

I don't like your fashion business, mister

And I don't like these drugs that keep you thin

I don't like what happened to my sister

First we take Manhattan, then we take Berlin

 

I'd really like to live beside you, baby

I love your body and your spirit and your clothes

But you see that line there moving through the station?

I told you, I told you, told you, I was one of those

First We Take Manhattan performed by Jennifer Warnes (b 1947), from the Album Famous Blue Raincoat (1986). 

Whatever they achieved in life, it was their suicides which lent a lingering allure to German-American ecofeminist activist Petra Kelly (1947–1992) & the doomed poet American poet Sylvia Path (1932-1963) and the lure goes back for millennia, the Roman Poet Ovid (Publius Ovidius Naso; 43 BC–17 AD) in his Metamorphoses telling an ancient Babylonian tale in which Pyramus, in dark despair, killed herself after finding her young love lifeless.  Over the centuries it’s been a recurrent trope but the most novel take was the symbolic, mystical death in Richard Wagner's (1813–1883) Tristan und Isolde (1865).  Mortally wounded in a duel before the final act, Tristan longs to see Isolde one last time but just as she arrives at his side, he dies in her arms.  Overwhelmed by love and grief, Isolde sings the famous Liebestod (Love-Death) and dies, the transcendent aria interpreted as the swansong which carries her to join Tristan in mystical union in the afterlife.  This, lawyers would call a “constructive suicide”.

Austrian soprano Helga Dernesch (b 1939) in 1972 performing the Liebestod aria from Wagner’s Tristan und Isolde with the Berlin Philharmonic under Herbert von Karajan (1908–1989).  While she didn’t possess the sheer power of the greatest of the Scandinavian sopranos who in the mid-twentieth century defined Wagner, Dernesch brought passion and intensity to her roles and while, on that night in 1972, the lushness of what Karajan summoned from the strings was perhaps a little much, her Liebestod was spine-tingling.  By then however, Karajan had been forgiven for everything.

Spat

Spat (pronounced spat)

(1) A petty quarrel; a dispute.

(2) A light blow; a slap or smack (now rare).

(3) A classic footwear accessory for outdoor wear (technically an ankle-length gaiter), covering the instep and ankle, designed to protect these areas from mud & stones etc which might be splattered (almost always in the plural).

(4) In automotive design, a piece of bodywork on a car's fender encapsulating the aperture of the wheel-arch, covering the upper portion of the wheel & tyre (almost always on the rear) and used variously to reduce drag or as a aesthetic choice.  In the US, these tend to be called "fender skirts".

(5) In aviation, on aircraft with fixed undercarriages, a partial enclosure covering the upper portion of the wheel & tyre, designed to reduce drag.

(6) In zoology, a larval oyster or similar bivalve mollusc, applied particularly when one settles to the sea bottom and starts to develop a shell; young oysters collectively, especially seed oysters.

1350-1400: From the Middle English spat (argument, minor scuffle), from the Anglo-Norman spat, of unknown origin but presumed related either to (1) being the simple past tense & past participle of spit or (2) something vaguely imitative of the sound of a dispute in progress.  In use, a spat implies a dispute which is minor and brief.  That doesn’t preclude violence being involved but the word does tend to be applied to matters with few serious consequences but a spat can of course escalate to something severe at which point it ceases to be a spat and becomes a brawl, a fight, a murder, a massacre or whatever the circumstances suggest is appropriate.  Otherwise, a spat is synonymous with words like bickering, brouhaha, disagreement, discord, falling-out, feud, squabble, tiff or argument.

As a descriptor of the short gaiter covering the ankle (which except in technical and commercial use is used only in the plural), use dates from 1779 as an invention of American English and a shortening of the trade-terms spatterdash (or splatterguard) (long gaiter to keep trousers or stockings from being spattered with mud), the construct being spatter + dash (or guard), the former the same idea as the noun dashboard which was a timber construction attached to the front of horse-drawn carriages to protect the passengers from mud or stones thrown up when the beasts were at a dash.  In cars, the use of the term dashboard persisted although the device both shifted rearward (aligned with the cowl (scuttle) & windscreen) and changed in function.  In aircraft where the link to horse-drawn transport didn’t exist, the preferred equivalent term became “instrument panel”.

Stanley Melbourne Bruce (front row, second from left) in spats, official photograph of his first cabinet, Melbourne, 1923.

Spats date from a time when walking in cities could be a messy business, paved surfaces far from universal.  As asphalt and concrete became commonplace in the twentieth century, spats fell from frequent use though there were those who clung to them as a fashion accessory.  Stanley Melbourne Bruce (1883–1967; prime minister of Australia 1923-1929) liked spats and wore them as late as the 1940s but historians of fashion note it's said nothing was more influential in their demise than George V (1865–1936; King of the United Kingdom 1910-1936) eschewing them after 1926.

However, despite losing the imprimatur of the House of Windsor (ex Saxe-Coburg and Gotha), when Disney in 1947 created Scrooge McDuck (the world's richest duck, noted for diving into his vast "money bin" to swim among the cash), spats must still have been associated with wealth and uncle Scrooge has almost always been depicted sporting a pair.

Spats (left) and gaiters (centre & right).  Historically, gaiters were either medium (mid-calf) or long (reaching to the knee) while the shorter variations, extending from ankle to instep, were known as spats.  In the fashion industry, the terms gaiters and spats are often used interchangeably and except among the equestrian and other horse-oriented crowds, they now exist only as a fashion item, improvements in the built-environment meaning the need for them as functional devices has diminished.  They days, spats tend to be seen only in places like the Royal Enclosure at Ascot or smart weddings (used as a wealth or class signifier) although variations are still part of some ceremonial full-dress military uniforms.  Technically, a spat probably can be called a “short” or “ankle-length” gaiter but it’s wise to use “spat” because gaiters are understood as extending higher towards the knee.

Lindsay Lohan in SCRAM bracelet (left), the SCRAM (centre) and Chanel's response from their Spring 2007 collection (right).

Spats for the twenty-first century: Before Lindsay Lohan began her “descent into respectability” (a quote from the equally admirable Mandy Rice-Davies (1944-2004) of MRDA fame), Lindsay Lohan inadvertently became of the internet’s early influencers when she for a time wore a court-ordered ankle monitor (often called “bracelets” which etymologically is dubious but rarely has English been noted for its purity).  At the time, many subject to such orders often concealed them under clothing but Ms Lohan made her SCRAM (Secure Continuous Remote Alcohol Monitor) a fashion statement, something that compelled the paparazzi to adjust their focal length to ensure her ankle of interest appeared in shots.  The industry responded with its usual alacrity and “ankle monitor” purses were soon being strutted down the catwalks.

Chanel's boot-mounted ankle purse in matching quilted black leather.

In one of several examples of this instance of Lohanic influence on design, in their Spring 2007 collection, Chanel included a range of ankle bags.  Functional to the extent of affording the wearing a hands-free experience and storage for perhaps a lipstick, gloss and credit card (and the modern young spinster should seldom need more), the range was said quickly to "sell-out" although the concept hasn't been seen in subsequent collections so analysts of such things should make of that what they will.  Chanel offered the same idea in a boot, a design actually borrowed from the military although they tended to be more commodious and, being often used by aircrew, easily accessible while in a seated position, the sealable flap on the outer calf, close to the knee.

On the Jaguar 2.4 & 3.4 (1955-1959, top row; later retrospectively named Mark 1), full-sized spats were standard equipment when the standard wheels were fitted but some owners used the cut-down versions (available in at least two designs) fitted when the optional wire wheels were chosen.  For use in competition, almost all drivers removed the spats.  The Mark 2 (bottom row;1959-1969) was never fitted with the full-size units but many used slimmer version available from both the factory and third-party suppliers; again, in competition, spats in any shape were usually discarded.  On the big Jaguars, spats (which had already been scalloped) disappeared after production of the Mark IX ended in 1961.    

On cars, it wasn’t until the 1930s that spats (which some English manufacturers called "aprons" and in the US they came to be called “fender-skirts” though the original slang was “pants”) began to appear as the interest in streamlining and aerodynamic efficiency grew and it was in this era they became also a styling fad which, for better and worse, would last half a century.  They’d first been seen in the 1920s as aerodynamic enhancements on speed record vehicles and some avant-garde designers experimented with enveloping bodywork but it was only late in the decade that the original style of separate mudguards (later called cycle-fenders) gave way to more integrated coachwork where the wheel-arch was an identifiable feature in the modern sense.  Another issue was that the early tyres were prone to wear and damage and needed frequently to be changed, hence the advantage of making access to the wheels un-restricted.  In the 1930s, as streamlining evolved as both a means to reduce drag (thus increasing performance and reducing fuel consumption) and as a styling device, the latter doubtlessly influenced by the former.  On road cars, spats tended to be used only at the rear because of the need to provide sufficient clearance for the front wheels to turn although there were manufacturers (Delahaye, Nash and others) which extended use to the front and while this necessitated compromise (notably the turning circle and cooling of the brakes), there were some memorable art-deco creations.

The aerodynamic advantages were certainly real, attested by the tests conducted during the 1930s by Mercedes-Benz and Auto-Union, both factories using spats front and rear on their land-speed record vehicles, extending the use to road cars although later Mercedes-Benz would admit the 10% improvement claimed for the 1937 540K Autobahn-kurier (highway cruiser) was just “a calculation” and it’s suspected even this was more guesswork than math.  Later, Jaguar’s evaluation of the ideal configuration to use when testing the 1949 XK120 on Belgium roads revealed the rear spats added about 3-4 mph to top speed though they precluded the use of the lighter wire wheels and did increase the tendency of the brakes to overheat in severe use so, like many things in engineering, it was a trade-off.

1958, 1959 & 1960 Chevrolet Impalas.  Not actually wildly popular when new, accessory spats now often appear on restored cars as a “period accessory”.

In the post-war years, concerns with style rather than specific aerodynamic outcomes probably prevailed.  In the US especially, the design motifs borrowed from aircraft and missiles (where aerodynamic efficiency was important and verified in wind tunnels) were liberally applied to automobiles but in some cases, although they actually increased drag, they anyway appeared on production cars because they lent the desired look.  Because they added to the cost of production, spats tended often to be used on the more expensive ranges, this association encouraging after-market accessory makers to produce them, often for models where they’d never been available as a factory fitting or option.  Although now usually regarded as naff (at least), there’s still some demand because they are fitted sometimes (often in conjunction with that other acquired taste period-accessory, the "Continental" spare-tyre kit) by those restoring cars from the era although the photographic record does suggest that when the vehicles were new, such things were vanishingly rare.

Spats vanished from cars made in the UK and Europe except among manufacturers (such as Citroën) which made a fetish of conspicuous aerodynamics and in the US, where they endured, increasingly they appeared in cut-down form, exposing most of the wheel with only the upper part of the tyre concealed.  By the mid 1990s spats appeared only on some of the larger US cars (those by then also down-sized from their mid-seventies peak) and none survived into the new century, the swansong the 1996 Cadillac DeVille.  However, the new age of efficiency did see a resurgence of interest with spats (some actually integrated into the bodywork rather than being detachable) used on some electric and hybrid vehicles where every possible way of optimizing the use of energy is deployed.

1 1937 Mercedes-Benz 540K Autobahn-kurier
2 1937 Mercedes-Benz W125 Rekordwagen
3 1937 Auto-Union Type C Stromlinie
4 1939 Mercedes-Benz W154 Rekordwagen
5 1939 Mercedes-Benz T80 Rekordwagen
6 1940 Mercedes-Benz 770K Cabriolet B
9 1970 Porsche 917 LH
8 1988 Jaguar XJR9

1939 Mercedes-Benz T80, Mercedes-Benz Museum, Stuttgart, Germany.

Designed by Ferdinand Porsche (1875–1951), the Mercedes-Benz T80 was built between 1937-1939 to lay siege to the world land speed record (LSR) but with the outbreak of World War II (1939-1945), the attempt was never made.  It was a single-purpose machine designed to achieve maximum terminal velocity and for that reason, the T80 was an exercise in pure functionalism; not one nut or bolt was used other than for the purpose of ensuring its top speed would be as high as possible.  Cognizant of the existing record, the initial goal was 550 km/h (342 mph) but as others in the late 1930s raised the mark, so were Professor Porsche’s ambitions and when the final specification was set in 1939, the target was 650 km/h (404 mph) (not 750 km/h (466 mph) as is sometimes quoted).  Configured with six wheels, the T80 would have used a supercharged, fuel-injected, 44.5 litre (2716 cubic inch) Daimler-Benz DB 603 inverted V12 aero-engine, an enlarged version of the DB 601 which powered a number of Messerschmitts and other warplanes.  Intended for use in bombers, the T80’s engine was actually the third DB 603 prototype and was initially tuned to generate some 2237 kW (3000 horsepower) on an exotic cocktail of methyl alcohol (63%), benzene (16%), ethanol (12%), acetone (4.4%), nitrobenzene (2.2%), avgas (2%), and ether (0.4%) with MW (methanol-water) injection for charge cooling and as an anti-detonant.  This was more than twice the output of the Hurricanes, Spitfires and Messerschmitts which in 1940 fought the Battle of Britain but Porsche’s calculations suggested 2,574 kW (3,500 hp) would be needed to touch the 650 km/h target and the DB 603 would have been re-tuned to achieve this as an “emergency war rating”.

1939 Mercedes-Benz T80, Mercedes-Benz Museum, Stuttgart, Germany.

Some 8 metres (26 feet) in length with two of the three axles providing drive, the weight when fuelled and crewed was some 2600 kg (2.9 short tons) while the measured coefficient of drag (CD) was reported at 0.18, an impressive figure for such a thing as late as the 1990s and it would have been lower still, had wind-tunnel testing not revealed the need to add two small “winglets” to provide sufficient down-force to ensure the shape didn’t at speed assume the characteristics of an aeroplane and "try to take off" and notably, when in 1964 the Bluebird-Proteus CN7 set the flying mile record at 403.1 mph (648.7 km/h), it was the first LSR machine to include “ground effect” technology to reduce lift.  Fundamentally, the aerodynamics are thought sound although there would be the usual vulnerability to cross-winds, the cause of several deaths in such attempts and the surface conditions of what was a temporarily closed public road would also have been critical; whether the tyre technology of the time would have been adequate under such conditions will never be known.  Had the T80 been run on the long, flat straights of the salt flats in the US (Bonneville) or Australia (Lake Eyre), the prospects of success would have been better but for propaganda purposes (always a theme for the Nazis) the LSR runs had to be on German soil.

Bluebird-Proteus CN7, Lake Eyre, Australia, 1964.

The plan was for the attempt to be staged in January 1940 during what the regime dubbed RekordWoche (Record Week) on a section of the Berlin-Halle-Leipzig autobahn (now part of the A9), closed for the occasion.  The legend is that Adolf Hitler (1889-1945; Führer (leader) and German head of government 1933-1945 & head of state 1934-1945) himself choose the nickname Schwarzer Vogel (Black Bird) but that too may have been propaganda.  The design was all done in the era of slide rules and although some computer work has been applied to emulating the event, there’s no consensus on whether the T80 really would have hit 650 km/h and set the world land speed record (LSR).  As it was, it wasn't until November 1965 that the 650 km/h mark was reached by a machine powered by four fuel injected Chrysler 426 cubic inch (7.0 litre) hemi V8s.  On the Bonneville Salt Flats, it recorded a two-way average of 658.526 km/h (409.277 mph).

Ground effects: 1970 Chaparral 2J (the "sucker car"). 

The most extraordinary vindication of the concept was probably the 1970 Chaparral 2J, built for the Canadian-American Challenge Cup (the Can-Am, a series for unlimited displacement sports cars under the FIA’s minimalist Group 7 rules).  Although using a similar frame and power-plant (the all aluminum, 427 cubic inch (7.0 litre) Chevrolet V8 (ZL1)) as most of its competition, it differed in that the bodywork was rather more rectilinear, the transmission was semi-automatic and, most intriguingly, the use of two small auxiliary engines (Rockwell JLO 247 cm³ two-stroke, two-cylinder units which usually powered snowmobiles).  Unlike the auxiliary engines used in modern hybrids which provide additional or alternative power, what the Rockwells did was drive two fans (borrowed from the M-109 Howitzer, the US Army’s self-propelled 155 mm (6 inch) cannon) which pumped air from underneath at 9650 cfm (cubic feet per minute) (273 m3 per minute), literally sucking the 2J to the road, the technique enhanced by a Lexan (a thermoplastic polymer) skirt which partially sealed the gap between the shell and the road.  The rear spats (integrated into the body-shell) were part of the system, offering not only their usual contribution to reduced drag but increasing the extent of the suction generated by the extractor fans.  The 2J was immediately faster than the competition but the suction system proved fragile although, as a proof of concept it worked and it was clear that only development was needed to debug things.  Unfortunately, innovation and high speed have always appalled the FIA (the Fédération Internationale de l'Automobile which has for decades been international sport’s dopiest regulatory body) and, using the mechanism of the Commission Sportive Internationale (CSI) which was at the time the FIA’s competition arm, it prevailed upon the SCCA (Sports Car Club of America) to ban the J2 on the grounds the fans constituted “movable aerodynamic aids” which the FIA had earlier banned (rather than regulating which would have been the intelligent thing to do).  Deciding the fans should be handled with the same rule used for chassis or suspension-mounted wings which had proved fragile demanded some torturous reasoning which made sense to few outside the FIA’s many committee rooms but the sport had ever since been stuck with its implications.  Really, the FIA should give up on motorsport and offer their services to competitive crochet where they can focus on things like pins and needles not being too sharp.

1949 Delahaye 175-S Saoutchik roadster (left), 1967 Cadillac Fleetwood Sixty Special  (centre) & 2016 Rolls-Royce Vision Next 100 (electric) (right).

Fashions change and spats in the post-war years became unfashionable except in the odd market segment which appealed to an older demographic and even there, as the years were by, they were cut-away, revealing more of the wheel & tyre but they never entirely went away and designers with big computers now don’t even need even bigger wind tunnels to optimize airflow and spats have been displayed which are mounted vertically, some even responding to dynamic need by shifting location or direction.

Flown first in 1938 and named after the Spartan admiral Lysander (circa 467-395 BC), the Westland Lysander was a British army co-operation and communications aircraft used extensively during the Second World War (1939-1945).  Although it couldn’t match the extraordinary STOL (short Take-Off & Landing) performance of the its German contemporary the Fieseler Fi 156 Storch, it was capable, robust and had a good enough short-field capability to perform valuable service throughout the conflict.  Like many aircraft with a fixed undercarriage, partially enveloping spats were fitted to reduce drag but those on the Lysander had the unusual feature of being fitted with their own removable spats (similar to those used on automobiles).  Once these were dismounted, assemblies could be fitted to mount either Browning machine guns or stub wings which could carry light bombs or supply canisters.  The arrangement was popular with ground crew because the accessibility made servicing easy and pilots appreciated the low placement because the change in weight distribution had little adverse effect on handling characteristics.