Wraith

Wraith (pronounced reyth)

(1) The apparition of a person living (or thought to be alive), said to appear as a portent of impending death.

(2) A visible spirit; a ghost or any apparition.

(3) In art or graphic design, a a deliberately insubstantial (sometimes even translucent) copy or representation of something.

(4) Something pale, thin and lacking in substance (a column of smoke; swirling mist etc).

1510s: A word of uncertain etymology.  Some trace it back to an Old English from the Old Norse reith or reidh (twisted or angry) and in Old English it evolved into wrethe (used generally to refer to “anger, fury or vengeance”).  As Middle English emerged it shifted to wraith which came to be associated with “a ghost or spirit, especially one thought to be the spirit of one dead or about to die”.  The link between the earlier meanings of anger and the later association with spirits may reflect the origins of the modern idea of “a restless or vengeful spirit”.  Most however prefer a connection with early sixteenth century Middle Scots, some suggesting it was from a translation of the Aeneid (29-19 BC), the epic poem written by the Roman poet Virgil (Publius Vergilius Maro (70–19 BC)) which recounts the legend of Aeneas, a Trojan who fled the fall of Troy to travelled to Italy, where he became the ancestor of the Romans.  That view has limited support although many etymologist do seem to agree it was in Middle Scots the form was first popularized, probably as warth, word meaning something like or related to “ghost”, the word perhaps from the Old Norse vorðr (“watcher or guardian” (in the sense of “guardian angel”), source of the Icelandic vörður (guard) and which may also have been an influence on the Gaelic & Irish arrach (specter, apparition)."  Wraith & wrathfulness are nouns, wraithlike, wraithesque, wraithful & wraithish are adjectives and wrathfully is an adverb; the noun plural is wraiths.

A wraith-like Lindsay Lohan, Las Angeles, 2008.  In art or graphic design, a wraith is a deliberately insubstantial (sometimes even translucent) copy or representation of something.  It’s used also of something or someone pale and thin, especially in reaction to sudden or considerable weight-loss.

More speculative is the idea of any link with the Middle English wray or bewray and few are convinced any exist despite the similarity in form (something anyway hardly unusual in English).  Even the origin of wray is contested although the orthodox history contends it was from the Middle English wrayen, wraien & wreien (to show, make known, accuse), from the Old English wrēġan (to urge, incite, stir up, accuse, impeach), from the Proto-Germanic wrōgijaną (to tell; tell on; announce; accuse), from the primitive Indo-European were- or wrē- (to tell; speak; shout).  It was said to be akin to the Dutch wroegen (to blame), the German rügen (to reprove) and the Swedish röja (to betray; reveal; expose).  Beray was from the Middle English bewraien, bewreyen & biwreyen, from the Old English bewrēġan, from the Proto-Germanic biwrōgijaną (to speak about; tell on; inform of), the construct being be- +‎ wray.  It was cognate with the Old Frisian biwrōgja (to disclose, reveal), the Dutch bewroegen (to blame; accuse), the Middle Low German bewrȫgen (to accuse; complain about; punish), the Old High German biruogen (to disclose, reveal) and the Modern German berügen (to defraud).  The attraction of the idea of a relationship between wray or beray and wraith is the use of wraith to mean a “vengeful” spirit.

JRR Tolkien (1892–1973), a philologist (is the study of language in oral and written historical sources) of some note, favored a link with writhe on the basis of the sense of “writhing; bodily distorted” (as in a ghost or apparition).  Writhe was from the Middle English writhen, from the Old English wrīþan, from the Proto-West Germanic wrīþan, from the Proto-Germanic wrīþaną (to weave, twist, turn), from the primitive Indo-European wreyt- (to twist, writhe).  It was cognate with the Middle Dutch writen (to turn, twist), the dialectal German reiden (to turn; twist around), the Danish vride (to twist), the Swedish vrida (to turn, twist, wind) and the French rider (to wrinkle, furrow, ruffle).

Not quite what she meant: Gretchen Wieners (Lacey Chabert (b 1982)) in Mean Girls (2004).

In late eighteenth century English, the noun “fetch” could mean “apparition of a living person, specter, a double”, from fetch-life (a deity, spirit, etc who guides the soul of a dead person to the afterlife (a psychopomp)) the source an English dialect word of unknown origin but which may have been from the Old English fæcce (evil spirit formerly thought to sit on the chest of a sleeping person; a mare) and may have been related to or even from the Old Irish fáith (seer, soothsayer).  The (now archaic) "fetch candle" was a mysterious light, which, when seen at night, was believed to foretell a person's death.  The Irish idea of the fetch and the fetch light describes the apparition associated with impending death (commonly in English now called a wraith).  The fetch or wraith was a doppelganger (double) of the dying who appeared when the time was approaching for them to need their spirit to guide them to the afterworld (ie act as a psychopomp).  The poet Percy Bysshe Shelley (1792–1822) and the writer Goethe (Johann Wolfgang von Goethe, 1749–1832) are among those who described seeing their own wraiths although most are said to have been visible only to those surrounding the dying.

1952 Rolls-Royce Silver Wraith with touring limousine coachwork by Park Ward.

Rolls-Royce has for almost a century used model names which summon imagery of the silently ethereal including Ghost, Phantom, Seraph, Shadow, Spirit, Spectre & Wraith.  The first Wraiths were introduced in 1938 and although World War II (1939-1945) interrupted things, almost 500 chassis left the factory between then and 1946.  The name was revived in 1946 when the company introduced their first post-war model as the Silver Wraith and although stylistically there would be nothing like the imaginative lines of the new US cars, the underpinnings were significantly modernized and the model would remain in the catalogue until 1958 with almost 2000 chassis produced.  Unlike the smaller Silver Dawn (1949-1955), the factory would only ever supply the Wraith rolling chassis to coachbuilders who would fabricate the bodies in accordance with customer preference although, the (slightly) higher-performance Bentley version was available with what came to be known as the “standard steel body”.

1971 Rolls-Royce Silver Shadow long-wheelbase (LWB) saloon with central division (top) and 1979 Rolls-Royce Silver Wraith (bottom).

Within two years of the introduction of the Silver Shadow (1965-1980), a long-wheelbase (“LWB” which gained an additional 4 inches (100 mm) odd of rear-seat leg room) version had been produced and this configuration was introduced as a factory option in most markets between 1969-1971.  Built sometimes with an electrically operated glass division (the associated hardware absorbing most of the gained rear legroom) production continued on a small scale until 1976 when the Silver Shadow II was released at which point the LWB was re-branded as the Sliver Wraith II, incorporating not only the Shadow’s worthwhile mechanical improvements (which was good) but also carrying-over the vinyl roof (which was bad).  Rolls-Royce always used a brand of high-quality vinyl called “Everflex” and never used the word “vinyl”.  The re-naming followed the practice adopted in 1971 when the Silver Shadow two-door saloon (1966-1971) and convertible (1967-1971 and then known as a Drophead Coupé (DHC)) was renamed Corniche which, in convertible form would last until 1995, the saloon retired in 1980.

2015 Rolls-Royce Wraith.  The “Starlight headliner” was fabricated by weaving some 1300 strands of fibre-optic cable into the ceiling’s leather lining.  In the US market the option listed at US$14,700, a cost which reflected the high labor component in the production process and it should be compared with the bespoke audio system option which cost US$8,625 (the bulk of the input costs of the audio system was in mass-produced solid-state components).  Rolls-Royce has confirmed the 2023 Wraiths will be their last V12 coupés, the replacement (electric) Spectre going on sale in 2024. 

When introduced in 2013, it was the first time since 1946 the word “Wraith” had been used by the factory as a stand-alone model name.  Only ever available as a two door hardtop (no central pillar) coupé, the Wraith used the highly regarded 6.6 litre (402 cubic inch), twin-turbocharged BMW V12 used in their flagship 7 Series (G11 2015-2022) in happier times.  As is the modern practice at Rolls-Royce, a number of limited production runs of special models were available in the decade the Wraith was made but the platform also attracted the tuners, some emphasizing addition power, some additional stuff, all with high-price tags.

Mansory’s original version of the Rolls-Royce Wraith (top) was almost restrained, something later abandoned when the “Palm Edition 999” (bottom) was released.

German-based Mansory modifies high-priced cars, boosting both power and bling.  A particular specialty is carbon-fibre fabrication, the standard of their work acknowledged as world class and their approach to engineering is also sound, something not always achieved by those who make already highly tuned engines more powerful still.  The appearance (inside & out) of the machinery they modify doesn’t suit all tastes but their success proves a market exists for such things and their sales in markets like the Middle East and India proves that east of Suez there’s a receptive (and rich) audience.  Things from Rolls-Royce, Ferrari et al are anyway expensive but for Mansory (an others) the target market is not millionaires but billionaires, some of the latter needing accessories to prove they’re not merely one of the former.  Just to make sure the message was getting through however, when Rolls-Royce released their SUV (sports utility vehicle), Mansory badged their take as the Rolls-Royce Cullinan Mansory Billionaire (the project a co-development with the German fashion house Billionaire).  Disappointingly perhaps, it was advertised with a list price well under US$1 million.  In the long-running cartoon show The Simpsons, nuclear power-plant co-owner C Montgomery Burns used the phrase “price taggery” in one sense but it's applied also when discussing Veblen goods produced for the "conspicuous consumption" market; there, the purpose of the product is to advertise one's disposable income and a well-publicized (high) price-tag is essential.  

The electric Rolls-Royce Spectre.  Instead of an internal combustion engine, the Spectre is powered by two electric motors producing a combined net 577 horsepower and 664 pound-feet of torque.  There was a time when Rolls-Royce would never have painted their cars purple but the catchment of those with the resources to buy or lease (rent) such things has expanded to include many whose tastes come from different traditions.  It's not the difference between good and bad taste; it's just a difference.

Rolls-Royce has announced its intention by 2030 to offer a range of vehicles powered exclusively by electric propulsion.  For Rolls-Royce, the engineering and financial challenges aside, the obstacles are few because, unlike an operation like Ferrari which for decades has based part of its mystique on the noise its engines make at full-cry, it has always put a premium of silence and smoothness.  Enzo Ferrari (1898-1988) said it was the howl of the V12 Packard engines (which he dubbed “the song of 12”) he heard on the race tracks which convinced him to make the V12 the signature configuration for the cars which would bear his name but for Charles Rolls (1877–1910), the co-founder of Rolls-Royce, the most influential sound was its absence.  In 1904, he had the opportunity to ride in Columbia Electric car and, knowing what so many of his customers craved, was most impressed, noting: “The electric car is perfectly noiseless and clean. There is no smell or vibration. They should become very useful when fixed charging stations can be arranged.”  So, in 120-odd years not much has changed.  Ferrari are doubtlessly hoping the hydrogen re-fueling infrastructure develops at a similarly helpful rate, the exhaust note from exploding hydrogen able to be as intoxicating as that of burning hydrocarbons.

Pantechnicon

Pantechnicon (pronounced pan-tek-ni-kon or pan-tek-ni-kuhn)

(1) A building or place housing shops or stalls where all sorts of (especially exotic) manufactured articles are collected for sale; most associated with the Pantechnicon, a large warehouse where goods (delivered by Pantechnicon's vans) were stored.

(2) A large van, especially one designed for moving or furniture and other household goods; originally "pantechnicon van".

1820-1830: A creation of modern English using the Ancient Greek, the construct being pan-, from the Ancient Greek πᾰν- (pan-), a neuter form of πᾶς (pâs) (all, every) + τεχνικόν (tekhnikón) (artistic, skillful), neuter singular of τεχνικός (tekhnikós, “technical”), from tekhnē (art), from the primitive Indo-European tetḱ- (to create, produce).  The clippings pantech (UK) & pantech van (Australia) are now less common.  Pantechnicon is a noun; the noun plural is pantechnicons.

The Pantechnicon building, Motcomb Street, Belgrave Square, London.  It was built in what was then called the “Greek Revival” style, featuring a neo-classical facade using Doric columns.  It’s described now as a “contemporary fashion emporium” and includes the inevitable café, restaurant & bar.

A Pantechnicon van (almost always called a pantechnicon and, in certain places. “pantech” endures) was originally horse-drawn and used to transport furniture to and from The Pantechnicon, a bazaar in central London where objects were stored as well as sold.  The Pantechnicon building was built in the early 1830s, the name coined from the Ancient Greek to convey the idea of an institution which traded in all aspects of the arts.  That commercial use continued but the building and the eponymous vans became famous in the twentieth century after the premises were converted into furniture storage warehouse. The warehouse was burnt out in 1876 and suffered another severe blaze in 1939, the latter unfortunate timing as many people had stored there the household effects of grand London houses which were being shuttered for the duration of the war.

Although originally used exclusively to service clients of The Pantechnicon, the design of the vans, being functionally deterministic, was optimized for the task and soon adopted by all removalists, the name to describe the vans quickly becoming generic.  The design persisted when the vans were motorized; now built on truck chassis, they were now even more obviously slab-sided cuboids and the new technology permitted them to become very large.  In a city like London with some narrow lanes and tight corners, some of which dated from the Roman occupation, that presented problems of its own and some small, horse-drawn pantechnicons continued to ply their trade even after the Second World War.

1947 Rolls-Royce Silver Wraith "Pantechnicon" by Hooper.

Being functional work-horses designed for the maximization of internal space and the ease of loading, few commented on the aesthetics but when the same style was adopted in 1947 for a Rolls-Royce Silver Wraith commissioned by an exceedingly rich oil trader called Nubar Gulbenkian (1896-1972), many were aghast and the thing was soon nick-named the Pantechnicon.  Built by the coachbuilder Hooper, it didn’t start a trend for the design although, over the next decade, some details would appear in the cars of many manufacturers because of the contribution to aerodynamic efficiency.  Time has perhaps been kinder to Mr Gulbenkian’s pantechnicon than critics at the time, compared with some of what would be produced in the years that followed, Hooper’s lines had coherence and even a simplicity which, until their bankruptcy, would elude some coachbuilders and certainly, there are more hints of the future in the pantechnicon than most of the Silver Wraiths (1946-1958) which were usually pastiches of pre-war mofifs.

1956 Rolls-Royce Silver Wraith by Hooper.

Unmoved by the staid critics, Mr Gulbenkian continued to favor both the Wraith and Hooper though not their standard range.  While he didn’t again request anything pantechnicon-like, his tastes nevertheless remained eccentric, purchases including a four-door cabriolet (a rarity even then) and a sedanca de ville (a body style thought almost extinct), the latter fully-trimmed in sage-green lizard-skin.  Probably the most dramatic of Gulbenkian’s Hooper-bodied Rolls-Royces was a left-hand drive example built for use on the Côte d’Azur where he kept a house (and reputedly several mistresses); it had conventional four-door saloon coachwork but its novelty lay in its transparent Perspex roof, complete with an electrically-operated fabric inner blind to keep the occupants cool despite the Mediterranean sun.  Eschewing the usual acres of burl walnut which had been a Rolls-Royce signature since the earliest days, the interior was trimmed entirely in leather, a hallmark of all the Gulbenkian cars as was the speedometer fitted in the rear passenger compartment.  So distinctive was the appearance that after it was sold, it was used in the 1964 film Les Félins (released in English-language markets as The Love Cage) which starred Alain Delon (b 1935) and a young Jane Fonda (b 1937).

1966 Mercedes-Benz 600 SWB by Chapron.

Mr Gulbenkian must have been quite taken with the Perspex roof because in 1965, impressed by Mercedes-Benz’s extraordinary new 600 (W100; 1963-1981), he approached them and requested they build him one with such a roof.  Stuttgart declined.  Undeterred, in 1966 Mr Gulbenkian purchased one from the French distributer and had it delivered directly to Henri Chapron’s (1886-1978) coachbuilding studio in Paris to which he provided a specification sheet and what is said to have been a quite professional-looking sketch.  The build took almost a year because, better to enjoy the view through the transparent roof, Mr Gulbenkian fancied the idea of gazing at the stars at night so the rear seats were configured to recline into a bed.  The door panels were equipped with handheld mirrors and glass deflectors designed to minimalize the air turbulence in the cabin. Special tobacco pipe holders were fitted, as well as a minibar.  One piece of German engineering Chapron didn’t try to emulate was to extend the hydraulic control system to operate the roof blinds.  The 600 was unique in that it didn’t use electric motors for things like the windows, these along with the doors, seats, sunroof and trunk (boot) lid instead silently run by a hydraulic system, which ran at an extraordinary 2176 psi (150 bar), something which absorbed about a sixth of the power generated by the 386 cubic inch (6.3 litre) V8 although what remained was sufficient still to propel what was a big, heavy and not obviously aerodynamic car to almost 130 mph (210 km/h).  The 600 was anyway expensive but Chapron's work more than doubled the price.  Mr Gulbenkian who then owned some 5% of BP, didn't quibble.

419 Venice Way, Venice Beach, Los Angeles, 31 January 2012.

This is the pantechnicon Lindsay Lohan hired when moving from where she lived during 2011-2012 in a semi-mirrored construction (a style of architecture sometimes called “pigeon pair”) next door to former special friend Samantha Ronson who inhabited Number 417.  She moved out after being disturbed by "a Freemason stalker".  In North America, this pantechnicon would usually be called a "semi", a clipping of "semi-articulated trailer" and even in the UK the term "pantechnicon" is now less common, as is the Australian clipping "pantech van". 

Ghost

Ghost (pronounced gohst)

(1) The soul of a dead person, a disembodied spirit imagined, usually as a vague, shadowy or evanescent form, as wandering among or haunting living persons.

(2) A mere shadow or semblance; a trace; a remote possibility; a faint trace or possibility of something.

(3) A spiritual being; the principle of life; soul; spirit (sometimes initial capital letter).

(4) A secondary image, especially one appearing on a television screen as a white shadow, caused by poor or double reception or by a defect in the receiver (also called ghosting).

(5) In photography, a faint secondary or out-of-focus image in a photographic print or negative resulting from reflections within the camera lens (also called ghost image).

(6) In optics, a series of false spectral lines produced by a diffraction grating with unevenly spaced lines.

(7) In metalworking, a streak appearing on a freshly machined piece of steel containing impurities.

(8) In pathology, a red blood cell having no hemoglobin.

(9) In tax-avoidance and other frauds, a fictitious employee, business etc, fabricated especially for the purpose of manipulating funds.

(10) In literature (and especially quasi-literature), as ghost-write, to write a book, speech etc for another often without attribution.

(11) In engraving, to lighten the background of a photograph before engraving.

(12) In informal use (often associated with social media), suddenly to end all contact with a person without explanation, especially a romantic relationship; to leave a social event or gathering suddenly without saying goodbye.

(13) In digital technology, to remove comments, threads, or other digital content from a website or online forum without informing the poster, keeping them hidden from the public but still visible to the poster.

(14) In bibliography, as ghost edition, an entry recorded in a bibliography of which no actual proof exists.

Pre 900: From the Middle English gost, gast & goost (breath; good or bad spirit, angel, demon; person, man, human being", in Biblical use "soul, spirit, life”), from the Old English gāst (breath, soul, spirit, ghost, being), related to the Old High German gaist & geist (spirit) and the Sanskrit hēda (fury, anger).  The Proto-West Germanic gaist was derived from the Proto-Germanic gaistaz (ghost, spirit, (source also of the Old Saxon gest, the Old Frisian jest, the Middle Dutch gheest, the Dutch geest & the German Geist (spirit, ghost))), from the primitive Indo-European ǵhéysd-os, from ǵhéysd- (anger, agitation) and was cognate with the Scots ghaist (ghost), the Saterland Frisian Gäist (spirit), the West Frisian geast (spirit), the Dutch geest (spirit, mind, ghost), the German Geist (spirit, mind, intellect), the Swedish gast (ghost), the Sanskrit हेड (héḍa), (anger, hatred) and the Persian زشت‎ (zešt) (ugly, hateful, disgusting).  There’s no documentary evidence but the ultimate root is conjectured to be the primitive Indo-European gheis-, used in forming words involving the notions of excitement, amazement, or fear (source also of Sanskrit hedah (wrath), the Avestan zaesha- (horrible, frightful), the Gothic usgaisjan and the Old English gæstan (to frighten).  Ghost is a noun & verb (and used imaginatively as an adjective), ghoster is a noun, ghostly & ghosty are adjectives, ghosting is a noun & verb and ghosted is a verb & adjective; the noun plural is ghosts.

Ghost is the English representative of West Germanic words for "supernatural being" and in Christian writings in Old English it was used to render the Latin spiritus, a sense preserved by the early translators of the Bible in “Holy Ghost”.  The sense of a "disembodied spirit of a dead person", especially imagined as wandering among the living or haunting them, is attested from the late fourteenth century, a meaning-shift which returned the word to what was its probable prehistoric sense.  Most Indo-European words for "soul or spirit" also double with reference to supernatural spirits.  Many have also a base sense of "appearance" (the Greek phantasma; the French spectre; the Polish widmo, from Old Church Slavonic videti (to see), the Old English scin, the Old High German giskin (originally "appearance, apparition”), related to the Old English scinan & the Old High German skinan (to shine)).  Other concepts exist, including the French revenant (literally "returning" (from the other world)), the Old Norse aptr-ganga, (literally "back-comer") & the Breton bugelnoz (literally "night-child”).  The Latin manes (spirits of the dead) was probably a euphemism.

The gh- spelling appeared early in the fifteenth century in Caxton, influenced by Flemish and Middle Dutch gheest, but was rare in English before mid-1500s.  The sense of a "slight suggestion, mere shadow or semblance" (as in ghost image, ghost of a chance etc) is noted from the 1610s; the sense of "one who secretly does work for another" is from 1884 and ghost-write was a 1922 back-formation from the earlier (1919) ghost-writing.  The American Indian ghost dance was first noted in 1890, ghost town is from 1908, ghost story dates from 1811, the now extinct ghost-word (apparent word or false form in a manuscript due to a blunder) is from 1886.  The “ghost in the machine” was English philosopher Gilbert Ryle's (1900-1976) 1949 description of René Descartes' (1596-1650) mind-body dualism and the phrase "to give up the ghost" (to die or prepare to die) was well-known in Old English.  Synonyms include phantom, devil, demon, soul, shadow, spectre, vision, vampire, apparition, revenant, appearance, haunt, visitor, shade, spook, poltergeist, phantasm, wraith, daemon & manes.  There are a surprising number of uses of ghost, ghosted, ghosting etc said to be associated modern or internet slang covering fields as diverse as linguistic techniques and the art & science of smoking weed.  However, the most commonly used describes someone with whom one has been in contact suddenly stops responding, disappearing, as it were, like a ghost.  This can happen in conjunction with unfriending etc but can be an act in isolation.

One day, there may be Lindsay Lohan: The autobiography.

Ghostwriters (also as ghost-writer) are professional writers hired to create content (books, columns, posts or any other text-focused item), the authorship of which will ultimately will be credited to another.  Ghostwriters are used for a number of reasons including constraints of time, a lack of interest in the project (though not the profits) or, typically, a lack of the necessary skill with the written word.  Ghostwriting contracts can vary but focus on including terms of payment, non-disclosure of involvement, the notional author’s exercise of veto over all or some of the content and the rights to the finished work.  Donald Trump (b 1946; US president 2017-2021) is known to have used ghostwriters on several occasions and the arrangements are not always concealed, Paris Hilton (b 1981) in her 2023 memoir's acknowledgments thanking the ghostwriter who “helped me find my voice”.  Mr Trump made no mention of his ghostwriters.    

Holy Ghost vs Holy Spirit in Blblical Translation

Pentecostés (Descent of the Holy Spirit) (circa 1545), oil on canvas by Tiziano Vecelli (or Vecellio), (circa 1489-1576; known in English as Titian), basalica of Santa Maria della Salute, Venice.

The Trinity is one of Christianity’s central doctrines, the unity of Father, Son, and Holy Spirit as three persons in the one Godhead.  One of the most important Christian affirmations about God, it’s rooted in the idea God came to meet Christians in a threefold figure: (1) as Creator, Lord of the history of salvation, Father, and Judge, as revealed in the Old Testament; (2) as the Lord who, in the incarnated figure of Jesus Christ, lived among human beings and was present in their midst as the “Resurrected One”; and (3) as the Holy Spirit, whom they experienced as the helper or intercessor in the power of the new life.  In the Roman Catholic Church, the Sign of the Cross is made in the name of the Father and of the Son and of the Holy Spirit.

It’s a myth that prior to the Second Vatican Council (Vatican II; 1962-1965), the Third Person of the Trinity was always referred to in English as the Holy Ghost and one of the council’s decisions was to replace this with Holy Spirit.  Although it’s true Pope Pius XII (1876–1958, pope 1939-1958) authorized several bilingual rites which included Holy Spirit, this was merely procedural and a formalization of processes for the publishing of new editions of existing works. Well before the twentieth century, the shift to Holy Spirit had become almost universal in translation although use of the older form persisted because of the reverence for tradition among some congregations (if not always the clergy) and a fondness, particularly in the Anglican community, for earlier translations, especially the Book of Common Prayer (1549-1622) and the King James version of the Bible (KJV: 1611).

The change reflects the evolution of words. In the theological context, Holy Ghost and Holy Spirit mean exactly the same thing.  The early translators were influenced by ghost being of Germanic origin and, as the Old English gast inherited the original meaning “soul, life, breath, good or bad spirit, angel or demon”, they used gast to translate the Latin Spiritus, thus Holy Ghost.  Although the more modern sense of a disembodied dead person dates from the late fourteenth century, it long remained rare and when translating the Bible into English the scholars behind the KJV opted mostly to use Holy Ghost which enjoys ninety entries compared with seven for Holy Spirit.  Either as literature or theology, there’s nothing in the texts to suggest any difference of meaning between the two, the conclusion of biblical scholars being the choices were wholly arbitrary and probably an unintentional consequence of the KJV being translated from the Greek into English by different committees.  One committee translated hagion pneuma as Holy Spirit while the other preferred Holy Ghost and when the work of the two bodies was combined, the differences remained.  In English, the meaning shift of ghost was induced essentially by its adoption in literature and popular culture, the sense long universally understood to be that of the spectre of a deceased person or a demonic apparition, hardly an association the church found helpful.  It hasn’t wholly been replaced however, some editions of the Book of Common Prayer still are printed with the phrase “He may receive the benefits of absolution, together with ghostly counsel and advice, to the quieting of his conscience.”

Unrelated to etymological matters however, there is one fine theological point about the Trinity.  It took some time for the Patristic Fathers (the early Christian writers of the period generally considered to run from the end of New Testament times or end of the Apostolic Age (circa 100 AD) to either the Council of Chalcedon (451 AD) or the Second Council of Nicaea (787 AD)) to work out the Trinity was three persons, but one God.  The Old Testament foretold the visit to earthly life of the Messiah, but did not name him explicitly as Jesus, seeing the Holy Spirit as a manifestation of God, but did not see Him as a separate person of the one Godhead.  Despite the implications of that, at least since Augustine (354–430), it’s never been an orthodox view the Old Testament should be thought incomplete.  Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022), always one to find a fine theological point, noted “Christians do not read the Old Testament for its own sake but always with Christ and through Christ, as a voyage to Truth through continuing Revelation.”

A century apart: Rolls-Royce Silver Ghost (left) and Paris Hilton's Rolls-Royce Ghost (Right).

The Rolls-Royce Silver Ghost (1906-1926) was the car which cemented the company's reputation and sometime during its production, it may well have deserved to be regarded "the best car in the world", at term which long ago ceased to be useful but Rolls-Royce have probably always deserved to be thought "the best-made cars in the world".  Some might have matched the quality of the fit and finish but it's doubtful any have ever done it better.  Such was the reputation the Silver Ghost quickly gained that the name overtook the line.  Originally, the Silver Ghost had been but one model in a range available on their standard (40/50 hp) chassis but the name so captured the public imagination that eventually, the factory relented and when the first of the Phantom line was release in 1926, Silver Ghost for all the 40/50 cars it became.  Perhaps surprisingly, although in the subsequent century there were many uses of the "silver" adjective (Silver Wraith, Silver Dawn, Silver Cloud, Silver Shadow, Silver Spirit, Silver Spur & Silver Seraph), it wasn't until 2009 the "Ghost" name was revived and it remains in production still, the line augmented in 2011 by the Ghost Extended Wheelbase (EWB).

RAF Rolls-Royce Silver Ghost armored car, Iraq, circa 1936.

The Silver Ghost also had what may seem an improbable career as a military vehicle, the factory eventually building 120 armored cars on the chassis which was famously robust because of the need to survive on the often rough roads throughout the British Empire.  Although the period of intended service on the Western Front was shortened when the war of movement anticipated upon the outbreak of hostilities soon gave way to the effectively static trench warfare, the machines proved ideally suited to operations in the Middle East, the most famous the squadron used by TE Lawrence (Lawrence of Arabia; 1888–1935) in battles against the Ottoman forces during World War I (1914-1918).  Lawrence remarked the Rolls-Royces were “more valuable than rubies” in desert combat and that he’d be content with one for the rest of his life were it to be supplied with tyres and petrol, the big, heavy Ghosts chewing rapidly through both.  In many parts of the empire, numbers of the armoured cars remained in service well into the 1930s, valued especially by the Raj in India.  The last one was retired from service with the Irish Free State in 1944, new tyres being unobtainable.

Hoop

Hoop (pronounced hoop)

(1) A circular band or ring of metal, wood, or other stiff material.

(2) Such a band for holding together the staves of a cask, tub, barrel etc.

(3) A large ring of iron, wood, plastic, etc., used as a plaything for a child to roll along the ground; the hula hoop was a later variation.

(4) A circular or ring-like object (apart, figure, component etc).

(5) In jewelry, the shank of a finger ring (the part of a finger ring through which the finger fits).

(6) In croquet, the wicket (the iron arches through which the ball is driven).

(7) In fashion, a circular band of stiff material used to expand and shape a woman's skirt (sometimes a hoop skirt or petticoat although technically, some don’t contain actual hoops).

(8) In basketball & netball, an informal term for the metal ring from which the net is suspended (the rim).  Also used to refer to the metal ring and net taken together (the basket) and (now less commonly) the game itself (always in the plural).

(9) In pottery (and the products of those which emulate the styles), a decorative band around a mug, cup bowl, plate etc.

(10) To bind or fasten with or as if with a hoop or hoops.

(11) To encircle; to surround.

(12) In circuses etc, a large ring through which performers or animals are trained to jump.

(13) In horse racing, slang for a jockey (Australia).

(14) A style of earring consisting of one or more circles of some substance (metal, plastic et al) and classically a single strand although some have several circles.  They’ve come to be associated with Gypsies (Roma; Romany; Travelers) but this may reflect depictions in popular culture).

(15) A variant spelling of whoop; a whoop, as in whooping cough; to utter a loud cry, or a sound imitative of the word, by way of call or pursuit; to shout (now rare).

(16) In cheese production (as cheese hoop), the cylinder in which the curd is pressed in making wheels of cheese.

(17) A circular band of metal, wood, or similar material used for forming part of a framework such as an awning or tent.

(18) A quart pot, so called because originally it was bound with hoops, like a barrel (used also as a measure of the portion of the contents measured by the distance between the hoops).

(19) A now obsolete (pre imperial system) measure of capacity, apparently between 1-4 pecks.  (In US customary use, a peck was equal to 8 dry quarts or 16 dry pints (8.80977 litres).  In the Imperial system, it was equal to 2 Imperial gallons or 8 Imperial quarts (9.09218 litres).)

(20) In embroidery, a circular frame used to support the thread.

(21) In sports (usually in the plural) a series of horizontal stripe on the jersey.

1125–1175: From the Middle English hope, hoope & hoop (circular band, flattened ring), from the late Old English hōp (mound, raised land; in combination, circular object), from the Proto-Germanic hōp (circular band, flattened ring) & hōpą (bend, bow, arch (which was related to the Saterland Frisian Houp (hoop), the Dutch hoep (hoop), the Old Church Slavonic кѫпъ (kǫpŭ) (hill, island), the Lithuanian kabẽ (hook) and the Old Norse hóp (bay, inlet)), from the primitive Indo-European kāb- (to bend).  Etymologists conclude the original meaning would have been “curve; ring” but the evolution is murky.  The verb was derived from the noun and emerged in the fifteenth century, apparently from the barrel-making business undertaken by coopers (who handled the timber) and hoopers (who fashioned the steel hoops).  Hoop is a noun & verb, hooper is a noun (the surname Hooper a proper noun), hooped is a verb & adjective hoopless, hooplike & unhooped are adjectives; the noun plural is hoops.

Lindsay Lohan wearing hooped earrings.

Although it’s clear hoops as playthings for children date back to antiquity, they weren’t again documented in Europe until the 1400s (where they were used in an early form of physiotherapy) and seem not to have been commercially available only after 1792.  The sport of basketball dates from 1891 and the term hoops (both for the physical components and the game itself) was certainly in use by 1893 although oral use may have preceded this.  The use in circuses (a large ring through which performers or animals are trained to jump) was noted in 1793 but there are journals from travelers in Spain, the Middle East and North Africa which confirm the same devices were being used to train military horses as early as the 1100s.  From this, developed the figurative form “jumping through hoops” which was used from circa 1915 to refer to the obstacles which must be overcome in order to proceed (one being forced to perform time-consuming, pointless tasks in order to gain a job, qualify for acceptance to something etc).

Structural engineering: How the hoop skirt is done.

The hoops (circular band serving to expand and shape the skirt of a woman's dress) used in fashion became popular in the 1540s but similar ideas in structural engineering has been used for thousands of years.  Until the twentieth century, the style never really went away but the size of the hoops certainly waxed and waned as tastes shifted.  The hoops were used for both skirts and petticoats and were fabricated variously from ratan, whalebone, bamboo and even steel and sometimes shapes beyond the purely circular were used, notably the bustle-back style which used the same technique of fabric over a framework.  The term hoop-petticoat appears to date from 1711 while the hoop-skirt is documented since 1856.  A hooptie (less commonly as hooptee or hoopty) is US slang for a dilapidated motor vehicle, dating from the 1920s but achieving popularity when used in hip-hop culture during the 1980s.

1958 Rolls Royce Silver Wraith touring limousine by Hooper.

The hoop snake, a native of the southern US & northern Mexico, was so named in 1784 in recognition of its ability to take its tail in its mouth and roll along like a hoop.  The phrase “cock-a-hoop” (delighted; very happy) was first noted in the sixteenth century and is of unknown origin but may be derived from either (1) the earlier “to set the cock a hoop” (prodigally to live) which implied (literally) “to put a cock on a hoop” (ie, a full measure of grain).  The surname Hooper (maker of hoops, one who hoops casks or tubs) dates from the thirteenth century and was the companion occupation of the cooper who made the barrels.  Hooper & Co (1805) was a UK coach-builder which in the twentieth century moved into the automobile business, catering for the top-end of the market including those supplied to the Royal Mews.  In the 1950s it was noted for its signature “knife-edge” style which, somewhat incongruously, applied one of the motifs of modernity to what was by then an antiquated design idea.  It was also associated with the extravagant Docker Daimlers but it was the end of an era because the move to unitary construction by the manufacturers meant the end for traditional coach-building and their production lines were closed in 1959 although business continued in various forms and in the 1980s, a few one-off Bentleys and Rolls-Royces were made.  Hoopla (also a hoop la) was a coining of US English (originally as houp-la) dating from the 1870s meaning “exclamation accompanying quick movement” and thought derived from the French phrase houp-là (“upsy-daisy” in the English sense), used in Louisiana.  It has come generally to mean “a great fuss”.

Official photograph issued by Celtic Football Club (The Hoops) showing team in traditional green-hooped livery (left) and Lindsay Lohan in a similar style (right) although her choice is presumed coincidental.

The Glasgow-based, Scottish football club Celtic is (along with Rangers) part of an effective duopoly which dominates the Scottish Premiership, the nation’s (FIFA says it’s a country) top-level competition.  The club was founded in 1887 and its first game was a “friendly” against Rangers.  In sport “friendly” is a technical term which means only that no trophy or competition points are at stake and (certainly in the crowd), there is never anything friendly about Celtic-Rangers contests.  As well as taking the majority of the cup competitions, since 1985-1986 either Celtic or Rangers have won each season’s top-flight trophy.  Reflecting their Irish-Catholic traditions, Celtic has always played in green and white and the distinctive hooped shirt was adopted in 1903, gaining them the nickname which endures to this day: The Hoops.

Lindsay Lohan recommends salt & vinegar (S&V) Hula Hoops.

Made from processed potatoes & corn (maize), Hula Hoops are fashioned in the short, hollow cylinders about one inch (25 mm) across.  They were first sold in the UK in 1973 and have been sold (under a variety of brands) in Europe, South America, Asia and throughout the English-speaking world (except North America).  Because the distribution model relied on sea transport  from centralized production facilities, the Hula Hoop business was greatly disrupted by the COVID-19 pandemic and in some cases, supplies to some markets weren't wholly restored until 2022, a problem for HH addicts because apparently, there's nothing else quite like them.  The internet noted Ms Lohan's fondness for salt & vinegar (S&V) but the consensus seem to be the most popular flavor was BBQ Beef (Brown).

Hooters is a US cultural and culinary institution and one of its signature features is the beer being served by a hula-hooping waitress.  Hooters provides an instructional video, performed by Jordan from Georgia.

The staff at Hooters of course use a traditional hula-hooping technique, not only to respect the history but because they pour beer while hooping.  However, for those able to perform in "hands-free" mode, the hoop can be made to rotate in any arc which movements of body-parts permit.