Epistle

Epistle (pronounced ih-pis-uhl)

(1) Text in the form of a letter (written classically in verse), especially a formal or didactic one; written communication.

(2) One of the New Testament’s apostolic letters of the Saints Paul, Peter, James, Jude, or John (usually with initial capital letter).

(3) An extract, usually from one of the Epistles of the New Testament, forming part of the Eucharistic service in certain churches (usually with initial capital letter).

(4) A literary work in letter form, especially a dedicatory verse letter of a type originated by the Roman lyric poet Horace (Quintus Horatius Flaccus, 65-8 BC).

(5) A letter, especially one which is formal or issued publicly (now usually literary or ironic).

(6) A letter of dedication addressed to a patron, inspiration or reader, published as a preface to a literary work (associated with a qualifying word, as in epistle dedicatory); now usually a historic reference. 

Pre 900: From the Middle English epistel, epistole & pistel (letter; literary work in letter form; written legend or story; spoken communication), from the Old English epistol, epistola & pistol (letter, epistle), from the Latin epistola (letter, epistle; literary work in letter form) (from the came the Late Latin epistola (one of the letters by an apostle in the New Testament)), from the Ancient Greek ἐπῐστολή (epistolḗ) (letter; message), from ἐπῐστέλλω (epistéllō) (to inform by, or to send, a letter or message), the construct being ἐπῐ- (epi-) (the prefix meaning "on, upon" and ultimately from the primitive Indo-European hepi (at; near; on)) + στέλλω (stéllō) (to dispatch, send (ultimately from the primitive Indo-European stel- (to locate; to place, put))) + -η (-ē) (the suffix forming action nouns).  The familiar and specific sense of "letter from an apostle forming part of canonical scripture" dates from circa 1200.  It was in use as the Anglo-Norman epistle and the Middle French epistle, epistele & epistole (letter; (Christianity)).  As well as one of the letters by an apostle in the New Testament, it referred to also an extract from (or something inspired by) such a letter read as part of the Mass.  The verb was derived from the noun.  The synonym pistle has been extinct since the eighteenth century (and even then it seems mostly to have been used as ecclesiastical shorthand).  Epistle is a noun & verb, epistolary is a noun & adjective, epistoler, epistolarian, epistolographist, epistolography & epistler are nouns, epistolical is an adjective; the noun plural is epistles.  

Although the use in Biblical translation long ago created the general impression an "epistle" was something associated exclusively with scripture, long goa (and still in the technical language of literature), an epistle was a poem addressed to a friend or patron; a letter in the form of verse and the classic distinction was between (1) the moral & philosophically thematic such as  Horace's Epistles and (2) the romantic (the sentimental according to sterner critics) (such as Ovid's (43 BC–17 AD) Heroides).  Throughout the Middle Ages, it was the romantic which was the more popular form and historians link the form with the evolution of the theories of courtly love which would remain influential in fiction for centuries.  During the Renaissance and thereafter however it was the Horatian tradition which began to prevail, the Italian poets Petrarch (1304–1374) and Italian Ludovico Ariosto (1474–1533) both working in this vein although the latter also wrote romantic tracts.  Historians usually attribute to Ben Jonson (circa 1572-circa 1637) the first use in English of the Horatian mode in The Forest (1616) although elements can be identified in works by earlier authors.  The Forest, a collection of fifteen verses is actually a quite pragmatic work, typical of what emerged from the quills of many compelled to please those who supported them in than most of the poems were addressed to the gentry who were Jonson's patrons aristocratic supporters, but there's also the more personal To Celia.  Content providers having to respond to algorithms sounds like something which belongs to the TikTok era but the effect has long been exerted.  John Dryden (1631–1700), William Congreve (1670–1729), Henry Vaughan (1621–1695) refined the form in English and not uncritically, Congreve especially scathing about some of Jonson's metaphysical meanderings but it was Alexander Pope (1688-1744) in Moral Essays (1731-1735) and the memorable satire An Epistle to Dr Arbuthnot which modern critics tend to regard as the finest; readers can draw their own conclusions about that but there would be few who would deny Pope is the most fun.  After the rise of the novel, the tradition fell from favor although poets would continue to find it useful and WH Auden's (1907-1973) Letter to Lord Byron (1936) illustrates why; the mix of light and dark in the piece reminding one the Biblical translators use the word has infused that something of that into the meaning.        

Paul’s Second Letter to the Corinthians (2 Corinthians 1)

Many of the books of the New Testament are actually letters and Biblical scholars describe them both as letters and epistles, apparently usually with an eye to their audience rather than the content or implied meaning; they’re often a curious mixture of Christian teaching and other matters specific to those to whom they were addressed.  Paul's second letter is thought to have been written circa 56 AD, shortly after he penned the first and was addressed to the Christian community in city of Corinth, a major trading centre which, although by then noted for its rich artistic and philosophic traditions, was notorious also as a place also of vice and depravity.  It was this last aspect that compelled Paul’s first letter to the Corinthian church and in it, sharply he rebuked them for permitting immoral practices in their community; in response, the Corinthians had cracked-down on some of the worst excesses and Paul wrote his second letter to congratulate them on their reforms and even commended forgiving sinners and welcoming them back to the flock.  Harsh though his words could be, Paul’s preference tends always towards restoration, not punishment.  The letter then discusses some sometimes neglected characteristics of the Christian church such as generosity to others and devotes time to defending himself against attacks on his ministry, reminding the Corinthians both of his own poverty and the harsh reality of what it meant to be a minister of Christ in the Roman empire: beatings, imprisonment, hunger, and the constant threat of death.  Because of the discursive range of topics and the changes in tone throughout this letter, some Biblical scholars have suggested that this is a compilation of several different letters or even the work of a number of authors.

The First & Second Epistles to the Corinthians are among the most quoted parts of the Bible.  In the design of one of her tattoos, Lindsay Lohan was drawn to 1 Corinthians 13:4. 

1 Corinthians 13:4-8 (King James Version (KJV, 1611)):

4 Charity suffereth long, and is kind; charity envieth not; charity vaunteth not itself, is not puffed up,
5 Doth not behave itself unseemly, seeketh not her own, is not easily provoked, thinketh no evil;
6 Rejoiceth not in iniquity, but rejoiceth in the truth;
7 Beareth all things, believeth all things, hopeth all things, endureth all things.
8 Charity never faileth: but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away.

More contemporary English is used in the New International Version (NIV, (1978)):

4 Love is patient, love is kind. It does not envy, it does not boast, it is not proud.
5 It does not dishonor others, it is not self-seeking, it is not easily angered, it keeps no record of wrongs.
6 Love does not delight in evil but rejoices with the truth.
7 It always protects, always trusts, always hopes, always perseveres.
8 Love never fails. But where there are prophecies, they will cease; where there are tongues, they will be stilled; where there is knowledge, it will pass away.

Anagoge

Anagoge (pronounced an-uh-goh-jee)

(1) The spiritual or mystical interpretation of a word or passage beyond the literal, allegorical or moral sense (especially in Biblical criticism); A form of allegorical interpretation of Scripture that seeks hidden meanings regarding the future life.

(2) A spiritual interpretation or application of words (following the tradition with the Scriptures.

(3) In psychology, deriving from, pertaining to, or reflecting the moral or idealistic striving of the unconscious.

(4) The mystical interpretation or hidden sense of words.

1350-1400: From the Middle English anagoge, from the Late Latin anagōgē, from the Medieval Latin anagōgia & anagogicus from the Ancient Greek ἀναγωγή (anagōgḗ) (elevation; an uplifting; spiritual or mystical enlightenment), the construct being an- (up) + agōgḗ (feminine of agōgós) (leading), from anagein (to lead up, lift up), the construct being ana- (up) + agein (to lead, put in motion) from the primitive Indo-European root ag- (to drive, draw out or forth, move).  In theology, the adjective anagogical was from the early sixteenth century the more commonly used form, explaining the ways in which passages from Scripture had a “secondary, spiritual sense”.  The idea of a “spiritual, hidden, allegorical or mystical meaning” spread to literature and other fields where it operates as a special form of allegorical interpretation.  The alternative spelling is anagogy.  Anagoge is a noun, anagogic & anagogical are adjectives and anagogically is an adverb; the noun plural is anagoges.

Portrait of Percy Bysshe Shelley at the Baths of Caracalla, depicted writing Prometheus Unbound, oil on canvas, painted posthumously Joseph Severn (1793–1879), Rome, Italy, 1845.

In literary analysis, there does seem a fondness for classifying methods into groups of fours.  Thomas Love Peacock (1785–1866) was an English novelist and poet but despite a background in literature and little else, through family connections he was in 1819 appointed an administrator in the East India Company (which “sort of” ran British India in the years before the Raj).  It was an example of the tradition of “amateurism” much admired by the British establishment, something which didn’t survive the harsher economic realities of the late twentieth century although some still affect the style.  Despite being untrained in such matters, his career with the company was long and successful so he must have had a flair for the business although his duties were not so onerous as to preclude him from continuing to write both original compositions and works of literary analysis.  In 1820 he published Four Ages of Poetry which was regarded as a “provocative” and although a serious critique, the tone was whimsical, poetry classified into four periods: iron, gold, silver & brass.  His friend Percy Bysshe Shelley (1792–1822) understood the satire but seems to have been appalled anyone would treat his art with such flippancy, quickly penning the retaliatory essay Defence of Poetry although the text was unfinished and remained unpublished until 1840, almost two decades after his death.  It’s remembered now for its final sentence: “Poets are the unacknowledged legislators of the world.”  With that, the few thousand souls on the planet who buy (and presumably read) poetry collections might concur but for the many more who can’t tell the difference between a masterpiece and trite doggerel, it may sound either a conceit or a threat.

Peacock not treating poets and their oeuvre which what they believed was due reverence left a mark and while Shelly died before he could finish his reply, more than a century later the English poet & academic literary I.A. Richards (1893–1979) in Science and Poetry (1926) still was moved to defend the poetic turf.  Although approvingly quoting the words of English poet (and what would now be called a “social commentator”) Matthew Arnold (1822–1888): “The future of poetry is immense, because in poetry, where it is worthy of its high destinies, our race, as time goes on, will find an ever surer and surer stay.  There is not a creed which is not shaken, not an accredited dogma which is not shown to be questionable, not a received tradition which does not threaten to dissolve.  Our religion has materialized itself in the fact, in the supposed fact; it has attached its emotion to the fact, and now the fact is failing it.  But for poetry the idea is everything.”, he nevertheless admitted “Extraordinary claims have often been made for poetry…”  Tellingly too, he acknowledged those claims elicited from many “astonishment” and the “more representative modern view” of the future of poetry would be that it’s “nil”.  Modern readers could decide for themselves whether that was as bleak as Peacock’s conclusion: “A poet in our times is a semi-barbarian in a civilized community.  He lives in the days that are past... In whatever degree poetry is cultivated, it must necessarily be to the neglect of some branch of useful study and it is a lamentable thing to see minds, capable of better things, tunning to seed in the spacious indolence of these empty aimless mockeries of intellectual exertion.”  Take that poets.

Peacock's second novel was the Regency-era three volume novel Melincourt (1817).  It was an ambitious work which explored issues as diverse as slavery, aspects of democracy and potential for currency destabilization inherent in the issue of paper money.  Another theme was the matter of differentiating between human beings and other animals, a central character being Sir Oran Haut-ton, an exquisitely mannered, musically gifted orangutan standing for election to the House of Commons.  The idea was thus of “an animal mimicking humanity” and the troubled English mathematician Dr Alan Turing (1912–1954) read Melincourt in 1948, some twelve months before he published a paper which included his “imitation game” (which came to be called the “Turing test”).  Turing was interested in “a machine mimicking humanity” and what the test involved was a subject reading the transcript of a natural-language conversation between a human and a machine, the object being to guess which interlocutor was the machine.  The test was for decades an element in AI (artificial intelligence) research and work on “natural language” computer interfaces but the field became a bit of a minefield because it was so littered with words like “feelings”, learning”, “thinking” and “consciousness”, the implications of which saw many a tangent followed.  Of course, by the 2020s the allegation bots like ChatGPT and character.ai have been suggesting their interlocutors commit suicide means it may be assumed that, at least for some subjects, the machine may have assumed a convincing human-like demeanour.  The next great step will be in the matter of thinking, feelings and consciousness when bio-computers are ready to be tested.  Bio-computers are speculative hybrids which combine what digital hardware is good at (storage, retrieval, computation etc) with a biological unit emulating a brain (good at thinking, imagining and, maybe, attaining self-awareness and thus consciousness).

Westminster Bridge And Abbey (1813), oil on canvas by William Daniell (1769–1837).

There’s more than one way to read Richards and it may be tacitly he accepted poetry had become something which would be enjoyed by an elite while others could spend their lives in ignorance of its charms, citing the sonnet Composed upon Westminster Bridge, September 3, 1802 by William Wordsworth (1770–1850) as an experience for “the right kind of reader”.  So there it is: those who don’t enjoy poetry are the “wrong” kind of reader so to help the “right kind of reader”, Richards also came up with a foursome.  In Practical Criticism (1929) he listed the “four different meanings in a poem”: (1) the sense (what actually is said, (2) feeling (the writer's emotional attitude to what they have written), (3) tone (the writer's attitude towards their reader and (4) intention (the writer's purpose, the effect they seek to achieve).

A vision from Dante's Inferno: The Fifth Circle (1587) by Stradanus (1523-1605)), depicting Virgil and Dante on the River Styx in the fifth circle of Hell where the wrathful are for eternity condemned to splash around on the surface, fighting each other.  Helping the pair cross is the infernal ferryman Phlegyas.  Stradanus was one of the many names under which the Flemish artist Jan van der Straet painted, the others including Giovanni della Strada, Johannes della Strada, Giovanni Stradano, Johannes Stradano, Giovanni Stradanus, Johannes Stradanus, Jan van Straeten & Jan van Straten.

In literary theory, anagoge is one the classic “four levels of meaning” and while there is no consensus about the origins of the four, it’s clear there was an awareness of them manifest in the Middle Ages.  It was Dante (Dante Alighieri (circa 1265–1321)) in his Epistola a Cangrande (Epistle XIII to Cangrande della Scala (described usually as Epistle to Cangrande)) who most clearly explained the operation of the four.  Written in Latin sometime before 1343, the epistle was the author’s letter to his patron Cangrande della Scala (1291–1329), an Italian aristocrat and scion of the family which ruled Verona between 1308-1387; it was a kind of executive summary of the Divina Commedia (Divine Comedy (circa 1310-1321)) and an exposition of its structure.  Dante suggested the work could be analysed in four ways which he distinguished as (1) the literal or historical meaning, (2) the moral meaning, and (3) the allegorical meaning and (4) the anagogical.

Among scholars of Dante the epistle is controversial, not for the content but the matter of authenticity, not all agreeing it was the author who wrote the text, the academic factions dividing thus: (1) Dante wrote it all, (2) Dante wrote none of it and (3) Dante wrote the dedication to his patron but the rest of the text is from the hand of another and it’s left open whether that content reflected the thoughts of Dante as expressed to the mysterious scribe or it was wholly the creation of the “forger”.  Even AI (artificial intelligence) tools have been used (a textual analysis of the epistle, Divine Comedy and other material verified to have been written by Dante) and while the process produced a “probability index”, the findings seemed not to shift factional alignments.  Dante’s authorship is of course interesting but the historical significance of the “four levels of meaning” concept endures in literary theory regardless of the source.

First edition of The Pilgrim's Progress (1678) by John Bunyan (1628–1688).

So the critics agreed the anagogical meaning of a text was its spiritual, hidden, or mystical meaning so anagoge (or anagogy) was a special form of allegorical interpretation.  Whether it should be thought a subset or fork of allegory did in the eighteenth and nineteenth centuries trouble some who argued the anagogue was a wholly separate layer of meaning if the subject was biblical or otherwise religious but merely a type of allegorical interpretation if applied to something secular; that’s a debate unlikely to be staged now.  However, given the apparent overlap between anagogical and allegorical, just which should be used may seem baffling, especially if the work to which the concept is being applied has a religious flavor.  There is in the Bible much allegory (something which seems sometimes lost on the latter-day literalists among the US Republican Party’s religious right-wing) but only some can be said truly to be anagogic and although the distinction can at the margins become blurred, that’s true also of other devotional literature.  The distinction is more easily observed of less abstract constructions such John Bunyan in The Pilgrim's Progress calling his protagonist “Christian”, the choice not merely a name but symbolic of the Christian soul’s journey to salvation, hinted at by the book’s full title being The Pilgrim's Progress from This World, to That Which Is to Come.  For something to be judged anagogical, the text needs to look beyond the literal and moral senses to its ultimate, transcendent, or eschatological significance, illustrated by applying the four-fold technique (literal, moral, allegorical & anagogical) to the biblical description of Jerusalem which deconstructs as: (1) Literal (the actual physical city in history), (2) Allegorical (the Church), (3) Moral (the soul striving to find a path to God and (4) Anagogical (the heavenly Jerusalem, the final destiny of those humanity who kept the faith).  The point of the anagoge was thus one of ultimate destiny or divine fulfilment: heaven, salvation, forgiveness and eternal life.

That does not however mean the anagogical is of necessity teleological.  Teleology was from the New Latin teleologia a construct from the Ancient Greek τέλος (télos) (purpose; end, goal, result) genitive τέλεος (téleos) (end; entire, perfect, complete) + λόγος (lógos) (word, speech, discourse).  In philosophy, it was the study of final causes; the doctrine that final causes exist; the belief that certain phenomena are best explained in terms of purpose rather than cause (a moral theory that maintains that the rightness or wrongness of actions solely depends on their consequences is called a teleological theory).  The implications which could be found in that attracted those in fields as diverse as botany & zoology (interested in the idea purpose is a part of or is apparent in nature) and creationists (anxious to find evidence of design or purpose in nature and especially prevalent in the cult of ID (intelligent design), a doctrine which hold there is evidence of purpose or design in the universe and especially that this provides proof of the existence of a designer (ie how to refer to God without using the “G-word”)).  Rationalists (and even some who were somewhere on the nihilism spectrum) accepted the way the phrase was used in philosophy & biology but thought the rest weird.  It was fine to accept Aristotle’s (384-322 BC) point the eye exists for the purpose of allowing creatures to see or that it’s reasonable to build a theory like utilitarianism which judges actions by the outcomes or goals achieved but to suggest what is life of earth is an end, purpose, or goal which can be explained only as the work of a “creator” was ultimately just “making stuff up”.  So to reductionists (1) the allegorical was “means something else”, (2) the anagogical was “points upward to our ultimate spiritual destiny” and (3) the teleological was “explained by its end or purpose”.

Anagoge (pronounced an-uh-goh-jee) should not be confused with Anna Gogo (pronounced an-uh-goh-goh, left), a chartered engineer at Red Earth Engineering or Anna Go-Go (pronounced an-uh-goh-goh, right), persona of the proprietor of Anna's Go-Go Academy (a go-go dancing school).  Ms Go-Go is also a self-described “crazy cat lady” and the author of Cat Lady Manifesto (2024); she is believed to be high on J.D. Vance’s (b 1984; US vice president since 2025) enemies list.  Note the armchair's doilies, a cat lady favorite.

Anna & Gogomobil TS 250.

There is also Anna's Gogo which is "Anna explaining the Goggomobil TS 250 Coupé” (in Russian).  The TS 250 was a version of the Goggomobil two-door sedan, one of the many “microcars” that emerged in post-war Europe.  First displayed in 1954 by Bavaria-based Hans Glas GmbH of Dingolfing, the Goggomobil T 250 sedan was about as conventional in appearance as microcars got and its configuration (RWD (rear-wheel-drive) with a rear-mounted 245 cm³, air-cooled parallel twin engine) was not unusual, the economy of production made possible by adapting for four (sometime three) wheeled use mechanical components from motor-cycles.  Although rising prosperity, increased average road-speeds and safety concerns ultimately doomed the sector (in its original form although it survived in an urban niche and there’s been something of a modern revival), more than 200,000 of the little sedans (some with displacements a large as 392 cm³ which can be thought of (loosely) as the “muscle car” or “big block” version) manufactured, production finally ending in 1969.

Glas publictity shot for 1955 Gogomobil T 250 (left) and 1957 Googlemobile TS 250 Coupé (right).

The TS coupé appeared three years after the sedan and used the formula which for more than a century has proved profitable for the industry: Take the platform of a prosaic, mass-market car and drape atop a “more stylish and sporty” body, sometimes with (a little) more power and always a higher price.  The approach was in 1964 exemplified by the original Ford Mustang but the TS 250 was unusual in that to achieve the desired style, the coupé was actually longer than the sedan (3,035 mm (119.5 inches) vs 2,900 mm (114.2 inches) but describing the accommodation as “2+2” was more accurate to modern eyes than the “full four-seater” claim attached to the sedan although, in the era, it wasn’t unusual for families of five or more to be crammed inside.  Like the sedans, the coupés were offered in “muscle car spec” and on the Autobahns, if given long enough and without too many aboard, over 100 km/h (60 mph) was possible.

1959 Gogomobil Dart.

The platform also provided the underpinnings for the quirkiest of the breed, the Goggomobil Dart a fibreglass-bodied “microcar roadster” developed in Australia, with what seems now a remarkable 700-odd sold between 1959 to 1961.  Even when using the “big 392” (not to be confused with the 392 cubic inch (6.4 litre) Chrysler Hemi V8 which in the US had just ended production), it wasn’t “fast” but, weighing only 345 kg (761 lb), with a small frontal area and what was at the time industry-leading aerodynamic efficiency, it was lively enough in urban use and, on short circuits, some even appeared in competition.  The slippery lines however, while adding a little to top speed, hadn't benefited from wind-tunnel testing to ensure downforce was sufficient for high speed stability and even at around the 70 mph (110 km/h) the specially tuned versions could reach on race tracks, the drivers reported "front-end lift" and unpredictable directional stability.  All things considered, it was probably just as well the factory stopped at 392 cm³.  

Gogo Anime.

GogoAnime is an online streaming site for anime and related TV content (the distinction between the genres escapes most but it's well-established so must be real) which maintains a large library of anime content “ranging from classic titles to the latest releases” and for international audiences offers both “dubbed” (voice in various languages) and “subbed” (on-screen sub-titles in various languages) versions although there's a sub-set of “hard-core” aficionados for whom that will mean little because they know the best way to watch anime is with the sound muted.  Reviewers of GogoAnime praise its “intuitive and user-friendly interface” which makes streaming an effortless experience and it does appear the more disturbing anime content (much of which is available on physical media “off the shelf” in Japanese convenience stores) isn’t hosted.  The lawfulness of GogoAnime offering “free streaming” of commercially released product seems murky so gogo-scrapers should probably stream while they still can.

Although long in the toolbox of theologians & Biblical scholars, anagogical analysis became an element for critics of poetry and, as the post-modernists taught us, everything is text so it can be applied to anything.  One case-study popular in teaching was George Orwell’s (1903-1950) Animal Farm (1945) and that’s because there’s a interesting C&C (compare & contrast) exercise in working out the anagoge first in Orwell’s original book and then in the film versions distributed in post-war Europe, the fun in that being the film rights were purchased by the US CIA (Central Intelligence Agency) which prevailed upon the makers to alter the ending so the capitalist class didn’t look so bad.  By conventional four-way analysis, Animal Farm traditionally is broken down as (1) Literal meaning: A tale of the revolt of the animals against their human overlords, and the outcome of that revolt, (2) Moral meaning: Power tends to corrupt'; (c) Allegorical meaning: Major=comrade Lenin; Napoleon=comrade Stalin; Snowball=Comrade Trotsky; Jones=corrupt capitalist owners of the means of production & distribution.

The Canyons, Cinema Poster.

Although theologians and literary critics alike prefer to apply their analytical skills to material densely packed with obscure meanings and passages impenetrable to most, their techniques yield results with just about any text, even something as deliberately flat and affectless like The Canyons (Paul Schrader’s (b 1946) film of 2013 with a screenplay by Bret Easton Ellis (b 1964)) one intriguing aspect of which was naming a central character “Christian” although unlike Bunyan’s (1628–1688) worthy protagonist seeking salvation in The Pilgrim's Progress, Ellis’s creation was an opportunistic, nihilistic, manipulative sociopath.  The author seems never to have discussed any link between the two Christians, one on a path to salvation, the other mid-descent into a life of drugs, sex, and violence.  It may be it was just too mischievously tempting to borrow the name of one of Christendom’s exemplars of redemption and use it for so figure so totally amoral and certainly it was a fit with the writer’s bleak view of Hollywood.  Structurally, the parallels were striking, Bunyan’s Christian trekking from the City of Destruction to Celestial City whereas Ellis has his character not seeking salvation but remaining in Hollywood on his own path of destruction, affecting both those around him and ultimately him too.  In interviews, Ellis said he chose the name after reading the E. L. James (b 1963) novel Fifty Shades of Grey (2011) in which Christian Grey was a central character and The Canyons does share more contemporary cultural touch-points with the novel than with Bunyan’s work.

A Lindsay Lohan GIF from The Canyons.

(1) Literal or Historical Meaning (a trust-fund movie producer exercises control over his girlfriend while being entangled in transactional and destructive relationships with others in a decadent Hollywood; (2) Moral Meaning: Christian’s controlling, voyeuristic cruelty and his girlfriend’s compromises illustrate the corrosion of moral agency induced by narcissism and a superficial, consumerist culture); (3) Allegorical Meaning (The Canyons is built as a microcosm of what Hollywood is imagined to be, Christian representing the ruthless producer; Tara the girlfriend as the powerless talent unable to escape from a web of exploitation and other characters as collateral damage.  The shuttered cinemas in inter-cut shots serve as allegory for the death of cinema, replaced by shallow, formulaic “product”; the film ultimately less about the two-dimensional characters than the descent of a culture to a moral wasteland and (4) Anagogical Meaning (The film is an eschatology of cultural decay; art corrupted by money, leaving something alive but spiritually dead, something which some choose to map onto late-stage capitalism sustained by atomized, voyeuristic consumption with human life cast adrift from moral responsibility or even its recognition).  Of course for moral theologians accustomed to dancing on the heads of pins, an anagogical viewing of The Canyons might allow one to see some hint of something redemptive and the more optimistic might imagine it as a kind of warning of what may be rather than what is, encouraging us to resist in the hope of transcendence.  That’s quite a hope for a place depicted as owing something to what’s found in Dante’s nine circles.

Lambeth

Lambeth (pronounced lam-bith)

(1) A south London suburb, the location of Lambeth Palace, the seat of the Archbishop of Canterbury.

(2) A slang term for the hierarchy of the Church of England.

The name Lambeth embodies hithe, a Middle English word for a landing on the river.  Lambeth Palace has for some eight-hundred years been the official London residence of the Archbishop of Canterbury.  It sits on the south bank of the Thames, a quarter mile (400m) south-east of the Palace of Westminster, which contains the houses of parliament, on the opposite bank.

Rowan Williams (b 1950; Archbishop of Canterbury 2002-2012) and Benedict XVI (1927–2022; pope 2005-2013, pope emeritus 2013-2022) chat at Lambeth Palace.

The Lambeth Conference

The Lambeth Conference is a (nominally) decennial assembly of bishops of the Anglican Communion convened by the Archbishop of Canterbury.  There have been fourteen Lambeth Conferences, the first in 1867.  The Anglican Communion is an international association of autonomous national and regional churches, not a governing body and the office of Archbishop of Canterbury is in no way analogous with the Roman Catholic Pope.  The conferences serve a collaborative and consultative function and are said to express “…the mind of the communion" on issues of the day. Resolutions passed at a Lambeth Conference are without legal effect, but can be influential.

Conferences were never the pure and high-minded discussions of ethics, morality and theology some now appear to believe characterized the pre-modern (in this context those held prior to 1968) events.  Agenda and communiqués from all conferences have always included the procedural, administrative and jurisdictional although in recent years, they’ve certainly reflected an increasingly factionalized communion rent with cross-cutting cleavages, first over the ordination of women and of late, homosexual clergy.  During the 1998 conference, Bishop Chukwuma (b 1954) of Nigeria attempted to exorcise "homosexual demons" from the soul of Nigerian-born Richard Kirker (b 1951), a British priest and general secretary of the Lesbian and Gay Christian Movement.  Recalling probably Ephesians 4:32 or perhaps the more cautionary Matthew 6:15, Kirker forgave him.

The spirit of Kirker notwithstanding, at this point, the disagreements seem insoluble.  The poisonous atmosphere at, and in the aftermath of, the last conference in 2008 did not enhance the image of the church and a typically Anglican solution to avoid a repetition in 2018 seemed to have emerged.  In 2014, in answer to the suggestion he had cancelled the 2018 conference, Archbishop Justin Welby (b 1956; 105th Archbishop of Canterbury 2013-), in a statement worthy of any of his predecessors, responded by stating, "As it hasn’t been called, it can’t have been cancelled."

A communiqué issued after the primates' meeting in January 2016, noted the bishops had accepted the archbishop’s proposal the fifteenth conference should be held in 2020.  However, because of the COVID-19 pandemic, it was in March 2020 decided to postpone the conference to the summer of 2021 but the virus proved elusive and by July, the delay had been extended to 2022.  The first epistle of Peter has been chosen as the biblical focus for the conference, the theme of which is said to be what it means to be “God’s Church for God’s World”.  The apostle Peter wrote this epistle to give comfort to Christians suffering persecution from non-believers, hoping to encourage them to live pure lives despite their vicissitudes.

#lambeth got tagged in Lindsay Lohan's political commentaries on the dramatic night of the Brexit referendum in 2016.  She was a part of Team %remain.  

Peter didn’t sugar-coat the message (1 Peter 4:12-19), making it clear that for Christians, suffering is actually a participation in the sufferings of Christ and is an occasion for rejoicing, helpfully adding that in the midst of the suffering, the Holy Spirit rests upon those who are suffering, this being a great consolation.  He further explains that God uses suffering to purify the Christian community, God's household.  God uses the abuse that pagans unjustly heap on Christians to prepare his people for the return of Christ and warns people not to be surprised at the fiery ordeal that will come upon them as followers of Jesus.  Actually, they should be both grateful and happy and thus glorify God, for if they share in Christ’s sufferings it means they will also share in his glory.

In a world beset by fire, flood, pestilence and plague, 1 Peter seems a good theme to loom over a Lambeth Conference.  Whether or not Christians beyond the Kent conference rooms will long note the message, it probably will resonate with Archbishop Welby’s predecessor, Rowan Williams (Baron Williams of Oystermouth, b 1950; 104th Archbishop of Canterbury, 2002-2012).  During his tenure at Lambeth, Dr Williams probably felt more ignored than persecuted by non-believers, finding the internecine squabbles of the believers in the Anglican factions rather more tiresome.  Declaring the problems in the church “insoluble” he seemed not unhappy to be leaving Lambeth to return to his study and write about Dostoevsky.  A generous spirit, he will have wished his successor well.

Sesquipedalian

Sesquipedalian (pronounced ses-kwi-pi-dey-lee-uhn or ses-kwi-pi-deyl-yuhn)

(1) A person given to using long words.

(2) Of a word containing many syllables or one considered long and ponderous.

1605-1615: From the Latin sēsquipedālis & sesquipedalia (of a person or some object a foot and a half long), the construct being sesqui (half as much again) + pedālis (of the foot) from pēs (foot) from the primitive Indo-European ped- (foot).  Sequipedalian is a noun & adjective, sesquipedal is an adjective, sesquipedality  is an adverb and sesquipedalianism & sesquipedalism are nouns.

Bust of the Roman lyric poet Horace (Quintus Horatius Flaccus, 65-8 BC), Villa Borghese Park, Rome.

There's nothing to suggest the use in English as a noun was ever widespread but it attained a certain popularity as an adjective in the 1650s, deployed by critics who approved not at all of writers over-fond of long (and often obscure) words.  Enjoying the irony, condemning sesquipedalianism was an early example of the admirable work of the "plain English" movement which still has some work to do among lawyers and the universities where tautology and tortured phrasing seems still to impress many.  The sense of the "sesquipedalian word" was coined as the sesquipedalia verba (literally "words a foot-and-a-half long") in Horace's Ars Poetica (thought published circa 8 BC) as a funny way of pointing out the use of many or long words when fewer or shorter will do as well.  Horace unexpectedly included some literary theory and criticism in an earlier work devoted mostly to other matters but returned to exploring the literary theme further in Ars Poetica, written in the form of an epistle.  Sometimes referred to as Epistles 2.3, it’s thought to be his final poem and as a work, it endured well, ranking with Aristotle's (384–322 BC) De Poetica (Poetics, circa 335 BC) in its influence on literary theory and criticism.  Milton (1608-1674) would later commend both works in his treatise Of Education (1644).

Horace’s gift of sesquipedalian was enough for most but there were in the twentieth century those who rose to the challenge, coining hippopotomonstrosesquipedaliophobia (the fear of long words) to add to the ever growing list of phobias although it was one of the many formed more in linguistic fun than in response to any great volume of clinical instances.  It was from the earlier jocular construction hippopotomonstrosesquipedalian which built on sesquipedalian with the addition of monstr (from the Latin monstrum (“monstrous being” or something huge or terrifying)) and hippopotamus (chosen presumably both to lengthen of the word and reinforce the fear (the big hippopotamus amphibious (the modern word Hippopotamine meaning “something very large”) actually a dangerous creature annually killing over 500 people whereas lions take only a couple of dozen (although in Greek mythology, Hippô (Ἱππώ or Ἵππωτος) meant "horse" and potámi & potam-os (ποτάμι) meant "river" & "like a swift current") +‎ -phobia (fear of a specific thing; hate, dislike, or repression of a specific thing), from the New Latin, from the Classical Latin, from the Ancient Greek -φοβία (-phobía); it was used to form nouns meaning fear of a specific thing (the idea of a hatred came later)).  Even that could be improved (or at least enlarged) and hippopotomonstrosesquipedaliophobia soon emerged as an alternative spelling though presumably it wasn’t adopted by those suffering the neglected (and almost undocumented) mizzpellifobia.

The logophilic Lord Black of Crossharbour (left), taking his seat in the House of Lords, London, 2002.

Anyway, like many of its ilk, the 15-syllable concoction was relegated to the corner of lexicographical curiosities while sesquipedalophobia remains the recognized name for the condition.  Fears and phobias are part of the human condition and the mind is able to develop them towards just about anything or concept.  That sesquipedalophobia is a rare condition does not mean it’s not real because an instance of symptoms doesn’t need to be widespread to be defined; they need only to be specific to at least a single case for the diagnostic criteria to be created.  However, while a phobia can manifest as an aversion, for sesquipedalophobia to be diagnosed the condition must be both enduring and impose on an individual some clinically significant consequences which adversely affect their normal social functioning.  One can dislike the use of long words and (often commendably) avoid the practice but that’s just a preference and a technique of expression, not a phobia.  Perhaps surprisingly, although logophobia & verbophobia are listed as a “fear of words” there is no record of a phobia for “fear of words of unknown meaning”.  Anyone who fears they may suffer this as yet undiagnosed disorder should probably avoid reading the works of Conrad Black (Lord Black of Crossharbour, b 1944), noted for a fondness for the obscure or archaic (though not necessarily the long so it may be safe for sesquipedalophobics to browse).

So those who suffer somewhere on the sesquipedalophobia spectrum are those who tend to experience heightened anxiety when confronted with long words and the extent of the duration and intensity of that anxiety indicates the position on the spectrum (the revision to the fifth edition of the American Psychiatric Association’s Diagnostic and Statistical Manual of Mental Disorders (DSM-5-TR (2022) notes a specific phobia (classified as an anxiety disorder) as an intense, persistent, irrational fear of a specific object, situation, or activity, or person, the fear usually proportionally greater than the actual danger or threat).  Most specific phobias are induced by a causal event or trigger recorded by parts of the brain (amygdala and hippocampus) as dangerous or deadly, the body reacting in sympathy especially if the same thing is perceived as bound repeatedly to happen.  In theory, a patient with the most severe case of sesquipedalophobia could suffer a temporary paralysis or even a seizure although both are unlikely, feelings of anxiety or even panic more probable.  It’s thought the condition is learned behavior, induced by an unpleasant episode, often in childhood and the recommended treatment regime is cognitive behavioral therapy (CBT) which focuses on a gradual exposure to long words rather than an exploration of the initial causative event, something which may create additional trauma for no benefit; nor are symptom-masking drugs recommended, these considered a last resort and the DSM also notes a gradual exposure during CBT can assist the patient to recognize their fear is excessive or unreasonable.  Interestingly, sesquipedalophobia seems very much a condition suffered by native English speakers and there seems no evidence those with an early exposure to long words (such as Welsh (Cymraeg or y Gymraeg)) and German (Deutsch)) are afflicted disproportionately, presumably an indication of the significance of events in childhood which may cause the syndrome to appear.

Whirlwind

Whirlwind (pronounced wurl-wind)

(1) Any of several relatively small masses of air rotating rapidly around a more or less vertical axis and advancing simultaneously over land or sea, as a dust devil, tornado, or waterspout.

(2) Anything resembling a whirlwind, as in violent action or destructive force; an impetuously active person

(3) Any rush or violent onward course.

(4) As “like a whirlwind” as in speed or force; to move or quickly travel.

1300-1350: From the Middle English whirlewind & whirlewynde, the construct being whirl +‎ wind.  Source was probably the Old Norse hvirfilvindr which was cognate with the German wirbelwind.  From the Old Norse came the Icelandic hvirfilvindur, the Norwegian Nynorsk kvervelvind, the Norwegian Bokmål virvelvind & the Norwegian Nynorsk virvelvind.  Whirly-wind was (probably now extinct) nineteenth century Australian slang for a whirlwind, cyclone, tornado or dust devil and was from the Yindjibarndi wili wili (and it may have existed also in other First Nations languages in north-west Australia).  Whirlwind is a noun& adjective and whirlwindy & whirleindish are adjectives; the noun plural is whirlwinds.

Whirl was from the Middle English whirlen, contracted from the earlier whervelen, possibly from the Old English hweorflian, a frequentative form of the Old English hweorfan (to turn), from the Proto-Germanic hwerbaną (turn) or possibly the Old Norse hvirfla (to go round, spin).  It was cognate with the Dutch wervelen (to whirl, to swirl), the German wirbeln (to whirl, to swirl), the Danish hvirvle (to whirl), the Swedish virvla (the older spelling of which was hvirfla) and the Albanian vorbull (a whirl).  It’s related to the modern whirr and wharve.  Wind was from the Middle English wynd & wind, from the Old English wind (wind), from the Proto-Germanic windaz, from the primitive Indo-European hwéhn̥tos (wind), from the earlier hwéhn̥ts (wind), derived from the present participle of hweh (to blow). It was cognate with the Dutch wind, the German Wind, the West Frisian wyn, the Norwegian and Swedish vind, the Icelandic vindur, the Latin ventus, the Welsh gwynt, the Sanskrit वात (vā́ta), the Russian ве́тер (véter) and, more speculatively, the Albanian bundë (strong damp wind).  It’s related to the modern vent.

The phrase, "They that sow the wind, shall reap the whirlwind", comes from the Old Testament (Hosea 8:7).  It means that for all of us, one’s choices and decisions have consequences; one’s actions will one day return to haunt one.  Cynics tend to phrase it as: “For everything you do there’s a price to be paid”.  It’s sometimes confused with the Epistle to the Galatians (6:7) in the New Testament: “Be not deceived; God is not mocked: for whatsoever a man soweth, that shall he also reap”.  Whirlwind is thus popular in figurative use and in saying she had a "whirlwind of garbage around" herself, Lindsay Lohan conveyed the image of a life made difficult by a swirling vortex of undesirable baggage.  In noting her problems were of her own creation she added she was "my own worst enemy" but, at the time, that may have been unfair to Paris Hilton.    

RAF Westland Whirlwind (1939-1943).

A fine, if complex, airframe and a design ahead of its time, the Whirlwind never achieved its potential because of problems, essentially those of the doomed engine around which it was designed.  It was the Royal Air Force’s (RAF) first single-seat, twin-engined fighter, a layout explored by many air forces as a means of fielding a machine with sufficient range, armament and speed to counter the new generation of twin-engined bombers which, by the mid-1930s had proved able to out-pace most fighters then in service.  The prototype flew first in 1938 and had seemed promising, with many innovative features anticipating later designs, the radiators housed in the leading edges of the slim wings and the pilot’s afforded outstanding visibility by virtue of a large, clear bubble canopy.  Intended as a long-range escort fighter, the Whirlwind's firepower was impressive, boasting four 20mm cannons clustered in the nose which made it at the time the most potent fighter in the world.  Test pilots reported excellent handling characteristics, the only deficiencies noted as a lack of power and a very high landing speed which limited the number of airfields from which it could operate.

The Whirlwind was designed to use two Rolls-Royce Peregrine engines, a development of the well-regarded Kestrel but the manufacturer, absorbed with the refinement and production of the much more promising Merlin, was unable to devote sufficient resources and development of the Peregrine first stagnated and then ceased, the demand for the Merlins (used by the strategically vital Spitfire & Hurricane) so great that all of Rolls-Royce's productive capacity had to be dedicated to their supply.  As a result, there existed sufficient engines to build only 112 Whirlwinds which equipped two squadrons where they saw limited service between 1940-1943, mostly in a ground-attack role after being converted to (Mark 1A specification) fighter-bombers.  They were used in an escort role on a low-level raid to Cologne in August 1941 but the unsuitability of the then available bombers to undertake daytime operations was exposed when the attacking force lost almost a quarter of their aircraft, an unsustainable rate of loss.  Not suitable as a night-escort and hampered by the underpowered Peregrines which meant they couldn’t be deployed against single-engined fighters in a defensive role, the Whirlwinds were instead allocated to low-level sorties across the Channel, opportunistically attacking shipping, trains and physical infrastructure.

RAF de Havilland Hornet, 1946.

Interestingly, the fine high-altitude characteristics reported by the test pilots when flying the prototypes didn't translate to the production versions but in 1940, such was the urgency of the military situation the Whirlwinds were pressed into service without any attempt at rectification.  Blamed at the time either on the engines or the wing design, it was only years later that private research revealed it was a change in propeller specification which affected the performance, the prototype using Rotol units while the production aircraft were fitted with de Havilland propellers designed for a different aircraft, such mixing and matching far from unusual in wartime conditions.  The replacement propellers were thicker, the issue being that a rotating propeller blade pushes air aside and the thicker a blade, the more air needs to be moved and, all else being equal, that means that the air has to move faster and at a certain point, the air has to move faster than the speed of sound.  At that point (the sound barrier), shock waves are created which induces massive drag.  Propellers are designed to compensate for this effect but on the de Havilland units, the constant speed mechanism would react to the slowdown in airspeed caused by drag by altering the pitch of the blade which would create a feedback loop in the Peregrine, inducing erratic performance and the higher the altitude, the lower the speed of sound, thus the more unsatisfactory the performance of the Whirlwind at altitude.  On the engine for which they were designed, the de Havilland propellers worked well but the Peregrine had different characteristics.

Gloster Meteor (1944-1984).

The end of Peregrine production meant the Whirlwind was a cul-de-sac, the design of the airframe so tied to the characteristics of the engine that thoughts entertained in 1941 of a re-design with Merlin engines were abandoned as the extent of the engineering required became quickly apparent.  It would have been a time-consuming and labor-intensive task and, recovering from the losses incurred in the Battle of Britain, every Merlin-engined Whirlwind would have meant two fewer Spitfires or three fewer Hurricanes.  Westland pursued the idea, later producing a few dozen Welkins which performed well but by then the allies were well-supplied with long-range, high-speed interceptors.  However, the basic concept had proved impressive and the potential was realized in the later de Havilland Hornet (1946), the lineage visible too in the Gloster Meteor, the UK’s first Jet fighter which, having learned lessons from the Whirlwind, used a very different wing shape to lower the landing speed without compromising other aspects of performance.  Although popular with pilots, the Whirlwinds were retired from active service in 1943 before being declared obsolete and scrapped the following year.

Yugoslav Air Force Westland Whirlwind, 1959.

Between 1953-1966 Westland revived the Whirlwind name for a version of the Sikorsky S-55/H-19 Chickasaw, built under license from the US company.  Over four-hundred were produced and they were used by military and civilian operators in a dozen countries.  Although the early versions were underpowered, a switch to turbine engines transformed the Whirlwind and robust, easy to maintain and reliable, it enjoyed a long service with the Royal Navy's Fleet Air Arm as both a carrier-based anti-submarine platform during the High Cold War and latterly in air-sea rescue, the ability to transport six fully-configured stretchers unique in the UK's military inventory.  In Royal Air Force (RAF) service, the last Whirlwinds weren't retired until 1982.