Hang

Hang (pronounced hang)

(1) To fasten or attach a thing so that it is supported only from above or at a point near its own top; to attach or suspend so as to allow free movement.

(2) To place in position or fasten so as to allow easy or ready movement.

(3) To put to death by suspending by the neck from a gallows, gibbet, yardarm, or the like; to suspend (oneself) by the neck until dead.

(4) To fasten to a cross; crucify.

(5) To furnish or decorate with something suspended.

(6) In fine art, to exhibit a painting or group of paintings.

(7) To attach or annex as an addition.

(8) In building, to attach (a door or the like) to its frame by means of hinges.

(9) To make an idea, form etc dependent on a situation, structure, concept, or the like, usually derived from another source.

(10) As hung jury, hung parliament etc, where deliberative body is unable to achieve a majority verdict in a vote.

(11) In informal use, to cause a nickname, epithet etc to become associated with a person

(12) In nautical use, to steady (a boat) in one place against a wind or current by thrusting a pole or the like into the bottom under the boat and allowing the wind or current to push the boat side-on against the pole.

(13) To incline downward, jut out, or lean over or forward.

(14) To linger, remain, or persist; to float or hover in the air.

(15) In informal use (to get the hang of), the precise manner of doing, using, etc, something; knack.

(16) In computing, as “to hang”, usually a synonym for “freeze”.  Nerds insist a hang refers only to a loss of control by manual input devices (mouse; keyboard etc) while the machine remains responsive to remote control whereas a freeze is a total lock-up.

(18) In chess (transitive) to cause a piece to become vulnerable to capture and (intransitive) to be vulnerable to capture.

(19) As “hang up”, to end a phone call, a use which has continued even though many phone handsets no longer physically “hang up”.

Pre 900:  A fusion of three verbs: (1) the Middle English and Old English hōn (to hang; be hanging) (transitive), cognate with the Gothic hāhan (originally haghan); (2) the Middle English hang(i)en & Old English hangian (to hang) (intransitive), cognate with the German hangen; and (3) the Middle English henge from the Old Norse hanga & hengja (suspend) (transitive), cognate with the German hängen & hangēn (to hang).

Ultimate source of all forms was the Proto-Germanic hanhaną (related to the Dutch hangen, the Low German hangen & hängen, the German hängen, the Norwegian Bokmål henge & Norwegian Nynorsk henga), root being the primitive Indo-European ḱenk- (to waver, be in suspense).  Etymologists compare the evolution with the Gothic hāhan, the Hittite gang- (to hang), the Sanskrit शङ्कते (śáṅkate) (is in doubt; hesitates), the Albanian çengë (a hook) and the Latin cunctari (to delay).  From the Latin cunctari, Modern English retains the very useful cunctator (a procrastinator; one who delays).

Past tense: hung and hanged

Hang has two forms for past tense and past participle, “hanged” and “hung”.  The older form hanged is now used exclusively in the sense of putting to death on the gallows by means of a lawful execution, sanctioned by the state.  Even in places where capital punishment is no longer used, it remains the correct word to use in its historical context.

There are two forms because the word “hang” came from two different verbs in Old English (with a relationship to one from Old Norse).  One of these Old English verbs was considered a regular verb and this gave rise to “hanged”; the other was irregular, and ended up as “hung”.  Hanged and hung were used interchangeably for hundreds of years but over time, hung became the more common.  Hanged retained its position when used to refer to death by hanging because it became fossilized in both statute and common law; it thus escaped the development of Modern English which tended increasingly to simplified forms.  Even the familiar phrase hung, drawn and quartered originally used “hanged”, a change reflecting popular use.  The only novel variation to emerge in recent years has been to use hanged to describe executions ordered by a state and hung when referring to suicides by hanging although this remains still a trend rather than an accepted convention of use.

Fowler’s Modern English Usage holds it isn’t necessarily erroneous to use hung in the case of executions, just less customary in Standard English but, like most guides, acknowledge the distinction still exists while noting the use of hung is both widespread and tolerated.  The consensus seems to be it’s best to follow the old practice but not get too hung up about it.

Hung and not hung

Portrait of Oliver Cromwell (1650), oil on canvas by Samuel Cooper (1609-1672).

Even if it’s something ephemeral, politicians are often sensitive about representations of their image but concerns are heightened when it’s a portrait which, often somewhere hung on public view, will long outlive them.  Although in the modern age the proliferation and accessibility of the of the photographic record has meant portraits no longer enjoy an exclusivity in the depiction of history, there’s still something about a portrait which conveys, however misleadingly, a certain authority.  That’s not to suggest the classic representational portraits have always been wholly authentic, a good many of those of the good and great acknowledged to have been painted by “sympathetic” artists known for their subtleties in rendering their subjects variously more slender, youthful or hirsute as the raw material required.  Probably few were like Oliver Cromwell (1599–1658; Lord Protector of the Commonwealth 1653-1658) who told Samuel Cooper to paint him “warts and all”.  The artist obliged.

Although certain about the afterlife, Cromwell was a practical politician with few illusions about life on earth.  Once, when being driven in a coach through cheering crowds, his companion remarked that his popularity with the people must be pleasing.  The Lord Protector replied he had no doubt they’d be cheering just as loud were he being taken to the gallows to be hanged.

Exhibition of images of Lindsay Lohan by Richard Phillips (b 1962), hung in the Gagosian Gallery, 555 West 24th Street, New York, 11 September-20 October 2012.  Described by the artist as an installation, the exhibition is an example of the way Phillips uses collaborative forms of image production to reorder the relationship of Pop Art to its subjects, the staging and format of these lush, large-scale works said to render them realist portraits of the place-holders of their own mediated existence.

Portrait of Theodore Roosevelt (1903)  by Théobald Chartran.

Nobel Peace Prize laureate Theodore Roosevelt (1858–1919; US President 1901-1909), famous also for waging war and shooting wildlife, after being impressed by Théobald Chartran’s (1849–1907) portrait of his wife, invited the French artist to paint him too.  He was so displeased with the result, which he thought made him look effete, that he refused to hang the work.  Later, he would have it destroyed.

Portrait of Theodore Roosevelt (1903) by John Singer Sargent.

Roosevelt turned instead to expatriate American artist John Singer Sargent (1856–1925).  The relationship didn’t start well as the two couldn’t agree on a setting and during one heated argument, the president suddenly, hand on hip, took on a defiant air while making a point and Sargent had his pose, imploring his subject not to move.  This one delighted Roosevelt and was hung in the White House.

Portrait of Winston Churchill (1954) by Graham Sutherland.

Another subject turned disappointed critic was Sir Winston Churchill (1874–1965; UK Prime Minister 1940-1945 & 1951-1955).  In 1954, a committee funded by the donation of a thousand guineas from members of both houses of parliament, commissioned English artist Graham Sutherland (1903–1980) to paint a portrait of the prime minister to mark his eightieth birthday.  The two apparently got on well during the sittings, Churchill himself a prolific, if undistinguished, amateur painter and it’s said he enjoyed their discussions.  He was unimpressed though with the result, telling Sutherland that while he acknowledged his technical prowess, he found the work “not suitable”.  To his doctor he was less restrained, calling it "filthy" and "malignant".

Portrait of Laurence Olivier in the role of Richard III (1955) by Salvador Dalí.

It had been intended the painting would be hung in the House of Commons but Churchill had no intention of letting it be seen by anyone.  An unveiling ceremony had been arranged and Churchill demanded it not include the painting, relenting only when a compromise was arranged whereby both subject and artwork would appear together but rather than being hung in the Commons, it would instead be gifted to him to hang where he pleased.  Both sides appeased if not pleased, the ceremony proceeded, Churchill making a brief speech of thanks during which he described his gift as “…a remarkable example of modern art..”, praise not even faint.  It was never hung, consigned unwrapped to the basement of the prime minister’s country house where it remained for about a year until Lady Churchill, sharing her husband’s view of the thing, had her staff take it outside where it was burned, an act of practical criticism Sutherland condemned as “vandalism”.  Not anxious to repeat the experience of his brush with modernism, Churchill declined the request of a sitting from Salvador Dalí (1904–1989), the result of which might have been interesting.

Photographs of Winston Churchill (1941) by Yousuf Karsh.

Roosevelt’s pose is one favored by politicians but the expression adopted matters too.  The famous photograph taken in Ottawa in December 1941 by Armenian-Canadian Yousuf Karsh (1908-2002) was actually one of several but those where Churchill shows a more cheerful countenance are not remembered.  They didn’t so well suit the times.

The scowl, although immediately regarded as emblematic of British defiance of the Nazis, had a more prosaic origin, the photographer recalling his subject had appeared benign until it was insisted the ever-present Havana cigar be discarded lest it spoil the photograph.  That changed the mood but, the moment captured, he relented and permitted a couple more, including the now obscure ones with a smile.

Noose

Noose (pronounced noos)

(1) A loop with a running knot, as in a snare, lasso, or hangman's halter, that tightens as the rope is pulled; a device to restrain, bind, or trap.

(2) A tie or bond; snare.

(3) To secure by or as by a noose.

(4) To make a noose with or in (a rope or the like).

1400-1450: From the late Middle English nose (noose, loop), of unclear origin.  Etymologists have speculated it may be from the Old French nos or Old Occitan nous & nos (both forms known also in the descendent Provençal), the nominative singular or accusative plural of nou (knot), with the meaning shifting from the knot to the loop created by the knot, the French forms from the Latin nōdus (knot; node), from the primitive Indo-European root ned (to bind; to tie).  If that’s true, it was cognate with the French nœud (knot), the Portuguese nó (knot) and the Spanish nudo (knot).  The alternative etymology (which most authorities appear to find more convincing) is it was borrowed from Middle Low German nȫse (loop, noose, snare), also of obscure origin although it may have been derived from an incorrect division of ēn' ȫse (literally “a loop”), from the Middle Low German ȫse, from the Old Saxon ōsia, from the Proto-West Germanic ansiju (eyelet, loop).  It’s possible the Saterland Frisian Noose (loop, eyelet) & Oose (eyelet, loop) may have emerged from the same process.  In English, use of noose was rare prior to the early seventeenth century.  Although it’s a popular tale, it’s a myth a hangman’s noose always has 13 coils.  The old spelling nooze is long obsolete.  Noose is a noun & verb; nooser is a verb, nooselike & nooseless are adjectives and noosed & noosing are verbs; the noun plural is nooses.

The Nazis and the noose

Soviet cartoon Caricature of the defendants and the anticipated Nuremberg judgment (1946) by the Soviet artists known as the Kukryniksy: Porfiry Krylov (1902-1990), Mikhail Kupriyanov (1903-1991) & Nikolai Sokolov (1903-2000).  As the trial wore on, at least two of the defendants were recorded as requesting shirts with "larger collars" and one once removed his tie, explaining it was "suddenly feeling tight".

As a prelude to the main Nuremberg Trial (1945-1946) of the most notable or representative Nazis, the list of two-dozen-odd defendants was assembled to be indicted variously for (1) conspiracy to commit a crime against peace, (2) planning or waging wars of aggression, (3) war crimes and (4) crimes against humanity.  Even before the trial started it was known the International Military Tribunal (IMT) enjoyed capital jurisdiction (although in his opening remarks the president of the tribunal took care to explain the legal basis of their right to impose death sentences) and the court-appointed psychologist noted from his interviews with the accused that all expected the proceedings to be nothing more than a Stalinesque “show trial” with the death penalty inevitable for all, something the assurances of their (German) defense council seemed little to assuage.  As representatives from the world’s press (not yet called “the media”) began to arrive they were reported as mostly sharing the assumption and even as the trial unfolded and the defendants came to realize that for at least some of them there was the prospect of avoiding the noose or perhaps even securing an acquittal, the straw polls among the journalists still thought the death sentence likely for the majority.

Soviet cartoon The twelfth hour of the Hitlerites by Boris Efimov (1900-2008), from the series Fascist Menagerie, Izvestiia, 1 January 1946.

The prospect of imminent death is said “to focus the mind” and among the military defendants, all more than once expressed the opinion that as soldiers, they were entitled to execution by firing squad rather than by the hangman’s noose, the gallows too associated with the fate of common criminals (although one avoided that by having hanged himself (technically by act of strangulation) before the trial began.  In the end, of those present in the dock, 11 were sentenced to be hanged by the neck until dead, Hermann Göring (1893–1946; leading Nazi 1922-1945 and Reichsmarschall 1940-1945) avoiding the indignity of the noose by committing suicide, poisoning himself on the eve of his scheduled execution in circumstances which have never been clear.  Another, Erich Raeder (1876–1960; head of the German Navy 1928-1943) lodged one of the more unusual appeals after being sentenced to life imprisonment, asking that he instead receive the death penalty, life in prison apparently a worse prospect than being hanged; his appeal was declined.  Many lurid stories about the botched nature of some of the hangings circulated in the post-war years but while some might not have caused instant death, it’s unlikely any took anything like the 17 minutes it was claimed some took to die.

Caricature of Rudolf Hess at Nuremberg (1946) by David Low (1891-1963).  The author Rebecca West (1892–1983) covered the trial as a journalist and wrote some vivid thumbnail sketches, noting: "Hess was noticeable because he was so plainly mad: so plainly mad that it seemed shameful that he should be tried.  His skin was ashen and he had that odd faculty, peculiar to lunatics, of falling into strained positions which no normal person could maintain for more than a few minutes, and staying fixed in contortion for hours. He had the classless air characteristic of asylum inmates; evidently his distracted personality had torn up all clues to his past.  He looked as if his mind had no surface, as if every part of it had been blasted away except the depth where the nightmares live."

The strangest case in so many ways was that of Rudolf Hess (1894–1987; Nazi deputy führer 1933-1941).  Before the proceedings formerly commenced, the tribunal had been about to discharge Hess because it seemed clear there was sufficient doubt his mental state was adequate to ensure a fair trial and it was only an extraordinary admission from Hess himself that his display of amnesia had to that point been merely “tactical” and he was quite lucid and able to understand all that was going on.  He’d actually achieved the very thing sought by yet denied to so many defendants yet he chose instead to be tried.  His conduct thereon was just as bizarre, declining to enter a plea (the court recorded “not guilty” as a formality), often preferring to read novels rather than follow the proceedings and when his sentence was announced, he claimed not to have listened, saying, apparently without much concern he assumed it was death.  Actually, he was sentenced to imprisonment for life and with six others entered Berlin’s Spandau Prison where he would remain until 1987 when, aged 93, he hanged himself, having fashioned a noose from a length of electrical cable.  For the last two decades, he was the sole inmate of the huge facility designed to accommodate hundreds and, having entered captivity in 1941 after his bizarre “peace mission” to Scotland, had by the time of his death been locked-up for 46 years.

Burberry’s hoodie with noose, 2019, (left) and Kylie Jenner wearing a Givenchy Noose Necklace, 2023.

Because of the association with suicide, slavery and the history of lynching in the century after the US Civil War (1861-1865), the noose can be a controversial thing if invoked in an insensitive way.  Controversy though is just another technique to be weaponized when there’s the need to generate publicity and in the fashion business, it’s no longer enough to just to design something elegant or otherwise pleasing to the eye because it will barely be noticed on the catwalk and probably won’t make the magazines or become clickbait.  Thus the temptation to try to shock which will guarantee the desired publicity, the added attraction being the certainty the will do its job then quickly subside.  The Givenchy Noose Necklace model Kylie Jenner (b 1997) wore in January 2023 at Paris Fashion Week had been see before, causing a bit of a stir on the catwalk in 2021 when it was used in the fashion house’s Spring/Summer 2022 show.  Then, on cue, The Guardian called it out as “blatantly offensive”, guaranteeing even wider coverage although Givenchy solved the short-term problem by responding to the paper’s request for a comment with an Élysée-like “The house does not have an official response on this”.  They may have learned that in such matters apologies probably make things worse from Burberry’s "We are deeply sorry for the distress caused by one of the products that featured in our Autumn/Winter 2019 collection”, issued after being condemned for showing a hoodie with a noose.

Bureau

Bureau (pronounced byoor-oh)

(1) A chest of drawers, sometime with a mirror atop.

(2) A division of a government department or an independent administrative unit.

(3) An office for collecting or distributing news or information, coordinating work, or performing specified services; agency; typically a travel or news bureau.

(4) A desk or writing desk with pigeonholes, drawers etc, against which the writing surface can be closed when not in use, the best known form of which is the roll-top (historically chiefly British but now widely used in the international antiques trade).

1710-1720 (some sources claim instances from the 1690s): A borrowing from the French bureau, the earlier meaning of which was "coarse cloth (as desk cover), baize", from the Old French burel (woolen cloth), and a diminutive of bure (related were the Middle French bure (coarse woolen cloth) and the French bourre (hair, fluff)) from the Late Latin burra (wool, fluff, shaggy cloth, coarse fabric).  It was akin to the Ancient Greek βερβέριον (berbérion) (shabby garment) and a doublet of burel and borrel, taken from the Old French.  The Latin burra remains of unknown origin.  Bureau desks were once common office furniture of offices, rather the cubicles of their day and the meaning expanded by 1720 to "office or place where business is transacted" and by 1796 to "division of a government."  The meaning "chest of drawers for clothes etc" dates from 1770, said to be American English but was most associated with British use.  Bureau is a noun and the modern view is bureaus & bureaux (both pronounced byoor-ohz) are both accepted noun plural forms but the former seems preferred by most.

Lindsay Lohan's page at the All American Speaker's Bureau.

Squabbles on the Wilhelmstrasse; the German Foreign Ministry and the Ribbentrop Bureau

Most historical analysis of the Third Reich has understandably focused on the evil and the damage done but for structuralists, the nature of the bureaucratic state and those with is an interesting study.  Although assuming office in 1933, the Nazis didn’t immediately become the totalitarian regime familiar in later years because there were too many other power centres over which their control was either incomplete or non-existent.  For that reason, the party, while attempting to take control of the machinery of the state, within a numbers of sphere of activity, also sometimes maintained one or more party institutions in a competition for influence, something which reflected the Hitlerian world-view.  Sometimes these organizations would run in parallel, sometime in opposition.

Although the Nazi hierarchy was beset by internecine hatreds and jealousies, one of the few things on which most agreed was the stupidity, incompetence and unsuitability for his role of Joachim von Ribbentrop (1893–1946), foreign minister between 1938 and the end of the war.  Propaganda Minister Dr Joseph Goebbels (1897-1945), ever ready with a memorable phrase, noted in his diary that Ribbentrop “...bought his name, married his money and swindled his way into office.”  Historians don't dispute Ribbentrop's ineptitude but some are prepared to concede the blame should be shared and he should be thought "not competent" rather than "incompetent", a distinction which the more generous might be prepared to make of plenty of failed politicians.  In other words, a champagne salesman should no more have been appointed foreign minister that a sybaritic, bemedaled fighter ace should have been put in charge of the "four-year plan" (a sprawling apparatus which aimed to make Germany self-sufficient in essential raw materials (autarky), reduce unemployment through a public works programme, increase military production and reform the agricultural sector).  Hitler however, was an admirer (Ribbentrop's sycophancy a particular attraction) and in 1934 permitted him to create a party organization called the Büro Ribbentrop (later the Dienststelle Ribbentrop (Dienststelle best translated as office or department)) which, bizarrely, operated as a kind of alternative foreign ministry.

Illustration by Noel Sickles (1910–1982) in Life magazine, 28 October 1946, depicting the moments before von Ribbentrop was hanged, Palace of Justice, 16 October 1946.  The temporary gallows was erected in the prison gymnasium.

The Büro Ribbentrop also operated as a dirty-tricks outfit with some effort devoted to undermining the authority of the Foreign Ministry which, in a nice touch, operated from offices on Berlin’s Wilhelmstrasse, just over the road from the Buro.  The Buro and its back-channel communications served as Hitler’s personal tool for the implementation of his foreign policy (which can be summed up as "lies, lies and damned lies"), the traditional institutions and diplomatic protocols often side-lined although, Ribbentrop himself had to fend of intrusions from yet more party units with interests in international affairs.  Ribbentrop however prevailed and was appointed foreign minister in 1938, serving in the position until the end of hostilities; convicted of planning & waging aggressive war, war crimes and crimes against humanity, he was hanged in 1946.

Victorian (circa 1870) English cylinder roll-top writing bureau: mahogany with burr walnut fitted interior and a trio of leather skivers.

Voluptuary

Voluptuary (pronounced vuh-luhp-choo-er-ee)

(1) A person devoted to the pursuit and enjoyment of luxury and sensual pleasure; a pleasure-seeker, a sensualist.

(2) Of or relating to, or characterized by preoccupation with luxury and sensual pleasure.

(3) In informal use, the bedroom.

1595–1605: From the French voluptuaire or its etymon the Late Latin voluptuārius, from the Classical Latin voluptārius (pleasure-seeker; agreeable, delightful, pleasant; sensual), from voluptās (pleasure, delight, enjoyment, satisfaction), the construct being volupt(ās) (pleasure, delight) + -ārius (the adjectival suffix).  The suffix -aris was a form of -ālis with dissimilation of -l- to -r- after roots containing an l (the alternative forms were -ālis, -ēlis, -īlis & -ūlis); it was used to form adjectives, usually from noun, indicating a relationship or a "pertaining to".  The English suffic –ary (of or pertaining to) was a back-formation from unary and similar, from the Latin adjectival suffixes -aris and -arius; appended to many words, often nouns, to make an adjective form and use was not restricted to words of Latin origin.  The Latin voluptās was from volup (with pleasure; agreeably, pleasantly, satisfactorily) (perhaps related to velle (to wish)) and ultimately from a construct of the primitive Indo-European welh- (to choose; to want) or wel (to wish; to will) + the Latin -tās (the suffix forming feminine abstract nouns indicating a state of being).  Voluptuary & voluptuarian are nouns & adjectives, voluptuousness, voluptuosity & volupty are nouns, voluptuous is an adjective, voluptuate is the (always rare) verb and voluptuously is an adverb; the noun plural is voluptuaries.

Upon his arrival for trial at Nuremburg (1945-1946), Hermann Göring (1893–1946; leading Nazi 1922-1945 and Reichsmarschall 1940-1945), grossly overweight and drug-addicted (albeit at a very low dose) was described by one doctor as “a decayed voluptuary”.  Slimmed down and detoxed by the time he appeared in the dock, he recovered much of his earlier élan but, guilty as sin, he was sentenced to be hanged.

The words voluptuary, epicurean, hedonist, sensualist & sybarite are synonymous although conventions do seem to govern their use.  Although there’s really neither the historical nor the supporting etymology to justify how the patterns of use have evolved, there does seem a tendency to associate epicureans with a fondness for fine food (based on one minor aspect of the tradition), hedonists seem to be treated as those who seek pleasure through experiences, sybarites are indulgent materialists and sensualists are devoted to the sins of flesh while the characteristic most now associated with the voluptuary may be decadence.  That thumbnail is wholly impressionistic and for each there will be a thousand contradictory examples and in literary use the choice may be dictated as much by the cadence of the text that any sense of differences in nuance.  All share many characteristics so there’s much overlap in meaning, all relating to the pursuit of pleasure and though there may be differences in emphasis, all are used to convey the idea of excess rather than moderation, immediate gratification, and a focus on physical senses as the source of happiness.

Judgement of Paris (circa 1634), oil on oak wood by Peter Paul Rubens (1577-1640), National Gallery, London. 

The adjective voluptuous in the late fourteenth century originally meant “of or pertaining to desires or appetites” and was from the Old French voluptueux & volumptueuse and directly from the Latin voluptuosus (full of pleasure, delightful), again from voluptas and the specific idea of “one addicted to sensual pleasure” emerged in the mid-fifteenth century, the romantic poets in the early 1800s adopting the word to convey the feeling “suggestive of sensual pleasure”, something they applied especially to their aesthetic of feminine beauty.  It was only in the twentieth century that the word “voluptuous” came to be applied to the depictions of women in Renaissance art, their figures approximating what would now be described as “plump”.  Historians of art have devoted much attention to the motif and have concluded the artists were much influenced by the statutes from Antiquity and because they regarded the sculptors of old as having been closer to the perfection of Creation, regarded their carving as representing an ideal.  Of late, rather than a polite way to say “full figured”, “voluptuous” appears to have been re-purposed to mean simply “big boobs” so “Rubenesque” (a coining from the Romantic period) is probably a better choice, given its respectable origins.  Pragmatically, the “s” is almost always dropped because the clumsy sounding Rubensesque is too hard to pronounce.

In informal use, a voluptuary is “a bedroom”.  Lindsay Lohan’s voluptuary was in 2012 featured in Bravo TV’s “Million Dollar Decorator Makeover”  It’s believed it didn’t cost that much.

Bolshevik & Menshevik

Bolshevik (pronounced bohl-shuh-vik, bol-shuh-vik or buhl-shi-vyeek (Russian))

(1) A member of the more radical majority of the Social Democratic Party, 1903–1917, advocating, inter alia, the immediate and forceful seizure of power by the proletariat (in Russia and in some factions, beyond); after 1918, a member of the Russian Communist Party.

(2) In the West, historically (mostly early-mid twentieth century), a disparaging or contemptuous term used to refer to an extreme radical or revolutionary (often lowercase).  Applied loosely, it was used (even neutrally) to refer to any member of a Communist party.

(3) In the West a term, sometimes humorous, used as an adjective (often as bolshie) applied to anyone deliberately combative or uncooperative and strident or assertive in their actions or expression of view; used especially where there was a perception of behavior of attitude in conflict with socially constructed expectations (women, nuns etc).

Circa 1915: From the Russian большеви́к (bolʹševík), from большинство́ (bolʹšinstvó) (majority) (those in the majority (Majoritarians)), the construct being bólʾsh(iĭ) (larger, greater (comparative of bolʾshóĭ (large) and thus the sourced of bolʾshinstvó (majority)) + -evik (one that is (a variant of –ovik, the noun suffix)).  The adjective bol'shiy (greater), comparative of the adjective bol'shoy (big, great) is probably most familiar from the famous Bolshoi Ballet and was from the Old Church Slavonic boljiji (larger), from the primitive Indo-European root bel- (strong), source also of the Sanskrit balam (strength, force), the Greek beltion (better), the Phrygian balaios (big, fast), the Old Irish odbal (strong), the Welsh balch (proud) and the Middle Dutch, Low German & Frisian pal (strong, firm).  The popular contraction in the West (and one now remote from its party-political origins) should always be spelled bolshie.  Bolshevik & Bolshevist are nouns & adjectives, Bolshevism is a noun and Bolshevistic an adjective.  The noun plural is Bolsheviks (Bolsheviki in the Russian which is pronounced buhl-shi-vyi-kyee).

Norman Mailer (1923–2007) and bolshie woman Germaine Greer (b 1939) at the Town Bloody Hall debate between the author and a panel of feminists, 30 April 1971, The Town Hall, New York City.  Both were well chosen, Greer was the author of The Female Eunuch (1970) which remains one of feminism's seminal texts and Mailer regarded (fairly or not) as a misogynist and one who received a suspended sentence for (twice) stabbing the second (the artist Adele Morales (1925–2015)) of his six wives.

In the twentieth century, “bolshevik” was often used as a term of disparagement, often from establishment figures disturbed by challenges to the status quo, subversive types like TS Elliot (1888-1965) and James Joyce (1882-1941) both called literary bolsheviks and some painters wore “artistic bolshevik” as a badge of honor; later, there would be feminists who proudly described themselves as “bolshie women”.  Winston Churchill (1875-1968; UK prime-minister 1940-1945 & 1951-1955) abhorred communism and not infrequently referred to the new order in Moscow as the “Bolshevik baboons” and was supportive of a multi-national military intervention in the Russian Civil War (1918-1920) but was also, strategically, a realist.  His biographer recounted how he note there were:

“…nearly half a million anti-Bolshevik Russians under arms, and the Russians themselves planned to double this figure.  If we were unable to support the Russians effectively, it would be far better to take a decision now to quit and face the consequences, and tell these people to make the best terms they could with the Bolsheviks.”

So it transpired and the small foreign forces were withdrawn but he always made clear that as Minister for War, he did this out of military necessity and not any lack of conviction that the communists should have been overthrown, telling a press conference in Washington DC in 1954 that had he “…been properly supported in 1919, I think we might have strangled Bolshevism in its cradle, but everybody turned up their hands and said, ‘How shocking!’”

Menshevik (pronounced men·she·vik, men-shuh-vik or myin-shi-vyeek (Russian))

A member of the faction of the Russian Social-Democratic Workers' Party opposed to the Bolsheviks; inter alia, they advocated a gradualist approach to the attainment of socialism through parliamentary government and cooperation with bourgeois parties.  By 1918, the remaining members had been absorbed into the Communist Party of Russia, formed that year.

1907: From the Russian меньшеви́к (menʹševík) from меньшинство́ (menʹšinstvó) (minority) from ме́ньше (ménʹše), the comparative of ма́лый (mályj) (little), the sense being “those in a minority” (the Minoritarians), the construct being ménʾsh(iĭ) (lesser, smaller (comparative of málenʾkiĭ (small) and thus the source of menʾshinstvó minority)) + -evik (one that is (a variant of –ovik, the noun suffix)).  The source the Russian men'she (lesser), was a comparative of malo (little), from the primitive Indo-European root mei- (small).  Menshevik & Menshevist are nouns & adjectives, Menshevism is a noun and Menhevistic an adjective.  The noun plural is Mensheviks (Mensheviki in the Russian which is pronounced myin-shi-vyi-kyee).

The noun minimalist dates from 1907 in the sense of “one who advocates moderate reforms or policies" and was originally an adapted borrowing of Menshevik; as understood as "a practitioner of minimal art" it dates from 1967, the term “minimal art” being noted first in 1965.  It was an adjective from 1917 in the Russian political sense and since 1969 in reference to art.  It was comrade Lenin (Vladimir Ilyich Ulyanov 1870–1924 and known by his alias Lenin; revolutionary, political theorist and founding head of government (Soviet Russia 1917-1924 and the Soviet Union 1922-1924) who vested Bolshevik (as Bolsheviki meaning Majoritarians or those in the majority) and Menshevik (as Mensheviki meaning Minoritarians or those in the minority).

Comrade Lenin Agitprop.

Lenin was a classic example of a political phenomenon which would so frequently feature in twentieth century revolutionary politics: the middle-class radical.  His intellectual predisposition had already tended that way but it was after the regime in 1886 hanged his elder brother in punishment for his involvement in an attempt to assassinate the reactionary Tsar Alexander III (1845–1894; Emperor of Russia 1881-1894) that his interest shifted from the mostly theoretical.  Apparently somewhat an inept activist in his younger years, he was soon apprehended by the Tsar’s secret police and transported to Siberia where he wrote a treatise on Russian economic development in which he claimed that capitalism was already the country’s dominant mode of production, quite a startling assertion given the state of things.  He found himself on a sounder intellectual footing as a political tactician, his 1902 pamphlet What Is to Be Done? which advocated a rigid centralism in party structure, the vetting of members and a tightly enforced discipline.

Lenin actually borrowed the title from Nikolay Chernyshevsky's 1863 pro-revolutionary novel What Is to Be Done? (1863), a book not without critics but one which exerted a still often underestimated influence on those who would in the years to come build the political movements which culminated in the events of 1917.  It also drew the attention of Leo Tolstoy (1828-1910) who in 1886 wrote his own What Is to Be Done? although it’s a work more of moral theology and was published sometimes as (the probably more accurate) What Then Must We Do? and (in English) as What to Do?

Lenin knew what to do.  A brief work of stark clarity, his pamphlet was quite a change from the verbose and discursive stuff of the era and attracted much attention although its uncompromising was too much for many, the second party congress of the Russian Social-Democratic Workers’ Party in 1903 ending in acrimony although Lenin did secure one pyrrhic victory, his faction winning a majority in the congress vote, enabling him to label his group the Bolsheviki (Majoritarians), the opposition responding, with some implied irony, that they were therefore the Mensheviki (Minoritarians).  The Bolsheviki accused the Mensheviki of being anti-revolutionaries and the Mensheviki labelled the Bolsheviki (and especially Lenin) dictatorial and intolerant.  Had the word fascist then existed, both sides would have used it.  As things soon transpired, defections meant Lenin didn’t long have the numbers and the Mensheviki became the majority (although both sides kept their names), prompting Lenin to damn them as usurpers and it was in this spirit the congress ended, the two factions setting up their own newspapers and network of spies, little time devoted to the revolution because of the internecine conflict.  The outbreak of revolutionary protest in 1905 was thus a surprise to both Mensheviki and Bolsheviki and neither side was sufficiently organized to take advantage of the situation which the Tsar’s forces soon suppressed with a mixture of carrot and stick.

Whether the revolution was to be in than hands of the Mensheviks or Bolsheviks was decided in the war-time chaos of 1917.  Without the war, the Tsarist regime might have endured but when in February it became clear the army were either unable or unwilling to act against the strikes and demonstrations, it became apparent to all the Tsar must abdicate which he did on 15 March (under the Gregorian calendar or 2 March under the Julian calendar then used.  The “administration” which formed in the wake of the revolution (of which the Mensheviks were a part) was from the start beset with problems, some of its own making and few were responsive to the methods adopted, the factionalized and quasi-democratic structures adopted ill suited to deal with the multiple crises of the time.  Strikes and other industrial disruptions may not have made the subsequent Bolshevik insurrection inevitable but the failure to extricate Russia from the war and the not unrelated shortages of food and medical supplies probably did.  What’s remembered as the October revolution (on 7 November (Gregorian calendar) or 25 October (Julian calendar)) was organized by the Bolshevik party and, having seized power, it wasn’t for decades relinquished.  Were there any doubt about the methods and morality of the Bolsheviks, the tsar and his family, under house arrest since March 1917, were on 16 July 1918 murdered although historians continue to debate whether Lenin personally ordered the shootings, documentary evidence impossible to assess because comrade Lenin order it all burned.