Bliss

Bliss (pronounced blis)

(1) Perfect happiness; supreme joy or contentment.

(2) In theology, the ecstatic joy of heaven.

(3) A cause of great joy or happiness (archaic).

(4) A name used for a wide variety of locational, commercial and artistic purposes.

Pre-1000: From the Middle English blys, blice, blisce, blise, blesse & blisse, from the Old English bliss (bliss, merriment, happiness, grace, favor), from a variant of earlier blīds, blīþs & blīths (joy, gladness), from the Proto-West Germanic blithsjo & blīþisi (joy, goodness, kindness), the construct being blīthe (blithe) + -s, source also of the Old Saxon blizza & blīdsea (bliss), the construct being blithiz (gentle, kind) + -tjo (the noun suffix).  The early use was concerned almost exclusively with earthly happiness but, because of the fondness scholars in the Medieval Church felt for the word, in later Old English it came increasingly to describe spiritual ecstasy, perfect felicity and (especially), the joy of heaven.  In that sense as a verb it remains in common use in evangelical churches (especially in the southern US) to suggest the “attaining and existing in a state of perfect felicity”.  The adjective blissful was from the late twelfth century blisfulle (glad, happy, joyous; full of the glory of heaven).  Synonyms in a general sense include euphoria, happiness & joy while in a theological context there’s paradise, beatitude, blessedness, elicity, gladness, heaven & rapture; there is no better antonym than misery.  Bliss & blissfulness are nouns, blissy, blissed & blissless are adjectives, blissful is a noun & adjective and blissfully is an adverb; the noun plural is blisses.

The unrelated verb bless was from the Middle English blessen, from the Old English bletsian & bledsian and the Northumbrian bloedsian (to consecrate by a religious rite, make holy, give thanks), from the Proto-Germanic blodison (hallow with blood, mark with blood), from blotham (blood) and originally it meant the sprinkling of blood on pagan altars.  The pagan origins didn’t deter the early English scribes who chose the word for Old English bibles, translating the Latin benedicere and the Greek eulogein, both of which have a ground sense of "to speak well of, to praise," but were used in Scripture to translate Hebrew brk (to bend (the knee), worship, praise, invoke blessings).  In late Old English, the meaning shifted towards "pronounce or make happy, prosperous, or fortunate" under the influence of the etymologically unrelated bliss, (the resemblance obviously a factor in this) and by the early fourteenth century it was being used in religious services to mean "invoke or pronounce God's blessing upon" and is unusual in that there are no cognates in other languages.

State of bliss.  Lindsay Lohan embraces her inner Zen, Phuket, Thailand, 2017.

In idiomatic use, a "bliss ninny" is (1) one unrealistically optimistic (a Pollyanna, which, in Marxist theory, can align with the concept of "false consciousness), (2) one who prefers to ignore or retreat from difficult situations rather dealing with the problem (sometimes expressed as a "state of blissful ignorance") or (3) a student of theology intoxicated with the spiritual aspects of the teachings, but ignorant of the underlying scholarship.  A "bliss out" is the experience of great pleasure, often analogous with a "love rush" and the state in which one can be said to be "blissed up".  In economics, a "bliss point" is quantity of consumption where any further increase would make the consumer less satisfied (as opposed to the law of diminishing returns where increases deliver pleasure in decreasing increments; a classic example is alcohol.  It's used also in cooking as the measure of certain critical ingredients (fat, salt, sugar etc) at which point palatability is optimized.  To follow one's bliss is a notion from pop-psychology and the new age which advocates using one's awareness of what causes one to experience rapture as a guide for determining what constitutes authentic and proper living.

Charles O'Rear's original 1996 photograph, licenced in 2000 by Microsoft which used it as the desktop wallpaper for the Windows XP operating system.  Much time was spent in Microsoft's compatibility labs working out what would be the most "blissful" opening music (the "startup chime") to accompany the images' appearance upon boot-up. 

There are claims that Bliss, the default desktop wallpaper used in Microsoft’s Windows XP operating system, is the most viewed photograph of all time.  It was taken in 1996 by Charles O'Rear (b 1941) at Sonoma County, a viticultural region in California, using a Mamiya RZ67 film camera and as used by Microsoft, was barely changed, just cropped to better suit the shape of computer screens, the green hues slightly more saturated to render the image more “wallpaper-like”.

Quite how often bliss has been viewed isn’t known.  Economists and others use a variety of mathematical models and equations to calculate numbers where exact or even indicative records either don’t exist or can’t be relied upon, a famous example of which is the “piano tuner” problem posed by Italian-American nuclear physicist Enrico Fermi (1901–1954) for his students to ponder.  The challenge for the students was to create a formula to estimate the number of piano tuners in Chicago, based only on the known population of the city.  It would thus be a task of extrapolation, using one constant and a number of assumptions.  Fermi deconstructed his equation thus:

(1) Chicago has a population of 3 million.

(2) Assume an average family contains four members so that the number of families in Chicago must be about 750,000.

(3) Assume one in five families owns a piano, meaning there will be 150,000 pianos in Chicago.

(4) Assume the average piano tuner services four pianos a day and works a for five day week, taking an annual two week vacation.

(5) Therefore, in his (50 week) working year, a tuner would tune 1,000 pianos. The formula is thus 150,000 divided by (4 x 5 x 50) = 150.  There must be around 150 piano tuners in Chicago.

The method obviously doesn’t guarantee an exactly correct result but it does provide an indicative number might be off by no more than a factor of 2-3 and almost certainly within a factor of 10-12 so it’s reasonable to conclude there will be neither 15 nor 1,500 piano tuners.  A number with a factor error of even 2-3 in most cases is probably not a great deal of help (except to cosmologists for whom a factor of 10 error remains “within cosmological accuracy” but the piano tuner problem does illustrate how the concept can work and the more (useful) constants which are known, the more accurate the result is likely to be achieved.

Bliss, a little greener and cropped to fit on computer monitors.

Even so, it’s probably impossible to estimate how often bliss has been viewed, even were one to assemble as many constants and assumptions as are available such as:

(1) Number of copies of Windows XP sold.

(2) Number of copies of Windows XP in use in each year since it was introduced.

(3) Number of users per copy of Windows XP.

(4) Number of instances which retained bliss as wallpaper.

(5) Number of times per day each user saw bliss.

However, even with those and as many more assumptions as can be imagined, it’s doubtful if a vaguely accurate number could be derived, simply because data such as the number of users who changed their wallpaper (or have such a change imposed on them by corporate policies) isn’t available and there’s no rational basis on which to base an assumption.  However, although any estimate will almost certainly be out by millions or even billions, the bliss viewing number will be a big number and it being the world’s most viewed photograph is not implausible.

One of the reasons for the big number was the unexpected longevity of Windows XP which proved more enduring than two of its intended successors, the somewhat misunderstood Windows Vista and the truly awful Windows 8, the ongoing popularity of the thing meaning Microsoft repeatedly extended the end-date for support.  Introduced later in 2001, with a final substantive update made in 2008, support for Windows XP was intended to end in 2012 but such was the response that this was shifted in one form or another to 2014 for the mainstream products while for specialist installations (such as embedded devices), it lingered on until 2019.  That extension appealed to the nerd after-market which quickly provided hacks (with titles like “XP Update Extender”) to allow users to make XP on their desktop or laptop appear to Microsoft’s update services as one on the devices still supported.  Microsoft could have stopped this at any time but never did which was a nice courtesy.

More productive but less blissful: the scene in Sonoma County, 2006 after the land was given over to a vineyard. 

Another aspect of XP where “bliss point” could be used was that the users interface proved for many something of an ideal, combining the basic design of the model introduced when the object-oriented GUI (graphical user interface) was offered on Windows 95 (and subsequently bolted to Windows NT4) along with a few colorful embellishments.  So compelling was this that when, inexplicably, Microsoft introduced something less usable for Windows 8, the nerd after-market quickly mobilized and many “classic menus” appeared, the best of which remains “Open-Shell” (previously called “Classic Shell” & “Classic Start”) and there are those still so nostalgic for the ways of XP that some add it to their Windows 10/11 systems, even though the menu structures of those are a genuine improvement.  How many also add the bliss wallpaper (which remains widely available) isn’t known but Microsoft certainly haven’t attempted to suppress the memory, the Office 365 team including it in 2021 in a set of historical images for use with their Teams communication platform.

Microsoft Windows XP: The startup chime.

Verisimilitude

Verisimilitude (pronounced ver-uh-si-mil-i-tood (alt –tyood))

(1) The appearance or semblance of truth; likelihood; probability, quality of seeming true.

(2) Something that merely seems to be true or real, such as a doubtful statement.

(3) In literary fiction, faithfulness to its own rules; internal cohesion.

(4) In film & TV etc, props, sets, backdrops et al assembled to create as accurate as possible an emulation of reality.

1595-1605: From the 1540s French verisimilitude (appearance of truth or reality, likelihood), from the Latin vērīsimilitūdō (likeness to truth), the construct being veri (genitive of verum, neuter of verus (true)) + similis (similar; like, resembling; of the same kind).  In Classical Latin, it was more correctly written as vērī similitūdō.  The Latin verus was from the primitive Indo-European root were-o- (true, trustworthy).  Verisimilitude & verisimilarity are nouns and verisimilar, verisimilitudinous & verisimilous are adjectives.

A word for critics, directors, students etc

In modern philosophy, verisimilitude is a philosophical concept which distinguishes between the relative and apparent (or seemingly so) truth and falsity of assertions and hypotheses.  Able at least to approach perfection in mathematics, applied to other fields, the problem arises in trying to define what it takes for one false theory to be closer to the truth than another false theory; analogies with string theory are tempting.  For Austrian philosopher Karl Popper (1902-1994), for whom truth was (and must be) the object of scientific inquiry, the problem was the acknowledgment that most scientific theories in history have been shown to be false.  Therefore, it must, from time to time, be at least possible for one false theory to be closer to the truth than others.

In literary fiction, verisimilitude, even if cleverly executed, can attract disapprobation.  Those writings of Phillip Roth (1933-2018) which in some way document the author’s construct of how women think (and he had a bit of previous there) usually reflect a perfect internal logic without which, as literature, his text wouldn’t have worked.  Solid verisimilitude therefore but more than one feminist critic has both deconstructed and demurred, finding his world-view a bogus male fantasy.  Perhaps more than other living writers, Roth’s literary relationships tended more to be with his critics than his readers; in less unforgiving times he might have received the Nobel Prize his body of work may have deserved.  In popular culture, verisimilitude is most commonly used to describe things which make film and television “realistic”; props, costumes and such.  It’s a popular word in university courses with studies in their titles (peace studies, media studies, gender studies, communications studies etc).  Academics in these fields adore words like verisimilitude and paradigm, encouraging their students to use them wherever possible.

Failures in verisimilitude in Mean Girls (2004): One of the props was a framed photograph representing Cady Heron during her childhood in Africa, sitting atop an elephant.  The elephant is of a different taxonomy, being an Asian elephant (Elephas maximus) instead of the appropriate African savanna bush elephant (Loxodonta africana) known in Kenya.  The left hand's inadvertent srpski pozdrav (a three-fingered Serbian salute originally expressing the Holy Trinity and used in rituals of the Orthodox Church which has (like much in the Balkans) been re-purposed as a nationalist symbol) is a Photoshop fail.

Skunk

Skunk (pronounced skuhngk)

(1) Any of various American musteline mammals (of the weasel family) of the subfamily Mephitinae, especially the Mephitis mephitis (striped skunk), typically having a black and coat with a white, V-shaped stripe on the back and a bushy tail; infamous for the noxious smelling fluid sprayed from two musk glands (anal gland) at the base of the tail when alarmed or attacked

(2) In slang, a most contemptible person; a cheat, knave, scoundrel or stinker.

(3) In slang, anything very bad or a failure; something not a total failure yet with still badly flawed can be described as “skunky” although, in the way of such things, sub-sets of youth have repurposed “skunky” to mean “very good; highly regarded; most satisfactory” (al la the earlier inversion of “filth”), possibly under the influence of the famously potent strain of weed.

(4) In US Navy slang, an unidentified ship or target.

(5) In the slang of drug-users, a strain of Cannabis sativa & Cannabis indica with high levels of tetrahydrocannabinol (THC) (exceeding those of typical hashish), noted for its exceptionally powerful psychoactive properties (also as skunkweed, the name derived from its highly aromatic properties).

(6) In the slang of certain (mostly North American) sports, to defeat thoroughly in a game, especially when the opponent has been prevented from scoring.

(7) In the game of cribbage, a win by 30 or more points (a double skunk 60 or more, a triple skunk 90 or more).

(8) In brewing, of beer, to spoil.

(9) In popular culture, a person whose lifestyle (or as it’s representing in their fashion choices) is a hybrid of the skinhead and punk sub-culture, the construct being sk(inhead) + p(unk).

1625–1630: An early Americanism, described as the Massachusett reflex of the southern New England region Proto-Algonquian šeka·kwa, the construct being šek- (to urinate) + -a·kw (a fox, a fox-like creature); a similar form was noted as the Abnaki segākw, segôgw & segonku (he who squirts urinates).  The first application of the verb was in 1831 when it was used in sport to mean “to completely defeat; to prevent from scoring” and it was used as an insult as early as 1841.  In botany, a local cabbage which gave of a strongly pungent odor when bruised was in 1751 nicknamed skunk-cabbage, having been known as skunkweed since 1738 (botanically unrelated to the later use in drug culture although the etymological influence was similar).

Skunk hair.

The term “skunk hair” originally described a thick blonde highlight applied to dark hair but it’s now used of any two-tone combination (and strictly speaking, beyond two-color schemes it becomes a variegation). Skunk hair is derided by many who treat it as a class-identifier, associating it with those in lower socio-economic demographics, the folk who used to be labelled "not of the better classes".  However, it offers real advantages over other color-changes in that it's possible to design one to accommodate re-growth, something frankly impossible with conventional styles which almost always require maintenance and for true obsessives than can be even weekly.  While it's true there is a genuine "dark roots" aesthetic which on the right subject can be truly stunning, they're a rare breed so it's a niche market few choose to inhabit.  By contrast, a properly executed skunk can last for months.

Lindsay Lohan 2003 with what is sometimes now described as "skunk hair" although it's better understood as a coloring when the dark/light contrast is more dramatic.

Czech, Danish, German, Norwegian, Swedish and Slovak all adopted the English spelling, other variations including the Finnish skunkki, the French skunks, the Icelandic skunkur, the Japanese: スカンク (sukanku) and the Russian скунс (skuns).  In idiomatic use, the phrase “as welcome as a skunk at a garden party” refers to someone badly behaved who is unwelcome and actively avoided, the analogy essentially literal.  By contrast, “drunk as a skunk” means “highly inebriated” (also “skunked” in the vernacular) and belongs to a class of phrases which make no apparent sense and endure only because of their memorable rhyme although “drunk as a monk” may have come from empirical observation.  Usefully, in polite society, most are acceptable in a way the rhyming “drunk as a cunt” is not.  Skunk and skunks are nouns & verbs, skunking is a verb, skunked is an adjective & verb, skunky & skunkish are adjectives; the noun plural is skunks or (especially collectively) skunk.  The adverb skunkily is a non-standard form and the verb skunkify appears exclusive to drug and related cultures.

Skunkworks

Lockheed Martin’s Skunk Works logo.

A favored term in industries such as motorsport, aviation, defense, aerospace and ICT, a skunkworks is a research & development (R&D) facility within a large organization which exists to pursue special or urgent projects which can’t conveniently be pursued within the normal structures.  A skunkworks was originally a distinct physical space but latterly it’s been used also to describe concepts or projects and skunkworks can be either ad-hoc creations which are dissolved when their purpose has been fulfilled or they can evolve into permanent institutions.  One of the attractions of the skunkworks concept is that, properly implemented, it operates without the apparently inevitable bureaucracy which evolves in large corporations, stifling and suppressing new ideas.  In a skunkworks, the only administrative structures which exist are there directly to handle the needs of the project, unlike corporate bureaucracies which rather than being a means to an end, tend to become an impediment to the means.

Airframe nose-cone outside the skunkworks tent, circa 1943.

The origin of the term dates from 1943 when the Lockheed Aircraft Corporation needed urgently to develop a jet-engined pursuit (fighter) aircraft to counter the imminent threat intelligence suggested the allied air forces would soon face from German jet-fighters.  With war production operating at high-intensity, Lockheed’s factories were operating at 100% capacity and thus no space was available for the project so somewhere had to be found.  The details of quite what happened next have become the stuff of industry myth & legend but according to Lockheed-Martin’s official history, a large circus tent was rented and erected next to the closest available space which turned out to be adjacent to a processing facility which used processes emitting a strong odor.  These wafted over, permeating the tent and one of the engineers recalled the newspaper comic strip, "Li'l Abner," in which there was a running joke about a mysterious and malodorous place deep in the forest called the "Skonk Works" where a strong drink was brewed from skunks, old shoes and other strange ingredients.  One day, the engineer answered the telephone by saying "Skonk Works” and, in the way Chinese whispers work, his fellow employees decided it was the punchier “skunk works”, the name adopted by Lockheed as the official pseudonym for their Advanced Development Projects (ADP) division (now Advanced Development Programs).  There are variations of the story including which omits any mention of a tent, suggesting the ADP began in the mot-balled 3G distillery which still reeked with the smells of making bourbon but Lockheed-Martin has published a photograph of a prototype aircraft nose-cone with the tent in the background.

Lockheed P-80 Shooting Star.

The Lockheed P-80 Shooting Star was the first skunkworks project although the team did undertake some work on the P-38 Lightning, first flown in 1939.  The first P-80 was built in a remarkable 147 days which, even given the urgency of wartime production which tended to compress many development programs, did seem to vindicate the skunkworks concept.  The P-80 reflected the thinking of the time and essentially optimized the airframe of a piston-engined fighter around a jet engine.  In that sense it was a developmental cul-de-sac and future directions would be set by the German’s Messerschmitt 262, all designers influenced by the swept-wings and other aerodynamic enhancements which would define the next generation of fighters.  However, the P80’s design was fundamentally sound, in 1946 setting a new world speed record of 623.8 mph (1003.8 km/h) and versions were still used as front-line fighters in the Korean War (1950-1953) although the unexpected appearance in the skies of Russian-built Mikoyan-Gurevich MiG-15s (NATO reporting name: Fagot) saw the US rush to send squadrons of North American F86 Sabres to match the swing-wing threat.  However, some overseas customers used them as fighters as late as 1974 and so versatile did the platform prove that it continued to be developed in a number of roles including reconnaissance, the US military maintaining a fleet as jet-trainers until well into the 1990s.

Lockheed Martin SR-72 conceptual rendering.

Other skunkworks projects of note include the U-2 spy plane which played a notable role during the Cold War, the F-104 Starfighter which earned two nicknames (“the manned missile” & “the widow maker”; a brace which may be thought of as cause and effect), the high-speed, high-altitude SR-71 Blackbird which in the 1960s which set records which stand today and the F-22 Raptor, thirty-odd years on still the world’s most capable short-range interceptor which would have been produced in much greater numbers had not the USSR dissolved, ending the notion of dog-fights over Berlin being part of the Pentagon’s war-planning.  Much of their work appears now to be devoted to hypersonic (Mach 5 (5 x the speed of sound and beyond)) unmanned aerial vehicles (which should be called "UAVs", the common moniker "drone" not appropriate for these)) platforms for one purpose and another.  Most of the projects are thus far still vaporware although there have been notable advances in systems and specific components but the most dramatic (and best publicized), the SR-72 seems unlike to proceed even to the prototype stage although the speculated shape does suggest the engineers who ran the numbers on the Concorde's wind-tunnel sessions in the 1960s did their sums correctly.  Whatever form of hypersonic UAV eventually does emerge from the skunkworks, it will be armed with hypersonic missiles, a necessity because if existing missiles were used, the thing would shoot itself down.

Faith & Doubt

Faith (pronounced feyth)

(1) Confidence or trust in a person, thing, or abstraction.

(2) A belief based not on proof.

(3) Belief in God or in the doctrines or teachings of religion.

(4) Belief in anything, as a code of ethics, standards of merit etc.

(5) A system of religious belief.

(6) The obligation of loyalty or fidelity to a person, promise, engagement, etc.

(7) The observance of this obligation; fidelity to one's promise, oath, allegiance etc.

(8) A female given name.

(9) As (usually in) bad faith, insincerity or dishonesty, as (usually in) good faith, honesty or sincerity, as of intention in business.

10) Indeed; really (also in the phrases by my faith, in faith) (archaic).

1200-1250: From the Middle English faith, fayth, feith & feyth (also fay, fey, fei (faith) from the Old French fay, fey, fei, feit, & feid (faith), from the Latin fidēs (faith, belief, trust (from which English gained fidelity), from fīdō (trust, confide in), ultimately from the primitive Indo-European bheidth (from bheydth) (to command, persuade, trust (from which English gained bide).  The Middle English forms ending in -th are thought perhaps to represent an alteration of the earliest French form feid under influence of other abstract nouns in -th (truth, ruth, health et al) but may have been formed instead from the more usual Old French forms fay, fey, fei etc. with the English suffix added (also due to assimilation to other nouns in -th), thus making the word equivalent to fay +‎ -th.  The theological sense dates only from the late fourteenth century although religions had been referred to as faiths since circa 1300.  The adjective multifaith (written often now as multi-faith) is a most recent addition.

Before Broken English:  Marianne Faithful (b 1946), Faithless (1978 NEMS Cat: NEL 6012), repackaged re-release of Dreamin' My Dreams (1976).

Doubt (pronounced dout)

(1) To be uncertain about; consider questionable or unlikely; hesitate to believe.

(2) To distrust.

(3) To fear; be apprehensive about (archaic).

(4) A feeling of uncertainty about the truth, reality, or nature of something.

(5) A state of affairs such as to occasion uncertainty.

(6) In philosophy, the methodical device, especially in the writings of Descartes, of identifying certain knowledge as the residue after rejecting any proposition which might, however improbably, be false.

(7) In theology (and, in earlier times, among poets), a technical device for addressing problems with faith.

1175-1225:  From Middle English douten drawn from Anglo-French and Old French douter or doter, derived from Latin dubitāre (to waver, hesitate, be uncertain (frequentative of Old Latin dubāre)).  Final Latin form was dubium (plural dubia) and the Old English was doute.  Douten entirely replaced the Middle English tweonien (to doubt) which was derived from the Old English twēonian.  The Old French doter from the Latin dubitāre reflected how the meaning had changed in Latin; related to dubius (from which English picked up dubious) meant originally "to have to choose between two things."  The sense of "fear" developed in Old French and was passed on to English. Meaning "to be uncertain" is attested in English from circa 1300.  Related forms are doubtable (adjective), doubtably (adverb), doubter (noun), doubtingly (adverb) and doubtingness (noun).  Most popular today is doubtlessly or doubtless.  English doubtlessly has tended to the permissive.  Where a clause follows doubt in a positive sentence, until well into the twentieth century, it was correct only to use whether but if and that are now acceptable.  In negative statements, doubt is followed by that.  The old practice of using but (as in “I do not doubt but that she speaks truth”) is wholly redundant.

Faith and doubt:  The four dubia cardinals, the pope and the hint of heresy

On 19 September 2016, a letter from Cardinals Carlo Caffarra (1938-2017), Walter Brandmüller (b 1929), Raymond Burke (b 1948) & Joachim Meisner (1933-2017) was delivered to the pope and the Congregation for the Doctrine of the Faith (the old Holy Office or Inquisition).  Technically, the letter was a dubia, a respectful request for clarification regarding about certain established teachings which appeared to be challenged by recent events in or statements from the Holy See (especially Pope Francis' (b 1936; pope since 2013) 2016 post-synodal apostolic exhortation Amoris laetitia (The Joy of Love) concerned with the pastoral care of families).  Phrased as five questions, the cardinals asked (1) Whether those living in sin were now to be granted Holy Communion, (2) Whether the Church had overturned Saint John Paul II’s (1920–2005; pope 1978-2005) 1993 encyclical Veritatis splendor (The Splendor of the Truth) which laid down certain fundamentals of the Church's role in moral teaching, (3) Whether there were changes in what constituted certain sins, (4) Whether circumstances or intentions can now transform an act intrinsically evil by virtue of its object into an act subjectively good or defensible as a choice and (5), Whether the church no longer excludes any creative interpretation of the role of conscience and now accepts that conscience can be authorized to permit legitimate exceptions to absolute moral norms that prohibit intrinsically evil acts by virtue of their object?  The issues raised were matters of vital interest inside the curia, to theologians and certain other clergy and, though seeming perhaps a little arcane to many, are actually fundamental to the very nature of the Church.

Faith and research: Lindsay Lohan with Qur'an, April 2016.

Of interest too was the structural question: the authority of the pope.  The cardinals' view was that a pope's duty is to defend and preserve the doctrines and teachings of the church, these being eternal and unchanging.  The alternative view is the pope is the bishop at the head of an absolute theocracy.  So, when speaking on matters of doctrine concerning faith or morals to be held by the whole Church, the pope's authority is absolute and he is held to be infallible.  Use of this power is called speaking ex cathedra, (the Latin cathedra and sedes translate as "chair", a historic symbol from Antiquity for a teacher and one preserved in academia for the office of professor, and the "see" of a bishopric.  The significance of ex cathedra (from the chair) is that a pope occupies the "chair of Peter" (the "Holy See") by virtue of being the successor of Peter himself.  Saint Peter being held to be, ex-officio, the spokesman of Christ (and therefore, as the "Vicar of Christ on Earth" speaking the words of God) and every pope since has fulfilled this role), a matter long assumed even before it was declared at the First Vatican Council (Vatican I;1869-1870).  Although invoked formally only once since, papal infallibility remains as a pope's thermo-nuclear option in these matters.

The dispute remains afoot because Pope Francis neither acknowledged nor replied to the cardinals' respectful dubia.  Less deferential was another letter delivered some months later in which several dozen Catholic theologians, priests and academics went further than the cardinals and formally accused Pope Francis of spreading heresy, a document the like of which hadn't been sent to a pope since the 1300s.  Stunningly, it was one step short of actually accusing the pontiff of being a heretic.  The squabble may last at least as long as Francis' pontificate although, unfortunately, in these modern times, it can no longer be resolved by Inquisition having accusers burned at the stake.  Francis has proved a quick learner in the handling of social media and, perhaps borrowing from the Anglicans, appears to feel some problems are best solved by pretending they don't exist although it may be he simply didn't see the point, recalling the words of world-weary Benedict XIV (1675–1758; pope 1740-1758): "The pope commands, his cardinals do not obey, and the people do what they wish."  He ignored the theologians’ letter.

Interestingly though, early in 1919, Pope Emeritus Benedict XVI (b 1927; pope 2005-2013, pope emeritus since), although without mentioning the five dubia, did respond and his words would have pleased the two cardinals still alive.  His answers were an unambiguous (1) no, (2) no, (3) no, (4) no and (5) no.  With a Benedictine certainty reminiscent of Pius IX's (1792–1878; pope 1846-1878) Syllabus Of Errors (1864), he spoke of a “...crisis of morality…, the hypothesis that morality was to be exclusively determined by the purposes of human action..." to the point there could no longer be said to be any "...absolute good, any more than anything fundamentally evil; (there could be) only relative value judgements”  He warned of the risk of a world in which there was “…no longer was (there an absolute good), but only the relatively better, contingent on the moment and on circumstances..."  He’s discussed this theme before: that a church of true-believers is better than one that just accepts what happens to suit whoever wishes to join the club.  Benedict didn’t say it but he may think if that’s what people want, they may as well become Anglicans, his documented opinion that a smaller Church which remains pure is preferable to one larger but corrupted by the falsehoods post-modernist structures claim as moral and intellectual equivalents of traditional teachings.

Nor did he add the words of Pius IX which so many see when reading between the lines the pope emeritus has written during the pontificate of Francis: "If a future pope teaches anything contrary to the Catholic faith, do not follow him". 

Faith and Doubt in the Century's Poets, Edited by Richard A Armstrong (1843-1905), Bib ID 2635856, James Clarke & Co, London, 1898, pp136.

Percy Bysshe Shelley: The spirit of revolt.
William Wordsworth: Revelation through nature and man.
Arthur Hugh Clough: Between the old faith and the new.
Alfred Tennyson: The larger hope.
Matthew Arnold: The eternal note of sadness.
Robert Browning: Faith triumphant.

The nineteenth century can be thought a truly scientific age and the discoveries revealed provoked much writing about the defensibility of a faith based upon much shown to be impossible or at least improbable.  While poets agonized, theologians rationalized where they could, finding allegory and analogy useful devices to explain where they could the less plausible passages of scripture and for everything else offered a fudge: “you need not believe it but you must accept it.”

Piste

Piste (pronounced peest)

(1) In skiing, a downhill trail or run.

(2) In competitive fencing, the internationally recognized regulation-size strip, 2 m (6’ 6”) in width and 14 m (46’) long.

(3) A track left by somebody riding a horse (archaic).

(4) A spoor made by a wild animal.

1727: From the Old French piste (beaten track of a horse or other animal) from the Italian pista (via (a beaten track)) a variant of pesta (footprint).  Pesta was a deverbal of pistare & pestare (to pound, crush) a Vulgar Latin frequentative of the Latin pīnsere, pistus the past participle.  Other languages picked up piste from the French.  Like English, Lithuanian, Dutch and German used the same spelling (the Germans capitalizing the noun) while there’s also the Catalan pista, the Greek πίστα (písta), the Persian: پیست‎ (pist) and the Turkish pist.  The alternative spelling pist is now rare.  Piste is a noun; the noun plural is pistes.

In Dutch, a piste (diminutive pistetje) is (1) a downhill ski run, (2) a track used in competitive athletics, or (3) a ring in a circus.  In Finnish, piste was originally a synonym of pisto (sting; prick, puncture).  In examples of linguistic innovation it was used in typography to mean "period, full stop, dot", use later extending to the sense of “mark or stroke above a letter” and a “unit of font size or spacing”.  In geometry it meant "point", thus the general sense in mathematics of it being the representation of a dimensionless object in space and thus a specific location and in figurative (though obviously inaccurate) use, piste came mean “tiny; something infinitesimally small”.  The idea of small was picked up in the scoring systems of various sports, a piste being (in the familiar sense of “a point”) the smallest unit a team or player could be awarded.

In French, the phraseology provides the descriptive nuances which indicate whether piste is being used in the literal sense of physical geography or figuratively thus: Une piste automobile dans le desert (track left in the desert sand by a car); piste cyclable (a bicycle path); La police est sur la piste d’un complot (the police are following a lead in their investigation of a conspiracy); piste d’atterrissage (an airport runway); piste de danse (a dance floor).  English adds modifiers to trail, track etc in the same manner.  In the sense in which piste is used in English, the French also use it to refer to ski slopes in general but also in more elaborated forms to differentiate where necessary: piste de ski (ski slope, ski trail); piste de luge (sled or sledge track).  Use in Italian follows the French but, noting the quality of snow as a white powder, imaginatively adds piste as the street slang for a line of cocaine and it’s a word which in this sense might see a goodly amount of use because the 2019 Global Drug Survey identified Italy as the world’s second largest consumer of the narcotic.

On the Piss

Piste is pronounced peest and the usual phrase when speaking of skiing is “on the piste” so care must be taken it’s not confused with another phrase, often used in parts of the English-speaking world, the operative word there pronounced pis.

On the piss: Crooked Hillary Clinton enjoys a quick belt of Crown Royal Bourbon Whiskey, Bronko's restaurant, Crown Point, Indiana, Saturday 12 April, 2008.

On the piss: Boris Johnson enjoying champagne, port and a pint.  It's not known if these photographs were all taken the same day.

On the piste

On the piste: An assured Lindsey Vonn (b 1984), four-time World Cup alpine ski champion and Olympic gold medallist.

In pink, on the piste: A less assured Lindsay Lohan, on skis during filming of Netflix’s Falling for Christmas.  The pink jumpsuit and pink fluffy vest are available on-line.

Reaper

Reaper (pronounced ree-per)

(1) A machine for cutting standing grain; reaping machine; a machine used to harvest crops.

(2) One who reaps; a person employed to harvest crops from the fields by reaping; a machine operator who controls a mechanical reaper.

(3) A short form of grim reaper (often capitalized), the personification of death as a man or cloaked skeleton holding a scythe.

(4) The recluse spider (Loxosceles and Sicarius spp).

Pre 1000: From the Middle English reper, repare & repere (a harvester, one who cuts grain with a sickle or other instrument) from the Old English compound rīpere (the agent-noun from the verb reap), the construct being reap (from the Middle English repen, from the Old English rēopan & rēpan, variants of the Old English rīpan (to reap), from the Proto-Germanic rīpaną and related to the West Frisian repe, the German reifsen (to snatch) and the Norwegian ripa (to score, scratch); source was the primitive Indo-European hireyb- (to snatch)) + -er (from the Middle English –er & -ere, from the Old English -ere, from the Proto-Germanic -ārijaz, probably borrowed from Latin –ārius and later reinforced by the synonymous but unrelated Old French –or & -eor (the Anglo-Norman variant was -our), from the Latin -(ā)tor, from the primitive Indo-European –tōr; the suffix was added to verbs to form an agent noun).  The agent noun meaning "a reaper" is from the 1590s whereas the sense of "a machine for cutting grain" dates from 1841 and that of a “machine for reaping and binding field crops" appeared in 1847.  Variations of the spelling including Riper, Ryper & Riper appear in pre-1000 parish records as surnames and the presumption is most would have had some sort of vocational relationship to “reap”; Repere was first noted as a surname in the early fourteenth century.  Reaper is a noun; the noun plural is reapers.

The Grim Reaper as often depicted.

The use as the name of a personification of death dates from 1818 and “grim reaper” was first attested in 1847 although the association of grim and death is document from at least the seventeenth century with actual common use probably much earlier; a Middle English expression for "have recourse to harsh measures" was “to wend the grim tooth” and has been found as early as the 1200s.  The adjective grim was from the Old English grimm (fierce, cruel, savage; severe, dire, painful), from the Proto-Germanic grimma- (source also of the Old Saxon, Old Frisian, Old High German & German grimm (grim, angry, fierce), the Old Norse grimmr (stern, horrible, dire), the Swedish grym (fierce, furious), from the primitive Indo-European ghremno- (angry), thought to be imitative of the sound of rumbling thunder (and may thus be compared with the Greek khremizein (to neigh), the Old Church Slavonic vuzgrimeti (to thunder) and the Russian gremet' (thunder).  Grim by the late twelfth century had lost the worst of the earlier connotations of violence and foreboding, by then understood to impart a sense of "dreary, gloomy".  The verb form in the Old English was grimman (past tense gramm; past participle grummen), while the noun grima (goblin, specter) may also have been a proper name or attribute-name of a god, the source of its appearance as an element in so many place names.

The Grim Reaper: Public health initiative, Australia, 1987.

The Grim Reaper was a 60 second-long television advertisement, run in 1987 as part of a public health campaign to increase awareness of the danger of HIV/AIDS.  It depicted the Grim Reaper of popular imagination in a ten-pin bowling alley, using a seven foot high (2.1 m) bowling ball to knock over men, women and child "pins", each of which represented a victim of the disease.  It was part of what would later be called a multi-media campaign which included radio broadcasts and printed material and certainly provoked a reaction, more sophisticated consumers of messaging thinking it at least banal and perhaps puerile while others found it disturbing and reported it scared their children.  The public response was hardly “hysterical” as has sometimes been claimed although the even then assertive gay community didn’t like that they were explicitly mentioned, fearing scapegoating although, given the publicity which by then had been documenting the track of AIDS for some four years, that horse had already bolted.  It was by the standards of the time confronting and criticism meant the government cancelled broadcasting, three weeks into a run which was intended to be twice the duration yet the public health community was pleased with the results and the programme was praised internationally, the direct Australian approach influencing others.  Some Australian state governments subsequently used even more graphic imagery in public health initiatives around matters such as smoking and road safety but it’s notable that attempts to use similar techniques to promulgate messages during the COVID-19 pandemic were thought a failure.  With various platforms having desensitized most to all but the most horrific sights, the public’s capacity to be shocked may have moved beyond what television advertising agencies can manage.

Blue Öyster Cult (Don't Fear) The Reaper (1976)

 All our times have come
Here but now they're gone
Seasons don't fear the reaper
Nor do the wind, the sun or the rain, we can be like they are

Come on baby, don't fear the reaper
Baby take my hand, don't fear the reaper
We'll be able to fly, don't fear the reaper
Baby I'm your man

La, la, la, la, la
La, la, la, la, la

Valentine is done
Here but now they're gone
Romeo and Juliet
Are together in eternity, Romeo and Juliet
40,000 men and women everyday, Like Romeo and Juliet
40,000 men and women everyday, Redefine happiness
Another 40,000 coming everyday, We can be like they are

 

Come on baby, don't fear the reaper
Baby take my hand, don't fear the reaper
We'll be able to fly, don't fear the reaper
Baby I'm your man

 

La, la, la, la, la
La, la, la, la, la

 

Love of two is one
Here but now they're gone
Came the last night of sadness
And it was clear she couldn't go on

 

Then the door was open and the wind appeared
The candles blew then disappeared
The curtains flew then he appeared, saying don't be afraid

 

Come on baby, and she had no fear
And she ran to him, then they started to fly
They looked backward and said goodbye, she had become like they are
She had taken his hand, she had become like they are
Come on baby, don't fear the reaper

© Donald Roeser (1976)

Although they’d led a discursive existence since 1967, by the early 1970s, Blue Öyster Cult was in the crowded field of post-psychedelic acts blending quasi-classical motifs, mysticism, neck-snapping riffs and pop panache.  Coming from this milieu, the commercial success in 1976 of the single (Don't Fear) The Reaper was unexpected although more predictable was the controversy triggered by the lyrics being interpreted as advocating suicide.  It’s tempting to read the words that way, the eye drawn to the mention of Shakespeare's star-cross'd lovers, but the musician who wrote the lyrics claimed the song was about mortality and the inevitability of death, not its hastening and that in Romeo and Juliet he saw a couple with a faith in eternal love, not icons of a death cult.  The forty-thousand souls mentioned being taken by the reaper is way too high to refer to the daily suicide toll and actually references the total daily death take, the “forty thousand” being a bit of artistic license because the real number (125-135,000 at the time the lyrics were penned) would have too many syllables for the rhythm of the song.

Coming & going, dressed for the occasion.  Lindsay Lohan in Grim Reaper mode fulfilling a court-mandated community service order at LA County Morgue, October, 2011.