Three entomologists, four in corduroy

Vladimir Nabokov’s butterfly-collecting activities are well known, but not everyone knows that the Hungarian composer Bela Bartok and the Franco-Belgian poet Henri Michaux were amateur entomologists.

Erik Satie, Henry David Thoreau, and George Sand were all known for wearing corduroy, but in Satie’s case it was called velours côtelé* and he was not blamed.  (No, “corduroy” isn’t the word in French, though the English word comes from French.) But Americans of that era regarded corduroy as Irish, and ladies were not supposed to wear corduroy or smoke cigars, so the other two did not get off so easily.

*And in Sand’s too,  but only Satie got away with it.

UPDATE:
And also Thorstein Veblen:

[J. Laurence Laughlin, professor of economics at Cornell University] was sitting in his study in Ithaca when an anemic-looking person, wearing a coonskin cap and corduroy trousers, entered and in the mildest possible tone announced: ‘I am Thorstein Veblen.’

Note: Dorfman’s biography of Veblen is famously inaccurate, portraying Veblen’s behavior as far more bizarre and disreputable than it actually was.

The hypocritical octopus

Recently when reading what Victor Hugo had to say about octopuses (none of it good)in Travailleurs de la Mer,  I came across this line: “The octopus is a hypocrite. You don’t even notice it, and suddenly it unfolds itself.” For Hugo the octopus is murderous — it lies disguised  in ambush, and then suddenly it opens up and gets you! (which indeed it often does,  if you’re a fish). Elsewhere, Hugo writes of the sea itself  “The wave is hypocritical: it kills, hides the evidence, plays dumb, and smiles“.

To me, the English word hypocrite does not simply mean “someone who feigns innocence”, which is how Hugo uses it here. To me hypocrisy is the ostentatious affectation of virtue by someone who is unvirtuous, especially when the hypocrite also loudly condemns someone who has committed the same sin that he himself is committing.

The etymology of hypocrisy

(Many thanks to my friends at Languagehat.com)

My puzzlement over the hypocritical octopus and the hypocritical ocean wave in Victor Hugo’s Les Travailleurs de la Mer led me to an etymological investigation of the words hypocrite and hypocrisy (hypocrisie) in English,  French, Latin, and Greek (but not Hebrew.) It was actually sort of a wild goose chase, but I put in a lot of time into it and one of the privileges of obscure bloggers is to publish anything they want. This is probably my least interesting post ever, since most people aren’t interested in etymology and the ones who are have better things to read.

The word “hypocrite” and its derivatives trace back to the Greek. Neither the word nor the concept is found in Hebrew. The  word does not appear in the Septuagint, the Jews’ own Greek translation of the Tanakh (the Old Testament), though it does appear in a different Jewish translation of the Tanakh into Greek. When the word is seen in the KJV translation of the Old Testament  it translates, and possibly mistranslates, a word that simply means “godless” or “lawless”. (Whether it’s a translation or a mistranslation depends on the degree to which the Biblical Greek word’s meaning had diverged from its classical Greek meaning).

In classical Greek the word “hypocrite” means someone who is pretending to be or acting as someone else. It can be  negative, as in the case of a fraud, or neutral, as in the case of stage actors and public spokesmen.

The word appears many times in the Greek New Testament, often in the words of Christ.  This is problematic, since Jesus did not speak Greek and there doesn’t seem to be an Aramaic or Hebrew equivalent of the word. In only one case does this word clearly have its classical Greek meaning of “pretending”; in the others (and in the exceptional Jewish translation mentioned above) the Greek word seems to have acquired an additional meaning beyond just feigning and dissimulation, something more like “evil”.

Presumably the Greek word had evolved (perhaps under the influence of Hebrew and Aramaic). Conjecturally, if “hypocrisy” in the sense of “feigning” had come to be used mostly in cases when evil people were feigning goodness, then “evil” might become part of the definition.  Thus, “pretending to be good, but really evil inside” and simply “evil inside”, rather than “feigning”,  might have become the primary meaning of the word. However the restricted “feigning” meaning probably never quite disappeared — Godefroy cites an instance from Old French.

It seems pretty clear that the common European meaning of the word is derived (via the Vulgate) from Biblical and not classical Greek, though some scholarly writers may have occasionally deliberately reverted to the classical meaning. One source claims that the word came to English via Molière’s play Tartuffe, ou le Hypocrite, and while this is not true and is off by many centuries, it’s possible that in English the limited Tartuffian sense became dominant while the broader meaning survived in France. Even so, Hugo’s application of the word “hypocrite” to an octopus pretending to be a rock and to the murderous ocean wave feigning innocence does seem like quite a stretch.  But Hugo, being Hugo, could lay it on as thick as he wanted.

SOURCES BELOW

“Adopt the attitude of the octopus*”

 

Πολύποδος νόον ϊσχε    Polypi mentem obtine

The Adages of Erasmus, ed. & tr. William Barker, Toronto, 2001, I i 93, pp.41-5.

Cephalopods are like chameleons, but more so. Not only can they match the color of the surface they’re seen against, but in order to blend into the background they can even match complex and rippling patterns of color and texture. For this reason Victor Hugo describes the octopus as a “hypocrite”, since it pretends to be something that it’s not. (Here, an octopus pretends to be a rock). Erasmus, drawing on classical Mediterranean sources, also notes this capacity, but he treats it much more favorably. Whether this difference is Northern vs. Southern, pagan vs. Christian, or post- vs. pre-Reformation I do not know, but it strikes me as something worth looking into. It may merely be that in the Mediterranean cephalopods are just more familiar and ordinary than they are in the North of France.

Erasmus’s treatment of this proverb is fuller and in general more favorable than those given to other similar proverbs dealing with changeability and disguise: the chameleon (III iv 1 pp.273-4 ), the fox (as opposed to the hedgehog: I v 18, pp. 87-9), and Proteus (II ii 74, pp. 167-8). In ascending order of dignity, the chameleon is said to represent a dissembler, or  one who is inconstant and adopts any appearance to suit the time. The fox, with his many tricks, is held to be inferior to the hedgehog with his single very effective trick. The versatility and resourcefulness of the divine shapeshifter Proteus (twisting and turning…. hard to pin down…. a cunning fellow and jack of all trades) are treated with a degree of respect, though he hardly seems like someone to rely on. In all of these cases, dissembling and transformation are regarded as defensive tricks primarily useful for someone trying to escape enemies or to keep from being brought under control or called to account.

In polypi mentem obtine , however, octopodal changeability, disguise, opportunism and (as Hugo would say) “hypocrisy” are treated favorably:

The proverb is taken from Theognis, whose couplet about the polyp [octopus] exists today:

Adopt the attitude of the many-colored polyp;

Moving toward a rock, it straightway takes its hue.

This advises us to suit ourselves to every contingency of life, acting the part of Proteus and changing ourselves into any form as the situation demands….On the contrary there is a sensible attitude which makes men comply on occasion with a different mode of conduct, to avoid being disliked or being able to be of use, or else for the sake of rescuing themselves or their households from great dangers.

Krakens, Basilisks, Clam-monsters

In his book Mirages on the Sea of Time (which I plan to return to) Edward Schafer describes a  monstrous mollusc with many of the traits of Hugo’s horrible octopus:

In imaginative literature, particularly, but also in some soberer sources, the ch’en mollusc acquired more extravagant attributes. It was transformed into a monster lurking in dark lairs — mysterious submarine grottoes — where it assimilated some of the traits of a sea-dragon, frothing at its ambiguous mouth and belching bubbles into the world of man, in a way somewhat reminiscent of the occidental dragon crouched over its kingly hoard and spouting puffs of smoke and fire:

“He worked his jowls and dripped saliva, gaping and sucking, so that people took him to be a veritable sea-basilisk [kraken, giant squid ]  or dragon-clam [clam-monster]”.

Edward Schafer, Mirages on the Sea of Time, California, 1985, p. 81

Oddly, this mythical creature (like the dragon “hid in the deep”, of which it may be a prototype or relative) is not regarded as evil. It’s merely one of the strange creatures living in an undersea Taoist fairyland corresponding to the terrestrial Kun Lun Mountain fairyland, and its most prominent power is the creation of the strange nautical mirages or fata morganas  which sometimes confuse sailors.  Schafer speaks of it as a kind of clam, but it behaves more like a cephalopod, and Schafer probably should have treated it as one (or perhaps, since it’s mythical,  as a hybrid clam-squid.)

Whether the Taoist clam monsters have anything to do with the thetan clams who have left bivalve engrams deep in our psyches, or with the Pirates of the Caribbean Kraken,  is unknown to me.

Victor Hugo on Cephalopods

To believe in the octopus, one must have seen it. Compared with it, the hydras of old are laughable.

Orpheus, Homer, and Hesiod were only able to make the Chimaera; God made the octopus. When God wills it, he excels in the execrable. And all ideals being admitted, if terror be the object, the octopus is a masterpiece.

Its most terrible quality is its softness. A glutinous mass possessed of a will — what more frightful? Glue filled with hatred.

At night and in its breeding season, it is phosphorescent. This terror has its passions. It awaits the nuptial hour. It adorns itself, it lights up, it illuminates itself; and from the summit of a rock one can see it beneath, in the shadowy depths, spread out in a pallid irradiation, — a spectre sun.

It has no bones, it has no blood, it has no flesh. It is flabby. There is nothing in it. It is a skin. One can turn the eight tentacles wrong side out, like the fingers of a glove.

The creature superimposes itself upon you by a thousand mouths; the hydra incorporates itself with the man; the man amalgamates himself with the hydra. You form but one. This dream is upon you. The tiger can only devour you; the octopus, oh horror! breathes you in. It draws you to it, and into it, and bound, ensnared, powerless, you slowly feel yourself emptied into that frightful pond, which is the monster itself.

Beyond the terrible, being eaten alive, is the inexpressible, being drunk alive.

(Excerpted from five pages of Toilers of the Sea, II iv 2, “The Monster”: Toilers of the Sea, p. 157; Les Travailleurs de la mer, p. 199)

“New Republic” not funded with fascist money

A bemused Martin Peretz contemplates homelessness

A rumor has been circulating that the money Martin Peretz used to fund The New Republic was inherited by his wife Anne Labouisse Farnsworth from a fascist gold bug grandfather who tried to overthrow the U.S. government during the 1930s.  This is incorrect; the fascist in question was Peretz’s wife’s great-uncle, and based on what we know at this time, the grandfather from whom she inherited the money was not an active fascist.

It has also been rumored that the money inherited traces back to the inventor of the sewing machine, Isaac Merritt Singer. While the money does trace back to the Singer Sewing Machine Company, Isaac Singer did not invent the sewing machine, and Peretz’s uxorial nest egg traces back to Edward Clark, Singer’s patent lawyer, who was granted a full partnership in return for wresting the sewing machine patent away from the actual inventor, Elias Howe.

It is also not true that Peretz is a grandson of the Yiddish author Isaac Bashevis Singer. The Yiddish author of whom Peretz is the grandson was Isaac Leib Peretz. No Isaac Singer of any description has been implicated in Peretz’s operation.

Peretz and his wife are now separated, and Peretz has sold TNR. It is not known whether Peretz dumped his wife when the money ran out, or whether his wife dumped Peretz when the money ran out. If you run into Martin, I’m sure he’d appreciate it if you bought him a meal and lent him a couple of  bucks.

The Discovery of the Bourgeoisie

The Bohemians, Joanna Richardson,  A.S. Barnes, 1969

The 1830 Revolution in France, Pamela Pilbeam, St Martin’s Press, 1991

Bourgeois doesn’t mean a citizen with the rights of the city. A duke may be bourgeois in the indirect sense in which the word has been used for the past thirty years or so. Bourgeois, in France, means roughly the same as philistine in Germany, and it means everyone, whatever his position, who is not initiated in the arts or doesn’t understand them. Once upon a time…. it was enough to be pink-cheeked and clean-shaven, with a square shirt-collar, and a stove-pipe hat, to be apostrophized with this injurious epithet.

(Theophile Gautier, in Le Moniteur universel, Dec. 31, 1855;  Richardson,  p. 52.)

Before Marx were the bousingots.  According to Pilbeam, the political factions of the 1830 revolution were not class-conscious, and to the extent that class lines can be detected between them, they did not match the distinctions described by Marx.  She also concludes that the streetfighters who made this and later 19th century revolutions happen were never the beneficiaries of the revolutions. Gautier’s anti-bourgeois convictions were not political, and the political bousingots were not really progressive.

The bourgeois and the bousingot are enemy twins, and, and you can’t have one without the other. The bousingots usually lose, and the cagy ones  jump ship (as Gautier did). But the bourgeoisie always produces more of them.

Gautier’s bouzingos (his spelling) were mostly just literary dissidents. The slightly later street-fighting bousingots were urban artisans and undifferentiated political rebels.  Their enemy, the newly-discovered bourgeoisie, has pretty much dominated France ever since.

We miss that in the United States, because what we go to France for is avant-gardists, not  ordinary folk. Two generations of American college students have learned that France is populated primarily by existentialists, surrealists, symbolists, Marxists, decadent aristocrats, bohemians, and so on — but no!. The petty bourgeoisie dominating France is the pettiest of them all.

“Bousingot”:  not in your dictionaries.

Wikipedia Argumentation 101

Well obviously you’re saying that some unidentified people are upset that I don’t do something they want me to do and, moreover, that they wouldn’t be nearly as upset as they are if I did whatever it is that you say they want me to do. Well I have to reply that I, in turn, could possibly be persuaded to be slightly, but not very much, upset that they (whoever they are) might think that; and it’s conceivable that I might be convinced to feel a little bit happier if they didn’t do whatever it is that they do, provided that you could convince me that they’re doing it, and that they, whoever they are, are harming Wikipedia by whatever it is that whoever they are are supposedly doing. But it’s okay for them to do what they do. Which they don’t say, whoever they are. By the way, who are they? And why should I care?

— Tony Sidaway

Gracias y Desgracias del Ojo del Culo, II

And perhaps the power of a fart reaches reaches so far as to be the proof of love, for until a couple have farted in bed, their cohabitation is not settled; and a fart furthermore proclaims trust, since gentlemen neither shit nor fart in the  company of anyone but household members and family.

Gracias y Desgracias del Ojo del Culo, Linkgua.com, Barcelona