pith

Of course, one can’t taste this word without getting an overtone of some similar words, and one in particular comes to mind. And it’s possible that it and pith are related.

I’m talking about pit, of course. As in the stone of a fruit: the centre, the heart, and imagistically the source of strength. Way back in the Germanic origins this word and that one may have been related.

But pith doesn’t refer to the stone of a fruit; if it’s part of a fruit at all, it’s the part between the rind and the flesh, for instance that white stuff in an orange. That’s not its original referent, however; first of all, pith refers to a soft, internal, spongy part, for instance in the stem of a plant, or the heart of a tree. Or the heart of the spinal cord or white matter of the brain in a person or animal, or the marrow of the bone (all three of which have been called medulla in Latin – actually, the definition of medulla is, among other things, “pith”).

So, for instance, the verb pith can mean to dispatch an animal with a spike to its brain stem. We would not call that taking the pith because it’s not really a removal, simple a muddling of the medulla; and although the creature is thereby done off with, it is not said to be pithed off. But it certainly has had its vigour ablated.

Which reminds me of another word this is reminiscent of. I mean, naturally, pitch. Shakespeare scholars will be familiar with the different versions of Hamlet’s most famous soliloquy, wherein he refers to “enterprises of great pith and moment” – or “of great pitch and moment.” Hmm, have currents been turned awry? Well, no, we may say that pitch is a bit of a modernization. In the original, anyway, the sense of pith is “importance” or “weight”, which comes from “energy” and “core” and “strength”, all senses that derive from the sense “innermost part”. This is thus no mere matter of pith and vinegar; it is, indeed, the shining golden stream flowing through the core: the sap. Well, or, more to the point, the wood through which the sap flows. Take the pith and you have sapped the person, leaving them pith-poor.

I find this word has a good sound for what it signifies; the opening /p/ is crisp, bright, the vowel insistent, and the final fricative soft as pith often is. Ironically, the whole thing is said right at the front of the mouth, not at all in the heart. As to the collocations, they vary in tone: pith ball refers to a light thing, made of pith originally, hanging on a string, repelled by static electricity. On the other hand, pith helmet names something with distinct adventuresome overtones – a helmet made for tropical exploits, a light thing formed from dried pith of certain kinds of Aeschynomene plants.

And there are, of course, other echoes and overtones. Path may enter in, though the vowel change really does seem to make a difference. Kith might come up, though it’s not exactly a common word. And piffle may sneak in, though that second syllable pulls it away. You may think of another word or two that this one is reminiscent of (but unrelated to). If you do, and are tempted to send me a terse reply, allow me simply to remind you that there’s no need to be pithy about it. Let the words stream forth!

Thanks to Dan Gross for asking for pith.

little, small

Two little words – or should I say two small words – that seem at first glance to mean just about the same thing. They’re both Germanic-derived words that have been in English longer than there’s been an English to be in. They even have some similarities of form: both have /l/, both have voiceless consonants (though the /t/ in little tends to be realized in many dialects – including mine – as more of a [d] as it releases into the /l/), both have double upright letters, both have two l’s. So what’s the difference? Is there any? Even a little?

Well, there’s one difference right there, of course: there are some usages each has that the other does not. A little is a little amount, and a small is an item of small size, for instance. You also can’t go small by small; it has to be little by little. Likewise, while both may seem opposites of big, only little is an opposite of much, and on the other hand one seldom hears little rather than small in counterpoise to great (all creatures great and little?).

There are differences in sound, too – especially the number of syllables, which will often make the difference in choice, depending on the rhythm of the phrase (twinkle, twinkle, small star?). Differences in rhyme and in similar-sounding words add to the flavour differentiation: little plays with middle, tweedle, beetle, puddle, battle, bottle, twitter, glitter, jot and tittle, and so on, while small plays with tall, all, pall, call, hall, wall, fall, gall, mall, and so on, plus the various sm words to greater or lesser extent.

The best way to differentiate these two words is to see what they are – and aren’t – served with. Let’s start with little:

You have little fingers and little toes. Whether any of these is a small finger or a small toe is a separate issue.

Your little brother or little sister likewise may or may not be a small brother or small sister.

And your grandmother might be a little old lady, and if she is, she is likely a small old lady, but would you call her that? And would her husband have called her the small woman instead of the little woman?

Louisa May Alcott, after all, didn’t write a book called Small Women. Nor did Laura Ingalls Wilder write Small House on the Prairie, nor did T.S. Eliot write a poem “Small Gidding” nor Dickens write a novel Small Dorrit. (There was also no small Orphan Annie or small boy blue.)

Winnie-the-Pooh is a “bear of little brain.” Is he a bear of small brain? Separate question.

Speaking of bears, Ursa Minor is also the Little Dipper. Not the Small Dipper.

And Custer’s last stand was not at Small Big Horn. Nor is Small Rock the capital of Arkansas.

You can stay a little while; would you ever stay a small while? How about if you were in the small boys’ room or small girls’ room? Oops, that should be little boys’ room or little girls’ room.

If you go to a little (or even a small) soirée, you may wear or see a little black dress, but how about a small black dress? Doesn’t that depend on the wearer’s size?

And if you’re getting an award, you may thank the little people, but it’s a separate matter whether you have any small people to thank (even just a small bit – I mean a little bit).

Anyway, you hope nobody learns about your dirty little secrets (not your dirty small secrets), whether or not they involve a little blue pill (not a small blue pill).

Now, on the other hand, let’s look at small things. Arundhati Roy didn’t write a book called The God of Little Things, after all. Richard Carlson doesn’t have a book out called Don’t Sweat the Little Stuff. J.B. Phillips didn’t write Your God Is Too Little. Frances Moore Lappe didn’t write Diet for a Little Planet. We’ve already established why James Herriot didn’t write All Creatures Great and Little – or, well, more to the point, why the writer of the hymn “All Things Bright and Beautiful,” from which Herriot took the line, didn’t write it thus first. (Notice how many of these titles are non-fiction, compared to all the fiction littles, though?) And Neil Armstrong didn’t take “one little step for [a] man… one giant leap for mankind.”

Speaking of print, you don’t look at contracts to scrutinize the little print. Not even if you’re running a little business – or do you mean a small business?

If you find out, while making small talk (not little talk), that some new acquaintance knows someone else you know, you probably won’t say little world!

And if you have a party, it may last till the small hours, but what the heck would the little hours be?

If you are asked for coins by someone on the street, he wants your small change, but he’d probably rather have more than little change. (Especially if he wants to be more than a small-time player.)

And if you give him some help, is it due to a still little voice at the back of your head, or – rather – to a still small voice?

Say instead you decide to spend your money on a hunting rifle to go after small game (not little game). Do you get a little-bore rifle? A small-bore one, rather.

But that’s all small potatoes. (I don’t mean to say it’s little potatoes.)  Skip the guns. Buy kitchen equipment. If a recipe book asks you to mix a little brandy with a little melted butter, say, it will probably tell you to do so in a small bowl – there are little bowls in the world, but small is a specified size whereas little, it seems, is a more impressionistic description. Small is used for sizes in particular, while little can be used for amounts, and is perhaps more likely to be used without literal reference to size (which is why your nasty little friend can be a fair-sized person). Small is a word you use with a measuring tape, and little a word you use peering through a magnifier, an airplane window, or a mental lens.

Sometimes there can be variation, too. We know about small towns – John Cougar Mellencamp, the Bronski Beat, Journey, and many others have sung about them. On the other hand, Simon and Garfunkel sang about “My Little Town.”

And then there are sayings, wherein a little often goes a long way – or a small does, anyway. Actors often say “There are no small parts, just small actors” – sometimes to perk themselves up when working on a bit part, but often to needle a fellow actor who has mentioned modestly that he has just a small part. Could we say “There are no little parts, just little actors”?

Oh, and how about this classic: “Little things amuse little minds.” Oops, that’s “Small things amuse small minds.” This is typically used as a put-down by someone trying to present themselves as mature and superior. But in my observation, small minds often need very big things to amuse them: explosions, car crashes, what have you. On the other hand, would you say someone who can extract this much fun out of two small words is small minded? I hope not, since you have read this far…

pizzazz

What does you does if what you has makes you blasé, gives you the blahs? Give it a touch of class, of jazz, of razzle-dazzle, razzmatazz! Make it fizz, not fizzle; make your biz buzz and your fuzz sizzle – put a shot of booze in your jacuzzi! Don’t let your pizza make you zzzz… give it some pizzazz! Huzzah! (Just be careful not to make a shemozzle.)

Oh, there was a sort of minor vogue in the early 20th century for words with that extra zing of zz. Who’s to know if the lightning shape of the z’s (and the buzz of their sound) played on the latest big thing of a century ago, electricity? No doubt even if that was a factor there’s more to it, of course. Razzle-dazzle was an early entry, showing up in 1885 on the basis of dazzle, which comes from daze; by 1900 we have razzmatazz, and jazz shows up by the teens. Indeed, pizzazz is a bit of a latecomer, having buzzed out of the sizzling brains at the Harvard Lampoon in or around 1937 (they just made it up!). Harper’s Bazaar (a sort of minor Vogue) helped spread it – of course it did; pizzazz is just what a magazine named bazaar would like, isn’t it?

Here’s a quote that gives you the feel, from Harper’s Bazaar in 1937: “Pizazz, to quote the editor of the Harvard Lampoon, is an indefinable dynamic quality, the je ne sais quoi of function; as for instance, adding Scotch puts pizazz into a drink. Certain clothes have it, too.” Note that the spelling was originally pizazz, one less z. The word was also written as bizzazz or bezazz for a time by some people. The connection with biz gives it a busy show-biz air, and the upward stem of the b is like a flagpole or a cat’s perky tail. But the b bumbles a bit in the sound, lacks an edge, seems maybe a bit goofy (I get an echo of Sheldon’s bazinga from Big Bang Theory); the p is crisp, pops like a flashbulb – perhaps from paparazzi as you parade your pizzazz on the red carpet.

gyttja

Oh, man, this word looks like something that could get ya stuck in it; in fact, it sort of looks like it’s stuck in something, with those descenders down in it. Some people might think it has no vowel until the end – although actually y in this case represents a vowel. Which vowel? Well, that muddies the matter a bit. Generally dictionaries (those that include the word) will say you should say it like “yit-cha”, though I note that Agriculture Canada puts it down as “yut-tya”. What’s with the difference – and what’s with the glide at the beginning?

Ah, well, you see, this word is one that has settled into English from Swedish, and, honestly, it’s not completely assimilated (for the simple reason that it’s not a common word – its gluey appearance may or may not have to do with that). In Swedish, the y represents what [y] represents in the International Phonetic Alphabet: the same sound as German ü – a high front rounded vowel, which we don’t have so we have to pick the front or the round, [i] or [u]. And before high front vowels in Swedish, g stands for a glide, [j], same as we normally write y. The j in Swedish also stands for the same sound, but with the addition of a [t] it becomes an affricate.

So, to ordinary English eyes, this word would be better as yitja, but the i has become a t and there’s that g there. But, no, actually, the word is akin to Swedish gjuta “pour”, and there has been no migration. And this word, that looks as though consonants have settled together and the vowels have mostly floated out, this word that involves compressions and constrictions with the tongue, is a word for a kind of mud.

Mud? Oh, for Pete’s sake. No, actually, for peat’s sake. Gyttja is a sort of peat – it’s the sediment of life at the bottom of a pond: plant matter, dead microbes, fish poop (whether or not the vowels have moved, the bowels have). It’s rich and organic and is a sign of a productive, lively pond. If your name is mud, make it this kind of mud… and you won’t have to settle for anything, because it’s already settled for you.

ommatidium

Hmm. This word looks a bit like it has little bugs in it, doesn’t it? Those m’s crawling through it, like so many little legs. And on the other hand, if you put enough m’s together, you could get something reminiscent of an insect’s eye seen from the side: mmmmmmm, each hump a little lens.

On the other hand, it may seem a bit of a boring word; the om of meditation may make many think of mental dead space, and that is certainly given a slant by the clear echo of tedium (in fact, the whole word sounds like “I’m a tedium” or “Oh, my tedium”). Rather like a conversation with someone who keeps going on about arcana that you don’t really care about, such as what this or that little thing is called…

Oh, wait. If you’re reading this, chances are you’re one of those who go on about such things, or at least one of those who don’t find them boring. And well may it be so. In spite of the common carp “Small things amuse small minds,” the truth is that it takes a rather big mind to appreciate and take an interest in a small thing (think minimal music, or a meditative medieval Te Deum, or even a piece such as Mike Oldfield’s Ommadawn, or Zen gardens, meditation, philosophical minutiae…). Small minds (or a fool, what they call in Irish amadán) seem to go in more for big conflicts, car crashes, explosions…

Well, if you have an eye for small things, you will have an eye for an ommatidium. And it will have an eye for you. Its root, you see, is Greek omma “eye” and the diminutive suffix idion, rendered in Latin as idium (just a minor shift of idiom). It’s not a little eye, not quite, though; it’s part of a little eye – a bug’s eye. You know, you’ve seen those pictures of flies’ eyes made of many little sub-eyes. Of course you knew, didn’t you, that those sub-eyes had to have a classically derived name. Well, that name is ommatidium, plural ommatidia. Again, though, an ommatidium is not an eye; it’s part of a compound eye. And a fly has two eyes – just as ommatidium has two i‘s.

I just happened to spot this word today in an picture feature on electron microscope photos of insects. I saw it on a website. And while the concept of eyes with multiple little parts may seem strange, let’s remember that the images we see on websites are displayed on our screens in much the same way as bugs see: with many little dots. And the images have in many cases been captured by digital cameras – which have sensors that are also made of many little sub-eyes that perceive just one dot of light of one colour each. For that matter, much the same is to be found inside your eye: all those rods and cones on the retina, allowing you to see this here now.

nosegay

Say someone presents you with a pretty little bouquet of flowers. How it pleases the eye and makes the nose happy! You ooh and ahh. Try that now: watch how your lips move when you say “ooh, ahh.” Now do the same with the lips but move the tongue a little different to say “ohh, ehh.” It’s almost like a bouquet itself, isn’t it – not just like the shape of saying the word bouquet but like a bouquet in that it’s narrow in the stems and then it opens up into the blossoms. Now add some nasal in the first part /n/, tie it with a string s and bow g in the middle (wrapping from front to back /zg/), and let it open up and finish it with a shape of a bouquet y: nosegay.

OK, OK, nosegay does not have its origin in the shape of saying it or writing it. It’s as obvious a compound as you can find: nose, that good old nasal buzzing word for your snoot, and gay, a word that has meant many things in its long and variegated history (I’m not being cute here; aside from very old senses meaning “happy”, “bright”, and “showy”, there are senses from four centuries ago meaning “hedonistic” or “uninhibited”, from the 1800s meaning “living as a prostitute”, and from Quakers and Amish since the 1800s meaning “having ceased to adhere to the plain and simple life of the community”, among other related senses) – but it obviously in this sense means “happy” or “delighted” or similar.

And where do you see this word? And how do you receive it when you see it? Doug Linzey, who suggested this word to me, commented that it’s “one of those expressive words you tend to run across only in novels – The Wapshot Chronicle (Cheever) in this case.” I actually have seen it in other places, but I agree that it is uncommon and generally literary. And I’m sure that it isn’t becoming more common – this synonym for posy is more likely seen in poesy, while in real life people get a bunch… or a boutonniere, which they say like “boot in ear”, which is rather different from a gay nose, n’est-ce pas?

BMW, Mercedes

All words vary in flavour from person to person, just as all aesthetic preference is variable and each person brings different history and proclivity to perception. Brand names can give particularly salient examples of this, especially among brands that trade strongly on buyer self-image. BMW, for instance, provokes a strong positive response in some people who like a car with excellent control and solid design and build, and a strong negative response in others who observe that many BMW drivers seem to be status-conscious money-hungry people who drive rudely and aggressively. But those who dislike the BMW brand may very much like the Mercedes brand, equally a status symbol and equally a sharp and well-built German car but seen as appealing to a somehow less obnoxious set of owners.

In fact, I have a friend who once expounded to me his observations on car drivers. Beyond BMW and Mercedes, certain types of people tend (in his observation) to drive other cars. You seldom have to worry about a Volvo driver; they’re likely to be fairly enlightened types, not insane, fairly liberal too (professor types). On the other hand, SAAB drivers, who you might think would be similar, are in his observation generally pricks (probably failed architects or similar).

Beyond that, of course, we know that a person with a Jaguar has more than enough money, a person with a Bentley as very much more than enough money, and a person with a Rolls-Royce has frankly far too much money, and probably followers too. And we know the old saws about sports car drivers compensating for some deficiency in their manhood. It’s hard not to think so when you hear a Lamborghini revving nearby – a beautiful car utterly unsuited for city streets or in fact for any use most of their drivers will ever put them to, other than impressing people… but not necessarily in the right way. Many guys would like to own a Lamborghini but would not like to be thought of as the kind of guy who owns a Lamborghini.

Certainly the flavours of all these names – BMW, Mercedes, Volvo, SAAB, Jaguar, Bentley, Rolls-Royce, Lamborghini – are strongly conditioned by perceptions of quality and price and of the sorts of people who own and drive them. (The effect is more highly distilled, if less socially conditioned, for those familiar with less well-known very high-end names such as Bugatti and Maybach.) The question remains of the extent to which the aesthetics of the words and other impinging factors affect the brand identity.

Consider BMW. This is a muscular set of letters; the nickname Beemer, reminiscent of boomer, reinforces the brutishness. (The BM may have an excremental input.) It also has the authority of the initialism. Consider what effect initialisms have had on other brand identities: JVC – ahh, technical, high-end (would you feel the same about Japanese Victor Company?); LG – solid, well-made, technically adept (not flimsy, cheap, and hopeful like Lucky GoldStar). And even if you don’t know that BMW stands for Bayerische Motoren Werke, you know it’s German. And there’s that German reputation for well-made mechanical things.

Of course, you also know that Mercedes is a German company – Mercedes-Benz is the longer name. Some people may even know that Mercedes was actually the name of the daughter of the car’s designer: Mercédès Jellinek. Her father, Emil Jellinek, worked for Daimler (which later merged with Benz). There is a story going around that she died in a car crash; this is not true – she died at age 39 of bone cancer (after having two scandalous marriages). And actually her birth certificate didn’t say Mercédès, either; she was christened Adriana Manuela Ramona Jellinek. Mercédès was a term of endearment. Spanish speakers will recognize it as a Spanish name, taken from a name for the Virgin Mary: “Our Lady of Mercy”. (But Mercédès Jellinek was of purely Austrian lineage.)

Now, that history won’t affect most people who see the Mercedes brand, because they don’t know it. But the silvery sound of Mercedes (with that central /s/ played by the shiny c) and its liquid lyricism, with one stressed syllable flanked by two unstressed ones that nonetheless have no schwas (an opening murmur and a finishing ease), is a clear counterpoise to the punchy rhythm of BMW, which is like a drum flourish. And the single capital with a line of lower-case is less self-important than three big capitals. It may also have a more female-oriented flavour, with a rhyme of ladies and a sound of Sadie.

Apply the same kind of analysis to the other brands. What does Volvo taste like to you? What words does it make you think of? Does it make a difference if you know it’s from Latin for “I roll”? How about SAAB? Could its sound like sob and a spelling pronunciation of S.O.B. affect perception? Does it really seem Swedish, or more Dutch or Arabic? Does it matter that it comes from an acronym for Swedish for “Swedish Airplane Limited”? The animal flavour of Jaguar no doubt affects it, and probably the Jag-ed edge; will it taste different to Canadians (who say “jag-wahr”) than to Brits (who say “jag you are”)? Does Bentley sound like the name of a butler? (Would you feel different about it if you knew Bentley made the engine in the Sopwith Camel biplane?) Does Rolls-Royce have a different flavour for airplane buffs, who will immediately think of jet engines made by the company, than for the average person? And what is the difference between Lamborghini, Ferrari, and Bugatti, all three Italian surnames (though Bugatti is a German brand) – does one word feel faster, does another feel more technical, another feel more or less expensive, more or less exotic, more or less intriguing?

Ultimately, this is and always will be an exercise for the individual – though of course, as generally with aesthetics, there are likely to be correspondences between different people’s perceptions, at least to some extent. But also strong differences.

Leica

The taste of this word – a brand name – has varied noticeably for me through my life as my attitude towards, and awareness of, its object has changed. As with any word, there is an education and experience effect.

The basic aesthetics of the word Leica, of course, are there regardless: a lightness that is helped by the echo of light, as well as by the liquid /l/ and the use of c rather than k for the /k/ sound. It has a femininity about it for anyone familiar with a language where -a is a common feminine ending. And, of course, it can’t help but be like likeable – or at least like like a, as in like a virgin. Those who know the red script logo will also think of its classic simplicity.

But consider the case of someone whose first camera, when he was a little kid, was a rangefinder (a Ricoh, as it happens) – a camera where you look through a window on the side of the camera that has frame lines in it and use a little yellow area with a double image to focus – and who saw his father using a Nikon F2 – a bigger camera, a single-lens reflex (SLR, meaning that there is a mirror that lets you see exactly what the lens sees), seeming more substantial, and with the ability to change lenses and all that. I naturally absorbed the idea that an SLR was a real camera (and that Nikon was the top of the heap, better than Canon, Pentax, Olympus, or Minolta), and a rangefinder camera was just a sort of toy or nonserious camera.

And when I discovered medium format (which uses larger film and takes consequently better pictures), it was by a first encounter with a twin-lens reflex (a Yashica, as it happens) and becoming aware of medium-format SLRs made by Hasselblad, Mamiya, and Bronica. These cameras make quite the noise when you fire the shutter, because the mirror has to flip up, then the shutter itself fires, and then the mirror flips back down (well, on the medium-format ones it doesn’t; you flip it back down when you wind the film and cock the shutter). When I saw something like the Plaubel Makina, which was a medium-format rangefinder with a fold-out lens, I assumed it had to be an inferior camera, and I couldn’t understand the enthusiasm I saw one camera store customer display for it.

In all of this, I was barely aware of the Leica brand. It was not significant. Any rangefinder camera looked like a toy to me. When I saw pictures of someone like Henri Cartier-Bresson taking pictures with a Leica, I assumed that his pictures were great in spite of, certainly not because of, his camera, and he probably used that cheap-looking thing for financial reasons.

In the late ’90s, I had a roommate who bought a new Contax rangefinder setup. Why would he buy a rangefinder camera, I wondered? And what’s with all the different lenses? He explained that the lack of a mirror box allowed the lens to get closer to the film – allowing better designs, especially on short lenses – and the lack of a mirror also meant less motion and a quieter shutter. So I absorbed the idea that rangefinders could be good.

And, while I had bought myself a Canon AE-1 setup (not because it was better than Nikon but because it was almost as good and quite inexpensive), after a bit of time I started pulling out and using that Yashica as well (which I had souvenired from my father). And when my wife’s uncle saw it (by this time I was married), he pulled out an old Zeiss-Ikon Ikonta, a folding medium-format viewfinder camera (not even rangefinder: you have the viewfinder but have to focus by dead reckoning or with a separate rangefinder). Naturally I had to give it a try. And I found it took beautiful pictures. I was also becoming aware of the Mamiya 7, lauded by many as the best camera that took the sharpest pictures ever – a medium-format rangefinder camera (and a kind of ugly one, too, but who cares when it takes such pictures).

But I still wasn’t very much in tune with Leica. I had the sense that it was a classic camera, and I wasn’t sure if anyone still used one. I didn’t see it as a status symbol. Certainly when I read that Leica was introducing a digital rangefinder camera, I thought they were possibly nuts, though it did tell me they were still around. And I had largely stopped doing much photography because it cost so much in film and processing, and I just used a little Casio for vacation pictures.

But the next time I started looking for a new and better digital camera, I knew I didn’t want one of those bloated digital SLR systems that all the poseurs use and that scream “Me camera!” – and are a real bother to carry around. I had acquired a liking for the straightforwardness of folding medium-format rangefinders (I acquired a couple), and had learned that while a big item like a Bronica is nice, you don’t take it too many places. And that’s when I learned that the perfect camera for my needs is a nice, compact rangefinder-style camera that takes interchangeable lenses but is unobtrusive. And has nice styling, and outstanding optics, and a full-frame sensor (meaning as big as a 35 mm negative – most digital sensors are much smaller), and considerable cachet. But it also takes considerable cash, eh! A Leica M9 is several thousand dollars above my budget. So I remain a Leica virgin. (The camera I settled on is an Olympus, which I have learned is not so inferior as I thought when I was a kid; it approaches but does not reach the qualities I’d like in a Leica. See some results at www.flickr.com/photos/sesquiotic/.) But I am now aware, through reading, that Leica is a brand name with adoring fanatics, and that many people seem to hope a Leica will make them take pictures as good as Cartier-Bresson did.

This journey, which may seem to have a lot to do with cameras and not so much to do with words, shows clearly the education and acculturation effects on perception of brand names and similar. It also shows some different trends in camera brand names:

Some have ca on the end: Leica, Yashica, Bronica, Konica. This is in fact from camera: Leica from Leitz camera, Bronica – originally Zenza Bronica – from Zenzaburo Brownie camera (Zenzaburo being the first name of its inventor), Yashica on the same model from Yashima, and Konica from Konishi and that ca again.

Some lack the c but have the a: Mamiya (a Japanese surname) and Minolta (based on Japanese for “ripening rice fields”, or so I’ve read), for instance.

Others have on on the end: Zeiss-Ikon (from a surname and a Greek word for “image”), Nikon (from Nippon Kogaku and on the model of Ikon), Canon (which has a schwa in the last syllable and so sounds different; it’s from Kannon, a.k.a. Kuan Yin, a Buddhist goddess of compassion); also some lenses have on, as in Tamron and the Bronica brand Zenzanon. There’s a sort of caon competition, we can see, with some makers going with the light ca (even if, as with Bronica, the cameras can be heavy – anyway, the Bron in Bronica certainly adds some brawn), and others going with the scientific-sounding on (as in electron, xenon, neon, nylon, and many others).

A couple have ax: Contax (an invented name chosen by a poll among the employees of the Zeiss company, which created the Contax brand in the 1930s to make cameras like Leicas but better) and Pentax (from pentaprism – thereby declaring themselves SLR makers, as SLRs are the cameras that use prisms – and Contax).

There’s also an ar/tar thread, mostly seen in films (Ektar) and lenses (Sonnar) but also on Vivitar (which makes a variety of photo equipment, the least distinguished of which is their cameras).

And then there are the odd ones: Olympus, Hasselblad, Ricoh, Plaubel, and some others. Somehow they stayed outside of the camera naming stream. And now Panasonic and Sony are also big names in cameras. The camera name threads might seem to be becoming unravelled.

Except that there are still film camera enthusiasts and anoraks. And there are still several on brands in the market (Canon and Nikon are top dogs in DSLRs). And then there’s Leica. Which, as it happens, is – for those who know and love it – the ne plus ultra of real classy cameras for real photo lovers. And for the sorts of people who want to spend a lot of money on a classic piece of fine equipment.

hysteresis

“Spare me the history, sis!”

Daryl’s coffee time was being disrupted by a conversation on his iPhone (it was unusual to see him using it to talk to someone). His sister was evidently having an attack of the fantods.

“OK,” he said, “I understand… OK… OK OK OK…” He held the phone away from his head for a moment, his hand over the microphone. “She’s in hysterics,” he explained. “I’m trying to get to the bottom of it.” He winced as he returned it to his ear.

Jess and I exchanged glances, rolled our eyes, and sipped our coffees.

“So wait,” he said. “You wouldn’t have been there if she hadn’t gone to the wrong place. OK. And she went to the wrong place because she saw you at that store that you were at only because she had previously said to go to the other one, and she said to you to go to the other one because you were talking to Millie, which only happened because… wait, why?”

Pause. Pause pause pause.

“So you’re upset now precisely because you were happy before and then you thought it changed, and you were happy before because you had really needed that dress, and you really needed that dress because you had been told that you were going, but you were told you were going only because you were at… wait, I’m getting dizzy.”

Jess’s eyebrows were arching higher and higher.

“OK,” said Daryl, “so everything’s fine right now, right? So it turned out OK? …Well… Well, so why are you so upset?” Pause. He pulled a face of disbelief. “Oh, for heaven’s sake. Count your blessings and let me drink my coffee. …Goodbye.” He thumbed his phone off rather pointedly and turned to us. “She’s upset because of what she previously thought was the case, even though it wasn’t the case and everything’s fine. And she only thought that because before that she had…”

“Spare us,” Jess said. “Your sister clearly has a case of hysteresis.”

“Yeah,” said Daryl, “she’s the history sis, alright, and hysteria is her métier.”

“Amusing that neither history nor hysteria is related to hysteresis,” Jess added nonchalantly, and sipped her coffee again.

“Well, how is that possible?” Daryl asked. “Wait, what does it mean again?” He started thumbing things into his iPhone.

“You’ll find, when you look it up,” said Jess, with a little smile, “that it’s from Greek husteros, ‘late’, and refers to time lag or coming in behind. It means the current state of a given thing depends on its previous state or on a previous input. The current state of a thing can lag a bit behind what’s causing its state, so that while cause is on G effect is still on F, and so on, just like your sister’s emotions. The current state can also be dependent on the previous state, just as each step in your sister’s history was contingent on the previous one. The short of it is that for something that exhibits hysteresis, you can’t determine its present state just by looking at its current input; you need to know what happened before.”

“Oh, I see,” Daryl said, looking at the screen on his device. “Here’s a nice page by a dude from Cornell.” (He was looking at www.lassp.cornell.edu/sethna/hysteresis/WhatIsHysteresis.html.) “It’s an essential property of magnetic memory: it has to be able to remember the state change from its previous input.”

“Yup,” said Jess, “your phone doesn’t just convey hysteresis, it requires it.”

Daryl kept scanning the page. “Right, history is sure relevant, but there’s no etymological connection… Oh, how amusing.”

I looked over. “What?”

He read it out. “‘Many hysteretic systems make screeching noises as they respond to their external load (hence, the natural connection with hysteria).’ Ha. Dry humour.”

“Well,” Jess said, looking at his iPhone, “screeching seems about right.”

“Hissing, too,” Daryl added, hosltering his phone decisively. He picked up his coffee and looked at it. “Damn. The whipped cream has all dissolved.”

Today’s word was requested by Barry Gibbs.

bibelot

Perhaps, on some evening, you might happen to imbibe a lot of bubbly, and your standard might be below usual… You fall prey to the blandishments of some bibulous babbler, who takes you upstairs… But it is not etchings your new lobbyist wishes to display; no, you are in the toils of a zealot of baubles and curios: you are parked in a library of bibelots, a veritable bibelot-theque. Mawkish pawing would even be preferable to dorky discourse on Hummel figurines and faux Fabergé eggs; by the end of the evening you’re blubbering, gibbering, longing for liberation…

Bibelot may greet the eyes as some relation of bible or shallot or something like that; indeed, just as a zealot has zeal, might not a bibelot be a big imbiber? But no, don’t think it; a bibelot is more like a trinket. Oxford defines it as “a small curio or article of virtù.” Merriam-Webster gives this example: “practically every horizontal surface in the Victorian parlor was blanketed with fussy little bibelots.”

And the pronunciation is à la française:* “bib low” or “be below”. It sounds a bit like an old mimeograph or not-so-new photocopier… or perhaps whatever machine it is that makes endless copies of these geegaws and knick-knacks. (Does every bibelot have a double? Indubitably so.)

The reduplication pattern seen in words such as geegaw and knick-knack also appears to play a part in the origins of bibelot, by the way – as befits an object that is diminutive and the focus of endearment or fascination. It would seem that bel (Middle French for “pretty”) was duplicated to make belbel “plaything”, and that took on phonological modification and a diminutive suffix to make beubelet “trinket, jewel” – the source of bibelot and also, it seems, of bauble.

Oh, all those little loveables, with their /b/ sounds and the licking liquid /l/ – they may make a body go gaga like a little bitty baby, but they are also in the same gleaming-bangle world as bling. The silent t at the end may add a taste of acuity (or anyway a cutie), but in the end they are all eye candy for the baby blues to nibble on.

*I am put in mind of the apocryphal story of Dame Margot Asquith meeting Jean Harlow. Harlow, the story goes, asked if the Dame’s name was pronounced “mar-got.” Asquith replied, “No, the t is silent, as in Harlow.”