Macrologist: a person who engages in long and tiresome talk; ie, a bore [Gk. makrós, (“long”) + –logo (“word”) + -ist]
Macromastic: pertaining to large breasts; (Med.) (also called gigantomastic breasts) breasts which are usually heavy and pendulous with nipples and areolas facing down [Gk. macrós- (“long”) + -mastia (“abnormality of the breast”)]
Macromastic
Macrophallic: having an unusually large phallus [Gk. macrós- (“long”) + -phallós (“penis”)]
Megapod: having large feet [from Gk. mégas (“great”) + -poús “foot”)] 👣
Menseful: considerate; neat and clean [from mensk, from MidEng. menske (“courtesy”; “honour”)]
Mentulate: Referring to or characterised by a large penis; well-hung [from mentula (“cock”; “dick”; “penis”) + -ātus (“-ed”)]
Merkin: a pubic wig for women (Grose’s Dictionary of the Vulgar Tongue: “counterfeit hair for women’s privy parts”) [Origin uncertain but prob. from malkin, a derogatory term for a lower-class young woman]
Merkin (photo: Merkin Museum)
Metoposcopy: using the physical appearance of the face (esp the pattern-lines on the forehead) to judge someone’s character [from Gk. métōpon, “forehead”) + -scopy]
Metoposcopy
Minimifidianism: having virtually no or almost no faith or belief [from L. minimus (“small”; “little”) + –fidian (?) + -ism]
Monandrous: having only one malesexual partner over a period of time [monós (“one”; “single”; “only”) + –androus (“man”; “husband”)]
Mummer: an actor in a traditional masked mime (a mummer’s play) [OldFr. momeur from mommer (“act in a mime”)]
Mummer (photo: sixsellov.live)
Murcid: slothful; shirking work or duty (OU)
Mystagogue: one who instructs in mystical or arcane lore or doctrines [Gk. mystagōgos, from mystēs (“initiate”) + –agein (“to lead”)]
After crusaders from the Fourth Crusade sacked Constantinople in 1204—instead of attacking and subduing Egypt as the original plan was meant to be—the vast Byzantine Empire splintered into four main, distinct entities, comprising a Latin successor state in the Balkans and Constantinople itself, and three Byzantine Greek rump states. One of these in north-eastern Anatolia became the small Empire of Trebizond, which I looked at in a recent blog (08-May-2024), ‘Byzantine-Lite: The Empire of Trebizond under the Komnenos Dynasty’.
The Byzantine neighbourhood, post-1204
The largest and most powerful of the Greek successor states to emerge was Nicaea (then the name of a city-state in north-western Anatolia). Styling itself under the cognomen Empire of Nicaea, the dominant Laskaris family of nobles, proclaimed Theodore (I) Lakaris emperor (basileus) in 1205. The Laskarii staked a claim on the Byzantine throne as well but had plenty of competition, the other two Greek Byzantine successor states, Trebizond and (the Despotate of) Epirus, both advanced claims to be the rightful heirs to the Byzantine crown.
Emperor Theodore I Lakaris
Proceeding by conquest, alliance and intermarriage: While Theodore I and his successors within the Lakaris dynasty were eyeing off Byzantium, the Nicene Empire had plenty of more immediate challenges to face. The territorial boundaries of the empire was surrounded by hostile states, so it had to deal constantly with multiple conflicts and crisis points. Ongoing wars were waged against the Latin Empire𝕬 (Henry of Flanders, Robert of Courtenay) to the north; against the Seljuk Turks of Iconium (Asia Minor); and against its rival successor states, Trebizond and Epirus𝕭. Aside from waging war Theodore deflected some of the threats to Nicaea by the stratagem of alliances and arranged royal marriages.
Emperor John III Doukas Vatatzes (source: Etsy.com)
Less Roman, more Hellenistic: Theodore’s successor as emperor John III Doukas Vatatzes (his son-in-law) continued the strategy, allying with Bulgaria against the Latins and to help neutralise any threats from Epirus𝕮. John failed in a combined Nicaean-Bulgarian siege of Constantinople in 1235 but his reign did achieve military victories and diplomacy which resulted in an enlargement of Nicaea’s imperial territories…eg, Battle of Poemanenum, 1224, John decisively defeated the Latin army, giving Nicaea a foothold on the Balkans littoral; military campaigning against Epirus led to new Nicene gains in Macedonia and Thrace (Thessalonica fell to John in 1246). John’s successful rule also benefitted from his domestic policy, the economy was reformed, agriculture boomed, taxes were reduced and prosperity in Nicaea thrived. Emperor Theodore II, a man of letters, succeeeded John III, marking a cultural renaissance for the empire – Hellenistic learning flourished with Nicaea forging a more distinctly overt Greek identity, throwing off the shadow of its Roman past. At the same time Theodore undertook a military restructuring, the creation of a formidable army of native Greek troops, ending the state’s reliance on foreign mercenaries [‘The Rise of the Empire of Nicaea: How the Byzantines Reclaimed the Throne’, Timeless Treasure, (video, You Tube) Nov. 2023].
Battle of Pelagonia, 1259 (source: Attarisiya/X.com)
Palaiologos’ palace coup: Theodore II’s reign unfortunately was too brief, he died in 1258 after only four years at the helm, with the throne falling to his eight-year-old son, John IV, creating a situation ripe for instability and opportunism. The power vacuum was quickly filled by the grand constable (megas konostaulos) Michael Palaiologos who launched a coup, making himself co-emperor with John IV. Within a short period Michael had deposed the infant John (and had him blinded). Taking the throne as sole emperor (basileus), Michael VIII Palaiologos’ dynastic line continued to rule the empire right up to the Ottoman takeover of Constantinople in 1453. Meantime, Michael consolidated his position and that of Nicaea by defeating the alliance of William of Villehardouin, Prince of Achaea and Michael II Komnenos Doukas of Epirus at the Battle of Pelagonia in 1259.
The Gate of the Spring – entrance in the Constantinople walls breached by Strategopolous and his soldiers
Capturing Constantinople by accident: Pelagonia elevated Michael’s prestige at home, however with the stigma of the “emperor-usurper” still figuring prominently in many Nicaean minds, for genuine legitimacy Michael needed to secure the ultimate goal, the prize of Constantinople [‘Michael VIII Palaiologos’, Wikipedia, http://en.m.wikipedia.org]. First attempts at conquest in 1260 saw Michael personally leading a failed siege attempted on the city. While Michael was doing a deal with the Republic of Genoa to secure naval support for a new assault on the Latin capital, the unexpected happened. Nicaean general, Alexios Strategopolous and a small force were on a reconnaissance mission which took them close to the city of Constantinople, when it stumbled on a virtually unguarded city/citadel (most of the Latin garrison and the naval fleet were away conducting a raid on the Nicene island of Daphnousia). Alexios seized the opportunity and his force surreptitiously found its way inside the fortified walls where it easily overcame feeble resistance. Baldwin II the Latin emperor, panicked and fled the city, leaving the Nicaeans in complete control of Constantinople.
Emperor Michael VII Palaiologos
A hollow prize: Michael VIII by a stroke of good fortune had regained Byzantium for Nicaea, but the city and the empire was a shell of its former glory. Constantinople was in a very impoverished and diminished state, ravaged by war, most of its treasure either destroyed or shipped off to Western Europe (much of it ended up in Venice). Michael did what he could to fortify and strengthen the restored empire including a massive building project, but Constantinople as a trading port declined and Byzantium would never again hold the military and economic sway it commanded before the 1204 sacking by the Crusaders. After Charles I of Anjou triumphed over Manfred, king of Sicily (Battle of Benevento, 1266), Michael’s foreign policy became preoccupied with the rivalry with Charles. This proved a catastrophic blunder, long-term, as Michael withdrew troops from their posts in Asia Minor to bolster his army in confronting the Latins in the Aegean littoral, thus weakening his Anatolian defences against the burgeoning threat posed by the Seljuks to his east.
Hagia Sophia (former church) in Iznik (modern name of Nicaea) (photo: Greekcitytimes.com)
Byzantine post-Michael VIII, the inevitable decline and fall: After Emperor Michael’s death in 1282, his dynastic successors managed merely to squander the restored empire’s “remaining resources in several bloody civil wars” [‘The Accidental Reconquest of Constantinople’, Krystian Gajdzis, Medium, 28–Aug-2022, www.medium.com]. The cost of looking inward was ill-fated neglect of the growing menace of the tribe of Osman and their descendants’ piecemeal capture of Byzantine cities across northern Anatolia, taking them inexorably closer and closer to Constantinople, something succeeding Byzantine emperors were increasingly powerless to prevent [Roger Crowley, 1453: The Holy War for Constantinople and the Clash of Islam and the West, (2005)].
City of Nicaea: fell to the Ottomans in 1331 (Nuremberg Chronicle, 1493, source: Byzantium.gr)
𝕬 the Latins were regularly bankrolled by the affluent Republic of Venice
𝕭 Nicaea got some respite from Seljuk borderraids with the appearance of the all-conquering Mongol horde in Anatolia, forcing the Sultanate of Rum to focus its energies on repelling the Mongol advance
𝕮 John continued the practice, marrying off his son (Theodore) to a Bulgarian princess
Labefaction: shaking, weakening and/or downfall; impairment, especially of moral principles or civil order [L. labefactus, labefacere (“to cause to totter”; “shake”) from labare (“to totter”) + -facere (“to make”) + -ion]
Labile: unstable; liable to change [from L. labi, (“to slip or fall”)]
Labrose: thick-lipped [L. labrosus, from labrum (“lip”)] 👄
Laevorotatory or Levorotatory: counter- or anti-clockwise (opp. Dextrorotatory) [L. levo from laevus (“left”) + rotatiō] 🕰️
Lampadedromy: foot race with lighted torches, esp a relay race passing the torch from runner to runner (Anc. Greece: a race in honor of Prometheus in which the contestants ran bearing lit torches, the winner being the first to finish with his torch still lit) [Gk. lampein (“to shine”) + –dromos (“a running”)]
Lampadedromy at the ancient Greek Olympic Games (image. medium.com)
Lamprophony: speaking in a clear loud voice [Gk. lampróphónos (“clear-voiced”) from lamprós (“clear”; “distinct”) + -phone (“sound”) + -y]
Languescent: becoming tired or languid [from L. languescere (“to become faint”)]
Lapidate: stone to death [L. lapidare (“to stone”), from lapid-, lapis (“stone”) + -ate]
Lapidate (v):the punishment of Lapidation
Latebricole: living in holes (OU) 🕳️
Latibulise: to hibernate (OU)
Latifundian: rich in real estate [ L. latus, (“spacious”) + -fundus, (“farm”, (“estate”)] (Latifundium was a large agricultural estate in Ancient Rome)
Lestobiosis: living by furtive stealing; the act of pilfering food, especially of ants 🐜 [Gr. lestes, (“robber”) +–biosis, (“manner of life”)]
Loganamnosis: a mania for trying to recall a forgotten word or words [Gk. log (“word”) + -amnosis (?) perhaps from –amnesia (“memory”)]
Lucifugous: avoiding daylight or light altogether [ from L. lucifugus, from luci- + -fugus (from fugere (“to flee”)+ -al +-ous]
Lucripetous: money-hungry (OU) 💰
Luctiferous: sad and sorry [L. luctifer (“mournful”) from luctus (“sorrow”) + -fer (-ferous) + –ous]
Ludification: derision; mockery [from L. ludificatio, from ludificare (“to make sport of”), from ludus (“sport”) + -ficare (“to make”, in comparative)]
Lurdane: stupid, dull and lazy; a sluggard [MidFr.lourdin (“dullard”), from lourd (“heavy”)]
Lypophrenia: a vague feeling of sadness, seemingly without cause [OU. ? + Gk. –phrenia (“mind”)]
The Zorro story is deeply embedded in western popular culture, especially in the world of Anglophone cinema and television which trades heavily on all the familiar tropes, “carving the ‘Z’ on someone or something (the zigzagging mark of El Zorro)”; “secret identity of the protagonist, the elusive fox”🇦; “masked avenging angel fighting the powerful in the cause of the powerless”, etc. The fictional Zorro inherits the tradition of storied folklore heroes like Robin Hood and the Scarlet Pimpernel…in this Zorro is a worthy member of that exalted pantheon of morally-superior righters of heinous wrongs.
Batman: wardrobe tips from Zorro
Clark Kent aka Superman
Before Batman, Superman and the Lone Ranger: Zorro, he of the rapid rapier and distinctive black mask covering only his eyes, was a precursor to the iconic, quintessential American heroes of comic book and screen. There are transparent linkages between Zorro, the caballero (Spanish gentleman)–cum–rebellious outlaw, and Batman, the crusading superhero of Gotham City…both heroes effect a double identity. Both Don Diego de la Vega (Zorro) and Bruce Wayne (Batman) are wealthy aristocrats who feign unheroic personalities in their open identities🇧(compare Don Diego’s foppish even effeminate affectations with Wayne’s playboy persona). The dual/secret identities trope is also exhibited in the Supermen franchise, in times of great crisis or peril mild-mannered loser-type Clark Kent only has to dash into the nearest phone booth to instantly transform into peerless crime fighter Superman. The parallels extend to popular American TV westerns fare in the 1950s with the masked Lone Ranger who “was little more than Zorro in a western guise”, substituting the swashbuckler Zorro’s black garb and accessories with a lawman’s white outfit, etc. Zorro and Lone Ranger share another similar trait to their makeup, as does Batman. Unlike Superman, they don’t rely on superpowers or extra human strength but utilise “stealth, dexterity and ingenuity” to best the bad guys and end “corruption and abuse, and establish a world of moral justice” [John J. Valadez. (2016). The Lone Ranger Unmasked: Zorro and the Whitewashing of the American Superhero. Filmmaker Essay. Chiricú, 1(1), 135–151. https://doi.org/10.2979/chiricu.1.1.11]. In Batman’s case, he relies on his “scientific knowledge, detective skills and athletic prowess” [Bradford W. Wright, Comic Book Nation: The Transformation of Youth Culture in America (1968)].
(source: archive.org/)
Over 40 films, several TV series, novels, a musical, cartoons and comics, and the obligatory merchandise, Zorro as an entertainment phenomenon has been the complete package for over a century. But it all started with a simple and seemingly nondescript adventure story, The Curse of Capistrano by Johnston McCulley, appearing in print in a dime pulp magazine. First serialised in 1919, the template was picked up almost immediately by Douglas Fairbanks Sr (a Zorro tragic!) and his production company and developed into a box office hit silent movie, The Mark of Zorro in 1920. On the strength of The Mark of Zorro’s success McCulley serialised the Zorro tale, producing in all over 60 stories by the time of his death in 1958. The Curse of Capistrano by itself has sold more than 750 million copies worldwide!
Time setting for ‘Zorro’? McCalley’s Zorro stories are vaguely set during the later era of Spanish California (ca.1800–1821), however some of the film adaptations locate Zorro much closer to the gold rushes and the US takeover (late 1840s).
Guy Williams, the iconic Zorro of ‘50s television, and creator Johnston McCulley
Chicano bandit prototypes for Zorro: McCulley drew on sources from literature and legend—primarily Robin Hood and Baroness Orczy’s The Scarlet Pimpernel—for inspiration for the Zorro character, but he also gleaned much from the pages of history, especially of early California. McCulley seems to have modelled Zorro partly on various 19th century Californio bandidos, in particular Joaquin Murrieta whose actual historicity is uncertain🇨. The popular legend has Murrieta immigrating to the California gold fields but when gringos committed murderous atrocities against his family, the Mexican wreaks revenge on the American killers and embarks on a short but violent career of robbery and banditry. Murrieta’s “exploits” polarised opinion, Californian authorities identify him an enemy of the state and place a high price on his head while to Chicanos the romanticised outlaw has become a symbol of Mexican resistance to Anglo-American economic and cultural domination in California [‘Joaquin Murrieta’, Wikipedia, http://en.m.wikipedia.org]🇩.
Moviemakers even roped Zorro into the Italian Sword-and-Sandals (peplum strongman) sub-genre during its apotheosis, with Zorro Contro Maciste (1963)
Another Mexican bandit (more historically authenticatable than Murrieta), Tiburcio Vásquez, provided similar inspiration for McCulley. Vásquez attributed his 20-year career in crime to retribution for the racist attitudes of the norteamericanos—the white settlers from the US who had taken over Alta California after it had become an American state—and their treatment of non-Anglo (especially Mexican) inhabitants of California. Vásquez’s bold defiance earned him a folkhero following within the 19th century Méxican-American community (Valadez).
William Lamport (by PP Rubens)
An Irish Gaelic Zorro?: A decidedly non-Latino historical influence on the creation of Zorro is attributed to the career of Irish adventurer William Lamport, noted for being both an accomplished swordsman and a ladies’ man. The peripatetic Lamport served as a captain in the Spanish army and was sent to New Spain (Mexico) with a new, Hispanicised name to spy for the Spanish crown. The Eirish adventurer was appalled by the treatment of Amerindians and Black slaves in Mexico and sought to advance their liberation. Lamport was eventually arrested and accused of sedition and intending to set himself up as king of an independent Mexico. The Irishman was tried by the Mexican Inquisition and executed as a heretic in 1659 [‘The Man Behind the Mask of Zorro’, History Ireland, www.historyireland.com].
Banderas & Zeta-Jones in the 2005 sequel to ‘The Mask of Zorro’
TriStar Pictures’ 1998 production, The Mask of Zorro, with a vigorous, athletic Antonio Banderas in the title role, revived interest in the Zorro story and earned a cool US$250,000,000 at the box office. In the 1960s Disney’s television adaptation of the Zorro story (starring Guy Williams, the Anglo-sounding screen name of Armando Catalano) was one of the most popular programs on the box, especially with kids. So is Zorro just some innocuous action-adventure entertainment fare? Well, not according to some critical voices from the Latino community who see the Zorro phenomena as perpetuating Hispanic myths within the wider white-dominated mainstream, reinforcing “classic stereotypes of the Latin Lover (see also Footnote below) fighting endless series of inept Méxican villains” and misrepresenting the “multiethnicity and cultural complexity of of early California [‘Zorro still makes his mark’, Lewis Beale, Los Angeles Times, 28-June-2005, www.latimes.com]🇪. Others are critical of Zorro’s ethnicity, UCLA professor, Rafael Perez-Torres, emphasises the point that the “Robin Hood of the pueblo” is Criollo, a white Spaniard born in the New World of purely Spanish blood, he is always represented as the “honourable good ” against the evil and corrupt Méxican officials (Beale). Novelist Isabel Allende with an unorthodox take on Zorro (El Zorro: comienza la leyenda, 2005) subverts this idea of Eurocentric Zorro by reinventing his origin as a mestizo (mixed parentage: Spanish aristocrat father and Shoshone warrior mother).
The dandy Don Diego & macho he-man alter ego Zorro in the Walt Disney TV ‘Zorro’
Footnote: Celluloid Zorros One of the tropes employed by filmmakers in Zorro’s frequent screen appearances is Zorro as “sexy Latino lover”, as portrayed in the versions (big screen and small) by a bevy of heart-throb testosterone-charged actors – Tyrone Power, Guy Williams, Alain Delon, Antonio Banderas, George Hamilton (though Hamilton in the 1981 Zorro: The Gay Blade, tagline: “Zexy, Zany and Zensational!”, plays the black caped avenger purely for (campy) laughs).
🇦 zorro in Spanish translates as “fox”
🇧 Bob Kane co-creator of the Batman character admitted Zorro—and in particular the Douglas Fairbanks Sr swashbuckling portrayal in Mark of Zorro (1920)—heavily influenced his shaping of the “caped crusader”
🇨 Murrieta’s story is mostly recounted through a contemporary novel, The Life and Adventures of Joaquin Murieta: The Celebrated California Bandit (1854)
🇩Californio Salomón Pico was another historical figure in 1850s California with a similar sounding story embellished by local legend – grievously wronged by white settlers so he turns to banditry against the powers that-be and shares his booty with the local Mexican poor
🇪all of which is not to deny that there are countless other Latinos (and other peoples) who have derived genuine inspiration from the story and legend of Zorro to help fortify them in their very real, everyday struggles against unjust, authoritarian and oppressive regimes
