John and Sarah-Ann Langley lived in Tamworth Street, Lichfield in 1904 when hauled before the authorities charged with the neglect of five-year-old John Langley. The case attracted a lot of interest from the people of Lichfield. Although it may seem quite extraordinary today, the court was crowded, with large numbers gathered outside, from the moment the session opened at 11am until the judge ended proceedings at 11:45pm. It should be noted they did hold for both lunch and tea for a total of 75 minutes (how very cricket!)
John senior had had four children from a former marriage, the youngest Arthur Langley was six years old. His latest wife, Sarah-Ann, had several children by a former marriage, three of which were still under her care at this time. Back in July 1903 John Langley had visited a Dr Rowland and said nothing could be done to stop John junior's odd habits, including going into the streets picking up refuse and eating it.
As a result the child was admitted to the workhouse. Notes show he was a good weight and exhibited no odd behaviour nor was he seen as troublesome, although below average size for his age and academically inferior to his peers. He stayed at the workhouse until the end of August 1903, mainly because of an unexplained weakness to one arm, during which time he seemed fine and none saw any reason for concern following his release.
On December 22nd 1903 Dr Rowland was again called to the Langley's home. Since his last examination in July the child had certainly lost weight, he noted abrasions to the neck, small of the back, the left knee and bruising to the right thigh. Again taken to stay in the workhouse, young John Langley's condition could easily be explained by normal childhood bumps and knocks. Furthermore, although he had lost weight there was no evidence of him overeating, as would be expected if he had been starved. Yet it was noted that, while no sure diagnosis could be given, in general the child seemed unwell.
The father protested at the possible return of the boy to their care - he complaining young John could not be controlled, he frequently wandered out into the street, and regularly found to be feeding on offal or horse dung (commonplace sights in town streets at the time) - the child thus remained under the supervision of the workhouse and at this time magistrates began to take an interest despite the five-year-old's weight having increased from an appalling low of just 29 pounds.
A baker employed by Langley was called to give evidence and, finally the truth began to emerge. He spoke of how he would see the boy tethered by way of a muffler tied to the chain supporting the swing from 9am until midday. This he saw from September onwards, the child wearing inadequate clothing for the cold weather. He also spoke of the boy being tied up there by his sister almost as soon as the household had awakened.
At mealtimes he could be seen peering in through the window, one sister may pass him a crust on occasions but was more often to be seen eating our of the swill bucket or picking crumbs from the floor of the back yard. Another employee, one John Millington, had taken pity on the boy and passed him food, sending him to the bottom of the yard to eat in secret. The boy's father was witnessed knocking him across the yard on a number of occasions, apparently for no reason, further torture imparted by tethering his left arm to his left leg. Unlike the other children of the house he wore no cap, not a single button sewn on his jacket, he wore no muffler nor scarf, leaving his neck exposed to the elements.
Fearing repercussions he only spoke to the father concerning his paralysed arm, warning both him and his wife to take him to a doctor. Langley told him it was pointless, the paralysis the result of an illness when he was just two years of age. He pitied the child, saying he was heard to cry a number of times, unable to climb down from the swing without help. Since that time both Millington and another employee by the name of Statham had left the employment of the Langleys and reported them to the NSPCC. Statham, when questioned, also spoke of him seeing Langley plunging the boy into a could water trough in all weathers, again seemingly for no reason. These reports were further endorsed by a neighbour, he adding the boy had an awful cough, would be seen walking continually to keep warm, and known to eat anything within his reach. The NSPCC backed up these claims, saying their investigations had also revealed this atrocious behaviour.
Others disagreed, the defence arguing, rather predictably, this was a bad child, born of a consumptive mother who died shortly after his birth. He had been offered plenty of food but it was his choice to eat from the gutter. Furthermore another of his siblings had died young, a clear indication of mental problems suffered by the mother, she the former Mrs Langley.
The defence called a witness, another baker and friend of the Langleys who swore nothing could be further from the truth. The boy had eaten well, from his father's dinner plate no less, supplemented by a diet of eggs, boiled milk and port wine (strange diet for a five-year-old). He also said the child had been allowed to warm himself in the boiler house where a fire burned constantly - this confirming the child was kept outdoors during the day. This witness accused the witnesses for the prosecution of having an axe to grind with the Langleys and in particular the new Mrs Langley. Even his eldest half-sister came forward to give evidence, saying he was treated no differently from the rest and his mental problems were her brother's own fault.
Quickly a verdict was reached. Cheers both inside and outside the court rang out as midnight approached and the Langleys were found guilty. This quickly turned to anger as the crowd threatened to riot, windows of the nearby bakery broken, as they heard the sentence. Given two weeks to pay, the Langleys were fined £25 each - a large sum in 1904 but surely inappropriate for such crimes. Even worse, when explaining the leniency of the sentence the court spoke of how a custodial sentence would have deprived the many other children of both parents.
Showing posts with label torture. Show all posts
Showing posts with label torture. Show all posts
Sunday, 1 April 2018
Sunday, 23 April 2017
Musical Terms
Whilst invigilating for a music exam a few weeks ago, the young man for whom I was acting as reader and scribe came out with several expressions. Some of these I would never have thought related to music, others I had never heard before.
As usual, I was more interested in how the terms developed and in the original usage and meaning.
Accidental - in a musical sense not used since 1868 when it was coined to describe a passage where the note changes without essentially changing the key of the passage. If you have no idea what that means you're not alone. What is clearer is this comes from 'accident', itself traceable to Proto-Indo-European kad or 'to make fall'.
Accompany - seen in a musical sense since 1744, only 13 years after it had first been used in an heraldic sense. Derived from 'companion', this can also be traced to Proto-Indo-European where pa meant 'to feed' and gave us recognisable words in Latin and French where panis and pain respectively mean 'bread'.
Adagio - first seen in a musical sense in 1746, the instruction to play 'slowly, leisurely, gracefully' has an identical origin to 'adjacent', both can be traced to Proto-Indo-European ye 'to throw, impel' - which suggests quite the opposite!
Air - used in a musical sense since 1580, it shares an origin with 'aria' (see below)
Allegro - musically 'brisk, sprightly, cheerful' and used since 1721. It originates in a Proto-Germanic term meaning 'zeal, eagerness' and is thought to have roots meaning 'wander, roam'.
Alto - means 'high' and seen since 1784, this began as Proto-Indo-European al 'to grow, nourish'.
Andante - seen since 1742, it means 'moderately slow', coming from a Latin root ambire 'to go round'. This origin would never have occurred to ABBA when they released the album Super Trouper containing the song Andante, Andante when it went round and round at 33rpm.
Arabesque - of Moorish or Arabic design and seen since 1786, it is from the Italian word for an Arab, itself thought to mean 'inhabitant of the desert'.
Aria - is literally the Italian for 'air'. The English word is ultimately from Proto-Indo-European awer, which meant 'sky' as much as 'atmosphere'. It has also given us words meaning 'raising', 'mist', 'haze', 'clouds', 'artery' and 'bright'.
Arpeggio - since 1742 and meaning 'harping' which has the same origin as 'harp' (see below).
Bagatelle - 'a trifle' and used musically since 1827. It has the same origin as 'bag', itself of uncertain etymology but thought to be related to 'belly' and 'bellows'.
Baritone - a deeper male voice and the reason it is related to Proto-Indo-European gwere 'heavy' and ten 'to stretch'.
Bass - in use since 1590, the etymology can be traced to the same root as 'base' which comes from Latin bassus 'thick, stumpy, low' and ultimately from Proto-Indo-European gwa 'to go, come'.
Beat - musically since 1842, it has the same origin as the sense 'to thrash' which comes from Proto-Indo-European bhau 'to strike'.
Bow - the earlist musical bows were curved, like the bow of an archer. Used since 1570, this shape is the reason the origin is Proto-Indo-European bheug 'bent'.
Bridge - a musical bridge contrasts with the main theme and, as the name suggests, connects them. Not seen until the late 19th century, it comes as no surprise to find it shares an origin with the more common sense and is derived from Proto-Indo-European bhru 'log, beam'.
Cadenza - musically since 1836, it is the passage near the close of a song and shares an origin with 'accidental' (see above).
Carol - a 'joyful song' and coined around the end of the 13th century when it was also used to refer to 'a dance in a ring'. Both originate in the Latin choraules 'flute player' and ultimately, which shares an origin with 'chorus', from Proto-Indo-European gher 'to grasp, enclose'. Not until the end of the 16th century was the term used to refer to a song associated with Christmas.
Chord - shares an origin with 'cord' in the Greek khorde 'gut-string, tripe' and ultimately from Proto-Indo-European ghere 'gut, entrail' from which musical strings were once produced.
Coda - seen since 1753, this is derived from Latin cauda 'animal tail' and chosen as the coda is the concluding passage in a musical composition.
Composition - ultimayely the same as 'compose', this can be traced to com 'with' and poser which shares an origin and meaning with 'pause' and therefore the meaning of 'compose', seen today in a creative sense, began in the sense 'cease'.
Concert - since the 16th century and from a word meaning 'harmony', this comes from a Latin verb cernere 'seperate, distinguish' and ultimately from Proto-Indo-European krei 'discriminate, distinguish' and has exactly the same origin as 'crisis'.
Conduct - is of Latin origin and means 'to bring together' and ultimately from the Proto-Indo-European deuk 'to lead'.
Flat - seen in music since 1670, it comes from Proto-Indo-European plat 'to spread'.
Harp - taken from the name of the instrument which, sadly, is of unknown origin. However it is thought to be related to the Old English harpa meaning 'instrument of torture' - clearly the harp was once confused with the bagpipes.
Instrumental - from the Latin instruere 'arrange, furnish', this has an identical origin to the word 'structure' and is derived from the Proto-Indo-European stere 'to extend, spread, stretch out'.
Key - musically since 1630, and ultimately from Proto-Germanic ki 'to cleave, split'.
Major - not seen musically until 1797, it comes from the Latin magnus 'great' and Proto-Indo-European meg with identical meaning.
Minor - also seen musically since 1797, the term comes to English from Latin minores and Proto-Indo-European mei 'small'.
Note - seen musically from the end of the 13th century, here the earliest origin we can find is Latin gnoscere 'to know'.
Opera - musically since 1640, it comes from Proto-Indo-European op 'to work' and also 'to produce in abundance'.
Overture - used to mean 'an opening' before the musical snse in 1660. Here the origin is Proto-Indo-European ap 'away' and wer 'to cover'.
Piano - effectively means 'soft', the name first used for the instrument from 1803. It shares an origin with the carpentry tool, the 'plane', in meaning 'flat'.
Pitch - musically since 1670, it is related to 'prick' and shares an origin meaning 'pointed, dagger'.
Scale in a musical sense since 1590, it comes from the Latin scala 'ladder' and ultimately from Proto-Indo-European skand 'spring, leap, climb'.
Score - not seen in a musical sense until 1839, the term is ultimately Proto-Indo-European and from sker meaning 'cut' and sharing an origin with 'scissors' and 'shears'.
Sharp - 1570 was the first year when it was used musically, it shares an origin with 'score' (see above).
Solo - first seen in 1690, this is from Latin solus and Proto-Indo-European swo meaning 'so' and also the root of 'as' and 'himself'.
String - was first known in a musical sense to mean 'to tune someone or something' and ultimately from Proto-Indo-European strenk 'tight, narrow'.
Suite - in a musical sense from 1680, it shares an origin with 'suit' used in both a clothing and playing card sense. This originates in Proto-Indo-European sekw 'to follow'.
Theme - not used musically until 1929, this comes from Proto-Indo-European dhe-mn 'to set'.
Tone - musically since the middle of the 14th century, this shares an origin with 'baritone' in Proto-Indo-European ten 'to stretch'.
These, for the most part, quite unrelated origins were not unexpected but at least I now have a reason for my addagios not being graceful, my piano playing sounding flat, and plucking the strings of a harp being considered torture.
As usual, I was more interested in how the terms developed and in the original usage and meaning.
Accidental - in a musical sense not used since 1868 when it was coined to describe a passage where the note changes without essentially changing the key of the passage. If you have no idea what that means you're not alone. What is clearer is this comes from 'accident', itself traceable to Proto-Indo-European kad or 'to make fall'.
Accompany - seen in a musical sense since 1744, only 13 years after it had first been used in an heraldic sense. Derived from 'companion', this can also be traced to Proto-Indo-European where pa meant 'to feed' and gave us recognisable words in Latin and French where panis and pain respectively mean 'bread'.
Adagio - first seen in a musical sense in 1746, the instruction to play 'slowly, leisurely, gracefully' has an identical origin to 'adjacent', both can be traced to Proto-Indo-European ye 'to throw, impel' - which suggests quite the opposite!
Air - used in a musical sense since 1580, it shares an origin with 'aria' (see below)
Allegro - musically 'brisk, sprightly, cheerful' and used since 1721. It originates in a Proto-Germanic term meaning 'zeal, eagerness' and is thought to have roots meaning 'wander, roam'.
Alto - means 'high' and seen since 1784, this began as Proto-Indo-European al 'to grow, nourish'.
Andante - seen since 1742, it means 'moderately slow', coming from a Latin root ambire 'to go round'. This origin would never have occurred to ABBA when they released the album Super Trouper containing the song Andante, Andante when it went round and round at 33rpm.
Arabesque - of Moorish or Arabic design and seen since 1786, it is from the Italian word for an Arab, itself thought to mean 'inhabitant of the desert'.
Aria - is literally the Italian for 'air'. The English word is ultimately from Proto-Indo-European awer, which meant 'sky' as much as 'atmosphere'. It has also given us words meaning 'raising', 'mist', 'haze', 'clouds', 'artery' and 'bright'.
Arpeggio - since 1742 and meaning 'harping' which has the same origin as 'harp' (see below).
Bagatelle - 'a trifle' and used musically since 1827. It has the same origin as 'bag', itself of uncertain etymology but thought to be related to 'belly' and 'bellows'.
Baritone - a deeper male voice and the reason it is related to Proto-Indo-European gwere 'heavy' and ten 'to stretch'.
Bass - in use since 1590, the etymology can be traced to the same root as 'base' which comes from Latin bassus 'thick, stumpy, low' and ultimately from Proto-Indo-European gwa 'to go, come'.
Beat - musically since 1842, it has the same origin as the sense 'to thrash' which comes from Proto-Indo-European bhau 'to strike'.
Bow - the earlist musical bows were curved, like the bow of an archer. Used since 1570, this shape is the reason the origin is Proto-Indo-European bheug 'bent'.
Bridge - a musical bridge contrasts with the main theme and, as the name suggests, connects them. Not seen until the late 19th century, it comes as no surprise to find it shares an origin with the more common sense and is derived from Proto-Indo-European bhru 'log, beam'.
Cadenza - musically since 1836, it is the passage near the close of a song and shares an origin with 'accidental' (see above).
Carol - a 'joyful song' and coined around the end of the 13th century when it was also used to refer to 'a dance in a ring'. Both originate in the Latin choraules 'flute player' and ultimately, which shares an origin with 'chorus', from Proto-Indo-European gher 'to grasp, enclose'. Not until the end of the 16th century was the term used to refer to a song associated with Christmas.
Chord - shares an origin with 'cord' in the Greek khorde 'gut-string, tripe' and ultimately from Proto-Indo-European ghere 'gut, entrail' from which musical strings were once produced.
Coda - seen since 1753, this is derived from Latin cauda 'animal tail' and chosen as the coda is the concluding passage in a musical composition.
Composition - ultimayely the same as 'compose', this can be traced to com 'with' and poser which shares an origin and meaning with 'pause' and therefore the meaning of 'compose', seen today in a creative sense, began in the sense 'cease'.
Concert - since the 16th century and from a word meaning 'harmony', this comes from a Latin verb cernere 'seperate, distinguish' and ultimately from Proto-Indo-European krei 'discriminate, distinguish' and has exactly the same origin as 'crisis'.
Conduct - is of Latin origin and means 'to bring together' and ultimately from the Proto-Indo-European deuk 'to lead'.
Flat - seen in music since 1670, it comes from Proto-Indo-European plat 'to spread'.
Harp - taken from the name of the instrument which, sadly, is of unknown origin. However it is thought to be related to the Old English harpa meaning 'instrument of torture' - clearly the harp was once confused with the bagpipes.
Instrumental - from the Latin instruere 'arrange, furnish', this has an identical origin to the word 'structure' and is derived from the Proto-Indo-European stere 'to extend, spread, stretch out'.
Key - musically since 1630, and ultimately from Proto-Germanic ki 'to cleave, split'.
Major - not seen musically until 1797, it comes from the Latin magnus 'great' and Proto-Indo-European meg with identical meaning.
Minor - also seen musically since 1797, the term comes to English from Latin minores and Proto-Indo-European mei 'small'.
Note - seen musically from the end of the 13th century, here the earliest origin we can find is Latin gnoscere 'to know'.
Opera - musically since 1640, it comes from Proto-Indo-European op 'to work' and also 'to produce in abundance'.
Overture - used to mean 'an opening' before the musical snse in 1660. Here the origin is Proto-Indo-European ap 'away' and wer 'to cover'.
Piano - effectively means 'soft', the name first used for the instrument from 1803. It shares an origin with the carpentry tool, the 'plane', in meaning 'flat'.
Pitch - musically since 1670, it is related to 'prick' and shares an origin meaning 'pointed, dagger'.
Scale in a musical sense since 1590, it comes from the Latin scala 'ladder' and ultimately from Proto-Indo-European skand 'spring, leap, climb'.
Score - not seen in a musical sense until 1839, the term is ultimately Proto-Indo-European and from sker meaning 'cut' and sharing an origin with 'scissors' and 'shears'.
Sharp - 1570 was the first year when it was used musically, it shares an origin with 'score' (see above).
Solo - first seen in 1690, this is from Latin solus and Proto-Indo-European swo meaning 'so' and also the root of 'as' and 'himself'.
String - was first known in a musical sense to mean 'to tune someone or something' and ultimately from Proto-Indo-European strenk 'tight, narrow'.
Suite - in a musical sense from 1680, it shares an origin with 'suit' used in both a clothing and playing card sense. This originates in Proto-Indo-European sekw 'to follow'.
Theme - not used musically until 1929, this comes from Proto-Indo-European dhe-mn 'to set'.
Tone - musically since the middle of the 14th century, this shares an origin with 'baritone' in Proto-Indo-European ten 'to stretch'.
These, for the most part, quite unrelated origins were not unexpected but at least I now have a reason for my addagios not being graceful, my piano playing sounding flat, and plucking the strings of a harp being considered torture.
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