If, as one historian has argued, Minstrelsy is negrophobia staged as negrophilia, or vice versa, depending on the respective weight of the fear or attraction (Ostendorf, 81), the hypermasculinized buck of Birth of a Nation and the undermasculinized boy of The Jazz Singer sustain minstrel conventions, setting both negrophobia and negrophilia in the context of the Oedipal dilemma with its attendant anxieties about successful maturation into white manhood.

οὐ[δ̓] ὲνατεὐεται, should be translated “a tithe (offering or fee) is not given (or paid)”, “no tithing” (literally, “a ninth is not given”, “no ninth-ing”, if I may coin such a word).

Look at that chavvy top she's wearing! It's dreadful!

[…] her husband's increased and more frequent storms of passion, unfollowed by any halcyon and honeymoon suings for forgiveness […]