英语词源字典 - 在线词源网站

factory [factory 词源字典]: factory: [16] Latin factor, a derivative of facere ‘make’, meant ‘maker, doer’ (it was introduced into English in the 15th century as ‘agent’, but was not adopted as a mathematical term until the mid 17th century). Among its post-classical derivatives were late Latin factōrium ‘oil-press’ and medieval Latin factōria ‘establishment for factors or agents’.

It appears that the latter must have been the original source of the word factory in English, which at first meant ‘factorship, agency’. However, this does not fit in at all with its main modern sense ‘place where things are made’, first recorded in the early 17th century, which presumably must go back in some way to Latin factōrium.
=> fact[factory etymology, factory origin, 英语词源]
Athenaeum (n.): 1727, from Latinized form of Greek Athenaion "the temple of Athene," in ancient Athens, in which professors taught and actors or poets rehearsed. Meaning "literary club-room or reading room" is from 1799; "literary or scientific club" is from 1864.
breeder (n.): 1570s, "one who produces or originates," agent noun from breed (v.). Meaning "one who breeds cattle" or some other animal is recorded from 1530s. Of nuclear reactors, from 1948. As a scornful homosexual term for "heterosexual person," attested from 1986.
cast (n.): mid-13c., "a throw, an act of throwing," from cast (v.). In early use especially of dice, hence figurative uses relating to fortune or fate. Meaning "that which is cast" is from c. 1550s. Meaning "dash or shade of color" is from c. 1600. The sense of "a throw" carried an idea of "the form the thing takes after it has been thrown," which led to widespread and varied meanings, such as "group of actors in a play" (1630s). OED finds 42 distinct noun meaning and 83 verbal ones, with many sub-definitions. Many of the figurative senses converged in a general meaning "sort, kind, style" (mid-17c.). A cast in the eye (early 14c.) preserves the older verbal sense of "warp, turn."
comedy (n.): late 14c., from Old French comedie (14c., "a poem," not in the theatrical sense), from Latin comoedia, from Greek komoidia "a comedy, amusing spectacle," probably from komodios "actor or singer in the revels," from komos "revel, carousal, merry-making, festival," + aoidos "singer, poet," from aeidein "to sing," related to oide (see ode).
The passage on the nature of comedy in the Poetic of Aristotle is unfortunately lost, but if we can trust stray hints on the subject, his definition of comedy (which applied mainly to Menander) ran parallel to that of tragedy, and described the art as a purification of certain affections of our nature, not by terror and pity, but by laughter and ridicule. [Rev. J.P. Mahaffy, "A History of Classical Greek Literature," London, 1895]
The classical sense of the word, then, was "amusing play or performance," which is similar to the modern one, but in the Middle Ages the word came to mean poems and stories generally (albeit ones with happy endings), and the earliest English sense is "narrative poem" (such as Dante's "Commedia"). Generalized sense of "quality of being amusing" dates from 1877.
Comedy aims at entertaining by the fidelity with which it presents life as we know it, farce at raising laughter by the outrageous absurdity of the situation or characters exhibited, & burlesque at tickling the fancy of the audience by caricaturing plays or actors with whose style it is familiar. [Fowler]
crackdown (n.): also crack down; 1935, from the verbal phrase (1915), from crack (v.) + down (adv.); probably from the sense of "to shoot at" (1913).
These scab contractors probably think that they have us whipped, but they are badly mistaken. With the reorganization of the Building Trades Council, which is progressing nicely, we will be in a position to cope with them and when we do crack down on them they will have to come across or get out. ["Journal of Electrical Workers and Operators," September 1915]
cue (n.1): "stage direction," 1550s, from Q, which was used 16c., 17c. in stage plays to indicate actors' entrances, probably as an abbreviation of Latin quando "when" (see quandary) or a similar Latin adverb. Shakespeare's printed texts have it as both Q and cue.
-er (1): English agent noun ending, corresponding to Latin -or. In native words it represents Old English -ere (Old Northumbrian also -are) "man who has to do with," from Proto-Germanic *-ari (cognates: German -er, Swedish -are, Danish -ere), from Proto-Germanic *-arjoz. Some believe this root is identical with, and perhaps a borrowing of, Latin -arius (see -ary).

Generally used with native Germanic words. In words of Latin origin, verbs derived from past participle stems of Latin ones (including most verbs in -ate) usually take the Latin ending -or, as do Latin verbs that passed through French (such as governor); but there are many exceptions (eraser, laborer, promoter, deserter; sailor, bachelor), some of which were conformed from Latin to English in late Middle English.

The use of -or and -ee in legal language (such as lessor/lessee) to distinguish actors and recipients of action has given the -or ending a tinge of professionalism, and this makes it useful in doubling words that have a professional and a non-professional sense (such as advisor/adviser, conductor/conducter, incubator/incubater, elevator/elevater).
elk (n.): late Old English elch, from Old Norse elgr or from an alteration of Old English elh, eolh (perhaps via French scribes), or possibly from Middle High German elch (OED's suggestion), all from Proto-Germanic *elkh- (source also of Old High German elaho). The modern word "is not the normal phonetic representative" of the Old English one [OED].

The Germanic words are related to the general word for "deer" in Balto-Slavic (such as Russian losu, Czech los; also see eland), from PIE *olki-, perhaps with reference to the reddish color from root *el- (2) "red, brown" (in animal and tree names); compare Sanskrit harina- "deer," from hari- "reddish-brown." Greek alke and Latin alces probably are Germanic loan-words. Applied to similar-looking but unrelated animals in North America. Benevolent and Protective Order of Elks founded N.Y.C. 1868, originally a society of actors and writers.
explode (v.): 1530s (transitive), "to reject with scorn," from Latin explodere "drive out or off by clapping, hiss off, hoot off," originally theatrical, "to drive an actor off the stage by making noise," hence "drive out, reject, destroy the repute of" (a sense surviving in an exploded theory), from ex- "out" (see ex-) + plaudere "to clap the hands, applaud," which is of uncertain origin. Athenian audiences were highly demonstrative. clapping and shouting approval, stamping, hissing, and hooting for disapproval. The Romans seem to have done likewise.
At the close of the performance of a comedy in the Roman theatre one of the actors dismissed the audience, with a request for their approbation, the expression being usually plaudite, vos plaudite, or vos valete et plaudite. [William Smith, "A First Latin Reading Book," 1890]
English used it to mean "drive out with violence and sudden noise" (1650s), later "cause to burst suddenly and noisily" (1794). Intransitive sense of "go off with a loud noise" is from 1790, American English; figurative sense of "to burst with destructive force" is by 1882; that of "burst into sudden activity" is from 1817; of population by 1959. Related: Exploded; exploding.
factory (n.): 1550s, "estate manager's office," from Middle French factorie (15c.), from Late Latin factorium "office for agents ('factors')," also "oil press, mill," from Latin factor "doer, maker" (see factor (n.)). From 1580s as "establishment of merchants and factors in a foreign place." Sense of "building for making goods" is first attested 1610s. Factory farm attested from 1890.
farce (n.): late 14c., "force-meat, stuffing;" 1520s, in the dramatic sense "ludicrous satire; low comedy," from Middle French farce "comic interlude in a mystery play" (16c.), literally "stuffing," from Old French farcir "to stuff," (13c.), from Latin farcire "to stuff, cram," which is of uncertain origin, perhaps from PIE *bhrekw- "to cram together," and thus related to frequens "crowded."
... for a farce is that in poetry which grotesque is in a picture. The persons and action of a farce are all unnatural, and the manners false, that is, inconsisting with the characters of mankind. [Dryden, "A Parallel of Poetry and Painting"]
According to OED and other sources, the pseudo-Latin farsia was applied 13c. in France and England to praise phrases inserted into liturgical formulae (for example between kyrie and eleison) at the principal festivals, then in Old French farce was extended to the impromptu buffoonery among actors that was a feature of religious stage plays. Generalized sense of "a ridiculous sham" is from 1690s in English.
foyer (n.): "lobby of a theater or opera house," 1859, from French foyer "green room, room for actors when not on stage," literally "fireplace," from Old French foier "furnace, stove, hearth, fireplace" (12c.), from Latin focarium, noun use of neuter of adjective focarius "having to do with the hearth," from focus "hearth, fireplace" (see focus (n.)).
grease (n.): "oily fat of land animals," c. 1300, from Anglo-French grece, Old French gresse, craisse "grease, fat" (Modern French graisse), from Vulgar Latin *crassia "(melted) animal fat, grease," from Latin crassus "thick, solid, fat" (source also of Spanish grasa, Italian grassa). Grease paint, used by actors, attested from 1880. Grease monkey "mechanic" is from 1920.
green (adj.): Old English grene, Northumbrian groene "green, of the color of living plants," in reference to plants, "growing, living, vigorous," also figurative, of a plant, "freshly cut," of wood, "unseasoned" earlier groeni, from Proto-Germanic *gronja- (cognates: Old Saxon grani, Old Frisian grene, Old Norse grænn, Danish grøn, Dutch groen, Old High German gruoni, German grün), from PIE root *ghre- "grow" (see grass), through sense of "color of growing plants."

From c. 1200 as "covered with grass or foliage." From early 14c. of fruit or vegetables, "unripe, immature;" and of persons, "of tender age, youthful, immature, inexperienced;" hence "gullible, immature with regard to judgment" (c. 1600). From mid-13c. in reference to the skin or complexion of one sick.

Green cheese originally was that which is new or fresh (late 14c.), later with reference to coloring; for the story told to children that the moon is made of it, see cheese (n.1). Green light in figurative sense of "permission" is from 1937 (Green and red as signals on railways first attested 1883, as nighttime substitutes for semaphore flags). Green thumb for "natural for gardening" is by 1938. Green beret originally "British commando" is from 1949. Greenroom "room for actors when not on stage" is from 1701; presumably a once-well-known one was painted green. The color of environmentalism since 1971.
harlot (n.): c. 1200 (late 12c. in surnames), "vagabond, man of no fixed occupation, idle rogue," from Old French herlot, arlot "vagabond, tramp, vagrant; rascal, scoundrel," with cognates in Old Provençal (arlot), Old Spanish (arlote), and Italian (arlotto), but of unknown origin. Usually male in Middle English and Old French. Used in positive as well as pejorative senses by Chaucer; applied in Middle English to jesters, buffoons, jugglers, later to actors. Secondary sense of "prostitute, unchaste woman" probably had developed by 14c., certainly by early 15c., but this was reinforced by its use euphemistically for "strumpet, whore" in 16c. English translations of the Bible. The word may be Germanic, with an original sense of "camp follower," if the first element is hari "army," as some suspect.
kinetic (adj.): "relating to motion," 1841, from Greek kinetikos "moving, putting in motion," from kinetos "moved," verbal adjective of kinein "to move" (see cite).
Buster Keaton's subject was kinetic man, a being he approached with the almost metaphysical awe we reserve for a Doppelgänger. This being was, eerily, himself, played by himself, then later in a projection room, watched by himself: an experience never possible to any generation of actors in the previous history of the world. [Hugh Kenner, "The Counterfeiters," 1968]
Related: Kinetical; kinetically.
limelight (n.): 1826, popular name for Drummond light, a brilliant light created by the incandescence of lime (n.1); adopted for lighthouses and later for the Victorian stage, where it illuminated the principal actors, hence the figurative sense of "on stage, at the center of attention" (1877).
Macbeth: masc. proper name, Gaelic, literally "son of life." The first reference to bad luck associated with Shakespeare's "Macbeth," and to avoidance of naming it, is from 1896, alludes to an incident of 1885, and says the tradition goes back "so far as modern memory can recall." The original superstition seems to have pertained particularly to the witches' scenes, which were played up dramatically in 19c. productions, and especially to Matthew Locke's 17c. music to accompany the witches' song, which was regularly played through the 19th century.
It is strange how the effect of this music has exerted such a long surviving influence on members of the dramatic profession. It is still considered most unlucky to sing, hum, or whistle the witch airs in the theatre except in the ways of business. [Young-Stewart, "The Three Witches," in "The Shakespearean," Sept. 15, 1896]

If you number an actor or actress among your friends, and desire to retain his or her friendship, there are three things you positively must not do, especially if the actor is of the old school. Do not whistle in the theatre, do not look over his shoulder into the glass while he is making up, and do not hum the witch's song from "Macbeth." ... [O]lder actors would almost prefer to lose their salary than go on in "Macbeth" on account of this song. They believe that it casts spells upon the members of the company. ["Some Odd Superstitions of the Stage," "Theatre" magazine, July 1909]
myth (n.): 1830, from French Mythe (1818) and directly from Modern Latin mythus, from Greek mythos "speech, thought, story, myth, anything delivered by word of mouth," of unknown origin.
Myths are "stories about divine beings, generally arranged in a coherent system; they are revered as true and sacred; they are endorsed by rulers and priests; and closely linked to religion. Once this link is broken, and the actors in the story are not regarded as gods but as human heroes, giants or fairies, it is no longer a myth but a folktale. Where the central actor is divine but the story is trivial ... the result is religious legend, not myth." [J. Simpson & S. Roud, "Dictionary of English Folklore," Oxford, 2000, p.254]
General sense of "untrue story, rumor" is from 1840.
person (n.): early 13c., from Old French persone "human being, anyone, person" (12c., Modern French personne) and directly from Latin persona "human being, person, personage; a part in a drama, assumed character," originally "mask, false face," such as those of wood or clay worn by the actors in later Roman theater. OED offers the general 19c. explanation of persona as "related to" Latin personare "to sound through" (i.e. the mask as something spoken through and perhaps amplifying the voice), "but the long o makes a difficulty ...." Klein and Barnhart say it is possibly borrowed from Etruscan phersu "mask." Klein goes on to say this is ultimately of Greek origin and compares Persephone.

Of corporate entities from mid-15c. The use of -person to replace -man in compounds and avoid alleged sexist connotations is first recorded 1971 (in chairperson). In person "by bodily presence" is from 1560s. Person-to-person first recorded 1919, originally of telephone calls.
pixilation (n.): "creation of the effect of animation in live actors," 1947, from pixilated. Also see pixelation.
plaudit (n.): 1620s, short for plaudite "an actor's request for applause" (1560s), from Latin plaudite! "applaud!" second person plural imperative of plaudere "to clap, strike, beat; applaud, approve," of unknown origin (also in applaud, explode). This was the customary appeal for applause that Roman actors made at the end of a play. In English, the -e went silent then was dropped.
pulpit (n.): early 14c., from Late Latin pulpitum "raised structure on which preachers stand," in classical Latin "scaffold; stage, platform for actors," of unknown origin. Also borrowed in Middle High German as pulpit (German Pult "desk"). Sense of "Christian preachers and ministers generally" is from 1560s. Pulpiteer, old contemptuous term for "professional preacher," is recorded from 1640s.
rhubarb (n.): late 14c., from Old French rubarbe, from Medieval Latin rheubarbarum, from Greek rha barbaron "foreign rhubarb," from rha "rhubarb," perhaps ultimately from a source akin to Persian rewend "rhubarb" (associated in Greek with Rha, ancient Scythian name of the River Volga) + barbaron, neuter of barbaros "foreign" (see barbarian). Grown in China and Tibet, it was imported into ancient Europe by way of Russia.

Spelling altered in Medieval Latin by association with rheum. European native species so called from 1640s. Baseball slang meaning "loud squabble on the field" is from 1938, of unknown origin, said to have been first used by broadcaster Garry Schumacher. Perhaps connected with use of rhubarb as a word repeated by stage actors to give the impression of hubbub or conversation (attested from 1934).
scene (n.): 1530s, "subdivision of an act of a play," also "stage-setting," from Middle French scène (14c.), from Latin scaena, scena "scene, stage of a theater," from Greek skene "wooden stage for actors," also "that which is represented on stage," originally "tent or booth," related to skia "shadow, shade," via notion of "something that gives shade," from PIE root *skai- "to shine, flicker, glimmer" (see shine (v.)).

Meaning "material apparatus of a theatrical stage" is from 1540s. Meaning "place in which the action of a literary work occurs" is attested from 1590s; general (non-literary) sense of "place where anything is done or takes place" is recorded from 1590s. Hence U.S. slang sense of "setting or milieu for a specific group or activity," attested from 1951 in Beat jargon. Meaning "stormy encounter between two or more persons" is attested from 1761. Behind the scenes "having knowledge of affairs not apparent to the public" (1660s) is an image from the theater, "amid actors and stage machinery" (out of sight of the audience). Scene of the crime (1923) first attested in Agatha Christie.
star (v.): 1590s, "to affix a star or asterisk to," from star (n.). From 1718 as "to set with stars." Meaning "perform the lead part" (of actors, singers, etc.) is from 1824. Sporting sense is from 1916. Related: Starred; starring.
thin (adj.): Old English þynne "narrow, lean, scanty, not dense; fluid, tenuous; weak, poor," from Proto-Germanic *thunni "thin" (cognates: West Frisian ten, Middle Low German dunne, Middle Dutch dunne, Dutch dun, Old High German dunni, German dünn, Old Norse þunnr, Swedish tunn, Danish tynd), from PIE *tnu- "stretched, stretched out" (hence "thin"), from root *ten- "to stretch" (cognates: Latin tenuis "thin, slender;" see tenet).
These our actors ... were all Spirits, and Are melted into Ayre, into thin Ayre. [Shakespeare, "The Tempest," IV.i.150, 1610]
"Loose or sparse," hence "easily seen through," with figurative extensions. Related: Thinly; thinness. Thin-skinned is attested from 1590s; the figurative sense of "touchy" is from 1670s.
tragedy (n.): late 14c., "play or other serious literary work with an unhappy ending," from Old French tragedie (14c.), from Latin tragedia "a tragedy," from Greek tragodia "a dramatic poem or play in formal language and having an unhappy resolution," apparently literally "goat song," from tragos "goat" + oide "song" (see ode).

The connection may be via satyric drama, from which tragedy later developed, in which actors or singers were dressed in goatskins to represent satyrs. But many other theories have been made (including "singer who competes for a goat as a prize"), and even the "goat" connection is at times questioned. Meaning "any unhappy event, disaster" is from c. 1500.
troupe (n.): 1825, "company, band," especially of performers, actors, dancers, etc., from French troupe "company" (see troop (n.)).
typecast (v.): also type-cast, with reference to actors, 1937 (implied in typecasting), from type (n.) in the "general character" sense (perhaps a deliberate pun on the verbal phrase in the printing sense "to found types in molds," attested from 1847). See type (n.) + cast (v.).
zany (n.): comic performer, 1580s, from French zani, from Italian zani, zanni "a zany, clown," originally Zanni, Venetian dialect variant of Gianni, pet form of Giovanni "John;" thus equivalent to English Jack. A stock character in old comedies, he aped the principal actors.
plaudits: "Praise", Early 17th century: plaudit shortened from Latin plaudite 'applaud!' (said by Roman actors at the end of a play), imperative plural of plaudere.
mammogen: "Any substance that has mammogenic activity (originally believed to be one or two specific growth factors)", 1940s; earliest use found in Endocrinology. From mammo- + -gen, after mammogenic.
nocebo: "A detrimental effect on health produced by psychological or psychosomatic factors such as negative expectations of treatment or prognosis", 1960s: from Latin, literally 'I shall cause harm', from nocere 'to harm', on the pattern of placebo.
abiotrophy: "Premature degeneration of cells or tissue (now usually within the central nervous system), especially when hereditary or otherwise independent of external factors; an instance of this; any condition characterized by this", Early 20th cent.; earliest use found in William Richard Gowers (1845–1915), physician. From a- + Hellenistic Greek βιοτρόϕος life-sustaining (from ancient Greek βίο- + -τροϕος, combining form from an ablaut variant of the base of τρέϕειν to nourish: see tropho-) + -y. See quot. 1902.