appointyoudaoicibaDictYouDict
appoint: [14] Appoint came from the Old French verb apointier ‘arrange’, which was based on the phrase a point, literally ‘to a point’. Hints of the original meaning can still be found in some of the verb’s early uses in English, in the sense ‘settle a matter decisively’, but its main modern meanings, ‘fix by prior arrangement’ and ‘select for a post’, had become established by the mid 15th century.
=> point
bunchyoudaoicibaDictYouDict
bunch: [14] Bunch originally meant ‘swelling’ (the first text recorded as containing the word, the Middle English poem Body and Soul 1325, speaks of ragged folk ‘with broad bunches on their back’), but we have no real clues as to its source. Perhaps, like bump, it was ultimately imitative of the sound of hitting something, the sense ‘swelling’ being the result of the blows. The first hints of the modern sense ‘cluster, collection’ come in the mid-15th century in the phrase bunch of straw, although how this derived from ‘swelling’ is not clear.
chintzyoudaoicibaDictYouDict
chintz: [17] Chintz is originally an Indian word. English borrowed it from Hindi chīnt, and at first used it unaltered: Samuel Pepys, for instance, writing in his diary for 5 September 1663, notes ‘Bought my wife a chint, that is, a painted Indian calico, for to line her new study’. However, since in commercial use the plural form, chints, was so much commoner than the singular, it eventually came to be regarded as a singular itself, and the s-less form dropped out of the language.

In the 18th century, for some unexplained reason (perhaps on the analogy of such words as quartz) chints began to be spelled chintz. The Hindi word itself was originally an adjective, which came from Sanskrit chitra ‘many-coloured, bright’ (ultimate source of English chit ‘small piece of paper containing some sort of official notification’ [18]).
=> chit
comedy (n.)youdaoicibaDictYouDict
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]
EastlakeyoudaoicibaDictYouDict
style of furniture, 1878, often a mere debased Gothic, but at its best inspired by English designer Charles Locke Eastlake (1836-1906) and his book "Hints on Household Taste."
I find American tradesmen continually advertising what they are pleased to call 'Eastlake' furniture, with the production of which I have had nothing whatever to do, and for the taste of which I should be very sorry to be considered responsible [C.L. Eastlake, 1878]
uppercut (n.)youdaoicibaDictYouDict
in pugilism, a close-in strike upward with the fist, 1831, from upper + cut (n.). Perhaps the image is of chopping a tree by making cuts up (as well as down) in the trunk.
It was on a side hill, and I observed a boy, who appeared to be about fifteen years of age, opposite the house felling a large tree; he had cut a few chips from the under side, and was then making the principal incision on the upper. ... I said to the boy, "Well Sir, I see that you make the upper cut." "That is the true cut," said the boy; "for if you will take the axe and try below, you will find that the tree will crowd down upon your chips, and you can't get it down in double the time." [Theodore Sedgwick, "Hints to My Countrymen," 1826]