英语词源字典 - 在线词源网站

pigeon [pigeon 词源字典]: pigeon: [14] Pigeon comes ultimately from late Latin pīpiō. This meant originally simply ‘young bird’, and was formed from the onomatopoeic base *pīp- (source also of English pipe), which imitated the chirps of young birds. It gradually specialized in use to ‘young pigeon, squab’, and both the general and the specific senses passed via Vulgar Latin *pībiō into Old French as pijon. By the time it arrived in English, however, only the ‘young pigeon’ sense survived, and this was soon overtaken by ‘pigeon’ in general.
=> pipe[pigeon etymology, pigeon origin, 英语词源]
rattle: rattle: [14] Rattle probably existed in Old English, but in the absence of any direct evidence, it is usually suggested that the word was borrowed from Middle Low German rattelen, a relative of German rasseln ‘rattle’. Whatever its ultimate source, it no doubt originally imitated the sound of rattling.
ring: ring: [OE] English has two distinct words ring. The one meaning ‘circle’ goes back to a prehistoric Germanic *khrenggaz, which also produced German, Dutch, Swedish, and Danish ring (not to mention the Finnish borrowing rengas). It may be related to Old Church Slavonic kragu ‘circle’. The Germanic form was taken over by Old French as ranc, from which English gets rank, and also as renc, which may be the source of English rink [18]. Ring ‘chime’ presumably goes back to a prehistoric Germanic ancestor that imitated the sound of clanging, and also produced German and Dutch ringen, Swedish ringa, and Danish ringe (the suggestion that it contains some reference to the circular motion of tolling bells is attractive, but has no basis in fact).
=> range, rank, rink
whisper: whisper: [OE] Whisper comes ultimately from the prehistoric Germanic base *khwis-, which imitated a sort of hissing sound. This also produced German wispeln and wispern ‘whisper’, and with a different suffix it gave English whistle.
=> whistle
beaux arts (n.): "the fine arts," 1821, from French; also in reference to Ecole des Beaux-Arts, Paris, and the widely imitated conventional type of art and architecture advocated there.
counterfeit (v.): late 13c., from Old French contrefait "imitated" (Modern French contrefait), past participle of contrefaire "imitate," from contre- "against" (see contra-) + faire "to make, to do" (from Latin facere; see factitious). Medieval Latin contrafactio meant "setting in opposition or contrast." Related: Counterfeited; counterfeiting. The noun and adjective are from late 14c.
fetish (n.): "material object regarded with awe as having mysterious powers or being the representative of a deity that may be worshipped through it," 1610s, fatisso, from Portuguese feitiço "charm, sorcery, allurement," noun use of an adjective meaning "artificial."

The Portuguese adjective is from Latin facticius "made by art, artificial," from facere "to make, do, produce, etc." (see factitious, and compare French factice "artificial," restored from Old French faitise, from Latin facticius). Via the French word, Middle English had fetis, fetice (adj.) "cleverly made, neat, elegant" (of things), "handsome, pretty, neat" (of persons). But in the Middle Ages the Romanic derivatives of the word took on magical senses; compare Portuguese feiticeria "sorcery, witchcraft," feiticeiro "sorcerer, wizard." Latin facticius in Spanish has become hechizo "artificial, imitated," also "bewitchment, fascination."

The specific Portuguese use of the word that brought it to English probably began among Portuguese sailors and traders who used the word as a name for charms and talismans worshipped by the inhabitants of the Guinea coast of Africa. It was picked up and popularized in anthropology by Charles de Brosses' "Du culte des dieux fétiches" (1760), which influenced the word's spelling in English (French fétiche also is borrowed 18c. from the Portuguese word).
Any material image of a religious idea is an idol; a material object in which force is supposed to be concentrated is a Fetish; a material object, or a class of material objects, plants, or animals, which is regarded by man with superstitious respect, and between whom and man there is supposed to exist an invisible but effective force, is a Totem. [J. Fitzgerald Lee, "The Greater Exodus," London, 1903]
Figurative sense of "something irrationally revered, object of blind devotion" appears to be an extension made by the New England Transcendentalists (1837). For sexual sense (1897), see fetishism.
fugue (n.): type of musical composition, 1590s, fuge, from Italian fuga, literally "flight," also "ardor," from Latin fuga "a running away, act of fleeing," from fugere "to flee" (see fugitive (adj.)). Current English spelling (1660s) is from the French version of the Italian word.
A Fugue is a composition founded upon one subject, announced at first in one part alone, and subsequently imitated by all the other parts in turn, according to certain general principles to be hereafter explained. The name is derived from the Latin word fuga, a flight, from the idea that one part starts on its course alone, and that those which enter later are pursuing it. ["Fugue," Ebenezer Prout, 1891]
hussar (n.): 1530s, from German Husar, from Hungarian huszár "light horseman," originally "freebooter," from Old Serbian husar, variant of kursar "pirate," from Italian corsaro (see corsair). Bodies of light horsemen organized in Hungary late 15c., widely imitated elsewhere in Europe.
imitable (adj.): from French imitable (16c.), from Latin imitabilis "that may be imitated," from imitari (see imitation). Related: Imitability.
imitate (v.): 1530s, a back-formation from imitation or imitator, or else from Latin imitatus. Related: Imitated; imitating. An Old English word for this was æfterhyrigan.
inimitable (adj.): late 15c., from Latin inimitabilis "that cannot be imitated," from in- "not, opposite of" (see in- (1)) + imitabilis (see imitable). Related: Inimitably.
minnesinger (n.): one of a class of medieval German poets who imitated the troubadours, 1825, from German minnesinger, from minne "love," especially "sexual love" (from Old High German minna "loving memory," originally "memory;" see mind (n.)) + singer (see singer). German minne by c. 1500 no longer was considered decent, and it became a taboo word until revived 18c. in poetic language.
model (n.): 1570s, "likeness made to scale; architect's set of designs," from Middle French modelle (16c., Modern French modèle), from Italian modello "a model, mold," from Vulgar Latin *modellus, from Latin modulus "a small measure, standard," diminutive of modus "manner, measure" (see mode (n.1)).

Sense of "thing or person to be imitated" is 1630s. Meaning "motor vehicle of a particular design" is from 1900 (such as Model T, 1908; Ford's other early models included C, F, and B). Sense of "artist's model" is first recorded 1690s; that of "fashion model" is from 1904. German, Swedish modell, Dutch, Danish model are from French or Italian.
moxie (n.): "courage," 1930, from Moxie, brand name of a bitter, non-alcoholic drink, 1885, perhaps as far back as 1876 as the name of a patent medicine advertised to "build up your nerve;" despite legendary origin stories put out by the company that made it, it is perhaps ultimately from a New England Indian word (it figures in river and lake names in Maine, where it is apparently from Abenaki and means "dark water"). Much-imitated in its day; in 1917 the Moxie Company won an infringement suit against a competitor's beverage marketed as "Proxie."
out (adv.): Old English ut "out, without, outside," common Germanic (Old Norse, Old Frisian, Old Saxon, Gothic ut, Middle Dutch uut, Dutch uit, Old High German uz, German aus), from PIE root *ud- "up, out, up away" (cognates: Sanskrit ut "up, out," uttarah "higher, upper, later, northern;" Avestan uz- "up, out," Old Irish ud- "out," Latin usque "all the way to, without interruption," Greek hysteros "the latter," Russian vy- "out"). Meaning "into public notice" is from 1540s. As an adjective from c. 1200. Meaning "unconscious" is attested from 1898, originally in boxing. Sense of "not popular or modern" is from 1966. As a preposition from mid-13c.

Sense in baseball (1860) was earlier in cricket (1746). Adverbial phrase out-and-out "thoroughly" is attested from early 14c.; adjective usage is attested from 1813; out-of-the-way (adj.) "remote, secluded" is attested from late 15c. Out-of-towner "one not from a certain place" is from 1911. Shakespeare's It out-herods Herod ("Hamlet") reflects Herod as stock braggart and bully in old religious drama and was widely imitated 19c. Out to lunch "insane" is student slang from 1955; out of this world "excellent" is from 1938; out of sight "excellent, superior" is from 1891.
pattern (n.): early 14c., "outline, plan, model, pattern;" early 15c. as "model of behavior, exemplar," from Old French patron and directly from Medieval Latin patronus (see patron).

Extended sense of "decorative design" first recorded 1580s, from earlier sense of a "patron" as a model to be imitated. The difference in form and sense between patron and pattern wasn't firm till 1700s. Meaning "model or design in dressmaking" (especially one of paper) is first recorded 1792, in Jane Austen.
sampler (n.): "embroidery specimen by a beginner to show skill," 1520s, from sample (n.); earlier "pattern, model, example to be imitated" (early 14c.). The connecting notion is probably "piece of embroidery serving as a pattern to be copied, or to fix and retain the pattern." As "a collection of samples" from 1912.