英语词源字典 - 在线词源网站

bowdlerize [bowdlerize 词源字典]: bowdlerize: [19] In 1818 Dr Thomas Bowdler (1754–1825), an English editor, published his Family Shakespeare, an expurgated edition of the plays ‘in which those words and expressions are omitted which cannot with propriety be read aloud in a family’. This and other similarly censored versions of the English classics led to Bowdler’s name being cast as the epitome of Whitehousian suppression. The first recorded use of the verb was in a letter by General P Thompson in 1836.
[bowdlerize etymology, bowdlerize origin, 英语词源]
egg: egg: English has two distinct words egg, but surprisingly the noun, in the form in which we now have it, has not been in the language as long as the verb. Egg ‘reproductive body’ [14] was borrowed from Old Norse egg. Old English had a related word, ǣg, which survived until the 16th century as eye (plural eyren). Although it does not begin to show up in the written records until the 14th century, the form egg was presumably introduced into English by Norse immigrants considerably earlier, but even so, as late as the end of the 15th century there was still considerable competition between the native eye and the imported egg: ‘What sholde a man in thyse dayes now wryte, egges or eyren, certaynly it is harde to playse every man’, William Caxton, Eneydos 1490.

Both the Old English and the Old Norse forms came from a prehistoric Germanic *ajjaz (source also of German and Dutch ei). This in turn was a descendant of an Indo- European *ōwo- (whence Greek ōión, Latin ōvum, French oeuf, Italian uovo, Spanish huevo, and Russian jajco), which was probably derived ultimately from a base signifying ‘bird’ (source of Sanskrit vís and Latin avis ‘bird’, the ancestor of English aviary). Egg ‘incite’ [10], as in ‘egg on’, is a Scandinavian borrowing too.

It comes from Old Norse eggja, which was a relative or derivative of egg ‘edge’ (a cousin of English edge).
=> aviary; edge
farce: farce: [14] Farce originally meant ‘stuff’ (widening gastronomic knowledge in the late 20th century has made us more familiar with its French cousin farcir ‘stuff’, and the force- of forcemeat [17] is the same word). It came via Old French farsir from Latin farcīre ‘stuff’. The Latin verb was used in the Middle Ages for the notion of inserting additional passages into the text of the Mass, and hence to padding out any text. A particular application was the insertion of impromptu, usually comical interludes into religious plays, which had led by the 16th century to something approaching the modern meaning of farce.
=> forcemeat
finance: finance: [14] Finance comes ultimately from Latin fīnis ‘end’, and its present-day monetary connotations derive from the notion of ‘finally settling a debt by payment’. Its immediate source is Old French finance, a derivative of the verb finer ‘end, settle’, which when it was originally acquired by English still meant literally ‘end’: ‘God, that all things did make of nought … puttest each creature to his finance’, Coventry Mystery Plays 1400. The debt-settling sense had already developed by that time, but this did not broaden out into the current ‘management of monetary resources’ until the 18th century.
=> final, fine, finish
free: free: [OE] The prehistoric ancestor of free was a term of affection uniting the members of a family in a common bond, and implicitly excluding their servants or slaves – those who were not ‘free’. It comes ultimately from Indo- European *prijos, whose signification ‘dear, beloved’ is revealed in such collateral descendants as Sanskrit priyás ‘dear’, Russian prijatel’ ‘friend’, and indeed English friend.

Its Germanic offspring, *frijaz, displays the shift from ‘affection’ to ‘liberty’, as shown in German frei, Dutch vrij, Swedish and Danish fri, and English free. Welsh rhydd ‘free’ comes from the same Indo-European source.
=> friday, friend
haunt: haunt: [13] Etymologically, a ghost that haunts a building is only using the place as its ‘home’. The word’s distant ancestor is the prehistoric Germanic verb *khaimatjan, a derivative of the noun *khaimaz (source of English home). This was borrowed by Old French as hanter ‘frequent a place’, and passed on to English as haunt. Its main modern supernatural meaning did not develop until the 16th century (the first records of this sense come in Shakespeare’s plays).
=> home
hurry: hurry: [16] The earliest known occurrences of the verb hurry are in the plays of Shakespeare, who uses it quite frequently. This suggests that it may have been a word well known to him in his native West Midland dialect, but it is not clear whether it is identical with the horye that occurs in a 14th-century Middle English poem from the same general area. A possible relative is Middle High German hurren ‘move quickly’.
repertory: repertory: [16] A repertory is etymologically a list of things ‘found’. The word was adopted from late Latin repertōrium, a derivative of reperīre ‘find out’. This was formed from the base *per- ‘attempt’, which has also given English experience, expert, peril, pirate, etc. The sense ‘list of plays, pieces of music, etc performed’ was introduced from French in the 19th century, along with the French form repertoire.
=> experience, expert, peril, pirate
scene: scene: [16] Greek skēné originally meant ‘tent’ (it was related to skiá ‘shadow’, a descendant of the same Indo-European base that produced English shimmer and shine, and so etymologically denoted ‘something that gives shade’). Such tents or booths were used for presenting plays, and eventually the word skēné came to denote the backdrop against which drama is performed.

It passed into English via Latin scaena. The Italian version of the word, scena (itself borrowed into English in the 19th century), has the derivative scenario, which has been acquired by English on two separate occasions: first as scenery [18] and later as scenario [19].
=> scenario, shimmer, shine
termagent: termagent: [13] Termagent was originally the name of a blustering arrogant Muslim deity in medieval mystery plays; it was not used for a ‘quarrelsome woman’ until the 16th century. It was an alteration of an earlier Tervagant, which came via Old French Tervagant from Italian Trivigante. It is not known for certain where this came from. It has been interpreted as literally ‘three-wandering’, in allusion to the moon travelling in different guises to heaven, earth, and hell, as if it were formed from Latin tri- ‘three’ and vagārī ‘wander’ (source of English vagabond, vagrant, etc); but it may simply have been borrowed from some unknown oriental language.
-aster: word-forming element expressing incomplete resemblance (such as poetaster), usually diminutive and deprecatory, from Latin -aster, from a suffix forming nouns from verbs ending in Greek -azein; in later Latin generalized as a pejorative suffix, as in patraster "he who plays the father."
acting (n.): c. 1600, "performance of deeds;" 1660s, "performance of plays;" verbal noun from present participle of act (v.). Acting out in psychology is from 1945.
actor (n.): late 14c., "an overseer, guardian, steward," from Latin actor "an agent or doer," also "theatrical player," from past participle stem of agere (see act (n.)). Mid-15c. as "a doer, maker," also "a plaintiff." Sense of "one who performs in plays" is 1580s, originally applied to both men and women.
adventurer (n.): late 15c., "one who plays at games of chance," agent noun from adventure (v.). Meaning "one who seeks adventures" is from 1660s.
affair (n.): c. 1300, "what one has to do," from Anglo-French afere, Old French afaire "business, event; rank, estate" (12c., Modern French affaire), from the infinitive phrase à faire "to do," from Latin ad "to" (see ad-) + facere "to do, make" (see factitious).

A Northern word originally, brought into general use and given a French spelling by Caxton (15c.). General sense of "vague proceedings" (in romance, war, etc.) first attested 1702. Meaning "an affair of the heart; a passionate episode" is from French affaire de coeur (itself attested in English from 1809); to have an affair with someone in this sense is by 1726, earlier have an affair of love:
'Tis manifeſtly contrary to the Law of Nature, that one Woman ſhould cohabit or have an Affair of Love with more than one Man at the ſame time. ["Pufendorf's Law of Nature and Nations," transl. J. Spavan, London, 1716]

Thus, in our dialect, a vicious man is a man of pleasure, a sharper is one that plays the whole game, a lady is said to have an affair, a gentleman to be a gallant, a rogue in business to be one that knows the world. By this means, we have no such things as sots, debauchees, whores, rogues, or the like, in the beau monde, who may enjoy their vices without incurring disagreeable appellations. [George Berkeley, "Alciphron or the Minute Philosopher," 1732]
censor (n.): 1530s, "Roman magistrate who took censuses and oversaw public morals," from Middle French censor and directly from Latin censor, from censere "to appraise, value, judge," from PIE root *kens- "speak solemnly, announce" (cognates: Sanskrit śamsati "recites, praises," śasa "song of praise").

There were two of them at a time in classical times, usually patricians, and they also had charge of public finances and public works. Transferred sense of "officious judge of morals and conduct" in English is from 1590s. Roman censor also had a transferred sense of "a severe judge; a rigid moralist; a censurer." Of books, plays (later films, etc.), 1640s. By the early decades of the 19c. the meaning of the English word had shaded into "state agent charged with suppression of speech or published matter deemed politically subversive." Related: Censorial.
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]
critic (n.): 1580s, "one who passes judgment," from Middle French critique (14c.), from Latin criticus "a judge, literary critic," from Greek kritikos "able to make judgments," from krinein "to separate, decide" (see crisis). Meaning "one who judges merits of books, plays, etc." is from c. 1600. The English word always had overtones of "censurer, faultfinder."
To understand how the artist felt, however, is not criticism; criticism is an investigation of what the work is good for. ... Criticism ... is a serious and public function; it shows the race assimilating the individual, dividing the immortal from the mortal part of a soul. [George Santayana, "The Life of Reason," 1906]

A perfect judge will read each work of wit
With the same spirit that its author writ;
[Pope, "An Essay on Criticism," 1709]
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.
curtain (n.): c. 1300, from Old French cortine "curtain, tapestry, drape, blanket," from Late Latin cortina "curtain," but in classical Latin "round vessel, cauldron," from Latin cortem (older cohortem) "enclosure, courtyard" (see cohort). The confusion apparently begins in using cortina as a loan-translation for Greek aulaia ("curtain") in the Vulgate (to render Hebrew yeriah in Exodus xxvi:1, etc.) because the Greek word was connected to aule "court," perhaps because the "door" of a Greek house that led out to the courtyard was a hung cloth. The figurative sense in curtain call is from 1884. Curtains "the end" is 1912, originally from stage plays. An Old English word for "curtain" was fleonet "fly-net."
direct (v.): late 14c., "to write (to someone), to address," from Latin directus "straight," past participle of dirigere "set straight," from dis- "apart" (see dis-) + regere "to guide" (see regal). Compare dress; address.

Meaning "to govern, regulate" is from c. 1500; "to order, ordain" is from 1650s. Sense of "to write the destination on the outside of a letter" is from 16c. Of plays, films, etc., from 1913. Related: Directed; directing.
dramatic (adj.): 1580s, from Late Latin dramaticus, from Greek dramatikos "pertaining to plays," from drama (genitive dramatos; see drama). Meaning "full of action and striking display, fit for a drama" is from 1725. Dramatic irony is recorded from 1907. Related: Dramatical; dramatically.
dramaturgy (n.): "composition and production of plays," 1801, from French dramaturgie, from Greek dramatourgia, from drama (genitive dramatos) + ergos "worker" (see organ).
exit (n.): 1530s (late 15c. as a Latin word in English), originally a stage direction, from Latin exit "he or she goes out," third person singular present indicative of exire "go out, go forth, depart," from ex- "out" (see ex-) + ire "to go" (see ion). Also from Latin exitus "a leaving, a going out," noun of action from exire. Meaning "a departure" (originally from the stage) is from 1580s. Meaning "a way of departure" is from 1690s; specific meaning "door for leaving" is from 1786. The verb is c. 1600, from the noun; it ought to be left to stage directions and the clunky jargon of police reports. Related: Exited; exiting.
Those who neither know Latin nor read plays are apt to forget or not know that this is a singular verb with plural exeunt. [Fowler]
Exit poll attested by 1980.
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.
fiction (n.): early 15c., ficcioun, "that which is invented or imagined in the mind," from Old French ficcion "dissimulation, ruse; invention, fabrication" (13c.) and directly from Latin fictionem (nominative fictio) "a fashioning or feigning," noun of action from past participle stem of fingere "to shape, form, devise, feign," originally "to knead, form out of clay," from PIE *dheigh- "to build, form, knead" (source also of Old English dag "dough;" see dough).

Meaning "prose works (not dramatic) of the imagination" is from 1590s, at first often including plays and poems. Narrower sense of "the part of literature comprising novels and short stories based on imagined scenes or characters" is by early 19c. The legal sense (fiction of law) is from 1580s. A writer of fiction could be a fictionist (1827). The related Latin words included the literal notion "worked by hand," as well as the figurative senses of "invented in the mind; artificial, not natural": Latin fictilis "made of clay, earthen;" fictor "molder, sculptor" (also borrowed 17c. in English), but also of Ulysses as "master of deceit;" fictum "a deception, falsehood; fiction."
flirt (n.): 1540s, "joke, jest, stroke of wit, contemptuous remark," from flirt (v.). By 1560s as "a pert young hussey" [Johnson], and Shakespeare has flirt-gill (i.e. Jill) "a woman of light or loose behavior" (Fletcher formalizes it as flirt-gillian), while flirtgig was a 17c. Yorkshire dialect word for "a giddy, flighty girl." One of the many fl- words suggesting loose, flapping motion and connecting the notions of flightiness and licentiousness. Compare English dialect and Scottish flisk "to fly about nimbly, skip, caper" (1590s); source of Scott's fliskmahoy "girl giddy and full of herself." The meaning "person who plays at courtship" is from 1732 (as the name of female characters in plays at least since 1689 (Aphra Behn's "The Widow Ranter")). Also in early use sometimes "person one flirts with," though by 1862 this was being called a flirtee.
float (n.): apparently an early Middle English merger of three related Old English nouns, flota "boat, fleet," flote "troop, flock," flot "body of water, sea;" all from the source of float (v.). The early senses were the now-mostly-obsolete ones of the Old English words: "state of floating" (early 12c.), "swimming" (mid-13c.); "a fleet of ships; a company or troop" (c. 1300); "a stream, river" (early 14c.). From c. 1300 as an attachment for buoyancy on a fishing line or net; early 14c. as "raft." Meaning "platform on wheels used for displays in parades, etc." is from 1888, probably from earlier sense of "flat-bottomed boat" (1550s). As a type of fountain drink, by 1915.
Float.--An ade upon the top of which is floated a layer of grape juice, ginger ale, or in some cases a disher of fruit sherbet or ice cream. In the latter case it would be known as a "sherbet float" or an "ice-cream float." ["The Dispenser's Formulary: Or, Soda Water Guide," New York, 1915]

Few soda water dispensers know what is meant by a "Float Ice Cream Soda." This is not strange since the term is a coined one. By a "float ice cream soda" is meant a soda with the ice cream floating on top, thus making a most inviting appearance and impressing the customer that you are liberal with your ice cream, when you are not really giving any more than the fellow that mixes his ice cream "out of sight." ["The Spatula," Boston, July, 1908]
harper (n.): Old English hearpere "one who plays the harp," agent noun from harp (v.). As a surname from late 12c. Compare Middle High German harpfære, German Harfner.
harpist (n.): "one who plays the harp," 1610s, a hybrid from Germanic harp (n.) + Greek -ist.
haunt (v.): early 13c., "to practice habitually, busy oneself with, take part in," from Old French hanter "to frequent, resort to, be familiar with" (12c.), probably from Old Norse heimta "bring home," from Proto-Germanic *haimatjanan "to go or bring home," from *haimaz- "home" (see home (n.)). Meaning "to frequent (a place)" is c. 1300 in English. Use in reference to a spirit returning to the house where it had lived perhaps was in Proto-Germanic, but it was reinforced by Shakespeare's plays, and it is first recorded 1590 in "A Midsummer Night's Dream."
hazy (adj.): 1620s, hawsey, nautical, of unknown origin. Some connect it with German hase "hare," an animal which plays an important part in Germanic folklore, with many supernatural and unlucky aspects in medieval times (among the superstitions: a dead hare should not be brought aboard a fishing ship, and the word hare should not be spoken at sea). Another suggestion is Old English hasu, haswe "gray." Related: Hazily; haziness.
interlude (n.): c. 1300, from Medieval Latin interludium "an interlude," from Latin inter- "between" (see inter-) + ludus "a play" (see ludicrous). Originally farcical episodes introduced between acts of long mystery plays; transferred sense of "interval in the course of some action" is from 1751.
kabuki (n.): 1896, from Japanese, popular theater (as opposed to shadow puppet-plays or lyrical Noh dramas), literally "art of song and dance," from ka "song" + bu "dance" + ki "art, skill" [Barnhart, OED]. Alternative etymology (in Webster's) is from nominal form of kabuku "to be divergent, to deviate," from early opinion of this form of drama. Since c. 1650, all parts are played by males.
lascivious (adj.): mid-15c., from Middle French lascivieux or directly from Late Latin lasciviosus (used in a scolding sense by Isidore and other early Church writers), from Latin lascivia "lewdness, playfulness, frolicsomeness, jolity," from lascivus "lewd, playful, frolicsome, wanton," from PIE *las-ko-, from *las- "to be eager, wanton, or unruly" (cognates: Sanskrit -lasati "yearns," lasati "plays, frolics," Hittite ilaliya- "to desire, covet," Greek laste "harlot," Old Church Slavonic laska "flattery," Slovak laska "love," Old Irish lainn "greedy," Gothic lustus, Old English lust "lust"). Related: Lasciviously; lasciviousness. In 17c. also with a verbal form, lasciviate.
lek (v.): to engage in courtship displays of certain animals, 1871, probably from Swedish leka "to play," cognate of English dialectal verb lake (see lark (v.)).
lunch (n.): "mid-day repast," 1786, shortened form of luncheon (q.v.). The verb meaning "to take to lunch" (said to be from the noun) also is attested from 1786:
PRATTLE. I always to be ſure, makes a point to keep up the dignity of the family I lives in. Wou'd you take a more ſolid refreſhment?--Have you lunch'd, Mr. Bribe?

BRIBE. Lunch'd O dear! Permit me, my dear Mrs. Prattle, to refreſh my sponge, upon the honey dew that clings to your raviſhing pouters. O! Mrs. Prattle, this ſhall be my lunch. (kiſſes)

["The Mode," in William Davies' "Plays Written for a Private Theatre," London, 1786]
But as late as 1817 the only definition of lunch in Webster's is "a large piece of food." OED says in 1820s the word "was regarded either as a vulgarism, or as a fashionable affectation." Related: Lunched; lunching. Lunch money is attested from 1868; lunch-time (n.) is from 1821; lunch hour is from 1840. Slang phrase out to lunch "insane, stupid, clueless" first recorded 1955, on notion of being "not there." Old English had nonmete "afternoon meal," literally "noon-meat."
magnetosphere (n.): 1959, from magneto- + sphere. So called because in it the magnetic field of the earth plays a dominant role in the motion of particles.
mean (adj.1): "low-quality," c. 1200, "shared by all," from imene, from Old English gemæne "common, public, general, universal, shared by all," from Proto-Germanic *ga-mainiz "possessed jointly" (cognates: Old Frisian mene, Old Saxon gimeni, Middle Low German gemeine, Middle Dutch gemene, Dutch gemeen, German gemein, Gothic gamains "common"), from PIE *ko-moin-i- "held in common," a compound adjective formed from collective prefix *ko- "together" (Proto-Germanic *ga-) + *moi-n-, suffixed form of PIE root *mei- (1) "to change, exchange" (see mutable). Compare second element in common (adj.), a word with a sense evolution parallel to that of this word.

Of things, "inferior, second-rate," from late 14c. (a secondary sense in Old English was "false, wicked"). Notion of "so-so, mediocre" led to confusion with mean (n.). Meaning "inferior in rank or status" (of persons) emerged early 14c.; that of "ordinary" from late 14c.; that of "stingy, nasty" first recorded 1660s; weaker sense of "disobliging, pettily offensive" is from 1839, originally American English slang. Inverted sense of "remarkably good" (i.e. plays a mean saxophone) first recorded c. 1900, perhaps from phrase no mean _______ "not inferior" (1590s, also, "not average," reflecting further confusion with mean (n.)).
morgue (n.): "mortuary," 1821, from French Morgue, originally a specific building in Paris where bodies were exposed for identification:
There is, in the most populous part of the French metropolis, an establishment entitled La Morgue, destined for the reception and exposition of bodies drowned in the Seine, and caught in nets, which are placed in different parts of the river for that purpose. The object of this exposition is, that the deceased may be recognised by their friends or relatives, and receive the rights of sepulture accordingly. The Morgue is open at all hours of the day, to passengers of every description, and often displays at a time, five or six horrible carcasses stretched, without covering, on an inclined platform, and subjected to the promiscuous gaze of the mob. ["American Review," January 1811]
Before that it was the place where new prisoners were displayed to keepers to establish their identification. Thus the name is believed to be probably from French morgue "haughtiness," originally "a sad expression, solemn look," from Old French morguer "look solemnly," from Vulgar Latin *murricare "to make a face, pout," from *murrum "muzzle, snout." The 1768 Dictionnaire Royal François-Anglois Et Anglois-François defines French morgue both as "A proud, big, haughty or stately look, stare, surliness, or surly look" and "A little gratel room wherein a new prisoner is set, and must continue some hours, that the Jailer's ordinary servants may the better take notice of his face."

Adopted as a general term in U.S., 1880s, replacing earlier dead house, etc. In newspaper slang, "collection of pre-written obituary material of living persons" (1903), hence "library of clips, photos, etc.," 1918.
mufti (n.): 1580s, muphtie "official head of the state religion in Turkey," from Arabic mufti "judge," active participle of afta "to give," conjugated form of fata "he gave a (legal) decision" (compare fatwa). Sense of "ordinary clothes (not in uniform)" is from 1816, of unknown origin, perhaps from mufti's costume of robes and slippers in stage plays, which was felt to resemble plain clothes.
music (n.): mid-13c., musike, from Old French musique (12c.) and directly from Latin musica "the art of music," also including poetry (also source of Spanish musica, Italian musica, Old High German mosica, German Musik, Dutch muziek, Danish musik), from Greek mousike (techne) "(art) of the Muses," from fem. of mousikos "pertaining to the Muses," from Mousa "Muse" (see muse (n.)). Modern spelling from 1630s. In classical Greece, any art in which the Muses presided, but especially music and lyric poetry.

The use of letters to denote music pitch probably is at least as old as ancient Greece, as their numbering system was ill-suited to the job. Natural scales begin at C (not A) because in ancient times the minor mode was more often used than the major one, and the natural minor scale begins at A.

Music box is from 1773, originally "barrel organ;" music hall is from 1842, especially "hall licensed for musical entertainment" (1857). To face the music "accept the consequences" is from 1850; the exact image is uncertain, one theory ties it to stage performers, another to cavalry horses having to be taught to stay calm while the regimental band plays. To make (beautiful) music with someone "have sexual intercourse" is from 1967.
-or: word-forming element making nouns of quality, state, or condition, from Middle English -our, from Old French -our (Modern French -eur), from Latin -orem (nominative -or), a suffix added to pp. verbal stems. Also in some cases from Latin -atorem (nominative -ator).

In U.S., via Noah Webster, -or is nearly universal (but not in glamour, curious, generous), while in Britain -our is used in most cases (but with many exceptions: author, error, senator, ancestor, horror etc.). The -our form predominated after c. 1300, but Mencken reports that the first three folios of Shakespeare's plays used both spellings indiscriminately and with equal frequency; only in the Fourth Folio of 1685 does -our become consistent.

A partial revival of -or on the Latin model took place from 16c. (governour began to lose its -u- 16c. and it was gone by 19c.), and also among phonetic spellers in both England and America (John Wesley wrote that -or was "a fashionable impropriety" in England in 1791).

Webster criticized the habit of deleting -u- in -our words in his first speller ("A Grammatical Institute of the English Language," commonly called the Blue-Black Speller) in 1783. His own deletion of the -u- began with the revision of 1804, and was enshrined in the influential "Comprehensive Dictionary of the English Language" (1806), which also established in the U.S. -ic for British -ick and -er for -re, along with many other attempts at reformed spelling which never caught on (such as masheen for machine). His attempt to justify them on the grounds of etymology and the custom of great writers does not hold up.

Fowler notes the British drop the -u- when forming adjectives ending in -orous (humorous) and derivatives in -ation and -ize, in which cases the Latin origin is respected (such as vaporize). When the Americans began to consistently spell it one way, however, the British reflexively hardened their insistence on the other. "The American abolition of -our in such words as honour and favour has probably retarded rather than quickened English progress in the same direction." [Fowler]
onnagata (n.): in Kabuki and similar drama, a man who plays female roles, 1901, from Japanese, from onna "woman" + kata "figure."
opera (n.): "a drama sung" [Klein], 1640s, from Italian opera, literally "a work, labor, composition," from Latin opera "work, effort" (Latin plural regarded as feminine singular), secondary (abstract) noun from operari "to work," from opus (genitive operis) "a work" (see opus). Defined in "Elson's Music Dictionary" as, "a form of musical composition evolved shortly before 1600, by some enthusiastic Florentine amateurs who sought to bring back the Greek plays to the modern stage."
No good opera plot can be sensible. ... People do not sing when they are feeling sensible. [W.H. Auden, 1961]
As a branch of dramatic art, it is attested from 1759. First record of opera glass "small binoculars for use at the theater" is from 1738. Soap opera is first recorded 1939, as a disparaging reference to daytime radio dramas sponsored by soap manufacturers.
oratorio (n.): "long musical composition, usually with a text based on Scripture," 1727 (in English from 1640s in native form oratory), from Italian oratorio (late 16c.), from Church Latin oratorium (see oratory (n.2)), in reference to musical services in the church of the Oratory of St. Philip Neri in Rome, where old mystery plays were adapted to religious services.
organist (n.): 1590s, from organ + -ist, or from or influenced by Middle French organiste, from Medieval Latin organista "one who plays an organ," from Latin organum (see organ).
pageant (n.): late 14c., "play in a cycle of mystery plays," from Medieval Latin pagina, of uncertain origin, perhaps from Latin pagina "page of a book" (see page (n.1)) on notion of "manuscript" of a play.

But an early sense in Middle English also was "stage or scene of a play" (late 14c.) and Klein says a sense of Latin pagina was "movable scaffold" (probably from the etymological sense of "stake"). With excrescent -t as in ancient (adj.). Generalized sense of "showy parade, spectacle" is first attested 1805, though this notion is found in pageantry (1650s).
pansexual (adj.): 1926 (pansexualism is from 1917), from pan- + sexual. Originally in reference to the view that the sex instinct plays the primary part in all human activity, mental and physical; this was held by his critics to be the view of Freud, therefore a term of reproach leveled at early psychology.
picker (n.): 1520s, "one who steals;" literal use "one who picks" is from 1660s; agent noun from pick (v.). From 1923 as "one who plays the banjo." Picker-upper attested from 1936.