英语词源字典 - 在线词源网站

anther [anther 词源字典]: anther: [18] Greek ánthos originally meant ‘part of a plant which grows above ground’ (this was the basis of the Homeric ‘metaphor’ translated as ‘flower of youth’, which originally referred to the first growth of beard on young men’s faces). Later it narrowed somewhat to ‘flower’. The adjective derived from it was anthērós, which was borrowed into Latin as anthēra, a noun meaning ‘medicine made from flowers’.

In practice, herbalists often made such medicines from the reproductive part of the flower, and so anther came to be applied to the pollen-bearing part of the stamen. More remote semantically, but also derived from Greek ánthos, is anthology [17]. The second element represents Greek logíā ‘collecting’, a derivative of the verb legein ‘gather’ (which is related to legend and logic).

The notion of a collection of flowers, anthologíā, was applied metaphorically to a selection of choice epigrams or brief poems: borrowed into English, via French anthologie or medieval Latin anthologia, it was originally restricted to collections of Greek verse, but by the mid 19th century its application had broadened out considerably. The parallel Latin formation, florilegium, also literally ‘collection of flowers’, has occasionally been used in English for ‘anthology’.
=> anthology[anther etymology, anther origin, 英语词源]
fang: fang: [11] Fang originally meant ‘prey, spoils’ – a sense which survived well into the 18th century (‘Snap went the sheers, then in a wink, The fang was stow’d behind a bink [bench]’, Morrison, Poems 1790). It was related to a verb fang ‘take, capture’ which was very common in the Old and Middle English period, and which, like its surviving cousins German fangen, Dutch vangen, and Swedish fånga, goes back to a prehistoric Germanic *fangg- (English newfangled [15] is a memory of it).

The application of the word to an animal’s tooth does not emerge until as late as the 16th century, and although the broad semantic connection between ‘seizing’ and ‘sharp canine tooth’ is clear, the precise mechanism behind the development is not known.
=> newfangled
lesbian: lesbian: [16] Originally, and for many centuries, Lesbian simply meant ‘of Lesbos’, referring to the Aegean island of that name, off the Turkish coast. Then, in the second half of the 19th century, probably some time before 1870, it embarked on a more sensational career. The lyric poet Sappho (c. 600 BC) lived on Lesbos, and she was noted for the love poems she wrote to other women. Her name was invoked directly (in Sapphism) around this time as a genteel literary allusion to female homosexuality, but it was the even more deeply euphemistic lesbian that went on to become the main English term in this area.
poem: poem: [16] A poem is etymologically ‘something created’. The word comes via Old French poeme and Latin poēma from Greek póēma, a derivative of poeín ‘make, create’. The original sense ‘something created’ developed metaphorically via ‘literary work’ to ‘poem’. From the same Greek verb was derived poētés ‘maker’, hence ‘poet’, which produced Latin poēta and in due course English poet [13] (the Old English word for ‘poet’ had been scop, a relative of modern English scoff). Poetry [14] originated as a medieval Latin derivative of poēta. Poesy ‘poetry, poems’ [14], like poem originally a derivative Greek poeín, now has an archaic air, but it has a living descendant in posy [16], which started life as a contraction of poesy.
=> poesy, poet, poetry, posy
rhapsody: rhapsody: [16] A rhapsody is etymologically the product of a ‘weaver of songs’. It goes back ultimately to Greek rhapsōidíā ‘epic poem recited on a single occasion’, which was derived from rhapsōidós ‘writer of such poems’. This was a compound formed from rháptein ‘sew together’ and ōidé ‘song’ (source of English ode, parody, prosody, etc). The somewhat trivialized modern meaning ‘self-indulgently effusive piece of verse, music, etc’ emerged in the 17th century.
=> melody, ode, parody, prosody
-ad: word-forming element denoting collective numerals (Olympiad), plant families, and names of poems, from Greek -as (genitive -ados), a suffix forming fem. nouns; also used in fem. patronymics (Dryad, Naiad, also, in plural, Pleiades, Hyades).
Alexandrine: in reference to a type of verse line, 1580s (adj.); 1660s (n.), said to be from Old French Roman d'Alexandre, name of a poem about Alexander the Great that was popular in the Middle Ages, which used a 12-syllable line of 6 feet (the French heroic verse); it was used in English to vary the heroic verse of 5 feet. The name also sometimes is said to be from Alexandre de Paris, 13c. French poet, who used such a line (and who also wrote one of the popular Alexander the Great poems).
anthology (n.): 1630s, "collection of poetry," from Latin anthologia, from Greek anthologia "collection of small poems and epigrams by several authors," literally "flower-gathering," from anthos "a flower" (see anther) + logia "collection, collecting," from legein "gather" (see lecture (n.)). Modern sense (which emerged in Late Greek) is metaphoric, "flowers" of verse, small poems by various writers gathered together.
Biedermeier: 1854, from German, from Gottlieb Biedermeier, name of a fictitious writer of stodgy poems (invented by Ludwig Eichrodt as a satire on bourgeois taste); the name applied to styles prevalent in Germany 1815-48; also "conventional, bourgeois."
broaden (v.): 1727, from broad (adj.) + -en (1). The word seems no older than this date (discovered by Johnson in one of James Thomson's "Seasons" poems); broadened also is first found in the same poet, and past participle adjective broadening is recorded from 1850.
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]
divan (n.): 1580s, "Oriental council of state," from Turkish divan, from Arabic diwan, from Persian devan "bundle of written sheets, small book, collection of poems" (as in the "Divan i-Hafiz"), related to debir "writer."

Sense evolved through "book of accounts," to "office of accounts," "custom house," "council chamber," then to "long, cushioned seat," such as are found along the walls in Middle Eastern council chambers (see couch). The sofa/couch sense was taken into English 1702; the "book of poems" sense in 1823.
dwarf (n.): Old English dweorh, dweorg (West Saxon), duerg (Mercian), "very short human being," from Proto-Germanic *dweraz (cognates: Old Frisian dwerch, Old Saxon dwerg, Old High German twerg, German Zwerg, Old Norse dvergr), perhaps from PIE *dhwergwhos "something tiny," but with no established cognates outside Germanic. The mythological sense is 1770, from German (it seems never to have developed independently in English).
Whilst in this and other ways the dwarfs do at times have dealings with mankind, yet on the whole they seem to shrink from man; they give the impression of a downtrodden afflicted race, which is on the point of abandoning its ancient home to new and more powerful invaders. There is stamped on their character something shy and something heathenish, which estranges them from intercourse with christians. They chafe at human faithlessness, which no doubt would primarily mean the apostacy from heathenism. In the poems of the Mid. Ages, Laurin is expressly set before us as a heathen. It goes sorely against the dwarfs to see churches built, bell-ringing ... disturbs their ancient privacy; they also hate the clearing of forests, agriculture, new fangled pounding-machinery for ore. ["Teutonic Mythology," Jacob Grimm, transl. Stallybrass, 1883]
The shift of the Old English guttural at the end of the word to modern -f is typical (compare enough, draft). Old English plural dweorgas became Middle English dwarrows, later leveled down to dwarfs. The use of dwarves for the legendary race was popularized by J.R.R. Tolkien. As an adjective, from 1590s.
eclogue (n.): "short poem," especially a pastoral dialogue, mid-15c., from Latin ecloga "selection, short poem, eclogue," from Greek ekloge "a selection," especially of poems, from eklegein "to select" (see eclectic).
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."
georgic (n.): "poem of rural or agricultural life," 1510s, Georgics, title of Virgil's poems on rural life, from Latin georgica, from georgicus (adj.), from Greek georgikos "of a husbandman, agricultural," from ge "earth" (see Gaia) + ergon "work" (see organ). As an adjective meaning "related to agriculture" from 1711.
Grub-street (n.): 1620s, "originally the name of a street in Moorfields in London, much inhabited by writers of small histories, dictionaries, and temporary poems; whence any mean production is called grubstreet" [Johnson]. The place was renamed 1830 to Milton Street (after a local developer) then erased entirely 1970s by the Barbicon complex.
guileful (adj.): c. 1300, from guile + -ful. Nowadays only in poems and dictionaries. Related: Guilefully; guilefulness.
nature (n.): late 13c., "restorative powers of the body, bodily processes; powers of growth;" from Old French nature "nature, being, principle of life; character, essence," from Latin natura "course of things; natural character, constitution, quality; the universe," literally "birth," from natus "born," past participle of nasci "to be born," from PIE *gene- "to give birth, beget" (see genus).

From late 14c. as "creation, the universe;" also "heredity, birth, hereditary circumstance; essential qualities, innate disposition" (as in human nature); "nature personified, Mother Nature." Specifically as "material world beyond human civilization or society" from 1660s. Nature and nurture have been contrasted since 1874.
Nature should be avoided in such vague expressions as 'a lover of nature,' 'poems about nature.' Unless more specific statements follow, the reader cannot tell whether the poems have to do with natural scenery, rural life, the sunset, the untouched wilderness, or the habits of squirrels." [Strunk & White, "The Elements of Style," 3rd ed., 1979]
poetry (n.): late 14c., "poetry; a poem; ancient literature; poetical works, fables, or tales," from Old French poetrie (13c.), and perhaps directly from Medieval Latin poetria (c.650), from Latin poeta (see poet). In classical Latin, poetria meant "poetess."
... I decided not to tell lies in verse. Not to feign any emotion that I did not feel; not to pretend to believe in optimism or pessimism, or unreversible progress; not to say anything because it was popular, or generally accepted, or fashionable in intellectual circles, unless I myself believed it; and not to believe easily. [Robinson Jeffers (1887-1962), forward to "Selected Poems"]

Poetry -- meaning the aggregate of instances from which the idea of poetry is deduced by every new poet -- has been increasingly enlarged for many centuries. The instances are numerous, varied and contradictory as instances of love; but just as 'love' is a word of powerful enough magic to make the true lover forget all its baser and falser, usages, so is 'poetry' for the true poet. [Robert Graves, "The White Goddess"]
Figurative use from 1660s. Old English had metergeweorc "verse," metercræft "art of versification." Modern English lacks a true verb form in this group of words, though poeticize (1804), poetize (1580s, from French poétiser), and poetrize (c. 1600) have been tried. Poetry in motion (1826) perhaps is from poetry of motion (1813) "dance" (also poetry of the foot, 1660s).
rhapsody (n.): 1540s, "epic poem," from Middle French rhapsodie, from Latin rhapsodia, from Greek rhapsoidia "verse composition, recitation of epic poetry; a book, a lay, a canto," from rhapsodos "reciter of epic poems," literally "one who stitches or strings songs together," from rhaptein "to stitch, sew, weave" (see wrap (v.)) + oide "song" (see ode). Meaning "exalted enthusiastic feeling or expression" is from 1630s. Meaning "sprightly musical composition" is first recorded 1850s.
satire (n.): late 14c., "work intended to ridicule vice or folly," from Middle French satire (14c.) and directly from Latin satira "satire, poetic medley," earlier satura, in lanx satura "mixed dish, dish filled with various kinds of fruit," literally "full dish," from fem. of satur "sated" (see saturate).

First used in the literary sense in Latin in reference to a collection of poems in various meters on a variety of subjects by the late republican Roman poet Ennius. The matter of the little that survives of his verse does not seem to be particularly satiric, but in classical Latin the word came to mean especially a poem which assailed the prevailing vices, one after another. Altered in Latin by influence of Greek satyr, on mistaken notion that the literary form is related to the Greek satyr drama (see satyr).
Satire, n. An obsolete kind of literary composition in which the vices and follies of the author's enemies were expounded with imperfect tenderness. In this country satire never had more than a sickly and uncertain existence, for the soul of it is wit, wherein we are dolefully deficient, the humor that we mistake for it, like all humor, being tolerant and sympathetic. Moreover, although Americans are 'endowed by their Creator' with abundant vice and folly, it is not generally known that these are reprehensible qualities, wherefore the satirist is popularly regarded as a sour-spirited knave, and his every victim's outcry for codefendants evokes a national assent. [Ambrose Bierce, "Devil's Dictionary," 1911]

Proper satire is distinguished, by the generality of the reflections, from a lampoon which is aimed against a particular person, but they are too frequently confounded. [Johnson]

[I]n whatever department of human expression, wherever there is objective truth there is satire [Wyndham Lewis, "Rude Assignment," 1950]
For nuances of usage, see humor (n.).
sonnet (n.): 1557 (in title of Surrey's poems), from Middle French sonnet (1540s) or directly from Italian sonetto, literally "little song," from Old Provençal sonet "song," diminutive of son "song, sound," from Latin sonus "sound" (see sound (n.1)).

Originally in English also "any short lyric poem;" precise meaning is from Italian, where Petrarch (14c.) developed a scheme of an eight-line stanza (rhymed abba abba) followed by a six-line stanza (cdecde, the Italian sestet, or cdcdcd, the Sicilian sestet). Shakespeare developed the English Sonnet for his rhyme-poor native tongue: three Sicilian quatrains followed by a heroic couplet (ababcdcdefefgg). The first stanza sets a situation or problem, and the second comments on it or resolves it.
vers libre (n.): 1902, from French, literally "free verse," lines of varying length.
I remarked some years ago, in speaking of vers libre, that 'no vers is libre for the man who wants to do a good job.' The term, which fifty years ago had an exact meaning in relation to the French alexandrine, now means too much to mean anything at all. [T.S. Eliot, introduction to "Selected Poems of Ezra Pound," 1928]
-y (3): suffix in pet proper names (such as Johnny, Kitty), first recorded in Scottish c. 1400; according to OED it became frequent in English 15c.-16c. Extension to surnames seems to date from c. 1940. Use with common nouns seems to have begun in Scottish with laddie (1546) and become popular in English due to Burns' poems, but the same formation appears to be represented much earlier in baby and puppy.