Kindergarten means a garden of children, and Froebel, the inventor of it, or rather, as he would prefer to express it, the discoverer of the method of Nature, meant to symbolize by the name the spirit and plan of treatment. How does the gardener treat his plants? He studies their individual natures, and puts them into such circumstances of soil and atmosphere as enable them to grow, flower, and bring forth fruit,-- also to renew their manifestation year after year. [Mann, Horace, and Elizabeth P. Peabody, "Moral Culture of Infancy and Kindergarten Guide," Boston, 1863]The first one in England was established 1850 by Johannes Ronge, German Catholic priest; in America, 1868, by Elizabeth Peabody of Boston, Mass. Taken into English untranslated, whereas other nations that borrowed the institution nativized the name (cf. Danish börnehave, Modern Hebrew gan yeladim, literally "garden of children"). Sometimes partially anglicized as kindergarden (attested by 1879).
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.
As leon is the king of bestes. [John Gower, "Confessio Amantis," 1390]In Old English, used for names of chiefs of Anglian and Saxon tribes or clans, then of the states they founded. Also extended to British and Danish chiefs they fought. The chess piece so called from early 15c.; the playing card from 1560s; use in checkers/draughts first recorded 1820. Applied in nature to species deemed remarkably big or dominant (e.g. king crab, 1690s). In marketing, king-size is from 1939, originally of cigarettes.
[I]t was [Eugene] Field who haunted the declining years of Creston Clarke with his review of that actor's Lear. ... Said he, "Mr. Clarke played the King all the evening as though under constant fear that someone else was about to play the Ace." ["Theatre Magazine," January 1922]