French, "shame on him who thinks evil of it;" proverbial expression recorded from c. 1300, used as motto of the Order of the Garter.
"the order being changed," c. 1600, Latin, from vice, ablative of vicis "a change, alternation, alternate order" (from PIE root *weik- (2) "to bend, to wind") + versa, feminine ablative singular of versus, past participle of vertere "to turn, turn about" (from PIE root *wer- (2) "to turn, bend"). "The phrase has the complete force of a proposition, being as much as to say that upon a transposition of antecedents the consequents are also transposed" [Century Dictionary].
also court martial, "court of military or naval officers to try cases of desertion, mutiny, etc.," 1650s (plural courts martial), originally martial court (1570s), from court (n.) + martial (adj.). Word-order changed on the model of French cour martiale. As a verb, from 1859. Related: Court-martialed. Middle English had court-spiritual "ecclesiastical court" (late 15c.).
early 15c. as the national emblem of England (St. George's Cross), also the badge of the Order of the Temple. Hence red-cross knight, one bearing such a marking on shield or crest. In 17c., a red cross was the mark placed on the doors of London houses infected with the plague. The red cross was adopted as a symbol of ambulance service in 1864 by the Geneva Conference, and the Red Cross Society (later also, in Muslim lands, Red Crescent) philanthropic organization was founded to carry out the views of the 1864 conference as well as other works of relief.
Homo as the genus of the human race, within the order Primates, was formally instituted in Modern Latin 1758 by Linnaeus (originally also including chimpanzees). Used since in various Latin or pseudo-Latin combinations intended to emphasize some aspect of humanity, as in Henri Bergson's Homo faber "man the tool-maker" (in "L'Evolution Créatrice", 1907).
1869; Englishing of vers libre.
But it is possible that excessive devotion to rhyme has thickened the modern ear. The rejection of rhyme is not a leap at facility; on the contrary, it imposes a much severer strain upon the language. When the comforting echo of rhyme is removed, success or failure in the choice of words, in the sentence structure, in the order, is at once more apparent. Rhyme removed, the poet is at once held up to the standards of prose. Rhyme removed, much ethereal music leaps up from the word, music which has hitherto chirped unnoticed in the expanse of prose. [T.S. Eliot, "Reflections on Vers libre," New Statesman, 3 March 1917]
"girl or woman whose attractiveness defies standards of beauty," 1849, a French expression (by 1780 in French), from fem. singular of joli "pretty" (see jolly) + laid "ugly," from Frankish *laid (see loath (adj.)).
Of beauty, as we narrowly understand it in England, [the 18c. French woman of society] had but little; but she possessed so many other witcheries that her habitual want of features and complexion ceased to count against her. Expression redeemed the absence of prettiness and the designation jolie laide was invented for her in order to express her power of pleasing despite her ugliness. ["The Decadence of French Women," Blackwood's Edinburgh Magazine, October 1881]