"brief examination by a teacher of a student or class on some subject," originally oral, 1852, colloquial, of uncertain origin.
Perhaps from quiz (v.), which might be from Latin. Or from slang quiz "odd person, person or thing deemed ridiculous" (1782, itself perhaps originally university slang), via the notion of "schoolboy prank or joke at the expense of a person deemed a quiz," a noun sense attested frequently 1840s, but quiz (n.) in the sense of "puzzling question, one designed to make one ridiculous" seems to not be attested before 1807. More than one etymological thread might be involved here. The word itself seems to have confused literary English from the beginning.
A Quiz, in the common acceptation of the word, signifies one who thinks, speaks, or acts differently from the rest of the world in general. But, as manners and opinions are as various as mankind, it will be difficult to say who shall be termed a Quiz, and who shall not: each person indiscriminately applying the name of Quiz to every one who differs from himself .... [The London Magazine, November 1783]
The word Quiz is a sort of a kind of a word
That people apply to some being absurd;
One who seems, as t'were oddly your fancy to strike
In a sort of a fashion you somehow don't like
A mixture of odd, and of queer, and all that
Which one hates, just, you know, as some folks hate a cat;
A comical, whimsical, strange, droll — that is,
You know what I mean; 'tis — in short, — 'tis a quiz!
[from "Etymology of Quiz," Charles Dibdin, 1842]
According to OED, the anecdote that credits this word to a bet by the Dublin theater-manager Daly or Daley that he could coin a word is regarded by authorities as "doubtful" and the first record of it appears to be in 1836 (in Smart's "Walker Remodelled"; the story is omitted in the edition of 1840). The medical school quiz class is attested from 1853. "The object of the Quiz will be to take the students over the ground of the different lectures in a thorough review, by a system of close questioning, so as to make them familiar with the subject-matter of the lectures to a degree not to be obtained in any other way" [Missouri Clinical Record, 1875].
A sound found chiefly in words of Old English, Old Norse or Greek origin, unpronounceable by Normans and many other Europeans. In Greek, the sound corresponds etymologically to Sanskrit -dh- and English -d-; and it was represented graphically by -TH- and at first pronounced as a true aspirate (as still in English outhouse, shithead, etc.).
But by 2c. B.C.E. the Greek letter theta was in universal use and had the modern "-th-" sound. Latin had neither the letter nor the sound, however, and the Romans represented Greek theta by -TH-, which they generally pronounced, at least in Late Latin, as simple "-t-" (passed down to Romanic languages, as in Spanish termal "thermal," teoria "theory," teatro "theater").
In Germanic languages it represents PIE *-t- and was common at the start of words or after stressed vowels. To represent it, Old English and Old Norse used the characters ð "eth" (a modified form of -d-) and þ "thorn," which originally was a rune. Old English, unlike Old Norse, seems never to have standardized which of the two versions of the sound ("hard" and "soft") was represented by which of the two letters.
The digraph -th- sometimes appears in early Old English, on the Roman model, and it returned in Middle English with the French scribes, driving out eth by c. 1250, but thorn persisted, especially in demonstratives (þat, þe, þis, etc.), even as other words were being spelled with -th-. The advent of printing dealt its death-blow, however, as types were imported from continental founders, who had no thorn. For a time y was used in its place (especially in Scotland), because it had a similar shape, hence ye for the in historical tourist trap Ye Olde _______ Shoppe (it never was pronounced "ye," only spelled that way).
The awareness that some Latin words in t- were from Greek th- encouraged over-correction in English and created unetymological forms such as Thames and author, while some words borrowed from Romanic languages preserve, on the Roman model, the Greek -th- spelling but the simple Latin "t" pronunciation (as in Thomas and thyme).
c. 1200, pointe, "minute amount, single item in a whole; sharp end of a sword, etc.," a merger of two words, both ultimately from Latin pungere "to prick, pierce," from a nasalized form of PIE root *peuk- "to prick."
The Latin neuter past participle punctum was used as a noun, meaning "small hole made by pricking," subsequently extended to anything that looked like one, hence, "dot, particle," etc. This yielded Old French point "dot; smallest amount," which was borrowed in Middle English in the "smallest amount" sense by c. 1300. The meaning "small mark, dot" (mark made by the end of a pointed instrument) in English is from mid-14c.
Meanwhile the Latin fem. past participle of pungere was puncta, which was used in Medieval Latin to mean "sharp tip," and became Old French pointe "point of a weapon, vanguard of an army," which also passed into English (early 14c.). The senses have merged in English, but remain distinct in French.
The sense of "peak or promontory from a land or coast" is from 1550s. The extended senses often are from the notion of "minute, single, or separate items in an extended whole." The sense of "brief period of time, instant" is from late 14c. Meaning "distinguishing feature" (especially a good one) is recorded from late 15c. Meaning "a unit of score in a game" is recorded from 1746.
The meaning "recognized unit of fluctuation of price per share on an exchange" is by 1814. As a typeface unit (in Britain and U.S., one twelfth of a pica), it went into use in U.S. 1883. As a measure of weight for precious stones (one one-hundredth of a carat) it is recorded from 1931. Meaning "diacritical mark indicating a vowel or other modification of sound" is from 1610s.
The point "the matter being discussed" is attested from late 14c.; meaning "sense, purpose, end, aim, advantage" (usually in the negative, as in what's the point?) is recorded by 1903. Point of honor (1610s) translates French point d'honneur. Point of no return (1941) is originally aviators' term for the point in a flight "before which any engine failure requires an immediate turn around and return to the point of departure, and beyond which such return is no longer practical" [Young America's Aviation Annual]. To make a point of "be resolved to do something and do it accordingly" is from 1778.
early 14c., bealte, "physical attractiveness," also "goodness, courtesy," from Anglo-French beute, Old French biauté "beauty, seductiveness, beautiful person" (12c., Modern French beauté), earlier beltet, from Vulgar Latin *bellitatem (nominative bellitas) "state of being pleasing to the senses" (source also of Spanish beldad, Italian belta), from Latin bellus "pretty, handsome, charming," in classical Latin used especially of women and children, or ironically or insultingly of men, perhaps from PIE *dw-en-elo-, diminutive of root *deu- (2) "to do, perform; show favor, revere." Famously defined by Stendhal as la promesse de bonheur "the promise of happiness."
[I]t takes the one hundred men in ten million who understand beauty, which isn't imitation or an improvement on the beautiful as already understood by the common herd, twenty or thirty years to convince the twenty thousand next most sensitive souls after their own that this new beauty is truly beautiful. [Stendhal, "Life of Henry Brulard"]
Replaced Old English wlite. The concrete meaning "a beautiful woman" in English is recorded from late 14c. Beauty-sleep "sleep before midnight" (popularly regarded as the most refreshing) is attested by 1850. Beauty-spot "dark spot placed on the face formerly by women to heighten beauty" is from 1650s. Beauty-contest is from 1885; beauty-queen is from 1922 (earlier it was a show-name of cattle and hogs). Beauté du diable (literally "devil's beauty") is used as a French phrase in English from 1825.
But as it is hardly possible to define all the properties which constitute beauty, we may observe in general, that beauty consists in whatever pleases the eye of the beholder, whether in the human body, in a tree, in a landscape or in any other object. [from definition of BEAUTY in Noah Webster's "Dictionary of the English Language," 1828]
That pleasure which is at once the most intense, the most elevating, and the most pure is, I believe, found in the contemplation of the beautiful. When, indeed, men speak of Beauty, they mean, precisely, not a quality, as is supposed, but an effect—they refer, in short, just to that intense and pure elevation of soul—not of intellect, or of heart—upon which I have commented, and which is experienced in consequence of contemplating the “beautiful.” [Poe, "The Philosophy of Composition," 1846]
c. 1300, plesen, "to please or satisfy (a deity), propitiate, appease," from Old French plaisir "to please, give pleasure to, satisfy" (11c., Modern French plaire, the form of which is perhaps due to analogy of faire), from Latin placere "to be acceptable, be liked, be approved," related to placare "to soothe, quiet" (source of Spanish placer, Italian piacere), from PIE *pl(e)hk- "to agree, be pleasant," with cognates in Tocharian plak- "to agree," plaki "permission."
By mid-14c. as "satisfy (a person), be agreeable to, be satisfactory or acceptable; to be satisfied." Meaning "to delight, attract (someone), amuse, entertain, excite agreeable sensations in" in English is from late 14c. Inverted use for "to be pleased, be satisfied" parallels the evolution of like (v.).
Impersonal constructions with it, followed by an object and originally dative are common from mid-14c. Intransitive sense of "to like, choose, think fit" (do as you please) is recorded from c. 1500; imperative use (please do this), is recorded from 1620s (as please to), was probably a shortening of if it please (you) (late 14c.).
This impersonal construction with the indirect object of the person has given way in more familiar use to a personal construction, the original dative you, in if you please, for example, being now taken as the subject. The word in this sense was formerly common in polite request, may it please you, or if it please you, or, elliptically, please you : a mode of speech still common in addressing a judge or persons of rank or position : as, may it please the court ; if it please your honor ; please your worship ; etc. [Century Dictionary]
Verbs for "please" supply the stereotype polite word ("Please come in," short for may it please you to ...) in many languages (French, Italian), "But more widespread is the use of the first singular of a verb for 'ask, request' " [Buck, who cites German bitte, Polish proszę, etc.]. Spanish favor is short for hace el favor "do the favor." Danish has in this sense vær saa god, literally "be so good."
1833, "one who embodies the person or character of another;" 1840 as "one who infuses (something) with a personality;" 1842 as "dramatic actor, one who plays a part on stage," from impersonate with Latinate agent noun suffix. Meaning "one who imitates the manners and speech of another" for entertainment (by 1921) perhaps grew from older theatrical use of female impersonator (1876), male impersonator (1874), both once popular stage acts; the first example of the latter was perhaps Miss Ella Wesner, who had a vogue c. 1870: In Britain, blackface performers were called negro impersonators (1906). As a fem. formation, impersonatrix, as if from Latin, is from 1847; impersonatress, as if from French, is from 1881.
Her [Wesner's] impersonation were a genuine surprise and her success was so pronounced that in a short period a host of imitators made their appearance. Her most successful rivals were Bessie Bonehill, Millie Hilton and Vesta Tilley, all of London. [M.B Leavitt, "Fifty Years in Theatrical Management," New York, 1912]
There is no member of a minstrel company who gets a better salary than a good female impersonator, the line being considered a very delicate one, requiring a high style of art in its way to judge where fun stops and bad taste begins, with decision enough on the part of the performer to stop at the stopping place. ["The Ancestry of Brudder Bones," Harper's New Monthly Magazine, April 1879]
The most fascinating performer I knew in those days was a dame named Metcalfe who was a female female impersonator. To maintain the illusion and keep her job, she had to be a male impersonator when she wasn't on. Onstage she wore a wig, which she would remove at the finish, revealing her mannish haircut. "Fooled you!" she would boom at the audience in her husky baritone. Then she would stride off to her dressing room and change back into men's clothes. She fooled every audience she played to, and most of the managers she worked for, but her secret was hard to keep from the rest of the company. [Harpo Marx, "Harpo Speaks"]
c. 1600, "shield louse (Coccus ilicis) that yields a red dye" (1590s of the tree on which the insects live), from Medieval Latin cremesinus (also source of French kermès, Italian chermes, Spanish carmes), from Arabic qirmiz "kermes," from Sanskrit krmi-ja a compound meaning "(red dye) produced by a worm."
The Sanskrit compound is krmih "worm" (from PIE root *kwrmi- "worm," source also of Lithuanian kirmis, Old Irish cruim, Albanian krimp "worm") + -ja- "produced" (from PIE root *gene- "give birth, beget"). The insect lives in the Levant and southern Europe on a species of small evergreen oak (kermes oak) and in ancient Europe were the main source of red and scarlet dye. The dye is prepared from the dried bodies of pregnant females, which alive resemble small roundish grains about the size of peas and cling immobile to the tree on which they live. From this fact kermes dye was, for a long time, mistaken as being from a seed or excrescence of the tree, and the word for it in Greek was kokkos, literally "a grain, seed" (see cocco-). This was passed to Latin as coccum, coccus "berry [sic] yielding scarlet dye," in late use "scarlet color, scarlet garment."
So important was kermes (coccus) as a commercial source of scarlet dye that derivatives of the name for it have displaced the original word for "red" in many languages, such as Welsh coch (from Latin), Modern Greek kokkinos. Also compare Russian čcermnyj "purple-red," Old Church Slavonic čruminu. Compare also crimson (n.).
Kermes dyes have been found in burial wrappings in Anglo-Scandinavian York, but the use of kermes dyes seems to have been lost in Europe from the Dark Ages until early 15c. It fell out of use again with the introduction of cochineal (the word for which itself might be from coccus) from the New World.
Cloths dyed with kermes are of a deep red colour; and though much inferior in brilliancy to the scarlet cloths dyed with real Mexican cochineal, they retain the colour better and are less liable to stain. The tapestries of Brussels and other parts of Flanders, which have scarcely lost any thing of their original brilliancy, even after a lapse of 200 years, were all dyed with kermes. [W.T. Brande, "Dictionary of Science, Literature, & Art," London, 1842]
c. 1500, "a literary work (originally in verse) intended to ridicule prevailing vice or folly by scornful or contemptuous expression," from 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" (from PIE root *sa- "to satisfy").
The word acquired its literary sense, in Latin, in reference to a collection of poems in various meters on a variety of subjects by the late republican poet Ennius. The little that survives of his verse does not now seem particularly satiric, but in classical Latin the word was used especially of a poem which assailed various vices one after another.
In modern general use, "a denouncing or deriding speech or writing full of sarcasm, ridicule, irony, etc." (all of which can express satire). The broader meaning "fact or circumstance that makes someone or something look ridiculous" is by 1690s.
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]
Old English beon, beom, bion "be, exist, come to be, become, happen," from Proto-Germanic *biju- "I am, I will be." This "b-root" is from PIE root *bheue- "to be, exist, grow," and in addition to the words in English it yielded the German present first and second person singular (bin, bist, from Old High German bim "I am," bist "thou art"), the Latin perfective tenses of esse (fui "I was," etc.), Old Church Slavonic byti "be," Greek phu- "become," Old Irish bi'u "I am," Lithuanian būti "to be," Russian byt' "to be," etc.
The modern verb to be in its entirety represents the merger of two once-distinct verbs, the "b-root" represented by be and the am/was verb, which was itself a conglomerate. Roger Lass ("Old English") describes the verb as "a collection of semantically related paradigm fragments," while Weekley calls it "an accidental conglomeration from the different Old English dial[ect]s." It is the most irregular verb in Modern English and the most common.
Collective in all Germanic languages, it has eight different forms in Modern English: BE (infinitive, subjunctive, imperative); AM (present 1st person singular); ARE (present 2nd person singular and all plural); IS (present 3rd person singular); WAS (past 1st and 3rd persons singular); WERE (past 2nd person singular, all plural; subjunctive); BEING (progressive & present participle; gerund); BEEN (perfect participle).
The paradigm in Old English was: eom, beo (present 1st person singular); eart, bist (present 2nd person singular); is, bið (present 3rd person singular); sind, sindon, beoð (present plural in all persons); wæs (past 1st and 3rd person singular); wære (past 2nd person singular); wæron (past plural in all persons); wære (singular subjunctive preterit); wæren (plural subjunctive preterit).
The "b-root" had no past tense in Old English, but often served as future tense of am/was. In 13c. it took the place of the infinitive, participle and imperative forms of am/was. Later its plural forms (we beth, ye ben, they be) became standard in Middle English and it made inroads into the singular (I be, thou beest, he beth), but forms of are claimed this turf in the 1500s and replaced be in the plural. For the origin and evolution of the am/was branches of this tangle, see am and was.
That but this blow Might be the be all, and the end all. ["Macbeth" I.vii.5]
mid-13c., "animating or vital principle in man and animals," from Anglo-French spirit, Old French espirit "spirit, soul" (12c., Modern French esprit) and directly from Latin spiritus "a breathing (respiration, and of the wind), breath; breath of a god," hence "inspiration; breath of life," hence "life;" also "disposition, character; high spirit, vigor, courage; pride, arrogance," related to spirare "to breathe," perhaps from PIE *(s)peis- "to blow" (source also of Old Church Slavonic pisto "to play on the flute"). But de Vaan says "Possibly an onomatopoeic formation imitating the sound of breathing. There are no direct cognates."
Meaning "supernatural immaterial creature; angel, demon; an apparition, invisible corporeal being of an airy nature" is attested from mid-14c.; from late 14c. as "a ghost" (see ghost (n.)). From c. 1500 as "a nature, character"; sense of "essential principle of something" (in a non-theological context, as in Spirit of St. Louis) is attested from 1680s, common after 1800; Spirit of '76 in reference to the qualities that sparked and sustained the American Revolution is attested by 1797 in William Cobbett's "Porcupine's Gazette and Daily Advertiser."
From late 14c. in alchemy as "volatile substance; distillate;" from c. 1500 as "substance capable of uniting the fixed and the volatile elements of the philosopher's stone." Hence spirits "volatile substance;" sense narrowed to "strong alcoholic liquor" by 1670s. This also is the sense in spirit level (1768). Also from mid-14c. as "character, disposition; way of thinking and feeling, state of mind; source of a human desire;" in Middle English freedom of spirit meant "freedom of choice." From late 14c. as "divine substance, divine mind, God;" also "Christ" or His divine nature; "the Holy Ghost; divine power;" also, "extension of divine power to man; inspiration, a charismatic state; charismatic power, especially of prophecy." Also "essential nature, essential quality." From 1580s in metaphoric sense "animation, vitality."
According to Barnhart and OED, originally in English mainly from passages in Vulgate, where the Latin word translates Greek pneuma and Hebrew ruah. Distinction between "soul" and "spirit" (as "seat of emotions") became current in Christian terminology (such as Greek psykhe vs. pneuma, Latin anima vs. spiritus) but "is without significance for earlier periods" [Buck]. Latin spiritus, usually in classical Latin "breath," replaces animus in the sense "spirit" in the imperial period and appears in Christian writings as the usual equivalent of Greek pneuma. Spirit-rapping is from 1852.