"ancient Celtic minstrel-poet," mid-15c., from Scottish, from Old Celtic bardos "poet, singer," from Celtic *bardo-, possibly from PIE *gwredho- "he who makes praises," suffixed form of root *gwere- (2) "to favor."
In historical times, a term of great respect among the Welsh, but one of contempt among the Scots (who considered them itinerant troublemakers). Subsequently idealized by Scott in the more ancient sense of "lyric poet, singer." Poetic use of the word in English is from Greek bardos, Latin bardus, both from Gaulish.
All vagabundis, fulis, bardis, ſcudlaris, and ſiclike idill pepill, ſall be brint on the cheek, and ſcourgit with wandis, except thay find ſum craft to win thair living. [from a 16c. list of historical laws of Scottish kings, in Sir James Balfour, "Practicks: Or, a System of the More Ancient Law of Scotland," 1754]
Old English sang "voice, song, art of singing; metrical composition adapted for singing, psalm, poem," from Proto-Germanic *songwho- (source also of Old Norse söngr, Norwegian song, Swedish sång, Old Saxon, Danish, Old Frisian, Old High German, German sang, Middle Dutch sanc, Dutch zang, Gothic saggws), from PIE *songwh-o- "singing, song," from *sengwh- "to sing, make an incantation" (see sing (v.)).
Phrase for a song "for a trifle, for little or nothing" is from "All's Well" III.ii.9 (the identical image, por du son, is in Old French. With a song in (one's) heart "feeling joy" is first attested 1930 in Lorenz Hart's lyric. Song and dance as a form of vaudeville act is attested from 1872; figurative sense of "rigmarole" is from 1895.
"of or in the manner of Anacreon," the "convivial bard of Greece," celebrated lyrical poet (560-478 B.C.E.), born at Teos in Ionia. Also in reference to his lyric form (1706) of a four-line stanza, rhymed alternately, each line with four beats (three trochees and a long syllable), also "convivial and amatory" (1801); and "an erotic poem celebrating love and wine" (1650s).
The name is literally "Up-lord," from ana "up" (see ana-) + kreon "lord, master," which Beekes calls "an inherited word from Indo-European poetic language," from PIE *kreih- "splendor," and he compares Sanskrit sri- "magnificence, riches, splendor, fame."
U.S. lawyer and writer Francis Scott Key (1779-1843) in 1814 set or wrote his poem "The Star-Spangled Banner" to the melody of the drinking song of the popular London gentleman's club called The Anacreontic Society, dedicated to "wit, harmony, and the god of wine." The tune is late 18c. and may be the work of society member and court musician John Stafford Smith (1750-1836).
[be left, remain] mid-15c., "remain, continue in existence," from Old French rester "to remain, stay" (12c.), from Latin restare "stand back, be left," from re- "back" (see re-) + stare "to stand" (from PIE root *sta- "to stand, make or be firm").
It has been largely confused and partly merged with rest (v.1), which, however, is Germanic.
The meaning "be in a certain state or position" (of affairs, etc.) is from late 15c. The older sense of "to continue to be" is rare but in phrases such as rest assured. To rest with "be in the power of, depend upon" is by 1819.
The transitive sense of "to keep, cause to continue to remain" was common in 16c.-17c., "used with a predicate adjective following and qualifying the object" [Century Dictionary]. Hence the phrase rest you merry (1540s, Shakespeare also has rest you fair), earlier rest þe murie (mid-13c.), as a greeting, "rest well, be happy," from the old adverbial use of merry. The Christmas carol lyric God rest ye merry, gentlemen, often is mispunctuated.
mid-13c., musike, "a pleasing succession of sounds or combinations of sounds; the science of combining sounds in rhythmic, melodic, and (later) harmonic order," 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 mousikē (technē) "(art) of the Muses," from fem. of mousikos "pertaining to the Muses; musical; educated," from Mousa "Muse" (see muse (n.)).
The modern spelling is from 1630s. In classical Greece, any art in which the Muses presided, but especially music and lyric poetry.
Music is the sound of the universal laws promulgated. [Thoreau]
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.
Meaning "the written or printed score of a composition" is from 1650s.
Music box is from 1773, originally "barrel organ," by 1845 in reference to the wind-up mechanical device; music hall is by 1842 as "interior space used for musical performances," especially "public 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.
c. 1200, "a servant, a functionary;" c. 1300, "instrumental musician, singer or storyteller;" from Old French menestrel "entertainer, poet, musician; servant, workman;" also "a good-for-nothing, a rogue," from Medieval Latin ministralis "servant, jester, singer," from Late Latin ministerialem (nominative ministerialis) "imperial household officer, one having an official duty," from ministerialis (adj.) "ministerial," from Latin ministerium (see ministry). The connecting notion to entertainers is the jester, musician, etc., as a court position.
Specific sense of "musician" developed in Old French, and the Norman conquest introduced the class into England, where they assimilated with the native gleemen. But in English from late 14c. to 16c. the word was used of anyone (singers, storytellers, jugglers, buffoons) whose profession was to entertain patrons. Their social importance and reputation in England deteriorated and by Elizabethan times they were ranked as a public nuisance. Only in 18c. English was the word limited, in a historical sense, to "medieval singer of heroic or lyric poetry who accompanied himself on a stringed instrument." Compare troubadour, jongleur.
By 1843 in American English in reference to a class of singers of "Negro melodies" and delineators of "plantation life," usually white men in blackface (burnt cork). The act itself dates to c. 1830.
The characteristic feature of such a troupe or band is the middle-man or interlocutor, who leads talk and gives the cues, and the two end-men, who usually perform on the tambourine and the bones, and between whom the indispensable conundrums and jokes are exchanged. As now constituted, a negro-minstrel troupe retains but little of its original character except the black faces and the old jokes. [Century Dictionary, 1895]
1590s, "pertaining to the island of Lesbos," from Latin Lesbius, from Greek lesbios "of Lesbos," Greek island in northeastern Aegean Sea (the name originally may have meant "wooded"), home of Sappho, great lyric poet whose erotic and romantic verse embraced women as well as men, hence meaning "relating to homosexual relations between women, characterized by erotic interest in other women" (in continuous use from 1890; the noun lesbianism from this sense is attested from 1870) and the noun, which is first recorded 1925.
Sappho's particular association with erotic love between women (with or without concurrent relations with men) dates to at least 1732 in writing in English, though the continuous use of lesbian and the modern words formed from it are from late 19c. The use of lesbian as a noun and an adjective in this sense seems to follow the same pattern.
In another Place the same commentator conjectures, that Myra is a Corruption of Myrrhina а famous Courtesan of Athens, who first practis'd and taught in that City Sappho's Manner and the Lesbian Gambols. ["Peregrine O Donald" (William King), "The Toast," 1732]
Before this, the principal figurative use of Lesbian was lesbian rule (c. 1600 and especially common in 17c.) a mason's rule of lead, of a type used in ancient times on Lesbos, which could be bent to fit the curves of a molding; hence, figuratively, "pliant morality or judgment."
And this is the nature of the equitable, a correction of law where it is defective owing to its universality. ... For when the thing is indefinite the rule also is indefinite, like the leaden rule used in making the Lesbian moulding; the rule adapts itself to the shape of the stone and is not rigid, and so too the decree is adapted to the facts. [Aristotle, "Nicomachean Ethics"]
It also was used in English from 1775 in reference to wines from Lesbos. Though the specific "pertaining to female homosexuality" is recent, Lesbian had long before that a suggestion of "amatory, erotic," "From the reputed character of the inhabitants and the tone of their poetry" [Century Dictionary]. The island's erotic reputation was ancient; Greek had a verb lesbiazein "to imitate the Lesbians," which implied "sexual initiative and shamelessness" among women (especially fellatio), but not necessarily female homosexuality, and they did not differentiate such things the way we have.