The American folk custom of wearing or displaying a yellow ribbon to signify solidarity with loved ones or fellow citizens at war originated during the U.S. embassy hostage crisis in Iran in 1979. It does not have a connection to the American Civil War, beyond the use of the old British folk song "Round Her Neck She Wore A Yellow Ribbon" in the John Wayne movie of the same name, with a Civil War setting, released in 1949.
The story of a ribbon tied to a tree as a signal to a convict returning home that his loved ones have forgiven him is attested from 1959, but the ribbon in that case was white.
The ribbon color seems to have changed to yellow first in a version retold by newspaper columnist Pete Hamill in 1971. The story was dramatized in June 1972 on ABC-TV (James Earl Jones played the ex-con). Later that year, Irwin Levine and L. Russell Brown copyrighted the song "Tie a Yellow Ribbon Round the Ole Oak Tree," which became a pop hit in early 1973 and sparked a lawsuit by Hamill, later dropped.
In 1975, the wife of a Watergate conspirator put out yellow ribbons when her husband was released from jail, and news coverage of that was noted and remembered by Penne Laingen, whose husband was U.S. ambassador to Iran in 1979 and one of the Iran hostages taken in the embassy on Nov. 4. Her yellow ribbon in his honor was written up in the Dec. 10, 1979, Washington Post.
When the hostage families organized as the Family Liaison Action Group (FLAG), they took the yellow ribbon as their symbol. The ribbons revived in the 1991 Gulf War and again during the 2000s wars in Afghanistan and Iraq.
metallic element, 1812, Modern Latin, altered from earlier platina, from Spanish platina "platinum," diminutive of plata "silver," from Old French plate or Old Provençal plata "sheet of metal" (see plate (n.)). Related: Platiniferous.
The metal looks like silver, and the Spaniards at first thought it an inferior sort of silver, hence the name platina. It was first obtained from Spanish colonies in Mexico and Colombia, brought to Europe in 1735, and identified as an element 1741. Taken into English as platina (1750), it took its modern form (with element ending -ium) in 1812, at the time the names of elements were being regularized.
As a grayish-white color (similar to that of the metal) it is attested by 1923; especially as a shade of blond hair, it is attested by 1927 (in platinum blonde "woman with platinum-blonde hair;" Jean Harlow, famously associated with the label, starred in a popular movie of that name in 1931).
There is a blonde type to me more irresistibly lovely than all the rest of the women who come under the "preferred" classification. She is the platinum blonde. ... There are thousands of blondes with gold in their hair, and as many with red, and quite as many again with the yellow of corn, some real and sometimes corned with the aid of a well known bleaching ingredient—but the platinum blonde maintains her supremacy by her rarity. [Antoinette Donnelly, beauty advice column in New York "Daily News," Jan. 25, 1927]
As a designation for a recording that has sold at least one million copies, platinum is attested from 1960 ("The Battle of New Orleans"); in the late '50s it had been used to commemorate 3 million sales of a record (Pat Boone "Love Letters in the Sand"), and, from 1954, 25 million in total record sales (Jo Stafford, Gene Autry).
Old English lang "having a great linear extent, that extends considerably from end to end; tall; lasting," from Proto-Germanic *langa- (source also of Old Frisian and Old Saxon lang, Old High German and German lang, Old Norse langr, Middle Dutch lanc, Dutch lang, Gothic laggs "long").
The Germanic words perhaps are from PIE *dlonghos- (source also of Latin longus "long, extended; further; of long duration; distant, remote," Old Persian darga-, Persian dirang, Sanskrit dirghah "long"), from root *del- (1) "long" (source also of Greek dolikhos "long," endelekhes "perpetual"). Latin longus (source of prolong, elongate, longitude, etc.) thus is probably cognate with, but not the source of, the Germanic words. The word illustrates the Old English tendency for short "a" to become short "o" before -n- (also retained in bond/band and West Midlands dialectal lond from land and hond from hand).
Also in Old English in reference to time, "drawn out in duration," with overtones of "serious." The old sense of "tall" now appears to be dialectal only, or obsolete. For long "during a long time" is from c. 1300. To be long on something, "have a lot" of it, is from 1900, American English slang. A long vowel (c. 1000) originally was pronounced for an extended time. Mathematical long division is from 1808. Sporting long ball is from 1744, originally in cricket. Long jump as a sporting event is attested from 1864. A long face, one drawn downward in expression of sadness or solemnity, is from 1786. Long in the tooth (1841 of persons) is from horses showing age by recession of gums (but not in this sense until 1870). Long knives, name Native Americans gave to white settlers (originally in Virginia/Kentucky) is from 1774, perhaps a reference to their swords. Long time no see, supposedly imitative of American Indian speech, is first recorded 1919 as Chinese English.
late 14c., poetrie, "poetry, composition in verse; 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."
Figurative use is from 1660s. Old English had metergeweorc "verse," metercræft "art of versification." Also scop-cræft "the poet's art." 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). Poetry slam is by 1993.
It is only by a miracle that poetry is written at all. It is not recoverable thought, but a hue caught from a vaster receding thought. A poem is one undivided unimpeded expression fallen ripe into literature, and it is undividedly and unimpededly received by those for whom it was matured. [Thoreau, "A Week on the Concord and Merrimack Rivers"]
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"]
And the relation of the forms of poetry to the requirements of actual song is so fixed, that the laws of the four great groups of metre which we now successively to examine—the trimetre, tetrametre, pentametre, and hexametre—all depend upon the physical power of utterance in the breath. [Ruskin, "Elements of English Prosody, for use in St. George's Schools," 1880]
Middle English smal, smale, from Old English smæl "thin, slender, narrow; fine," from Proto-Germanic *smal- "small animal; small" (source also of Old Saxon, Danish, Swedish, Middle Dutch, Dutch, Old High German smal, Old Frisian smel, German schmal "narrow, slender," Gothic smalista "smallest," Old Norse smali "small cattle, sheep"), perhaps from a PIE root *(s)melo- "smaller animal" (source also of Greek melon, Old Irish mil "a small animal;" Old Church Slavonic malu "bad").
The original sense of "narrow" now is generally restricted to waistlines (c. 1300) and intestines (late Old English).
My sister ... is as white as a lilly, and as small as a wand. [Shakespeare, "Two Gentlemen of Verona," 1591]
The sense of "not large, of little size, of less than ordinary dimensions" developed in Old English. Of children, "young, not fully developed," from mid-13c. The meaning "little or inferior in degree or amount" is from late 13c. That of "trivial, unimportant, of little weight or moment" is from mid-14c. The sense of "having little property or trade" is from 1746. That of "characterized by littleness of mind or spirit, base, low, selfish" is from 1824.
Small fry is by 1690s of little fish, 1885 of insignificant people. Small potatoes "no great matter, something petty or insignificant" is attested by 1924; small change, figuratively "something of little value" (with change in the "sum of money" sense) is from 1902; small talk "chit-chat, trifling conversation" (1751) is first recorded in Chesterfield's "Letters." Small-arms, indicating those capable of being carried in the hand (contrasted to ordnance) is recorded from 1710. Small clothes (1796) were knee-breeches, especially those of the 18c., as distinguished from trousers. Small hours (mid-15c.) were originally ecclesiastical, the minor canonical hours.
Small world as a comment upon an unexpected meeting of acquaintances is recorded by 1895. To distinguish generic from specific in phrases such as democrat with a small d, the construction is attested by 1952.
a fragrant shrub noted for its beauty and its thorns, cultivated from remote antiquity, Old English rose, from Latin rosa (source of Italian and Spanish rosa, French rose; also source of Dutch roos, German Rose, Swedish ros, Serbo-Croatian ruža, Polish róża, Russian roza, Lithuanian rožė, Hungarian rózsa, Irish ros, Welsh rhosyn, etc.), probably via Italian and Greek dialects from Greek rhodon "rose" (Aeolic brodon).
Greek rhodon probably is ultimately from or related to the Iranian root *vrda-. Beekes writes that "The word is certainly borrowed from the East, probably like Arm[enian] vard 'rose' from OIran. *urda." Aramaic warda is from Old Persian; the modern Persian cognate, via the usual sound changes, is gul, source of Turkish gül "rose."
The form of the English word was influenced by the French. Used as a color name for a light crimson by 1520s (earlier rose-color, late 14c.; rose-red, early 13c.). As "person of great beauty or virtue," early 15c. A rose-bowl (by 1887) is one designed to hold cut roses.
The Wars of the Roses (by 1823; in 1807 as Wars of the Two Roses) was the English civil wars of 15c., the white rose was the badge of the House of York, the red of its rival Lancaster.
As an adjective, "of a rich red color characteristic of the rose," by 1816. Earlier adjectives were rose-red (c. 1300); rose-colored (1520s).
Roses often are figurative of favorable circumstances, hence bed of roses, attested from 1590s in the figurative sense. (In 15c. to be (or dwell) in flowers meant "be prosperous, flourish.") To come up roses "turn out perfectly" is attested by 1959; the image, though not the wording, is by 1855. To come out smelling like a rose is from 1968.
Rose of Sharon (Song of Solomon ii.1) is attested from 1610s, named for the fertile strip of coastal Palestine (see Sharon), but the flower has not been identified. The name has been used in U.S. since 1847 of the Syrian hibiscus.
In some of the earliest uses described as an East Indian sauce made with fruits and spices, with spelling catchup. If this stated origin is correct, it might be from Tulu kajipu, meaning "curry" and said to derive from kaje, "to chew." Yet the word, usually spelled ketchup, is also described in early use as something resembling anchovies or soy sauce. It is said in modern sources to be from Malay (Austronesian) kichap, a fish sauce, possibly from Chinese koechiap "brine of fish," which, if correct, perhaps is from the Chinese community in northern Vietnam [Terrien de Lacouperie, in "Babylonian and Oriental Record," 1889, 1890].
Lockyer's 1711 book "An Account of Trade in India" says: "Soy comes in Tubs from Jappan, and the best Ketchup from Tonqueen [Vietnam]; yet good of both sorts, are made and sold very cheap in China." This suggests that the English were buying in India sauces, which they called ketchup, that were imported from elsewhere and possibly were not all of a single national recipe.
The prepared ingredient appears in English cookbooks by the 1680s; by the 1720s a homemade sauce of mushrooms was made in imitation of it. "Apicius Redivivus; or, the Cook's Oracle," by William Kitchiner, London, 1817, devotes 7 pages to recipes for different types of catsup (his book has 1 spelling of ketchup, 72 of catsup), including walnut, mushroom, oyster, cockle and mussel, tomata, white (vinegar and anchovies figure in it), cucumber, and pudding catsup. Chambers's Encyclopaedia (1870) lists mushroom, walnut, and tomato ketchup as "the three most esteemed kinds." Tomato ketchup emerged c. 1800 in U.S. and predominated from early 20c. The word ketchup alone, meaning "tomato ketchup," was in use by 1921.
of hair, "of a golden or light golden-brown color," late 15c., from Old French blont "fair, blond" (12c.), from the same source as Medieval Latin blundus "yellow," but of uncertain origin. Perhaps from Frankish *blund or another Germanic source (compare Dutch, German, Danish blond).
If it is a Germanic word, it is possibly related to Old English blonden-feax "gray-haired," from blondan, blandan "to mix" (see blend (v.)). According to Littré, the original sense of the French word was "a colour midway between golden and light chestnut," which might account for the notion of "mixed." [But Century Dictionary finds this "hardly probable."]
Old English beblonden meant "dyed," so it is also possible that the root meaning of blonde, if it is Germanic, may be "dyed," as ancient Teutonic warriors were noted for dying their hair. Du Cange, however, writes that blundus was a vulgar pronunciation of Latin flavus "yellow." Another guess (discounted by German etymologists), is that it represents a Vulgar Latin *albundus, from alba "white."
The word was reintroduced into English 17c. from French, and was until recently still felt as French, hence blonde (with French feminine ending) for females. Italian biondo, Spanish blondo, Old Provençal blon are said to be ultimately of Germanic origin.
Fair hair was much esteemed by both the Greeks and Romans, and so they not only dyed and gold-dusted theirs ..., but also went so far as to gild the hair of their statues, as notably those of Venus de Medici and Apollo. In the time of Ovid (A.U.C. 711) much fair hair was imported from Germany, by the Romans, as it was considered quite the fashionable color. Those Roman ladies who did not choose to wear wigs of this hue, were accustomed to powder theirs freely with gold dust, so as to give it the fashionable yellow tint. [C. Henry Leonard, "The Hair," 1879]
c. 1600, from Latin toga "cloak or mantle," from PIE *tog-a- "covering," suffixed form of root *(s)teg- "to cover." The outer garment of a Roman citizen in time of peace.
The toga as the Roman national dress was allowed to be worn by free citizens only. A stranger not in full possession of the rights of a Roman citizen could not venture to appear in it. Even banished Romans were in imperial times precluded from wearing it. The appearance in public in a foreign dress was considered as contempt of the majesty of the Roman people. Even boys appeared in the toga, called, owing to the purple edge attached to it (a custom adopted from the Etruscans) toga praetexta. On completing his sixteenth, afterward his fifteenth, year (tirocinium fori), the boy exchanged the toga praetexta for the toga virilis, pura, or libera—a white cloak without the purple edge. Roman ladies (for these also wore the toga) abandoned the purple edge on being married. [Guhl & Koner, "The Life of the Greeks and Romans," transl. Francis Hueffer, 1876]
Breeches, like the word for them (Latin bracae) were alien to the Romans, being the dress of Persians, Germans, and Gauls, so that bracatus "wearing breeches" was a term in Roman geography meaning "north of the Alps." College fraternity toga party was re-popularized by movie "Animal House" (1978), but this is set in 1962 and the custom seems to date from at least the mid-1950s.
Down on Prospect Street, Campus Club held a toga party, at which everyone wore togas. Charter held a come-as-you-are party, at which everyone wore what they happened to have on, and Cloister held a party called "A Night in Tahiti," at which we'd hate to guess what everyone wore. The borough police reported that only one false alarm was turned in. [Princeton Alumni Weekly, March 19, 1954]
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 root *gene- "give birth, beget."
By mid-14c. as "the forces or processes of the material world; that which produces living things and maintains order." From late 14c. as "creation, the universe;" also "heredity, birth, hereditary circumstance; essential qualities, inherent constitution, innate disposition" (as in human nature); also "nature personified, Mother Nature." Nature and nurture have been paired and contrasted since Shakespeare's "Tempest."
The phrase "nature and nurture" is a convenient jingle of words, for it separates under two distinct heads the innumerable elements of which personality is composed. Nature is all that a man brings with himself into the world; nurture is every influence from without that affects him after his birth. [Francis Galton, "English Men of Science: Their Nature and Nurture," 1875]
Specifically as "the material world beyond human civilization or society; an original, wild, undomesticated condition" from 1660s, especially in state of nature "the condition of man before organized society." Nature-worship "religion which deifies the phenomena of physical nature" is by 1840.
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]
Man, her last work, who seem'd so fair,
Such splendid purpose in his eyes,
Who roll'd the psalm to wintry skies,
Who built him fanes of fruitless prayer,
Who trusted God was love indeed
And love Creation's final law—
Tho' Nature, red in tooth and claw
With ravine, shriek'd against his creed—
[Tennyson, from "In Memoriam"]