c. 1300, mounten, "to get up on a horse;" mid-14c., "to rise up, rise in amount, ascend; fly," from Old French monter "to go up, ascend, climb, mount," from Vulgar Latin *montare, from Latin mons (genitive montis) "mountain" (from PIE root *men- (2) "to project"). The transitive meaning "to set or place in position" first recorded 1530s. Sense of "to get up on for purposes of copulation" is from 1590s. Meaning "prepare for presentation or exhibition" is by 1712. Military meaning "set up or post for defense" is by 1706; to mount an attack is by 1943. Related: Mounted; mounting.
1630s, "public notice," from Late Latin programma "proclamation, edict," from Greek programma "a written public notice," from stem of prographein "to write publicly," from pro "forth" (see pro-) + graphein "to write" (see -graphy).
The meaning "written or printed list of pieces at a concert, playbill" is recorded by 1805 and retains the original sense. The sense of "broadcasting presentation" is from 1923.
The general sense of "a definite plan or scheme, method of operation or line of procedure prepared or announced beforehand" is recorded from 1837. The computer sense of "series of coded instructions which directs a computer in carrying out a specific task: is from 1945.
The sense of "objects or events suggested by music" is from 1854 (program music is attested by 1877). Spelling programme, established in Britain, is from French in modern use and began to be used early 19c., originally especially in the "playbill" sense.
"a quick blow, dig, or thrust with the fist," by 1570s, probably from punch (v.). In early use it also could refer to blows with the foot or jabs with a staff or club. Originally especially of blows that sink in to some degree ("... whom he unmercifully bruises and batters from head to foot: here a slap in the chaps, there a black eye, now a punch in the stomach, and then a kick on the breech," Monthly Review, 1763).
The figurative sense of "forceful, vigorous quality" is recorded from 1911. Punch line (also punch-line) is from 1915, originally in popular-song writing. To beat (someone) to the punch in the figurative sense is from 1915, a metaphor from boxing (where it is attested by 1913). Punch-drunk "dazed from continued punching, having taken so many punches one can no longer feel it" is from 1915 (alternative form slug-nutty is from 1933; compare sleep-drunk, 1889, "confused and excited while being half awakened from a sound sleep").
Middle English offeren, from Old English ofrian "to bring or put forward, to make a presentation, to show, exhibit;" also "to sacrifice, present something solemnly or worshipfully as a religious sacrifice, bring an oblation," from Latin offerre "to present, bestow, bring before" (in Late Latin "to present in worship"), from assimilated form of ob "to" (see ob-) + ferre "to bring, to carry," from PIE root *bher- (1) "to carry," also "to bear children."
From early 15c. as "to present (something) for acceptance or rejection." From 1530s as "to attempt to do." Commercial sense of "to expose for sale" is from 1630s. The Latin word was borrowed widely in Germanic languages in the religious sense via Christianity: Old Frisian offria, Middle Dutch offeren, Old Norse offra. The non-religious senses in English were from or reinforced by sense of Old French offrir "to offer," which is from Latin offerre. Related: Offered; offering.
1550s, Liturgy, "the service of the Holy Eucharist," from French liturgie (16c.) or directly from Late Latin/Medieval Latin liturgia "public service, public worship," from Greek leitourgia "a liturgy; public duty, ministration, ministry," from leitourgos "one who performs a public ceremony or service, public servant," from leito- "public" (from laos "people;" compare leiton "public hall," leite "priestess;" see lay (adj.)) + -ourgos "that works," from ergon "work" (from PIE root *werg- "to do"). Meaning "collective formulas for the conduct of divine service in Christian churches" is from 1590s. Related: Liturgist; liturgics.
In ancient Greece, particularly at Athens, a form of personal service to the state which citizens possessing property to a certain amount were bound, when called upon, to perform at their own cost. These liturgies were ordinary, including the presentation of dramatic performances, musical and poetic contests, etc., the celebration of some festivals, and other public functions entailing expense upon the incumbent; or extraordinary, as the fitting out of a trireme In case of war. [Century Dictionary]
c. 1300, "an exit," from Old French issue "a way out, a going out, exit; final event," from fem. past participle of issir "to go out," from Latin exire "go out, go forth; become public; flow, gush, pour forth" (source also of Italian uscire, Catalan exir), from ex- "out" (see ex-) + ire "to go," from PIE root *ei- "to go."
Meaning "discharge of blood or other fluid from the body" is from 1520s; sense of "offspring, children" is from late 14c. Meaning "outcome of an action, consequence, result" is attested from late 14c., probably from this sense in French. Meaning "action of sending into publication or circulation" is from 1833.
Legal sense developed from the notion of "end or result of pleadings in a suit (by presentation of the point to be determined by trial)," hence "the controversy over facts in a trial" (early 14c., Anglo-French) and transferred sense "point of contention between two parties" (early 15c.) and the general sense "an important point to be decided" (1836). Hence also the verbal phrase take issue with (1797, earlier join issue, 1690s) "take up an affirmative or negative position in a dispute with another." To have issues "have unresolved conflicts" is by 1990.
mid-13c., "story of a building;" early 14c., "raised platform used for public display" (also "the platform beneath the gallows"), from Old French estage "building, dwelling place; stage for performance; phase, stage, rest in a journey" (12c., Modern French étage "story of a house, stage, floor, loft"), from Vulgar Latin *staticum "a place for standing," from Latin statum, past participle of stare "to stand," from PIE root *sta- "to stand, make or be firm." Meaning "platform for presentation of a play" is attested from late 14c.; generalized for "profession of an actor" from 1580s.
Sense of "period of development or time in life" first recorded early 14c., probably from Middle English sense of "degree or step on the 'ladder' of virtue, 'wheel' of fortune, etc.," in parable illustrations and morality plays. Meaning "a step in sequence, a stage of a journey" is late 14c. Meaning "level of water in a river, etc." is from 1814, American English.
Stage-name is from 1727. Stage-mother (n.) in the overbearing mother-of-an-actress sense is from 1915. Stage-door is from 1761, hence Stage-Door Johnny "young man who frequents stage doors seeking the company of actresses, chorus girls, etc." (1907). Stage whisper, such as used by an actor on stage to be heard by the audience, first attested 1865. Stage-manage (v.) is from 1871.
c. 1300, "a gathering of persons, a group gathered for some purpose," from Old French asemblee, assemblee "assembly, gathering; union, marriage," noun use of fem. past participle of assembler "to assemble" (see assemble). The meaning "a gathering together" is recorded from early 15c.; that of "act of assembling parts or objects" is from 1914, as is assembly line.
Perhaps the most interesting department in the whole factory, to the visitor, is the final assembly. In this division, all the assembled units meet the assembly conveyor at the point where they are needed. At the start of the track a front axle unit, a rear axle unit and a frame unit are assembled. This assembly is then started in motion by means of a chain conveyor, and as it moves down the room at a constant speed of eight feet per minute, each man adds one part to the growing chassis or does one operation, which is assigned to him, so that when the chassis reaches the end of the line, it is ready to run on its own power. ["The Story of an Automobile Factory," in "Universal Book of Knowledge and Wonders," 1917]
The school sense, "gathering of all students for a presentation," is from 1932. Attested from mid-14c. as "a gathering for deliberation," hence its use as the name of the lower house in some state (earlier colonial) legislatures in America (1680s). In 17c.-18c., assemblies "dancing balls 'among polite persons of both sexes,' often paid for by subscription of the participants" were a prominent feature of social life.
late 14c., "statement, belief, or practice handed down from generation to generation," especially "belief or practice based on Mosaic law," from Old French tradicion "transmission, presentation, handing over" (late 13c.) and directly from Latin traditionem (nominative traditio) "a delivering up, surrender, a handing down, a giving up" (also "a teaching, instruction," and "a saying handed down from former times"). This is a noun of action from past-participle stem of tradere "deliver, hand over," from trans- "over" (see trans-) + dare "to give" (from PIE root *do- "to give"). The word is a doublet of treason (q.v.). Meaning "a long-established custom" is from 1590s. The notion is of customs, ways, beliefs, doctrines, etc. "handed down" from one generation to the next.
Tradition is not solely, or even primarily, the maintenance of certain dogmatic beliefs; these beliefs have come to take their living form in the course of the formation of a tradition. What I mean by tradition involves all those habitual actions, habits and customs, from the most significant religious rite to our conventional way of greeting a stranger, which represent the blood kinship of 'the same people living in the same place'. ... We become conscious of these items, or conscious of their importance, usually only after they have begun to fall into desuetude, as we are aware of the leaves of a tree when the autumn wind begins to blow them off—when they have separately ceased to be vital. Energy may be wasted at that point in a frantic endeavour to collect the leaves as they fall and gum them onto the branches: but the sound tree will put forth new leaves, and the dry tree should be put to the axe. [T.S. Eliot, "After Strange Gods"]
