c. 1200, materie, "the subject of a mental act or a course of thought, speech, or expression," from Anglo-French matere, Old French matere "subject, theme, topic; substance, content; character, education" (12c., Modern French matière) and directly from Latin materia "substance from which something is made," also "hard inner wood of a tree." According to de Vaan and Watkins, this is from mater "origin, source, mother" (see mother (n.1)). The sense developed and expanded in Latin in philosophy by influence of Greek hylē (see hylo-) "wood, firewood," in a general sense "material," used by Aristotle for "matter" in the philosophical sense.
The Latin word also is the source of Spanish, Portuguese, and Italian materia, Dutch, German, and Danish materie, vernacular Spanish madera, Portuguese madeira "wood" (compare Madeira). The Middle English word also sometimes was used specifically as "piece of wood."
From c. 1200 as "a subject of a literary work, content of what is written, main theme;" sense of "narrative, tale, story" is from c. 1300. Meaning "physical substance generally" is from mid-14c.; that of "substance of which some specific object is or may be composed" is attested from late 14c. Meaning "piece of business, affair, activity, situation; subject of debate or controversy, question under discussion" is from late 14c. In law, "something which is to be tried or proved," 1530s.
Matter of course "something expected" attested from 1739 (adjectival phrase matter-of-course "proceeding as a natural consequence" is by 1840). For that matter "as far as that goes, as far as that is concerned" is attested from 1670s. What is the matter "what concerns (someone), what is the cause of the difficulty" is attested from mid-15c., from matter in the sense of "circumstance or condition as affecting persons and things." To make no matter to "be no difference to" also is mid-15c., with matter in the meaning "importance, consequence."
1530s, "subdivision of an act of a play," also "stage-setting," from French scène (14c.), from Latin scaena, scena "scene, stage of a theater," from Greek skēnē "wooden stage for actors," also "that which is represented on stage," originally "tent or booth," which is related to skia "shadow, shade," via the notion of "something that gives shade" (see Ascians).
According to Beekes' sources, the Greek word "originally denoted any light construction of cloth hung between tree branches in order to provide shadow, under which one could shelter, sleep, celebrate festivities, etc."
A theatrical word; the wider senses come from the notion of the painted drops and hangings on stage as the "setting" for the action. From "stage setting" the sense extended to "material apparatus of a theatrical stage, part of a theater in which the acting is done" (1540s), which led to "setting of any artistic work, place in which the action of a literary work is supposed to occur" and the general (non-literary) sense of "place where anything is done or takes place" (both by 1590s).
Hence the sense in reference to a (specified) activity and its realm or sphere (1931, as in the poetry scene) and U.S. slang sense of "setting or milieu or situation for a specific group or activity," attested from 1951 in Beat jargon.
Meaning "any exhibition, display, or demonstration of strong feeling," especially "stormy encounter between two or more persons," is attested by 1761. By 1650s as "a view presented to the mind or eye."
Behind the scenes "having knowledge of affairs not apparent to the public" (1748) is an image from the theater, "amid actors and stage machinery" (back of the visible stage and out of sight of the audience), which is attested from 1660s. Scene of the crime is attested by 1843. To make a scene "make a noisy or otherwise unpleasant demonstration" is by 1831.
The word was in Middle English in the Latin form, scena, "structure on a stage for dramatic recitations" (late 14c.).
c. 1200, poisoun, "a deadly potion or substance," also figuratively, "spiritually corrupting ideas; evil intentions," from Old French poison, puison (12c., Modern French poison) "a drink," especially a medical drink, later "a (magic) potion, poisonous drink" (14c.), from Latin potionem (nominative potio) "a drinking, a drink," also "poisonous drink" (Cicero), from potare "to drink" (from PIE root *po(i)- "to drink").
A doublet of potion. For similar form evolution from Latin to French, compare raison from rationem, trahison from traditionem. The more usual Indo-European word for this is represented in English by virus. The Old English word was ator (see attercop) or lybb (cognate with Old Norse lyf "medicinal herbs;" see leaf (n.)).
For sense evolution, compare Old French enerber, enherber "to kill with poisonous plants." In many Germanic languages "poison" is named by a word equivalent to English gift (such as Old High German gift, German Gift, Danish and Swedish gift; Dutch gift, vergift). This shift might have been partly euphemistic, partly by influence of Greek dosis "a portion prescribed," literally "a giving," used by Galen and other Greek physicians to mean an amount of medicine (see dose (n.)).
Of persons detested or regarded as exerting baleful influence, by 1910. The slang meaning "alcoholic drink" is by 1805 in American English (potus as a past-participle adjective in Latin meant "drunken").
As an adjective from 1520s; with plant names from 18c. Poison ivy is recorded by 1784 for a shrub-vine of North America causing an itching rash on contact; poison oak for poison ivy or related species is by 1743. Poison sumac (1817), causing an even more severe rash, is a swamp-border tree noted for the brilliant red of its leaves in fall. Poison gas is recorded from 1915. Poison-pen (letter) was popularized 1913 by a notorious criminal case in Pennsylvania, U.S.; the phrase dates to 1898.
late 12c., "olive oil," from Anglo-French and Old North French olie, from Old French oile, uile "oil" (12c., Modern French huile), from Latin oleum "oil, olive oil" (source of Spanish, Italian olio), from Greek elaion "olive tree," from elaia (see olive).
Nearly all the European languages' words for "oil" (Croatian ulje, Polish olej, Hungarian olaj, Albanian uli, Lithuanian alejus, etc.) are from the Greek word; the Germanic (except Gothic) and Celtic one coming from Greek via Latin: Old English æle, Dutch olie, German Öl, Welsh olew, Gaelic uill, etc.
In English it meant "olive oil" exclusively till c. 1300, when the word began to be extended to any fatty, greasy liquid substance (usually flammable and insoluble in water). Often especially "oil as burned in a lamp to afford light" (as in midnight oil, symbolizing late work). Use for "petroleum" is recorded from 1520s but not common until 19c.
The artist's oils (1660s), short for oil-color (1530s), are paints made by grinding pigment in oil. Oil-painting is attested from 1782. The ocean-going oil-tanker is from 1900; oil-spill is from 1970. As a condiment, oil and vinegar is attested from 1620s. The figurative expression pour oil upon the waters "appease strife or disturbance" is by 1840, from an ancient trick of sailors.
Another historical illustration which involves monolayers, was when sailors poured oil on the sea in order to calm 'troubled waters' and so protect their ship. This worked by wave damping or, more precisely, by preventing small ripples from forming in the first place so that the wind could have no effect on them. [J. Lyklema, "Fundamentals of Interface and Colloid Science," Academic Press, 2000]
The phenomenon depends on what are called Marangoni effects; Benjamin Franklin experimented with it in 1765.
Old English æppel "apple; any kind of fruit; fruit in general," from Proto-Germanic *ap(a)laz (source also of Old Saxon, Old Frisian, Dutch appel, Old Norse eple, Old High German apful, German Apfel), from PIE *ab(e)l- "apple" (source also of Gaulish avallo "fruit;" Old Irish ubull, Lithuanian obuolys, Old Church Slavonic jabloko "apple"), but the exact relation and original sense of these is uncertain (compare melon).
A roted eppel amang þe holen, makeþ rotie þe yzounde. ["Ayenbite of Inwit," 1340]
In Middle English and as late as 17c., it was a generic term for all fruit other than berries but including nuts (such as Old English fingeræppla "dates," literally "finger-apples;" Middle English appel of paradis "banana," c. 1400). Hence its grafting onto the unnamed "fruit of the forbidden tree" in Genesis. Cucumbers, in one Old English work, are eorþæppla, literally "earth-apples" (compare French pomme de terre "potato," literally "earth-apple;" see also melon). French pomme is from Latin pomum "apple; fruit" (see Pomona).
As far as the forbidden fruit is concerned, again, the Quran does not mention it explicitly, but according to traditional commentaries it was not an apple, as believed by Christians and Jews, but wheat. [Seyyed Hossein Nasr, "The Heart of Islam: Enduring Values for Humanity," 2002]
Apple of Discord (c. 1400) was thrown into the wedding of Thetis and Peleus by Eris (goddess of chaos and discord), who had not been invited, and inscribed kallisti "To the Prettiest One." Paris, elected to choose which goddess should have it, gave it to Aphrodite, offending Hera and Athene, with consequences of the Trojan War, etc.
Apple of one's eye (Old English), symbol of what is most cherished, was the pupil, supposed to be a globular solid body. Apple-polisher "one who curries favor" first attested 1928 in student slang. The image in the phrase upset the apple cart "spoil the undertaking" is attested from 1788. Road-apple "horse dropping" is from 1942.
c. 1600, as a term in classical history, from Latin Arianus, Ariana, from Greek Aria, Areia, names applied in classical times to the eastern part of ancient Persia and to its inhabitants. Ancient Persians used the name in reference to themselves (Old Persian ariya-), hence Iran. Ultimately from Sanskrit arya- "compatriot;" in later language "noble, of good family."
Also the name Sanskrit-speaking invaders of India gave themselves in the ancient texts. Thus it was the word early 19c. European philologists (Friedrich Schlegel, 1819, who linked it with German Ehre "honor") applied to the ancient people we now call Indo-Europeans, suspecting that this is what they called themselves. This use is attested in English from 1851. In German from 1845 it was specifically contrasted to Semitic (Lassen).
German philologist Max Müller (1823-1900) popularized Aryan in his writings on comparative linguistics, recommending it as the name (replacing Indo-European, Indo-Germanic, Caucasian, Japhetic) for the group of related, inflected languages connected with these peoples, mostly found in Europe but also including Sanskrit and Persian. The spelling Arian was used in this sense from 1839 (and is more philologically correct), but it caused confusion with Arian, the term in ecclesiastical history.
The terms for God, for house, for father, mother, son, daughter, for dog and cow, for heart and tears, for axe and tree, identical in all the Indo-European idioms, are like the watchwords of soldiers. We challenge the seeming stranger; and whether he answer with the lips of a Greek, a German, or an Indian, we recognize him as one of ourselves. [Müller, "History of Ancient Sanskrit Literature," 1859]
Aryan was gradually replaced in comparative linguistics c. 1900 by Indo-European, except when used to distinguish Indo-European languages of India from non-Indo-European ones. From the 1920s Aryan began to be used in Nazi ideology to mean "member of a Caucasian Gentile race of Nordic type." As an ethnic designation, however, it is properly limited to Indo-Iranians (most justly to the latter) and has fallen from general academic use since the Nazis adopted it.
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. Concrete meaning "a beautiful woman" in English is first recorded 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]
The first element probably is cognate with Old English haga "enclosure, portion of woodland marked off for cutting" (see hedge (n.)). Old Norse had tunriða and Old High German zunritha, both literally "hedge-rider," used of witches and ghosts. The second element in the prehistoric compound may be connected with Norwegian tysja "fairy; crippled woman," Gaulish dusius "demon," Lithuanian dvasia "spirit," from PIE *dhewes- "to fly about, smoke, be scattered, vanish."
One of the magic words for which there is no male form, suggesting its original meaning was close to "diviner, soothsayer," which were always female in northern European paganism, and hægtesse seem at one time to have meant "woman of prophetic and oracular powers" (Ælfric uses it to render the Greek "pythoness," the voice of the Delphic oracle), a figure greatly feared and respected. Later, the word was used of village wise women.
Haga is also the haw- in hawthorn, which is an important tree in northern European pagan religion. There may be several layers of folk etymology here. Confusion or blending with heathenish is suggested by Middle English hæhtis, hægtis "hag, witch, fury, etc.," and haetnesse "goddess," used of Minerva and Diana.
If the hægtesse once was a powerful supernatural woman (in Norse it is an alternative word for Norn, any of the three weird sisters, the equivalent of the Fates), it might originally have carried the hawthorn sense. Later, when the pagan magic was reduced to local scatterings, it might have had the sense of "hedge-rider," or "she who straddles the hedge," because the hedge was the boundary between the civilized world of the village and the wild world beyond. The hægtesse would have a foot in each reality. Even later, when it meant the local healer and root collector, living in the open and moving from village to village, it may have had the mildly pejorative Middle English sense of hedge- (hedge-priest, etc.), suggesting an itinerant sleeping under bushes. The same word could have contained all three senses before being reduced to its modern one.