dance style, 1893, from two + step (n.); so called for the time signature of the music (as distinguished from the three-step waltz). But as the positions taken by the dancers involved direct contact, it was highly scandalous in its day and enormously popular.
A certain Division of an Auxiliary gave a dance not long since. I went and looked on. What did they dance? Two-step, two-step and two-step. How did they dance? When we used to waltz, we clasped arms easily, took a nice, respectable position, and danced in a poetry of motion. Now, girls, how do you two-step? In nine cases out of ten the dear girl reposes her head on the young man's shoulder, or else their faces press each other. He presses her to his breast as closely as possible, and actually carries her around. Disgraceful? I should say so. Do you wonder at the ministers preaching on dancing as a sin, when it looks like this to a woman like myself who believes in dancing and has danced all her life? Mothers, as you love your girls, forbid them to dance after this manner. [letter in the ladies' section of Locomotive Engineers' Monthly Journal, March 1898]
To the Two Step may be accredited, serious injury to the Waltz, awkward and immodest positions assumed in round dancing, also as being a prominent factor in overcrowding the profession and causing a general depression in the business of the legitimate Master of Dancing. [The Director, March 1898]
[sleep, repose, slumber] Old English ræste, reste "rest; a bed or couch; intermission of labor; mental peace, state of quiet or repose," from Proto-Germanic *rasto- (source also of Old Saxon resta "resting place, burial-place," Dutch rust, Old High German rasta, German Rast "rest, peace, repose"), a word of uncertain origin.
The original prehistoric signification of the Germanic noun was perhaps a measure of distance; compare Old High German rasta, which in addition to "rest" meant "league of miles," Old Norse rost "league, distance after which one rests," Gothic rasta "mile, stage of a journey." If so, perhaps a word from the nomadic period. But if the original sense was "repose," the sense was extended secondarily to "distance between two resting places."
Sense of "absence or cessation of motion" is from late 15c. The meaning "that on which anything leans for support, thing upon which something rests" is attested from 1580s, with specific senses developing later. In music, "an interval of silence," also the mark or sign denoting this, 1570s.
At rest "dead" is from mid-14c., on the notion of "last rest, the big sleep, the grave." The roadside rest stop for drivers on busy highways is by 1970. The colloquial expression give (something) a rest "stop talking about it" is by 1927, American English.
[R]est and repose apply especially to the suspended activity of the body ; ease and quiet to freedom from occupation or demands for activity, especially of the body ; tranquility and peace to the freedom of the mind from harassing cares or demands. [Century Dictionary]
Middle English rough (late 14c.), also rouhe, rouwe, roghe, rugh, etc., from Old English ruh, rug- "not smooth to the touch, coarse (of cloth); hairy, shaggy;" of hides, "undressed, untrimmed;" of ground, "uncultivated." This is from West Germanic *rukhwaz "shaggy, hairy, rough" (source also of Middle Dutch ruuch, Dutch ruig, Old High German ruher, German rauh), from Proto-Germanic *rukhaz, which is perhaps related to the source of Sanskrit ruksah "rough;" Latin ruere "to rush, fall violently, collapse," ruina "a collapse;" Lithuanian raukas "wrinkle," rukti "to shrink."
The original -gh- sound was guttural, as in Scottish loch. The form row was a regular variant from early 16c. and lingered in dialects. Of actions, "characterized by harshness or disparity," c. 1300; of land, terrain, late 15c. as "rugged, hard to traverse." Of stormy weather from mid-14c.; by late 14c. of turbulent seas, rude language, discordant sounds.
From mid-14c. as "crudely made;" c. 1600 as "rudely sufficient, not smooth or formed by art." Rough stone "undressed stone mortared together" is from mid-15c. Of writing or literary style, "lacking refinement, unpolished," 1530s. The sense of "approximate" is recorded from c. 1600.
Rough draft (or draught) is from 1690s. Rough-and-ready "rude and disorderly" is by 1832, from an earlier noun (1810), originally military; rough-and-tumble "not elaborately or carefully ordered" is from a style of free-fighting characterized by indiscriminate blows and falls (1810). Rough music "din produced by banging pots, pans, etc. for the purpose of annoying or punishing a neighbor" is by 1708. Rough-snout (c. 1300) was an old term for "a bearded face."
Middle English mirie, from Old English myrge "pleasing, agreeable, pleasant, sweet, exciting feelings of enjoyment and gladness" (said of grass, trees, the world, music, song); also as an adverb, "pleasantly, melodiously," from Proto-Germanic *murgijaz, which probably originally meant "short-lasting," (compare Old High German murg "short," Gothic gamaurgjan "to shorten"), from PIE root *mregh-u- "short." The only exact cognate for meaning outside English was Middle Dutch mergelijc "joyful."
The connection to "pleasure" likely was via the notion of "making time fly, that which makes the time seem to pass quickly" (compare German Kurzweil "pastime," literally "a short time;" Old Norse skemta "to amuse, entertain, amuse oneself," from skamt, neuter of skammr "short"). There also was a verbal form in Old English, myrgan "be merry, rejoice." For vowel evolution, see bury (v.).
Not originally applied to humorous moods or speech or conduct, yet the word had a much wider senses in Middle English than modern: "pleasant-sounding" (of animal voices), "fine" (of weather), "handsome" (of dress), "pleasant-tasting" (of herbs). The evolution of the modern senses is probably via the meaning "pleased by a certain event or situation or state of things" (c. 1200). Of persons, "cheerful by disposition or nature; playfully cheerful, enlivened with gladness or good spirits," by mid-14c.
Merry-bout "an incident of sexual intercourse" was low slang from 1780. Merry-begot "illegitimate" (adj.), also "bastard" (n.) are in Grose (1785). Merrie England (now frequently satirical or ironic) is c. 1400, meri ingland, originally in a broader sense of "bountiful, prosperous." Merry Monday was a 16c. term for "the Monday before Shrove Tuesday" (Mardi Gras).
Perhaps it is related to Middle Low German keie "lance, spear" on notion of "tool to cleave with," from Proto-Germanic *ki- "to cleave, split" (cognates: German Keil "wedge," Gothic us-kijans "come forth," said of seed sprouts, keinan "to germinate"). But Liberman writes, "The original meaning of *kaig-jo- was presumably '*pin with a twisted end.' Words with the root *kai- followed by a consonant meaning 'crooked, bent; twisted' are common only in the North Germanic languages." Compare also Sanskrit kuncika- "key," from kunc- "make crooked."
Modern pronunciation is a northern variant predominating from c. 1700; earlier and in Middle English it often was pronounced "kay." Meaning "that which holds together other parts" is from 1520s. Meaning "explanation of a solution" (to a set problem, code, etc.) is from c.1600.
The musical sense originally was "tone, note" (mid-15c.). In music theory, the sense developed 17c. to "sum of the melodic and harmonic relationships in the tones of a scale," also "melodic and harmonic relationships centering on a given tone." Probably this is based on a translation of Latin clavis "key," used by Guido for "lowest tone of a scale," or French clef (see clef; also see keynote). Sense of "mechanism on a musical instrument operated by the player's fingers" is from c. 1500, probably also suggested by uses of clavis. OED says this use "appears to be confined to Eng[lish]." First of organs and pianos, by 1765 of wind instruments; transferred to telegraphy by 1837 and later to typewriters (1876).
[people of common descent] 1560s, "people descended from a common ancestor, class of persons allied by common ancestry," from French race, earlier razza "race, breed, lineage, family" (16c.), possibly from Italian razza, which is of unknown origin (cognate with Spanish raza, Portugueseraça). Etymologists say it has no connection with Latin radix "root," though they admit this might have influenced the "tribe, nation" sense, and race was a 15c. form of radix in Middle English (via Old French räiz, räis). Klein suggests the words derive from Arabic ra's "head, beginning, origin" (compare Hebrew rosh).
Original senses in English included "wines with characteristic flavor" (1520), "group of people with common occupation" (c. 1500), and "generation" (1540s). The meaning developed via the sense of "tribe, nation, or people regarded as of common stock" to "an ethnical stock, one of the great divisions of mankind having in common certain physical peculiarities" by 1774 (though as OED points out, even among anthropologists there never has been an accepted classification of these). In 19c. also "a group regarded as forming a distinctive ethnic stock" (German, Greeks, etc.).
Just being a Negro doesn't qualify you to understand the race situation any more than being sick makes you an expert on medicine. [Dick Gregory, 1964]
In mid-20c. U.S. music catalogues, it means "Negro." Old English þeode meant both "race, folk, nation" and "language;" as a verb, geþeodan meant "to unite, to join." Race-consciousness "social consciousness," whether in reference to the human race or one of the larger ethnic divisions, is attested by 1873; race-relations by 1897. Race theory "assertion that some racial groups are endowed with qualities deemed superior" is by 1894.
mid-14c., "something laid, placed or spread (on something else)," from cover (v.). Sense of "something which veils or screens from sight" is from c. 1400. From c. 1500 as "shelter" of any kind, later especially in hunting, "shrubbery, brush, or thickets which conceal game" (1719).
Meaning "binding or wrapper of a book" is from 1590s; that of "envelope or wrapper for a letter" is by 1748. Meaning "recording of a song already recorded by another" is by 1970, short for cover version (1966). Cover-band "band that plays only cover songs" is by 1981. Cover girl is U.S. slang from 1915, shortening of magazine-cover girl (1899).
Cover-charge is attested by 1913. The immediate sense of cover in it appears to be the old one of "plate, knives, forks, spoons, napkin, wine glasses, etc., used at the table by one person," from French couvert, literally "a cover," in the same sense; supposedly they were so called because they were originally brought together in a case.
According to contemporary publications, cover came to include table condiments and bread and butter, and c. 1910 some restaurants began to charge extra for these. ["... a smart New York restauranteur recently made a 'cover charge' of twenty-five cents for bread and butter and ice-water. Others followed." - Edward Hungerford, "The Personality of American Cities," 1913]
In this sense, cover also probably involves the banquet service use of cover for a charge which includes ("covers") everything provided with the food — menu card, flowers, music, etc.
In recent years hotels, particularly those featuring entertainment in their restaurants, have made a so-called cover charge which includes entertainment in addition to the table service. For instance, at some of the larger hotels in New York, where there is dancing, or cabaret, or high-priced soloists, or entertainment of costly nature provided, there is a cover charge, sometimes as high as $1 the seat. [Hotel Monthly, December 1917]
"wireless transmission of voice signals with radio waves," 1907, abstracted or shortened from earlier combinations such as radio-receiver (1903), radiophone "instrument for the production of sound by radiant energy" (1881), radio-telegraphy "means of sending telegraph messages by radio rather than by wire" (1898), from radio- as a combining form of Latin radius "beam" (see radius). Use for "radio receiver" is attested by 1913; sense of "sound broadcasting as a medium" also is from 1913.
That winter, however—the winter of 1921-22—[radio] came with a rush. Soon everybody was talking, not about wireless telephony, but about radio. A San Francisco paper described the discovery that millions were making: "There is radio music in the air, every night, everywhere. Anybody can hear it at home on a receiving set, which any boy can put up in an hour." In February President Harding had an outfit installed in his study, and the Dixmoor Golf Club announced that it would install a "telephone" to enable golfers to hear church services. [Frederick Lewis Allen, "Only Yesterday: An Informal History of the 1920's," 1931]
It is not a dream, but a probability that the radio will demolish blocs, cut the strings of red tape, actuate the voice "back home," dismantle politics and entrench the nation's executive in a position of power unlike that within the grasp of any executive in the world's history. [The Reading Eagle, Reading, Pa., U.S.A., March 16, 1924]
As late as July 1921 the New York Times was calling it wireless telephony, and wireless remained widespread until World War II, when military preference for radio established it as the word. As an adjective by 1912, "by radio transmission;" meaning "controlled by radio" is from 1974. Radio _______ as the proper name of a particular radio station or service, "radio station or service from _______" is by 1920. A radio shack (1946) was a small outbuilding housing radio equipment.
1907 (from 1903 as a French word in English), "malicious damaging or destruction of an employer's property by workmen," from French sabotage, from saboter "to sabotage, bungle," literally "walk noisily," from sabot "wooden shoe" (see sabaton).
In English, "malicious mischief" would appear to be the nearest explicit definition of "sabotage," which is so much more expressive as to be likely of adoption into all languages spoken by nations suffering from this new force in industry and morals. Sabotage has a flavor which is unmistakable even to persons knowing little slang and no French .... [Century Magazine, November 1910]
In French, and at first in English, the sense of "deliberately and maliciously destroying property" was in reference to labor disputes, but the oft-repeated story (as old as the record of the word in English) that the modern meaning derives from strikers' supposed tactic of throwing shoes into machinery is not supported by the etymology. Likely it was not meant as a literal image; the word was used in French in a variety of "bungling" senses, such as "to play a piece of music badly."
This, too, was the explanation given in some early usages:
SABOTAGE [chapter heading] The title we have prefixed seems to mean "scamping work." It is a device which, we are told, has been adopted by certain French workpeople as a substitute for striking. The workman, in other words, purposes to remain on and to do his work badly, so as to annoy his employer's customers and cause loss to his employer. [The Liberty Review, January 1907]
You may believe that sabotage is murder, and so forth, but it is not so at all. Sabotage means giving back to the bosses what they give to us. Sabotage consists in going slow with the process of production when the bosses go slow with the same process in regard to wages. [Arturo M. Giovannitti, quoted in report of the Sagamore Sociological Conference, June 1907]
The military extension to damage inflicted (especially clandestinely) to disrupt an enemy is from World War I.
third letter of the alphabet. Alphabetic writing came to Rome via the southern Etruscan "Caeretan" script, in which gamma was written as a crescent. Early Romans made little use of Greek kappa and used gamma for both the "g" and "k" sounds, the latter more frequently, so that the "k" sound came to be seen as the proper one for gamma. Classical Latin -c-, with only the value "k," passed to Celtic and, via missionary Irish monks, to the Anglo-Saxons. Also see cee.
In some Old English words, before some vowels and in certain positions, -c- had a "ts" sound that was respelled ch- in Middle English by French scribes (chest, cheese, church; see ch). In Old English -k- was known but little used.
Meanwhile, in Old French, many "k" sounds drifted to "ts" and by 13c., "s," but still were written -c-. Thus the 1066 invasion brought to the English language a flood of French and Latin words in which -c- represented "s" (as in cease, ceiling, circle) and a more vigorous use of -k- to distinguish that sound. By 15c. even native English words with -s- were being respelled with -c- for "s" (ice, mice, lice).
In some English words from Italian, the -c- has a "ch" sound (via a sound evolution somewhat like the Old French one). In German, -c- in loanwords was regularized to -k- or -z- (depending on pronunciation) in the international spelling reform of 1901, which was based on the Duden guide of 1880.
As a symbol in the Roman numeral system, "one hundred;" the symbol originally was a Greek theta, but was later reduced in form and understood to stand for centum. In music, it is the name of the keynote of the natural scale, though the exact pitch varied in time and place 18c. and 19c. from 240 vibrations per second to 275; it wasn't entirely regularized (at 261.63) until the adoption of the A440 standard in the 1930s. C-spring as a type of carriage spring is from 1794, so called for its shape.