1510s, "permission granted by authority, licence," from French tolération (15c.), from Latin tolerationem (nominative toleratio) "a bearing, supporting, enduring," noun of action from past-participle stem of tolerare "to endure, sustain, support, suffer," literally "to bear" (from PIE *tele- "to bear, carry;" see extol).
Meaning "forbearance, sufferance" is from 1580s. The specific religious sense is from 1609; as in Act of Toleration (1689), statute granting freedom of religious worship (with conditions) to dissenting Protestants in England. In this it means "recognition of the right of private judgment in matters of faith and worship; liberty granted by the government to preach and worship as one pleases; equality under the law without regard to religion."
If any man err from the right way, it is his own misfortune, no injury to thee; nor therefore art thou to punish him in the things of this life because thou supposest he will be miserable in that which is to come. Nobody, therefore, in fine, neither single persons nor churches, nay, nor even commonwealths, have any just title to invade the civil rights and worldly goods of each other upon pretence of religion. [John Locke, "Letter Concerning Toleration," 1689]
Before any man can be considered as a member of Civil Society, he must be considered as a subject of the Governour of the Universe: And if a member of Civil Society, do it with a saving of his allegiance to the Universal Sovereign. We maintain therefore that in matters of Religion, no man's right is abridged by the institution of Civil Society and that Religion is wholly exempt from its cognizance. [James Madison, "Memorial and Remonstrance Against Religious Assessments," 1785]
Unlimited tolerance must lead to the disappearance of tolerance. If we extend unlimited tolerance even to those who are intolerant, if we are not prepared to defend a tolerant society against the onslaught of the intolerant, then the tolerant will be destroyed, and tolerance with them. [Karl Popper, "The Open Society and Its Enemies," 1962]
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 "art or craft of painting in oils" is by 1690s. The ocean-going oil-tanker is from 1900; oil-spill in the environmental catastrophe sense is by 1924. 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.
"trivialities, bits of information of little consequence," by 1932, from the title of a popular book by U.S.-born British aphorist Logan Pearsall Smith (1865-1946) first published in 1902 but popularized in 1918 (with "More Trivia" following in 1921 and a collected edition including both in 1933), containing short essays often tied to observation of small things and commonplace moments. Trivia is Latin, plural of trivium "place where three roads meet;" in transferred use, "an open place, a public place." The adjectival form of this, trivialis, meant "public," hence "common, commonplace" (see trivial).
The Romans also had trivius dea, the "goddess of three ways," another name for Hecate, perhaps originally in her triple aspect (Selene/Diana/Proserpine), but also as the especial divinity of crossroads (Virgil has "Nocturnisque hecate triviis ululata per urbes"). John Gay took this arbitrarily as the name of a goddess of streets and roads for his mock Georgic "Trivia: Or, the Art of Walking the Streets of London" (1716); Smith writes in his autobiography that he got the title from Gay.
I KNOW too much; I have stuffed too many of the facts of History and Science into my intellectuals. My eyes have grown dim over books; believing in geological periods, cave dwellers, Chinese Dynasties, and the fixed stars has prematurely aged me. ["Trivia," 1918 edition]
Then noted c. 1965 as an informal fad game among college students wherein one asked questions about useless bits of information from popular culture ("What was Donald Duck's address?") and others vied to answer first.
Nobody really wins in this game which concentrates on sports, comics and television. Everyone knows that Amos's wife on the "Amos 'n' Andy Show" is Ruby, but who knows that she is from Marietta, Georgia? Trivia players do. They also know the fourth man in the infield of Tinker-to-Evers-to-Chance, the Canadian who shot down Baron Von Richtofen, and can name ten Hardy Boy books. [Princeton Alumni Weekly, Nov. 9, 1965]
The board game Trivial Pursuit was released 1982 and was a craze in U.S. for several years thereafter.
"the black liquor with which men write" [Johnson], mid-13c., from Old French enche, encre "dark writing fluid" (12c.), earlier enque (11c.), originally enca, from Late Latin encaustum, from Late Greek enkauston. This is the neuter of the past-participle adjective enkaustos "burned in," from the stem of enkaiein "to burn in," from en- "in" (see en- (1)) + kaiein "to burn" (see caustic).
In Pliny the word is the name of a kind of painting executed by fire or heat. Later it was the name of the purple-red ink, the sacrum encaustum, used by the Roman emperors to sign their documents; this was said to have been obtained from the ground remains of certain shellfish, formed into writing fluid by the application of fire or heat, which explained the name. In the Code of Justinian, the making of it for common uses, or by common persons, was prohibited under penalty of death and confiscation of goods.
It denoted a kind of painting practised by the ancients, in which the crayon was dipped in wax of various colours. Encausto pingere is to practise this art, paint in encaustic or enamel. Encaustum afterwards came to signify an ink for the purpose of writing; and the "sacred encaustum" of Justinian's Code was an ink which the Roman Emperors used for imperial subscriptions. It was of the imperial colour, reddish purple, and was made of the purple dye, prepared in some way by the application of fire. (So that in this use of the word, the notion of burning which there is in the etymology, is still retained.) [from footnote in "The Life, Letters, and Sermons of Bishop Herbert de Losinga," Oxford, 1878]
The usual words for "ink" in Latin was atramentum (source of Old French arrement), literally "anything that serves to dye black," from ater "black;" the Greek word was melan, neuter of melas "black." The Old English word for it was blæc, literally "black," and compare Swedish bläck, Danish blæk "ink." Spanish and Portuguese (tinta) and German (tinte) get their "ink" words from Latin tinctus "a dyeing."
Donkin credits a Greek pronunciation, with the accent at the front of the word, for the French evolution; the same Latin word, behaving regularly, became inchiostro (with unetymological -r-) in Italian, encausto in Spanish. As an adjective, inken (c. 1600) occasionally has been used. Ink-slinger, contemptuous for "journalist," is from 1870. The psychologist's ink-blot test attested from 1915.
1833, "one who embodies the person or character of another;" 1840 as "one who infuses (something) with a personality;" 1842 as "dramatic actor, one who plays a part on stage," from impersonate with Latinate agent noun suffix. Meaning "one who imitates the manners and speech of another" for entertainment (by 1921) perhaps grew from older theatrical use of female impersonator (1876), male impersonator (1874), both once popular stage acts; the first example of the latter was perhaps Miss Ella Wesner, who had a vogue c. 1870: In Britain, blackface performers were called negro impersonators (1906). As a fem. formation, impersonatrix, as if from Latin, is from 1847; impersonatress, as if from French, is from 1881.
Her [Wesner's] impersonation were a genuine surprise and her success was so pronounced that in a short period a host of imitators made their appearance. Her most successful rivals were Bessie Bonehill, Millie Hilton and Vesta Tilley, all of London. [M.B Leavitt, "Fifty Years in Theatrical Management," New York, 1912]
There is no member of a minstrel company who gets a better salary than a good female impersonator, the line being considered a very delicate one, requiring a high style of art in its way to judge where fun stops and bad taste begins, with decision enough on the part of the performer to stop at the stopping place. ["The Ancestry of Brudder Bones," Harper's New Monthly Magazine, April 1879]
The most fascinating performer I knew in those days was a dame named Metcalfe who was a female female impersonator. To maintain the illusion and keep her job, she had to be a male impersonator when she wasn't on. Onstage she wore a wig, which she would remove at the finish, revealing her mannish haircut. "Fooled you!" she would boom at the audience in her husky baritone. Then she would stride off to her dressing room and change back into men's clothes. She fooled every audience she played to, and most of the managers she worked for, but her secret was hard to keep from the rest of the company. [Harpo Marx, "Harpo Speaks"]
c. 1600, "shield louse (Coccus ilicis) that yields a red dye" (1590s of the tree on which the insects live), from Medieval Latin cremesinus (also source of French kermès, Italian chermes, Spanish carmes), from Arabic qirmiz "kermes," from Sanskrit krmi-ja a compound meaning "(red dye) produced by a worm."
The Sanskrit compound is krmih "worm" (from PIE root *kwrmi- "worm," source also of Lithuanian kirmis, Old Irish cruim, Albanian krimp "worm") + -ja- "produced" (from PIE root *gene- "give birth, beget"). The insect lives in the Levant and southern Europe on a species of small evergreen oak (kermes oak) and in ancient Europe were the main source of red and scarlet dye. The dye is prepared from the dried bodies of pregnant females, which alive resemble small roundish grains about the size of peas and cling immobile to the tree on which they live. From this fact kermes dye was, for a long time, mistaken as being from a seed or excrescence of the tree, and the word for it in Greek was kokkos, literally "a grain, seed" (see cocco-). This was passed to Latin as coccum, coccus "berry [sic] yielding scarlet dye," in late use "scarlet color, scarlet garment."
So important was kermes (coccus) as a commercial source of scarlet dye that derivatives of the name for it have displaced the original word for "red" in many languages, such as Welsh coch (from Latin), Modern Greek kokkinos. Also compare Russian čcermnyj "purple-red," Old Church Slavonic čruminu. Compare also crimson (n.).
Kermes dyes have been found in burial wrappings in Anglo-Scandinavian York, but the use of kermes dyes seems to have been lost in Europe from the Dark Ages until early 15c. It fell out of use again with the introduction of cochineal (the word for which itself might be from coccus) from the New World.
Cloths dyed with kermes are of a deep red colour; and though much inferior in brilliancy to the scarlet cloths dyed with real Mexican cochineal, they retain the colour better and are less liable to stain. The tapestries of Brussels and other parts of Flanders, which have scarcely lost any thing of their original brilliancy, even after a lapse of 200 years, were all dyed with kermes. [W.T. Brande, "Dictionary of Science, Literature, & Art," London, 1842]
Old English beon, beom, bion "be, exist, come to be, become, happen," from Proto-Germanic *biju- "I am, I will be." This "b-root" is from PIE root *bheue- "to be, exist, grow," and in addition to the words in English it yielded the German present first and second person singular (bin, bist, from Old High German bim "I am," bist "thou art"), the Latin perfective tenses of esse (fui "I was," etc.), Old Church Slavonic byti "be," Greek phu- "become," Old Irish bi'u "I am," Lithuanian būti "to be," Russian byt' "to be," etc.
The modern verb to be in its entirety represents the merger of two once-distinct verbs, the "b-root" represented by be and the am/was verb, which was itself a conglomerate. Roger Lass ("Old English") describes the verb as "a collection of semantically related paradigm fragments," while Weekley calls it "an accidental conglomeration from the different Old English dial[ect]s." It is the most irregular verb in Modern English and the most common.
Collective in all Germanic languages, it has eight different forms in Modern English: BE (infinitive, subjunctive, imperative); AM (present 1st person singular); ARE (present 2nd person singular and all plural); IS (present 3rd person singular); WAS (past 1st and 3rd persons singular); WERE (past 2nd person singular, all plural; subjunctive); BEING (progressive & present participle; gerund); BEEN (perfect participle).
The paradigm in Old English was: eom, beo (present 1st person singular); eart, bist (present 2nd person singular); is, bið (present 3rd person singular); sind, sindon, beoð (present plural in all persons); wæs (past 1st and 3rd person singular); wære (past 2nd person singular); wæron (past plural in all persons); wære (singular subjunctive preterit); wæren (plural subjunctive preterit).
The "b-root" had no past tense in Old English, but often served as future tense of am/was. In 13c. it took the place of the infinitive, participle and imperative forms of am/was. Later its plural forms (we beth, ye ben, they be) became standard in Middle English and it made inroads into the singular (I be, thou beest, he beth), but forms of are claimed this turf in the 1500s and replaced be in the plural. For the origin and evolution of the am/was branches of this tangle, see am and was.
That but this blow Might be the be all, and the end all. ["Macbeth" I.vii.5]
Old English freo "exempt from; not in bondage, acting of one's own will," also "noble; joyful," from Proto-Germanic *friaz "beloved; not in bondage" (source also of Old Frisian fri, Old Saxon vri, Old High German vri, German frei, Dutch vrij, Gothic freis "free"), from PIE *priy-a- "dear, beloved," from root *pri- "to love."
The sense evolution from "to love" to "free" is perhaps from the terms "beloved" or "friend" being applied to the free members of one's clan (as opposed to slaves; compare Latin liberi, meaning both "free persons" and "children of a family"). For the older sense in Germanic, compare Gothic frijon "to love;" Old English freod "affection, friendship, peace," friga "love," friðu "peace;" Old Norse friðr "peace, personal security; love, friendship," German Friede "peace;" Old English freo "wife;" Old Norse Frigg, name of the wife of Odin, literally "beloved" or "loving;" Middle Low German vrien "to take to wife," Dutch vrijen, German freien "to woo."
Meaning "clear of obstruction" is from mid-13c.; sense of "unrestrained in movement" is from c. 1300; of animals, "loose, at liberty, wild," late 14c. Meaning "liberal, not parsimonious" is from c. 1300. Sense of "characterized by liberty of action or expression" is from 1630s; of art, etc., "not holding strictly to rule or form," from 1813. Of nations, "not subject to foreign rule or to despotism," recorded in English from late 14c. (Free world "non-communist nations" attested from 1950 on notion of "based on principles of civil liberty.") Sense of "given without cost" is 1580s, from notion of "free of cost."
Free even to the definition of freedom, "without any hindrance that does not arise out of his own constitution." [Emerson, "The American Scholar," 1837]
Free lunch, originally offered in bars to draw in customers, by 1850, American English. Free pass on railways, etc., attested by 1850. Free speech in Britain was used of a privilege in Parliament since the time of Henry VIII. In U.S., in reference to a civil right to expression, it became a prominent phrase in the debates over the Gag Rule (1836). Free enterprise recorded from 1832; free trade is from 1823; free market from 1630s. Free will is from early 13c. Free school is from late 15c. Free association in psychology is from 1899. Free love "sexual liberation" attested from 1822 (the doctrine itself is much older), American English. Free and easy "unrestrained" is from 1690s.
mid-14c., "state or fact of knowing; what is known, knowledge (of something) acquired by study; information;" also "assurance of knowledge, certitude, certainty," from Old French science "knowledge, learning, application; corpus of human knowledge" (12c.), from Latin scientia "knowledge, a knowing; expertness," from sciens (genitive scientis) "intelligent, skilled," present participle of scire "to know."
The original notion in the Latin verb probably is "to separate one thing from another, to distinguish," or else "to incise." This is related to scindere "to cut, divide" (from PIE root *skei- "to cut, split;" source also of Greek skhizein "to split, rend, cleave," Gothic skaidan, Old English sceadan "to divide, separate").
OED writes that the oldest English sense of the word now is restricted to theology and philosophy. From late 14c. in English as "book-learning," also "a particular branch of knowledge or of learning, systematized knowledge regarding a particular group of objects;" also "skillfulness, cleverness; craftiness." From c. 1400 as "experiential knowledge;" also "a skill resulting from training, handicraft; a trade."
From late 14c. in the more specific sense of "collective human knowledge," especially that gained by systematic observation, experiment, and reasoning. The modern (restricted) sense of "body of regular or methodical observations or propositions concerning a particular subject or speculation" is attested by 1725; in 17c.-18c. this commonly was philosophy.
The sense of "non-arts studies" is attested from 1670s. The distinction is commonly understood as between theoretical truth (Greek epistemē) and methods for effecting practical results (tekhnē), but science sometimes is used for practical applications and art for applications of skill.
The predominant modern use, "natural and physical science," generally restricted to study of the phenomena of the material universe and its laws, is by mid-19c.
The men who founded modern science had two merits which are not necessarily found together: Immense patience in observation, and great boldness in framing hypotheses. The second of these merits had belonged to the earliest Greek philosophers; the first existed, to a considerable degree, in the later astronomers of antiquity. But no one among the ancients, except perhaps Aristarchus, possessed both merits, and no one in the Middle Ages possessed either. [Bertrand Russell, "A History of Western Philosophy," 1945]
Science, since people must do it, is a socially embedded activity. It progresses by hunch, vision, and intuition. Much of its change through time does not record a closer approach to absolute truth, but the alteration of cultural contexts that influence it so strongly. Facts are not pure and unsullied bits of information; culture also influences what we see and how we see it. Theories, moreover, are not inexorable inductions from facts. The most creative theories are often imaginative visions imposed upon facts; the source of imagination is also strongly cultural. [Stephen Jay Gould, introduction to "The Mismeasure of Man," 1981]