late 13c., meven, in various senses (see below), from Anglo-French mover, Old French movoir "to move, get moving, set out; set in motion; introduce" (Modern French mouvoir), from Latin movere "move, set in motion; remove; disturb" (past participle motus, frequentative motare), from PIE root *meue- "to push away."
Of the physical meanings, the earliest in English (late 13c.) is the intransitive one of "change one's place or posture, stir, shift; move the body; move from one's place, change position. That of "to go (from one place to another), journey, travel; set out, proceed" is from c. 1300. The transitive sense of "cause to change place or position; shift; dislodge; set in motion" is from late 14c., as is that of "impart motion to, impel; set or sustain in motion." The intransitive sense of "pass from place to place; journey; travel; change position continuously or occasionally" is from c. 1300.
The emotional, figurative, and non-material senses also are mostly from Middle English: The earliest is "excite to action; influence; induce; incite; arouse; awaken" the senses or mental faculties or emotions (late 13c.); specifically "affect (someone) emotionally, rouse to pity or tenderness" by early 14c. Hence also "influence (someone, to do something), guide, prompt or impel toward some action" (late 14c.).
The sense of "propose; bring forward; offer formally; submit," as a motion for consideration by a deliberative assembly" is by early 15c. Sense of "to change one's place of residence" is from 1707. In chess, checkers, and similar games, "to change the position of a piece in the course of play," late 15c. Commercial sense of "sell, cause to be sold" is by 1900.
The policeman's order to move on is attested by 1831. To move heaven and earth "make extraordinary efforts" is by 1798. Related: Moved;moving.
late 14c., posen, "suggest (something is so), suppose, assume; grant, concede," from Old French poser "put, place, propose," a term in debating, from Late Latin pausare "to halt, rest, cease, pause" (source also of Italian posare, Spanish posar; see pause (v.)). The Late Latin verb also had a transitive sense, "cause to pause or rest," and hence the Old French verb (in common with cognates in Spanish, Italian, Portuguese) acquired the sense of Latin ponere "to put, place" (past participle positus; see position (n.)), by confusion of the similar stems.
One of the most remarkable facts in F[rench] etymology is the extraordinary substitution whereby the Low Lat. pausare came to mean 'to make to rest, to set,' and so usurped the place of the Lat. ponere, to place, set, with which it has no etymological connection. And this it did so effectually as to restrict the F. pondre, the true equivalent of Lat. ponere, to the sense of 'laying eggs;' whilst in all compounds it completely thrust it aside, so that compausare (i.e. F. composer) took the place of Lat. componere, and so on throughout. Hence the extraordinary result, that whilst the E. verbs compose, depose, impose, propose, &c. exactly represent in sense the Lat. componere, deponere, imponere, proponere, &c., we cannot derive the E. verbs from the Lat. ones since they have (as was said) no real etymological connection. [W.W. Skeat, "Etymological Dictionary of the English Language," 1898]
The meaning "put in a certain position" in English is from early 15c. The intransitive sense of "assume a certain attitude or character" (with implications of artificiality) is from 1840; the transitive sense in reference to an artist's model, etc. is from 1850. Related: Posed; posing.
Middle English putten, from late Old English *putian, "to thrust, push, shove" (someone or something; a sense now obsolete), also "to move or a thing physically so as to place it in some situation," implied in putung "instigation, an urging," literally "a putting;" related to pytan "put out, thrust out" (of eyes), probably from a Germanic stem that also produced Danish putte "to put," Swedish dialectal putta; Middle Dutch pote "scion, plant," Dutch poten "to plant," Old Norse pota "to poke."
Obsolete past tense form putted is attested 14c.-15c. From c. 1300 as "to hurl, cast, propel," especially "to throw with an upward and forward motion of the arm" (Will. Putstan is attested as a name from 1296). From mid-14c. in the figurative sense of "bring (someone) into some specified state or condition;" late 14c. as "subject (someone to something)," as in put to death, c. 1400; put to shame, mid-15c. From mid-14c. as "make a declaration, express in speech or writing," hence "express or state (in a particular way)," 1690s, also "propose or place before someone for consideration."
To put (something) back is from 1530s as "to hinder, delay;" 1816 as "restore to the original place or position." To put (something) down "end by force or authority" (a rebellion, etc.) is from mid-14c. To put upon (someone) "play a trick on, impose on" is from 1690s. To put up with "tolerate, accept, bear or suffer without protest or resentment" (1755) is perhaps from put up "to take up" (one's lodgings, etc.), 1727. To put (someone) up in the transitive sense of "lodge and entertain" is by 1766. To put (someone) on "deceive" is from 1958. To put upon (someone) "play a trick on, deceive, impose on" is from 1690s.
mid-14c., diversite, "variety, diverseness;" late 14c., "quality of being diverse, fact of difference between two or more things or kinds; variety; separateness; that in which two or more things differ," mostly in a neutral sense, from Old French diversete "difference, diversity, unique feature, oddness:" also "wickedness, perversity" (12c., Modern French diversité), from Latin diversitatem (nominative diversitas) "contrariety, contradiction, disagreement;" also, as a secondary sense, "difference, diversity," from diversus "turned different ways" (in Late Latin "various"), past participle of divertere (see divert).
A negative meaning, "perverseness, being contrary to what is agreeable or right; conflict, strife; perversity, evil" existed in English from late 14c. but was obsolete from 17c. Diversity as a virtue in a nation is an idea from the rise of modern democracies in the 1790s, where it kept one faction from arrogating all power (but this was not quite the modern sense, as ethnicity, gender, sexual identity, etc. were not the qualities in mind):
The dissimilarity in the ingredients which will compose the national government, and still more in the manner in which they will be brought into action in its various branches, must form a powerful obstacle to a concert of views in any partial scheme of elections. There is sufficient diversity in the state of property, in the genius, manners, and habits of the people of the different parts of the Union, to occasion a material diversity of disposition in their representatives towards the different ranks and conditions in society. ["The Federalist," No. 60, Feb. 26, 1788 (Hamilton)]
Specific focus (in a positive sense) on race, gender, etc., "inclusion and visibility of persons of previously under-represented minority identities" is by 1992.
early 12c. as an adjective, seinte, "holy, divinely inspired, worthy of worship," used before proper names (Sainte Marian Magdalene, etc.), from Old French saint, seinte "holy, pious, devout," from Latin sanctus "holy, consecrated," past participle of sancire "consecrate" (see sacred). It displaced or altered Old English sanct, which is directly from Latin sanctus.
From an adjective prefixed to the name of a canonized person, it came to be used in English by c. 1200 as a noun, "a specific canonized Christian," also "one of the elect, a member of the body of Christ, one consecrated or set apart to the service of God," also in an Old Testament sense "a pre-Christian prophet."
It is attested by late 13c. as "moral or virtuous person, one who is pure or upright in heart and life."
The adjectives also were used as nouns in Late Latin and Old French: "a saint; a holy relic." The Latin word also is the source of Spanish santo, santa, Italian san, etc., and also ultimately the source of the word in most Germanic languages (Old Frisian sankt, Dutch sint, German Sanct).
Perhaps you have imagined that this humility in the saints is a pious illusion at which God smiles. That is a most dangerous error. It is theoretically dangerous, because it makes you identify a virtue (i.e., a perfection) with an illusion (i.e., an imperfection), which must be nonsense. It is practically dangerous because it encourages a man to mistake his first insights into his own corruption for the first beginnings of a halo round his own silly head. No, depend upon it; when the saints say that they—even they—are vile, they are recording truth with scientific accuracy. [C.S. Lewis, "The Problem of Pain," 1940]
early 15c., pictur, pictoure, pittour, pectur, "the process or art of drawing or painting," a sense now obsolete; also "a visual or graphic representation of a person, scene, object, etc.," from Latin pictura "painting," from pictus, past participle of pingere "to make pictures, to paint, to embroider," (see paint (v.)).
Picture window is from 1938. Picture post-card is recorded from 1899. Picture-book, "book illustrated with pictures or consisting mostly of pictures," especially one for children, is by 1847. Picture-frame "more or less ornamental border put around a picture to protect it" is from 1660s.
The phrase every picture tells a story is attested from 1900, in advertisements for an illustrated life of Christ. To be in (or out of) the picture in the figurative sense dates to 1900.
The expression a picture is worth a thousand words, attested from 1918, probably originated in the publication trade (the notion that a picture was worth 1,000 words is in printers' publications by 1911). The phrase was used in the form worth a million words by American newspaper editor Arthur Brisbane (1864-1936) in an editorial much-read c. 1916 titled "What is a Good Newspaper" in the "New York Evening Journal." In part it read: "After news and humor come good pictures. In this day of hurry we learn through the eye, and one picture may be worth a million words."
The phrase seems to have emerged into general use via the medium of advertising (which scaled down the number and also gave the expression its spurious origin story as "a Japanese proverb" or some such thing, by 1919). Earlier various acts or deeds (and in one case "the arrow") were said to be worth a thousand words.
Old English, "move swiftly by using the legs, go on legs more rapidly than walking," also "make haste, hurry; be active, pursue or follow a course," and, of inanimate things, "to move over a course."
The modern verb is a merger of two related Old English words, in both of which the initial two letters sometimes switched places. The first is intransitive rinnan, irnan "to run, flow, run together" (past tense ran, past participle runnen), which is cognate with Middle Dutch runnen, Old Saxon, Old High German, Gothic rinnan, German rinnen "to flow, run."
The second is Old English transitive weak verb ærnan, earnan "ride, run to, reach, gain by running" (probably a metathesis of *rennan), from Proto-Germanic *rannjanan, causative of the root *ren- "to run." This is cognate with Old Saxon renian, Old High German rennen, German rennen, Gothic rannjan.
Watkins says both are from PIE *ri-ne-a-, nasalized form of root *rei- "to run, flow," but Boutkan's sources find this derivation doubtful based on the poor attestation of supposed related forms, and he lists it as of "No certain IE etymology."
Of streams, etc., "to flow," from late Old English. From c. 1200 as "take flight, retreat hurriedly or secretly." Phrase run for it "take flight" is attested from 1640s.
Also from c. 1200 as "compete in a race." Extended to "strive for any ends," especially "enter a contest for office or honors, stand as a candidate in an election" (1826, American English).
Of any sort of hurried travel, c. 1300. From early 13c. as "have a certain direction or course." By c. 1300 as "keep going, extend through a period of time, remain in existence." Specifically of theater plays by 1808. Of conveyances, stage lines, etc., "perform a regular passage from place to place" by 1817.
Of machinery or mechanical devices, "go through normal or allotted movements or operation," 1560s. Of colors, "to spread in a fabric when exposed to moisture," 1771. Of movie film, "pass between spools," hence "be shown," by 1931.
The meaning "carry on" (a business, etc.) is by 1861, American English; hence extended senses of "look after, manage." As "publish or print in a newspaper or magazine," by 1884.
Many senses are via the notion of "pass into or out of a certain state." To run dry "cease to yield water or milk" (1630s). In commerce, "be of a specified price, size, etc.," by 1762. To run low "be nearly exhausted" is by 1712; to run short "exhaust one's supply" is from 1752; to run out of in the same sense is from 1713. To run on "keep on, continue without pause or change" is from 1590s.
The transitive sense of "cause to run" was in Old English. By late 15c. as "to pierce, stab," hence 1520s as "thrust through or into something." The meaning "enter (a horse) in a race" is from 1750. The sense of "cause a mechanical device to keep moving or working" is by 1817.
Many figurative uses are from horseracing or hunting (such as to run (something) into the ground "carry to excess, exhaust by constant pursuit," 1836, American English).
To run across "meet by chance, fall in with" is attested from 1855, American English. To run into in this sense is by 1902. To run around with "consort with" is from 1887.
In reference to fevers by 1918. To run a (red) traffic signal is by 1933. Of tests, experiments, etc., by 1947. Of computers by 1952. Time has been running out since c. 1300. To run in the family is by 1771. The figurative expression run interference (1929) is from U.S. football. To run late is from 1954.
late 14c., "one's lot or destiny; predetermined course of life;" also "one's guiding spirit," from Old French fate and directly from Latin fata (source also of Spanish hado, Portuguese fado, Italian fato), neuter plural of fatum "prophetic declaration of what must be, oracle, prediction," thus the Latin word's usual sense, "that which is ordained, destiny, fate," literally "thing spoken (by the gods)," from neuter past participle of fari "to speak," from PIE root *bha- (2) "to speak, tell, say." Often in a bad sense in Latin: "bad luck, ill fortune; mishap, ruin; a pest or plague."
From early 15c. as "power that rules destinies, agency which predetermines events; supernatural predetermination;" also "destiny personified." Meaning "that which must be" is from 1660s; sense of "final event" is from 1768. The Latin sense evolution is from "sentence of the Gods" (Greek theosphaton) to "lot, portion" (Greek moira, personified as a goddess in Homer).
The sense of "one of the three goddesses (Clotho, Lachesis, and Atropos) who determined the course of a human life" (or, as Blount has it, "the three Ladies of destiny") is in English by 1580s. Their Greek name was Moirai (see above), from a verb meaning "to receive one's share." Latin Parca "one of the three Fates or goddesses of fate" (source of French parque "a Fate;" Spanish parca "Death personified; the Grim Reaper") might be from parcere "act sparingly, refrain from; have mercy upon, forbear to injure or punish" (if so, probably here a euphemism) or plectere "to weave, plait." The native word in English was wyrd (see weird).
J'y suivais un serpent qui venait de me mordre
Quel repli de désirs, sa traîne!...Quel désordre
De trésors s'arrachant à mon avidité,
Et quelle sombre soif de la limpidité!
[Paul Valéry, from La Jeune Parque]
c. 1200, "betraying; betrayal of trust; breach of faith," from Anglo-French treson, from Old French traison "treason, treachery" (11c.; Modern French trahison), from Latin traditionem (nominative traditio) "delivery, surrender, a handing down, a giving up," 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"). A doublet of tradition. The Old French form was influenced by the verb trair "betray."
Vpon Thursday it was treason to cry God saue king James king of England, and vppon Friday hye treason not to cry so. [Thomas Dekker, "The Wonderfull Yeare 1603"]
In old English law, high treason (c. 1400) is violation by a subject of his allegiance to his sovereign or to the state (the sense of high here is "grave, serious"); distinguished from petit treason, treason against a subject, such as murder of a master by his servant. Constructive treason was a judicial fiction whereby actions carried out without treasonable intent, but found to have the effect of treason, were punished as though they were treason itself. The protection against this accounts for the careful wording of the definition of treason in the U.S. Constitution.
Trahison des clercs "self-compromised integrity of intellectuals, betrayal or corruption by academics, moralists, journalists, etc., of their vocation," is the title of a 1927 French work by Julien Benda, translated into English in 1928.
In short, intellectuals began to immerse themselves in the unsettlingly practical and material world of political passions: precisely those passions, Benda observed, "owing to which men rise up against other men, the chief of which are racial passions, class passions and national passions." ... "Our age is indeed the age of the intellectual organization of political hatreds" he wrote. "It will be one of its chief claims to notice in the moral history of humanity." [Roger Kimball, introduction to 2007 English edition]
late 14c., originally in grammar (in reference to nouns that do not name concrete things), from Latin abstractus "drawn away," past participle of abstrahere "to drag away, detach, pull away, divert," also used figuratively; from assimilated form of ab "off, away from" (see ab-) + trahere "to draw" (from PIE root *tragh- "to draw, drag, move;" see tract (n.1)).
The meaning in philosophy, "withdrawn or separated from material objects or practical matters" (opposed to concrete) is from mid-15c. That of "difficult to understand, abstruse" is from c. 1400.
In the fine arts, "characterized by lack of representational qualities" by 1914; it had been a term at least since 1847 for music without accompanying lyrics. Abstract expressionism as an American-based uninhibited approach to art exemplified by Jackson Pollock is from 1952, but the term itself had been used in the 1920s of Kandinsky and others.
Oswald Herzog, in an article on "Der Abstrakte Expressionismus" (Sturm, heft 50, 1919) gives us a statement which with equal felicity may be applied to the artistic attitude of the Dadaists. "Abstract Expressionism is perfect Expressionism," he writes. "It is pure creation. It casts spiritual processes into a corporeal mould. It does not borrow objects from the real world; it creates its own objects .... The abstract reveals the will of the artist; it becomes expression. ..." [William A. Drake, "The Life and Deeds of Dada," 1922]
Then, that art we have called "abstract" for want of any possible descriptive term, with which we have been patient, and, even, appreciative, getting high stimulation by the new Guggenheim "non-objective" Art Museum, is reflected in our examples of "surrealism," "dadaism," and what-not, to assert our acquaintance in every art, fine or other. [Report of the Art Reference Department of Pratt Institute Free Library for year ending June 30, 1937]