[circular band] Old English hring "circlet of metal, especially one of a precious metal for wearing on the finger ornamentally, also a part of a mail coat; anything circular," from Proto-Germanic *hringaz "something curved, circle" (source also of Old Norse hringr, Old Frisian hring, Danish, Swedish, Dutch ring, Old High German hring, German Ring), from nasalized form of PIE root *sker- (2) "to turn, bend."
Other Old English senses were "circular group of persons" (birds, actually), also "horizon." In Old and Middle English also "a bracelet, armlet." As a token of marriage, betrothal, chastity, etc., by c. 1200. The sense of "a number of things arranged in a circle" is by 1580s.
The meaning "place for prize fight and wrestling bouts" (early 14c.) is from the space in a circle of bystanders in the midst of which such contests once were held, "... a circle formed for boxers, wrestlers, and cudgel players, by a man styled Vinegar; who, with his hat before his eyes, goes round the circle, striking at random with his whip to prevent the populace from crowding in" [Grose, 1785]. Hence the ring "boxing" (by 1770). The meaning "combination of persons interested in attaining some object" is from 1829, originally commercial or political, latter in reference to espionage or terrorism. Of the annual growth bands in trees, from 1670s.
Fairy ring is from 1620s. Ring finger, "third finger of the left hand" (in anatomy, of either hand) is Old English hringfingr, a compound also attested in other Germanic languages; it is also called ring-man (15c.). To run rings round (someone) "be superior to" is from 1891.
The nursery rhyme ring a ring a rosie is attested in an American form (with a different ending) from c. 1790. "The belief that the rhyme originated with the Great Plague is now almost universal, but has no evidence to support it and is almost certainly nonsense" ["Oxford Dictionary of English Folklore"]. This proposal of connection dates only to the late 1960s.
also dumbbell, "one of a pair of weighted bars used for exercise," by 1785, earlier (from 1711), according to OED, an apparatus like that used to ring a church bell, but without the bell (hence dumb); used for physical exercise but sometimes also to practice ringing changes. See dumb (adj.) + bell (n.). If this is right, the word must have been transferred; earlier 18c. references make mention of "pulling" or "ringing" dumb-bells and note that it can be done only indoors. The following is a footnote to the 1903 reprint of Joseph Strutt's 1801 "The Sports and Pastimes of the People of England":
The origin of the term is somewhat curious. Dumb-bells take their name by analogy, as was pointed out in Notes and Queries in 1861, "from a machine used for exercise, consisting of a rough, heavy, wooden flywheel with a rope passing through and round a spindle ... and set in motion like a church bell." This statement, however, does not sufficiently explain the transference of such a name to the short bar and rounded lead or iron ends of a hand dumb-bell. This difficulty was explained by the late Chancellor Ferguson in a paper read before the Archaeological Institute in 1895, wherein a dumb-bell apparatus, now at Lord Sackville's seat at Knowle, was described and illustrated. The roller round which the rope winds and unwinds has four iron arms, each of which has a leaden poise or ball at the end, just like the end of an ordinary hand dumb-bell. This Knowle example is fixed in an attic and the rope passed through to a gallery beneath. Anyone pulling the rope would get much the same exercise as in pulling a bell rope in a church tower, but without annoying his neighbours by the noise. There used to be a similar apparatus at New College, Oxford.
Figurative sense of "blockhead, stupid person" attested by 1918, American English college slang.
late 14c., "a number of people associated together by the fact of residence in the same locality," also "the common people" (not the rulers or the clergy), from Old French comunité "community, commonness, everybody" (Modern French communauté), from Latin communitatem (nominative communitas) "community, society, fellowship, friendly intercourse; courtesy, condescension, affability," from communis "common, public, general, shared by all or many" (see common (adj.)).
Latin communitatem "was merely a noun of quality ... meaning 'fellowship, community of relations or feelings' " [OED], but in Medieval Latin it came to be used concretely to mean "a society, a division of people." In English, the meaning "common possession or enjoyment" is from c. 1400. Sense of "a society or association of persons having common interests or occupations" also is from c. 1400.
An Old English word for "community" was gemænscipe "community, fellowship, union, common ownership," from mæne "common, public, general," and thus probably composed from the same PIE roots as communis. Middle English also had commonty (late 14c.) "the common people; a community," also later meaning "land held in common" (c. 1600).
Community service as a criminal sentence is recorded from 1972, American English. Community college, one offering post-secondary instruction geared to local needs and interests, is recorded from 1947, American English. Community chest "fund made up of individual donations to meet the needs of charity and social welfare in a community" is from 1919, American English.
The Community Chest is a device to consolidate all these separate [charitable] appeals, and go before the people once a year with a budget which appropriates to each organization the amount which it needs to make up the difference between its income from other sources, and its necessary expenses. By this means not only are the charities relieved of financial worry and adequately supported, but the public is spared the irritation of constant solicitation, which is all the more unbusinesslike because it is decentralized and not subject to outside disinterested scrutiny. ["New Jersey Municipalities," December 1919]
c. 1200, "the sufferings of Christ on the Cross; the death of Christ," from Old French passion "Christ's passion, physical suffering" (10c.), from Late Latin passionem (nominative passio) "suffering, enduring," from past-participle stem of Latin pati "to endure, undergo, experience," a word of uncertain origin. The notion is "that which must be endured."
The sense was extended to the sufferings of martyrs, and suffering and pain generally, by early 13c. It replaced Old English þolung (used in glosses to render Latin passio), literally "suffering," from þolian (v.) "to endure." In Middle English also sometimes "the state of being affected or acted upon by something external" (late 14c., compare passive).
In Middle English also "an ailment, disease, affliction;" also "an emotion, desire, inclination, feeling; desire to sin considered as an affliction" (mid-13c.). The specific meaning "intense or vehement emotion or desire" is attested from late 14c., from Late Latin use of passio to render Greek pathos "suffering," also "feeling, emotion." The specific sense of "sexual love" is attested by 1580s, but the word has been used of any lasting, controlling emotion (zeal; grief, sorrow; rage, anger; hope, joy). The meaning "strong liking, enthusiasm, predilection" is from 1630s; that of "object of great admiration or desire" is by 1732.
As compared with affection, the distinctive mark of passion is that it masters the mind, so that the person becomes seemingly its subject or its passive instrument, while an affection, though moving, affecting, or influencing one, still leaves him his self-control. The secondary meanings of the two words keep this difference. [Century Dictionary]
A passion-play (1843, in a German context) represents the scenes in the Passion of Christ. The passion-flower was so called from the 1630s.
The name passionflower — flos passionis — arose from the supposed resemblance of the corona to the crown of thorns, and of the other parts of the flower to the nails, or wounds, while the five sepals and five petals were taken to symbolize the ten apostles — Peter ... and Judas ... being left out of the reckoning. [Encyclopaedia Britannica, 1885]
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.
eighth letter of the alphabet; it comes from Phoenician, via Greek and Latin. In Phoenician it originally had a rough guttural sound like German Reich or Scottish loch. In Greek at first it had the value of Modern English -h-, and with this value it passed into the Latin alphabet via Greek colonies in Italy. Subsequently in Greek it came to be used for a long "e" sound; the "h" sound being indicated by a fragment of the letter, which later was reduced to the aspiration mark.
In Germanic it was used for the voiceless breath sound when at the beginning of words, and in the middle or at the end of words for the rough guttural sound, which later came to be written -gh.
The sound became totally silent in Vulgar Latin and in the languages that emerged from it; thus the letter was omitted in Old French and Italian, but it was restored pedantically in French and Middle English spelling, and often later in English pronunciation. Thus Modern English has words ultimately from Latin with missing -h- (able, from Latin habile); with a silent -h- (heir, hour); with a formerly silent -h- now often vocalized (humble, humor, herb); and even a few with an unetymological -h- fitted in confusion to words that never had one (hostage, hermit). Relics of the formerly unvoiced -h- persist in pedantic insistence on an historical (object) and in obsolete mine host.
The pronunciation "aitch" was in Old French (ache "name of the letter H"), and is from a presumed Late Latin *accha (compare Italian effe, elle, emme), with the central sound approximating the rough, guttural value of the letter in Germanic. In earlier Latin the letter was called ha. The use in digraphs (as in -sh-, -th-) goes back to the ancient Greek alphabet, which used it in -ph-, -th-, -kh- until -H- took on the value of a long "e" and the digraphs acquired their own characters. The letter passed into Roman use before this evolution, and thus retained there more of its original Semitic value.
also Hell, Old English hel, helle, "nether world, abode of the dead, infernal regions, place of torment for the wicked after death," from Proto-Germanic *haljō "the underworld" (source also of Old Frisian helle, Old Saxon hellia, Dutch hel, Old Norse hel, German Hölle, Gothic halja "hell"). Literally "concealed place" (compare Old Norse hellir "cave, cavern"), from PIE root *kel- (1) "to cover, conceal, save."
Old Norse Hel (from Proto-Germanic *halija "one who covers up or hides something")was the name of Loki's daughter who ruled over the evil dead in Niflheim, the lowest of all worlds (nifl "mist") It might have reinforced the English word "as a transfer of a pagan concept to Christian theology and its vocabulary" [Barnhart].
In Middle English, also of the Limbus Patrum, place where the Patriarchs, Prophets, etc. awaited the Atonement. Used in the KJV for Old Testament Hebrew Sheol and New Testament Greek Hades, Gehenna. Used figuratively for "state of misery, any bad experience" at least since late 14c. As an expression of disgust, etc., first recorded 1670s.
To have hell break loose is from c. 1600. Expression hell in a handbasket is attested by 1867, in a context implying use from a few years before, and the notion of going to Heaven in a handbasket is from 1853, implying "easy passage" to the destination. Hell or high water (1874) apparently is a variation of between the devil and the deep blue sea. To wish someone would go to hell is in Shakespeare ("Merchant of Venice"). Snowball's chance in hell "no chance" is from 1931; till hell freezes over "never" is from 1832.
To do something for the hell of it "just for fun" is from 1921. To ride hell for leather is from 1889, originally with reference to riding on horseback. Hell on wheels is from 1843 as the name of a steamboat; its general popularity dates from 1869 in reference to the temporary workers' vice-ridden towns along the U.S. transcontinental railroad. Scottish had hell-wain (1580s) "a phantom wagon seen in the sky at night."
Old English cnawan (class VII strong verb; past tense cneow, past participle cnawen), "perceive a thing to be identical with another," also "be able to distinguish" generally (tocnawan); "perceive or understand as a fact or truth" (opposed to believe); "know how (to do something)," from Proto-Germanic *knew- (source also of Old High German bi-chnaan, ir-chnaan "to know"), from PIE root *gno- "to know."
For pronunciation, see kn-. Once widespread in Germanic, the verb is now retained there only in English, where it has widespread application, covering meanings that require two or more verbs in other languages (such as German wissen, kennen, erkennen and in part können; French connaître "perceive, understand, recognize," savoir "have a knowledge of, know how;" Latin scire "to understand, perceive," cognoscere "get to know, recognize;" Old Church Slavonic znaja, vemi). The Anglo-Saxons also used two distinct words for this, the other being witan (see wit (v.)).
From c. 1200 as "to experience, live through." Meaning "to have sexual intercourse with," also found in other modern languages, is attested from c. 1200, from the Old Testament (Genesis iv.1). Attested from 1540s in colloquial phrases suggesting cunning or savvy (but often in the negative); to not know one's ass from one's elbow is from 1930.
As far as (one) knows "to the best of (one's) knowledge" is late 14c. Expression God knows is from c. 1400. To know too much (to be allowed to live, escape, etc.) is from 1872. To know better "to have learned from experience" is from 1704.
You know as a parenthetical filler is from 1712, but it has roots in 14c. You know as a euphemism for a thing or situation unmentionable is from 1867; you-know-who for a person it is thought best not to name (but implying the hearer knows) is from 1840.
As an expression of surprise, what do you know attested by 1914. Don't I know it in the opposite sense ("you need not tell me") is by 1841. You never know as a response to something unexpected is attested from 1924.
[The egomaniac, as opposed to the megalomaniac,] does not regard it as necessary to dream of himself as occupying some invented social position. He does not require the world or its appreciation to justify in his own eyes himself as the sole object of his own interest. He does not see the world at all. Other people simply do not exist for him. The whole 'non-Ego' appears in his consciousness merely as a vague shadow or a thin cloud. The idea does not even occur to him that he is something out of the common, that he is superior to other people, and for this reason either admired or hated ; he is alone in the world ; more than that, he alone is the world and everything else, men, animals, things are unimportant accessories, not worth thinking about. [Max Nordau, "Degeneration," English translation, 1895]
Nordau's book was much-read, debated, and cited at the time and the word was associated with him (e.g. The Agora, July 1895).
Walker's use aside, its infrequent print appearance before 1895 seems to have been largely in the side of medicine that dealt with psychological matters:
The most frequent, yet the most extraordinary of these perversions of temper, are seen in young females. It is a species of aberration of the intellect, but short of insanity, real enough, but exaggerated, fictitious, factitious, and real at the same time. It frequently has its origin in dyspepsia, hysteria, or other malady, and in emotion of various kinds, such as disappointment, vexation, &c. Its object is frequently to excite and to maintain a state of active sympathy and attention, for which there, is as it were, a perpetual, morbid, and jealous thirst. It was rather aptly designated, by the clever relative of one patient, an ego-mania. [Marshall Hall, M.D., "Practical Observations and Suggestions in Medicine," London, 1845]
late 14c., "narrative with a happy ending; any composition intended for amusement," from Old French comedie (14c.), "a poem" (not in the theatrical sense) and directly from Latin comoedia, from Greek kōmōidia "a comedy, amusing spectacle," probably [Beekes] from kōmōidos "actor or singer in the revels," from kōmos "revel, carousal, merry-making, festival" + aoidos "singer, poet," from aeidein "to sing," which is related to ōidē (see ode).
The passage on the nature of comedy in the Poetic of Aristotle is unfortunately lost, but if we can trust stray hints on the subject, his definition of comedy (which applied mainly to Menander) ran parallel to that of tragedy, and described the art as a purification of certain affections of our nature, not by terror and pity, but by laughter and ridicule. [Rev. J.P. Mahaffy, "A History of Classical Greek Literature," London, 1895]
The origin of Greek komos is uncertain; perhaps it is from a PIE *komso- "praise," and cognate with Sanskrit samsa "praise, judgment." Beekes suggests Pre-Greek. The old derivation from kome "village" is not now regarded.
The classical sense of the word was "amusing play or performance with a happy ending," which is similar to the modern one, but in the Middle Ages the word meant poems and stories generally (albeit ones with happy endings), such as Dante's "Commedia." The revival of learning 16c. recovered the ancient comedies and shifted the sense of the word to "branch of drama addressing primarily the humorous and ridiculous" (opposed to tragedy). In 18c. this was somewhat restricted to "humorous, but not grossly comical, drama" (opposed to farce).
Comedy aims at entertaining by the fidelity with which it presents life as we know it, farce at raising laughter by the outrageous absurdity of the situation or characters exhibited, & burlesque at tickling the fancy of the audience by caricaturing plays or actors with whose style it is familiar. [Fowler]
Meaning "comic play or drama" is from 1550s (the first modern comedy in English was said to be Nicholas Udall's "Roister Doister"). Extended sense "humorous or comic incident or events in life" is from 1560s. Generalized sense of "quality of being amusing" dates from 1877.