1823, pertaining to, characteristic of, or resembling British poet George Gordon, 6th Baron Byron (1788-1824) or his poetry.
Perfect she was, but as perfection is
Insipid in this naughty world of ours,
Where our first parents never learn'd to kiss
Till they were exiled from their earlier bowers,
Where all was peace, and innocence, and bliss
(I wonder how they got through the twelve hours),
Don Jose like a lineal son of Eve,
Went plucking various fruit without her leave.
[from "Don Juan"]
It was on the Continent that Byron was influential, and it is not in England that his spiritual progeny is to be sought. To most of us, his verse seems often poor and his sentiment often tawdry, but abroad his way of feeling and his outlook on life were transmitted and developed and transmuted until they became so wide-spread as to be factors in great events. [Bertrand Russell, "A History of Western Philosophy," 1945]
"single-reeded tubular woodwind instrument with a bell mouth," 1768, from French clarinette (18c.), diminutive of clarine "little bell" (16c.), noun use of fem. of adjective clarin (which also was used as a noun, "trumpet, clarion"), from clair, cler, from Latin clarus (see clear (adj.)). Alternative form clarionet is attested from 1784.
The instrument, a modification of the medieval shawm, is said to have been invented c. 1700 by J.C. Denner of Nuremberg, Germany, and was a recognized orchestral instrument from c. 1775. The ease of playing it increased greatly with a design improvement from 1843 based on Boehm's flute.
After the hautboy came the clarinet. This instrument astonished every beholder, not so much, perhaps, on account of its sound, as its machinery. One that could manage the keys of a clarinet, forty five years ago, so as to play a tune, was one of the wonders of the age. Children of all ages would crowd around the performer, and wonder and admire when the keys were moved. [Nathaniel D. Gould, "Church Music in America," Boston, 1853]
German Clarinet, Swedish klarinett, Italian clarinetto, etc. all are from French. Related: Clarinettist.
1915, "cheap, shoddy, or defective goods," from American Yiddish shlak, from German Schlacke "dregs, scum, dross" (see slag (n.)). Alternative etymology [OED] is from Yiddish shlogn "to strike" (cognate with German schlagen; see slay). Mostly commercial at first, by mid-20c. in reference to fiction, movies, television programming, etc. Derived form schlockmeister is by 1953; "purveyor of cheap products," though originally it had a more specific sense in show-biz.
Ever wonder how these washing machines, toasters, razors, clothes and 101 other items show up on national TV shows? The answer is schlockmeisters!
Nobody is certain where the word comes from but it's the new name applied to a few men in Hollywood and New York who make a Cadillac-style living by giving away their clients' products. The situation is well in hand and a going concern for Al Pretker, Walter Kline and Adolphe Wenland in Hollywood; in Manhattan, there's Waldo Mayo. [Eve Star, "Inside TV" syndicated column, Sept. 10, 1953]
Adjectival form schlocky is attested from 1968; schlock was used as an adjective from 1916.
c. 1300, "extent or area; room" (to do something), a shortening of Old French espace "period of time, distance, interval" (12c.), from Latin spatium "room, area, distance, stretch of time," a word of unknown origin (also source of Spanish espacio, Italian spazio).
From early 14c. as "a place," also "amount or extent of time." From mid-14c. as "distance, interval of space;" from late 14c. as "ground, land, territory; extension in three dimensions; distance between two or more points." From early 15c. as "size, bulk," also "an assigned position." Typographical sense is attested from 1670s (typewriter space-bar is from 1876, earlier space-key, 1860).
Astronomical sense of "stellar depths, immense emptiness between the worlds" is by 1723, perhaps as early as "Paradise Lost" (1667), common from 1890s. Space age is attested from 1946. Many compounds first appeared in science fiction and speculative writing, such as spaceship (1894, "A Journey in Other Worlds," John Jacob Astor); spacecraft (1928, Popular Science); space travel (1931); space station (1936, "Rockets Through Space"); spaceman (1942, Thrilling Wonder Stories). Space race attested from 1959. Space shuttle attested by 1970.
Space isn't remote at all. It's only an hour's drive away if your car could go straight upwards. [Sir Fred Hoyle, London Observer, 1979]
BOMB, or BOMB SHELL, now called simply Shell (Fr. Bombe). A hollow iron ball or shell filled with gunpowder, having a vent or fuze-hole into which a fuzee is fitted to set the powder on fire after the shell is thrown out of a mortar. This destructive missile is intended to do injury both by its force in falling, and by bursting after it falls. [Arthur Young, "Nautical Dictionary," London, 1863]
The figurative sense of "shattering or devastating thing or event" is attested by 1859. In reference to a pretty woman "of startling vitality or physique" [OED], especially a blonde, it is attested by 1942. "Bombshell" as title of a movie starring blond U.S. actress Jean Harlow (1911-1937) is from 1933; it was believed to have been loosely based on the life of screen star Clara Bow.
The producers of the current hilarious Jean Harlow-Lee Tracy photoplay were not satisfied with the original title "Bombshell" so they renamed it "The Blond Bombshell." We wonder, in passing, why they didn't call it "The Private Life of Clara Bow" originally and let it go at that. [The Oklahoma News, Nov. 19, 1933]
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]
verb ("to ejaculate") and noun ("semen"), by 1973, apparently a variant of come in the sexual sense that originated in pornographic writing, perhaps first in the noun. This "experience sexual orgasm" slang meaning of come (perhaps originally come off) is attested by 1650, in "Walking In A Meadowe Greene," in a folio of "loose songs" collected by Bishop Percy.
They lay soe close together,
they made me much to wonder;
I knew not which was wether,
vntill I saw her vnder.
then off he came & blusht for shame
soe soone that he had endit;
yet still shee lyes, & to him cryes,
"Once More, & none can mend it."
It probably is older and disguised in puns, e.g. "I come, I come, sweet death, rock me a-sleep!" ["Nashe His Dildo," 1590s]
As a noun meaning "semen or other product of orgasm" come is attested by the 1920s.
The sexual cum seems to have no connection with Latin cum, the preposition meaning "with, together with, in connection with" (an archaic form of com; see com-) which English uses on occasion in names of combined parishes or benefices (such as Chorlton-cum-Hardy), in popular Latin phrases (such as cum laude), or as a combining word to indicate a dual nature or function (such as slumber party-cum-bloodbath).
Middle English schade, Kentish ssed, from late Old English scead "partial darkness; shelter, protection," also partly from sceadu "shade, shadow, darkness; shady place, arbor, protection from glare or heat," both from Proto-Germanic *skadwaz (source also of Old Saxon skado, Middle Dutch scade, Dutch schaduw, Old High German scato, German Schatten, Gothic skadus), from PIE *skot-wo-, from root *skoto- "dark, shade."
shade, shadow, nn. It seems that the difference in form is fairly to be called an accidental one, the first representing the nominative & the second the oblique cases of the same word. The meanings are as closely parallel or intertwined as might be expected from this original identity, the wonder being that, with a differentiation so vague, each form should have maintained its existence by the side of the other. [Fowler]
Figurative use in reference to comparative obscurity is from 1640s. Meaning "a ghost" is from 1610s; dramatic (or mock-dramatic) expression "shades of _____" to invoke or acknowledge a memory is from 1818, from the "ghost" sense. Meaning "lamp cover" is from 1780. Sense of "window blind" first recorded 1845. Meaning "cover to protect the eyes" is from 1801. Meaning "grade of color" first recorded 1680s; that of "degree or gradiation of darkness in a color" is from 1680s (compare nuance, from French nue "cloud"). Meaning "small amount or degree" is from 1782.
mid-13c., mirour, "polished surface (of metal, coated glass, etc.) used to reflect images of objects," especially the face of a person, from Old French mireoir "a reflecting glass, looking glass; observation, model, example," earlier miradoir (11c.), from mirer "look at" (oneself in a mirror), "observe, watch, contemplate," from Vulgar Latin *mirare "to look at," variant of Latin mirari "to wonder at, admire" (see miracle).
The Spanish cognate, mirador (from mirar "to look, look at, behold"), has come to mean "watch tower, gallery commanding an extensive view." Latin speculum "mirror" (or its Medieval Latin variant speglum) is the source of words for "mirror" in neighboring languages: Italian specchio, Spanish espejo, Old High German spiegal, German Spiegel, Dutch spiegel, Danish spejl, Swedish spegel. An ancient Germanic group of words for "mirror" is represented by Gothic skuggwa, Old Norse skuggsja, Old High German scucar, which are related to Old English scua "shade, shadow."
Words for 'mirror' are mostly from verbs for 'look', with a few words for 'shadow' or other sources. The common use of the word for the material 'glass' in the sense of 'mirror' seems to be peculiar to English. [Carl Darling Buck, "A Dictionary of Selected Synonyms in the Principal Indo-European Languages," 1949]
Figurative use, "that in or by which anything is shown or exemplified," hence "a model (of good or virtuous conduct)" is attested from c. 1300. Mirrors have been used in divination since classical and biblical times, and according to folklorists, in modern England they are the subject of at least 14 known superstitions. Belief that breaking one brings bad luck is attested from 1777. Mirror image "something identical to another but having right and left reversed" is by 1864. Mirror ball attested from 1968. To look in (the) mirror in the figurative sense of "examine oneself" is by early 15c.
Old English frogga "frog," a diminutive of frosc, forsc, frox "frog," a common Germanic word but with different formations that are difficult to explain (cognates: Old Norse froskr, Middle Dutch vorsc, German Frosch "frog"), probably literally "hopper" (if from PIE root *preu- "to hop," source also of Sanskrit provate "hops," Russian prygat "to hop, jump"). Watkins calls the Old English -gga an "obscure expressive suffix."
The Latin word for it (rana) is imitative of croaking. Also in Middle English as frok, vrogge, frugge, and with sometimes plural form froggen. Collateral Middle English forms frude, froud are from Old Norse frauðr "frog," and native alternative form frosk "frog" survived in English dialects into the 19c.
I always eat fricasseed frogs regretfully; they remind one so much of miniature human thighs, and make one feel cannibalistic and horrid .... [H. Ellen Browning, "A Girl's Wanderings in Hungary," 1896]
As a British derogatory term for "Frenchman," 1778 (short for frog-eater), but before that (1650s) it meant "Dutch" (from frog-land "marshy land," in reference to their country).
The principal inn on the island of Texel is called the Golden Frog, (de Goude kikker). We may wonder that there are not more examples of this sign in Holland, for there are, without doubt, as many frogs in that country as there are Dutchmen ; and even unto this day it is a mooted point, which of the two nations has more right to the possession of the country ; both however are of a pacific disposition, so that they live on in a perfect entente cordiale. [Larwood and Hotten, "The History of Signboards," 1866]
To have a frog in the throat "be hoarse" is from 1892, from frog as a name for a lump or swelling in the mouth (1650s) or throat infections causing a croaking sound.