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]
name of an imaginary realm in "Las sergas de Esplandián" ("Exploits of Espladán"), a romance by Spanish writer Garci Ordóñez de Montalvo, published in 1510. It was a sequel to his "Amadis de Gaula," and was said to have been influential among Spanish explorers of the New World. It could have led them to misidentify Baja California as this mythical land and to mistake it for an island. The Amadis tales are the Iberian equivalent of the Arthurian romances; they are older than 1510 (traces of them have been found mid-14c.) and were wildly popular. That conquistadors and sailors would have known the story in all its imaginative detail is hardly surprising.
Amadis de Gaula ... set a fashion: all later Spanish writers of books of chivalry adopted the machinery of Amadis de Gaula. Later knights were not less brave (they could not be braver than) Amadis; heroines were not less lovely (they could not be lovelier) than Oriana; there was nothing for it but to make the dragons more appalling, the giants larger, the wizards craftier, the magic castles more inaccessible, the enchanted lakes deeper. Subsequent books of chivalry are simple variants of the types in Amadis de Gaula: Cervantes made his barber describe it as 'the best of all books of this kind.' This verdict is essentially just. Amadis de Gaula was read everywhere, especially in the French version of Herberay des Essarts. It was done into Hebrew during the sixteenth century, and attracted readers as different as St Ignatius of Loyola and Henry of Navarre. Its vogue perhaps somewhat exceeded its merit, but its merits are not inconsiderable. [James Fitzmaurice-Kelly, "Spanish Literature," 1922 edition]
Where Montalvo got the name and what it means, if anything, is a mystery. In reference to the native inhabitants, Californian is attested from 1785 as an adjective, 1789 as a noun. The element Californium (1950) was named in reference to University of California, where it was discovered.
c. 1500, "a literary work (originally in verse) intended to ridicule prevailing vice or folly by scornful or contemptuous expression," from French satire (14c.) and directly from Latin satira "satire; poetic medley," earlier satura, in lanx satura "mixed dish, dish filled with various kinds of fruit," literally "full dish," from fem. of satur "sated" (from PIE root *sa- "to satisfy").
The word acquired its literary sense, in Latin, in reference to a collection of poems in various meters on a variety of subjects by the late republican poet Ennius. The little that survives of his verse does not now seem particularly satiric, but in classical Latin the word was used especially of a poem which assailed various vices one after another.
In modern general use, "a denouncing or deriding speech or writing full of sarcasm, ridicule, irony, etc." (all of which can express satire). The broader meaning "fact or circumstance that makes someone or something look ridiculous" is by 1690s.
Satire, n. An obsolete kind of literary composition in which the vices and follies of the author's enemies were expounded with imperfect tenderness. In this country satire never had more than a sickly and uncertain existence, for the soul of it is wit, wherein we are dolefully deficient, the humor that we mistake for it, like all humor, being tolerant and sympathetic. Moreover, although Americans are 'endowed by their Creator' with abundant vice and folly, it is not generally known that these are reprehensible qualities, wherefore the satirist is popularly regarded as a sour-spirited knave, and his every victim's outcry for codefendants evokes a national assent. [Ambrose Bierce, "Devil's Dictionary," 1911]
Proper satire is distinguished, by the generality of the reflections, from a lampoon which is aimed against a particular person, but they are too frequently confounded. [Johnson]
[I]n whatever department of human expression, wherever there is objective truth there is satire [Wyndham Lewis, "Rude Assignment," 1950]