"a talisman, charm, thing supposed to bring good luck to its possessor," also "person whose presence is supposed to be a cause of good fortune," 1881, from provincial French mascotte "sorcerer's charm, 'faerie friend,' good luck piece" (19c.), of uncertain origin, perhaps from or related to Provençal mascoto "sorcery, fetish" (a Narbonnese manuscript of 1233 has mascotto "procuress, enchantment, bewitchment in gambling"), from masco "witch," from Old Provençal masca, itself of unknown origin, perhaps from Medieval Latin masca "mask, specter, nightmare" (see mask (n.)).
Popularized by French composer Edmond Audran's 1880 comic operetta "La Mascotte," about a household "fairy" who gives luck to an Italian peasant, which was performed in a toned-down translation in England from fall 1881. In reference to animals (later costumed characters) representing sports teams, by 1889.
For the edification of readers not versed in baseball lore it should be stated that the mascot has become quite an important institution among the professional teams of America. He may be a boy possessed of some special attainment or physical peculiarity, or he may be a bull-pup with a prominent patch over his left eye. It matters not whether a mascot be brute or human, so long as his presence upon the players' bench insures a victory—in the minds of the players—to the team with which he has cast his fortunes and in whose favor he exercises the influence he is supposed to have with Dame Fortune. [Harry Clay Palmer, ed., "Athletic Sports in America, England, and Australia," New York, 1889]
late 13c., "a step in walking," also "rate of motion; the space traveled by the foot in one completed movement in walking," from Old French pas "a step, pace, trace," and directly from Latin passus, passum "a step, pace, stride," noun use of past participle of pandere "to stretch (the leg), spread out," probably from PIE *pat-no-, nasalized variant form of root *pete- "to spread."
It also was, from late 14c., a lineal measurement of vague and variable extent, representing the space naturally traversed by the adult human foot in walking. In some places and situations it was reckoned as the distance from the place where either foot is taken up, in walking, to that where the same foot is set down again (a great pace), usually 5 feet or a little less. The pace of a single step (military pace) is about 2.5 feet.
To keep pace (with) "maintain the same speed, advance at an equal rate" is from 1580s. Pace-setter "one who establishes trends in fashion," is by 1895; it also had literal meanings.
It is customary for the contractor to employ some expert as a pace setter. A man who can thin an acre of beets a day commands as high as $2.00 per day as a pace setter. The other employees are paid in the proportion their work bears to that of the pace setter. The weak, lazy and unskillful get the smallest wage. Besides that the contractor runs a commissary department and feeds the gang. They sleep in tents or in the shade of trees near where they work. [report on Oxnard, Calif., beet harvesting in "The Louisiana Planter and Sugar Manufacturer," May 13, 1899]
conspicuous constellation containing seven bright starts in a distinctive pattern, late 14c., orioun, ultimately from Greek Oriōn, Oariōn, name of a giant hunter in Greek mythology, loved by Aurora, slain by Artemis, a name of unknown origin, though some speculate on Akkadian Uru-anna "the Light of Heaven."
Another Greek name for the constellation was Kandaon, a title of Ares, god of war, and the star pattern is represented in many cultures as a giant (such as Old Irish Caomai "the Armed King," Old Norse Orwandil, Old Saxon Ebuðrung). A Mesopotamian text from 1700 B.C.E. calls it The True Shepherd of Anu. The Orionid meteors, which appear to radiate from the constellation, are so called by 1876.
I this day discovered a new particular of my own ignorance of things which I ought to have known these thirty years — One clear morning about a fortnight since I remarked from my bed-chamber window a certain group of stars forming a Constellation which I had not before observed and of which I knew not the name — I marked down their positions on a slip of paper with a view to remember them hereafter and to ascertain what they were — This day on looking into the Abridgment of La Lande's Astronomy, one of the first figures that struck my eye in the plates was that identical Constellation — It was Orion — That I should have lived nearly fifty years without knowing him, shews too clearly what sort of observer I have been. [John Quincy Adams, diary entry for Nov. 18, 1813, St. Petersburg, Russia]
open-air game involving kicking a ball, c. 1400; in reference to the inflated ball used in the game, mid-14c. ("Þe heued fro þe body went, Als it were a foteballe," Octavian I manuscript, c. 1350), from foot (n.) + ball (n.1). Forbidden in a Scottish statute of 1424. One of Shakespeare's insults is "you base foot-ball player" [Lear I.iv]. Ball-kicking games date back to the Roman legions, at least, but the sport seems first to have risen to a national obsession in England, c. 1630. Figurative sense of "something idly kicked around, something subject to hard use and many vicissitudes" is by 1530s.
Rules of the game first regularized at Cambridge, 1848; soccer (q.v.) split off in 1863. The U.S. style (known to some in England as "stop-start rugby with padding") evolved gradually 19c.; the first true collegiate game is considered to have been played Nov. 6, 1869, between Princeton and Rutgers, at Rutgers, but the rules there were more like soccer. A rematch at Princeton Nov. 13, with the home team's rules, was true U.S. football. Both were described as foot-ball at Princeton.
Then twenty-five of the best players in college were sent up to Brunswick to combat with the Rutgers boys. Their peculiar way of playing this game proved to Princeton an insurmountable difficulty; .... Two weeks later Rutgers sent down the same twenty-five, and on the Princeton grounds, November 13th, Nassau played her game; the result was joyous, and entirely obliterated the stigma of the previous defeat. ["Typical Forms of '71" by the Princeton University Class of '72, 1869]
late 15c., "band attached to a letter with seals dangling on the free end," from French queue "a tail," from Old French cue, coe, queue, "tail" (12c., also "penis"), from Latin coda (dialectal variant or alternative form of cauda) "tail" (see coda, and compare cue (n.2)).
Also in literal use in 16c. English, "tail of a beast," especially in heraldry. A metaphoric extension to "line of dancers" (c. 1500) perhaps led to the extended sense of "line of people, etc." (1837), but this use in English is perhaps directly from French (queue à queue, "one after another" appears in early 19c. English and American military dictionaries).
If we look now at Paris one thing is too evident: that the Baker's shops have got their Queues, or Tails ; their long strings of purchasers arranged in tail, so that the first come be the first served,—were the shop once open! This waiting in tail, not seen since the early days of July, again makes its appearance in August. In time, we shall see it perfected, by practice to the rank almost of an art ; and the art, or quasi-art, of standing in tail become one of the characteristics of the Parisian People, distinguishing them from all other Peoples whatsoever. [Carlyle, "The French Revolution," 1837]
Also used 18c. in sense of "braid of hair hanging down behind" (attested by 1748), originally part of the wig, in later 18c. of the hair of the head.
QUEUE. From the French, which signifies tail; an appendage that every British soldier is directed to wear in lieu of a club. Regimental tails were ordered be nine inches long. [William Duane, "A Military Dictionary," Philadelphia, 1810]
Old English losian "be lost, perish," from los "destruction, loss," from Proto-Germanic *lausa- (source also of Old Norse los "the breaking up of an army;" Old English forleosan "to lose, destroy," Old Frisian forliasa, Old Saxon farliosan, Middle Dutch verliesen, Old High German firliosan, German verlieren, as well as English -less, loss, loose). The Germanic word is from PIE *leus-, an extended form of root *leu- "to loosen, divide, cut apart."
The verb also is merged with, or has taken the (weaker) sense of, the related Middle English leese "be deprived of, lose" (Old English leosan, a class II strong verb whose past participle loren survives in forlorn and love-lorn), from Proto-Germanic *leusanan (source also of Old High German virliosan, German verlieren, Old Frisian urliasa, Gothic fraliusan "to lose").
Hence lose in the transitive senses "part with accidentally, be deprived of, miss the possession or knowledge of" (money, blood, sleep, hair, etc.), c. 1200; "fail to keep, lose track of" (mid-13c.). Meaning "fail to preserve or maintain" is from mid-15c. Meaning "fail to gain or win" (something) is from c.1300; intransitive meaning "fail to win" (a game, contest, lawsuit, etc.) is from late 14c. Meaning "to cause (someone) to lose his way" is from 1640s; meaning "cease to have, be rid of" (something unwanted) is from 1660s.
To lose heart "become discouraged" is from 1744; to lose (one's) heart "fall in love" is from 1630s. To lose (one's) mind "become insane" is attested from c. 1500. To lose out "fail" is 1858, American English. To lose it "become distraught, break down and lose control of oneself" is by 1990s; the it probably being one's self-control or grip on reality. Related: Lost; losing.
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.
Klein's sources, Barnhart and the OED see this as connected to a group of Germanic sm- words having to do with creeping or pressing close, such as Old Norse smjuga "to creep (through an opening), to put on (a garment)," smuga "narrow cleft to creep through; small hole;" Old Swedish smog "a round hole for the head;" Old English smugan, smeogan "to creep," smygel "a burrow." Compare also German schmiegen "to cling to, press close, nestle;" and Schmuck "jewelry, adornments," from schmucken "to adorn," literally "to dress up."
Watkins, however, traces it to a possible Germanic base *(s)muk- "wetness," figuratively "slipperiness," from PIE root*meug- "slimy, slippery" (see mucus). Either way, the original notion, then, seems generally to have been "garment one creeps or slips into," by the same pattern that produced sleeve and slip (n.2).
Now replaced by euphemistic shift (n.2); smock was the common word down to 18c., and was emblematic of womanhood generally, as in verb smock "to render (a man) effeminate or womanish" (1610s); smocker "man who consorts with women" (18c.); smock-face "person having a pale, effeminate face" (c. 1600). A smock-race (1707) was an old country pastime, a foot-race for women and girls with a smock as a prize. Modern meaning "woman's or child's loose dress or blouse" is from 1907; sense of "loose garment worn by artists over other clothes" is from 1938.
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-15c., "sweetheart chosen on St. Valentine's Day," from Late Latin Valentinus, the name of two early Italian saints (from Latin valentia "strength, capacity;" see valence). Choosing a sweetheart on this day originated 14c. as a custom in English and French court circles. Meaning "letter or card sent to a sweetheart" first recorded 1824. The romantic association of the day is said to be from it being around the time when birds choose their mates.
For this was on seynt Volantynys day
Whan euery bryd cometh there to chese his make.
[Chaucer, "Parlement of Foules," c. 1381]
Probably the date was the informal first day of spring in whatever French region invented the custom (many surviving medieval calendars reckon the start of spring on the 7th or 22nd of February). No evidence connects it with the Roman Lupercalia (an 18c. theory) or to any romantic or avian quality in either of the saints. The custom of sending special cards or letters on this date flourished in England c. 1840-1870, declined around the turn of the 20th century, and revived 1920s.
To speak of the particular Customs of the English Britons, I shall begin with Valentine's Day, Feb. 14. when young Men and Maidens get their several Names writ down upon Scrolls of Paper rolled up, and lay 'em asunder, the Men drawing the Maidens Names, and these the Mens; upon which, the Men salute their chosen Valentines and present them with Gloves, &c. This Custom (which sometimes introduces a Match) is grounded upon the Instinct of Animals, which about this Time of the Year, feeling a new Heat by the approach of the Sun, begin to couple. ["The Present State of Great Britain and Ireland" London, 1723]