Dictionary Style Quotes

When I looked up 'rococo' in the dictionary a while back it was defined as 'an ornamental style emphasizing the florid and the gorgeous, but lacking substance', and I couldn't help but laugh. It was so perfect. How could anything beautiful have 'substance' anyway? Pure beauty is always without meaning or morality.

Prestigious. Often an adjective of last resort. It's in the dictionary, but that doesn't mean you have to us it.

As a lexicographer friend once confided over sushi, the dictionary takes its cues from use: If writers don’t change things, the dictionary doesn’t change things.

If I were allowed to take just one book to the proverbial desert island, it might be a dictionary.

According to the lovely folks at Merriam-Webster, the term “hippie,” in the sense of hirsute member of the counterculture, dates back to 1965, which is a skosh later than I might have guessed. One fun thing about dictionaries is that they’ll provide a date of introduction into written English for just about any word you can think of. This comes in awfully handy when you’re writing period fiction and wish to be era-appropriate, especially in dialogue. Copyediting a novel set during New York’s 1863 Draft Riots, I learned that what we now call a hangover—a term that didn’t pop up till 1894—was known in those earlier days as, among other things, a “katzenjammer.” Note, please, my use of quotation marks just now. I needed them.

The authors of Merriam-Webster’s Dictionary of English Usage, having surveyed the uses of the two forms over six hundred years, conclude, “The traditional rules about shall and will do not appear to have described real usage of these words precisely at any time, although there is no question that they do describe the usage of some people some of the time and that they are more applicable in England than elsewhere.

And so it is in poetry also: all this love of curious French metres like the Ballade, the Villanelle, the Rondel; all this increased value laid on elaborate alliterations, and on curious words and refrains, such as you will find in Dante Rossetti and Swinburne, is merely the attempt to perfect flute and viol and trumpet through which the spirit of the age and the lips of the poet may blow the music of their many messages. And so it has been with this romantic movement of ours: it is a reaction against the empty conventional workmanship, the lax execution of previous poetry and painting, showing itself in the work of such men as Rossetti and Burne-Jones by a far greater splendour of colour, a far more intricate wonder of design than English imaginative art has shown before. In Rossetti’s poetry and the poetry of Morris, Swinburne and Tennyson a perfect precision and choice of language, a style flawless and fearless, a seeking for all sweet and precious melodies and a sustaining consciousness of the musical value of each word are opposed to that value which is merely intellectual. In this respect they are one with the romantic movement of France of which not the least characteristic note was struck by Theophile Gautier’s advice to the young poet to read his dictionary every day, as being the only book worth a poet’s reading.

How to defeat this tragedy concealed within each hour, which chokes us unexpectedly and treacherously, springing at us from a melody, an old letter, a book, the colors of a dress, the walk of a stranger? Make literature. Seek new words in the dictionary. Chisel new phrases, pour the tears into a mold, style, form, eloquence. Cut out newspaper clippings carefully. Use cement glue. Have your photograph taken. Tell everyone how much you owe them. Tell Allendy he has cured you. Tell your editor he has discovered a genius, and turn around into your work again, like a scorpion in his fire ring, devouring himself.

As we were heading down Mass Ave toward campus, a man stepped out of a doorway. “I’m selling books,” he said. Instinctively I averted my eyes, picked up my pace, and changed course slightly to give him a wider berth—just as Ivan did the opposite, slowing down right in front of the man, looking right at him, right into his eyes. “Books, really?” I was overcome by the sudden sense of Ivan’s freedom. I realized for the first time that if you were a guy, if you were some tall guy who looked like Ivan, you could pretty much stop to look at anything you wanted, whenever you felt like it. And because I was walking with him now, for just this moment, I had a special dispensation, I could look at whatever he was looking at, too. So I, too, looked at the man—at the lines etched into his face, at his crafty and reproachful expression, at his cloudy eye and his piercing eye, overhung by a wilderness of eyebrows. The man opened one flap of his trench coat. Strapped to the inside, contraband-style, was an array of paperbacks: The Fountainhead, Dr. Atkins’ Diet Revolution, an introduction to the philosophy of Heidegger, The Communist Manifesto, a Dear Abby anthology, The Seven Habits of Highly Effective People, and a Spanish-English dictionary. The man looked awkwardly down over the titles, apparently deciding which one to offer Ivan.

American Heritage Dictionary: “The only rationale for condemning the construction is based on a false analogy with Latin. . . . In general, the Usage Panel accepts the split infinitive.” Merriam-Webster Unabridged online dictionary: “Even though there has never been a rational basis for objecting to the split infinitive, the subject has become a fixture of folk belief about grammar. . . . Modern commentators . . . usually say it’s all right to split an infinitive in the interest of clarity. Since clarity is the usual reason for splitting, this advice means merely that you can split them whenever you need to.” Encarta World English Dictionary: “There is no grammatical basis for rejecting split infinitives.

It was in Cleveland that Magic Slim became the most successful pornographic film producer in America. His training center was a key link in a human trafficking supply chain stretching from the former Soviet Republics in Eastern Europe to the United States. Trafficking accounts for an estimated $32 billion in annual trade with sex slavery and pornographic film production accounting for the greatest percentage. The girls arrived at Slim’s building young and naive, they left older and wiser. This was a classic value chain with each link making a contribution.  Slim’s trainers were the best, and it showed in the final product. Each class of girls was judged on the merits. The fast learners went on to advanced training. They learned proper etiquette, social skills and party games. They learned how to dress, apply makeup and discuss world events.  Best in-class were advertised in international style magazines with code words. These codes were known only to select clients and certain intermediaries approved by Slim. This elaborate distribution system was part of Slim’s business model, his clients paid an annual subscription fee for the on-line dictionary. The code words and descriptions were revised monthly.  An interested client would pay an access fee for further information that included a set of professional  photographs, a video and voice recordings of the model addressing the client by name.  Should the client accept, a detailed travel itinerary was submitted calling for first class travel and accommodation.  Slim required a letter of understanding spelling out terms and conditions and a 50% deposit. He didn’t like contracts, his word was his bond, everyone along the chain knew that. Slim's business was booming.

What sort of completeness, or what value, would a Greek lexicon possess, a Scott and Liddell, from whose pages all the words condemned by Phrynichus and the other Greek purists, and, so far as style is concerned, many of them justly condemned, had been dismissed?

aiguiser /egize/ vtr 1. (rendre tranchant, pointu) to sharpen [lame, griffes, crocs] 2. (rendre plus vif) to whet [appétit]; to arouse [curiosité]; to heighten [sentiment]; to stimulate [concurrence]; to sharpen [intelligence]; to hone [style] • ton histoire continue d'~ les curiosités | your story still arouses keen interest

allure /alyʀ/ nf 1. (de marcheur) pace; (de véhicule) speed • rouler à vive or grande/faible ~ | to drive at high/low speed • l'entreprise s'est développée à grande ~ | the company expanded at a tremendous pace • modérer or ralentir son ~ | to slow down • presser l'~ (à pied) to quicken one's pace; (en véhicule) to speed up • à toute ~ (conduire, marcher) at top speed; (réciter, manger, noter) really fast • partir à toute ~ | to speed off • à cette ~ nous allons être en retard | at this rate we're going to be late 2. (apparence) (de personne) appearance; (de vêtement) look; (d'événement) aspect • avoir des ~s de | to look like • il a une drôle d'~ | he's a funny-looking chap • tu as une ~ or de l'~ avec ce chapeau! | you look really daft in that hat! • ses vêtements lui donnent l'~ d'un bandit | his clothes make him look like a gangster • prendre l'~ or les ~s de | [changement, révolte] to begin to look like; [personne] to make oneself out to be 3. (distinction) style • elle a beaucoup d'~ | she's got a lot of style • avoir belle ~ | to look very stylish • une personne de belle ~ | a distinguished-looking person • le salon a de l'~ | the sitting room is stylish • avoir fière ~ | to cut a fine figure 4. sailing trim 5. (d'animal) gait

When a young employee gasped at his blue language, Simons flashed a grin. “I know—that is an impressive rate!” A few times a week, Marilyn came by to visit, usually with their baby, Nicholas. Other times, Barbara checked in on her ex-husband. Other employees’ spouses and children also wandered around the office. Each afternoon, the team met for tea in the library, where Simons, Baum, and others discussed the latest news and debated the direction of the economy. Simons also hosted staffers on his yacht, The Lord Jim, docked in nearby Port Jefferson. Most days, Simons sat in his office, wearing jeans and a golf shirt, staring at his computer screen, developing new trades—reading the news and predicting where markets were going, like most everyone else. When he was especially engrossed in thought, Simons would hold a cigarette in one hand and chew on his cheek. Baum, in a smaller, nearby office, trading his own account, favored raggedy sweaters, wrinkled trousers, and worn Hush Puppies shoes. To compensate for his worsening eyesight, he hunched close to his computer, trying to ignore the smoke wafting through the office from Simons’s cigarettes. Their traditional trading approach was going so well that, when the boutique next door closed, Simons rented the space and punched through the adjoining wall. The new space was filled with offices for new hires, including an economist and others who provided expert intelligence and made their own trades, helping to boost returns. At the same time, Simons was developing a new passion: backing promising technology companies, including an electronic dictionary company called Franklin Electronic Publishers, which developed the first hand-held computer. In 1982, Simons changed Monemetrics’ name to Renaissance Technologies Corporation, reflecting his developing interest in these upstart companies. Simons came to see himself as a venture capitalist as much as a trader. He spent much of the week working in an office in New York City, where he interacted with his hedge fund’s investors while also dealing with his tech companies. Simons also took time to care for his children, one of whom needed extra attention. Paul, Simons’s second child with Barbara, had been born with a rare hereditary condition called ectodermal dysplasia. Paul’s skin, hair, and sweat glands didn’t develop properly, he was short for his age, and his teeth were few and misshapen. To cope with the resulting insecurities, Paul asked his parents to buy him stylish and popular clothing in the hopes of fitting in with his grade-school peers. Paul’s challenges weighed on Simons, who sometimes drove Paul to Trenton, New Jersey, where a pediatric dentist made cosmetic improvements to Paul’s teeth. Later, a New York dentist fitted Paul with a complete set of implants, improving his self-esteem. Baum was fine with Simons working from the New York office, dealing with his outside investments, and tending to family matters. Baum didn’t need much help. He was making so much money trading various currencies using intuition and instinct that pursuing a systematic, “quantitative” style of trading seemed a waste of

What, then, is the end of study? For one thing, as the fate of Navarre’s Academe makes plain, it is not “philosophy” in the sense of a cloistered cultivation of the intellect and pursuit of truth for its own sake in a spot secluded from the world and from women. Nor is it “love” in its romantic sense sheltered from life’s suffering and reality--“love” with all its ritual and manners, its form and style, its fads and foibles, its “wit” and raprtee, its masks and costumes, its rhyming and sonneteering, its language of ‘Taffeta phrases, silken terms precise, Three-pil’d hyperboles, spruce affectation, Figures pedantical.’ These things are but summer flies that blow their worshipers full of ostentation, as they did Boyet--Boyet who picked up wit as pigeons do peas, Boyet the ladies’ man, forerunner of Osric, who kissed his hand away in courtesy. Neither is the end of education erudition, the barren learning that transformed the pendant Holofernes into a walking dictionary of synonyms, nor slavery to authority and the past, the bondage that never let the sycophatic curate Nathaniel utter an idea or opinion without backing it up with an “as the Father saith.” Nor, at the other extreme, is it subservience to fashion and the present, such as made the swashbuckling Don Adriano de Armado a mint of fire-new phrases emitting a “smoke of rhetoric.

No writer ever knows enough words but he doesn’t have to try to use all that he does know. Tests would show that I had an enormous vocabulary and through the years it must have grown, but I never had a desire to display it in the way that John Updike or William Buckley or William Safire do to such lovely and often surprising effect. They use words with such spectacular results; I try, not always successfully, to follow the pattern of Ernest Hemingway who achieved a striking style with short familiar words. I want to avoid calling attention to mine, judging them to be most effective as ancillaries to a sentence with a strong syntax. My approach has been more like that of Somerset Maugham, who late in life confessed that when he first thought of becoming a writer he started a small notebook in which he jotted down words that seemed unusually beautiful or exotic, such as chalcedony, for as a novice he believed that good writing consisted of liberally sprinkling his text with such words. But years later, when he was a successful writer, he chanced to review his list and found that he had never used even one of his beautiful collection. Good writing, for most of us, consists of trying to use ordinary words to achieve extraordinary results. I struggle to find the right word and keep always at hand the largest dictionary my workspace can hold, and I do believe I consult it at least six or seven times each working day, for English is a language that can never be mastered.* [*Even though I have studied English for decades I am constantly surprised to find new definitions I have not known: ‘panoply’ meaning ‘a full set of armor’, ‘calendar’ meaning ‘a printed index to a jumbled group of related manuscripts or papers’. —Chapter IX “Intellectual Equipment”, page 306

Contemporary worship uses “the language of this generation to lead people into . . . a genuine experience of the presence of God.” Up until now, the generation that has been associated with the adjective “contemporary” has been almost exclusively the baby-boomer generation—roughly, those of us born between 1945 and 1963. But if we take a look at the dictionary definition of “contemporary,” it means, literally, “of the now.” Two subsequent generations have emerged since the boomers: those born from 1964 to 1979 (now mid-twenty-something to about forty) and those born since 1980. When I hear many of these young people talk about the contemporary worship they grew up with in church (make note: they use that word not with its dictionary meaning, but quite accurately as a descriptor of the praise-and-worship styles of the past two decades), it is clear that the worship of their baby-boomer parents is as irrelevant to many of them as classical, European worship was to the baby boomers themselves. Those

The Concise Oxford Dictionary defines the verb to coach as to “tutor, train, give hints to, prime with facts.” This does not help us much, for those things can be done in many ways, some of which bear no relationship to coaching. Coaching is as much about the way these things are done as about what is done. Coaching delivers results in large measure because of the supportive relationship between the coach and the coachee, and the means and style of communication used. The coachee does acquire the facts, not from the coach but from within himself, stimulated by the coach. Of course, the objective of improving performance is paramount, but how that is best achieved is what is in question.

Years ago I used to pick a word of the day randomly out of an dictionary/thesaurus to write poetry. I learned then to use my consciousness and intelligence, not just my emotions in writing all things. That is how my writing technique and style started its transcendence.~

I'm sorry, sir, but we have a dress code," said the official. I knew about this. It was in bold type on the website: Gentlemen are required to wear a jacket. "No jacket, no food, correct?" "More or less, sir." What can I say about this sort of rule? I was prepared to keep my jacket on throughout the meal. The restaurant would presumably be air-conditioned to a temperature compatible with the requirement. I continued toward the restaurant entrance, but the official blocked my path. "I'm sorry. Perhaps I wasn't clear. You need to wear a jacket." "I'm wearing a jacket." "I'm afraid we require something a little more formal, sir." The hotel employee indicated his own jacket as an example. In defense of what followed, I submit the Oxford English Dictionary (Compact, 2nd Edition) definition of jacket:1(a) An outer garment for the upper part of the body. I also note that the word jacket appears on the care instructions for my relatively new and perfectly clean Gore-Tex jacket. But it seemed his definition of jacket was limited to "conventional suit jacket." " We would be happy to lend you one, sir. In this style." "You have a supply of jacket? In every possible size?" I did not add that the need to maintain such an inventory was surely evidence of their failure to communicate the rule clearly, and that it would be more efficient to improve their wording or abandon the rule altogether. Nor did I mention that the cost of jacket purchase and cleaning must add to the price of their meals. Did their customers know that they were subsidizing a jacket warehouse?

Chaebol-style capitalism was, and to some extent still is, very different from the dictionary definition of capitalism. Not only was industry directed by the state, but the chaebol corporations were rigidly hierarchical and bureaucratic, influenced by Confucian culture. Firms were expected to treat workers as sons, and workers were expected to respond in kind by thinking of their chairmen as father figures and offering absolute loyalty.

As a noun, shit can pretty much be anything. It's one of the most versatile words in this dicktionary. For instance, 'While I was shitting, my roommate was yelling some shit from the other room about how I always leave my work shit on the table.

I don't get off on flaunting my badassery; I'm a humble woman.

égayer /egeje/ I. vtr to enliven [conversation, soirée]; to cheer [sb] up [malade]; to amuse [convives, assemblée]; to brighten [sth] up [maison, robe]; to lighten [ouvrage, style]; to brighten [journée, vie] II. vpr [malade] to cheer up; [convives] to liven up • s'~ aux dépens de qn | to amuse oneself at sb's expense • s'~ à voir qch | to be amused at the sight of sth

soi-disant /swadizɑ̃/ I. adj inv - (before n) 1. (qui prétend être) self-styled 2. (prétendu) (controv) [démocratie, liberté, miracle] so-called (épith) II. loc adv (prétendument) supposedly • il n'est pas allé à l'école ~ parce qu'il est malade | he hasn't gone to school, supposedly because he's ill • elle a ~ la migraine | she has a migraine, or so she says • ~ que | it would appear that

Difficulties of technical translation: features, problems, rules Technical translation is one of the most important areas of written translation in modern translation practice. Like the interpretation technique, it has its own characteristics and requirements. The need for this type of work is due to economic and scientific and technical progress, as well as the development of international relations. Thanks to technical translation, people share experience, knowledge and developments in various fields. What are the features of this type of translation? What pitfalls can be encountered on the translator's path? You will learn about this and much more from our article. ________________________________________ Technical translation is one of the most difficult types of legal translation. This is due to the large number of requirements for such work. Technical translation includes all scientific and technical texts, documents, instructions, reports, reference books and dictionaries. The texts of this plan contain a lot of specific terminology, which is the main difficulty of technical translation. A term is a word or a combination of words that accurately names a phenomenon, subject or scientific concept, revealing its meaning as much as possible. The most common technical texts in the following areas: • engineering; • defense; • physics and mathematics; • aircraft construction; • oil industry; • shipbuilding, etc. The main feature of technical translation is the requirement for its high accuracy (equivalence). The task of the translator is to convey information as close as possible to the original. Otherwise, distortions may appear in the text, leading to a misunderstanding of important information. Vocabulary selection is carried out carefully and carefully. The construction of phrases should be logical and meaningful. Other technical translation requirements include adequacy and informativeness. It is equally important to maintain the style of such texts. This includes not only vocabulary, but also the grammatical structure of the text, as well as the way the material is presented. Most often, this is a formal and logical style. Unlike artistic translation, where the main task is to convey the content, and the translator can use his imagination, include fancy turns and various figures of speech, the presence of emotionality and subjectivity is unacceptable in technical translation. Let's consider the peculiarities of technical translation in English. According to the well-known linguist and translator Y. Y. Retsker, English technical literature is characterized by the predominant use of complex or complex sentences, which include adjectives, nouns, as well as impersonal forms of verbs (infinitives, gerundial inflections, etc.). Passive constructions are also often found. In this direction, it is permissible to use only generally accepted grammatical structures. Another feature of such texts may be the absence of a predicate or subject and a large number of enumerations. In addition, the finished text should have an appropriate layout equivalent to the original. Let's consider the basic rules of technical translation for a specialist: • knowledge of the vocabulary, grammar and word structure of the foreign language from which the translation is performed (at the level required for understanding the source text); • knowledge of the language into which the translation is performed (at a level sufficient for a competent presentation of the material); • excellent knowledge of the specifics of texts and terminology; • ability to use linguistic and technical sources of information; • familiarity with the specifics of the field

lourdingue /luʀdɛ̃g/ adj [personne] clumsy; [film, musique] heavy-going; [plaisanterie] unsubtle; [style] ungainly

Suppose, in our time, the War actually comes. With no current refinements wasted, the elephantine blasts, fire storms, and fallout finish their appointed tasks. Several decades later the literary archaeologists from Tierra del Fuego and the Samoyedes rake loose from London's heaps part of a volume of literary criticism in which stand, entire, Yeats' lines 'My fiftieth year had come and gone'⁠—and the 'Second Coming,' with a few single lines quoted amid the unknown critic's comments. Then a gutted Pittsburgh mansion yields two charred anonymous sheets of a poem whose style⁠—what can be seen of it⁠—resembles Yeats. A fragmentary dictionary cites, as a rare alternate pronunciation of fanatic: "F⁠á-na-tic. Thus in W. B. Yeats' 'Remorse for Intemperate Speech'". There are similar further recoveries, equally scanty. So much for the poet whom T. S. Eliot has called the greatest of the twentieth century. But this has happened already, in time's glacial cataclysm, to the greatest lyric poet (so men say) of the West before the thirteenth century—to Sappho. And to Archilochos, whom some ancients paired with Homer. And to many others, the Herricks, Donne, and Herberts of Greece's first lyric flowering. For however much one may take it as unmerited grace that one at least has Homer, at least the iceburg tip of the fifth century and its epigones, one must still question the providence which allowed from the vastly different age between—the Lyric Age of the seventh and sixth centuries—only Pindar and the scraps for one other small book. That uniquely organic outgrowth of successive literary styles and forms in Greece—forms which are the ineluctable basis for most Western literature—is thus desperately mutilated for us in what seems to have been its most explosively diverse and luxuriant phase.

In its earliest uses, a catfight meant an actual physical altercation between women. One of the first citings of the term, according to the Oxford English Dictionary, was in 1854 by writer Benjamin G. Ferris to describe scuffles between Mormon wives in his book Utah and the Mormons: The History, Government, Doctrines, Customs, and Prospects of the Latter-day Saints. After he spent six months observing the community, Ferris wrote about the Mormon men practicing polygamy, or having more than one wife, and described the styles of the houses they lived in, which were designed in order to “keep the women . . . as much as possible, apart, and prevent those terrible cat-fights which sometimes occur, with all the accompaniments of Billingsgate [vulgar and coarse language], torn caps, and broken broom-sticks.

The closest book most journalists have to a bible is their publication's style guide. Looking back over previous editions allow us to track the "ebb and flow of a living language", according to The Times. In my eyes, new additions to a style guide or dictionary highlight the impact of shifts in culture better than almost anything else.