Etymology Of The Word Quotes

English did not just borrow words from other languages; it was stuffed to the brim with foreign influences, a Frankenstein vernacular. And Robin found it incredible, how this country, whose citizens prided themselves so much on being better than the rest of the world, could not make it through an afternoon tea without borrowed goods.

The word ‘sin’ is derived from the Indo-European root ‘es-,’ meaning ‘to be.’ When I discovered this etymology, I intuitively understood that for a [person] trapped in patriarchy, which is the religion of the entire planet, ‘to be’ in the fullest sense is ‘to sin'.

The word 'translation' comes, etymologically, from the Latin for 'bearing across'. Having been borne across the world, we are translated men. It is normally supposed that something always gets lost in translation; I cling, obstinately to the notion that something can also be gained.

Moving from phonetics to etymology, ‘vagina’ originates from a word meaning sheath for a sword. Ain’t got no vagina.

It's a totally ridiculous, completely unsexy word. If you use it during sex, trying to be politically correct-- "Darling, could you stroke my vagina?"-- you kill the act right there. I'm worried about vaginas, what we call them and don't call them.

Remorse, etymologically, is the action of biting again: that's what the feeling does to you. Imagine the strength of the bite when I reread my words. They seemed like some ancient curse I had forgotten even uttering.

We open our mouths and out flow words whose ancestries we do not even know. We are walking lexicons. In a single sentence of idle chatter we preserve Latin, Anglo-Saxon, Norse; we carry a museum inside our heads, each day we commemorate peoples of whom we have never heard. More than that, we speak volumes – our language is the language of everything we have read. Shakespeare and the Authorised Version surface in supermarkets, on buses, chatter on radio and television. I find this miraculous. I never cease to wonder at it. That words are more durable than anything, that they blow with the wind, hibernate and reawaken, shelter parasitic on the most unlikely hosts, survive and survive and survive.

The suffix 'naut' comes from the Greek and Latin words for ships and sailing. Astronaut suggests 'a sailor in space.' Chimponaut suggests 'a chimpanzee in sailor pants'.

The removing of the 'tangles'is a process of liberation from our complexes and illusions and from the way in which we identify with the roles we play in life, with the masks within us and with our idols, etc. It is a 'release' according to the etymology of the word, a liberation and awakening of hidden potential.

The word should be thinkering.

The bridge between the words glamour and grammar is magic. According to the OED, glamour evolved through an ancient association between learning and enchantment.

quiddling’ (attending to the trivial tasks in life as a way of avoiding the important ones).

The word for bank is the same, but the word for money changer is not, and while I have never learned the etymology behind this minor asymmetry I can imagine it represents centuries of cultural and ideological dissidence.

Miss Lucy's called the bell o' St. Ogg's, they say: that's a cur'ous word,' observed Mr. Pullet, on whom the mysteries of etymology sometimes fell with an oppressive weight.

In ancient Greece, the word for "cook," "butcher," and "priest" was the same -- mageiros -- and the word shares an etymological root with "magic.

In Spanish añoranza comes from the verb añorar (to feel nostalgia), which comes from the Catalan enyorar, itself derived from the Latin word ignorare (to be unaware of, not know, not experience; to lack or miss), In that etymological light nostalgia seems something like the pain of ignorance, of not knowing. You are far away, and I don't know what has become of you. My country is far away, and I don't know what is happening there

The etymologist finds the deadest words to have been once a brilliant picture. Language is fossil poetry.

Do you know where 'policeman' comes from, sir? ... 'Polis' used to mean 'city', said Carrot. That's what policeman means: 'a man for the city'. Not many people knew that. The word 'polite' comes from 'polis', too. It used to mean the proper behaviour from someone living in a city.

The word 'glamour' comes from the word 'grammar', and since the Chomskyan revolution the etymology has been fitting. Who could not be dazzled by the creative power of the mental grammar, by its ability to convey an infinite number of thoughts with a finite set of rules?

It’s not all “molly” and “asshat.” The etymologies of some words are, for the lexicographer and average joe alike, boring.

literature composed by women was stored not in books but in female bodies, living repositories of poetry and song. I have come across a line of argument in my reading, which posits that, due to the inherent fallibility of memory and the imperfect human vessels that held it, the Caoineadh cannot be considered a work of single authorship. Rather, the theory goes, it must be considered collage, or, perhaps, a folky reworking of older keens. This, to me --- in the brazen audacity of one positioned far from the tall walls of the university --- feels like a male assertion pressed upon a female text. After all, the etymology of the word ‘text’ lies in the Latin verby ‘texere’: to weave, to fuse, to braid. The Caoineadh form belongs to a literary genre worked and woven by women, entwining strands of female voices that were carried in female bodies, a phenomenon that seems to me cause for wonder and admiration, rather than suspicion of authorship.

The author gives an interesting naval etymology of the word "opportunity". It referred to days in which sailing ships had to wait outside a port for the appropriate tide, which then was their chance until the next tide.

The Greek word for "return" is nostos. Algos means "suffering." So nostalgia is the suffering caused by an unappeased yearning to return. To express that fundamental notion most Europeans can utilize a word derived from the Greek (nostalgia, nostalgie) as well as other words with roots in their national languages: añoranza, say the Spaniards; saudade, say the Portuguese. In each language these words have a different semantic nuance. Often they mean only the sadness caused by the impossibility of returning to one's country: a longing for country, for home. What in English is called "homesickness." Or in German: Heimweh. In Dutch: heimwee. But this reduces that great notion to just its spatial element. One of the oldest European languages, Icelandic (like English) makes a distinction between two terms: söknuour: nostalgia in its general sense; and heimprá: longing for the homeland. Czechs have the Greek-derived nostalgie as well as their own noun, stesk, and their own verb; the most moving, Czech expression of love: styska se mi po tobe ("I yearn for you," "I'm nostalgic for you"; "I cannot bear the pain of your absence"). In Spanish añoranza comes from the verb añorar (to feel nostalgia), which comes from the Catalan enyorar, itself derived from the Latin word ignorare (to be unaware of, not know, not experience; to lack or miss), In that etymological light nostalgia seems something like the pain of ignorance, of not knowing. You are far away, and I don't know what has become of you. My country is far away, and I don't know what is happening there. Certain languages have problems with nostalgia: the French can only express it by the noun from the Greek root, and have no verb for it; they can say Je m'ennuie de toi (I miss you), but the word s'ennuyer is weak, cold -- anyhow too light for so grave a feeling. The Germans rarely use the Greek-derived term Nostalgie, and tend to say Sehnsucht in speaking of the desire for an absent thing. But Sehnsucht can refer both to something that has existed and to something that has never existed (a new adventure), and therefore it does not necessarily imply the nostos idea; to include in Sehnsucht the obsession with returning would require adding a complementary phrase: Sehnsucht nach der Vergangenheit, nach der verlorenen Kindheit, nach der ersten Liebe (longing for the past, for lost childhood, for a first love).

I relish the etymology of our word thing – that sturdy term of designation, that robust everyday indicator of the empirical – whereby in Old English thynge does not only designate a material object, but can also denote ‘a narrative not fully known’, or indicate ‘the unknowability of larger chains of events’.

Words are little houses, each with its cellar and garret. Common-sense lives on the ground floor, always ready to engage in "foreign commerce" on the same level as the others, as the passers-by, who are never dreamers. To go upstairs in the word house, is to withdraw, step by step; while to go down to the cellar is to dream, it is losing oneself in the distant corridors of an obscure etymology, looking for treasures that cannot be found in words. To mount and descend in the words themselves - this is a poet's life. To mount too high or descend too low, is allowed in the case of poets, who bring earth and sky together.

Although, fanciful's origin circa 1627 made me still love the word, even if I'd ruined its applicability to my connection with Snarl. (I mean DASH!) Like, I could totally see Mrs. Mary Poppencock returning home to her cobblestone hut with the thatched roof in Thamesburyshire, Jolly Olde England, and saying to her husband, "Good sir Bruce, would it not be wonderful to have a roof that doesn't leak when it rains on our green shires, and stuff?" And Sir Bruce Poppencock would have been like, "I say, missus, you're very fanciful with your ideas today." To which Mrs. P. responded, "Why, Master P., you've made up a word! What year is it? I do believe it's circa 1627! Let's carve the year--we think--on a stone so no one forgets. Fanciful! Dear man, you are a genius. I'm so glad my father forced me to marry you and allow you to impregnate me every year.

Facts are often faint and flickering. They are the achievements of subtle investigations that must painstakingly stabilize evanescent effects or ingeniously combine several strands of evidence into a strong, weight-bearing cord. Above all, as their etymology suggests, [...] the most interesting and useful facts are not given but made, artifacts in the best sense of the word.

One night the month before, back on the other side of the Belgian border, Aughenbaugh had delivered a lecture on the etymology of the word war. He said that he had looked it up and it came from an ancient Indo-European root signifying confusion. That was a foxhole night, bitter cold. The 5th Panzer Army was making its last great push west. You had to hand it to those Indo-Europeans, my grandfather thought, rolling through Vellinghausen. Confusion shown on the faces of the townspeople. War confused civilians every bit as surely as it did the armies who got lost in its fogs. It confounded conquest with liberation, anger with heartache, hunger with gratitude, hatred with awe. The 53rd Combat Engineers looked pretty confused, too. They were milling around at the edge of town, contemplating the long stretch of road between and beautiful downtown Berlin, trying to figure out if they ought to mine it or clear it of mines.

How about cunt? It just feels too harsh, even though the etymology of the word is pretty impressive. The word cuneiform, which is the most ancient form of writing, derives from kunta—which translates to “female genitalia” in ancient Sumerian. Kunta also means “woman” in several Near Eastern and African languages, and its alternate spelling, quna, is the root of the word queen. Kunta is also the root of kundalini, which means “life force.” Pretty powerful, huh?

And we were taught to play golf. Golf epitomizes the tame world. On a golf course nature is neutered. The grass is clean, a lawn laundry that wipes away the mud, the insect, the bramble, nettle and thistle, an Eezy-wipe lawn where nothing of life, dirty and glorious, remains. Golf turns outdoors into indoors, a prefab mat of stultified grass, processed, pesticided, herbicided, the pseudo-green of formica sterility. Here, the grass is not singing. The wind cannot blow through it. Dumb expression, greenery made stupid, it hums a bland monotone in the key of the mono-minded. No word is emptier than a golf tee. No roots, it has no known etymology, it is verbal nail polish. Worldwide, golf is an arch act of enclosure, a commons fenced and subdued for the wealthy, trampling serf and seedling. The enemy of wildness, it is a demonstration of the absolute dominion of man over wild nature.

the ancient Greek word for adornment, kosmos, means both “decoration” and “world order.” (This is, of course, why the words cosmetics and cosmology share an etymological root.)

People who confuse entomology and etymology bug me in ways I can't put into words.

Where would you be without etymology'? Lea asked sarcastically. 'I think I might find words a little less interesting,' said Mr Ruche.

Often compound words have drifted so far from their etymological roots that native speakers can easily miss what is right in front of their eyes.

Grammar, which is the art of using words properly, comprises four parts: Orthography, Etymology, Syntax, and Prosody.

The popular etymology of the word mantram gives us some clue what it means to have the holy name at work in our consciousness. It is said that mantram comes from the roots man, “the mind,” and tri, “to cross.” The mantram is that which enables us to cross the sea of the mind. The sea is a perfect symbol for the mind. It is in constant motion; there is calm one day and storm the next.

For my present purpose I require a word which shall embrace both the Sub-Creative Art in itself, and a quality of strangeness and wonder in the Expression, derived from the Image: a quality essential to fairy-story. I propose, therefore, to arrogate to myself the powers of Humpty-Dumpty, and to use Fantasy for this purpose: in a sense, that is, which combines with its older and higher use as an equivalent of Imagination the derived notions of 'unreality' (that is, of unlikeness to the Primary World), of freedom from the dominion of 'observed fact,' in short of the fantastic. I am thus not only aware but glad of the etymological and semantic connexions of fantasy with fantastic: with images of things that are not only 'not actually present,' but which are indeed not to be found in our primary world at all, or are generally believed not to be found there. But while admitting that, I do not assent to the depreciative tone. That the images are of things not in the primary world (if that indeed is possible) is, I think, not a lower but a higher form of Art, indeed the most nearly pure form, and so (when achieved) the most Potent. Fantasy, of course, starts out with an advantage: arresting strangeness. But that advantage has been turned against it, and has contributed to its disrepute. Many people dislike being 'arrested.' They dislike any meddling with the Primary World, or such small glimpses of it as are familiar to them. They, therefore, stupidly and even maliciously confound Fantasy with Dreaming, in which there is no Art; and with mental disorders, in which there is not even control; with delusion and hallucination. But the error or malice, engendered by disquiet and consequent dislike, is not the only cause of this confusion. Fantasy has also an essential drawback: it is difficult to achieve. . . . Anyone inheriting the fantastic device of human language can say the green sun. Many can then imagine or picture it. But that is not enough -- though it may already be a more potent thing than many a 'thumbnail sketch' or 'transcript of life' that receives literary praise. To make a Secondary World inside which the green sun will be credible, commanding Secondary Belief, will probably require labour and thought, and will certainly demand a special skill, a kind of elvish craft. Few attempt such difficult tasks. But when they are attempted and in any degree accomplished then we have a rare achievement of Art: indeed narrative art, story-making in its primary and most potent mode.

The word legend comes from the Latin “legere,” which means “to read.” The word fiction comes from the Latin “fingere,” which means “to form.” From fingere we also get the word fingers. We form things with our fingers. The word history comes from the Greek “istor,” which means “to learn” or “to know.” I believe in original etymology. I believe that fiction is formed truth. I believe that history is a way of knowing all of this. I believe that legend is how we read between the lines.

And there is always the argument-closing ‘Villain, I have done thy mother’, a retort from Titus Andronicus of such eviscerating wit that we still honour it today with jokes beginning with ‘your mum’.

The Greeks were so committed to ideas as supernatural forces that they created an entire group of goddesses (not one but nine) to represent creative power; the opening lines of both The Iliad and The Odyssey begin with calls to them. These nine goddesses, or muses, were the recipients of prayers from writers, engineers, and musicians. Even the great minds of the time, like Socrates and Plato, built shrines and visited temples dedicated to their particular muse (or muses, for those who hedged their bets). Right now, under our very secular noses, we honor these beliefs in our language, as the etymology of words like museum ("place of the muses") and music ("art of the muses") come from the Greek heritage of ideas as superhuman forces.

The name Eve/Eab/Age stems from the Latin aetas, which is from aevum, “lifetime.” The word aetas is remarkably similar to the name Aïdes, i.e. Hades. Eve, you see, is not Adam’s wife but Adam’s father, Zeus bronnton, Zeus “the thunderer/earthshaker,” Poseidon, the fallen — or, better still, suspended, mediating — aspect of God!

Sad, shocking, horrible, yes," underlining each word, "but..." (Oliver often said that but was his favorite word, a kind of etymological flip of the coin, for it allowed consideration of both sides of an argument, a topic, as well as a kind of looking-at-the-bright-side that was as much a part of his nature as his diffidence and indecisiveness.)

Yoga is the way of our approach to the goal, that is, a way of getting connected to our objective. Etymologically, the word Yoga in Sanskrit means to add, to be united. In other words, it is the means to join or be united with our goal.

In the early part of the ninth century, Muhammad ibn Musa al-Khwarizmi, a mathematician working in Baghdad, wrote a seminal textbook in which he highlighted the usefulness of restoring a quantity being subtracted (like 2, above) by adding it to the other side of an equation. He called this process al-jabr (Arabic for “restoring”), which later morphed into “algebra.” Then, long after his death, he hit the etymological jackpot again. His own name, al-Khwarizmi, lives on today in the word “algorithm.

I told the Kid I thought Wednesday was Latin for Satan, and that we probably shouldn't do it then because it might be bad luck. The Kid then proceeded to tell me what the word Wednesday actually means and where it came from (apparently it's Middle English for Wednes dei, the day of the English God Woden--how the hell he knows these things, I'll never know). He then said to stop being such a girl.

Few people may be consciously aware of the etymological origins of common words and phrases, but the essential metaphor-making process of comparing the unknown with the known is still vital and ongoing. This process is the way meaning was, is, and ever shall be made.

The association of the wild and the wood also run deep in etymology. The two words are thought to have grown out of the root word wald and the old Teutonic word walthus, meaning 'forest.' Walthus entered Old English in its variant forms of 'weald,' 'wald,' and 'wold,' which were used to designate both 'a wild place' and 'a wooded place,' in which wild creatures -- wolves, foxes, bears -- survived. The wild and wood also graft together in the Latin word silva, which means 'forest,' and from which emerged the idea of 'savage,' with its connotations of fertility....

In the etymology of Kertbeny’s “heterosexual,” “hetero” comes from the Greek heteros which means another, while homos means same, and both are melded with the Latin word sexus. Not long after this, bi, or two, started to be used to refer to people who had both homosexual and heterosexual desires. A way that bisexual researchers often talk about this is that the bi in bisexual means two, but the two are not men and women, they are same and other.

After the rise and decline of Greek civilisation and the Roman destruction of the city of Carthage, they made one area of the conquered territories into a province which they called Africa, a word derived from "afri" and the name of a group of people about whom little is known. At first the word applied only to the Roman colonies of North Africa. There was a time when all dark-skinned people were called "Ethiopians," for the Greeks referred to Africa as "the Land of the Burnt-face People".

Debate' (French 'de' = 'undo' + 'bate' = 'the-fight')

In ancient Greece, the word for “cook,” “butcher,” and “priest” was the same—mageiros—and the word shares an etymological root with “magic.

So we can think of etymology as an exercise in tracing how far a word has strayed from its roots. For they travel marvellous distances, both literally and metaphorically.

Vimes had believed all his life that the Watch were called coppers because they carried copper badges, but no, said Carrot, it comes from the old word cappere, to capture.

Occasionally people make the mistake of asking me where a word comes from. They never make this mistake twice. I am naturally a stern and silent fellow; even forbidding. But there’s something about etymology and where words come from that overcomes my inbuilt taciturnity. A chap once asked me where the word biscuit came from. He was eating one at the time and had been struck by curiosity. I explained to him that a biscuit is cooked twice, or in French bi-cuit, and he thanked me for that. So I added that the bi in biscuit is the same bi that you get in bicycle and bisexual, to which he nodded. And then, just because it occurred to me, I told him that the word bisexual wasn’t invented until the 1890s and that it was coined by a psychiatrist called Richard von Krafft-Ebing and did he know that Ebing also invented the word masochism? He told me firmly that he didn’t. Did he know about Mr. Masoch, after whom masochism was named? He was a novelist and… The fellow told me that he didn’t know about Mr. Masoch, that he didn’t want to know about Mr. Masoch, and that his one ambition in life was to eat his biscuit in peace.

a small nation resembles a big family and likes to describe itself that way. In the language of the smallest European people, in Icelandic, the term for "family" is fjölskylda; the etymology is eloquent: skylda means "obligation"; fjöl means "multiple." Family is thus "a multiple obligation." Icelanders have a single word for "family ties": fjölskyldubönd: "the cords (bönd) of multiple obligations." Thus in the big family that is a small country, the artist is bound in multiple ways, by multiple cords. When Nietzsche noisily savaged the German character, when Stendhal announced that he preferred Italy to his homeland, no German or Frenchman took offense; if a Greek or a Czech dared to say the same thing, his family would curse him as a detestable traitor.

The etymological root of the word Sabbath means to stop–doing producing, thinking, to stop time, in essence, to allow oneself the void in which to receive, instead of constantly striving ‘to be’.

THE WORD wife comes from the Proto-Indo-European weip. Weip means to turn, twist, or wrap. In an alternative etymology, the word wife comes from Proto-etc., ghwibh. Ghwibh means pudenda. Or shame.

ETYMOLOGY: “Panic” relates to the god Pan; but we can play on etymologies as on words (as has always been done) and pretend to believe that “panic” comes from the Greek adjective that means “everything.

The word "kenning" comes from the Old Norse verb kenna, which is also a "seeing=knowing" metaphor, meaning "to know, recognize, or perceive." The etymology survives in words meaning "to know" in various Scandinavian languages as well as in German and Dutch. Kenna is also the source of the English "can" as well as the somewhat arcane "ken," as found in the expression "beyond my ken," meaning "beyond my knowledge.

Furthermore, Professor Uzzi-Tuzii had begun his oral translation as if he were not quite sure he could make the words hang together, going back over every sentence to iron out the syntactical creases, manipulating the phrases until they were not completely rumpled, smoothing them, clipping them, stopping at every word to illustrate its idiomatic uses and its commutations, accompanying himself with inclusive gestures as if inviting you to be content with approximate equivalents, breaking off to state grammatical rules, etymological derivations, quoting the classics. but just when you are convinced that for the professor philology and erudition mean more than what the story is telling, you realize the opposite is true: that academic envelope serves only to protect everything the story says and does not say, an inner afflatus always on the verge of being dispersed at contact with the air, the echo of a vanished knowledge revealed in the penumbra and in tacit allusions. Torn between the necessity to interject glosses on multiple meanings of the text and the awareness that all interpretation is a use of violence and caprice against a text, the professor, when faced by the most complicated passages, could find no better way of aiding comprehension than to read them in the original, The pronunciation of that unknown language, deduced from theoretical rules, not transmitted by the hearing of voices with their individual accents, not marked by the traces of use that shapes and transforms, acquired the absoluteness of sounds that expect no reply, like the song of the last bird of an extinct species or the strident roar of a just-invented jet plane that shatters the sky on its first test flight. Then, little by little, something started moving and flowing between the sentences of this distraught recitation,. The prose of the novel had got the better of the uncertainties of the voice; it had become fluent, transparent, continuous; Uzzi-Tuzii swam in it like a fish, accompanying himself with gestures (he held his hands open like flippers), with the movement of his lips (which allowed the words to emerge like little air bubbles), with his gaze (his eyes scoured the page like a fish's eyes scouring the seabed, but also like the eyes of an aquarium visitor as he follows a fish's movement's in an illuminated tank).

All languages that derive fromLatin form the word 'compassion' by combining the prefix meaning 'with' (com-) and the root meaning 'suffering' (Late Latin, passio). In other languages- Czech, Polish, German, and Swedish, for instance- this word is translated by a noun formed of an equivalent prefixcombined with the word that means 'feeling' (Czech, sou-cit; Polish, wsspół-czucie; German, Mit-gefühl; Swedish, medkänsla). In languages that derive from Latin, 'compassion' means: we cannot look on coolly as others suffer; or, we sympathize with those who suffer. Another word with approximately the same meaning, 'pity' (French, pitié; Italian, pietà; etc.), connotes a certain condescension towards the sufferer. 'To take pity on a woman' means that we are better off than she, that we stoop to her level, lower ourselves. That is why the word 'compassion' generally inspires suspicion; it designates what is considered an inferior, second-rate sentiment that has little to do with love. To love someone out of compassion means not really to love. In languages that form the word 'compassion' not from the root 'suffering' but from the root 'feeling', the word is used in approximately the same way, but to contend that it designates a bad or inferior sentiment is difficult. The secret strength of its etymology floods the word with another light and gives it a broader meaning: to have compassion (co-feeling) means not only to be able to live with the other's misfortune but also to feel with him any emotion- joy, anxiety, happiness, pain. This kind of compassion (in the sense of soucit, współczucie, Mitgefühl, medkänsla) therefore signifies the maximal capacity of affective imagination, the art of emotional telepathy. In the hierarchy of sentiments, then, it is supreme. By revealing to Tomas her dream about jabbing needles under her fingernails, Tereza unwittingly revealed that she had gone through his desk. If Tereza had been any other woman, Tomas would never have spoken to her again. Aware of that, Tereza said to him, 'Throw me out!' But instead of throwing her out, he seized her and kissed the tips of her fingers, because at that moment he himself felt the pain under her fingernails as surely as if the nerves of her fingers led straight to his own brain. Anyone who has failed to benefit from the the Devil's gift of compassion (co-feeling) will condemn Tereza coldly for her deed, because privacy is sacred and drawers containing intimate correspondence are not to be opened. But because compassion was Tomas's fate (or curse), he felt that he himself had knelt before the open desk drawer, unable to tear his eyes from Sabina's letter. He understood Tereza, and not only was he incapable of being angry with her, he loved her all the more.

I fill up by reading poetry that excites me, reading poetry I don’t always get, watching nature documentaries, writing notes over a period of days, researching the etymology of words,”-Benjamin Garcia @bengarciapoet

You told me," I said, "that I should turn this house into a boardinghouse for students. Well, there are better things I could do with it. I could turn it into a haven for beggars. I could run a soup kitchen and a dormitory. But I don't. Why not? Because the spirit of charity has perished in this country. Because those who accept charity despise it, while those who give give with a despairing heart. What is the point of charity when it does not go from heart to heart? What do you think charity is? Soup? Money? Charity: from the Latin word for the heart. It is as hard to receive as to give. it takes as much effort. I wish you would learn that. I wish you would learn something instead of just lying around." A lie: charity, caritas, has nothing to do with the heart. But what does it matter if my sermons rest on false etymologies? He barely listens when i speak to him. Perhaps, despite those keen bird-eyes, he is more befuddled with drink than I know. Or perhaps, finally, he does not care. Care: the true root of charity. I look for him to care, and he does not. Because he is beyond caring. Beyond caring and beyond care

Not Grey ones! Gryphons! – No one likes the name Of something grey. Every word rings With what conditioned it: its origins: Grey, grievous, grumpy, gruesome, gravely, grimly, Similarly harmonious etymologically, Disharmonise us.

In the significance of names, that from which the name is derived is different sometimes from what it is intended to signify, as for instance, this name "stone" [lapis] is imposed from the fact that it hurts the foot [loedit pedem], but it is not imposed to signify that which hurts the foot, but rather to signify a certain kind of body; otherwise everything that hurts the foot would be a stone [*This refers to the Latin etymology of the word "lapis" which has no place in English].

When you have a high enough calling, it is much easier to commit yourself to doing whatever it takes to accomplish your life’s purpose. You have to decide if what you’re doing is worth your complete effort and full attention. If it is, don’t let anything stop you. The word “decide” has an interesting etymology. It means, literally, to cut off. When you truly decide, truly commit, you are cutting off all other options. Making a decision about your life’s purpose isn’t something to be done

The secret strength of its etymology floods the word with another light and gives it a broader meaning: to have compassion (co-feeling) means not only to be able to live with the other's misfortune but also to feel with him any emotion—joy, anxiety, happiness, pain. This kind of compassion (in the sense of souc/r, wspofczucie, Mitgefuhl, medkansia) therefore signifies the maximal capacity of affective imagination, the art of emotional telepathy. In the hierarchy of sentiments, then, it is supreme".

In order to understand the sequence of VIP canapés, we were taught a little etymology 101. At the French Laundry and Per Se, the whole range of amuse-bouches (literally translating to 'mouth amusers'), from soups to blini, is referred to as canapés. This is, however, not technically accurate. The word canapé comes from the French word for couch, and actually refers to the specific practice of resting a savory topping on a piece of toast or cracker like Mr. Bichalot's slippered feet on his chaise lounge, only infinitely more savory.

Auctions are a venerable selling institution, in use since the time of Herodotus. The word comes from the Latin auctus, meaning to increase. An obscure term for auction, one guaranteed to impress friends and neighbors, is the Latin word subhastare. It is the conjunction of sub, meaning "under," and hasta, meaning "spear." After a military victory, a Roman soldier would plant his spear in the ground to mark the location of his spoils. Later, he would put these goods up for sale by auction. ¹The highest bidder was called the emptor, whence the term caveat emptor.

At its core, each vocation is a particular, unique instantiation of the father’s summons to the true homeland of the kingdom. The etymological root of the word ‘vocation’ points in this direction. The word is derived from the Latin verb “vocare” – “to call.” Thus, through the son the father calls each one of us home.

Anyone who had ever learned Latin from a Jesuit teacher has heard that word. Imparting a lesson in etymology and ethics simultaneously, Jesuit teachers point out that pusillus meant “very small” and animus meant “soul.” Cowardice is not just a matter of ignoble fear; cowardice shrinks the soul. This is not the Jesuit way.

The etymology of the Hebrew word for prophet, navi, combines three processes: navach (to cry out), nava (to gush or flow), and navuv (to be hollow). The task of this meditation was "to open the heart, to unclog the channel between the infinite and the mortal," and rise into a state of rapture known as mochin gadlut, "Great Mind.

In Dzokchen, compassion is much more than the virtue of loving kindness. Nor does the word compassion in the Dzokchen context denote its English etymological meaning, “suffering together” or “empathy,” although both these meanings may be inferred. Essentially, compassion indicates an open and receptive mind responding spontaneously to the exigencies of an ever-changing field of vibration to sustain the optimal awareness that serves self-and-others’ ultimate desire for liberation and well-being. The conventional meaning of compassion denotes the latter, active part of this definition, and, due to the accretions of Christian connotation, response is limited to specifically virtuous activity. “Responsiveness” defines the origin and cause of selfless activity that can encompass all manner of response. On this nondual Dzokchen path virtue is the effect, not the cause; the ultimate compassionate response is whatever action maximizes Knowledge—loving kindness is the automatic function of Awareness.

The word "ambition" was etymologically created from the Latin word “ambire”/going around, which was used when a politician went from house to house to ask for votes. Ambition, in its negative connotation, is the strong desire to appear great, not necessarily to become great. The struggle to become a famous person, not necessarily to become an admirable one.

Who will consider that no dictionary of a living tongue ever can be perfect, since, while it is hastening to publication, some words are budding, and some falling away; that a whole life cannot be spent upon syntax and etymology, and that even a whole life would not be sufficient; that he, whose design includes whatever language can express, must often speak of what he does not understand.

The word archive Jacques Derrida tells us, comes from the ancient Greek work “the house of the ruler.” When I first learned about this etymology, I was taken with the use of house (a lover of haunted house stories, I'm a sucker for architecture metaphors), but it is the power, the authority, that is the most telling element. What is placed in or left out of the archive is a political act, dictated by the archivist and the political context in which she lives. This is true whether it’s a parent deciding whats worth recording of a child’s early life or---like Europe and its Stolpersteines, its “stumbling blocks’"---a continent publicly reckoning with its past. Here is where Sebastian took his first fat-footed baby steps; here is the house where Judith was living when we took her to her death.

the Chernobyl coffin: Yes, chernobyl is Ukrainian for wormwood; on paper that looks as if it means something. However, Chernobyl is also the city nearby the power plant of the same name, both dubbed such because the herb wormwood (which our etymology study showed to be unrelated) grows in that area. If wild roses had coincidentally grown there instead, the area of the nuclear plant explosion may have been called Roses or Troyandy (the Ukrainian word for

Open a dictionary at random; metaphors fill every page. Take the word "fathom." for example. The meaning is clear. A fathom is a measurement of water depth, equivalent to about six feet. But fathom also means "to understand." Why? Scrabble around in the word's etymological roots. "Fathom comes from the Anglo-Saxon faethm, meaning "the two arms outstretched." The term was originally used as a measurement of cloth, because the distance from fingertip to fingertip for the average man with his arms outsretched is roughly six feet. This technique was later extended to sounding the depths of bodies of water, since it was easy to lower a cord divided into six-foot increments, or fathoms, over the side of a boat. But how did fathom come to mean "to understand," as in "I can't fathom that" or "She's unfathomable"? Metaphorically, of course. You master something- you learn to control or accept it-when you embrace it, when you get your arms around it, when you take it in hand. You comprehend something when you grasp it, take its measure, get to the bottom of it-fathom it. Fathom took on its present significance in classic Aristotelian fashion: through the metaphorical transfer of its original meaning (a measurement of cloth or water) to an abstract concept (understanding). This is the primary purpose of metaphor: to carry over existing names or descriptions to things that are either so new that they haven't yet been named or so abstract that they cannot be otherwise explained.

The Romans called the Canaanites in Latin Cananaei, or Canaorum. These words are related etymologically to the Latin word for female dog “Canarius.” The rite called by the mystery schools the canarium (sacrificium) was a sacrifice of a russet-red female dog (at the time of the heat wave, for the goods of the ground).[710] The Latin adjective canîculâris meant “pertaining to the Dog Star”: the time referred to as the “dog days” was related to the rising of Isis’s star canicula, that is, Sirius.

We get the word etymology from the Greek étymon,’ continued Professor Lovell. ‘The true sense of a word, from étumos, the “true or actual”. So we can think of etymology as an exercise in tracing how far a word has strayed from its roots. For they travel marvellous distances, both literally and metaphorically.’ He looked suddenly at Robin. ‘What’s the word for a great storm in Mandarin?’ Robin gave a start. ‘Ah – fēngbào?’* ‘No, give me something bigger.’ ‘Táifēng?’* ‘Good.’ Professor Lovell pointed to Victoire. ‘And what weather patterns are always drifting across the Caribbean?’ ‘Typhoons,’ she said, then blinked. ‘Taifeng? Typhoon? How—’ ‘We start with Greco-Latin,’ said Professor Lovell. ‘Typhon was a monster, one of the sons of Gaia and Tartarus, a devastating creature with a hundred serpentine heads. At some point he became associated with violent winds, because later the Arabs started using tūfān to describe violent, windy storms. From Arabic it hopped over to Portuguese, which was brought to China on explorers’ ships.

that enflamed itself being here, on hands and knees. Dirty girl. She burned. She made a vow: she would never crawl for another man. [The gods love to fuck with us, Mathilde would say later; she became a wife.] “Another?” Ariel said. He dipped it, put it at the end of the hallway, twenty yards away. “Crawl,” he said. He laughed. — THE WORD wife comes from the Proto-Indo-European weip. Weip means to turn, twist, or wrap. In an alternative etymology, the word wife comes from Proto-etc., ghwibh. Ghwibh means pudenda. Or shame.

The philologist does not admit (besides, he doesn't realize it) that his taste for etymology comes from the poetry (so he thinks, or might think, for it is a carnal potency that incites him) contained in the word esclave (slave), in which are found, if he likes, the word clé (key), and the word genou (knee). It is because a young man one day learns that the female scorpion devours her male that he becomes an entomologist, and another becomes a historian when he happens to read that Frederick the Second of Germany made children be brought up in solitude.

The parquet pressing into her palms and knees. She hated the part of her, small and hot, that enflamed itself being here, on hands and knees. Dirty girl. She burned. She made a vow: she would never crawl for another man. [The gods love to fuck with us, Mathilde would say later; she became a wife.] "Another?" Ariel said. He dipped it, put it at the end of the hallway, twenty yards away. "Crawl," he said. He laughed. The word wife comes from the Proto-Indo-European weip. Weip means to turn, twist or wrap. In an alternative etymology, the word wife comes from Proto-etc., ghwibh. Ghwibh means pudenda. Or shame.

The early dictionaries in English were frequently created by a single author, but they were small works, and not what we think of today as dictionaries. Robert Cawdrey’s A Table Alphabeticall, published in 1604, is generally regarded as the first English dictionary. It was an impressive feat in many respects, but it contained fewer than 2,500 entries, the defining of which would not be a lifetime’s work. This and the other dictionaries of the seventeenth century were mostly attempts to catalog and define “difficult words”; little or no attention was given to the nuts and bolts of the language or to such concerns as etymology and pronunciation. For

By giving full expression to the contradiction between civil society and the state, the French Revolution radically transformed both its terms. To put it differently: dualism was not abolished but, rather, displaced within the space delimited by the two poles of the contradiction. This created a new split between 'man', a member of civil society, and the 'citizen', a member of the state. It is only by 'abstracting' from his condition as man and his insertion into the organization of civil society that the political subject can become a citizen and make his entry into the political community: it is only as a 'sheer, blank individual' who accepts the fact that the political is divorced from the social that he can take part in the life of the state, which is based on the freedom and equality of its citizens. (...) The political state is 'abstract' in the sense suggested by the etymology of the word; it appears as the residue or the 'precipitate' of the constitutive movement by means of which civil society transcends its own limits to attain political existence, while leaving its internal differences intact, or, rather, transforming them into mere 'differences of social life' 'without significance in political life'. The state is incapable of substantially affecting the contents of civil society, for it is, precisely, a product of civil society's abstraction from itself.

The papers always referred to the strikers as foreign; as Chinamen, Indians, Arabs, and Africans. (Never mind Professor Craft.) They were never Oxfordians, they were never Englishmen, they were travellers from abroad who had taken advantage of Oxford’s good graces, and who now held the nation hostage. Babel had become synonymous with foreign, and this was very strange, because before this, the Royal Institute of Translation had always been regarded as a national treasure, a quintessentially English institution. But then England, and the English language, had always been more indebted to the poor, the lowly, and the foreign than it cared to admit. The word vernacular came from the Latin verna, meaning ‘house slave’; this emphasized the nativeness, the domesticity of the vernacular language. But the root verna also indicated the lowly origins of the language spoken by the powerful; the terms and phrases invented by slaves, labourers, beggars, and criminals – the vulgar cants, as it were – had infiltrated English until they became proper. And the English vernacular could not properly be called domestic either, because English etymology had roots all over the world. Almanacs and algebra came from Arabic; pyjamas from Sanskrit, ketchup from Chinese, and paddies from Malay. It was only when elite England’s way of life was threatened that the true English, whoever they were, attempted to excise all that had made them.

Students who take Latin are more proficient and earn higher scores on the verbal SAT exam. The business world has long recognized the importance of a rich vocabulary and rates it high as evidence of executive potential and success. Understanding the etymological history of a word gives the user vividness, color, punch, and precision. It also seems that the clearer and more numerous our verbal images, the greater our intellectual power. Wheelock’s Latin is profuse with the etymological study of English and vocabulary enrichment. Our own experiences have shown that students will not only remember vocabulary words longer and better when they understand their etymologies, but also will use them with a sharper sense of meaning and nuance.

(1) Phonological awareness is recognizing the sound structures of spoken language, not just the meanings it conveys. This is a reading prerequisite. (2) Phonemic awareness is the skill of recognizing and manipulating individual speech sounds or phonemes. Students must be able to segment words and syllables into phonemes to learn to read. (3) The Alphabetic Principle is the concept that printed language consists of alphabet letters that are deliberately and systematically related to the individual sounds of spoken language. Reading depends on understanding this concept. (4) Orthographic awareness is recognition of printed language structures, such as orthographic rules, patterns in spelling; derivational morphology and inflectional morphology, i.e. structural changes indicating word types and grammatical differences; and etymology, i.e. word and meaning

Acronyms also weren’t terribly common until World War II, where they were deployed with aplomb. Unsurprisingly, most of the general words we have in English today that have true acronymic etymologies had their origins in the military: the aforementioned “radar,” “GI” (originally “galvanized iron,” if you can believe it, but misconstrued by soldiers and others as “government issue”), “snafu” and “fubar” (“ situation normal: all fucked up” and “fucked up beyond all recognition,” brought to you by government bureaucracy). It’s true that a few of them snuck into English before the early twentieth century, but very few: “RSVP” (répondez s’il vous plaît) and “AWOL” (absent without leave) are the only two that could be considered general vocabulary, and some people will complain that one of those is not a proper acronym but an initialism and so doesn’t count.* 4

Through ecstasy, emotion reaches its climax, and thereby at the same time its negation (its oblivion). Ecstasy means being "outside oneself," as indicated by the etymology of the Greek word: the act of leaving one's position (stasis). To be "outside oneself" does not mean outside the present moment, like a dreamer escaping into the past or the future. Just the opposite: ecstasy is absolute identity with the present instant, total forgetting of past and future. If we obliterate the future and the past, the present moment stands in empty space, outside life and its chronology, outside time and independent of it (this is why it can be likened to eternity, which too is the negation of time). [...] Man desires eternity, but all he can get is its imitation: the instant of ecstasy. [...] Living is a perpetual heavy effort not to lose sight of ourselves, to stay solidly present in ourselves, in our stasis. Step outside ourselves for a mere instant, and we verge on death's dominion.

What, from an etymological perspective, do the meanings of “good,” as manifested in different languages, really signify? There I found that all of them lead back to the same transformation of ideas — that everywhere “noble” and “aristocratic” in a social sense is the fundamental idea out of which “good” in the sense of “spiritually noble,” “aristocratic,” “spiritually high-minded,” “spiritually privileged” necessarily develops, a process which always runs in parallel with that other one that finally transforms “common,” “vulgar,” and “low” into the concept “bad.” The most eloquent example of the latter is the German word “(schlect [bad]” itself, which is identical with the word “schlicht [plain]” — compare “schlectweg [simply]” and “schlechterdings [simply]”— and which originally designated the plain, common man, still without any suspicious side glance, simply in contrast to the noble man. Around the time of the Thirty Years War approximately, hence late enough, this sense changed into the one used now.

The job was a sign of his failings. In his youth he’d been a devoted scholar of foreign languages, the owner of an impressive collection of dictionaries. He had dreamed of being an interpreter for diplomats and dignitaries, resolving conflicts between people and nations, settling disputes of which he alone could understand both sides. He was a self-educated man. In a series of notebooks, in the evenings before his parents settled his marriage, he had listed the common etymologies of words, and at one point in his life he was confident that he could converse, if given the opportunity, in English, French, Russian, Portuguese, and Italian, not to mention Hindi, Bengali, Oriya, and Gujarati. Now only a handful of European phrases remained in his memory, scattered words for things like saucers and chairs. English was the only non-Indian language he spoke fluently anymore. Mr. Kapasi knew it was not a remarkable talent. Sometimes he feared that his children knew better English than he did, just from watching television. Still, it came in handy for the tours.

assumptions of what etymology is: the logical, fairy-tale story of English. But it would be sloppy scholarship to elevate an unsubstantiated theory to the level of researched etymology simply because that theory is au courant. Further, the way that English grows doesn’t make sense. The history of English is full of messiness and illogic because the English language is a true democracy, built entirely by the people who use and have used it, and people, generally speaking, are messy and illogical. What genius, for instance, looked at the ragged edge of their sweater, laddering and unknitting itself with energy, and thought, “This is so bad that it’s not just raveling; it’s super-raveling. No: über-raveling. No, no, I got it: it’s frickin’ unraveling! Like, unreal amounts of raveling. Yeah, I’m going to call this ‘unraveling’ from now on.” Who thought that “pumpernickel” was a good name for a dark rye bread? Because when you trace the word back to its German origins, you find it means “fart goblin,”* 5 and now you cannot help but blench and giggle whenever you see pumpernickel.

Every entry, whether revised or reviewed, goes through multiple editing passes. The definer starts the job, then it’s passed to a copy editor who cleans up the definer’s work, then to a bunch of specialty editors: cross-reference editors, who make sure the definer hasn’t used any word in the entry that isn’t entered in that dictionary; etymologists, to review or write the word history; dating editors, who research and add the dates of first written use; pronunciation editors, who handle all the pronunciations in the book. Then eventually it’s back to a copy editor (usually a different one from the first round, just to be safe), who will make any additional changes to the entry that cross-reference turned up, then to the final reader, who is, as the name suggests, the last person who can make editorial changes to the entry, and then off to the proofreader (who ends up, again, being a different editor from the definer and the two previous copy editors). After the proofreaders are done slogging through two thousand pages of four-point type, the production editors send it off to the printer or the data preparation folks, and then we get another set of dictionary pages (called page proofs) to proofread. This process happens continuously as we work through a dictionary, so a definer may be working on batches in C, cross-reference might be in W, etymology in T, dating and pronunciation in the second half of S, copy editors in P (first pass) and Q and R (second pass), while the final reader is closing out batches in N and O, proofreaders are working on M, and production has given the second set of page proofs to another set of proofreaders for the letter L. We all stagger our way through the alphabet until the last batch, which is inevitably somewhere near G, is closed. By the time a word is put in print either on the page or online, it’s generally been seen by a minimum of ten editors. Now consider that when it came to writing the Collegiate Dictionary, Eleventh Edition, we had a staff of about twenty editors working on it: twenty editors to review about 220,000 existing definitions, write about 10,000 new definitions, and make over 100,000 editorial changes (typos, new dates, revisions) for the new edition. Now remember that the 110,000-odd changes made were each reviewed about a dozen times and by a minimum of ten editors. The time given to us to complete the revision of the Tenth Edition into the Eleventh Edition so production could begin on the new book? Eighteen months.

The term satipaṭṭhāna can be explained as a compound of sati, "mindfulness" or "awareness", and upaṭṭhāna, with the u of the latter term dropped by vowel elision. The Pāli term upaṭṭhāna literally means "placing near", and in the present context refers to a particular way of "being present" and "attending" to something with mindfulness. In the discourses [of the Buddha], the corresponding verb upaṭṭhahati often denotes various nuances of "being present", or else "attending". Understood in this way, "satipaṭṭhāna" means that sati "stands by", in the sense of being present; sati is "ready at hand", in the sense of attending to the current situation. Satipaṭṭhāna can then be translated as "presence of mindfulness" or as "attending with mindfulness." The commentaries, however, derive satipaṭṭhāna from the word "foundation" or "cause" (paṭṭhāna). This seems unlikely, since in the discourses contained in the Pāli canon the corresponding verb paṭṭhahati never occurs together with sati. Moreover, the noun paṭṭhāna is not found at all in the early discourses, but comes into use only in the historically later Abhidhamma and the commentaries. In contrast, the discourses frequently relate sati to the verb upaṭṭhahati, indicating that "presence" (upaṭṭhāna) is the etymologically correct derivation. In fact, the equivalent Sanskrit term is smṛtyupasthāna, which shows that upasthāna, or its Pāli equivalent upaṭṭhāna, is the correct choice for the compound.

JO: A refrain I like throughout the book is, “Music doesn’t mean things. It is things.” RP: Yes. The struggle for composers, which Els goes through in different stages over the course of his seventy years, is precisely that battle between a music that might be a matter of life and death, as it is for Shostakovich, or a way of surviving the evils of human history, as it is for Messiaen. You align yourself to a kind of music in the service of one or another of all the different kinds of things that the human mind might want. And at the end of the day, you have this reflective feeling of saying, it’s very possible that in pursuing a kind of music that you wanted to serve a certain function, to create a certain social urgency, to solve the problems of your historical time and place, that it might also have been worthwhile to make a music that simply moves people in the most etymological sense of that word—actually just makes their bodies want to move. It’s that tension—between the music of pattern, the music of the cognitive brain; and the music of body, the music of pure spirit—that infects his life at every turn. Music is both those things! And human beings are both thinking creatures and feeling creatures. And the art that hits on all cylinders, the art that moves us intellectually and bodily and spiritually, is what we’re after. But to capture all those things in the same vessel is a very, very difficult task. And it’s a very difficult one for Els until the very end.

In the end, ethical interpretation of the Bible means to think critically about how our practices of textual engagement might help us to become both more human and more humane. We are constantly crafting and recrafting ourselves, and the goal is to do so in such a way that we contribute, even if only incrementally, more to the good in the world than to the bad. We think of the point made by Tim Beal (2011, 184), who notes that the etymological root of the word “religion” is typically taken to be the Latin religare, from the verb ligare, meaning “to bind” or “to attach” (ergo our word “ligament”). Religion, in this line of thinking, has to do with being bound to certain doctrines, ideas, or practices. But Beal points out that there is another etymology, suggested by the ancient Roman politician and philosopher Cicero, who proposed that religion derives from the Latin relegere, itself a form of the root legere, “to read” (ergo our words “legible” and even “lectionary”). “Re-ligion” becomes then a process of “re-reading,” and the shaping of a religious life (or more broadly a moral life, or more broadly still just a life) is a continual process of engagement with tradition in the context of present realities. We spoke early on in this book about the “traditioning” process that lies behind the biblical text, the way in which earlier texts and traditions are taken up in later contexts in which they are both preserved and transformed. As a result, Scripture itself presents a rich variety of voices, and sometimes one author or text disagrees with the other. It is an ongoing conversation rather than a set of settled doctrines. And it is our privilege to be invited into that conversation, to become ourselves part of the traditioning process, seeking to bring an unfolding understanding of the good into our present reality.

I see a direct connection between the Fuenta Magna Bowl and Ogma, I believe the former is an authentic yet misplaced artifact that has its origins in the Middle East as the Irish/Celtic mythology as well. Ogma -being the god/originator of speech and language- carries the syllable of 'Og' in his name (according to a renowned authority on Irish Mythology, James Swagger) which signals some process of initiation through which other members could join into this culture. His family connections were confused (according to, The Dictionary Of Mythology) but it is said that he was the brother of Dagda and Lugh; and Dagda owned a magical cauldron known as Undry, which was always full and used to satisfy his enormous appetite. The [Tales depict Dagda as a figure of immense power, armed with a magic club to kill nine men with one blow]. This symbolism shows another remarkable link, however, to ancient Egypt with the Nine Bows representing its enemies. With Richard Cassaro's work, we now know the significance of the Godself icon which we see on the Fuenta Magna Bowl; and yet my observation and surprise here lies in the fact that the Godself icon could simply refer to Dagda being a figure of immense power, but what is more astounding is when I found that the Latin word caldaria (whence 'cauldron' was taken) means a 'cooking pot'. This is indeed amazing, but that's not all! This Latin word has its etymological roots in the Semitic languages, where the Old Babylonian word 'kid' meaning 'to cut/soften/dissolve' got preserved into Arabic with the same meaning as well and even a new word got derived therefrom: 'kidr'; which literally means a 'cooking pot'. It also happens to refer to one of God's names (in Islam) with the meaning of: Almighty. Moreover, the word 'Undry' could be looked at as if it were composed of two syllables: Un and Dry, with 'Un' signaling a continuous action in present and 'Dry' meaning 'to generate' and 'pour out' in the Semitic language.

Many real-world Northwestern endonyms have European origins, such as “Portland,” “Victoria,” “Bellingham,” and “Richland.” To address this phenomenon while also contributing a sense of the fantastic, I chose to utilize a forgotten nineteenth century European artificial language as a source. Volapük is clumsy and awkward, but shares a relationship with English vocabulary (upon which it is based) that I was able to exploit. In my fictional universe, that relationship is swapped, and English (or rather, “Vendelabodish”) words derive from Volapük (“Valütapük”). This turns Volapük into an ancient Latin-like speech, offering texture to a fictional history of the colonizers of my fictional planets. Does one have to understand ancient Rome and medieval Europe and America’s Thirteen Colonies to understand the modern Pacific Northwest? Nah. But exploring the character and motivations of a migrating, imperial culture certainly sets the stage for explaining a modernist backlash against the atrocities that inevitably come with colonization.             The vocabulary of Volapük has also given flavor that is appropriate, I feel, to the quasi-North American setting. While high fantasy worlds seem to be built with pillars of European fairy tales, the universe of Geoduck Street is intentionally built with logs of North American tall tales. Tolkien could wax poetic about the aesthetic beauty of his Elvish words all he wanted, since aesthetic beauty fits the mold of fairies and shimmering palaces, but Geoduck Street needed a “whopper-spinning” approach to artificial language that would make a flapjack-eating Paul Bunyan proud. A prominent case in point: in this fictional universe, the word “yagalöp” forms the etymological root of “jackalope.” “Yag,” in the original nineteenth century iteration of Volapük, means “hunting,” while “löp” means “summit.” Combining them together makes them “the summit of hunting.” How could a jackalope not be a point of pride among hunting trophies?

Hyphen This word comes from two Greek words together meaning ‘under one’, which gets nobody anywhere and merely prompts the reflection that argument by etymology only serves the purpose of intimidating ignorant antagonists. On, then. This is one more case in which matters have not improved since Fowler’s day, since he wrote in 1926: The chaos prevailing among writers or printers or both regarding the use of hyphens is discreditable to English education … The wrong use or wrong non-use of hyphens makes the words, if strictly interpreted, mean something different from what the writers intended. It is no adequate answer to such criticisms to say that actual misunderstanding is unlikely; to have to depend on one’s employer’s readiness to take the will for the deed is surely a humiliation that no decent craftsman should be willing to put up with. And so say all of us who may be reading this book. The references there to ‘printers’ needs updating to something like ‘editors’, meaning those who declare copy fit to print. Such people now often get it wrong by preserving in midcolumn a hyphen originally put at the end of a line to signal a word-break: inter-fere, say, is acceptable split between lines but not as part of a single line. This mistake is comparatively rare and seldom causes confusion; even so, time spent wondering whether an exactor may not be an ex-actor is time avoidably wasted. The hyphen is properly and necessarily used to join the halves of a two-word adjectival phrase, as in fair-haired children, last-ditch resistance, falling-down drunk, over-familiar reference. Breaches of this rule are rare and not troublesome. Hyphens are also required when a phrase of more than two words is used adjectivally, as in middle-of-the-road policy, too-good-to-be-true story, no-holds-barred contest. No hard-and-fast rule can be devised that lays down when a two-word phrase is to be hyphenated and when the two words are to be run into one, though there will be a rough consensus that, for example, book-plate and bookseller are each properly set out and that bookplate and book-seller might seem respectively new-fangled and fussy. A hyphen is not required when a normal adverb (i.e. one ending in -ly) plus an adjective or other modifier are used in an adjectival role, as in Jack’s equally detestable brother, a beautifully kept garden, her abnormally sensitive hearing. A hyphen is required, however, when the adverb lacks a final -ly, like well, ill, seldom, altogether or one of those words like tight and slow that double as adjectives. To avoid ambiguity here we must write a well-kept garden, an ill-considered objection, a tight-fisted policy. The commonest fault in the use of the hyphen, and the hardest to eradicate, is found when an adjectival phrase is used predicatively. So a gent may write of a hard-to-conquer mountain peak but not of a mountain peak that remains hard-to-conquer, an often-proposed solution but not of one that is often-proposed. For some reason this fault is especially common when numbers, including fractions, are concerned, and we read every other day of criminals being imprisoned for two-and-a-half years, a woman becoming a mother-of-three and even of some unfortunate being stabbed six-times. And the Tories have been in power for a decade-and-a-half. Finally, there seems no end to the list of common phrases that some berk will bung a superfluous hyphen into the middle of: artificial-leg, daily-help, false-teeth, taxi-firm, martial-law, rainy-day, airport-lounge, first-wicket, piano-concerto, lung-cancer, cavalry-regiment, overseas-service. I hope I need not add that of course one none the less writes of a false-teeth problem, a first-wicket stand, etc. The only guide is: omit the hyphen whenever possible, so avoid not only mechanically propelled vehicle users (a beauty from MEU) but also a man eating tiger. And no one is right and no-one is wrong.