of, like, or befitting paradise.
Paradisiacal comes from the Late Latin adjective paradīsiacus “pertaining to heaven, pertaining to the Garden of Eden,” a word appearing only in Christian authors. Paradīsiacus is a derivative of the noun paradīsus “a park,” and in Christian authors, “paradise.” Paradīsus is a borrowing of the Greek noun parádeisos, which first appears in the works of the Athenian historian and essayist Xenophon (c430-350 b.c.), meaning “enclosed park or pleasure ground with animals (for hunting),” and always referring to the grounds of Persian kings and nobles. In later authors parádeisos simply meant “garden, orchard.” By the time of the Septuagint (the oldest Greek version of the Hebrew Bible, translated in the 3rd and 2nd centuries b.c.), parádeisos referred to the Garden of Eden (as in Genesis 2:8). In the Gospels parádeisos means “the abode of the blessed, heaven.” Parádeisos is a Greek borrowing from Avestan pairidaēza “enclosure,” literally “walled around.” (Avestan is the ancient East Iranian language of the Zoroastrian scriptures.) Paradisiacal entered English in the 17th century.
… the proximity to the Tols, a range of inland mountains, created otherworldly climates which were sometimes paradisiacal, sometimes demoniacal, always one extreme or the other.
Unlike our paradisiacal, blue-and-white Earth, the moon has no atmosphere and no real sky—just gray dust and black space, such that color photographs from moonwalks appear mostly black and white, as though someone colorized the American flags after the fact.
the interpolation of one or more words between the parts of a compound word, as be thou ware for beware.
Tmesis is not a misspelling of thesis; tmêsis “cutting” is a Greek noun, a derivative of the verb témnein “to cut, prune, castrate.” Tmesis is a feature of the archaic epic syntax of the Iliad and Odyssey, in which there is a separation of an adverb (which becomes a prefix in Classical Greek) from its verb by an intervening word or phrase, as in the Iliad en d’autòs edýseto nṓropa chalkòn “… and he himself put on his gleaming bronze,” where the adverb en is separated from its verb edýseto by the phrase d’autòs “and he himself.” Tmesis is rare and archaic in modern English, as in “Of whom be thou ware also; for he hath greatly withstood our words” (that is, “Beware of him, yourself…”), 2 Timothy 4:15, Authorized Version. More than a few of us may admit familiarity with tmesis as it occurs in such adjectives as fantastic or unbelievable or in adverbs like absolutely, in which the fan-, un-, and abso– are separated from the rest of the word by an overworked vulgarism.
You may remember Matt Foley, the in-your-face motivational speaker played by the late comedian Chris Farley on Saturday Night Live, whose “Well, la-dee-frickin’-da” was all the funnier for its tmesis.
Tmesis … means the insertion of one word into the middle of another word, as in abso-bloody-lutely or to-very-day. Most often we insert four-letter expletives, which cannot be printed in a newspaper but can only be suggested by substituting something like the British “bloody.”
The English adjective orgulous has about as many spelling variants in Middle English (orgeilus, orgeyllous, orguillous, etc.) as its Old French source (orguillus, orguilleus, orgueilleux, etc.). The base of the French word is a Germanic (Frankish) noun, cognate with Old English orgol, orgel “pride,” and akin to the Old High German adjective urguol “outstanding.” Shakespeare uses orgillous once, in Troilus and Cressida, but the adjective was obsolete by the mid-17th century, only to be resuscitated by Sir Walter Scott and Robert Southey in the first half of the 19th century.
The princes orgulous, their high blood chafed / Have to the port of Athens sent their ships …
Ah, he is an orgulous man!