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Saturnian

[ suh-tur-nee-uhn ] [ səˈtɜr ni ən ] Show IPA Phonetic Respelling

adjective

prosperous, happy, or peaceful.

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More about Saturnian

Saturnian “prosperous, happy, or peaceful” derives from the Latin adjective Sāturnius “of Saturn.” The mythological figure Saturn, known to the Romans as Sāturnus and considered an equivalent of the Ancient Greek figure Kronos (Latinized as Cronus), was a Titan and a god of agriculture. The positive aspects of Saturn’s reign, referred to as the “golden age,” are what give Saturnian its meaning. Though Saturnian shares an origin with saturnine, they are almost antonyms; saturnine means “sluggish, gloomy, taciturn” and derives its meaning from astrology, in which the influence of the planet Saturn is associated with negative personality traits (in contrast to the recent Word of the Day jovial). The name Sāturnus is likely of Etruscan origin—compare the name of the Etruscan god Satre—but has long attracted (false) folk etymology hypotheses, such as derivations from Latin satus “sown” or satis “enough.” Saturnian was first recorded in English in the 1550s.

how is Saturnian used?

Days came and went; and now returned again / To Sicily the old Saturnian reign; / Under the Angel’s governance benign / The happy island danced with corn and wine, / And deep within the mountain’s burning breast / Enceladus, the giant, was at rest.

Henry Wadsworth Longfellow, “The Sicilian Tale,” Tales of a Wayside Inn, 1863

How seemed this globe of ours when thou didst scan it? / When, in its lusty youth, there sprang to birth / All that has life, unnurtured, and the planet / Was Paradise, the true Saturnian Earth! / Far toward the poles was stretched the happy garden; / Earth kept it fair by warmth from her own breast; / Toil had not come to dwarf her sons and harden; / No crime (there was no want) perturbed their rest.

Edmund Clarence Stedman, “The Skull in the Gold Drift,” The Poems of Edmund Clarence Stedman, 1908

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makai

[ muh-kahy ] [ məˈkaɪ ] Show IPA Phonetic Respelling

adverb

toward or by the sea; seaward.

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More about makai

Makai “toward the sea” is a loanword from Hawaiian, in which it is equivalent to ma, a particle indicating direction, and kai “ocean, sea.” The opposite of makai is mauka, comprising the particle ma and the noun uka “inland.” Because Hawaiian is a member of the expansive Austronesian language family, kai has cognates in languages spoken throughout the Pacific and Indian Oceans. Although the k and t sounds are allophonic in Hawaiian, meaning that they are variations of the same sound that only appear in certain contexts, the Hawaiian alphabet does not have the letter t and instead uses k regardless of a word’s pronunciation in a given dialect. This alternation between k, which is pronounced in the rear of the mouth, and t, which is pronounced near the teeth, is not as unusual as one might think; after all, in English, French, and Spanish alike, the letter c is pronounced either as k or s depending on the context. Makai was first recorded in English in the late 19th century.

how is makai used?

I show him where to transfer, where to get off. I tell him when he gets off the bus to walk makai one block to get to the museum. Makai, I repeat. Make sure you go makai …. That means toward the ocean. The opposite way from mauka. Mauka is toward the mountain, yeah? …. He swings his arm around the room and says, But the ocean surrounds the island, so makai is everywhere you go that’s not mountain.

Kathleen Tyau, Makai, 1999

The Hixon apartment was typical of new construction along the outskirts of Napua. Those buildings makai of the street obscured the sea view, while the ones on the mauka side cut off sight of the low ridge forming the island’s backbone as well as the sloping green pastureland along the flanks of the high ground …. [F]ive years of trade winds, tropical sun and sea air had already wrought havoc with the buildings’ poor quality stucco and their badly installed composition roofs.

John A. Broussard, The Yoshinobu Mysteries, 2005

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rebec

[ ree-bek ] [ ˈri bɛk ] Show IPA Phonetic Respelling

noun

a Renaissance fiddle with a pear-shaped body tapering into a neck that ends in a sickle-shaped or scroll-shaped pegbox.

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More about rebec

Rebec “a Renaissance fiddle” is a borrowing by way of Middle French from Old French rebebe, with a phonetic alteration possibly because of the influence of bec “beak,” after the shape of the instrument. Rebebe derives from Arabic rabāb, the noun form of the verb rabba “to control, be master.” From the same Semitic root as rabba are the Hebrew- and Aramaic-origin terms rabbi, rabbinical, and rebbe, which all mean “master” or “my master” in their languages of origin. Despite the similarity in spelling, rebec is not related to the name Rebecca, which comes from a Semitic root meaning “to tie, join, connect.” Rebec was first recorded in English circa 1750.

how is rebec used?

The development of the modern violin was gradual and complex, evolving from a variety of other stringed instruments …. The influence of the two-stringed rabab, an Arabian fiddle introduced to western Europe in the 11th century, and the three-stringed rebec, which appeared in Spain between the 11th and 13th centuries, likely as a result of the Crusades, is also reflected in the modern violin. The French vielle, like the rebec, was usually supported on the chest or under the chin and was widely used by troubadours in the 13th to 15th centuries to accompany singing and dancing.

Josemi Lorenzo, “Italian musical masters took the violin from fiddle to first chair,” National Geographic, January 22, 2019

Mr. Savall’s choice of instruments told some of the story. He switched between the rebab, an Arabic bowed instrument with a timbre that can sound either raspy or lyrical, depending on how you play it, and its smaller, lighter-voiced European descendant, the rebec. Dimitri Psonis played the santur, a Persian dulcimer, and the oud, a fretless Middle Eastern cousin to the lute. And David Mayoral performed on drums and tambourines of various kinds, sizes and origins, usually with an appealing subtlety born of playing with fingertips and palms rather than sticks and mallets. This was a Middle Eastern ensemble at heart.

Allan Kozinn, “Building East-West Bridges in Tune,” New York Times, June 14, 2012

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