2nd Grade Quiz?
Chiefly Scot., Irish. a professional storyteller of family genealogy, history, and legend.
There are several English spellings, e.g., shanachie, seannachie, for the exotic Irish and Scottish noun meaning “storyteller, oral historian, genealogist.” The word in Scots Gaelic is seanachaidh (seanachaidhe in Irish) meaning “historian, antiquarian, chronicler,” from sen “old, ancient” and cūis “matter, affair.” Sen is from Proto-Indo-European sen(o)- “old,” most obvious in Latin senex “old man,” senātus “senate,” and senectūs “old age.” Senos appears in Greek in the noun hénos “year,” and the adjective hénos “last year’s”; and in Baltic (Lithuanian) as sẽnas “old,” and sẽnis “old man.” Sennachie entered English in the 16th century.
… I do not think he could falsify a folk-tale if he tried. At the most he would change it as a few years’ passing from sennachie to sennachie must do perforce.
My schoolfellows like my stories well enough-better at least, on most occasions, than they did the lessons of the master; but, beyond the common ground of enjoyment which these ex-tempore compositions furnished to both the “sennachie” and his auditors, our tracts of amusement lay widely apart.
any musical instrument having a keyboard, especially a stringed keyboard instrument, as a harpsichord, clavichord, or piano.
English clavier comes from Old French clavier “keyholder, keybearer,” as if from Medieval Latin clāviārius (formed from clāvis “key,” which becomes clef or clé in French, and the common noun suffix -ārius, which becomes -ier in Old French). French clavier also meant “a bank or row of keys on a musical instrument, a keyboard,” which is the first sense of the word in English, dating from the early 18th century. German and the other Germanic languages specialized the meaning to “keyboard instrument with strings (particularly the clavichord),” which English adopted in the mid-19th century.
Herr Gleissner composed twelve songs with clavier accompaniment.
An engraved portrait that a German artist made of Buchinger, in 1710, includes thirteen surrounding vignettes that picture him at tables, bearing his instruments and props, but just one depicts him in action, playing a hammered clavier.
a vulgar person, especially one whose vulgarity is the more conspicuous because of wealth, prominence, or pretensions to good breeding.
The Latin noun vulgus (also volgus) meant simply “common people, general public”; it also meant “crowd” and usually had a derogatory sense, but there was nothing of the flashy, tacky nouveau riche in the noun itself or its derivative nouns, adjectives, and verbs, e.g., vulgāre “to make available to the public,” vulgātus ”popular, common, ordinary,” vulgāris “belonging to the common people, conventional.” The Romans claimed to have invented satire, i.e., the genre did not exist among the Greeks. The Romans also created the (literary) type of the current sense of vulgarian “a vulgar person whose vulgarity is the more striking because of wealth, prominence, or pretensions to good breeding.” The first example is Trimalchio, a character in the Satyricon, a Latin novel dating from the mid-first century a.d. written by Gaius Petronius (died ca. 66 a.d.). Trimalchio and most of the Satyricon are familiar nowadays from the movie Fellini Satyricon (1969) by the Italian director Federico Fellini (1920–93). Vulgarian entered English in the early 19th century.
“Why, he is a perfect vulgarian,” she replied, “and I am astonished at Ethel for allowing him to be so much with her.”
… the vulgarian‘s restless jealousy of the class above him made him, on this score, especially intractable and suspicious.
incapable of being evaded; inescapable: an ineluctable destiny.
“Proteus,” the third episode of Ulysses, opens with the beautiful but opaque “Ineluctable modality of the visible: at least that if no more, thought through my eyes.” At least the word ineluctable is easy to analyze, if not the entire sentence. Ineluctable comes directly from Latin inēluctābilis “from which one cannot escape,” which consists of the negative or privative prefix in-, roughly “not” (from the same Proto-Indo-European source as English un-). Ēluctārī is a compound verb meaning “to force one’s way out”; it is formed from the prefix ē-, a form of the preposition and prefix ex, ex- “out of, from within” used only before consonants, and luctārī “to wrestle”; the suffix -bilis is added to verbs and denotes ability. Ineluctable entered English in the 17th century.
The coming of a new day brought a sharper consciousness of ineluctable reality, and with it a sense of the need of action.
My world, on the contrary, has been thrown into extreme ethical confusion by my ineluctable connection with the crimes of Tsardom, forced on me by my birth into a family belonging to the minor nobility.
to remain poised or balanced.
The verb librate comes from Latin lībrātus, the past participle of lībrāre “to balance, make level,” a derivative of the noun lībra “a balance, a pound (weight).” The further etymology of lībra is difficult. It is related to Sicilian (Doric) Greek lī́tra “a silver coin, a pound (weight),” also a unit of volume, e.g., English litre (via French litre from Latin). Both lī́tra and lībra derive from Italic līthrā. Lībra becomes lira in Italian, libra in Spanish and Portuguese, French livre (both coinage and weight). The abbreviation for lībra (weight) is lb.; the symbol for lībra (the coinage, i.e., the pound sterling) is £. Librate entered English in the 17th century.
Watching them to the ground, the wings of a hawk, or of the brown owl, stretch out, are drawn against the current air by a string as a paper kite, and made to flutter and librate like a kestrel over the place where the woodlark has lodged …
At this period the balance of tropic and pole librates, and the vast atmospheric tides pour their flood upon one hemisphere and their ebb upon another.
The Italian noun brio comes from Spanish brío “energy, determination,” ultimately from Celtic brīgos “strength” (compare Middle Welsh bri “honor, dignity,” Old Irish bríg “strength, power”). Celtic brīgos derives from Proto-Indo-European gwrīgos, a derivative of the very common and complicated Proto-Indo-European root gwer- “heavy,” which has many variations, including gwerə-, gwerəu-, and gwerī-. From gwerə- and its variants, English has “grave, gravid, gravity” from Latin; the prefixes baro- “heavy” and bary- “deep” from Greek; and guru from Sanskrit. From gwrīgos, the same source as Celtic brīgos, Germanic derives krīgaz “fight, strife,” German Krieg “war.” Brio entered English in the 18th century.
Although Stopsack had probably never before directed such an undertaking, he performed his duties with brio, skillfully heaping verbal abuse on the manacled inmates …
Her work rustles with the premonition that she was obsolete, that her splendor and style and ferocious brio had been demoted to a kind of sparkling irrelevance.
Anatomy. the armpit.
Axilla, the Latin word for “armpit,” is a diminutive of āla “wing (of a bird or insect), fin (of a fish), armpit, flank (of an army).” Āla comes from an earlier, unrecorded ags-lā (axla in Latin orthography), one of the Latin reflexes of Proto-Indo-European ages-, aks- “pivot, pivot point.” Another Proto-Indo-European derivative, aks-lo-s, becomes ahsulaz in Germanic, eaxl in Old English, and axle in English. A third derivative noun, aks-is, becomes Latin axis “axle, axletree, chariot, wagon,” assis in Old Prussian (an extinct Baltic language), and oś in Polish. Axilla entered English in the 17th century.
There is a game of croquet set up on the lawn and my second cousin Sonsoles can be found there any hour of the afternoon, bent over, with a mallet in her hand, and looking out of the corner of her eye, between the arm and the axilla, which form a sort of arch for her thoughtful gaze, at the unwary masculine visitor who appears in the harsh afternoon light.
He recoiled from one odor to another until, in resignation, he accepted and his nose pumped steadily at the single generalized odor that was a meld of everything from axilla to organic debris and smelled like clam soil.