In 1931, Ernest Weekley, the author of a still popular English etymological dictionary and many excellent books on the history of English words, brought out an article titled “Our Early Etymologists.” It appeared in Quarterly Review 257. In our fast-paced, Internet-dominated world, few people are inclined to leaf through old periodicals.
Last week (November 6, 2019), in passing, I mentioned my idea of the origin of the word dog and did not mean to return to this subject, but John Cowan suggested that I consider an alternative etymology (dog as a color word). I have been aware of it for a long time, but why is my idea worse?
I received a question about the origin of French adieu and its close analogs in the other Romance languages. This question is easy to answer. The word goes back to the phrase à Dieu “to God,” which is the beginning of the longer locution à Dieu commande, that is, “I commend (you) to God” or, if we remain with French, “je recommande à Dieu.” The European parting formulas are of rather few types.
Most of us have been told at some point that a sentence has a subject and predicate and that the predicate consists of a verb and an object—the girl kicked the ball. We may have been introduced to distinctions such as transitive, intransitive, and linking verbs (like carry, snore, and become, respectively). But there is much more to the intricacies of what must follow a verb.
As promised, I am continuing the series on senses. There have already been posts on feel and taste. To show how hard it may be to discover the origin of some of our most basic words, I have chosen the verb hear. Germanic is here uniform: all the languages of this group have predictable reflexes (continuations) of the ancient form hauzjan.
Having discussed the origin of the verbs smell (“The sense and essence of smell”) and feel (“Fingers feel, or feel free”), I thought that it might be worthwhile to touch on the etymology of see, hear, and taste. Touch, ultimately of onomatopoeic origin, has been mentioned, though briefly, in one of the earlier posts. I’ll begin the projected series with taste.
Now that I have said everything I know about the etymology of the word finger (see the posts on feeling fingers), and those who agree and disagree with me have also made their opinion public, one more topic has to be discussed, namely, the origin of the verb feel.
Some more finger work: in the posts for September 25 and October 2, 2019, the etymology of the word finger was discussed. Some comments on the first one require further notice.
Final -r. I deliberately stayed away from the origin of -r in fingr-, though I did mention the problem.
This October marks the thirty-third anniversary of the passing of Rudolph Flesch, the patron saint of brevity.
Finger seems to be a transparent word, but this transparency is an illusion, for what is fing- (assuming that we understand what -er is)? Our story began last week (see the post for September 25, 2019), and I attempted to show that one of the two best-known etymologies of finger, namely, from the numeral five, is “less than fully convincing” (a common academic euphemism for “nearly unacceptable”).
This will be a story of both protagonists mentioned in the title: the verb feel and the noun finger. However, it may be more profitable to begin with finger. In the year 2000, Ari Hoptman brought out an article on the origin of this word (NOWELE 36, 77-91). Although missed by the later dictionaries, it contains not only an exhaustive survey of everything ever said about the etymology of finger but also a reasonable conjecture, differing from those he had found in his sources, both published and unpublished.
Last week (September 11, 2019), I discussed the origin of sweet and promised to tackle its partial opposite. Sour has been attested in nearly all the Old Germanic languages: nearly, because, like sweet, it never turned up in the Gothic gospels.
Unfinished works tease us. They come with baggage. They cling to their authors whose lives, in turn, weigh heavy upon them. Why were they broken off? How might they be continued?
The post on the origin of the word smell has been read by more people than any other in recent months. On the wave of this unexpected popularity, I decided to write an essay or two on related themes. If they arouse enough interest, I may continue in the same vein.
The use of metaphors is relatively late in the modern European languages; it is, in principle, a post-Renaissance phenomenon. The same holds for the idioms based on metaphors. No one in the days of Beowulf and perhaps even of Chaucer would have coined the phrase to lose one’s marbles “to become insane,” even if so long ago boys were as intent on collecting marbles as was Tom Sawyer.
Book banning is not a new phenomenon. The Catholic Church’s prohibition on books advocating heliocentrism lasted until 1758. In England, Thomas Bowdler lent his name to the practice of expurgating supposed vulgarity with the 1818 publication of The Family Shakespeare, edited by his sister.