英语词源字典 - 在线词源网站

agony [agony 词源字典]: agony: [14] Agony is one of the more remote relatives of that prolific Latin verb agere (see AGENT). Its ultimate source is the Greek verb ágein ‘lead’, which comes from the same Indo- European root as agere. Related to ágein was the Greek noun agón, originally literally ‘a bringing of people together to compete for a prize’, hence ‘contest, conflict’ (which has been borrowed directly into English as agon, a technical term for the conflict between the main characters in a work of literature).

Derived from agón was agōníā ‘(mental) struggle, anguish’, which passed into English via either late Latin agōnia or French agonie. The sense of physical suffering did not develop until the 17th century; hitherto, agony had been reserved for mental stress. The first mention of an agony column comes in the magazine Fun in 1863.
=> antagonist[agony etymology, agony origin, 英语词源]
eureka: eureka: [16] The Greek mathematician Archimedes (c. 287–212 BC) was commissioned by King Hiero II of Syracuse to find out whether the goldsmith who had made a new crown for him had fraudulently mixed some silver in with the gold. In order to do so, Archimedes needed to ascertain the metal’s specific gravity. But how to do this? According to Plutarch, he decided to take a bath to ponder the problem.

He filled the bath too full, and some of the water overflowed – and it suddenly occurred to Archimedes that a pure-gold crown would displace more water if immersed than one made from an alloy. Elated at this piece of lateral thinking, Archimedes is said to have leapt out of the bath shouting heúrēka! ‘I have found!’, the perfect indicative of Greek heurískein ‘find’ (source of English heuristic [19]).

The earliest occurrence of the word in an English text as an exclamation of delight at discovery is in John Dee’s Preface, but there it appears in Greek characters; the first English author to fully naturalize it was probably Henry Fielding in Joseph Andrews 1742; ‘Adams returned overjoyed cring out “Eureka!”’ (The goldsmith, incidentally, had adulterated the gold.)
=> heuristic
pinyin: pinyin: [20] Pinyin is a system of writing Chinese in Roman characters which began to be introduced in China in the late 1950s. The term in Chinese means literally ‘spell-sound’.
serendipity: serendipity: [18] Serendipity – the ‘faculty of making lucky discoveries’ – was coined in 1754 by the British writer Horace Walpole (1717–97). He took it from The Three Princes of Serendip, the title of a fairy tale whose leading characters, in Walpole’s words, ‘were always making discoveries, by accidents and sagacity, of things they were not in quest of’. (Serendip is an old name for Sri Lanka.)
soap opera: soap opera: [20] The original soap operas were a radio phenomenon, in 1930s America. Serial dramas dealing with humdrum-butoccasionally- melodramatic domestic life were as common then as they are on television now, and several of those on the commercial US networks were sponsored by soap manufacturers. A writer on the Christian Century in 1938 said ‘These fifteen-minute tragedies…I call the “soap tragedies”…because it is by the grace of soap I am allowed to shed tears for these characters who suffer so much from life’.

The soap connection soon linked up with horse opera, a mildly derisive term for a Western movie that had been around since the 1920s, to produce soap opera (a later coinage on the same model was space opera). The abbreviated version soap is recorded as early as 1943.
assassinate (v.): 1610s, from past participle stem of Medieval Latin assassinare (see assassin). Of reputations, characters, etc., from 1620s. Related: Assassinated; assassinating.
bogart (v.): 1969, "to keep a joint in your mouth," dangling from the lip like Humphrey Bogart's cigarette in the old movies, instead of passing it on. First attested in "Easy Rider." The word was also used 1960s with notions of "get something by intimidation, be a tough guy" (again with reference to the actor and the characters he typically played). In old drinking slang, Captain Cork was "a man slow in passing the bottle."
character (n.): mid-14c., carecter, "symbol marked or branded on the body;" mid-15c., "symbol or drawing used in sorcery," from Old French caratere "feature, character" (13c., Modern French caractère), from Latin character, from Greek kharakter "engraved mark," also "symbol or imprint on the soul," also "instrument for marking," from kharassein "to engrave," from kharax "pointed stake," from PIE root *gher- (4) "to scrape, scratch." Meaning extended in ancient times by metaphor to "a defining quality."
You remember Eponina, who kept her husband alive in an underground cavern so devotedly and heroically? The force of character she showed in keeping up his spirits would have been used to hide a lover from her husband if they had been living quietly in Rome. Strong characters need strong nourishment. [Stendhal "de l'Amour," 1822]
Meaning "sum of qualities that define a person" is from 1640s. Sense of "person in a play or novel" is first attested 1660s, in reference to the "defining qualities" he or she is given by the author. Meaning "a person" in the abstract is from 1749; especially "eccentric person" (1773). Colloquial sense of "chap, fellow" is from 1931. The Latin ch- spelling was restored from 1500s. Character actor attested from 1861; character assassination from 1888; character-building (n.) from 1886.
chestnut (n.): 1560s, from chesten nut (1510s), with superfluous nut (n.) + Middle English chasteine, from Old French chastain (12c., Modern French châtaigne), from Latin castanea "chestnut, chestnut tree," from Greek kastaneia, which the Greeks thought meant either "nut from Castanea" in Pontus, or "nut from Castana" in Thessaly, but probably both places are named for the trees, not the other way around, and the word is borrowed from a language of Asia Minor (compare Armenian kask "chestnut," kaskeni "chestnut tree"). In reference to the dark reddish-brown color, 1650s. Applied to the horse-chestnut by 1832.

Slang sense of "venerable joke or story" is from 1885, explained 1888 by Joseph Jefferson (see "Lippincott's Monthly Magazine," January 1888) as probably abstracted from the 1816 melodrama "The Broken Sword" by William Dimond where an oft-repeated story involving a chestnut tree figures in an exchange between the characters "Captain Zavior" and "Pablo":
Zav. Let me see--ay! it is exactly six years since that peace being restored to Spain, and my ship paid off, my kind brother offered me a snug hammock in the dwelling of my forefathers. I mounted a mule at Barcelona and trotted away for my native mountains. At the dawn of the fourth day's journey, I entered the wood of Collares, when, suddenly, from the thick boughs of a cork-tree--
Pab. [Jumping up.] A chesnut, Captain, a chesnut!
Zav. Bah, you booby! I say, a cork!
Pab. And I swear, a chesnut. Captain, this is the twenty-seventh time I have heard you relate this story, and you invariably said, a chesnut, till now.
Jefferson traced the connection through William Warren, "the veteran comedian of Boston" who often played Pablo in the melodrama.
comedy (n.): late 14c., from Old French comedie (14c., "a poem," not in the theatrical sense), from Latin comoedia, from Greek komoidia "a comedy, amusing spectacle," probably from komodios "actor or singer in the revels," from komos "revel, carousal, merry-making, festival," + aoidos "singer, poet," from aeidein "to sing," related to oide (see ode).
The passage on the nature of comedy in the Poetic of Aristotle is unfortunately lost, but if we can trust stray hints on the subject, his definition of comedy (which applied mainly to Menander) ran parallel to that of tragedy, and described the art as a purification of certain affections of our nature, not by terror and pity, but by laughter and ridicule. [Rev. J.P. Mahaffy, "A History of Classical Greek Literature," London, 1895]
The classical sense of the word, then, was "amusing play or performance," which is similar to the modern one, but in the Middle Ages the word came to mean poems and stories generally (albeit ones with happy endings), and the earliest English sense is "narrative poem" (such as Dante's "Commedia"). Generalized sense of "quality of being amusing" dates from 1877.
Comedy aims at entertaining by the fidelity with which it presents life as we know it, farce at raising laughter by the outrageous absurdity of the situation or characters exhibited, & burlesque at tickling the fancy of the audience by caricaturing plays or actors with whose style it is familiar. [Fowler]
coon (n.): short for raccoon, 1742, American English. It was the nickname of Whig Party members in U.S. c. 1848-60, as the raccoon was the party's symbol, and it also had associations with frontiersmen (who stereotypically wore raccoon-skin caps), which probably ultimately was the source of the Whig Party sense (the party's 1840 campaign was built on a false image of wealthy William Henry Harrison as a rustic frontiersman).

The insulting U.S. meaning "black person" was in use by 1837, said to be ultimately from Portuguese barracoos "building constructed to hold slaves for sale." No doubt boosted by the enormously popular blackface minstrel act "Zip Coon" (George Washington Dixon) which debuted in New York City in 1834. But it is perhaps older (one of the lead characters in the 1767 colonial comic opera "The Disappointment" is a black man named Raccoon). Coon's age is 1843, American English, probably an alteration of British a crow's age.
cuneiform (adj.): 1670s, "wedge shaped," from French cunéiforme (16c.), from Latin cuneus "a wedge, wedge-shaped thing," which is of unknown origin, + French -forme (see form (n.)). Applied to characters in ancient Middle Eastern inscriptions made with wedge-shaped writing tools; first used in this sense by German physician and traveler Engelbert Kämpfer (1681-1716); in English from 1818. As a noun from 1862.
digraph (n.): 1788, in linguistics, from Greek di- "twice" (see di- (1)) + -graph "something written," from Greek graphe "writing," from graphein "to write, express by written characters," earlier "to draw, represent by lines drawn" (see -graphy). In mathematics, from 1955, a contraction of directed graph.
etaoin shrdlu: 1931, journalism slang, the sequence of characters you get if you sweep your finger down the two left-hand columns of Linotype keys, which is what typesetters did when they bungled a line and had to start it over. It was a signal to cut out the sentence, but sometimes it slipped past harried compositors and ended up in print.
ethology (n.): late 17c., "mimicry, art of depicting characters by mimic gestures," from Latin ethologia, from Greek ethologia, from ethos "character" (see ethos). Taken by Mill as "science of character formation" (1843); as a branch of zoology, "study of instincts," from 1897. Related: Ethological.
fable (n.): c. 1300, "falsehood, fictitious narrative; a lie, pretense," from Old French fable "story, fable, tale; drama, play, fiction; lie, falsehood" (12c.), from Latin fabula "story, story with a lesson, tale, narrative, account; the common talk, news," literally "that which is told," from fari "speak, tell," from PIE root *bha- (2) "speak" (see fame (n.)). Restricted sense of "animal story" (early 14c.) comes from Aesop. In modern folklore terms, defined as "a short, comic tale making a moral point about human nature, usually through animal characters behaving in human ways" ["Oxford Dictionary of English Folklore"].
faction (n.2): "fictional narrative based on real characters or events, 1967, a blend of fact and fiction.
farce (n.): late 14c., "force-meat, stuffing;" 1520s, in the dramatic sense "ludicrous satire; low comedy," from Middle French farce "comic interlude in a mystery play" (16c.), literally "stuffing," from Old French farcir "to stuff," (13c.), from Latin farcire "to stuff, cram," which is of uncertain origin, perhaps from PIE *bhrekw- "to cram together," and thus related to frequens "crowded."
... for a farce is that in poetry which grotesque is in a picture. The persons and action of a farce are all unnatural, and the manners false, that is, inconsisting with the characters of mankind. [Dryden, "A Parallel of Poetry and Painting"]
According to OED and other sources, the pseudo-Latin farsia was applied 13c. in France and England to praise phrases inserted into liturgical formulae (for example between kyrie and eleison) at the principal festivals, then in Old French farce was extended to the impromptu buffoonery among actors that was a feature of religious stage plays. Generalized sense of "a ridiculous sham" is from 1690s in English.
fiction (n.): early 15c., ficcioun, "that which is invented or imagined in the mind," from Old French ficcion "dissimulation, ruse; invention, fabrication" (13c.) and directly from Latin fictionem (nominative fictio) "a fashioning or feigning," noun of action from past participle stem of fingere "to shape, form, devise, feign," originally "to knead, form out of clay," from PIE *dheigh- "to build, form, knead" (source also of Old English dag "dough;" see dough).

Meaning "prose works (not dramatic) of the imagination" is from 1590s, at first often including plays and poems. Narrower sense of "the part of literature comprising novels and short stories based on imagined scenes or characters" is by early 19c. The legal sense (fiction of law) is from 1580s. A writer of fiction could be a fictionist (1827). The related Latin words included the literal notion "worked by hand," as well as the figurative senses of "invented in the mind; artificial, not natural": Latin fictilis "made of clay, earthen;" fictor "molder, sculptor" (also borrowed 17c. in English), but also of Ulysses as "master of deceit;" fictum "a deception, falsehood; fiction."
flirt (n.): 1540s, "joke, jest, stroke of wit, contemptuous remark," from flirt (v.). By 1560s as "a pert young hussey" [Johnson], and Shakespeare has flirt-gill (i.e. Jill) "a woman of light or loose behavior" (Fletcher formalizes it as flirt-gillian), while flirtgig was a 17c. Yorkshire dialect word for "a giddy, flighty girl." One of the many fl- words suggesting loose, flapping motion and connecting the notions of flightiness and licentiousness. Compare English dialect and Scottish flisk "to fly about nimbly, skip, caper" (1590s); source of Scott's fliskmahoy "girl giddy and full of herself." The meaning "person who plays at courtship" is from 1732 (as the name of female characters in plays at least since 1689 (Aphra Behn's "The Widow Ranter")). Also in early use sometimes "person one flirts with," though by 1862 this was being called a flirtee.
font (n.2): "complete set of characters of a particular face and size of type," 1680s (also fount), earlier "a casting" (1570s), from Middle French fonte "a casting," noun use of fem. past participle of fondre "to melt" (see found (v.2)). So called because all the letters in a given set were cast at the same time.
furry (adj.): 1670s, "made of fur, covered with fur," from fur + -y (2). As a noun, in reference to "anthropomorphic animal characters with human personalities," also of people who identify with them, by 1995. Related: Furriness; furries.
-graph: modern word-forming element meaning "instrument for recording; that which writes, marks, or describes; something written," from Greek -graphos "-writing, -writer" (as in autographos "written with one's own hand"), from graphe "writing, the art of writing, a writing," from graphein "to write, express by written characters," earlier "to draw, represent by lines drawn" (see -graphy). Adopted widely (Dutch -graaf, German -graph, French -graphe, Spanish -grafo). Related: -grapher; -graphic; -graphical.
-graphy: word-forming element meaning "process of writing or recording" or "a writing, recording, or description" (in modern use especially in forming names of descriptive sciences), from French or German -graphie, from Greek -graphia "description of," used in abstract nouns from graphein "write, express by written characters," earlier "to draw, represent by lines drawn," originally "to scrape, scratch" (on clay tablets with a stylus), from PIE root *gerbh- "to scratch, carve" (see carve).
goon (n.): 1921, in U.S. humorist Frederick J. Allen's piece "The Goon and His Style" (Harper's Monthly Magazine, December 1921), which defines it as "a person with a heavy touch," one who lacks "a playful mind;" perhaps a made-up word, or from gony "simpleton" (1580s), which was applied by sailors to the albatross and similar big, clumsy birds. The goons were characters in the "Thimble Theater" comic strip (starring Popeye) by U.S. cartoonist E.C. Segar (1894-1938); they appeared in Segar's strips from mid-1930s and, though they reportedly gave children nightmares, enjoyed a burst of popularity when they appeared in animated cartoons in 1938. The most famous was Alice the Goon, slow-witted and muscular (but gentle-natured) character who began as the Sea Hag's assistant. Segar might have got the word directly from sailors' jargon.

Later 20c. senses of the word all probably stem from this: Sense of "hired thug" is first recorded 1938 (in reference to union "beef squads" used to cow strikers in the Pacific Northwest). She also was the inspiration for British comedian Spike Milligan's "The Goon Show." Also used among American and British POWs in World War II in reference to their German guards. What are now "juvenile delinquents" were in the 1940s sometimes called goonlets.
Grinch (n.): "spoilsport;" all usages trace to Dr. Seuss's 1957 book "How the Grinch Stole Christmas." Kipling used grinching (1892) in reference to a harsh, grating noise; and Grinch had been used as the surname of severe characters in fiction since at least 1903.
gyromancy (n.): 1550s, method of divination said to have been practiced by a person walking in a circle marked with characters or signs till he fell from dizziness, the inference being drawn from the place in the circle at which he fell; from Medieval Latin gyromantia, from Greek gyyros "circle" (see gyro- (n.)) + manteia "divination, oracle" (see -mancy).
H: eighth letter of the alphabet; it comes from Phoenician, via Greek and Latin. In Phoenician it originally had a rough guttural sound like German Reich or Scottish loch. In Greek at first it had the value of Modern English -h-, and with this value it passed into the Latin alphabet via Greek colonies in Italy. Subsequently in Greek it came to be used for a long "e" sound; the "h" sound being indicated by a fragment of the letter, which later was reduced to the aspiration mark. In Germanic it was used for the voiceless breath sound when at the beginning of words, and in the middle or at the end of words for the rough guttural sound, which later came to be written -gh.

The sound became totally silent in Vulgar Latin and in the languages that emerged from it; thus the letter was omitted in Old French and Italian, but it was restored pedantically in French and Middle English spelling, and often later in English pronunciation. Thus Modern English has words ultimately from Latin with missing -h- (able, from Latin habile); with a silent -h- (heir, hour); with a formerly silent -h- now often vocalized (humble, humor, herb); and even a few with an excrescent -h- fitted in confusion to words that never had one (hostage, hermit). Relics of the formerly unvoiced -h- persist in pedantic insistence on an historical (object) and in obsolete mine host.

The pronunciation "aitch" was in Old French (ache "name of the letter H"), and is from a presumed Late Latin *accha (compare Italian effe, elle, emme), with the central sound approximating the rough, guttural value of the letter in Germanic. In earlier Latin the letter was called ha. The use in digraphs (as in -sh-, -th-) goes back to the ancient Greek alphabet, which used it in -ph-, -th-, -kh- until -H- took on the value of a long "e" and the digraphs acquired their own characters. The letter passed into Roman use before this evolution, and thus retained there more of its original Semitic value.
ham (n.1): "thigh of a hog used for food" (especially salted and cured or smoke-dried), 1630s, extended from earlier sense " part of the human leg behind the knee; hock of a quadruped," from Old English hamm "hollow or bend of the knee," from Proto-Germanic *hamma- (cognates: Old Norse höm, Middle Low German, Middle Dutch hamme, Old High German hamma), from PIE *kone-mo- "shin bone" (cognates: Greek kneme "calf of the leg," Old Irish cnaim "bone"). Ham-fisted (adj.) in reference to hard-hitting characters is from 1905; ham-handed "coarse, clumsy" is by 1896. With hammen ifalden "with folded hams" was a Middle English way of saying "kneeling."
hard-nosed (adj.): "stubborn," 1927, from hard (adj.) + nose (n.). Earlier of bullets or shells with hard tips, and of dogs that had difficulty following a scent. Not in common use before 1950s, when it begins to be applied to tough or relentless characters generally (Damon Runyon characters, U.S. Marines, Princeton professors, etc.). Soft-nosed seems to have been used only of bullets.
harlequin (n.): 1580s, Harlicken, one of the stock characters of Italian commedia del'arte, from Middle French harlequin, from Italian arlecchino, which is possibly from the same source as Old French Herlequin, Hellequin, etc., leader of la maisnie Hellequin, a troop of demons who rode the night air on horses. This is perhaps of Germanic origin; he seems to correspond to Old English Herla cyning "King Herla," mythical character sometimes identified as Woden, and possibly also to German Erlkönig, the "Elf King" of the Goethe poem. Sometimes also associated with Herrequin, 9c. count of Boulogne, who was proverbially wicked. In English pantomime, a mute character who carries a magic wand. From his ludicrous dress comes the English adjective meaning "particolored" (1779).
Jedi (n.): characters in the "Star Wars" sagas, 1977, apparently an invented word.
Ladino (n.): 1889, Spanish mixed with Hebrew, Arabic, and other elements, written in Hebrew characters, spoken by Sephardim in Turkey, Greece, etc. From Spanish Ladino "sagacious, cunning crafty," originally "knowing Latin, Latin," from Latin Latinus. The Spanish word also has appeared in 19c. American English in its senses "vicious horse" and, in Central America, "mestizo, white person."
lamb (n.): Old English lamb "lamb," from Proto-Germanic *lambaz (cognates: Old Norse, Old Frisian, Gothic lamb, Middle Dutch, Dutch lam, Middle High German lamp, German Lamm "lamb"). Common to the Germanic languages, but with no certain cognates outside them. Old English plural was lomberu. Applied to persons (especially young Church members, gentle souls, etc.) from late Old English. Also sometimes used ironically for cruel or rough characters (such as Kirke's Lambs in wars of 1684-86). Lamb's-wool (adj.) is from 1550s.
melodrama (n.): 1784 (1782 as melo drame), "a stage-play in which songs were interspersed and music accompanied the action," from French mélodrame (18c.), from Greek melos "song" (see melody) + French drame "drama" (see drama). Meaning "a romantic and sensational dramatic piece with a happy ending" is from 1883, because this was often the form of the original melodramas. Also from French are Spanish melodrama, Italian melodramma, German melodram. Related: Melodramatize.
The melodramatist's task is to get his characters labelled good & wicked in his audience's minds, & to provide striking situations that shall provoke & relieve anxieties on behalf of poetic justice. [Fowler]
monopolylogue (n.): "entertainment in which one actor performs as many characters," 1824, from mono- + poly- + -logue.
Mutt and Jeff: comic strip characters Augustus Mutt and Jim Jeffries, in U.S. cartoonist Henry Conway ("Bud") Fisher's strip, which debuted in 1907. Used allusively from 1917 in reference to "a pair of stupid men, affable losers," or to one tall (Mutt) and one short (Jeff).
pantomime (n.): 1610s, "mime actor," from Latin pantomimus "mime, dancer," from Greek pantomimos "actor," literally "imitator of all," from panto- (genitive of pan) "all" (see pan-) + mimos "imitator" (see mime (n.)).

Meaning "drama or play without words" first recorded 1735. The English dramatic performances so called, usually at Christmas and with words and songs and stock characters, are attested by this name from 1739; said to have originated c. 1717. Related: Pantomimic; pantomimical.
physiognomy (n.): late 14c., "art of judging characters from facial features," from Old French phizonomie and directly from Late Latin physiognomia, from Greek physiognomia "the judging of a person's nature by his features," from physio- (see physio-) + gnomon (genitive gnomonos) "judge, indicator" (see gnomon). Meaning "face, countenance, features" is from c. 1400. Related: Physiognomical.
rigmarole (n.): 1736, "a long, rambling discourse," apparently from an altered, Kentish colloquial survival of ragman roll "long list or catalogue" (1520s), in Middle English a long roll of verses descriptive of personal characters, used in a medieval game of chance called Rageman, perhaps from Anglo-French Ragemon le bon "Ragemon the good," which was the heading on one set of the verses, referring to a character by that name. Sense transferred to "foolish activity or commotion" by 1939.
roman (n.): "a novel," 1765, from French roman, from Old French romanz (see romance (n.)); roman à clef, novel in which characters represent real persons, literally "novel with a key" (French), first attested in English 1893. And, for those who can't get enough of it, roman policier "a story of police detection" (1928).
scripture (n.): early 14c., "the sacred writings of the Bible;" mid-14c., "a writing, an act of writing, written characters," from Late Latin scriptura "the writings contained in the Bible, a passage from the Bible," in classical Latin "a writing, character, inscription," from scriptus, past participle of scribere "write" (see script (n.)).
series (n.): 1610s, "a number or set of things of one kind arranged in a line," from Latin series "row, chain, series, sequence, succession," from serere "to join, link, bind together, arrange, attach, put; join in speech, discuss," from PIE root *ser- (3) "to line up, join" (cognates: Sanskrit sarat- "thread," Greek eirein "to fasten together in rows," Gothic sarwa (plural) "armor, arms," Old Norse sörve "necklace of stringed pearls," Old Irish sernaid "he joins together," Welsh ystret "row").

Meaning "set of printed works published consecutively" is from 1711. Meaning "set of radio or television programs with the same characters and themes" is attested from 1949. Baseball sense "set of games on consecutive days between the same teams" is from 1862.
slang (n.): 1756, "special vocabulary of tramps or thieves," later "jargon of a particular profession" (1801), of uncertain origin, the usual guess being that it is from a Scandinavian source, such as Norwegian slengenamn "nickname," slengja kjeften "to abuse with words," literally "to sling the jaw," related to Old Norse slyngva "to sling." But OED, while admitting "some approximation in sense," discounts this connection based on "date and early associations." Liberman also denies it, as well as any connection with French langue (or language or lingo). Rather, he derives it elaborately from an old slang word meaning "narrow piece of land," itself of obscure origin. Century Dictionary says "there is no evidence to establish a Gipsy origin." Sense of "very informal language characterized by vividness and novelty" first recorded 1818.
[S]lang is a conscious offence against some conventional standard of propriety. A mere vulgarism is not slang, except when it is purposely adopted, and acquires an artificial currency, among some class of persons to whom it is not native. The other distinctive feature of slang is that it is neither part of the ordinary language, nor an attempt to supply its deficiencies. The slang word is a deliberate substitute for a word of the vernacular, just as the characters of a cipher are substitutes for the letters of the alphabet, or as a nickname is a substitute for a personal name. [Henry Bradley, from "Slang," in "Encyclopedia Britannica," 11th ed.]
A word that ought to have survived is slangwhanger (1807, American English) "noisy or abusive talker or writer."
snap (n.): late 15c., "quick, sudden bite or cut," from Dutch or Low German snappen "to snap," probably related to Middle Low German or Middle Dutch snavel "bill, beak," from West Germanic *snu-, an imitative root forming words having to do with the nose (see snout).

As an adjective from 1790. Commonly used to indicate instantaneous action, as in snap judgment (1841). Sense of "quick movement" is first recorded 1630s; that of "something easily done" is 1877. Meaning "brief or sudden spell" of weather (usually cold) is from 1740. Meaning "catch or fastener that closes with a snapping sound" is from 1815. The card game name is attested from 1881, from a call used in the game. Meaning "a snap-shot" is from 1894. U.S. football sense is from 1912, earlier snap-back (1880), which also was a name for the center position. Snap, Crackle and Pop, cartoon characters associated with Kellogg breakfast cereal Rice Krispies, are from 1940.
soubrette (n.): 1753, theatrical jargon word for lady's maid characters in plays and operas, who typically were pert, flirtatious, and intriguing, from French soubrette, from Provençal soubreto "affected, conceited," fem. of soubret "coy, reserved," from soubra "to set aside," originally "to exceed," from Old Provençal sobrar, from Latin superare "to rise above, overcome," from super "over, above, beyond" (see super-).
spontaneous (adj.): 1650s, "occurring without external stimulus," from Late Latin spontaneus "willing, of one's free will," from Latin (sua) sponte "of one's own accord, willingly;" of uncertain origin. Related: Spontaneously; spontaneousness. Used earlier of persons and characters, with a sense "acting of one's own accord" (c. 1200). Spontaneous combustion first attested 1795. Spontaneous generation (the phrase, not the feat) attested from 1650s.
text (n.): late 14c., "wording of anything written," from Old French texte, Old North French tixte "text, book; Gospels" (12c.), from Medieval Latin textus "the Scriptures, text, treatise," in Late Latin "written account, content, characters used in a document," from Latin textus "style or texture of a work," literally "thing woven," from past participle stem of texere "to weave, to join, fit together, braid, interweave, construct, fabricate, build," from PIE root *teks- "to weave, to fabricate, to make; make wicker or wattle framework" (see texture (n.)).
An ancient metaphor: thought is a thread, and the raconteur is a spinner of yarns -- but the true storyteller, the poet, is a weaver. The scribes made this old and audible abstraction into a new and visible fact. After long practice, their work took on such an even, flexible texture that they called the written page a textus, which means cloth. [Robert Bringhurst, "The Elements of Typographic Style"]
th: A sound found chiefly in words of Old English, Old Norse or Greek origin, unpronounceable by Normans and many other Europeans. In Greek, the sound corresponds etymologically to Sanskrit -dh- and English -d-; and it was represented graphically by -TH- and at first pronounced as a true aspirate (as still in English outhouse, shithead, etc.). But by 2c. B.C.E. the Greek letter theta was in universal use and had the modern "-th-" sound. Latin had neither the letter nor the sound, however, and the Romans represented Greek theta by -TH-, which they generally pronounced, at least in Late Latin, as simple "-t-" (passed down to Romanic languages, as in Spanish termal "thermal," teoria "theory," teatro "theater").

In Germanic languages it represents PIE *-t- and was common at the start of words or after stressed vowels. To represent it, Old English and Old Norse used the characters ð "eth" (a modified form of -d-) and þ "thorn," which originally was a rune. Old English, unlike Old Norse, seems never to have standardized which of the two versions of the sound ("hard" and "soft") was represented by which of the two letters.

The digraph -th- sometimes appears in early Old English, on the Roman model, and it returned in Middle English with the French scribes, driving out eth by c. 1250, but thorn persisted, especially in demonstratives (þat, þe, þis, etc.), even as other words were being spelled with -th-. The advent of printing dealt its death-blow, however, as types were imported from continental founders, who had no thorn. For a time y was used in its place (especially in Scotland), because it had a similar shape, hence ye for the in historical tourist trap Ye Olde _______ Shoppe (it never was pronounced "ye," only spelled that way).

The awareness that some Latin words in t- were from Greek th- encouraged over-correction in English and created unetymological forms such as Thames and author, while some words borrowed from Romanic languages preserve, on the Roman model, the Greek -th- spelling but the simple Latin "t" pronunciation (as in Thomas and thyme).
thermography (n.): 1840, "method of writing which requires heat to develop the characters," from thermo- + -graphy.