meid-in Islam

dibuat dalam Islam

Ibn Ammar

  http://es.wikipedia.org/wiki/Ibn_Ammar

Abū Bakr Muḥammad ibn ˁAmmār, también conocido como Ibn Ammar de Silves o Abenamar (1031-1086), fue un poeta andalusí y visir de la Taifa de Sevilla.

De origen humilde y poco conocido, su talento para la poesía atrajo al joven Al-Mu'tamid, que se convirtió en su amante y amigo y lo nombró visir de Sevilla tras la muerte de su padre, Al-Mutadid. Abenamar tenía la reputación de ser invencible jugando al ajedrez; según el historiador Abdelwahid al-Marrakushi, su victoria en una partida convenció a Alfonso VI de Castilla a abandonar Sevilla.
En Silves conoció al príncipe Al-Mutamid y comenzó una estrecha relación sentimental. Tras acceder Al-Mutamid al trono de la Taifa de Sevilla, Abenamar planeó la anexión de la Taifa de Murcia al Reino sevillano y convenció al rey poeta para que lo nombrara gobernador. Conquistada a fines de 1079 con la ayuda del general del ejército Ibn Rašiq, se nombró a sí mismo rey y cortó relaciones con Al-Mutamid. Pero su poder duró poco, pues comenzó a utilizarlo para fines suntuosos que le granjearon la desafección del pueblo murciano. Ibn Rašiq lideró la oposición a Abenamar, que se vio impelido a abandonar la ciudad y buscar refugio en la Taifa de Toledo, donde se entrevistó con Alfonso VI e incitó a la población a sublevarse contra Al-Qadir (mayo de 1080), quien tuvo que refugiarse en Cuenca. Pero finalmente, las intrigas políticas toledanas se volvieron en su contra y Abenamar tuvo que huir en mayo de 1082 a Madrid, que por entonces era poco más que un alcázar.¹
A comienzos del verano de 1082 Abenamar recala en la corte de la Taifa de Zaragoza de Al-Mutamán, donde permaneció hasta 1084. El monarca zaragozano le recibió con grandes honores, le proporcionó una buena vivienda y sueldo, y posiblemente le nombró visir. Allí se dio una vida regalada, y era criticado entre la población saraqustí por su afición al vino, de la que él se defendió en un poema. Además, ayudó a Al-Mutamán a someter a un alcaide rebelde, lo que consiguió haciendo que lo matasen, y fue premiado por el monarca zaragozano con el disfrute de esa fortaleza.¹
Desde aquel lugar de la corte de Zaragoza¹ envió a su amigo, el rey de Sevilla Al-Mutamid, una elegía por la que solicitaba el perdón. La casida evocaba el estilo de Ibn Zaydun, pero adoptaba un estilo más solemne y nostálgico, recordando los días felices de Silves:

¿Acaso Silves no ha llorado por el que sufre
y Sevilla no ha suspirado por un arrepentido?
La lluvia cubrió el manto de nuestra juventud
en un país donde los jóvenes rompían los amuletos de la infancia.
Al recordar el tiempo de mi juventud, es como si se encendiese
el fuego del amor en el pecho.
Aquellas noches en que no hacía caso de la sensatez del consejo
y seguía los errores de los alocados;
condené al insomnio a los párpados somnolientos
y recogí el tormento de las tiernas ramas.
¡Cuántas noches pasamos en el Azud, entre los meandros del río,
que se deslizaba con la sinuosidad de una serpiente!
Escogimos el jardín como vecino y nos visitaba con sus regalos
que traían las manos de las suaves brisas;
nos enviaba su aliento y se lo devolvíamos aún más perfumado,
y con más suave brisa;
la brisa, en su ir y venir, parecía una chismosa,
que llevase y trajese maledicencia;
el sol nos daba de beber.
¿Quién ha visto el sol en mitad de la negra noche, sino nosotros?

Al-Mutamid se inclinó inicialmente por el perdón, pero más adelante se indignó tras leer una carta interceptada que Abenamar había enviado desde su celda, y lo mató con sus propias manos.²
Ibn Ammar destacó sobre todo en el cultivo de la gacela o gazal homoerótico. Su poesía supone una de las cimas del cultivo de la poesía amorosa en Al-Ándalus, en la que Abenamar es uno de sus representantes más destacados, pues se dedicó a la lírica culta amorosa árabe por pasión, y no por oficio como era común entre los poetas cortesanos andalusíes.

Referencias

1. ↑ Saltar a: ^{a b c} Afif Turk, loc. cit., 1978.
2. Ir a ↑ Louis Crompton, Homosexuality and Civilization, p.167

Bibliografía

• HITTI, Philip K., History of the Arabs: From the Earliest Times to the Present, Londres, Macmillan, 1956.
• RUBIERA MATA, María Jesús, Literatura hispanoárabe, Madrid, Mapfre, 1992. Edición digital Biblioteca Virtual Miguel de Cervantes, 2001. Véase el capítulo «Sevilla», con información y poemas de Abenámar.
• SORDO, Enrique, Moorish Spain: Cordoba, Seville, Granada., Londres, Elek Books, 1963.
• TURK, Afif, El Reino de Zaragoza en el siglo XI de Cristo (V de la Hégira), Madrid, Instituto Egipcio de Estudios Islámicos, 1978, págs. 132-137. ISBN 978-84-600-1064-7
• WATT, W. Montgomery, Historia de la España Islámica, Edimburgo, Edinburgh University Press, 1965. Ed. een español en Alianza Editorial, 1988. ISBN 84-206-1244-8

Categorías:

• Nacidos en 1031
• Fallecidos en 1086
• Poetas de al-Ándalus
• Poetas de España del siglo XI
• Poetas de España en árabe
• Escritores de al-Ándalus
• Poetas árabes
• Zaragoza musulmana

Etimología de  Poesía

http://www.etymonline.com/index.php?allowed_in_frame=0&search=poetry&searchmode=none

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poetry (n.)

late 14c., "poetry; a poem; ancient literature; poetical works, fables, or tales," from Old French poetrie (13c.), and perhaps directly from Medieval Latin poetria (c.650), from Latin poeta (see poet). In classical Latin, poetria meant "poetess."

... I decided not to tell lies in verse. Not to feign any emotion that I did not feel; not to pretend to believe in optimism or pessimism, or unreversible progress; not to say anything because it was popular, or generally accepted, or fashionable in intellectual circles, unless I myself believed it; and not to believe easily. [Robinson Jeffers (1887-1962), forward to "Selected Poems"]

Figurative use from 1660s. Old English had metergeweorc "verse," metercræft "art of versification." Modern English lacks a true verb form in this group of words, though poeticize (1804), poetize (1580s, from French poétiser), and poetrize (c.1600) have been tried. Poetry in motion (1826) perhaps is from poetry of motion (1813) "dance" (also poetry of the foot, 1660s).

poesy (n.)

late 14c., "poetry; poetic language and ideas; literature; a poem, a passage of poetry," from Old French poesie (mid-14c.), from Vulgar Latin poesia (source of Provençal, Spanish, Portuguese, Italian poesia), from Latin poesis "poetry, a poem," from Greek poesis "composition, poetry," literally "a making, fabrication," variant of poiesis, from poein, poiein "to make or compose" (see poet). Meaning "the art of poetry" is late 15c.

posy (n.)

also posey, 1530s, "line of verse engraved on the inner surface of a ring," from poesy "poetry; a passage of poetry," which is recorded in this sense from early 15c. Meaning "flower, bouquet" first recorded 1570s, from notion of the language of flowers.

jazzetry (n.)

"poetry reading accompanioed by jazz music," 1959, from jazz (n.) + poetry.

Edda (n.)

1771, by some identified with the name of the old woman in the Old Norse poem "Rigsþul," by others derived from Old Norse oðr "spirit, mind, passion, song, poetry" (cognate with Old Irish faith "poet," Welsh gwawd "poem," Old English woþ "sound, melody, song," Latin vates "seer, soothsayer;" see wood (adj.)).

It is the name given to two Icelandic books, the first a miscellany of poetry, mythology, and grammar by Snorri Sturluson (d.1241), since 1642 called the Younger or Prose Edda; and a c.1200 collection of ancient Germanic poetry and religious tales, called the Elder or Poetic Edda.

hymnal (n.)

c.1500, imnale, himnale, from Medieval Latin hymnale, from ymnus, from Latin hymnus (see hymn). As an adjective, attested from 1640s. Hymnal measure, a quatrain, usually iambic, alternately rhymed, is so called for being the preferred verse form for English hymns (e.g. "Amazing Grace"), but it has been popular in English secular poetry as well, "though it almost always suggests the hymn, directly or ironically" [Miller Williams, "Patterns of Poetry," Baton Rouge: Louisiana State University, 1986].

blank verse (n.)

1580s; the thing itself is attested in English poetry from mid-16c. and is classical in origin.

Thetis

name of a sea goddess in Greek mythology, mother of Achilles by Peleus. Since Roman times, sometimes, in poetry, "the sea personified."

muse (n.)

late 14c., protectors of the arts, from Old French Muse and directly from Latin Musa, from Greek Mousa, "the Muse," also "music, song," from PIE root *men- "to think, remember" (see mind (n.)). Meaning "inspiring goddess of a particular poet" is from late 14c. The traditional names and specialties of the nine Muses, daughters of Zeus and Mnemosyne, are: Calliope (epic poetry), Clio (history), Erato (love poetry, lyric art), Euterpe (music, especially flute), Melpomene (tragedy), Polymnia (hymns), Terpsichore (dance), Thalia (comedy), Urania (astronomy).

scan (v.)

late 14c., "mark off verse in metric feet," from Late Latin scandere "to scan verse," originally, in classical Latin, "to climb, rise, mount" (the connecting notion is of the rising and falling rhythm of poetry), from PIE *skand- "to spring, leap, climb" (cf. Sanskrit skandati "hastens, leaps, jumps;" Greek skandalon "stumbling block;" Middle Irish sescaind "he sprang, jumped," sceinm "a bound, jump").

Missing -d in English is probably from confusion with suffix -ed (see lawn (n.1)). Sense of "look at closely, examine minutely (as one does when counting metrical feet in poetry)" first recorded 1540s. The (opposite) sense of "look over quickly, skim" is first attested 1926. Related: Scanned; scanning.

Gradus ad Parnassum

Latin, literally "A Step to Parnassus," mountain sacred to Apollo and the Muses, title of a dictionary of prosody used in English public schools for centuries as a guide to Roman poetry. The book dates from the 1680s.

senryu

form of Japanese poetry, 1901, from name of Karai Senryu (1718-90), Japanese poet.

Apollo

Olympian deity, god of music, poetry, medicine, etc., later identified with Helios, the sun god; the name is a Latin form of Greek Apollon, said to be perhaps related to an obsolete Greek verb meaning "to drive away" (evil, etc.) [Klein, citing Usener].

doggerel

late 14c. (adj.); 1630s (n.), probably from dog + pejorative suffix -rel and applied to bad poetry perhaps with a suggestion of puppyish clumsiness, or being fit only for dogs. Attested as a surname from mid-13c., but the sense is not evident.

prose (n.)

c.1300, "story, narration," from Old French prose (13c.), from Latin prosa oratio "straightforward or direct speech" (without the ornaments of verse), from prosa, fem. of prosus, earlier prorsus "straightforward, direct," from Old Latin provorsus "(moving) straight ahead," from pro- "forward" (see pro-) + vorsus "turned," past participle of vertere "to turn" (see verse).

"Good prose, to say nothing of the original thoughts it conveys, may be infinitely varied in modulation. It is only an extension of metres, an amplification of harmonies, of which even the best and most varied poetry admits but few." [Walter Savage Landor, "Imaginary Conversations"]

Meaning "prose writing; non-poetry" is from mid-14c. The sense of "dull or commonplace expression" is from 1680s, out of earlier sense "plain expression" (1560s). Those who lament the want of an English agent noun to correspond to poet might try prosaist (1776), proser (1620s), or Frenchified prosateur (1880), though the first two in their day also acquired in English the secondary sense "dull writer."

limerick (n.)

nonsense verse of five lines, 1896, perhaps from the county and city in Ireland, but if so the connection is obscure. Often (after OED's Murray) attributed to a party game in which each guest in turn made up a nonsense verse and all sang a refrain with the line "Will you come up to Limerick?" but he reported this in 1898 and earlier evidence is wanting. Or perhaps from Learic, from Edward Lear (1812-1888) English humorist who popularized the form. Earliest examples are in French, which further complicates the quest for the origin. OED's first record of the word is in a letter of Aubrey Beardsley. The place name is literally "bare ground," from Irish Liumneach, from lom "bare, thin." It was famous for hooks.

The limerick may be the only traditional form in English not borrowed from the poetry of another language. Although the oldest known examples are in French, the name is from Limerick, Ireland. John Ciardi suggests that the Irish Brigade, which served in France for most of the eighteenth centiry, might have taken the form to France or developed an English version of a French form. ... The contemporary limerick usually depends on a pun or some other turn of wit. It is also likely to be somewhat suggestive or downright dirty." [Miller Williams, "Patterns of Poetry," Baton Rouge: Louisiana State University, 1986]

Satanism (n.)

1560s, "satanic disposition," from Satan + -ism. Applied 1820s-30s to the poetry of Byron, etc. Meaning "worship of Satan" dates from 1895, with reference to France, where it was said to be active at that time.

frore (adj.)

"frosty, frozen," archaic (but found in poetry as late as Keats), from Old English froren, past participle of freosan (see freeze (v.)).

songcraft (n.)

Old English sangcræft "art of singing, composing poetry, or playing an instrument," from song (n.) + craft (n.). Modern use (1855) is a re-formation.

music (n.)

mid-13c., musike, from Old French musique (12c.) and directly from Latin musica "the art of music," also including poetry (also source of Spanish musica, Italian musica, Old High German mosica, German Musik, Dutch muziek, Danish musik), from Greek mousike (techne) "(art) of the Muses," from fem. of mousikos "pertaining to the Muses," from Mousa "Muse" (see muse (n.)). Modern spelling from 1630s. In classical Greece, any art in which the Muses presided, but especially music and lyric poetry.

The use of letters to denote music notes is probably at least as old as ancient Greece, as their numbering system was ill-suited to the job. Natural scales begin at C (not A) because in ancient times the minor mode was more often used than the major one, and the natural minor scale begins at A.

Music box is from 1773, originally "barrel organ;" music hall is from 1842, especially "hall licensed for musical entertainment" (1857). To face the music "accept the consequences" is from 1850; the exact image is uncertain, one theory ties it to stage performers, another to cavalry horses having to be taught to stay calm while the regimental band plays. To make (beautiful) music with someone "have sexual intercourse" is from 1967.

imagism (n.)

name of a movement in poetry that sought clarity of expression through use of precise visual images, "hard light, clear edges," coined 1912 by Ezra Pound; see image + -ism. Related: Imagist.

humanities

1702; plural of humanity, which was used in English from late 15c. in a sense "class of studies concerned with human culture" (opposed variously at different times to divinity or sciences). Latin literae humaniores, they were those branches of literature (ancient classics, rhetoric, poetry) which tended to humanize or refine.

Parnassus (n.)

late 14c., from Latin, from Greek Parnassos, mountain in central Greece, sacred to Apollo and the Muses, thus symbolic of poetry. Room writes that the name is from Hittite parna "abode." Related: Parnassian.

rubaiyat (n.)

"quatrains" (in Persian poetry), 1859, plural of rubai, from Arabic rubaiyah, from rubaiy "composed of four elements."

Erato

muse who presided over lyric poetry, from Greek erastos "loved, beloved; lovely, charming," verbal adjective of eran "to love, to be in love with" (see Eros).

triplet (n.)

1650s, "three successive lines of poetry," from triple; perhaps patterned on doublet. Extended to a set of three of anything by 1733, and to three children at the same birth by 1787 (another word for this was trin, 1831, on the model of twin). Musical meaning "three notes played in the time of two" is from 1801.

scop (n.)

"poet, minstrel," Old English scop, cognate with Old High German scoph "poetry, sport, jest," Old Norse skop "railing, mockery" (see scoff (v.)).

imagery (n.)

mid-14c., "piece of sculpture, carved figures," from Old French imagerie (13c.), from imagier "painter," from image (see image (n.)). Meaning "ornate description" (in poetry, etc.) is from 1580s.

ingle (n.)

"fireplace," c.1500, from Scottish, probably from Gaelic aingeal "fire," of uncertain origin. The vogue for Scottish poetry in late 18c. introduced ingleside, ingle-nook to literary English.

concrete poetry (n.)

1958, from terms coined independently in mid-1950s in Brazil (poesia concreta) and Germany (die konkrete Dichtung). Related: Concrete poem (1958).

heraldry (n.)

"art of arms and armorial bearings," late 14c., heraldy, from Old French hiraudie "heralds collectively," from hiraut (see herald (n.)). The spelling with -r- is attested from 1570s (cf. poetry, pedantry).

kenning (n.)

Old English cenning "procreation; declaration in court," present participle of ken (v.). From early 14c. in senses "sign, token; teaching, instruction;" c.1400 as "mental cognition." From 1883 as "periphrastic expression in early Germanic poetry;" in this sense it probably is from Old Norse cognate verb kenna "to know, to recognize, to feel or perceive; to call, to name (in a formal poetic metaphor)."

Babbitt (n.)

"conventional, complacent, materialistic American businessman," 1923, from George Babbitt, title character of Sinclair Lewis' novel (1922).

His name was George F. Babbitt. He was forty-six years old now, in April 1920, and he made nothing in particular, neither butter nor shoes nor poetry, but he was nimble in the selling of houses for more money than people could afford to pay. [Sinclair Lewis, "Babbitt," 1922]

couplet (n.)

1570s, in poetry, from French couplet (mid-14c.), a diminutive of couple (see couple (n.)). In music, from 1876.

acronym (n.)

word formed from the first letters of a series of words, 1943, American English coinage from acro- + -onym "name" (abstracted from homonym; see name (n.)). But for cabalistic esoterica and acrostic poetry, the practice was practically non-existent before 20c. For distinction of usage, see initialism.

haiku (n.)

1899, from Japanese, where it is singular of haikai, in haikai no renga "jesting linked-verse;" originally a succession of haiku linked together into one poem. The form developed mid-16c. "Traditionally, there is mention of a season of the year somewhere in a haiku, as a means of establishing the poem's tone, though this may be only the slightest suggestion." [Miller Williams, "Patterns of Poetry," Baton Rouge: Louisiana State University, 1986].

Fata Morgana (n.)

1818, literally "Fairy Morgana," mirage especially common in the Strait of Messina, Italy, from Morgana, the "Morgan le Fay" of Anglo-French poetry, sister of King Arthur, located in Calabria by Norman settlers. Morgan is Welsh, "sea-dweller." There is perhaps, too, here an influence of Arabic marjan, literally "pearl," also a fem. proper name, popularly the name of a sorceress.

beauteous (adj.)

mid-15c., from beauty + -ous. Now mostly limited to poetry and displaced elsewhere by beautiful. Related: Beauteously; beauteousness.

terminology (n.)

1770, from German Terminologie, a hybrid coined by Christian Gottfried Schütz (1747-1832), professor of poetry and rhetoric at Jena, from Medieval Latin terminus "word, expression" (see terminus) + Greek -logia "a dealing with, a speaking of" (see -logy). Related: Terminological.

prosaic (adj.)

1650s, "having to do with prose," from Middle French prosaique and directly from Medieval Latin prosaicus "in prose" (16c.), from Latin prosa "prose" (see prose). Meaning "having the character of prose (in contrast to the feeling of poetry)" is by 1746; extended sense of "ordinary" is by 1813, both from French.

Pierian (adj.)

literally "of Pieria," 1590s, from Latin Pierius "Pieria," from Greek Pieria, district in northern Thessaly, reputed home of the Muses; thus "pertaining to poetry."

A little Learning is a dang'rous Thing;
Drink deep, or taste not the Pierian Spring:
[Pope, "Essay on Criticism," 1711]

scold (n.)

mid-12c., "person of ribald speech," later "person fond of abusive language" (c.1300), especially a shrewish woman [Johnson defines it as "A clamourous, rude, mean, low, foul-mouthed woman"], from Old Norse skald "poet" (see skald). The sense evolution might reflect the fact that Germanic poets (like their Celtic counterparts) were famously feared for their ability to lampoon and mock (e.g. skaldskapr "poetry," also, in Icelandic law books, "libel in verse").

Thalia

fem. proper name, from Latinized form of Greek Thaleia, "the joyful Muse," presiding over comedy and idyllic poetry, literally "the blooming one," fem. proper name from adjective meaning "blooming, luxuriant, bounteous," from thallein "to bloom," related to thalia "abundance," thallos "young shoot" (see thallus). Also the name of one of the three Graces, patroness of festive meetings.

calliope (n.)

1858, "steam-whistle keyboard organ," named for Calliope, ninth and chief muse, presiding over eloquence and epic poetry, Latinized from Greek Kalliope, literally "beautiful-voiced," from kalli-, combining form of kallos "beauty" + opos (genitive of *ops) "voice," related to Latin vox (see voice (n.)).

brag (v.)

mid-14c., braggen "to make a loud sound," also "to talk boastfully," of obscure origin, perhaps related to bray of a trumpet, or related to the Middle English adjective brag "ostentatious, proud; spirited, brave" (early 14c.), which probably is from Celtic. Other sources suggest Old Norse bragr "the best, the toast (of anything)," also "poetry." Also cf. braggart for another possibility. Related: Bragged; bragging.

crater (n.)

1610s, from Latin crater, from Greek krater "bowl for mixing wine with water," from kera- "to mix," from PIE root *kere- "to mix, confuse; cook" (see rare (adj.2)). Used in Latin for bowl-shaped mouth of a volcano. Applied to features of the Moon since 1860. As a verb, from 1830 in poetry, 1872 in science. Related: Cratered; cratering.

twain

Old English twegen (masc.) "two" (masc. nominative and accusative), from Proto-Germanic *twa- (see two). The word outlasted the breakdown of gender in Middle English and survived as a secondary form of two, especially in cases where the numeral follows a noun. Its continuation into modern times was aided by its use in KJV and the Marriage Service, in poetry (where it is a useful rhyme word), and in oral use where it is necessary to be clear that two and not to or too is meant.

gloom

c.1300 as a verb, "to look sullen or displeased," perhaps from Scandinavian (cf. Norwegian dialectal glome "to stare somberly"). Not considered to be related to Old English glom "twilight," but perhaps to Middle Low German glum "turbid," Dutch gluren "to leer." The noun is 1590s in Scottish, "sullen look," from the verb. Sense of "darkness, obscurity" is first recorded 1629 in Milton's poetry; that of "melancholy" is 1744 (gloomy in this sense is attested from 1580s).

museum (n.)

1610s, "the university building in Alexandria," from Latin museum "library, study," from Greek mouseion "place of study, library or museum, school of art or poetry," originally "a seat or shrine of the Muses," from Mousa "Muse" (see muse (n.)). Earliest use in reference to English institutions was of libraries (e.g. the British Museum); sense of "building to display objects" first recorded 1680s.

artist (n.)

1580s, "one who cultivates one of the fine arts," from Middle French artiste (14c.), from Italian artista, from Medieval Latin artista, from Latin ars (see art (n.)).

Originally used especially of the arts presided over by the Muses (history, poetry, comedy, tragedy, music, dancing, astronomy), but also used 17c. for "one skilled in any art or craft" (including professors, surgeons, craftsmen, cooks). Now especially of "one who practices the arts of design or visual arts" (a sense first attested 1747).

 

 

 

 

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poem (n.)

1540s (replacing poesy in this sense), from Middle French poème (14c.), from Latin poema "composition in verse, poetry," from Greek poema "fiction, poetical work," literally "thing made or created," early variant of poiema, from poein, poiein, "to make or compose" (see poet). Spelling pome, representing an ignorant pronunciation, is attested from 1856.

swain (n.)

mid-12c., "young man attendant upon a knight," from Old Norse sveinn "boy, servant, attendant," from Proto-Germanic *swainaz "attendant, servant," properly "one's own (man)," from PIE *swoi-no-, from root *s(w)e- "oneself, alone, apart" (see idiom). Cognate with Old English swan "shepherd, swineherd," Old Saxon swen, Old High German swein. Meaning "country or farm laborer" is from 1570s; that of "lover, wooer" (in pastoral poetry) is from 1580s.

silvern (adj.)

Middle English silveren, from Old English seolfren "made of silver;" see silver (n.) + -en (2). Cf. German silbern, Dutch zilveren. Fallen from use in English except in poetry.

sere (adj.)

Old English sear "dried up, withered, barren," from Proto-Germanic *sauzas (cf. Middle Low German sor, Dutch zoor), from PIE root *saus- "dry" (cf. Sanskrit susyati "dries, withers;" Old Persian uška- "dry" (adj.), "land" (n.); Avestan huška- "dry;" Latin sudus "dry"). A good word now relegated to bad poetry. Related to sear. Sere month was an old name for "August."

earl (n.)

Old English eorl "brave man, warrior, leader, chief" (contrasted with ceorl "churl"), from Proto-Germanic *erlo-z, of uncertain origin. In Anglo-Saxon poetry, "a warrior, a brave man;" in later Old English, "nobleman," especially a Danish under-king (equivalent of cognate Old Norse jarl), then one of the viceroys under the Danish dynasty in England. After 1066 adopted as the equivalent of Latin comes (see count (n.)).

Acadian

1705, from Acadia, Latinized form of Acadie, French name of Nova Scotia, probably from Archadia, the name given to the region by Verrazano in 1520s, from Greek Arkadia, emblematic in pastoral poetry of a place of rural peace (see Arcadian); the name may have been suggested to Europeans by the native Micmac (Algonquian) word akadie "fertile land." The Acadians, expelled by the English in 1755, settled in large numbers in Louisiana (see Cajun, which is a corruption of Acadian).

drought (n.)

Old English drugað, drugoð "drought, dryness, desert," from Proto-Germanic *drugothaz, from Germanic root *dreug- "dry" (cf high/height) with *-itho, Germanic suffix for forming abstract nouns (see -th (2)). Drouth was a Middle English variant continued in Scottish and northern English dialect and in poetry.

proem (n.)

late 14c., proheme "brief introduction, prelude," from Old French proheme (14c., Modern French proème), from Latin prooemium, from Greek prooimion "prelude" to anything, especially music and poetry, from pro- "before" (see pro-) + oimos "way" or oime "song."

melody (n.)

late 13c., from Old French melodie "music, song, tune" (12c.), from Late Latin melodia, from Greek meloidia "a singing, a chanting, choral song, a tune for lyric poetry," from melos "song, part of song" (see melisma) + oide "song, ode" (see ode).

thesis (n.)

late 14c., "unaccented syllable or note," from Latin thesis "unaccented syllable in poetry," later (and more correctly) "stressed part of a metrical foot," from Greek thesis "a proposition," also "downbeat" (in music), originally "a setting down, a placing, an arranging; position, situation," from root of tithenai "to place, put, set," from PIE root *dhe- "to set, to put" (see factitious). Sense in logic of "a formulation in advance of a proposition to be proved" is first recorded 1570s; that of "dissertation presented by a candidate for a university degree" is from 1650s.

philander (v.)

1737, from the noun meaning "a lover" (1700), from Philander, popular name for a lover in stories, drama, and poetry, from Greek adjective philandros "with love for people," perhaps mistaken as meaning "a loving man," from phil- "loving" (see philo-) + andr-, stem of aner "man" (see anthropo-). Related: Philandered; philandering.

laureate (adj.)

late 14c., from Latin laureatus "crowned with laurels," from laurea "laurel crown" (emblematic of victory or distinction in poetry), from fem. of laureus "of laurel," from laurus "laurel." Laureat poete first found in "Canterbury Tales" (form with the noun before the adjective, in imitation of Latin word order, is from c.1400 in English); the first official one was probably Ben Jonson (1638), though the first recorded one was Dryden (1668). Extended to Nobel prize winners, 1947. As a noun, 1520s, from the adjective. Related: Laureateship.

husband (n.)

Old English husbonda "male head of a household," probably from Old Norse husbondi "master of the house," from hus "house" (see house (n.)) + bondi "householder, dweller, freeholder, peasant," from buandi, present participle of bua "to dwell" (see bower). Beginning late 13c., replaced Old English wer as "married man," companion of wif, a sad loss for English poetry. Slang shortening hubby first attested 1680s.

rhapsody (n.)

1540s, "epic poem," from Middle French rhapsodie, from Latin rhapsodia, from Greek rhapsoidia "verse composition, recitation of epic poetry; a book, a lay, a canto," from rhapsodos "reciter of epic poems," literally "one who stitches or strings songs together," from rhaptein "to stitch, sew, weave" (see wrap (v.)) + oide "song" (see ode). Meaning "exalted enthusiastic feeling or expression" is from 1630s. Meaning "sprightly musical composition" is first recorded 1850s.

anthology (n.)

1630s, "collection of poetry," from Latin anthologia, from Greek anthologia "collection of small poems and epigrams by several authors," literally "flower-gathering," from anthos "a flower" (see anther) + logia "collection, collecting," from legein "gather" (see lecture (n.)). Modern sense (which emerged in Late Greek) is metaphoric, "flowers" of verse, small poems by various writers gathered together.

poulterer (n.)

"dealer in poultry," 1630s, a redundancy, but it has largely ousted original poulter (mid-13c., pulter), from Anglo-French poleter, pulleter, Old French pouletier "poulterer," from pouletrie (see poultry). With agent suffix -er (1). Poetic poulter's measure (1570s), according to Miller Williams, is "So called because with its thirteen feet it suggests the poulter's old practice of giving an extra egg with the second dozen." ["Patterns of Poetry," Louisiana State University, 1986].

Phyllis

fem. proper name, generic proper name for a comely rustic maiden in pastoral poetry (1630s), from Latin Phyllis, a girl's name in Virgil, Horace, etc., from Greek Phyllis, female name, literally "foliage of a tree," from phyllon leaf," from PIE *bholyo- "leaf," from root *bhel- (3) "to thrive, bloom," possibly identical with *bhel- (2) "to blow, inflate, swell" (see bole). In English, often spelled Phillis, probably from influence of phil- "loving." Her sweetheart usually was Philander.

wood (adj.)

"violently insane" (now obsolete), from Old English wod "mad, frenzied," from Proto-Germanic *woth- (cf. Gothic woþs "possessed, mad," Old High German wuot "mad, madness," German wut "rage, fury"), from PIE *wet- "to blow, inspire, spiritually arouse;" source of Latin vates "seer, poet," Old Irish faith "poet;" "with a common element of mental excitement" [Buck]. Cf. Old English woþ "sound, melody, song," and Old Norse oðr "poetry," and the god-name Odin.

glee (n.)

Old English gliu, gliw "entertainment, mirth, jest, play, sport," presumably from a Proto-Germanic *gleujam but absent in other Germanic languages except for the rare Old Norse gly "joy;" probably related to glad. A poetry word in Old English and Middle English, obsolete c.1500-c.1700, it somehow found its way back to currency late 18c. In Old English, an entertainer was a gleuman (female gleo-mægden). Glee club (1814) is from the secondary sense of "unaccompanied part-song" (1650s) as a form of musical entertainment.

pommel (n.)

mid-13c., "ornamental knob;" c.1300, "knob at the end of a sword hilt," from Old French pomel (12c., Modern French pommeau), "rounded knob," diminutive of pom "hilt of a sword," from Late Latin pomellum, diminutive of Latin pomum "apple" (see Pomona), the connecting notion being "roundness." Sense of "front peak of a saddle" first recorded mid-15c. In Middle English poetry it also sometimes meant a woman's breast. The gymnast's pommel horse is attested from 1908.

bagel (n.)

1919, from Yiddish beygl, from Middle High German boug- "ring, bracelet," from Old High German boug "a ring," related to Old English beag "ring" (in poetry, an Anglo-Saxon lord was beaggifa "ring-giver"), from Proto-Germanic *baugaz-, from PIE root *bheug- (3) "to bend," with derivatives referring to bent, pliable, or curved objects (cf. Old High German biogan "to bend;" see bow (v.)).

smolder (v.)

c.1300 (implied in smoldering), "to smother, suffocate," related to Middle Dutch smolen, Low German smelen, Flemish smoel "hot," from Proto-Germanic *smel-, *smul-. The intransitive meaning "burn and smoke without flame" is first recorded 1520s, fell from use 17c. (though smoldering persisted in poetry) and was revived 19c. Figurative sense "exist in a suppressed state; burn inwardly" is from 1810. Related: Smouldered; smolderingly. Middle English also had a noun smolder meaning "smoky vapor, a stifling smoke."

dight (v.)

"to adorn" (archaic or poetic), Old English dihtan "dictate, appoint, ordain; guide; compose," an early borrowing from Latin dictare "to dictate" (see dictate (v.)).

The Latin word borrowed even earlier into continental Germanic became Old High German dihton "to write compose," German dichten "to write poetry." In Middle English, dight exploded to a vast array of meanings (including "to rule," "to handle," "to abuse," "to have sex with," "to kill," "to clothe," "to make ready," "to repair") till it was one of the most-used verbs in the language, but all senses have faded now into obscurity, dialect, or poetic use.

rather (adv.)

Old English hraþor "more quickly, earlier, sooner," also "more readily," comparative of hraþe, hræþe "quickly, hastily, promptly, readily, immediately," which is related to hræð "quick, nimble, prompt, ready," from Proto-Germanic *khratha- (cf. Old Norse hraðr, Old High German hrad), from PIE *kret- "to shake." The base form rathe was obsolete by 18c. except in poetry (Tennyson); superlative rathest fell from use by 17c. Meaning "more willingly" is recorded from c.1300; sense of "more truly" is attested from late 14c.

The rather lambes bene starved with cold
[Spenser, "The Shepheardes Calender" (Februarie), 1579]

poetic (adj.)

1520s, from poet + -ic, or else from or influenced by Middle French poetique (c.1400), from Latin poeticus, from Greek poietikos "pertaining to poetry," literally "creative, productive," from poietos "made," verbal adjective of poiein "to make" (see poet). Related: Poetics (1727). Poetic justice "ideal justice as portrayed in plays and stories" is from 1670s. Poetic license attested by 1733.

Earlier adjective was poetical (late 14c.); also obsolete poetly (mid-15c.). Related: Poetically (early 15c.).

cherub (n.)

late 14c. as an order of angels, from Late Latin cherub, from Greek cheroub, from Hebrew kerubh (plural kerubhim) "winged angel," perhaps related to Akkadian karubu "to bless," karibu "one who blesses," an epithet of the bull-colossus. Old English had cerubin, from the Greek plural.

The cherubim, a common feature of ancient Near Eastern mythology, are not to be confused with the round-cheeked darlings of Renaissance iconography. The root of the terms either means "hybrid" or, by an inversion of consonants, "mount," "steed," and they are winged beasts, probably of awesome aspect, on which the sky god of the old Canaanite myths and of the poetry of Psalms goes riding through the air. [Robert Alter, "The Five Books of Moses," 2004, commentary on Gen. iii:24]

minstrel (n.)

early 13c., from Old French menestrel "entertainer, poet, musician; servant, workman; good-for-nothing, rogue," from Medieval Latin ministralis "servant, jester, singer," from Late Latin ministerialem (nominative ministerialis) "imperial household officer, one having an official duty," from ministerialis (adj.) "ministerial," from Latin ministerium (see ministry). The connecting notion is via the jester, etc., as a court position.

Specific sense of "musician" developed in Old French, but in English until 16c. the word was used of anyone (singers, storytellers, jugglers, buffoons) whose profession was to entertain patrons. Only in 18c. was the word limited, in a historical sense, to "medieval singer of heroic or lyric poetry who accompanied himself on a stringed instrument." Reference to blackface music acts in U.S. is from 1843.

measure (n.)

c.1200, "moderation, temperance, abstemiousness;" c.1300, "instrument for measuring," from Old French mesure "limit, boundary; quantity, dimension; occasion, time" (12c.), from Latin mensura "measure" (see measure (v.)). Meaning "size or quantity as ascertained by measuring" is from early 14c. Meaning "action of measuring; standard measure of quantity; system of measuring; appointed or alloted amount of anything" is late 14c. Also from late 14c. are senses "proper proportion, balance." Sense of "that to which something is compared to determine its quantity" is from 1570s. Meaning "rhythmic pattern in music" is late 14c.; from mid-15c. in poetry, c.1500 in dance. Meaning "treatment 'meted out' to someone" is from 1590s; that of "plan or course of action intended to obtain some goal" is from 1690s; sense of "legislative enactment" is from 1759. Phrase for good measure (late 14c.) is literally "ample in quantity, in goods sold by measure."

flesh (n.)

Old English flæsc "flesh, meat," also "near kindred" (a sense now obsolete except in phrase flesh and blood), common West and North Germanic (cf. Old Frisian flesk, Middle Low German vlees, German Fleisch "flesh," Old Norse flesk "pork, bacon"), of uncertain origin, perhaps from Proto-Germanic *flaiskoz-.

Figurative use for "animal or physical nature of man" (Old English) is from the Bible, especially Paul's use of Greek sarx, which yielded sense of "sensual appetites" (c.1200). Flesh-wound is from 1670s; flesh-color, the hue of "Caucasian" skin, is first recorded 1610s, described as a tint composed of "a light pink with a little yellow" [O'Neill, "Dyeing," 1862]. An Old English poetry-word for "body" was flæsc-hama, literally "flesh-home."

verse (n.)

c.1050, "line or section of a psalm or canticle," later "line of poetry" (late 14c.), from Anglo-French and Old French vers, from Latin versus "verse, line of writing," from PIE root *wer- (3) "to turn, bend" (see versus). The metaphor is of plowing, of "turning" from one line to another (vertere = "to turn") as a plowman does.

Verse was invented as an aid to memory. Later it was preserved to increase pleasure by the spectacle of difficulty overcome. That it should still survive in dramatic art is a vestige of barbarism. [Stendhal "de l'Amour," 1822]

Old English had fers, an early West Germanic borrowing directly from Latin. Meaning "metrical composition" is recorded from c.1300; sense of "part of a modern pop song" (as distinguished from the chorus) is attested from 1927. The English New Testament first was divided fully into verses in the Geneva version (1550s).

charm (n.)

c.1300, "incantation, magic charm," from Old French charme (12c.) "magic charm, magic, spell; incantation, song, lamentation," from Latin carmen "song, verse, enchantment, religious formula," from canere "to sing" (see chant (v.)), with dissimilation of -n- to -r- before -m- in intermediate form *canmen (for a similar evolution, see Latin germen "germ," from *genmen). The notion is of chanting or reciting verses of magical power.

A yet stronger power than that of herb or stone lies in the spoken word, and all nations use it both for blessing and cursing. But these, to be effective, must be choice, well knit, rhythmic words (verba concepta), must have lilt and tune; hence all that is strong in the speech wielded by priest, physician, magician, is allied to the forms of poetry. [Jacob Grimm, "Teutonic Mythology" (transl. Stallybrass), 1883]

Sense of "pleasing quality" evolved 17c. Meaning "small trinket fastened to a watch-chain, etc." first recorded 1865. Quantum physics sense is from 1964. To work like a charm (figuratively) is recorded by 1824.