Q: There’s a dictionary of slang in which the word “green” is said to mean sexual intercourse.  Ever heard of this usage?

A: Yes indeed.

You must have heard Pat when she spoke on WNYC in March about the arrival of spring, a season that’s always been associated with the color green.

As Pat said on the Leonard Lopate Show, green has other associations as well. We think of it in connection with youthful inexperience, newness, freshness, naiveté, gullibility, envy, and jealousy. It’s also the color of money (“greenbacks”), and of marijuana.

Then there’s sex.

Centuries ago, to “give someone a green gown” was to have sex outdoors. Why? Just imagine frisky wenches rolling in the meadow and getting grass stains on their dresses.

The Oxford English Dictionary describes “green gown” as an archaic and historical term for “a dress stained green from rolling in grass.”

The phrase is found, the OED says, “chiefly in to give a woman a green gown: to engage in amorous play with a woman; (euphem.) to deflower, deprive a woman of her virginity.”

An early example of this usage is cited (appropriately!) in Green’s Dictionary of Slang. A 1351 indictment for rape in the county of Nottingham, written in Latin, includes the phrase induentes eam robam viridem (“giving her a green gown”).

The OED’s earliest sighting in English is from Sir Philip Sidney’s poem The Countesse of Pembrokes Arcadia, written sometime before 1586: “Then some grene gowns are by the lasses worne / In chastest plaies, till home they walke a rowe.”

This blunter example is from the playwright Anthony Munday’s 1596 translation of Palmerin of England: “At length he was so bolde as to giue her a greene gowne, when I feare me she lost the flower of her chastitie.”

By the 19th century, “green” (or “greens”) was a slang term for “sexual activity, esp. intercourse,” the OED says.

The term frequently appeared in the phrase “to get one’s greens and variants, with implication of something which is (like vegetables in the diet) needed regularly,” Oxford explains.

The OED’s earliest example of this usage is from a suggestive poem in Swell’s Night Guide (1846): “She kept the greens, for very few she sold; / And, as her customers, the greens refuse, / Why, then, the greens gave this fair maid the blues.”

Green’s Dictionary mentions a few other uses of “green” in relation to sex. In 1773, Green’s reports, “greengrocer” was a euphemism for a prostitute. And in the 1960s, “green thumb” was gay slang for the penis.

Before we close, a note about the long association of “green” with envy.

Shakespeare did coin the expression “green-eyed monster” (Othello, circa 1603), but he was not the first to link the color with envy.

The English poets Geoffrey Chaucer, John Lydgate, and Stephen Scrope made the connection in the 14th and 15th centuries, according to the University of Michigan’s online Middle English Dictionary.

The MED notes that the color green (written as grene) was “symbolic of inconstancy or envy” in Middle English, the language of those earlier poets.

Why? It’s been suggested that a greenish complexion, thought to be caused by an excess of bile, was indicative of “fear, envy, ill humour, or sickness,” according to the OED.

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Q: Did the defeated villain’s epithet “Curses!” originate as a euphemistic way of indicating curse words in comic books for younger readers?

A: No on all counts. The usage didn’t originate as a euphemism or in comic books.

The epithet “Curses!” began life as a melodramatic stage epithet that 19th-century dramatists put into the mouths of dastardly villains.

Typically, the foiled villain would spit “Curses!” near the end as his evil scheme unraveled. By the early 20th century, the cry had been expanded to “Curses! Foiled again.”

However, we haven’t found any evidence that “Curses!” was a euphemism for something stronger. And by the time it showed up in 20th-century cartoons and comic books, it had long been regarded as a humorous cliché.

In its entry for the noun “curse,” the Oxford English Dictionary says the plural form was used “as an imprecation, expressing irritation or frustration; esp. (histrionically or as a stage-aside) curses, foiled again!”

The OED’s earliest citation for this use of “curses” (minus the “foiled again”) is from Khartoum! (1885), a military drama by William Muskerry and John Jourdain: “Ha! they’re here. Ah, curses!”

But we found an earlier example in a dramatic monologue for the stage, The Death of Chatterton, published anonymously in Tait’s Edinburgh Magazine in September 1839.

The scene takes place in a London garret, where the young Thomas Chatterton, about to commit suicide, delivers these lines: “Why should I seek to live? I’ve lived already long enough to know I cannot live for that I love the best. Curses—curses—curses!”

Here’s a non-stage example, from Ada, the Betrayed: Or, The Murder at the Old Smithy, published in Lloyd’s Penny Weekly Miscellany (London, 1843):

“To be foiled by a half-starved hound! I, Jacob Gray, with my life hanging as it were by a single thread, to be prevented from taking the secret means of preserving myself by this hateful dog! Curses! curses!”

Note in that example that cursing is associated with being “foiled.” This was a common motif in overheated plays, stories, and novels of the 19th century.

We found many examples like this one, from F. C. Thompson’s Nythia, a novel serialized in a British children’s magazine, The Boy’s Athenaeum, in 1875: “Oh, curses light upon them all! I am foiled—foiled—utterly foiled!”

And here’s a stage example, from Benjamin W. Hollenbeck’s After Ten Years (1885): “Foiled again! Curse my ill luck.”

By the late 19th century the cursing-and-foiling device had become a cliché, a fact not overlooked by humorists.

We found this passage in Charles Gurdon Buck’s “Mervorfield,” published in an American humor anthology in 1886:

“ ‘We are foiled! foiled!’ ‘Are we?’ said Bill. ‘What ought we to do when we are foiled?’ ‘Why, I suppose we ought to go away, muttering hideous curses.’ ”

Here’s a later example, from J. M. Barrie’s memoir of his life as a smoker, My Lady Nicotine (1890): “When they are foiled by the brave girl of the narrative, it is the recognized course with them to fling away their cigars with a muffled curse.”

It wasn’t long before the appearance of the full phrase “Curses! Foiled again.”

The earliest example we’ve found is from the Nov. 25, 1911, issue of a Michigan newspaper, the Flint Daily Journal. This is the item in its entirety:

“It is presumed that when Uncle Jud Harmon read in his morning paper that another ship had taken Col. Bryan off the stranded Prinz Joachim, he muttered between his teeth, ‘Curses! Foiled again.’ ”

The earliest stage example we’ve found is from Foiled, by Heck! (1917), a comic play by Frederick G. Johnson.

In the play, a villain named Sylvester Brewster says “Curses! Foiled again!” no fewer than four times. (In a scene involving an oilcan, he also mutters, “Curses! Oiled again!”)

The full phrase appeared around the same time in the caption of a “Jerry on the Job” cartoon strip in the Harrisburg (PA) Patriot on Aug. 11, 1917: “ ‘Curses, Foiled Again,’ Says the Dog.”

Soon afterward, the expression turned up in the Jan. 18, 1918, issue of Judge, a New York humor magazine. In an article called “The Stage Crook Goes Straight,” Roy K. Moulton mourns the passing of the villains of old:

“The old-time crook remained true to his traditions. You could bank on him. Of course he would always be obliged to hiss: ‘Curses! Foiled again!’ for he was always foiled.”

And “Curses! Foiled Again!” was the headline on a sports story published on June 29, 1922, in the Lexington (KY) Herald. (The Herald’s baseball team lost to the newsboys.)

When we began our researches, we expected to find that the epithet was common in intertitles, those bits of dialog that were projected on silent-film screens. We still suspect this is true, but we haven’t been able to find examples in the sketchy databases of silent-film scripts that we’ve searched.

At any rate, long after silent movies were history the phrase “Curses! Foiled Again!” was given new life by melodramatic cartoon villains.

One famous comic-book example was the mad scientist Dr. Sivana, who made his diabolical debut as the foe of Captain Marvel in 1940.

A generation later came television’s dastardly Snidely Whiplash of Dudley Do-Right of the Mounties, a series that aired in the 1960s as  segments of The Rocky and Bullwinkle Show.

Snidely Whiplash, archenemy of the heroic Dudley, usually exited on the line (voiced by the actor Hans Conried) “Curses! Foiled Again!”

And as the OED notes, the expression “Curses, foiled again!” can be heard in the ’60s novelty song “Snoopy vs. the Red Baron,” by Phil Gernhard and Dick Holler. (Oxford dates it from 1967 but in fact the song was recorded in 1966.)

You ask whether publishers of cartoon strips and comic books used “Curses!” euphemistically, perhaps to avoid shocking young readers. The answer is no.

As we’ve written on our blog, for more than a century cartoonists used another euphemism to represent swearing in the funnies. This was an arbitrary string of symbols (like %&*&##@!!) called a grawlix.

Finally, a note about the word “curse.” It’s something of a mystery, or as the OED puts it, of “unknown origin.”

In late Old English, when “curse” entered the language, it was spelled curs, and “no word of similar form and sense is known in Germanic, Romanic, or Celtic,” according to the dictionary.

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Q: In his 1955 recording of “Can’t We Be Friends?” Frank Sinatra sings “Why should I care though she gave me the air.” Am I right that to “give someone the air” comes from the telephone technology of the day? I picture a guy holding an old fashioned phone in one hand and asking “Where did she go?”

A: We doubt that the telephone has anything to do with giving (or getting) the air. The use of “air” to mean a rejection, a curt snub, or a jilting dates back to the turn of the century, when phones were not common household equipment.

In its earliest appearances, to “give (or get) the fresh air” meant to be fired from a job, and soon afterward to “give (or get) the air” meant to dump (or be dumped by) a love interest.

The usage first appeared in a collection of short sketches entitled More Fables in Slang (1900), by George Ade.

The Random House Historical Dictionary of American Slang and the Oxford English Dictionary cite the title of one sketch: “The Fable of Why Essie’s Tall Friend Got the Fresh Air.”

We located the piece, which is only a page long, and it’s about a young man who’s fired from his job. There’s no mention of telephones.

George Ade, who was known for eccentric capitalization, used the term again in another collection of his short sketches, True Bills (1904):

“A man who had been given the Fresh Air by a Soulless Corporation was out rustling for another Job.” (This citation comes from Green’s Dictionary of Slang, Vol. 1.)

Why “fresh air”? Perhaps because in its original sense of firing someone, “give him the fresh air” is somewhat like “show him the street”—in other words, boot him outdoors.

In fact, the boss who fires the inattentive young man in Ade’s 1900 collection hints at this. He “told him he needed more Outdoor Life and Exercise, and he had better find it by moving around Town and looking for another Job.”

By the early 1920s, according to slang dictionaries, the “fresh” was dropped from the expression, though to “give (or get) the air” was still used in reference to firing or being fired.

But soon the expression came to be used for rejections of a more personal nature—romantic breakups.

Random House has a 1922 citation, but we like this later example, which the OED cites from P. G. Wodehouse’s novel Thank You, Jeeves (1934): “Surely you don’t intend to give the poor blighter the permanent air on account of a trifling lovers’ tiff?”

This use of “air” makes a certain amount of sense, given the many meanings of the word.

The original “air,” as in the atmosphere we breathe, came into English in the 1200s from Anglo-Norman and Old French. It ultimately goes back to classical times—aer in Latin and Greek.

However, the word has been used since Shakespeare’s day to mean a person’s attitude, manner, demeanor, or appearance.

This meaning of the word, the OED says, was probably a borrowing from Middle French, in which aire was used to mean things like nature or character (as in de bon aire, the source of our word “debonair,” literally “of good disposition”).

Here’s an English example from The Winter’s Tale, which Shakespeare probably wrote around 1611: “Your Fathers Image is so hit in you (His very ayre) that I should call you Brother.”

Beginning in the late 1600s, “air” took on haughty overtones in the phrase “airs and graces,” meaning affectations or pretensions.

The OED’s earliest use of the phrase is from the playwright John Vanbrugh’s Æsop (1697): “He made a thousand ugly Faces, / Which (as sometimes in Ladies cases) / Were all design’d for Airs and Graces.”

Similar phrases from the early 1700s were “to give oneself airs” and “to put on airs,” which the OED defines as “to assume an unnatural or affected manner, esp. an unjustified air of superiority.”

These can be traced to the late 17th-century French phrases se donner des airs and prendre des airs, the OED says.

So all in all, the 20th-century use of “give (or get) the air” doesn’t seem so odd.

Since we still use the old expressions “give oneself airs” and “put on airs,” it seems natural that “the air” (whether you’re giving it or getting it) could mean a snub or rejection by a haughty or superior-acting person.

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Q: I’ve heard that “show ’em the ropes” is of theatrical origin, not nautical, as Pat suggested on WNYC. The ropes controlled the stage machinery. Sailors didn’t use the term “ropes.”

A: The Oxford English Dictionary defines “know the ropes,” “learn the ropes,” and “understand the ropes” as to “be experienced in or familiar with some customary action, practice, etc.”

And “show someone the ropes,” the OED adds, means “to teach or explain to someone the customary ways of doing something.”

The dictionary has both nautical and theatrical examples of these expressions dating from the 19th century, but the nautical examples are somewhat older.

That’s not conclusive, of course, and the earliest example of the usage in the Oxford English Dictionary doesn’t help—it’s not nautical or theatrical, but merely uses the expression in the sense of being experienced.

In the 1802 entry from James Skene’s diary of a trip to Italy, the author asks a local merchant for advice about how to meet the Pope: “I am a stranger and … I beg you to show me how I ought  to proceed…. You know the ropes and can give me good advice.”

However, the OED’s next two citations for the usage are clearly of nautical origin.

In his 1840 memoir, Two Years Before the Mast, Richard Henry Dana writes, “The captain, who had been on the coast before and ‘knew the ropes,’ took the steering oar, and we went off in the same way as the other boat.” (We’ve expanded the citation.)

And in The Green Hand, a sea story by George Cupples in the December 1848 issue of Blackwood’s Edinburgh Magazine, the third mate says, “He’s in my watch, and the captain wants him to rough it out; so show him the ropes, and let him taste an end now an’ then.”

The OED’s earliest example for the theatrical usage is an 1850 sketch by John Timon in The Opera Goer (1852), by Ike Marvell: “The belle of two weeks standing, who has ‘learned the ropes.’ ”

In our searches of literary and news databases, we found a somewhat earlier example, from an 1846 issue of the Musical Gazette, that combines the two usages:

“As a ‘land lubber’ must learn the ropes to be a sailor, so must an ‘unmusical lubber’ learn a proper mode of guiding his hand and arm, to be a player.”

And we’ve also found an example in which the usage appears in a punning reference to tightrope walking. A report in the Dec. 3, 1859, issue of Punch discusses a European trip by P. T. Barnum and the French daredevil Charles Blondin, who crossed the Niagara Gorge on a tightrope:

“Barnum has bought up Blondin, ropes and all, and takes him to Europe to show him the ropes there, and to let him wander upon foreign strands (as the poet says) till he gets a good balance at his banker’s, and of course a man who can keep his balance anywhere will have no difficulty in doing that.”

We’ve also come across an interesting paper by Frederic D. Allen in the 1893 issue of Harvard Studies in Classical Philology that notes a similar usage in ancient Greece.

“The smith’s tools are called the ‘ropes of his art’—a figure borrowed from seamen’s parlance. So our figurative expression ‘know the ropes.’ ”

We doubt that the classical usage is the source of our figurative expression. But is ours of nautical origin?

The Oxford Dictionary of Phrase and Fable says flatly that “know the ropes” is derived “from the days of sailing ships, when skill in handling ropes was essential for any sailor.” We’ll merely say perhaps.

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Q: Why are they Canada geese, not Canadian geese? After all, we have Canadian bacon and Canadian whisky.

A: Some English speakers do indeed refer to this large waterbird as a “Canadian goose,” but a majority prefer “Canada goose” as the common name for Branta canadensis, according to online searches.

The four standard dictionaries we’ve consulted, reflecting popular usage, list “Canada goose” as the common name for the North American bird, though two of them include “Canadian goose” as a variant usage.

Birders and ornithologists generally accept the popular usage when referring to the goose by its English name. The website of the Cornell Lab of Ornithology, for example, refers to the bird as “Canada goose” and describes it this way:

“A familiar and widespread goose with a black head and neck, white chinstrap, light tan to cream breast and brown back.”

The National Audubon Society also refers to the bird online as “Canada goose,” and notes, “This big ‘Honker’ is among our best-known waterfowl.”

In 1758, the Swedish taxonomist Carl Linnaeus included the Canada goose in the 10th edition of Systema Naturae, which classified animals, plants, and minerals.

But Linnaeus, writing in Latin, didn’t use the term “Canada goose” in the 10th edition. He referred to the bird as Anas canadensis, a protonym, or early version, of the now-accepted scientific name, Branta canadensis, or “black goose of Canada.”

(Linnaeus used Anas, classical Latin for duck, as the genus for ducks, geese, and swans. Branta, now the genus for black geese, is of unknown origin but may be related to old Germanic names for similarly colored waterbirds.)

The earliest reference to the bird in the Oxford English Dictionary is a 1772 citation from Hudson’s Bay Birds, by Johann Reinhold Forster: “The Canada geese are very plentiful at Hudson’s Bay.”

The OED has only one other citation for the usage, from the Penny Cyclopaedia (1838): “The Canada Goose generally builds its nest on the ground.”

The dictionary, which has no citation for “Canadian” goose or geese, notes that the noun “Canada” is used attributively—that is, adjectivally—“in the names of various commercial products, animals, and plants.”

In addition to “Canada goose,” the OED cites “Canada jay,” “Canada potato” (Jerusalem artichoke), “Canada rice” (an aquatic grass), “Canada thistle,” “Canada violet,” and others.

In the 19th century, writers used the attributive noun (“Canada”) as well as the adjective (“Canadian”) in referring to the goose.

For example, Meriwether Lewis, in a May 15, 1805, journal entry during his expedition with William Clark, uses the adjective in reporting “a small species of geese which differ considerably from the common canadian goose.”

And The American Universal Geography (1812), in listing birds of the United States, says, “The Canadian goose (Anser canadensis) is a bird of passage, and gregarious.”

In The Birds of America (1827-39), John James Audubon uses the attributive noun: “The Canada Geese are fond of returning regularly to the place which they have chosen for resting in, and this they continue to do until they find themselves greatly molested while there.”

And in Ornithological Biography (1835), Audubon describes a “curious mode of shooting the Canada Goose I have practised with much success.”

Audubon says he sinks a hogshead in the sand, covers himself with brushwood, “and in this concealment I have killed several at a shot; but the stratagem answers for only a few nights in the season.”

We’ve come across several theories about why English speakers generally prefer the term “Canada goose” to “Canadian goose.”

The silliest one is that John Canada—described variously as an ornithologist, a taxonomist, or a taxidermist—named the bird for himself. We haven’t found a shred of evidence to confirm this or that such a person even existed.

Another theory is that English speakers use the attributive noun “Canada” for the goose because canadensis  in the scientific Latin name means “of Canada.”

But the ornithologist and zoologist Richard C. Banks, quoted on snopes.com, has said “the English name of a species is not directly related to the scientific name or its ending.”

Banks says the common names of birds probably develop simply because the people who use them prefer them to the alternatives.

In his book Obsolete English Names of North American Birds and Their Modern Equivalents (1988), Banks notes that the Canada goose has had many other names, including “tundra goose,” “common wild goose,” and “ring-neck goose.”

Pat Schwieterman, a contributor to the Language Log, notes that the adjectival form is typically used when the names of countries modify nouns, while the attributive form is generally used when the names of states or provinces modify nouns.

He cites such avian adjectival examples as the American crow, the Cuban parakeet, and the Jamaican lizard cuckoo, along with attributive examples like the California condor, the Arizona woodpecker, and the Louisiana waterthrush.

We can cite many other examples, notably the American robin, as well as many exceptions, including the subject of today’s post: the Canada goose.

Finally, Laura Erickson, who writes and broadcasts about birds, says on the mailing list of the Minnesota Ornithologists’ Union that the Canada goose “gets its name from its breeding range.”

“It is of course perfectly acceptable and correct to call one a ‘Canadian goose’ if you see its passport or some other verification of its citizenship,” she adds.

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Q: A lot of style guides distinguish between “compare to” and “compare with,” but the Oxford Dictionaries website says this distinction is rarely seen in practice. They’ve always seemed interchangeable to me. What do you think?

A: The usage note that got your attention—in the US edition of Oxford Dictionaries—describes the traditional rule, then adds: “In practice, however, this distinction is rarely maintained.”

The British edition of Oxford Dictionaries goes even further, saying “the distinction is not clear-cut,” and the two phrases can be used interchangeably.

The traditional rule can be summarized this way: “Compare with” is used to examine for similarities and differences (often between things of the same type). “Compare to” is used to show a similarity (often between things that are quite different).

It’s possible that the Oxford editors are overstating the case. Yes, English is losing the distinction between “compare with” and “compare to,” but it’s not quite lost yet.

It may be gone, however, by the time Pat publishes a fourth edition of her grammar book Woe Is I. She included the old dictum in the third edition, but played it down: “Don’t lose sleep over this one. The difference is subtle.”

In fact, the distinction is so subtle that some modern usage guides and standard dictionaries disagree on exactly how “compare with” and “compare to” differ.

Fowler’s Modern English Usage (rev. 3rd ed.), for example, says both “compare with” and “compare to” are normally used to examine for similarities and differences, while Garner’s Modern American Usage (3rd ed.) says only “compare with” is used this way.

However, the two usage guides agree that “compare to” is generally used to point out similarities.

The Collins English Dictionary, generally following the traditional rule, says “compare” is usually followed by “to” when showing similarities, and by “with” when showing similarities or differences.

The online Merriam Webster’s Unabridged says either preposition can be used for either purpose.

We’ve checked eight standard dictionaries in all, and no two are alike in describing the use of “compare with” and “compare to.”

Confused? You’re not alone. Then is anybody paying attention to the traditional rule? Well, sort of.

Merriam-Webster’s Dictionary of English Usage examined modern examples of how “compare with” and “compare to” were actually used by writers.

The usage guide found that the old rule “is more often observed than not” when “compare” is used in the sense of “liken”—that is, to show similarities. Among the examples cited are these:

“The deeds of modern heroes are constantly compared to those of Greek and Roman epic and legend” (Gilbert Highet, The Classical Tradition, 1949).

“They were blue, but a blue so deep that I can only compare it to the color of the night sky” (Robert Penn Warren, Partisan Review, fall 1944).

“Though to be compared to Homer passed the time pleasantly” (William Butler Yeats, The Trembling of the Veil, 1922).

However, the usage guide did find some literary examples in which “with” was used in the “liken” sense.

In a Feb. 2, 1953, citation from the New Republic, for instance, Stephen Spender discusses a poem in which “images seen are compared with sounds heard.”

The editors of the M-W usage guide found “more variation in practice” when “compare” was used in the sense of “examine so as to discover resemblances and differences.”

“Our citations show that more writers use with (as the basic rule prescribes) than to, but the numerical difference between the majority and the minority is not as great as for the ‘liken’ sense,” they wrote.

The usage guide includes examples of both “compare with” and “compare to” used in the “examine” sense. Here are two of them:

“But he is at least a forerunner of what is now called Humanism, of which I must here say something, if only to contrast it and compare it with the Aestheticism of Pater” (T. S. Eliot, Selected Essays, 1932).

“Of five children two died in infancy and of the other three only Susana could be compared to her ancestors in fiber” (George Santayana, Persons and Places, 1944).

The M-W guide adds that it’s often difficult to tell whether a writer is using “compare” in the “examine” or the “liken” sense. It cites the Santayana quote above as an example of such ambiguity.

Yes, it’s a fine mess, all right. You asked us for our opinion, and here it is.

First of all, it’s not something to hyperventilate over. Although a lot of good writers follow the traditional rule, others don’t.

For the time being, we’d recommend using “to” if “liken” could be substituted for “compare.” Otherwise, let your ear decide—use whichever  preposition sounds better and seems more natural to you: “to” or “with.”

If you’re interested, we discussed the history of “compare” on the blog a few years ago in a post about words of equivalence.

English got the verb from French, but it ultimately comes from Latin, where comparare means “to pair together, couple, match, bring together,” according to the Oxford English Dictionary.

When it was first used in English writing in 1447, the OED says, “compare” was generally followed by “to” and meant “to speak of or represent as similar; to liken.”

Here’s an example from Thomas Starkey, written sometime before 1538: “The one may … be comparyd to the body & the other to the soule.”

The OED says a broader sense emerged in the early 1500s: “to mark or point out the similarities and differences of (two or more things); to bring or place together (actually or mentally) for the purpose of noting the similarities and differences.”

Historically, the OED citations show, “compare” has been accompanied by either “with” or “to” when used in the sense of marking similarities and differences. We’ll end with examples using each preposition.

“Whats … the world it self … if compared to the least visible Star in the Firmament?” (From Robert Burton’s The Anatomy of Melancholy, which first appeared in 1621 though there were later editions.)

“To compare Great things with small.” (From John Milton’s Paradise Lost, 1667.)

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Q: I may be missing a whole category of similar words, but “fast” is the only verb I can think of that requires NOT doing something in order to be doing it. Do you know of any others? Also, it’s odd that something moving quickly is “fast” while something fixed in place is “fast” too–utterly different etymology, no doubt.

A: Strange as it may seem, those three widely different meanings of “fast” are derived from the same ultimate source, firmuz, a reconstructed ancient Germanic root that meant “firm,” according to John Ayto’s Dictionary of Word Origins.

“That underlying sense persists in various contexts, such as ‘hold fast’ and ‘fast friend,’ ” Ayto writes.

He says the sense of eating no food “originated in the notion of ‘holding fast to a particular observance’—specifically abstinence from food.”

Ayto adds that the use of “fast” to mean quick probably comes from “an underlying connotation of ‘extremity’ or ‘severity’ ” in the early “firm” sense of “fast.”

When “fast” first showed up in Old English, it was both an adverb meaning firmly or securely and an adjective meaning “firmly fixed in its place; not easily moved or shaken; settled, stable,” according to the Oxford English Dictionary.

The earliest examples in the OED are from King Alfred’s translation (circa 888) of a work by Boethius, De Consolatione Philosophiae (Consolation of Philosophy). We’ll quote the citations and translate the Old English.

adverb: “Swiþe fæste to somne gelimed” (“Exceedingly fast and joined together”).

adjective: “Se þe wille fæst hus timbrian ne sceall he hit no settan upon þone hehstan cnol” (“He who wants his house to be fast must not build it on the highest hill”).

The verb “fast,” meaning “to abstain from food, or to restrict oneself to a meagre diet, either as a religious observance or as a ceremonial expression of grief,” showed up less than a century later, according to Oxford.

The dictionary’s earliest citation for the verb is from The Blickling Homilies (971), a collection of Anglo-Saxon religious commentaries: “Þæt ure Drihten æfter þæm fulwihte fæstte” (“After our Lord was baptized, he fasted”).

Some two centuries later, “fast” showed up in its speedy sense as an adverb meaning “quickly, rapidly, swiftly,” according to the OED.

In the dictionary’s earliest citation, from Layamon’s Brut, a Middle English poem written sometime before 1200, “fast” is spelled “veste”:

“He warnede alle his cnihtes … & fusden an veste” (“He warned all his knights … and set sail fast”).

In the early 14th century, “fast” appeared as an adjective meaning quick or swift. The first Oxford citation is from Cursor Mundi, an anonymous Middle English poem written sometime before 1325:

“Sampson … gaue a-braid sa fers and fast, þat all þe bandes of him brast” (“Samson made a sudden movement, fierce and fast, so that all his bindings burst”).

The Middle English phrase “fers and fast” might have been translated as “fast and furious,” an expression that had lost its Samsonian fierceness when it showed up in Modern English in the 18th century.

The OED’s first citation for the phrase, which is defined as “eager, uproarious, noisy,” is from “Tam o’ Shanter,” a 1790 poem by Robert Burns: “The mirth and fun grew fast and furious.”

Getting back to your question, you’re right that the verb “fast,” meaning to refrain from eating, is an odd bird.

Offhand, we can think of at least one other verb that requires, as you put it, not doing something in order to be doing it: “abstain,” in the sense of refraining from drinking alcohol.

Of course “abstain” can also be used in a more general sense, as well as “avoid,” “cease,” “forgo,” “quit,” “renounce,” “spurn,” “stop,” and similar words. Some linguists refer to such terms as “avoidance words” or “words of rejection.”

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Q: What exactly does “existential” mean when used to modify such nouns as “threat” and  “crisis”?

A: On a literal level, the adjective “existential” means “of or pertaining to existence,” according to the Oxford English Dictionary.

So, for example, an “existential threat” would be a threat to existence—that is, to life. An “existential crisis” would be one in which existence itself is held in the balance.

On a personal level, someone facing an “existential crisis” might feel that existence has no purpose, that life is meaningless and perhaps not worth living.

You might say that Hamlet had an existential crisis when he cried, “To be, or not to be, that is the question.”

But “existential” often isn’t used literally, especially in news reports.

For instance, the term “existential struggle” has been used to describe what’s happening in urban design, art, jazz, shipping, and parenting. And Miley Cyrus reportedly had an “existential crisis” at seeing a photo of her teen-age self as Hannah Montana.

We often hear terrorism called an “existential threat,” one that has the country in an “existential struggle.” And recently an executive for a security firm told CNBC that cyber-hacking was “an existential threat to our society.”

It’s hard to see how some of these uses deserve the label “existential.” But many people now see the term as a handy adjective for conveying a sense of urgency or adding dramatic emphasis, usages that aren’t yet recognized by standard dictionaries.

Oxford Dictionaries online says “existential” has these meanings: (1) of or relating to existence, (2) concerning existence as seen through the philosophy of existentialism (more on this later), (3) of a proposition in logic that affirms or implies existence (ditto).

The American Heritage Dictionary of the English Language (5th ed.) adds a couple of other meanings: (4) based on experience and (5) relating to a linguistic construction that indicates existence, such as “there’s” in “Waiter, there’s a fly in my soup.”

The word “existential” came into English by way of two medieval Latin terms, the adjective existentialis and the noun existentia (“existence”).

It was first recorded in writing, according to the OED, in Genuine Remains (1693), the posthumously published papers of Dr. Thomas Barlow, Lord Bishop of Lincoln.

In an essay written when he was a Master’s candidate at Oxford (this would have been in 1632 or ’33), Barlow discussed the question, “Whether it is better not to be, than to be Miserable.” (Perhaps he’d seen Hamlet on the stage.)

In one passage, he contrasts the two states: “the enjoying the good of existence, though accompanied with misery,” versus “annihilation: and consequently the being deprived of that existential good.” (We’ve expanded on the OED citation.)

Barlow wrote his exercise in Latin, so “existential” didn’t appear in English until his works were translated in 1693.

“Existential” had that bare meaning—having to do with existence—for quite a while.

Samuel Taylor Coleridge, according to OED citations, used it the same way in a weekly paper he edited, the Friend (1809 or ’10): “The essential cause of fiendish guilt, when it makes itself existential and peripheric.”

But later Coleridge used the term in a new way in the field of logic, according to the OED. He used “existential” to describe a proposition that expresses the fact of existence.

Here’s the earliest known use of this sense of the word, from a lecture Coleridge wrote in 1819:

“This necessarily led men … to doubt whether a logical truth was necessarily an existencial one, i.e. whether because a thing was logically consistent it must be necessarily existent.”

The word also has a specific meaning in philosophy, where it has a doctrine all to itself—existentialism.

As the OED explains, existentialism “concentrates on the existence of the individual, who, being free and responsible, is held to be what he makes himself by the self-development of his essence through acts of the will.”

The existential or existentialist movement began principally with the Danish writer Søren Kierkegaard in the 1840s.

But, as the OED says, “it was developed in the 20th c. chiefly in continental Europe by Jaspers, Sartre, and others, and the English word existentialism answers to German existentialismus, which is first recorded in 1919.”

It would be interesting to hear what Kierkegaard or Sartre would say about the “existential struggle” to be a good parent.

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Q: A Vivian Maier image from Chicago in the 1950s shows a sign with this message: ’IFEN YA’ BRUNG A GUN / LEAVE IT OUTSIDE THE DOOR / ’CAUSE SHOOTIN’ OUR FRIENDS / JUST MAKES US SORE! Can you explain ’IFEN? It looks like a contraction but I can’t think what’s missing.

A: The Dictionary of American Regional English speculates that the “iffen” spelling represents the pronunciation of “if and.”

DARE says this regional conjunction, heard chiefly in the South and South Midland, has also been spelled “effen,” “ef’n,” “if-and,” “if’n,” “ifnd,” and “ifnt.” It says “iffen” is similar in meaning to “if” or “if so be.”

The earliest example of the usage in the regional dictionary is from a 1909 issue of the South Atlantic Quarterly in Durham, NC: “Ef’n yo’ don’ lak de tas’e er yo’ bittle [=victuals], dash um ’way an’ be done!”

(DARE describes the language in this citation as Gullah, a Creole heard among African Americans living on the Sea Islands and along the Southeastern coast.)

However, the Oxford English Dictionary has a much earlier example of the usage from Henry Fielding’s 1749 novel Tom Jones: “If an she be a Rebel.”

(The OED cites the quotation in discussing the substitution of “an” for the conjunction “and,” which it describes as a Scottish or Northern English regionalism.)

Here’s another DARE example of the usage, from Marjorie Kinnan Rawlings’s novel The Yearling (1938): “Iffen you’ll learn yourself to work, you’ll be your Pa all over.”

The regional dictionary’s most recent example of the usage, from Bobbie Ann Mason’s novel Feather Crowns (1993), supports the idea that the “iffen” spelling simply represents the pronunciation of “if and”:

“Well, I thought it might be, and I thought I’d tell you if-and you didn’t know.”

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Q: I often use the phrase “brag on” when I speak of praising or boasting about my friends. One of those friends feels “brag on” is too slangy. What are your thoughts?

A: Your use of “brag on” as a verb phrase meaning to praise or to boast about isn’t slang, but it’s considered an American regionalism.

In standard usage, “brag” is paired with a different preposition—“about” or “of”—and it’s usually used in the sense of boasting, not praising.

The Dictionary of American Regional English combines both senses in its definition of “brag on” as “to praise or boast about someone or something.”

Today the usage is chiefly heard in midland America, according to DARE, but in the 19th century it was also heard on the East Coast.

The dictionary has examples ranging as far back as this one from Massachusetts in 1850: “It would have been somethin’ to brag on, I know.” In that citation, “brag on” clearly means the same as “brag about” or “boast about.”

DARE also has examples from other parts of the Eastern United States, including New York, Baltimore, and South Carolina.

But most of the examples recorded since the 1940s are from farther west: Kentucky, Missouri, Ohio, Oklahoma, Tennessee, Texas, and Louisiana. All these speakers use “brag on” the way you do, meaning either to boast about or to praise.

Here are a few of the examples: “(He) brags on himself” … “He bragged on how big and how pretty my horses were” … “I bragged on all the kids and dogs and he invited me in.”

The Oxford English Dictionary defines “brag” as “to vaunt, talk boastfully, boast oneself,” a usage first recorded in 1377.

When “brag” is followed by a preposition, the OED says, it’s generally “about” or “of.” In earlier times, though, the prepositions “in” and “on” were occasionally used with “brag,” according to the dictionary.

The OED, which describes the use of “brag in” and “brag on” as obsolete, doesn’t mention the regional American usage.

A sense of “brag” that arose in the 17th century—meaning “to declare or assert boastfully, to boast”—doesn’t need a preposition. It’s often followed by a clause introduced by “that,” according to Oxford citations.

Here’s an early example: “The verie meanest … bragged that they had bathed their hands in the bloud of a Lutheran” (from a 1631 edition of John Foxe’s Actes & Monuments).

Before we close, we can’t resist mentioning an etymological curiosity. No one has ever figured out the origin of “brag,” which dates back to around 1300 in one form or another (it’s been an adjective, an adverb, a noun, and a verb).

French has some similar words but they weren’t recorded until the 1500s, so French probably got braguer (to brag) from English rather than vice versa.

However, as the OED notes, a couple of 16th-century English derivatives, “braggart” and “braggery,” may have been borrowed from the French bragard  and braguerie.

In case you’re tempted to suggest that the Italians got there first with braggadocio, that’s a great suggestion but it’s not true. “Braggadocio” is an English word, a mock-Italian invention of the poet Edmund Spenser.

The story, as described in the Chambers Dictionary of Etymology, is that in The Faerie Queene (1590), Spenser combined “brag” with the Italian suffix -occhio to form the name of a character who personified boastfulness.

Spenser spelled the name “Braggadocchio,” and no doubt intended the end to be pronounced as in Italian—“kyo.” Today “braggadocio” is spelled, and pronounced, as if  it ended in “sheeo” or “sho.”

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Q: Have you done a piece on the blog about why we “pay attention” rather than “give attention” or, as the French say, “do attention”?

A: No, we haven’t explored this yet, so thanks for the suggestion.

You’re right that the verb phrase “pay attention” is more common and idiomatic than “give attention” when the speaker means “be attentive.” However, we can “give” someone our attention as well as “pay” attention to someone.

But getting back to your question, “paying” doesn’t always imply money changing hands.

The verb “pay,” according to the Oxford English Dictionary, has long meant “to render, bestow, or give,” and what’s bestowed can be attention, a compliment, even one’s allegiance or homage, to mention just a few examples.

For instance, you can “pay your respects,” “pay a compliment,” “pay heed” to advice, and “pay a visit.” In times gone by, a suitor would “pay his addresses” to a young lady. And she might either “pay attention” or “pay him no mind.”

These citations from the OED illustrate how “pay” has been used in this way over the centuries.

1600: “Not paying mee a welcome” (from Shakespeare’s A Midsummer Night’s Dream).

1667: “You deserve wonder, and they pay but praise” (from a poem by the Earl of Orrery).

1711: “After having paid their Respects to Sir Roger” (Joseph Addison in the Spectator).

1711: “Let us pay Visits, but never see one another” (Richard Steele in the Spectator).

1724: “many Honours were paid to the worst of Princes” (from a translation of an epistle by Pliny the Younger).

1766: “Farmer Williams … had paid her his addresses” (Oliver Goldsmith’s novel The Vicar of Wakefield).

1792: “the privileges of friendship, or the momentary homage which the heart pays to virtue.” (Mary Wollstonecraft’s A Vindication of the Rights of Woman).

1796: “The Gentlemen paid her many compliments” (Eliza Parsons’s novel The Mysterious Warning).

1847: “Miss Murray was gone in the carriage with her mamma to pay some morning calls” (Anne Brontë’s novel Agnes Grey).

1866: “Too little attention being paid to the progress of opinion” (The Reign of Law, by the Duke of Argyll).

1882: “They paid little heed to the sermon” (The Revolt of Man, by Walter Besant).

1939: “ ‘Pay her no mind, Moses,’ Jethro said, dropping into the vernacular” (Zora Neale Hurston’s novel Moses, Man of the Mountain).

English acquired the verb “pay” in the early 1200s by way of Anglo-Norman and Old French (it was paiier or paier in Old French), according to the OED.

The Old French verb meant, among other things, “to be reconciled to someone,” Oxford says, reflecting its classical Latin ancestor pacare (to appease or pacify), derived from pax (peace).

As the Chambers Dictionary of Etymology explains, “The meaning in Latin of pacify or satisfy developed through Medieval Latin into that of pay a creditor, and so to pay, generally, in the Romance languages.”

Some of the earliest meanings of “pay” in English are obsolete today—including to pacify, or to be pleasing or satisfactory to someone.

But senses relating to handing over money—or whatever is figuratively owed to someone—are just as old, and of course they’re still with us.

In modern English, “pay” is also used with adverbs in such phrasal verbs as “pay up,” “pay over,” “pay down,” “pay in,” and “pay out” (in speaking of a line or rope as well as money).

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