Radio Voz d'Europúq - Un Voz por Un Europú

Dublin. I dag sontiv creatúr stazon d'radioq "Voz d'Europúq" por totali populi d'Europúq - STAY TUNED!

Por mori informazoni on Radio "Voz d'Europúq", "Jurnal d'Europúq" et Europún email: europun@gmail.com or mrkunlovevn@gmail.com, con-vil-ut!

Ni landi, ni culturi, ni populi et ni animali d'Europúq

Na top d'montoq europúz et ni separati culturi d'landiq europúz et ni separati animali europúz d'maroq et ni populi europúz in separati landi d'Europúq

Dikzonar:
Na top - The top, peak
Na mont - The mountain
separat - separate
Na cultur - The culture
Na land - The country, land
N'animal - The animal
Na mar - The sea
Na popul - The people, person
Europú - Europe
europúz - European

Por mori informazoni on Europún email: europun@gmail.com or mrkunlovevn@gmail.com, con-vil-ca'ut!

Ni endi/fini d’vordoq –úr, –or, –us et –ist, -isto, -ista

€ N’aktúr, n’aktor et ni aktusi, na frisúr, na frisor et ni frisusi, na solist, na solisto et ni solistas, n’artist, n’artisto et ni artistas

~ Nak-ti:r, nak-tor e ni nak-tu-si, na fri-si:r, na fri-sor e ni fri-su-si, na so-list, na so-lis-to e ni so-lis-tas, nar-tist, nar-tis-to e ni ar-tis-tas

EN The actor (n.), the actor (m.) and the actresses, the barber/coiffeur/hairdresser (n.), the barber/coiffeur/hairdresser (m.) and the coiffeurs/hairdressers (f.), the solist (n.), the solist (m.) and the solists (f.), the artist (n.), the artist (n.) and the artists (f.)

DE Der Schauspieler (n.), der Schauspieler (m.) und die Schauspielerinnen, der Friseur (n.), der Frisör (m.) und die Friseusinnen, der Solist (n.), der Solist (m.) und die Solistinnen (f.), der Artist/Künstler (n.), der Artist/Künstler (m.) und die Artistinnen/Künstlerinnen

FR Acteur (n.), acteur (m.), actrice, coiffeur (n.), coiffeur (m.), coiffeuse, soliste (n.), soliste (m.), soliste (f.), artiste (n.), artiste (m.), artiste (f.)

Dikzonar:
Na end - The end
Na fin - The end
N’aktúr - The actor (n.)
N’aktor - The actor (m.)
N'aktus - The actress
Na frisúr/barbúr/coifúr - The barber/coiffeur/hairdresser (n.)
Na frisor/barbor/coifor - The barber/coiffeur/hairdresser (m.)
Na frisus/barbus/coifus - The barber/coiffeur/hairdresser (f.)
Na solist - The solist (n.)
Na solisto - The solist (m.)
Na solista - The solist (f.)
N’artist - The artist (n.)
N’artisto - The artist (m.)
N'artista - The artist (f.)

Por mori informazoni on Europún email: europun@gmail.com or mrkunlovevn@gmail.com, con-vil-ca'ut!

Ni suffixi –ú, -ún, -úr et úz

€ Est/Sont visitúr na visitúr/visitor/ni visitusi pazent alt as tid/hori d’visitoq in hospital erúz
~ Est/Sont wi-si-ti:r na wi-si-ti:r/wi-si-tor/ni wi-si-tu-si pa-∫ent alt as tid/ho-ri d wi-si-tok in hos-pi-tal e-ri:∫
EN The visitor (n.)/visitor (m.)/visitors (f.) visit(s) the old patient during visiting time/hours in an Irish hospital
DE Der Besucher (n.)/der Besucher (m.)/die Besucherinnen besucht/en den alten Patienten während der Besuchszeit/Sprechstunden im irischen Krankenhaus

Dikzonar:
Visit – Visit
visitúr – to visit
Visitún - Visitor (n.)
Visitor - Male visitor
Visitus – Female visitor
Pazent – Patient
alt – old
Tid – Time
Hor – Hour
Hospital – Hospital
Erú - Éire/Ireland
erúz - irish

Por mori informazoni on Europún email: europun@gmail.com or mrkunlovevn@gmail.com, con-vil-ca'ut!

Plural: -i or -s? - Plural: -i or -s?

Dublin/Europú. Europún is based on Iorpún and other European languages such as German, English, French, Spanish, Latin, Italian and Nordic branches. For its Iorpún roots one would be tempted to use the suffix "-i" to describe the plural, i.e. flor - flower: na flor - ni flori. As the suffix "-s" is very popular among European languages but creates a slight misunderstanding in the English language (together with the Genetive) it would be best to think about the following solutions/soluzoni:

Plural: -s
=> flor - flower: Na flor - Ni flors
=> hus - house: Na hus - Ni hus
=> paradú - paradies: Na paradú - Ni paradús

Plural: -i
=> flor - flower: Na flor - Ni flori
=> hus - house: Na hus - Ni husi
=> paradú - paradies: Na paradú - Ni paradúi

Combined Plural: -s, -i et -si
=> flor - flower: Na flor - Ni flors or ni flori
=> hus - house: Na hus - Ni husi
=> paradú - paradies: Na paradú - Ni paradúsi

Genetive:
Na fem et na man d'husoq - The woman and the man of the house
Ni fems (or ni femi) et mans (or mani) d'husiq - The women and men of the houses

=> To achieve the most clarity within Europún one should incline to use the suffix "-i" or "-si" for the plural rather than the suffix "-s" to avoid misunderstanding with the Genetive plural "d' -iq"

Dikzonar:
Flor - Flower
Hus - House
Paradú - Paradies
Fem - Woman
Man - Man

Let us know what you think!

Por mori informazoni on Europún email: europun@gmail.com or mrkunlovevn@gmail.com, con-vil-ca'ut!

Buki or libari - Books or books?

Dublin/Europú. Due to the fact that for an European Unilang it is sometimes impossible to select or choose one particular term or appropriate word for a certain subject, act or attribute, Europún allows different words to reflect the same meaning.

=> Obviously the English word "book" seems pretty close to the German "Buch" (also the French "bouquin") so it would be easy to go for "buk" as an Europún expression. On the other hand the French word "livre" or Spanish "libro" has no connection with "buk" - whatsoever - so based on its Latin origin "liber" one could create "libar" as an Europún term

=> Therefore "buk" and "libar" are equally accepted in Europún!

Dikzonar:
Buk - Book, Buch, bouquin, livre, libro, liber
Libar - Book, Buch, bouquin, livre, libro, liber

Por mori informazoni on Europún email: europun@gmail.com or mrkunlovevn@gmail.com, con-vil-ca'ut!

Na portal et na hus - The door and the house

€ Na portal das husoq alt
~ Na portal das husok alt
EN The door of that old house
DE Die Tür jenes alten Hauses
FR La porte de cette vieille maison-là
LT Porta illius domus veteris

Na mur, na tur et na castal
€ Ni muri et ni turi d’castaloq alt in midal d’zidoq
~ Ni muri e ni turi d kastalok alt in midal d schidok
EN The walls and the towers of the old castle in the middle of the city
DE Die Mauern und Türme der alten Burg in der Mitte der Stadt

Dikzonar:
Na portal - The door
Na hus - The house
das - that
alt - old
Na mur - The wall
Na tur - The tower
Na castal - The castle
in - in
Na midal - The middle
Na zid - The city

Por mori informazoni on Europún email: europun@gmail.com or mrkunlovevn@gmail.com, con-vil-ca'ut!

Filologú - Philology

Philology, etymologically, is the love of words. It is most accurately defined as an affinity toward the learning of the backgrounds as well as the current usages of spoken or written methods of human communication. The commonality of any studied languages is more important than the origin or age, though those factors are important as well. The term originally meant a love (Greek Φιλος or philos) of (a) word (Greek λογος or logos). In a sense, to understand a language, philology seeks to understand the origins of that language, and so it is often defined as the study of ancient texts and languages, although this is a rather narrow view and is not entirely accurate.

In the academic traditions of several nations, a wide sense of the term "philology" describes the study of a language together with its literature and the historical and cultural contexts which are indispensable for an understanding of the literary works and other culturally significant texts. Philology thus comprises the study of the grammar, rhetoric, history, interpretation of authors, and critical traditions associated with a given language.

In its more restricted sense of "historical linguistics", philology was one of the 19th century's first scientific approaches to human language but gave way to the modern science of linguistics in the early 20th century due to the influence of Ferdinand de Saussure, who argued that the spoken language should have primacy. In the United States, the American Journal of Philology was founded in 1880 by Basil Lanneau Gildersleeve, a professor of Classics at Johns Hopkins University.

Most importantly, philology commends the ability to recognize the words of one language from the roots of another, by recognition of common (shared) roots and grammar. It is for this reason that someone who is fluent in Portuguese can, naturally and without training in the Spanish language, read a Spanish newspaper and know what is going on in the world. Although each word is not available, the total meaning is clearly apparent.

Por mori informazoni visit Wikipedia

Ni famili d'linguxi - The families of languages

Por mori informazoni on Europún email europun@gmail.com or mrkunlovevn@gmail.com, con-vil-ca'ut!

N'art d'Europúq: Na historú d'musiq clasiqal - The art of Europe: The history of classical music

History of European art music

Medieval (476 – 1400) Renaissance (1400 – 1600) Baroque (1600 – 1760) Classical (1730 – 1820) Romantic (1815 – 1910) 20th century (1900 – 2000) Contemporary classical music (1975 – present)

The Classical period in Western music occurred from about 1730 to 1820, despite considerable overlap at both ends with preceding and following periods, as is true for all musical eras. Although the term classical music is used as a blanket term meaning all kinds of music in this tradition, it can also occasionally mean this particular era within that tradition.

The Classical period falls between the Baroque and the Romantic periods. Probably the best known composers from this period are Wolfgang Amadeus Mozart, Joseph Haydn, and Ludwig van Beethoven, though other notable names include Muzio Clementi, Johann Ladislaus Dussek, Carl Philipp Emanuel Bach, and Christoph Willibald Gluck. Beethoven is also regarded either as a Romantic composer or a composer who was part of the transition to the Romantic; Franz Schubert is also something of a transitional figure. The period is sometimes referred to as Viennese Classic, since Mozart, Haydn, Beethoven, and Schubert all worked at some time in Vienna.

The Classical style as part of a larger artistic change

In the middle of the 18th century, Europe began to move to a new style in architecture, literature, and the arts generally, known as Classicism. While still tightly linked to the court culture and absolutism, with its formality and emphasis on order and hierarchy, the new style was also a cleaner style, one that favored clearer divisions between parts, brighter contrasts and colors, and simplicity rather than complexity. The remarkable development of ideas in "natural philosophy" had established itself in the public consciousness, with Newton's physics taken as a paradigm: structures should be well-founded in axioms, and articulated and orderly. This taste for structural clarity worked its way into the world of music as well, moving away from the layered polyphony of the Baroque period, and towards a style where a melody over a subordinate harmony – a combination called homophony – was preferred. This meant that playing of chords, even if they interrupted the melodic smoothness of a single part, became a much more prevalent feature of music, and this in turn made the tonal structure of works more audible. (See also counterpoint and harmony.)

The new style was also pushed forward by changes in the economic order and in social structure. As the 18th century progressed, the nobility more and more became the primary patrons of instrumental music, and there was a rise in the public taste for comic opera. This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups, and the reduction in the importance of the "continuo", the harmonic fill beneath the music, often played by several instruments. One way to trace this decline of the continuo and its figured chords is to examine the decline of the term "obbligato", meaning a mandatory instrumental part in a work of chamber music. In the Baroque world, additional instruments could be optionally added to the continuo; in the Classical world, all parts were noted specifically, though not always notated, as a matter of course, so the word "obbligato" became redundant. By 1800, the term was virtually extinct, as was the practice of conducting a work from the keyboard.

The changes in economic situation just noted also had the effect of altering the balance of availability and quality of musicians. While in the late Baroque a major composer would have the entire musical resources of a town to draw on, the forces available at a hunting lodge were smaller, and more fixed in their level of ability. This was a spur to having primarily simple parts to play, and in the case of a resident virtuoso group, a spur to writing spectacular, idiomatic parts for certain instruments, as in the case of the Mannheim orchestra. In addition, the appetite for a continual supply of new music, carried over from the Baroque, meant that works had to be performable with, at best, one rehearsal. Indeed, even after 1790 Mozart writes about "the rehearsal", to imply that his concerts would have only one.

Since polyphonic texture was no longer the focus of music, but rather a single melodic line with accompaniment, there was greater emphasis on notating that line for dynamics and phrasing. The simplification of texture made such instrumental detail more important, and also made the use of characteristic rhythms, such as attention-getting opening fanfares, the funeral march rhythm, or the minuet genre, more important in establishing and unifying the tone of a single movement.

This led to the Classical style's gradual breaking with the Baroque habit of making each movement of music devoted to a single "affect" or emotion. Instead, it became the style to establish contrasts between sections within movements, giving each its own emotional coloring, using a range of techniques: opposition of major and minor; strident rhythmic themes in opposition to longer, more song-like themes; and especially, making movement between different harmonic areas the principal means of creating dramatic contrast and unity. Transitional episodes became more and more important, as occasions of surprise and delight. Consequently composers and musicians began to pay more attention to these, highlighting their arrival, and making the signs that pointed to them, on one hand, more audible, and on the other hand, more the subject of "play" and subversion – that is, composers more and more created false expectations, only to have the music skitter off in a different direction.

Por mori informazoni visit Wikipedia

Por mori informazoni on Europún email europun@gmail.com or mrkunlovevn@gmail.com, con-vil-ca'ut!

Ni avantazi d’Europúnoq – The advantages of Europún Part I

Ni artikali: Na, Ni et Un
Na/Ni: The definite articles "Na" and "Ni" derive from the Irish articles “An” (sgl.) and “Na” (pl.). In Europún “Na” means “the” (sgl.) and “Ni” “the” (pl.). There is no distinction between f, m and n, i.e. na fem – the woman, ni femi – the women, na patar – the father, ni patari – the fathers, na strat – the street and ni strati – the streets.

Un: The indefinite article is “Un” and there is no distinction between f, m and n, i.e. un fem – a (one) woman, un patar – a (one) father and un strat – a (one) street.


Ni casi d’Europúnoq

Nominativ
Garden: Un gan - Na gan – Ni gani
Animal: Un animal - N’animal – Ni animali
Butter: Un bur – Na bur – Ni buri
Car: Un car - Du cari

Genetiv (d’ oq/-iq)
Na flor d’alpoq (sgl.)
Ni colori d’fiziq (pl.)

Dativ (i.e. con, por et en)
Con vin/vini
Por popul/populi
En lingux/linguxi

Akusativ (t’)
Est fresúr na cat t’rat – Sont fresúr ni cati t’rati
Est esúr na uman t’fud – Sont esúr ni umani t’fudi

Lokativ
I faz/fazi
In automobil/automobili (“In” only used before “a-, e-, i-, o- and u-“ words)
In hus/husi (“In” only used before “h-“ words, vive la France :-)

Temporativ
Ay zabad – Ay zabadi
As tid – As tidi

Singular et Plural

Nominativ (-i):
As most of the words in Europún end with a consonant it is easy to add the plural suffix –i:
Un/Na stat – Ni stati
Un/N’akv – Ni akvi
But: Un taksi/na taksi - ni taksi

Genetiv (-eq, -iq or –qi):
Ni tabali d’bareq (sgl.)
Ni vali d’landiq (pl.)
Ni banqi d’parq (sgl.) et ni portali d’parqi (pl.)
Ni gani d’paradúqi (pl.)

Dativ/Akusativ/Lokativ/Temporativ (-i)
D: Con matar – Con matari
A: T’castal – T’castali
L: I zatox – I zatoxi
T: Ay tid d’soloq – Ay tidi d’soloq


Pronounciation
Europún allows the speaker to pronounce a word in a way that is familiar to her/his own language (but to keep a unique spelling at the same time), i.e. Na faz – The face:
English: Na feıs
German: Na fa∫
French: Na fas


C, K et Q
C is the K in the beginning: con-vil-ca’ut!
K is the K in the middle: n’akt (except Genetiv plural, i.e. ni pagi d’buqi)
Q is the K in the end: na Iraq

Reason: The “K” sound is not equally represented in the European languages. Therefore a combination is needed to reflect the varieties of the “K” sound so different European language groups find it easier to accept Europún spelling.


Ni jokari - The jokers

“Z”
Pronounced as “SH” (IPA "∫") it allows the speaker to use it as a soft “SH”, “TS” or even “S” in all its variety, i.e. na zabad, na zatox, na danz.

“Ú”
Pronounced as “EE” (IPA "I:") it is replacing “-Y” in English, “-IE” in German and French, i.e. n’apatú, na farmazú.

„X“
Pronounced as „CH“ (IPA "X") as in „Loch“ it allows the speaker to change the sound „CH“ to „K“ or “KS”, i.e. na monarxú, na export/eksport, na taxi/taksi (ni taxi/taksi pl.):
English: The monarchy, the export, the taxi
German: Die Monarchie, der Export, das Taxi
French: La monarchie, l’export, le taxi


Dikzonar:
N'avantaz - The advantage
N'artikal - The article
Na - The (sgl.)
Ni - The (pl.)
Un - A, an, one
Na fem - The woman
Na patar - The father
Na strat - The street

Na cas - The case
Nominativ - The subject case
Na gan - The garden
N'animal - The animal
Na bur - The butter
Na car - The car

Genetiv - The
Na flor d'alpeq - The flower of the alps
Ni colori d'fiziq - The colours of fish(es)

Dativ - The
con - with
Na vin - The wine
por - for
Na popul - The people
en - in (language)
Na lingux - The language

Akusativ - The object case
est fresúr - eat (only with animals)
Na cat - The cat
Na rat - The rat
est esúr - eat (only with humans)
Na fud - The food

Lokativ - The place case
i/in - in
Na faz - The face
N'automobil - The automobile
Na hus - The house

Temporativ - The time case
ay - in, at, on (in connection with time)
Na zabad - The Sabbath
as - during
Na tid - The time

Singular et Plural - Singular and Plural
Na stat - The state
N'akv - The water
Na taksi - The taxi
Na tabal - The table
Na bar - The bar
Na val - The valley
Na land - The land, country
Na banq - The bank
Na parq - the parq
Na portal - The portal
Na paradú - The paradies
Na matar - The mother
Na castal - The castle
Na zatox - The chateaux
Na sol - The sun

C, K et Q - C, K and Q
con-vil-ca'ut! - Please! (with-will-yours!)
N'akt - The act
Na pag - The page
Na buq - The book
Na Iraq - The Iraq

Na jokar - The joker
Na danz - The dance
N'apatú - The apathy
Na farmazú - The pharmacy
Na monarxú - The monarchy
Na eksport - The export

Por mori informazoni on Europún email europun@gmail.com or mrkunlovevn@gmail.com, con-vil-ca'ut!

Na Jurnal d'Europúq

Dublin/Europú. I dag estam creatúr t'jurnal con nom "Jurnal d'Europúq" (JE) en Europún por totali populi d'Europúq.

Por mori informazoni on Europún or JE visit jurnaldeuropuq.blogspot.com or email europun@gmail.com or mrkunlovevn@gmail.com, con-vil-ca'ut!

Etymologú – Na historú d’vordiq

€ I dag estam detektúr t’origi d’vordiq europúz
~ I dag äs-tam de-tek-tier t o-ri-gi d wor-dik eu-ro-piesch
EN Today I detect the origins of European words
DE Heute spüre ich die Ursprünge europäischer Wörter auf

Na etymologú d’vordi europúz:

Academy
1474, from L. academia, from Gk. Akademeia "grove of Akademos," a legendary Athenian of the Trojan War tales (his name apparently means "of a silent district"), whose estate, six stadia from Athens, was the enclosure where Plato taught his school. Sense broadened 16c. into any school or training place. Poetic form Academe first attested 1588 in sense of "academy;" 1849 with meaning "the world of universities and scholarship," from phrase the groves of Academe, translating Horace's silvas Academi; in this sense, Academia is recorded from 1956. Academic "relating to an academy" first recorded 1586; sense of "not leading to a decision" (like university debates or classroom legal exercises) is from 1886. Academy awards (1941) so called for their distributor, the Academy of Motion Picture Arts and Sciences.

Be
O.E. beon, beom, bion "be, exist, come to be, become," from P.Gmc. *beo-, *beu-. Roger Lass ("Old English") describes the verb as "a collection of semantically related paradigm fragments," while Weekley calls it "an accidental conglomeration from the different Old English dial[ect]s." It is the most irregular verb in Mod.E. and the most common. Collective in all Gmc. languages, it has eight different forms in Mod.E.: BE (infinitive, subjunctive, imperative), AM (present 1st person singular), ARE (present 2nd person singular and all plural), IS (present 3rd person singular), WAS (past 1st and 3rd persons singular), WERE (past 2nd person singular, all plural; subjunctive), BEING (progressive & present participle; gerund), BEEN (perfect participle). The modern verb represents the merger of two once-distinct verbs, the "b-root" represented by be and the am/was verb, which was itself a conglomerate. The "b-root" is from PIE base *bheu-, *bhu- "grow, come into being, become," and in addition to Eng. it yielded Ger. present first and second person sing. (bin, bist, from O.H.G. bim "I am," bist "thou art"), L. perf. tenses of esse (fui "I was," etc.), O.C.S. byti "be," Gk. phu- "become," O.Ir. bi'u "I am," Lith. bu'ti "to be," Rus. byt' "to be," etc. It is also behind Skt. bhavah "becoming," bhavati "becomes, happens," bhumih "earth, world." The paradigm in O.E. was:

	SING.	PL.
1st pres.	ic eom ic beo	we sind(on) we beoð
2nd pres.	þu eart þu bist	ge sind(on) ge beoð
3rd pres.	he is he bið	hie sind(on) hie beoð
1st pret.	ic wæs	we wæron
2nd pret.	þu wære	ge waeron
3rd pret.	heo wæs	hie wæron
1st pret. subj.	ic wære	we wæren
2nd pret. subj.	þu wære	ge wæren
3rd pret. subj.	Egcferð wære	hie wæren

The "b-root" had no past tense in O.E., but often served as future tense of am/was. In 13c. it took the place of the infinitive, participle and imperative forms of am/was. Later its plural forms (we beth, ye ben, they be) became standard in M.E. and it made inroads into the singular (I be, thou beest, he beth), but forms of are claimed this turf in the 1500s and replaced be in the plural. For the origin and evolution of the am/was branches of this tangle, see am and was. The phrase be-all and end all is from Shakespeare ("Macbeth" I.vii.5).

Be-
weak form of O.E. bi "by," probably cognate with second syllable of Gk. amphi, L. ambi and originally meaning "about." This sense naturally drifted into intensive (cf. bespatter "spatter about," therefore "spatter very much"). Be- can also be privative (cf. behead), causative, or have just about any sense required. The prefix was productive 16c.-17c. in forming useful words, many of which have not survived, e.g. bethwack "to thrash soundly" (1555), betongue "to assail in speech, to scold" (1639).

Etymology
1398, from Gk. etymologia, from etymon "true sense" (neut. of etymos "true," related to eteos "true") + logos "word." In classical times, of meanings; later, of histories. Latinized by Cicero as veriloquium.

European
1603, from L. Europa "Europe," from Gk. Europe, often explained as "broad face," from eurys "wide" + ops "face." Klein suggests a possible Sem. origin in Akkad. erebu "to go down, set" (in reference to the sun) which would parallel orient (q.v.).

Grammar
1176, gramarye, from O.Fr. grammaire "learning," especially Latin and philology, from L. grammatica, from Gk. grammatike tekhne "art of letters," with a sense of both philology and literature in the broadest sense, from gramma "letter," from stem of graphein "to draw or write." Restriction to "rules of language" is a post-classical development, but as this type of study was until 16c. limited to Latin, M.E. gramarye also came to mean "learning in general, knowledge peculiar to the learned classes" (c.1320), which included astrology and magic; hence the secondary meaning of "occult knowledge" (c.1470), which evolved in Scottish into glamour (q.v.). A grammar school (1387) was originally "a school in which the learned languages are grammatically taught" [Johnson, who also has grammaticaster "a mean verbal pedant"]. In U.S. (1860) the term was put to use in the graded system for "a school between primary and secondary, where English grammar is taught."

Have
O.E. habban "to own, possess," from P.Gmc. *khaf- (cf. O.N. hafa, O.S. hebbjan, O.Fris. habba, Ger. haben, Goth. haban "to have"), from PIE *kap- "to grasp" (see capable). Not related to L. habere, despite similarity in form and sense; the L. cognate is capere "seize." O.E. second pers. sing. pres. hæfst, third pers. sing. pres. hæfð became M.E. hast, hath, while O.E. -bb- became -v- in have. The p.p. had developed from O.E. gehæfd. Sense of "possess, have at one's disposal" (I have a book) is a shift from older languages, where the thing possessed was made the subject and the possessor took the dative case (e.g. L. est mihi liber "I have a book," lit. "there is to me a book"). Used as an auxiliary in O.E., too (esp. to form present perfect tense); the word has taken on more functions over time; Mod.Eng. he had better would have been O.E. him (dat.) wære betere. To have to for "must" (1579) is from sense of "possess as a duty or thing to be done" (O.E.). Have-not "poor person" first recorded 1836. Phrase have a nice day first attested 1971. You never had it so good (1946) was said to be the stock answer to any complaints about U.S. Army life. Phrase have (noun), will (verb) is from 1954, originally from comedian Bob Hope, in the form Have tux, will travel; Hope described it as typical of vaudevillians' ads in "Variety," indicating a willingness to perform anywhere, any time.

History
1390, "relation of incidents" (true or false), from O.Fr. historie, from L. historia "narrative, account, tale, story," from Gk. historia "a learning or knowing by inquiry, history, record, narrative," from historein "inquire," from histor "wise man, judge," from PIE *wid-tor-, from base *weid- "to know," lit. "to see" (see vision). Related to Gk. idein "to see," and to eidenai "to know." In M.E., not differentiated from story; sense of "record of past events" probably first attested 1485. Sense of "systematic account (without reference to time) of a set of natural phenomena" (1567) is now obs. except in natural history. What is historic (1669) is noted or celebrated in history; what is historical (1561) deals with history. Historian "writer of history in the higher sense," distinguished from a mere annalist or chronicler, is from 1531. The O.E. word was þeod-wita.

-hood
"state or condition of being," from O.E. -had "condition, position," cognate with Ger. -heit, Du. -heid, all from P.Gmc. *khaidus. Originally a free-standing word, cf. O.E. hed "position, dignity," O.N. heiðr "honor, dignity," Goth. haidus "manner;" it survives in Eng. only in this suffix.

Institute (v.)
c.1325, "to establish in office, appoint," from L. institutus, pp. of instituere "to set up," from in- "in" + statuere "establish, to cause to stand" (see statute). General sense of "set up, found, introduce" first attested 1483. The noun sense of "organization, society" is from 1828, borrowed from Fr. Institut national des Sciences et des Arts, established 1795 to replace the royal academies.

Institution
1551, "established law or practice," from O.Fr. institution, from L. institutionem (nom. institutio), noun of state from institutus (see institute). Meaning "establishment or organization for the promotion of some charity" is from 1707. Institutionalize "to put into institutional life" (usually depreciatory) is from 1905.

Originate (v.)
1653, probably a back-formation of origination (1647), from M.Fr. origination, from L. originationem (nom. originatio), from originem (see original). In first ref. it meant "to trace the origin of;" meaning "to bring into existence" is from 1657; intrans. sense of "to come into existence" is from 1775.

Original (adj.)
1315, from L. originalis, from originem (nom. origo) "beginning, source, birth," from oriri "to rise" (see orchestra). The first ref. is in original sin "innate depravity of man's nature," supposed to be inherited from Adam in consequence of the Fall. The noun, in sense of "original text," is attested from c.1385, from M.L. originale. Of photographs, films, sound recordings, etc., from 1918. Origin first recorded 1563. Originality is first attested 1742, probably after Fr. originalité.

School
"place of instruction," O.E. scol, from L. schola, from Gk. skhole "school, lecture, discussion," also "leisure, spare time," originally "a holding back, a keeping clear," from skhein "to get" + -ole by analogy with bole "a throw," stole "outfit," etc. The original notion is "leisure," which passed to "otiose discussion," then "place for such." The PIE base is *segh- "to hold, hold in one's power, to have" (see scheme). The L. word was widely borrowed, cf. O.Fr. escole, Fr. école, Sp. escuela, It. scuola, O.H.G. scuola, Ger. Schule, Swed. skola, Gael. sgiol, Welsh ysgol, Rus. shkola. Replaced O.E. larhus "lore house." Meaning "students attending a school" is attested from c.1300; sense of "school building" is first recorded c.1590. Sense of "people united by a general similarity of principles and methods" is from 1612; hence school of thought (1864). The verb is attested from 1573. School of hard knocks "rough experience in life" is recorded from 1912 (in George Ade); to tell tales out of school "betray damaging secrets" is from 1546. Schoolmarm is attested from 1831, U.S. colloquial; used figuratively for "patronizingly and priggishly instructing" from 1887.

Was
O.E. wesan, wæs, wæron 1st and 3rd person sing. of wesan "to remain," from P.Gmc. *wesanan (cf. O.S. wesan, O.N. vesa, O.Fris. wesa, M.Du. wesen, Du. wezen, O.H.G. wesen "being, existence," Goth. wisan "to be"), from PIE base *wes- "remain, abide, dwell" (cf. Skt. vasati "he dwells, stays;" cf. vestal). Wesan was a distinct verb in O.E., but it came to supply the past tense of am. This began to develop in P.Gmc., since it is also the case in Gothic and Old Norse. See be.

Were
O.E. wæron (past plural indicative of wesan) and wære (second person singular past indicative); see was. The forms illustrate Verner's Law (named for Danish linguist Karl Verner, 1875), which predicts the "s" to "z" sound shift, and rhotacism, which changed "z" to "r." Wast (second person sing.) was formed 1500s on analogy of be/beest, displacing were. An intermediate form, wert, was used in literature 17c.-18c., before were reclaimed the job.

Will (v.)
O.E. *willan, wyllan "to wish, desire, want" (past tense wolde), from P.Gmc. *welljan (cf. O.S. willian, O.N. vilja, O.Fris. willa, Du. willen, O.H.G. wellan, Ger. wollen, Goth. wiljan "to will, wish, desire," Goth. waljan "to choose"), from PIE *wel-/*wol- "be pleasing" (cf. Skt. vrnoti "chooses, prefers," varyah "to be chosen, eligible, excellent," varanam "choosing;" Avestan verenav- "to wish, will, choose;" Gk. elpis "hope;" L. volo, velle "to wish, will, desire;" O.C.S. voljo, voliti "to will," veljo, veleti "to command;" Lith. velyti "to wish, favor," pa-vel-mi "I will," viliuos "I hope;" Welsh gwell "better"). Cf. also O.E. wel "well," lit. "according to one's wish;" wela "well-being, riches." The use as a future auxiliary was already developing in O.E. The implication of intention or volition distinguishes it from shall, which expresses or implies obligation or necessity. Contracted forms, especially after pronouns, began to appear 16c., as in sheele for "she will." The form with an apostrophe is from 17c.

Will (n.)
O.E. will, willa, from P.Gmc. *weljon (cf. O.S. willio, O.N. vili, O.Fris. willa, Du. wil, O.H.G. willio, Ger. wille, Goth. wilja "will"), related to *willan "to wish" (see will (v.)). The meaning "written document expressing a person's wishes about disposition of property after death" is first recorded c.1380.

For more on etymologie please visit: www.etymonline.com

Dikzonar:
Akademú – Academy
Etymologú – Etymology
Europún – Eurpean, European Language
Gramar – Grammar
Historú – History
Institut – Institute
Orig - Origin
Skol – School

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