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Borrowing The majority of the words used in modern English have been borrowed from other languages. Although most of our vocabulary comes from Latin and Greek (often by way of other European languages), English has borrowed words from more than 300 different languages around the world.

Clipping or Shortening Some new words are simply shortened forms of existing words

Neologisms or Creative Coinages Now and then, new products or processes inspire the creation of entirely new words.

Blends A blend (also called a portmanteau word) is a word formed by merging the sounds and meanings of two or more other words.

Conversion or Functional Shift New words are often formed by changing an existing word from one part of speech to another

Transfer of Proper Nouns Sometimes the names of people, places, and things become generalized vocabulary words.

Compounding A new word may also be created by combining two or more existing words

Imitation of Sounds Words are also created by onomatopoeia, naming things by imitating the sounds that are associated with them

If a word's etymology is not the same as its definition, why should we care at all about word histories? Well, for one thing, understanding how words have developed can teach us a great deal about our cultural history. In addition, studying the histories of familiar words can help us to deduce the meanings of unfamiliar words, thereby enriching our vocabularies. Finally, word stories are often both entertaining and thought provoking.

effect on politics was considerable and complex; while for much of the peak Romantic period it was associated with liberalism and radicalism, its long-term effect on the growth of nationalism was probably more significant

The movement validated intense emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially that which is experienced in confronting the sublimity of untamed nature and its picturesque qualities: both new aesthetic categories

r, and the distant in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape

made spontaneity a desirable characteristic

elevated folk art and ancient custom to a noble status

Romanticism embraced the exotic, the unfamiliar, and the distant in modes more authentic than Rococo chinoiserie, harnessing the power of the imagination to envision and to escape

argued for a "natural" epistemology of human activities, as conditioned by nature in the form of language and customary usag

the events of and ideologies that led to the French Revolution planted the seeds from which both Romanticism and the Counter-Enlightenment sprouted

vouched for the individual imagination as a critical authority allowed of freedom from classical notions of form in art

Romanticism assigned a high value to the achievements of 'heroic' individualists and artists, whose pioneering examples, it maintained, would raise the quality of society

In order to truly express these feelings, the content of the art must come from the imagination of the artist, with as little interference as possible from "artificial" rules dictating what a work should consist of

The importance the Romantics placed on untrammelled feeling is summed up in the remark of the German painter Caspar David Friedrich that "the artist's feeling is his law"

in the second half of the 19th century, "Realism" was offered as a polarized opposite to Romanticism

the influence of models from other works would impede the creator's own imagination, so originality was absolutely essential

The concept of the genius, or artist who was able to produce his own original work through this process of "creation from nothingness", is key to Romanticism, and to be derivative was the worst sin

romantic originality.

a strong belief and interest in the importance of nature. However this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone

In contrast to the usually very social art of the Enlightenment, Romantics were distrustful of the human world, and tended to believe that a close connection with nature was mentally and morally healthy

in literature, "much of romantic poetry invited the reader to identify the protagonists with the poets themselves"

by the middle of the 18th century "romantic" in English and romantique in French were both in common use as adjectives of praise for natural phenomena such as views and sunsets, in a sense close to modern English usage but without the implied sexual element

only from the 1820s that Romanticism certainly knew itself by its name, and in 1824 the Académie française took the wholly ineffective step of issuing a decree condemning it in literature

Romanticism is not easily defined, and the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought

Margaret Drabble described it in literature as taking place "roughly between 1770 and 1848"

In other fields and other countries the period denominated as Romantic can be considerably different; musical Romanticism, for example, is generally regarded as only having ceased as a major artistic force as late as 1910, but in an extreme extension the Four Last Songs of Richard Strauss are described stylistically as "Late Romantic" and were composed in 1946–48.[23] However in most fields the Romantic Period is said to be over by about 1850, or earlie

early period of the Romantic Era was a time of war, with the French Revolution (1789–1799) followed by the Napoleonic Wars until 1815. These wars, along with the political and social turmoil that went along with them, served as the background for Romanticism

t was part of the Counter-Enlightenment, a reaction against the Age of Enlightenment, is generally accepted

ts relationship to the French Revolution which began in 1789 in the very early stages of the period, is clearly important, but highly variable depending on geography and individual reactions

ost Romantics can be said to be broadly progressive in their views, but a considerable number always had, or developed, a wide range of conservative views

In philosophy and the history of ideas, Romanticism was seen by Isaiah Berlin as disrupting for over a century the classic Western traditions of rationality and the very idea of moral absolutes and agreed values, leading "to something like the melting away of the very notion of objective truth",[27] and hence not only to nationalism, but also fascism and totalitarianism

The painter, the poet, the composer do not hold up a mirror to nature, however ideal, but invent; they do not imitate (the doctrine of mimesis), but create not merely the means but the goals that they pursue; these goals represent the self-expression of the artist's own unique, inner vision, to set aside which in response to the demands of some "external" voice — church, state, public opinion, family friends, arbiters of taste — is an act of betrayal of what alone justifies their existence for those who are in any sense creative

An earlier definition comes from Charles Baudelaire: "Romanticism is precisely situated neither in choice of subject nor exact truth, but in the way of feeling."

The end of the Romantic era is marked in some areas by a new style of Realism, which affected literature, especially the novel and drama, painting, and even music, through Verismo opera

movement was led by France, with Balzac and Flaubert in literature and Courbet in painting; Stendhal and Goya were important precursors of Realism in their respective media

In literature, Romanticism found recurrent themes in the evocation or criticism of the past, the cult of "sensibility" with its emphasis on women and children, the heroic isolation of the artist or narrator, and respect for a new, wilder, untrammeled and "pure" nature

Joseph maintained that invention and imagination were the chief qualities of a poet

1774 novel The Sorrows of Young Werther had young men throughout Europe emulating its protagonist, a young artist with a very sensitive and passionate temperament

Germany was a multitude of small separate states, and Goethe's works would have a seminal influence in developing a unifying sense of nationalism

Important motifs in German Romanticism are travelling, nature, and Germanic myths

The later German Romanticism of, for example, E. T. A. Hoffmann's Der Sandmann (The Sandman), 1817, and Joseph Freiherr von Eichendorff's Das Marmorbild (The Marble Statue), 1819, was darker in its motifs and has gothic elements

The significance to Romanticism of childhood innocence, the importance of imagination, and racial theories all combined to give an unprecedented importance to folk literature, non-classical mythology and children's literature, above all in Germany

The first collection of Grimms' Fairy Tales by the Brothers Grimm was published in 1812

Unlike the much later work of Hans Christian Andersen, who was publishing his invented tales in Danish from 1835, these German works were at least mainly based on collected folk tales, and the Grimms remained true to the style of the telling in their early editions, though later rewriting some parts