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Origin and history of tallowy

tallowy(adj.)

mid-15c., "having the properties of tallow;" by 1832 as "yellowish-white in color or complexion;" from tallow (n.) + -y (2).

Entries linking to tallowy

hard animal fat, especially as separated and used to make soap, candles, etc., mid-14c., taloue, talwgh, from a source (perhaps an unrecorded Old English word) cognate with Middle Low German talg "tallow," Middle Dutch talch, from Proto-Germanic *talga-, meaning perhaps originally "firm, compact material" (compare Gothic tulgus "firm, solid").

OED (1989) says related Scandinavian words probably are from continental Germanic. The English word is implied from late 13c. in surnames (Geoffrey le Talghmongere). Tallow-chandler "one who makes tallow candles" is recorded from c. 1400.

very common adjective suffix, "full of, covered with, or characterized by" the thing expressed by the noun, Middle English -i, from Old English -ig, from Proto-Germanic *-iga-, from PIE -(i)ko-, adjectival suffix, cognate with elements in Greek -ikos, Latin -icus (see -ic). Germanic cognates include Dutch, Danish, German -ig, Gothic -egs.

It was used from 13c. with verbs (drowsy, clingy), and by 15c. with other adjectives (crispy). Chiefly with monosyllables; with more than two the effect tends to become comedic.

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Variant forms in -y for short, common adjectives (vasty, hugy) helped poets after the loss of grammatically empty but metrically useful -e in late Middle English. Verse-writers adapted to -y forms, often artfully, as in Sackville's "The wide waste places, and the hugy plain." (and the huge plain would have been a metrical balk).

After Coleridge's criticism of it as archaic artifice, poets gave up stilly (Moore probably was last to make it work, with "Oft in the Stilly Night"), paly (which Keats and Coleridge himself had used) and the rest.

Jespersen ("Modern English Grammar," 1954) also lists bleaky (Dryden), bluey, greeny, and other color words, lanky, plumpy, stouty, and the slang rummy. Vasty survives, he writes, only in imitation of Shakespeare; cooly and moisty (Chaucer, hence Spenser) he regards as fully obsolete. But in a few cases he notes (haughty, dusky) they seem to have supplanted shorter forms.

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