1.Today's Words

1) bene-: a combining form occurring in loanwords from Latin, where it meant “well”: benediction.

eg. benefactor, benediction, benefice

2) hydro-: before vowels hydr-, word-forming element in compounds of Greek origin, meaning "water," from Greek hydro-, comb. form of hydor "water" .

eg. hydro-electric, hydropower, hydrocortisone

3)ma-:1823, childish or colloquial shortening of mamma. Means mother.

4)anti-:word-forming element meaning "against, opposed to, opposite of, instead," from Old French anti- and directly from Latin anti-, from Greek anti "against, opposite, instead of," also used as a prefix, from PIE *anti- "against," also "in front of" . It appears in some words in Middle English but was not commonly used in word formations until modern times.

eg. antipope, antimetabole, antitheist 

5)pro-: word-forming element meaning "forward, forth, toward the front" (as in proclaim, proceed); "beforehand, in advance" (prohibit, provide); "taking care of" (procure); "in place of, on behalf of" (proconsul, pronoun); from Latin pro "on behalf of, in place of, before, for, in exchange for, just as," which also was used as a prefix. Also in some cases from cognate Greek pro "before, in front of, sooner," which also was used in Greek as a prefix (as in problem). Both the Latin and Greek words are from PIE *pro- (source also of Sanskrit pra- "before, forward, forth;" Gothic faura "before," Old English fore "before, for, on account of," fram "forward, from;" Old Irish roar "enough"), extended form of root *per- (1) "forward, through" . The common modern sense "in favor of, favoring" (pro-independence, pro-fluoridation, pro-Soviet, etc.) was not in classical Latin and is attested in English from early 19c.

eg. prone, Procrustean, procrastination 

6)re-: word-forming element meaning "back to the original place; again, anew, once more," also with a sense of "undoing," c. 1200, from Old French and directly from Latin re- "again, back, anew, against," "Latin combining form conceivably from Indo-European *wret-, metathetical variant of *wert- "to turn" [Watkins]. Often merely intensive, and in many of the older borrowings from French and Latin the precise sense of re- is lost in secondary senses or weakened beyond recognition. OED writes that it is "impossible to attempt a complete record of all the forms resulting from its use," and adds that "The number of these is practically infinite ...." The Latin prefix became red- before vowels and h-

eg. redact, redeem, redolent 

2. Extra Words

1)prolific:1640s, from French prolifique (16c.), from Medieval Latin prolificus, from Latin proles "offspring" + root of facere "to make" . Latin proles is contracted from *pro-oles, from PIE *pro-al-, from *pro- "forth" + *al- "to grow, nourish" . Related: Prolifical (c. 1600).Prolific is in common use, but to make a satisfactory noun from it has passed the wit of man.

2)valor: c. 1300, "value, worth," from Old French valor, valour "valor, moral worth, merit, courage, virtue" (12c.), from Late Latin valorem (nominative valor) "value, worth" (in Medieval Latin "strength, valor"), from stem of Latin valere "be strong, be worth" . The meaning "courage" is first recorded 1580s, from Italian valore, from the same Late Latin word. (The Middle English word also had a sense of "worth or worthiness in respect of manly qualities").

3)megalomania: "delusions of greatness," 1866, from French mégalomanie; see megalo- + mania "madness."

4)understatement: the act or an instance of understating, or representing in a weak orrestrained 

way that is not borne out by the facts.

3.Hark! The Herald Angels Sing

"Hark! The Herald Angels Sing" is a Christmas carol that first appeared in 1739 in the collection Hymns and Sacred Poems, having been written byCharles Wesley. Wesley had requested and received slow and solemn music for his lyrics, not the joyful tune expected today. Moreover, Wesley's original opening couplet is "Hark! how all the welkin rings / Glory to the King of Kings".

The popular version is the result of alterations by various hands, notably by Wesley's co-worker George Whitefield who changed the opening couplet to the familiar one, and by Felix Mendelssohn. In 1840—a hundred years after the publication of Hymns and Sacred Poems—Mendelssohn composed a cantata to commemorate Johann Gutenberg's invention of the printing press, and it is music from this cantata, adapted by the English musician William H. Cummingsto fit the lyrics of “Hark! The Herald Angels Sing”, that propels the carol known today.

4.King James Version

The King James Version (KJV), also known as the Authorized Version(AV) or the King James Bible (KJB), is an English translation of the ChristianBible for the Church of England begun in 1604 and completed in 1611. Thebooks of the King James Version include the 39 books of the Old Testament, an intertestamental section containing 14 books of the Apocrypha, and the 27 books of the New Testament.

It was first printed by the King's Printer Robert Barker and was the third translation into English, approved by the English Church authorities. The first had been the Great Bible, commissioned in the reign of King Henry VIII (1535), and the second had been the Bishops' Bible of 1568. In January 1604,James VI and I convened the Hampton Court Conference, where a new English version was conceived in response to the problems of the earlier translations perceived by the Puritans, a faction of the Church of England. The translation is noted for its "majesty of style", and has been described as one of the most important books in English culture.

5.Jane Eyre

Jane Eyre /ˈɛər/ (originally published as Jane Eyre: An Autobiography) is a novel by English writer Charlotte Brontë. It was published on 16 October 1847, by Smith, Elder & Co. of London, England, under the pen name "Currer Bell." The first American edition was published the following year by Harper & Brothers of New York.

Primarily of the Bildungsroman genre, Jane Eyre follows the emotions and experiences of its eponymous heroine, including her growth to adulthood and her love for Mr. Rochester, the Byronic master of fictitious Thornfield Hall. In its internalisation of the action—the focus is on the gradual unfolding of Jane's moral and spiritual sensibility, and all the events are coloured by a heightened intensity that was previously the domain of poetry—Jane Eyre revolutionised the art of fiction. Charlotte Brontë has been called the 'first historian of the private consciousness' and the literary ancestor of writers like Joyce and Proust. The novel contains elements of social criticism, with a strong sense of morality at its core, but is nonetheless a novel many consider ahead of its time given the individualistic character of Jane and the novel's exploration of classism, sexuality, religion, and proto-feminism.

Once upon a midnight dreary, while I pondered, weak and weary, 

Over many a quaint and curious volume of forgotten lore— 

    While I nodded, nearly napping, suddenly there came a tapping, 

As of some one gently rapping, rapping at my chamber door. 

“’Tis some visitor,” I muttered, “tapping at my chamber door— 

            Only this and nothing more.” 

    Ah, distinctly I remember it was in the bleak December; 

And each separate dying ember wrought its ghost upon the floor. 

    Eagerly I wished the morrow;—vainly I had sought to borrow 

    From my books surcease of sorrow—sorrow for the lost Lenore— 

For the rare and radiant maiden whom the angels name Lenore— 

            Nameless here for evermore. 

    And the silken, sad, uncertain rustling of each purple curtain 

Thrilled me—filled me with fantastic terrors never felt before; 

    So that now, to still the beating of my heart, I stood repeating 

    “’Tis some visitor entreating entrance at my chamber door— 

Some late visitor entreating entrance at my chamber door;— 

            This it is and nothing more.” 

    Presently my soul grew stronger; hesitating then no longer, 

“Sir,” said I, “or Madam, truly your forgiveness I implore; 

    But the fact is I was napping, and so gently you came rapping, 

    And so faintly you came tapping, tapping at my chamber door, 

That I scarce was sure I heard you”—here I opened wide the door;— 

            Darkness there and nothing more. 

    Deep into that darkness peering, long I stood there wondering, fearing, 

Doubting, dreaming dreams no mortal ever dared to dream before; 

    But the silence was unbroken, and the stillness gave no token, 

    And the only word there spoken was the whispered word, “Lenore?” 

This I whispered, and an echo murmured back the word, “Lenore!”— 

            Merely this and nothing more. 

    Back into the chamber turning, all my soul within me burning, 

Soon again I heard a tapping somewhat louder than before. 

    “Surely,” said I, “surely that is something at my window lattice; 

      Let me see, then, what thereat is, and this mystery explore— 

Let my heart be still a moment and this mystery explore;— 

            ’Tis the wind and nothing more!” 

    Open here I flung the shutter, when, with many a flirt and flutter, 

In there stepped a stately Raven of the saintly days of yore; 

    Not the least obeisance made he; not a minute stopped or stayed he; 

    But, with mien of lord or lady, perched above my chamber door— 

Perched upon a bust of Pallas just above my chamber door— 

            Perched, and sat, and nothing more. 

Then this ebony bird beguiling my sad fancy into smiling, 

By the grave and stern decorum of the countenance it wore, 

“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven, 

Ghastly grim and ancient Raven wandering from the Nightly shore— 

Tell me what thy lordly name is on the Night’s Plutonian shore!” 

            Quoth the Raven “Nevermore.” 

    Much I marvelled this ungainly fowl to hear discourse so plainly, 

Though its answer little meaning—little relevancy bore; 

    For we cannot help agreeing that no living human being 

    Ever yet was blessed with seeing bird above his chamber door— 

Bird or beast upon the sculptured bust above his chamber door, 

            With such name as “Nevermore.” 

    But the Raven, sitting lonely on the placid bust, spoke only 

That one word, as if his soul in that one word he did outpour. 

    Nothing farther then he uttered—not a feather then he fluttered— 

    Till I scarcely more than muttered “Other friends have flown before— 

On the morrow he will leave me, as my Hopes have flown before.” 

            Then the bird said “Nevermore.” 

    Startled at the stillness broken by reply so aptly spoken, 

“Doubtless,” said I, “what it utters is its only stock and store 

    Caught from some unhappy master whom unmerciful Disaster 

    Followed fast and followed faster till his songs one burden bore— 

Till the dirges of his Hope that melancholy burden bore 

            Of ‘Never—nevermore’.” 

    But the Raven still beguiling all my fancy into smiling, 

Straight I wheeled a cushioned seat in front of bird, and bust and door; 

    Then, upon the velvet sinking, I betook myself to linking 

    Fancy unto fancy, thinking what this ominous bird of yore— 

What this grim, ungainly, ghastly, gaunt, and ominous bird of yore 

            Meant in croaking “Nevermore.” 

    This I sat engaged in guessing, but no syllable expressing 

To the fowl whose fiery eyes now burned into my bosom’s core; 

    This and more I sat divining, with my head at ease reclining 

    On the cushion’s velvet lining that the lamp-light gloated o’er, 

But whose velvet-violet lining with the lamp-light gloating o’er, 

            She shall press, ah, nevermore! 

    Then, methought, the air grew denser, perfumed from an unseen censer 

Swung by Seraphim whose foot-falls tinkled on the tufted floor. 

    “Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee 

    Respite—respite and nepenthe from thy memories of Lenore; 

Quaff, oh quaff this kind nepenthe and forget this lost Lenore!” 

            Quoth the Raven “Nevermore.” 

    “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!— 

Whether Tempter sent, or whether tempest tossed thee here ashore, 

    Desolate yet all undaunted, on this desert land enchanted— 

    On this home by Horror haunted—tell me truly, I implore— 

Is there—is there balm in Gilead?—tell me—tell me, I implore!” 

            Quoth the Raven “Nevermore.” 

    “Prophet!” said I, “thing of evil!—prophet still, if bird or devil! 

By that Heaven that bends above us—by that God we both adore— 

    Tell this soul with sorrow laden if, within the distant Aidenn, 

    It shall clasp a sainted maiden whom the angels name Lenore— 

Clasp a rare and radiant maiden whom the angels name Lenore.” 

            Quoth the Raven “Nevermore.” 

    “Be that word our sign of parting, bird or fiend!” I shrieked, upstarting— 

“Get thee back into the tempest and the Night’s Plutonian shore! 

    Leave no black plume as a token of that lie thy soul hath spoken! 

    Leave my loneliness unbroken!—quit the bust above my door! 

Take thy beak from out my heart, and take thy form from off my door!” 

            Quoth the Raven “Nevermore.” 

    And the Raven, never flitting, still is sitting, still is sitting 

On the pallid bust of Pallas just above my chamber door; 

    And his eyes have all the seeming of a demon’s that is dreaming, 

    And the lamp-light o’er him streaming throws his shadow on the floor; 

And my soul from out that shadow that lies floating on the floor 

            Shall be lifted—nevermore!

7.No Strings Attached

No Strings Attached is a 2011 American romantic comedy film directed by Ivan Reitman and written by Elizabeth Meriwether. Starring Natalie Portman and Ashton Kutcher, the film is about two friends who decide to make a pact to have "no strings attached" casual sex without falling in love with each other. The film was released in the United States on January 21, 2011.