See fantasia in All languages combined, or Wiktionary
Download JSON data for fantasia meaning in English (25.2kB)
{
"etymology_templates": [
{
"args": {
"1": "en",
"2": "ine-pro",
"3": "*bʰeh₂-",
"id": "shine"
},
"expansion": "",
"name": "root"
},
{
"args": {
"1": "en",
"2": "it",
"3": "fantasia",
"t": "imagination, fancy, fantasy; musical composition with improvisational characteristics"
},
"expansion": "Italian fantasia (“imagination, fancy, fantasy; musical composition with improvisational characteristics”)",
"name": "bor"
},
{
"args": {
"1": "en",
"2": "la",
"3": "phantasia",
"t": "fancy, fantasy; imagination"
},
"expansion": "Latin phantasia (“fancy, fantasy; imagination”)",
"name": "der"
},
{
"args": {
"1": "en",
"2": "grc",
"3": "φᾰντᾰσῐ́ᾱ",
"t": "appearance, look; display, presentation; pageantry, pomp; impression, perception; image"
},
"expansion": "Ancient Greek φᾰντᾰσῐ́ᾱ (phantasíā, “appearance, look; display, presentation; pageantry, pomp; impression, perception; image”)",
"name": "der"
},
{
"args": {
"1": "grc",
"2": "φᾰ́ντᾰσῐς"
},
"expansion": "φᾰ́ντᾰσῐς (phántasis)",
"name": "m"
},
{
"args": {
"1": "suffix"
},
"expansion": "suffix",
"name": "glossary"
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{
"args": {
"1": "feminine"
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"expansion": "feminine",
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{
"args": {
"1": "abstract noun"
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{
"args": {
"1": "grc",
"2": "-ῐ́ᾱ",
"pos": "suffix forming feminine abstract nouns"
},
"expansion": "-ῐ́ᾱ (-íā, suffix forming feminine abstract nouns)",
"name": "m"
},
{
"args": {
"1": "grc",
"2": "",
"3": "Φᾰ́ντᾰσῐς"
},
"expansion": "Φᾰ́ντᾰσῐς (Phántasis)",
"name": "m"
},
{
"args": {
"1": "grc",
"2": "φᾰντᾰ́ζω",
"t": "to make visible, show; to become visible, appear; to imagine"
},
"expansion": "φᾰντᾰ́ζω (phantázō, “to make visible, show; to become visible, appear; to imagine”)",
"name": "m"
},
{
"args": {
"1": "grc",
"2": "φαίνω",
"t": "to appear; to reveal; to shine"
},
"expansion": "φαίνω (phaínō, “to appear; to reveal; to shine”)",
"name": "m"
},
{
"args": {
"1": "en",
"2": "ine-pro",
"3": "*bʰeh₂-",
"t": "to shine"
},
"expansion": "Proto-Indo-European *bʰeh₂- (“to shine”)",
"name": "der"
},
{
"args": {
"1": "en",
"2": "fancy",
"3": "fantasy",
"4": "phantasia",
"5": "phantasy",
"nocap": "1"
},
"expansion": "doublet of fancy, fantasy, phantasia, and phantasy",
"name": "doublet"
}
],
"etymology_text": "Borrowed from Italian fantasia (“imagination, fancy, fantasy; musical composition with improvisational characteristics”), from Latin phantasia (“fancy, fantasy; imagination”), borrowed from Ancient Greek φᾰντᾰσῐ́ᾱ (phantasíā, “appearance, look; display, presentation; pageantry, pomp; impression, perception; image”), from φᾰ́ντᾰσῐς (phántasis) + -ῐ́ᾱ (-íā, suffix forming feminine abstract nouns). Φᾰ́ντᾰσῐς (Phántasis) is derived from φᾰντᾰ́ζω (phantázō, “to make visible, show; to become visible, appear; to imagine”), from φαίνω (phaínō, “to appear; to reveal; to shine”), ultimately from Proto-Indo-European *bʰeh₂- (“to shine”). The English word is a doublet of fancy, fantasy, phantasia, and phantasy.",
"forms": [
{
"form": "fantasias",
"tags": [
"plural"
]
}
],
"head_templates": [
{
"args": {},
"expansion": "fantasia (plural fantasias)",
"name": "en-noun"
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],
"hyphenation": [
"fan‧ta‧sia"
],
"lang": "English",
"lang_code": "en",
"pos": "noun",
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{
"categories": [
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"kind": "other",
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"examples": [
{
"ref": "1821, “… Fantasia, for the Piano Forte, on Di Tanti Palpiti, by Pio Cianchettini. London. Mitchell. [review]”, in The Quarterly Musical Magazine and Review, volume III, number X, London: […] Baldwin, Cradock, and Joy, […], →OCLC, page 252",
"text": "The Fantasia, by Mr. [Pio] Cianchettini, is upon [Gioachino] Rossini's air \"Tu che accendi,\" so often made the theme of piano forte lessons. [...] Mr. Cianchettini's imagination is very vivid and full, and we know of nothing more florid or requiring lighter and more delicate touching than this Fantasia.",
"type": "quotation"
},
{
"ref": "1841, Eleanor Margaret Geary, “[Addenda.] Reviews Consequent upon a Grand Morning Concert Given by Miss Geary and Miss Elizabeth Geary, at Willis’s Great Concert Room, King Street, St. James’s, June 21st, 1841, …”, in Musical Education; with Practical Observations on the Art of Piano-forte Playing, London: D’Almaine and Co., […], →OCLC, page 44",
"text": "Miss [Eleanor Margaret] Geary is a brilliant pianiste, who make light of the modern difficulties set down for the instrument: her performance of [Theodor] Döhler's Anna Bolena fantasia was achieved without apparent effort, and won considerable applause; [...] Miss E[lizabeth] Geary is a vocalist, possessing a sweet and flexible voice, [...] this young lady also played a fantasia on the concertina very adroitly.",
"type": "quotation"
},
{
"ref": "1853 July, Thomas Buchanan Read, “Pilgrims of the Great St. Bernard”, in George R[ex] Graham, editor, Graham’s Magazine, volume XLIII, number 1, Philadelphia, Pa.: [Watson & Co. […]?], →OCLC, chapter VIII, page 105",
"text": "The little Italian party, before alluded to, had collected around the piano. The white and plump fingers of the gay and black-eyed daughter of the Roman marchioness were tripping lightly up and down the octaves of the instrument, and her little tastefully arranged head was merrily dancing from side to side, keeping time to the half-improvised phantasia, which trickled like a wayward stream from her hands.",
"type": "quotation"
},
{
"ref": "1857, Hugh James Rose, “AURENHAMMER, (Josepha)”, in A New General Biographical Dictionary, […], volume II, London: T. Fellowes, […], →OCLC, pages 368–369",
"text": "She [Josepha Barbara Auernhammer] published subsequently many works of her own, (in all 63,) which, as well as her play, especially the extempore phantasias, were distinguished by much delicate feeling and a vivid imagination.",
"type": "quotation"
},
{
"ref": "1982, Richard Charteris, “Preface”, in John Coprario, edited by Richard Charteris, Twelve Fantasias for Two Bass Viols and Organ, and Eleven Pieces for Three Lyra Viols (Recent Researches in the Music of the Baroque Era; XLI), Madison, Wis.: A-R Editions, →ISSN Invalid ISSN, page vii, column 1",
"text": "Among English composers working during the first half of the seventeenth century, John Coprario distinguished himself as a first-rate craftsman and as the innovator of the three-movement fantasia-suite. [...] These pieces should be viewed in the context of his total output of eight two-part fantasias; ten three-part fantasias; seven four-part fantasias; [...]",
"type": "quotation"
},
{
"ref": "1987, “Publisher’s Note”, in Georg Philipp Telemann, edited by Max Seiffert, The 36 Fantasias for Keyboard, New York, N.Y.: Dover Publications",
"text": "Representative as they are of [Georg Philipp] Telemann's introduction to Germany of the lighter and less contrpuntal galant style from France, these fantasias are also obvious precursors of the Classical sonata form.",
"type": "quotation"
},
{
"ref": "2001, Annette Richards, “C. P. E. Bach and the Landscapes of Genius”, in The Free Fantasia and the Musical Picturesque (New Perspectives in Music History and Criticism), Cambridge, Cambridgeshire, New York, N.Y.: Cambridge University Press, page 34",
"text": "In 1783 C[arl] P[hilipp] E[manuel] Bach's fourth collection of keyboard music for Kenner und Liebhaber was published by Brietkopf in Leipzig. [...] For the first time in the Kenner und Liebhaber series, this volume contained two free fantasias in addition to sonatas and rondos, a novelty that not only caught the attention of the critics, but seems to have been considered by Bach as a particular selling point for the volume: [...]",
"type": "quotation"
}
],
"glosses": [
"A form of instrumental composition with a free structure and improvisational characteristics; specifically, one combining a number of well-known musical pieces."
],
"id": "en-fantasia-en-noun-C9f1OK-d",
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[
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"characteristic#Noun"
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"a number of",
"a number of"
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"(music, also figurative) A form of instrumental composition with a free structure and improvisational characteristics; specifically, one combining a number of well-known musical pieces."
],
"tags": [
"also",
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"topics": [
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"translations": [
{
"_dis1": "94 3 3",
"code": "hy",
"lang": "Armenian",
"roman": "fantazia",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "ֆանտազիա"
},
{
"_dis1": "94 3 3",
"code": "cmn",
"lang": "Chinese Mandarin",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "暢想曲"
},
{
"_dis1": "94 3 3",
"code": "cmn",
"lang": "Chinese Mandarin",
"roman": "chàngxiǎngqǔ",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "畅想曲"
},
{
"_dis1": "94 3 3",
"code": "cmn",
"lang": "Chinese Mandarin",
"roman": "huànxiǎngqǔ",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "幻想曲"
},
{
"_dis1": "94 3 3",
"code": "da",
"lang": "Danish",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"common-gender"
],
"word": "fantasi"
},
{
"_dis1": "94 3 3",
"code": "eo",
"lang": "Esperanto",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "fantazio"
},
{
"_dis1": "94 3 3",
"code": "et",
"lang": "Estonian",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "fantaasia"
},
{
"_dis1": "94 3 3",
"code": "fi",
"lang": "Finnish",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "fantasia"
},
{
"_dis1": "94 3 3",
"code": "fr",
"lang": "French",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "fantaisie"
},
{
"_dis1": "94 3 3",
"code": "ka",
"lang": "Georgian",
"roman": "panṭazia",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "ფანტაზია"
},
{
"_dis1": "94 3 3",
"code": "de",
"lang": "German",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "Fantasia"
},
{
"_dis1": "94 3 3",
"code": "de",
"lang": "German",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "Fantaisie"
},
{
"_dis1": "94 3 3",
"code": "de",
"lang": "German",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "Fantasie"
},
{
"_dis1": "94 3 3",
"code": "el",
"lang": "Greek",
"roman": "fantasía",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "φαντασία"
},
{
"_dis1": "94 3 3",
"code": "hu",
"lang": "Hungarian",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "fantázia"
},
{
"_dis1": "94 3 3",
"code": "it",
"lang": "Italian",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "fantasia"
},
{
"_dis1": "94 3 3",
"code": "no",
"lang": "Norwegian",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"masculine"
],
"word": "fantasi"
},
{
"_dis1": "94 3 3",
"code": "pl",
"lang": "Polish",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "fantazja"
},
{
"_dis1": "94 3 3",
"code": "ru",
"lang": "Russian",
"roman": "fantázija",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "фанта́зия"
},
{
"_dis1": "94 3 3",
"code": "sh",
"lang": "Serbo-Croatian",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "fantazija"
},
{
"_dis1": "94 3 3",
"code": "sk",
"lang": "Slovak",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "fantázia"
},
{
"_dis1": "94 3 3",
"code": "uk",
"lang": "Ukrainian",
"roman": "fantazija",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
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"word": "фантазія"
},
{
"_dis1": "94 3 3",
"code": "uz",
"lang": "Uzbek",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "fantaziya"
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{
"_dis1": "94 3 3",
"code": "vi",
"lang": "Vietnamese",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "phăng-tê-di"
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"kind": "topical",
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"ref": "1872 October 19, “The Cutting of the Nile: From The Pall Mall Gazette”, in Littel’s Living Age, volume XXVII (Fourth Series; volume CXV overall), number 1480, Boston, Mass.: Littel & Gay, →OCLC, page 189, column 2",
"text": "It is, however, a ceremony of immense antiquity, and the chief civil festival of the year among the Arabs, who love nothing more dearly than a \"phantasia\" of this sort.",
"type": "quotation"
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{
"ref": "[1921], H[erbert] G[eorge] Wells, “Preface”, in The War in the Air (Collins’ Thin Paper Pocket Edition; 20), London, Glasgow: Collins Clear-Type Press, →OCLC; quoted in Charles E. Gannon, “Promoters of the Probable, Prophets of the Possible: Technological Innovation and Edwardian Near-future War Fiction”, in Rumors of War and Infernal Machines: Technomilitary Agenda-setting in American and British Speculative Fiction, Lanham, Md.: Rowman & Littlefield Publishers, 2003, page 82",
"text": "Consequently 'War in the Air' means social destruction instead of victory as the end of war. It not only alters the methods of war but the consequences of war. After all that has happened since this fantasia of possibility was written, I do not think that there is much wrong with this thesis.",
"type": "quotation"
},
{
"ref": "1966, Brian W[esterdale] Downs, “Ibsen before 1884”, in Modern Norwegian Literature 1860–1918, Cambridge, Cambridgeshire: University Press, published 2010, page 44",
"text": "[The Warrior's Barrow (Kjæmpehøjen)] admirably conformed to his employers' National-Romantic aims. This is equally true of the four new plays with which [Henrik] Ibsen honoured his contract: St. John's Night) (Sancthansnatten, 1853), a phantasia having a good deal in common with [William] Shakespeare's Midsummer Night's Dream [...]",
"type": "quotation"
},
{
"ref": "1987, Nina Auerbach, “Our Lady of the Lyceum”, in Joan DeJean, Carroll Smith-Rosenberg, Peter Stallybrass, Gary Tomlinson, editors, Ellen Terry, Player in Her Time (New Cultural Studies), Philadelphia, Pa.: University of Pennsylvania Press, published 1997, page 209",
"text": "These are the years in which she [Ellen Terry] begins to sign her letters in a phantasia of different names.",
"type": "quotation"
},
{
"ref": "2003, Ann K. Schwader, “Body of Work”, in Kevin L. O’Brien, editor, Strange Stars & Alien Shadows: The Dark Fiction of Ann K. Schwader, Aurora, Colo.: Lindisfarne Press, page 39",
"text": "Her art is always with her, clothing her from throat to toes in an indelible fantasia of color and form and myth.",
"type": "quotation"
},
{
"ref": "2012, Zoe Fishman, chapter 2, in Saving Ruth, New York, N.Y.: William Morrow",
"text": "David and my parents looked up from passing bowls of potato and chicken salad. Great, a mayonnaise fantasia.",
"type": "quotation"
},
{
"ref": "2018 December 12, Charles Bramesco, “A Spoonful of Nostalgia Helps the Calculated Mary Poppins Returns Go Down”, in The A.V. Club, archived from the original on 2019-05-24",
"text": "[T]he zippy musical numbers in which Mary Poppins (a stiff-lipped Emily Blunt) whisks cherubs Annabel, John, and Georgie (Pixie Davies, Nathanael Saleh, and Joel Dawson, respectively) away into colorful hyperreal fantasias impress.",
"type": "quotation"
}
],
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"Any work which is unstructured or comprises other works of different genres or styles."
],
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{
"_dis1": "5 90 5",
"code": "vi",
"lang": "Vietnamese",
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{
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"examples": [
{
"ref": "1868, Mrs. H. Lloyd Evans, “Across the Atlas”, in Last Winter in Algeria, London: Chapman & Hall, […], →OCLC, page 100",
"text": "As for the wonderful feats of horsemanship one hears of or sees among the Arabs, they are due to sharp spurs like razors, and to bits strong enough to break an animal's jaw. [...] Their favourite feat at their fantasias or fêtes of suddenly pulling up their horses short while at hand-gallop, ruins their legs, and there is in consequence scarcely a horse to be seen whose hind-legs are not spavined.",
"type": "quotation"
},
{
"ref": "1875 February, “Biskra, in French Algeria, on the Verge of Sahara”, in Frank Leslie’s Pleasant Hours. Devoted to Light and Entertaining Literature, volume XVIII, number I, New York, N.Y.: Frank Leslie […], →OCLC, page 218, column 2",
"text": "These fantasias consist of sham fights, the men riding at full gallop at one another, and firing as they pass; the play might have ended more seriously than was intended, for one Spahi had unknowingly a ball in his rifle, which whizzed close to his enemy's head, but the man never winced, or took any more notice than if it had been blank cartridge, and the fantasia continued as before.",
"type": "quotation"
},
{
"ref": "1976, Elizabeth Warnock Fernea, “The Feast of Accession to the Sultan’s Throne”, in A Street in Marrakech: A Personal View of Urban Women in Morocco, Long Grove, Ill.: Waveland Press, published 1988, part II, page 223",
"text": "Everyone was enjoying himself. Political differences seemed to be forgotten. The King was smarter than anyone realized. Bang! Bang! Bang! The fantasias went on and on, the Berber warriors in white, standing up in their silver stirrups on bay, gray, black, and chestnut stallions, firing their silver-chased rifles in perfect unison into the air. [...] The men cheered and the women ululated as each successful fantasia run was completed.",
"type": "quotation"
},
{
"ref": "1990 April 30, “Sisley: Relaxed Elegance [advertisement]”, in Edward Kosner, editor, New York, volume 23, number 17, New York, N.Y.: News America Publishing, →ISSN, →OCLC, page 199",
"text": "Mimi was keen to ride a berber horse and Said arranged a Fantasia especially for us – or was it for her? – with the best riders around Marrakech.",
"type": "quotation"
},
{
"ref": "2009 October, Laurent Roustan, “The Horse, Present since the Dawn of Time”, in Alphatrad Internationale, transl., Au Royaume du Cheval: Les Haras Nationaux du Maroc [In the Kingdom of the Horse: The National Studs of Morocco], Souyri, Aveyron, France: Editions Au fil du Temps",
"text": "However, in the last few years, the stud farms in Morocco and elsewhere in the world have rediscovered the qualities of the barb [Barbary horse], which, in Berber tradition, remains the king of the \"fantasias\", a festival that is also becoming fashionable once again.",
"type": "quotation"
}
],
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"A traditional festival of the inhabitants of the Maghreb (in northwest Africa) featuring exhibitions of horsemanship."
],
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{
"_dis1": "5 2 93",
"code": "ar",
"lang": "Arabic",
"roman": "fāntāziyā",
"sense": "traditional festival of the inhabitants of the Maghreb",
"tags": [
"feminine"
],
"word": "فَانْتَازِيَا"
},
{
"_dis1": "5 2 93",
"code": "ar",
"lang": "Arabic",
"roman": "ḵiyāla",
"sense": "traditional festival of the inhabitants of the Maghreb",
"tags": [
"feminine"
],
"word": "خِيَالَة"
},
{
"_dis1": "5 2 93",
"code": "ary",
"lang": "Arabic",
"roman": "tbūrīda",
"sense": "traditional festival of the inhabitants of the Maghreb",
"tags": [
"Moroccan-Arabic",
"feminine"
],
"word": "تبوريدة"
},
{
"_dis1": "5 2 93",
"code": "ary",
"lang": "Arabic",
"roman": "ḵyāla",
"sense": "traditional festival of the inhabitants of the Maghreb",
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"Moroccan-Arabic",
"feminine"
],
"word": "خيالة"
},
{
"_dis1": "5 2 93",
"code": "sh",
"lang": "Serbo-Croatian",
"sense": "traditional festival of the inhabitants of the Maghreb",
"tags": [
"feminine"
],
"word": "fantazija"
}
]
}
],
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"ipa": "/-ˈtɑː-/",
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"Received-Pronunciation"
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},
{
"ipa": "/fænˈteɪ.ʒə/",
"tags": [
"Received-Pronunciation"
]
},
{
"ipa": "/ˌfæn.təˈziː.ə/",
"tags": [
"Received-Pronunciation"
]
},
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"ipa": "/fænˈteɪ.zi.ə/",
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"text": "Audio (RP)"
},
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}
],
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{
"_dis1": "0 0 0",
"tags": [
"dated"
],
"word": "phantasia"
}
],
"word": "fantasia"
}
{
"categories": [
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"English 4-syllable words",
"English countable nouns",
"English doublets",
"English entries with incorrect language header",
"English entries with topic categories using raw markup",
"English lemmas",
"English nouns",
"English terms borrowed from Italian",
"English terms derived from Ancient Greek",
"English terms derived from Italian",
"English terms derived from Latin",
"English terms derived from Proto-Indo-European",
"English terms derived from the Proto-Indo-European root *bʰeh₂- (shine)",
"English terms with IPA pronunciation",
"English terms with audio links",
"en:Festivals"
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"etymology_templates": [
{
"args": {
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"2": "ine-pro",
"3": "*bʰeh₂-",
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},
{
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"2": "it",
"3": "fantasia",
"t": "imagination, fancy, fantasy; musical composition with improvisational characteristics"
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"name": "bor"
},
{
"args": {
"1": "en",
"2": "la",
"3": "phantasia",
"t": "fancy, fantasy; imagination"
},
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"name": "der"
},
{
"args": {
"1": "en",
"2": "grc",
"3": "φᾰντᾰσῐ́ᾱ",
"t": "appearance, look; display, presentation; pageantry, pomp; impression, perception; image"
},
"expansion": "Ancient Greek φᾰντᾰσῐ́ᾱ (phantasíā, “appearance, look; display, presentation; pageantry, pomp; impression, perception; image”)",
"name": "der"
},
{
"args": {
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{
"args": {
"1": "grc",
"2": "",
"3": "Φᾰ́ντᾰσῐς"
},
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"name": "m"
},
{
"args": {
"1": "grc",
"2": "φᾰντᾰ́ζω",
"t": "to make visible, show; to become visible, appear; to imagine"
},
"expansion": "φᾰντᾰ́ζω (phantázō, “to make visible, show; to become visible, appear; to imagine”)",
"name": "m"
},
{
"args": {
"1": "grc",
"2": "φαίνω",
"t": "to appear; to reveal; to shine"
},
"expansion": "φαίνω (phaínō, “to appear; to reveal; to shine”)",
"name": "m"
},
{
"args": {
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"2": "ine-pro",
"3": "*bʰeh₂-",
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"name": "der"
},
{
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"2": "fancy",
"3": "fantasy",
"4": "phantasia",
"5": "phantasy",
"nocap": "1"
},
"expansion": "doublet of fancy, fantasy, phantasia, and phantasy",
"name": "doublet"
}
],
"etymology_text": "Borrowed from Italian fantasia (“imagination, fancy, fantasy; musical composition with improvisational characteristics”), from Latin phantasia (“fancy, fantasy; imagination”), borrowed from Ancient Greek φᾰντᾰσῐ́ᾱ (phantasíā, “appearance, look; display, presentation; pageantry, pomp; impression, perception; image”), from φᾰ́ντᾰσῐς (phántasis) + -ῐ́ᾱ (-íā, suffix forming feminine abstract nouns). Φᾰ́ντᾰσῐς (Phántasis) is derived from φᾰντᾰ́ζω (phantázō, “to make visible, show; to become visible, appear; to imagine”), from φαίνω (phaínō, “to appear; to reveal; to shine”), ultimately from Proto-Indo-European *bʰeh₂- (“to shine”). The English word is a doublet of fancy, fantasy, phantasia, and phantasy.",
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}
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"ref": "1821, “… Fantasia, for the Piano Forte, on Di Tanti Palpiti, by Pio Cianchettini. London. Mitchell. [review]”, in The Quarterly Musical Magazine and Review, volume III, number X, London: […] Baldwin, Cradock, and Joy, […], →OCLC, page 252",
"text": "The Fantasia, by Mr. [Pio] Cianchettini, is upon [Gioachino] Rossini's air \"Tu che accendi,\" so often made the theme of piano forte lessons. [...] Mr. Cianchettini's imagination is very vivid and full, and we know of nothing more florid or requiring lighter and more delicate touching than this Fantasia.",
"type": "quotation"
},
{
"ref": "1841, Eleanor Margaret Geary, “[Addenda.] Reviews Consequent upon a Grand Morning Concert Given by Miss Geary and Miss Elizabeth Geary, at Willis’s Great Concert Room, King Street, St. James’s, June 21st, 1841, …”, in Musical Education; with Practical Observations on the Art of Piano-forte Playing, London: D’Almaine and Co., […], →OCLC, page 44",
"text": "Miss [Eleanor Margaret] Geary is a brilliant pianiste, who make light of the modern difficulties set down for the instrument: her performance of [Theodor] Döhler's Anna Bolena fantasia was achieved without apparent effort, and won considerable applause; [...] Miss E[lizabeth] Geary is a vocalist, possessing a sweet and flexible voice, [...] this young lady also played a fantasia on the concertina very adroitly.",
"type": "quotation"
},
{
"ref": "1853 July, Thomas Buchanan Read, “Pilgrims of the Great St. Bernard”, in George R[ex] Graham, editor, Graham’s Magazine, volume XLIII, number 1, Philadelphia, Pa.: [Watson & Co. […]?], →OCLC, chapter VIII, page 105",
"text": "The little Italian party, before alluded to, had collected around the piano. The white and plump fingers of the gay and black-eyed daughter of the Roman marchioness were tripping lightly up and down the octaves of the instrument, and her little tastefully arranged head was merrily dancing from side to side, keeping time to the half-improvised phantasia, which trickled like a wayward stream from her hands.",
"type": "quotation"
},
{
"ref": "1857, Hugh James Rose, “AURENHAMMER, (Josepha)”, in A New General Biographical Dictionary, […], volume II, London: T. Fellowes, […], →OCLC, pages 368–369",
"text": "She [Josepha Barbara Auernhammer] published subsequently many works of her own, (in all 63,) which, as well as her play, especially the extempore phantasias, were distinguished by much delicate feeling and a vivid imagination.",
"type": "quotation"
},
{
"ref": "1982, Richard Charteris, “Preface”, in John Coprario, edited by Richard Charteris, Twelve Fantasias for Two Bass Viols and Organ, and Eleven Pieces for Three Lyra Viols (Recent Researches in the Music of the Baroque Era; XLI), Madison, Wis.: A-R Editions, →ISSN Invalid ISSN, page vii, column 1",
"text": "Among English composers working during the first half of the seventeenth century, John Coprario distinguished himself as a first-rate craftsman and as the innovator of the three-movement fantasia-suite. [...] These pieces should be viewed in the context of his total output of eight two-part fantasias; ten three-part fantasias; seven four-part fantasias; [...]",
"type": "quotation"
},
{
"ref": "1987, “Publisher’s Note”, in Georg Philipp Telemann, edited by Max Seiffert, The 36 Fantasias for Keyboard, New York, N.Y.: Dover Publications",
"text": "Representative as they are of [Georg Philipp] Telemann's introduction to Germany of the lighter and less contrpuntal galant style from France, these fantasias are also obvious precursors of the Classical sonata form.",
"type": "quotation"
},
{
"ref": "2001, Annette Richards, “C. P. E. Bach and the Landscapes of Genius”, in The Free Fantasia and the Musical Picturesque (New Perspectives in Music History and Criticism), Cambridge, Cambridgeshire, New York, N.Y.: Cambridge University Press, page 34",
"text": "In 1783 C[arl] P[hilipp] E[manuel] Bach's fourth collection of keyboard music for Kenner und Liebhaber was published by Brietkopf in Leipzig. [...] For the first time in the Kenner und Liebhaber series, this volume contained two free fantasias in addition to sonatas and rondos, a novelty that not only caught the attention of the critics, but seems to have been considered by Bach as a particular selling point for the volume: [...]",
"type": "quotation"
}
],
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"A form of instrumental composition with a free structure and improvisational characteristics; specifically, one combining a number of well-known musical pieces."
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"(music, also figurative) A form of instrumental composition with a free structure and improvisational characteristics; specifically, one combining a number of well-known musical pieces."
],
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"also",
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],
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{
"ref": "1872 October 19, “The Cutting of the Nile: From The Pall Mall Gazette”, in Littel’s Living Age, volume XXVII (Fourth Series; volume CXV overall), number 1480, Boston, Mass.: Littel & Gay, →OCLC, page 189, column 2",
"text": "It is, however, a ceremony of immense antiquity, and the chief civil festival of the year among the Arabs, who love nothing more dearly than a \"phantasia\" of this sort.",
"type": "quotation"
},
{
"ref": "[1921], H[erbert] G[eorge] Wells, “Preface”, in The War in the Air (Collins’ Thin Paper Pocket Edition; 20), London, Glasgow: Collins Clear-Type Press, →OCLC; quoted in Charles E. Gannon, “Promoters of the Probable, Prophets of the Possible: Technological Innovation and Edwardian Near-future War Fiction”, in Rumors of War and Infernal Machines: Technomilitary Agenda-setting in American and British Speculative Fiction, Lanham, Md.: Rowman & Littlefield Publishers, 2003, page 82",
"text": "Consequently 'War in the Air' means social destruction instead of victory as the end of war. It not only alters the methods of war but the consequences of war. After all that has happened since this fantasia of possibility was written, I do not think that there is much wrong with this thesis.",
"type": "quotation"
},
{
"ref": "1966, Brian W[esterdale] Downs, “Ibsen before 1884”, in Modern Norwegian Literature 1860–1918, Cambridge, Cambridgeshire: University Press, published 2010, page 44",
"text": "[The Warrior's Barrow (Kjæmpehøjen)] admirably conformed to his employers' National-Romantic aims. This is equally true of the four new plays with which [Henrik] Ibsen honoured his contract: St. John's Night) (Sancthansnatten, 1853), a phantasia having a good deal in common with [William] Shakespeare's Midsummer Night's Dream [...]",
"type": "quotation"
},
{
"ref": "1987, Nina Auerbach, “Our Lady of the Lyceum”, in Joan DeJean, Carroll Smith-Rosenberg, Peter Stallybrass, Gary Tomlinson, editors, Ellen Terry, Player in Her Time (New Cultural Studies), Philadelphia, Pa.: University of Pennsylvania Press, published 1997, page 209",
"text": "These are the years in which she [Ellen Terry] begins to sign her letters in a phantasia of different names.",
"type": "quotation"
},
{
"ref": "2003, Ann K. Schwader, “Body of Work”, in Kevin L. O’Brien, editor, Strange Stars & Alien Shadows: The Dark Fiction of Ann K. Schwader, Aurora, Colo.: Lindisfarne Press, page 39",
"text": "Her art is always with her, clothing her from throat to toes in an indelible fantasia of color and form and myth.",
"type": "quotation"
},
{
"ref": "2012, Zoe Fishman, chapter 2, in Saving Ruth, New York, N.Y.: William Morrow",
"text": "David and my parents looked up from passing bowls of potato and chicken salad. Great, a mayonnaise fantasia.",
"type": "quotation"
},
{
"ref": "2018 December 12, Charles Bramesco, “A Spoonful of Nostalgia Helps the Calculated Mary Poppins Returns Go Down”, in The A.V. Club, archived from the original on 2019-05-24",
"text": "[T]he zippy musical numbers in which Mary Poppins (a stiff-lipped Emily Blunt) whisks cherubs Annabel, John, and Georgie (Pixie Davies, Nathanael Saleh, and Joel Dawson, respectively) away into colorful hyperreal fantasias impress.",
"type": "quotation"
}
],
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"ref": "1868, Mrs. H. Lloyd Evans, “Across the Atlas”, in Last Winter in Algeria, London: Chapman & Hall, […], →OCLC, page 100",
"text": "As for the wonderful feats of horsemanship one hears of or sees among the Arabs, they are due to sharp spurs like razors, and to bits strong enough to break an animal's jaw. [...] Their favourite feat at their fantasias or fêtes of suddenly pulling up their horses short while at hand-gallop, ruins their legs, and there is in consequence scarcely a horse to be seen whose hind-legs are not spavined.",
"type": "quotation"
},
{
"ref": "1875 February, “Biskra, in French Algeria, on the Verge of Sahara”, in Frank Leslie’s Pleasant Hours. Devoted to Light and Entertaining Literature, volume XVIII, number I, New York, N.Y.: Frank Leslie […], →OCLC, page 218, column 2",
"text": "These fantasias consist of sham fights, the men riding at full gallop at one another, and firing as they pass; the play might have ended more seriously than was intended, for one Spahi had unknowingly a ball in his rifle, which whizzed close to his enemy's head, but the man never winced, or took any more notice than if it had been blank cartridge, and the fantasia continued as before.",
"type": "quotation"
},
{
"ref": "1976, Elizabeth Warnock Fernea, “The Feast of Accession to the Sultan’s Throne”, in A Street in Marrakech: A Personal View of Urban Women in Morocco, Long Grove, Ill.: Waveland Press, published 1988, part II, page 223",
"text": "Everyone was enjoying himself. Political differences seemed to be forgotten. The King was smarter than anyone realized. Bang! Bang! Bang! The fantasias went on and on, the Berber warriors in white, standing up in their silver stirrups on bay, gray, black, and chestnut stallions, firing their silver-chased rifles in perfect unison into the air. [...] The men cheered and the women ululated as each successful fantasia run was completed.",
"type": "quotation"
},
{
"ref": "1990 April 30, “Sisley: Relaxed Elegance [advertisement]”, in Edward Kosner, editor, New York, volume 23, number 17, New York, N.Y.: News America Publishing, →ISSN, →OCLC, page 199",
"text": "Mimi was keen to ride a berber horse and Said arranged a Fantasia especially for us – or was it for her? – with the best riders around Marrakech.",
"type": "quotation"
},
{
"ref": "2009 October, Laurent Roustan, “The Horse, Present since the Dawn of Time”, in Alphatrad Internationale, transl., Au Royaume du Cheval: Les Haras Nationaux du Maroc [In the Kingdom of the Horse: The National Studs of Morocco], Souyri, Aveyron, France: Editions Au fil du Temps",
"text": "However, in the last few years, the stud farms in Morocco and elsewhere in the world have rediscovered the qualities of the barb [Barbary horse], which, in Berber tradition, remains the king of the \"fantasias\", a festival that is also becoming fashionable once again.",
"type": "quotation"
}
],
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"tags": [
"dated"
],
"word": "phantasia"
}
],
"translations": [
{
"code": "hy",
"lang": "Armenian",
"roman": "fantazia",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "ֆանտազիա"
},
{
"code": "cmn",
"lang": "Chinese Mandarin",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "暢想曲"
},
{
"code": "cmn",
"lang": "Chinese Mandarin",
"roman": "chàngxiǎngqǔ",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "畅想曲"
},
{
"code": "cmn",
"lang": "Chinese Mandarin",
"roman": "huànxiǎngqǔ",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "幻想曲"
},
{
"code": "da",
"lang": "Danish",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"common-gender"
],
"word": "fantasi"
},
{
"code": "eo",
"lang": "Esperanto",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "fantazio"
},
{
"code": "et",
"lang": "Estonian",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "fantaasia"
},
{
"code": "fi",
"lang": "Finnish",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "fantasia"
},
{
"code": "fr",
"lang": "French",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "fantaisie"
},
{
"code": "ka",
"lang": "Georgian",
"roman": "panṭazia",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "ფანტაზია"
},
{
"code": "de",
"lang": "German",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "Fantasia"
},
{
"code": "de",
"lang": "German",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "Fantaisie"
},
{
"code": "de",
"lang": "German",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "Fantasie"
},
{
"code": "el",
"lang": "Greek",
"roman": "fantasía",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "φαντασία"
},
{
"code": "hu",
"lang": "Hungarian",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "fantázia"
},
{
"code": "it",
"lang": "Italian",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "fantasia"
},
{
"code": "no",
"lang": "Norwegian",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"masculine"
],
"word": "fantasi"
},
{
"code": "pl",
"lang": "Polish",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "fantazja"
},
{
"code": "ru",
"lang": "Russian",
"roman": "fantázija",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "фанта́зия"
},
{
"code": "sh",
"lang": "Serbo-Croatian",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "fantazija"
},
{
"code": "sk",
"lang": "Slovak",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "fantázia"
},
{
"code": "uk",
"lang": "Ukrainian",
"roman": "fantazija",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"tags": [
"feminine"
],
"word": "фантазія"
},
{
"code": "uz",
"lang": "Uzbek",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "fantaziya"
},
{
"code": "vi",
"lang": "Vietnamese",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "phăng-tê-di"
},
{
"code": "vi",
"lang": "Vietnamese",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "phăng-te-di"
},
{
"code": "vi",
"lang": "Vietnamese",
"sense": "form of instrumental composition with a free structure and improvisational characteristics",
"word": "phăng"
},
{
"code": "sh",
"lang": "Serbo-Croatian",
"sense": "work which is unstructured or comprises other works of different genres or styles",
"tags": [
"feminine"
],
"word": "fantazija"
},
{
"code": "vi",
"lang": "Vietnamese",
"sense": "work which is unstructured or comprises other works of different genres or styles",
"word": "phăng-tê-di"
},
{
"code": "vi",
"lang": "Vietnamese",
"sense": "work which is unstructured or comprises other works of different genres or styles",
"word": "phăng-te-di"
},
{
"code": "vi",
"lang": "Vietnamese",
"sense": "work which is unstructured or comprises other works of different genres or styles",
"word": "phăng"
},
{
"code": "ar",
"lang": "Arabic",
"roman": "fāntāziyā",
"sense": "traditional festival of the inhabitants of the Maghreb",
"tags": [
"feminine"
],
"word": "فَانْتَازِيَا"
},
{
"code": "ar",
"lang": "Arabic",
"roman": "ḵiyāla",
"sense": "traditional festival of the inhabitants of the Maghreb",
"tags": [
"feminine"
],
"word": "خِيَالَة"
},
{
"code": "ary",
"lang": "Arabic",
"roman": "tbūrīda",
"sense": "traditional festival of the inhabitants of the Maghreb",
"tags": [
"Moroccan-Arabic",
"feminine"
],
"word": "تبوريدة"
},
{
"code": "ary",
"lang": "Arabic",
"roman": "ḵyāla",
"sense": "traditional festival of the inhabitants of the Maghreb",
"tags": [
"Moroccan-Arabic",
"feminine"
],
"word": "خيالة"
},
{
"code": "sh",
"lang": "Serbo-Croatian",
"sense": "traditional festival of the inhabitants of the Maghreb",
"tags": [
"feminine"
],
"word": "fantazija"
}
],
"word": "fantasia"
}
This page is a part of the kaikki.org machine-readable English dictionary. This dictionary is based on structured data extracted on 2024-04-24 from the enwiktionary dump dated 2024-04-21 using wiktextract (82c8ff9 and f4967a5). The data shown on this site has been post-processed and various details (e.g., extra categories) removed, some information disambiguated, and additional data merged from other sources. See the raw data download page for the unprocessed wiktextract data.
If you use this data in academic research, please cite Tatu Ylonen: Wiktextract: Wiktionary as Machine-Readable Structured Data, Proceedings of the 13th Conference on Language Resources and Evaluation (LREC), pp. 1317-1325, Marseille, 20-25 June 2022. Linking to the relevant page(s) under https://kaikki.org would also be greatly appreciated.