blackelectric's Personal Name List

Anglicized form of Ala ad-Din. This is the name of a mischievous boy in one of the tales of The 1001 Nights. A magician traps him in a cave, but he escapes with the help of a genie.

Medieval variant of Alexander occurring in Shakespeare and Malory. The herb Smyrnium olusatrum is also known commonly as "alisanders".

Possibly means "bee wolf" (in effect equal to "bear") from Old English beo "bee" and wulf "wolf". Alternatively, the first element may be beadu "battle". This is the name of the main character in the anonymous 8th-century epic poem Beowulf. Set in Denmark, the poem tells how he slays the monster Grendel and its mother at the request of King Hroðgar. After this Beowulf becomes the king of the Geats. The conclusion of the poem tells how Beowulf, in his old age, slays a dragon but is himself mortally wounded in the act.

Form of Briseis used in medieval tales about the Trojan War.

Elaborated form of Charis. Edmund Spencer used it in his epic poem The Faerie Queene (1590).

Form of Charmion used by Shakespeare in his play Antony and Cleopatra (1606).

Combination of Christina and the name suffix bel (inspired by Latin bella "beautiful"). This name occurs in medieval literature, and was later used by Samuel Taylor Coleridge in his 1816 poem Christabel [1].

Meaning uncertain, from the name of a character in medieval legend, possibly first recorded by Spanish writer Garci Rodríguez de Montalvo. Perhaps it was derived from an older form of Spanish corazón "heart" (e.g., Old Spanish coraçon; ultimately from Latin cor "heart", with the hypothetic Vulgar Latin root *coratione, *coraceone) or the Greek name Chrysanthe. As a nickname it was used by a mistress of King Henry IV of France: Diane d'Andoins (1554-1620), la Belle Corisande. Some usage may be generated by Jean-Baptiste Lully's opera Amadis (1684; based on Garci Rodríguez de Montalvo), in which it belongs to the lover of the prince Florestan. The name was also used by Benjamin Disraeli for a character in his play Lothair (1870).

Derived from Greek δυσδαίμων (dysdaimon) meaning "ill-fated". This is the name of the wife of Othello in Shakespeare's play Othello (1603).

Created by playwright Pierre-Augustin Caron de Beaumarchais for the central character in his plays The Barber of Seville (1775), The Marriage of Figaro (1784) and The Guilty Mother (1792). Beaumarchais may have based the character's name on the French phrase fils Caron meaning "son of Caron", which was his own nickname and would have been pronounced in a similar way. In modern French the word figaro has acquired the meaning "barber", reflecting the character's profession.

From Latin floris, the genitive case of flos meaning "flower". This name was used by Shakespeare for the prince of Bohemia and the lover of Perdita in his play The Winter's Tale (1610).

Possibly derived from the Old German elements gris "grey" and hilt "battle". It is not attested as a Germanic name. This was the name of a patient wife in medieval folklore, adapted into tales by Boccaccio (in The Decameron) and Chaucer (in The Canterbury Tales).

Catalan feminine form of Welf. Used in the 15th century novel Curial e Güelfa.

Belarusian form of Iseult that was used in the Old Belarusian translation of Tristan and Iseult called Apoviesć pra Tryščana (translates The Tale of Tristan into English) that was made in the XVI century by an unknown author.

Form of Caspian.

Local vernacular form of Clarisse found in the Poitou-Charentes region of France.
In the literary world, it occurs in "Aneut chez d’Autefoués (1983) by Roger Soulard.

Invented by Queen Marie of Romania for her children's book 'Kildine, histoire d'une méchante petite princesse' (Kildine: Story of a Naughty Little Princess), published ca. 1921. Known bearers include the professional tennis player Kildine Chevalier and the French noblewoman Kildine de Sambucy de Sorgue (1979-).

Derived from the Old German elements grimo "mask" and hilt "battle". Kriemhild was a beautiful heroine in the medieval German saga the Nibelungenlied, where she is the sister of Gunther and the wife of Siegfried. After her husband is killed by Hagen with the consent of Gunther, Kriemhild tragically exacts her revenge. She is called Gudrun in Norse versions of the tale.

Used by the French author George Sand for a character in her novel Mattea (1833) and later by the Italian author Luciano Zuccoli in his novel L'amore de Loredana (1908). It was possibly based on the Venetian surname Loredan, which was derived from the place name Loreo.

From German Loreley, the name of a rock headland on the Rhine River. It is of uncertain meaning, though the second element is probably old German ley meaning "rock" (of Celtic origin). German romantic poets and songwriters, beginning with Clemens Brentano in 1801, tell that a maiden named the Lorelei lives on the rock and lures boaters to their death with her song.

In the English-speaking world this name has been occasionally given since the early 20th century. It started rising in America after the variant Lorelai was used for the main character (and her daughter, nicknamed Rory) on the television series Gilmore Girls (2000-2007).

This name was first used by the poet Richard Lovelace for a collection of poems called Lucasta (1649). The poems were dedicated to Lucasta, a nickname for the woman he loved Lucy Sacheverel, whom he called lux casta "pure light".

Created by the Scottish poet James MacPherson in the 18th century for a character in his Ossian poems. He probably intended it to mean "smooth brow", from Scottish Gaelic mala "brow" and mìn "smooth, fine" (lenited to mhìn and pronounced with a v sound).

Possibly based on Middle English maugre meaning "ill-will". This was used by author C. S. Lewis for a character in his novel 'The Lion, the Witch and the Wardrobe' (1950). Maugrim is a talking wolf and the captain of the White Witch's Secret Police.

Most famously used by William Shakespeare in his tragedy Romeo and Juliet (1596), where it belongs to a friend of Romeo. He appears as Marcuccio (a diminutive of Marco) in the earlier Italian novella Giulietta e Romeo (1524) by Luigi Da Porto. Later adaptations changed the character's name to Mercutio, probably alluding to the god Mercury.

Portmanteau of Mary Katherine.

From the name of the eponymous character of the epic poem Morgante (1478) written by the Italian poet Luigi Pulci (1432-1484). In the poem, Morgante is a giant who is converted to Christianity by the knight Orlando and subsequently becomes his loyal follower.

Pulci was likely inspired by the Arthurian legends and as such may have created the name as a masculine form of Morgana, which is the Italian form of Morgan 2. Alternatively, he may have derived the name from the Old French adjective morgant (also found spelled as morjant) meaning "proud, haughty", which is a variant of the Old French adjective mordant, itself ultimately derived from the Old French verb mordre meaning "to bite". Also compare the noun morgue meaning "arrogance, haughty attitude".

A known real-life bearer of this name was Morgante Baglioni (died in July 1502), a member of the Baglioni family, which was a noble family that ruled the city of Perugia in the 15th and 16th century.

Apparently a feminine form of Musidorus, which was perhaps coined by the poet Sir Philip Sidney in the late 16th century for use in his poem 'Arcadia'. Allegedly it is intended to mean "gift of the Muses" from Greek Μοῦσα (Mousa) "Muse", literally "muse, music, song" (compare Musaeus), and the popular name suffix δωρα (dora) "giving" or "gift". Scottish poet James Thomson used it for the lover of Damon in his work 'The Seasons' (1730). It was later the stage name of French silent film actress Jeanne Roques (1889-1957).

Used by British author Edward Bulwer-Lytton for a blind flower-seller in his novel The Last Days of Pompeii (1834). He perhaps based it on Latin nidus "nest".

Italian form of Roland, as used in the epic poems Orlando Innamorato (1483) by Matteo Maria Boiardo and the continuation Orlando Furioso (1532) by Ludovico Ariosto. In the poems, Orlando is a knight in Charlemagne's army who battles against the invading Saracens. A character in Shakespeare's play As You Like It (1599) also bears this name, as does a city in Florida.

Variant of Oisín used by James Macpherson in his 18th-century poems, which he claimed to have based on early Irish legends. In the poems Ossian is the son of Fingal, and serves as the narrator.

Derived from Latin perditus meaning "lost". Shakespeare created this name for the daughter of Hermione and Leontes in his play The Winter's Tale (1610). Abandoned as an infant by her father the king, she grows up to be a shepherdess and falls in love with with Florizel.

Anglicized form of Shahrazad.

Persian form of Avestan 𐬙𐬀𐬑𐬨𐬀⸱𐬎𐬭𐬎𐬞𐬌 (Taxma Urupi), derived from 𐬙𐬀𐬑𐬨𐬀 (taxma) meaning "strong" and 𐬎𐬭𐬎𐬞𐬌 (urupi) meaning "fox". Taxma Urupi is a hero mentioned in the Avesta who later appears in the 10th-century Persian epic the Shahnameh.

From the English word meaning "storm". It appears in the title of William Shakespeare's play The Tempest (1611).

The name of a cousin of Juliet killed by Romeo in William Shakespeare's drama Romeo and Juliet (1596). The character earlier appears as Tebaldo, an Italian form of Theobald, in Luigi Da Porto's novella Giulietta e Romeo (1524), one of Shakespeare's sources. Shakespeare was also inspired by the character of Tybalt the Cat (from Thibault the French form of Theobald) in medieval fables of Reynard the Fox (evidenced by Mercutio calling Tybalt the "prince of cats").

Derived from Latin unda meaning "wave". The word undine was created by the 16th-century Swiss author Paracelsus, who used it for female water spirits.

Invented by Paul Claudel for his play L'Annonce faite à Marie (1912), the first version of which was titled La Jeune Fille Violaine (1892). It is often regarded as a variant of Violante, though Claudel may have taken it from a French place name.

Possibly an altered form of Jörg. Shakespeare used this name for a deceased court jester in his play Hamlet (1600).

Italian and Spanish form of Zaïre. It was used by Vincenzo Bellini for the heroine of his opera Zaira (1829), which was based on Voltaire's 1732 play Zaïre.

Used by Voltaire for the heroine of his tragic play Zaïre (1732), about an enslaved Christian woman who is due to marry the Sultan. She is named Zara in many English adaptations. The name was earlier used by Jean Racine for a minor character (also a slave girl) in his play Bajazet (1672). It is likely based on the Arabic name Zahra 1.