Enmity is a strong, often active, feeling of hatred or hostility between individuals or groups. It denotes deep-seated ill will that can fuel conflict, aggression, and mistrust, sometimes persisting across long periods. The term is formal and typically appears in literary or analytical contexts rather than casual conversation.
"There has long been enmity between the rival families, shaping their choices for generations."
"The two leaders tried to hide their enmity behind polite smiles during the summit."
"Classroom incidents revealed the enmity that had built up over years of competition and grudges."
"Efforts at reconciliation were hampered by lingering enmity and mutual suspicion."
Enmity comes from the Old French enmité, derived from en- (in, into) + métier/èméité? The form ultimately traces to Latin inimītās, from inimicus ‘enemy,’ built from in- (not) + amicus (friend). In Latin, inimicus carried the sense of ‘unfriendliness, hostility,’ and it passed into Old French as enmité or inimité, with the initial n- prefix already indicating negation or opposition. English absorbed the word in the late Middle Ages, retaining a formal, almost legal or literary tone. Over time, enmity shifted from a general sense of “being an enemy” to a more fixed, durable state of active hostility, often implying emotional or social entrenchment. By the 16th–19th centuries, it appeared frequently in political and literary texts to describe entrenched antagonism, grudges, or ongoing feuds between factions, families, or nations. The word has maintained its formal register, rarely used in everyday casual speech, but remains common in scholarly, historical, or rhetorical contexts where precise, grave wording is required.
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Words that rhyme with "Enmity"
-tty sounds
Practice with these rhyming pairs to improve your pronunciation consistency:
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Pronounce it as en-MI-ty with primary stress on the second syllable. IPA US/UK/AU: /ɛnˈmɪt i/ (US), /ɛnˈmɪti/ (UK), /ɛnˈmɪti/ (AU). Start with a short, open “e” as in “bed,” then a clear /m/ followed by a short /ɪ/ as in “sit.” The final -ty is light, with a quick schwa-like ending: /-i/ or /-ti/, depending on speaker and speed. You’ll want crisp lip closure for /m/ and a relaxed jaw for the final syllable. Audio reference: [listen for en-MI-ty in standard dictionaries or pronunciation apps].
Common errors include stressing the first syllable (EN-mi-ty) or pronouncing the middle vowel as a full /iː/ or /ɪ/. Correct it by stressing the second syllable: en-MI-ty. Another pitfall is running the final /ti/ together as /tiː/; keep the final -ty short and light: /-ti/. Ensure /m/ is a true bilabial stop with firm lip contact, not a nasalized or softened consonant. Practicing with minimal pairs helps you hear the contrast: emmetry vs enmity.
In US, UK, and Australian speech, the primary stress remains on the second syllable: en-MI-ty. US speakers may pronounce the final /i/ as a short /ɪ/ or a quick /i/; UK and AU tend to keep a slightly shorter, clipped final -ty, often /ti/ with a lighter touch. The rhoticity does not affect enmity significantly, but the vowel quality in /ɪ/ can be more centralized in some US dialects. Overall, the main variation is vowel length and clarity of the final consonant.
The difficulty lies in the three-syllable structure with a secondary stress on -mity and a relatively reduced final syllable. Practitioners often misplace stress on the first syllable (EN-mi-ty) or lengthen the final /ti/ as /tiː/. It also involves a precise /m/ articulation between two vowels and a quick, light ending. To master it, focus on a crisp /m/ and a short final /i/; practice by isolating the middle vowel /ɪ/ and ensuring the tail is not elongated.
Enmity’s uniqueness comes from the contrast between the accented middle syllable and the lightly stressed ending. The sequence m-i-t-y requires clean articulation: the /m/ is tightly closed, the /ɪ/ is short, and the /t/ is lightly released before the /i/ vowel. Unlike many two-syllable words, en-MI-ty also has a rare combination of a strong internal consonant (m) followed by a short, unstressed suffix (-ty). This combination makes rhythm and timing critical.
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