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S Lyrics I Lyrics P Nieur A Love : A religious play performed outdoors in the
medieval period that enacts an event from the Bible, such as
the story of Adam and Eve, Noah's flood, the crucifixion, and
so on. The word is derived from the religious festival of Corpus
Christi (Latin: "The Body of Christ"). See also
cycle and
mystery play.
CORRESPONDENCES:
An integral part of the medieval and Renaissance model of the
universe known as the "Chain
of Being." The idea was that different links on the
Chain of Being were interconnected and had a sort of sympathetic
correspondence to each other. Each type of being or object (men,
beasts, celestial objects, fish, plants, and rocks) had a place
within a hierarchy designed by God. Each type of object had
a primate,
which was by nature the most noble, rare, valuable, and superb
example of its type. For instance, the king was primate among
men, the lion among beasts, the sun among celestial objects,
the whale among fish, the oak among trees, and the diamond among
rocks. Often, there was a symbolic link between primates of
different orders--such as the lion being a symbol of royalty,
or the king sleeping in a bed of oak. This symbolic link was
a "correspondence." However, correspondences were thought to
exist in the material world as well as in the world of ideas.
Disturbances in nature would correspond to disturbances in the
political realm (the body
politic), in the human body (the microcosm),
and in the natural world as a whole (the macrocosm).
For instance, if the king were to become ill, Elizabethans might
expect lions and beasts to fall sick, rebellions to break out
in the kingdom, individuals to develop headaches or fevers,
and stars to fall from the sky. All of these events could correspond
to each other on the chain of being, and each would coincide
with the others. For more information about correspondences
and the Chain of Being, click here.
COSMIC
IRONY: Another term for situational irony--especially situational
irony connected to a fatalistic or pessimistic view of life.
See discussion under irony,
below.
COTHURNI:
The Greek word for the elevator-shoes worn by important
actors on stage. See discussion under buskins.
COTTABUS: See kottabos.
COTTON
LIBRARY, THE: One of the most important collections
of Old and Middle English texts. Click
here for details.
COTTON
NERO A.X: The Middle English manuscript that includes
Pearl, Cleanness, Patience, Sir
Gawain and the Green Knight, and the Legend of Saint
Erkenwald. Click here for
details.
COTTON
VITELLIUS A.XV: The Old English manuscript that includes
The Passion of Saint Christopher, The Wonders of
the East, and The Letter of Alexander to Aristotle,
Beowulf, and the Old English translation of Judith.
Click here for details.
COUNTING:
A technique of determining stylistic qualities of a piece of
writing by counting the numbers of words in paragraphs or sentences,
and determining the average number of modifiers, average word
lengths, and so on.
COUPLET:
Two lines--the second line immediately following the first--of
the same metrical length that end in a rhyme to form a complete
unit. Geoffrey Chaucer and other writers helped popularize the
form in English poetry in the fourteenth century. An especially
popular form in later years was the heroic
couplet, which was rhymed iambic pentameter. It was
popular from the 1600s through the late 1700s. Much Romantic
poetry in the early 1800s used the couplet as well. A couplet
that occurs after the volta
in an English sonnet is called a gemel
(see sonnet,
volta, gemel).
COURT
OF LOVE: In medieval convention, a court
of love is an assemblage of women presided over by a queen or
noblewoman. At this mock-court, various young knights or courtiers
are summoned to court and put on "trial" by the ladies
for their crimes against love. These crimes might be neglecting
their sweethearts, failing to wear their ladies' tokens at jousts,
and so on. Chaucer himself may have been summoned to a court
of love for his "libelous" depiction of Criseyde in
Troilus and Criseyde, and Queen Anne may have required
him to write The Legend of Good Women as a penance for
his literary "crimes." In "The Wife of Bath's
Tale," we find an inversion of the normal play-acting in
which King Arthur gives Gwenevere and her ladies the right to
try a rapist-knight for his crimes. Here, the women literally
have power of life or death over the subject. Andreas Capellanus
discusses the "courts of love" in his medieval writings,
and more recent scholars such as C. S. Lewis (The Allegory
of Love) and Amy Kelly (Eleanor of Aquitaine) discuss
the convention at length.
COURTLY
LOVE (Medieval French: fin amour or amour courtois):
Possibly a cultural trope in the late twelfth-century, or possibly
a literary convention that captured popular imagination, courtly
love refers to a code of behavior that gave rise to modern ideas
of chivalrous romance. The term itself was popularized by C. S.
Lewis' and Gaston Paris' scholarly studies, but its historical
existence remains contested in critical circles. The conventions
of courtly love are that a knight of noble blood would adore
and worship a young noble-woman from afar, seeking to protect
her honor and win her favor by valorous deeds. He typically
falls ill with love-sickness, while the woman chastely or scornfully
rejects or refuses his advances in public but privately encourages
him. Courtly love was associated with (A) nobility, since
no peasants can engage in "fine love"; (B)
secrecy; (C) adultery, since often the one or both participants
were married to another noble who was unloved; and (D)
paradoxically with chastity, since the passion should never
be consummated due to social circumstances, thus it was a "higher
love" unsullied by selfish carnal desires or political
concerns of arranged marriages. In spite of this ideal of chastity,
the knightly characters in literature usually end up giving
in to their passions with tragic results--such as Lancelot and
Guenevere's fate, or that of Tristan and Iseult.
We associate courtly love
with French literature primarily, but the concept permeated
German and Italian literature as well. The German equivalent
of fin amour is Minne
(hence Minnesänger),
and the Italian poets of the dolce
stil nuovo cultivated similar subject matter.
The convention of courtly
love eventually becomes a source of parody. Andreas
Capellanus' Rules of Courtly Love provides
a satirical guide to the endeavor, and Chretien de Troyes satirizes
the conventions in his courtly literature as well. Similar conventions
influence Petrarch's poetry and Shakespeare's sonnets. These
sonnets often emphasize in particular the idea of "love
from afar" and "unrequited love," and make use
of imagery and wording common to the earlier French tradition.
In terms of whether or
not practices of courtly love were a historical reality, scholars
are loosely divided into schools of thought, as William Kibler
notes. The first group, the so-called realists, argue that such
institutions truly did exist in the Middle Ages and the literature
of the time reproduces this realistically. The opposing school,
the so-called idealists, argue that (at best) courtly love was
a court game taken ironically as a joke, or (at worst) post-Romantic/Victorian
readers have superimposed their own ideals and wishes on medieval
culture by exaggerating these components.
CRADLE
TRICK: A sub-category of the "bed-trick,"
this is a folk motif
in which the position of a cradle in a dark room leads one character
to climb into bed with the wrong sexual partner. It appears
prominently in Chaucer's "The Reeve's Tale." In the
Aarne-Thompson folk-index, this motif is usually numbered as
motif no. 1363.
CREOLE:
A native language combining the traits of multiple languages,
i.e., an advanced and fully developed pidgin. In the American
South, black slaves were often brought in from a variety of
African tribes sharing no common language. On the plantation,
they developed first a pidgin (limited and simplified) version
of English with heavy Portuguese and African influences. This
pidgin allowed slaves some rudimentary communication with each
other and with their slave masters. In time, they lost their
original African languages and the mixed speech became the native
tongue of their children--a creole. Contrast with pidgin.
CRESCENDO:
Another term for rhetorical climax. See climax,
rhetorical, above.
CRISIS
(plural: crises
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Kip Wheeler 1998-2012. Permission is granted for non-profit,
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