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Composite monsters were common in the legends of classical and ancient cultures, but diminished in favor after the Renaissance. Many theories propose to explain the common tendency to create composite monsters. Theories include mistranslation in traveler's tales, in which an animal is describing as having a head like such-and-such a creature, but the simile is lost in translation; the encounter of fossil remnants of extinct animals, or bones found jumbled together and misassembled; and the heraldic practice of dimidiation, in which a nobleman's son might take two animals found on his father's and mother's coats of arms combine them into a composite creature to illustrate his genealogy.
An example in 20th century films includes The Fly. In this 1950s horror classic, a fly and a human trade bodies and heads.Cf. therianthropic and theriomorphic.
COMPOSITOR: A typesetter in a Renaissance print shop. To speed the printing process, most of Shakespeare's plays appear to have been set by multiple compositors. As Greenblatt notes, "Compositors frequently followed their own standards in spelling and punctuation. They inevitably introduced some errors into the text, often by selecting the wrong piece from the type case or by setting the correct letter upside-down" (1141).
COMPOUNDING: A term from linguistics used to describe the creation of a new word ("neologism") that comes about by taking two existing words and sticking them together to create a brand new concept (Horobin 192). All languages do this to some extent. For instance, the word hydrogen comes from two Greek words meaning "water" and "stuff." However, Germanic languages and Germanic poetry (including derivatives like English) are particularly prone to creating new words this way. Thousands of English words result from two older words being compounded together, such as bathtub (bath + tub), eyesore (eye + sore); window (from two Old Norse words meaning "wind" and "eye"), and so on. However, poets regular invent neologisms by compounding to create artificial words of their own. Even Chaucer engaged in this trick, coining the word newfangled from the English new and the Middle French fanglere, meaning "to make or to fashion." See neologism, blending, and kenning.
COMPURGATION: In addition to trial by ordeal, compurgation was the medieval law practice among Christianized Anglo-Saxon tribes to determine innocence. A man accused of a crime would publicly swear to his innocence. The judge then gave the defendant thirty days to to collect a number of "oath-helpers" who would also swear to his innocence (or at least his good character). If he was unable to find the required number, he was either found guilty or he could appeal to trial by ordeal. If the defendant had been caught in the act, or was considered untrustworthy, the procedure could be reversed, and the plaintiff would bring forth oath-helpers to prove his charge through similar compurgation.
CONCEIT (also called a metaphysical conceit): An elaborate or unusual comparison--especially one using unlikely metaphors, simile, hyperbole, and contradiction. Before the beginning of the seventeenth century, the term conceit was a synonym for "thought" and roughly equivalent to "idea" or "concept." It gradually came to denote a fanciful idea or a particularly clever remark. In literary terms, the word denotes a fairly elaborate figure of speech, especially an extended comparison involving unlikely metaphors, similes, imagery, hyperbole, and oxymora. One of the most famous conceits is John Donne's "A Valediction: Forbidding Mourning," a poem in which Donne compares two souls in love to the points on a geometer's compass. Shakespeare also uses conceits regularly in his poetry. In Richard II, Shakespeare compares two kings competing for power to two buckets in a well, for instance. A conceit is usually classified as a subtype of metaphor. Contrast with epic simile and dyfalu.
CONCORD: See discussion under agreement.
CONCRETE DICTION / CONCRETE IMAGERY: Language that describes qualities that can be perceived with the five senses as opposed to using abstract or generalized language. For instance, calling a fruit "pleasant" or "good" is abstract, while calling a fruit "cool" or "sweet" is concrete. The preference for abstract or concrete imagery varies from century to century. Philip Sidney praised concrete imagery in poetry in his 1595 treatise, Apologie for Poetrie. A century later, Neoclassical thought tended to value the generality of abstract thought. In the early 1800s, the Romantic poets like Wordsworth, Coleridge, and Shelley once again preferred concreteness. In the 20th century, the distinction between concrete and abstract has been a subject of some debate. Ezra Pound and T. E. Hulme attempted to create a theory of concrete poetry. T. S. Eliot added to this school of thought with his theory of the "objective correlative." Contrast with abstract diction / abstract imagery.
CONCRETE
POETRY: Poetry that draws much of its power from the way
the text appears situated on the page. The actual shape of the
lines of text may create a swan's neck, an altar, a geometric
pattern, or a set of wings, which in some direct way connects
to the meaning of the words. Also called "shaped poetry"
and "visual poetry," concrete poetry should not be
confused with concrete
diction or concrete
imagery
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