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Poetics
(c. 350 BCE): "Tragedy is an imitation of an action that is
serious, complete, and of a certain magnitude; . . .
through pity [eleos] and fear [phobos] effecting
the proper purgation [catharsis] of these emotions"
(Book 6.2). (See tragedy.)
Click here to download
a pdf handout concerning this material.
CAUDATE RHYME: Another term for tail-rhyme or rime couée. See discussion under tail-rhyme.
CAVALIER: A follower of Charles I of England (ruled c. 1625-49) in his struggles with the Puritan-dominated parliament. The term is used in contrast with Roundheads, his Puritan opponents. Cavaliers were primarily wealthy aristocrats and courtiers. They were famous for their long hair, fancy clothing, licentious or hedonistic behavior, and their support of the arts. See Cavalier drama and Cavalier poets, below. Ultimately, Cromwell led the Roundheads in a coup d'état and established a Puritan dictatorship in England, leading to the end of the English Renaissance and its artistic, scientific, and cultural achievements. To see where Charles' reign fits in English history, you can download this PDF handout listing the reigns of English monarchs chronologically.
CAVALIER DRAMA: A form of English drama comprising court plays that the Queen gave patronage to in the 1630s. Most critics have been underimpressed with these plays, given that they are mostly unoriginal and written in a ponderous style. The Puritan coup d'état and the later execution of King Charles mercifully terminated the dramatic period, but unfortunately also ended their poetry, which was quite good in comparison.
CAVALIER POETS: A group of Cavalier English lyric poets who supported King Charles I and wrote during his reign. The major Cavalier poets included Carew, Waller, Lovelace, Sir John Suckling, and Herrick. They largely abandoned the sonnet form favored for a century earlier, but they still focused on the themes of love and sensuality and their work illustrates "technical virtuosity" as J. A. Cuddon put it (125). They show strong signs of Ben Jonson's influence.
CEDILLA: A diacritical mark used in several languages, such as the ç in French.
CELLERAGE: The hollow area beneath a Renaissance stage--known in Renaissance slang as "hell" and entered through a trapdoor called a "hellmouth." The voice of the ghost comes from this area in Hamlet, which has led to scholarly discussion concerning whether or not the ghost is really Hamlet's father or a demon in disguise.
CELTIC: A branch of the Indo-European family of languages. Celtic includes Welsh and Breton. Celtic languages are geographically linked to western Europe, and they come in two general flavors, goidelic (or Q-celtic) and brythonic (or P-celtic).
CELTIC REVIVAL: A literary movement involving increased interest in Welsh, Scottish, and Irish culture, myths, legends, and literature.. It began in the late 1700s and continues to this day. Thomas Gray's Pindaric ode The Bard (1757) and Ieuan Brydydd's publication of Some Specimens of the Poetry of the Ancient Welsh Bards (1764) mark its emergence, and Charlotte Guest's translation of The Mabinogion in 1839 marks its continued rise. Matthew Arnold's lectures on Celtic literature at Oxford helped promote the foundation of a Chair of Celtic at that school in 1877. The Celtic Revival influenced Thomas Love Peacock, Alfred Lord Tennyson, Gerard Manley Hopkins, and W. B. Yeats, and probably lead to the creation of the Abbey Theatre. A continuing part of the Celtic Revival is the Irish Literary Renaissance, a surge of extraordinary Irish talent in the late nineteenth and twentieth century including Bram Stoker, James Joyce, William Butler Yeats, Samuel Beckett, George Bernard Shaw, and Seamus Heaney.
CENOTAPH: A carving on a tombstone or monument, often in the form of a verse poem, biblical passage, or literary allusion appearing after the deceased individual's name and date of birth/death. Often used synonymously with epitaph.
CENSORSHIP: The act of hiding, removing, altering or destroying copies of art or writing so that general public access to it is partially or completely limited. Contrast with bowdlerization. Click here to download a PDF handout discussing censorship in great detail. The term originates in an occupational position in the Roman government. After the fifth century BCE, Rome commissioned "censors." These censors at first were limited to conducting the census for tax estimations, but in latter times, their job was to impose moral standards for citizenship, including the removal of unsavory literature. See also the Censorship Ordinance of 1559 and the Profanity Act of 1606.
CENSORSHIP ORDINANCE OF 1559: This law under Queen Elizabeth required the political censorship of public plays and all printed materials in matters of religion and the government. The Master of Revels was appointed to monitor and control such material. All of Shakespeare's early works were written under this act. We can see signs of alteration in his early works to conform to the requirements of the censors. Contrast with the Profanity Act of 1606.
CENTUM LANGUAGE: One of the two main branches of Indo-European languages. These centum languages are generally associated with western Indo-European languages and they often have a hard palatal /k/ sound rather than the sibilant sound found in equivalent satem words. See discussion under Indo-European.
CHAIN OF BEING: An elaborate cosmological model of the universe common in the Middle Ages and the Renaissance. The Great Chain of Being was a permanently fixed hierarchy with the Judeo-Christian God at the top of the chain and inanimate objects like stones and mud at the bottom. Intermediate beings and objects, such as angels, humans, animals, and plants, were arrayed in descending order of intelligence, authority, and capability between these two extremes. The Chain of Being was seen as designed by God. The idea of the Chain of Being resonates in art, politics, literature, cosmology, theology, and philosophy throughout the Middle Ages and Renaissance. It takes on particular complexity because different parts of the Chain were thought to correspond to each other. (See correspondences.) Click here for more information.
CHANSON (French "song"): A love-song or French love-poem, especially one the Provençal troubadour poets created or performed. Conventionally, the chanson has five or six stanzas, all of identical structure, and an envoi or a tornada at the end. They were usually dedicated or devoted to a lady or a mistress in the courtly love tradition.
CHANSON DE GESTE (French, "song of deeds"): These chansons are lengthy Old French poems written between the eleventh and fourteenth centuries glorifying Carolingian noblemen and their feudal lords. The chansons de geste combine history and legend. They focus on religious aspects of chivalry rather than courtly love or the knightly quests so common in the chivalric romance. Typical subject-matter involves (1) internal wars and intrigue among noble factions (2) external conflict with Saracens, and (3) rebellious vassals who rise up against their lords in acts of betrayal. Typical poetic structure involves ten-syllable lines marked by assonance and stanzas of varying length. The chansons de geste are in many ways comparable to epics. Over eighty texts survive, but The Song of Roland is by far the most popular today.
CHANSON
À PERSONNAGES
(French, "song to people"): Old French songs or poems
in dialogue
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