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Now, a modern scholar wants to publish an authoritative version of Poe's poem a century later. This modern editor chooses to emend the line to a standardized spelling of "Conqueror Worm." The criticus apparatus at the bottom of the page might consist of a footnote such as this:

6 Conqeror Worm] S: Conqueror Worme; B: Conqueror Wyrm, Ml: Conqu. Wm.

The "6" indicates line six as the section with variant readings. The words before the bracket ] show the editor considers the preceding version the "best text" for a modern reader--or at least the version the editor has chosen for his edition. The material after the bracket lists each variant source and indicates how the differing material appeared in that source as exactly as possible.

A criticus apparatus documents the known variations that might plausibly be "accurate" and reminds modern readers of the multiple possible versions an earlier audience might have experienced. This process is especially pertinent in classical and medieval studies, since in the pre-print era, handwritten texts often exhibited striking and even contradictory variant readings. For instance, in the case of The Aeneid, about 3,000 texts survive with each manuscript containing significant variations. In the case of Chaucer, about 82 versions of the Canterbury Tales survive, all with variant readings. In the case of Shakespeare, striking differences appear in the F (folio) and Q1, Q2, Q3 (first, second, and third quarto) versions of his plays, and so on.

CROSSED-D: Another term for the capital letter edh or eth used in Anglo-Saxon orthography.

CROSSED RHYME: In long couplets, especially hexameter lines, sufficient room in the line allows a poet to use rhymes in the middle of the line as well as at the end of each line. Swinburne's "Hymn to Proserpine" illustrates its use:

Thou hast conquered, O pale Galilean; the world has grown grey from Thy breath;
We have drunken of things Lethean, and fed on the fullness of death.
Laurel is green for a season, and love is sweet for a day;
But love grows bitter with treason, and laurel outlives not May.

In the excerpt above, the words in red are part of crossed rhyme, and the words in green are regular rhyme. Crossed rhyme is also called interlaced rhyme. Contrast with internal rhyme and leonine rhyme.

CTHULHU MYTHOS (also spelled Cthulu and Kutulu, pronounced various ways): Strongly influential in pulp science fiction and early twentieth-century horror stories, the Cthulhu mythos revolves around a pantheon of malign alien beings worshipped as gods by half-breed cultists. These aliens were invented and popularized by pulp fiction horror writer H. P. Lovecraft. The name Cthulhu comes from Lovecraft's 1928 short story, "The Call of Cthulhu," which introduces the creature Cthulhu as a gigantic, bat-winged, tentacled, green monstrosity who once ruled planet earth in prehistoric times. Currently in a death-like state of hibernation, it now awaits an opportunity to rise from the underwater city of R'lyeh and plunge the earth once more into darkness and terror. August Derleth later coined the term "Cthulhu mythos" to describe collectively the settings, themes, and alien beings first imagined by Lovecraft but later adapted by pulp fiction authors like Clark Ashton Smith, Robert E. Howard, Robert Bloch, Henry Kuttner, and Brian Lumley. Some common elements, motifs, and characters of the mythos include the following:

CULTURAL SYMBOL: A symbol widely or generally accepted as meaning something specific within an entire culture or social group, as opposed to a contextual symbol created by a single author that has meaning only within a single work or group of works. Examples of cultural symbols in Western culture include the cross as a symbol of Christianity, the American flag as a symbol of America's colonial history of thirteen colonies growing into fifty states, the gold ring as a symbol of marital commitment, the Caduceus as a symbol of medicine, and the color black as a symbol of mourning. Examples of cultural symbols in other cultures include white as a symbol of mourning in Japan, the Yin-Yang sphere as an oriental symbol of oppositional forces in balance, the white crane as a symbol of longevity in Mandarin China, and so forth. Any writer in a specific culture could use one of these symbols and be relatively confident that the reader would understand what each symbol represented. Thus, if a writer depicted a pedophilic priest as trampling a crucifix into the mud, it is likely the reader would understand this action represents the way the priest tramples Christian ideals, and so forth. Contrast with contextual symbol and archetype.

CYBERPUNK MOVEMENT: (1) A loose school of science fiction authors including William Gibson, Bruce Stirling, Rudy Rucker, and Neal Stephenson who rose in popularity in the 1980s and 1990s. (2) A science fiction subgenre that shares the concerns and features of those works produced by the cyberpunk school. Features of their novels and short stories in this period include the following motifs: