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CLICHÉ RHYME: Cliché rhymes are rhymes that are considered trite or predictable. They include love and dove, moon and June, trees and breeze. Sometimes, to avoid cliché rhymes, poets will go to hyperbolic lengths, such as the trisyllabic rhymes in Lord Byron's Don Juan.

CLICK: A sound common in some non-Indo-European languages in Polynesia made by clucking the tongue or drawing in air with the tongue rather than expelling it from the lungs--such as the sound represented by the letter combination tsk-tsk. Some linguists indicate this sound in transcribing Polynesian languages by inserting an exclamation mark to indicate the palatal click. For instance, the !chung tribe has a palatal click as part of its name.

CLIFFHANGER: A melodramatic narrative (especially in films, magazines, or serially published novels) in which each section "ends" at a suspenseful or dramatic moment, ensuring that the audience will watch the next film or read the next installment to find out what happens. The term comes from the common 1930's film-endings in which the main characters are literally left hanging on the edge of a cliff until the story resumes. The term cliffhanger has more loosely been applied to any situation, event, or contest in which the outcome remains uncertain until the last moment possible.

CLIMAX, LITERARY (From Greek word for "ladder"): The moment in a play, novel, short story, or narrative poem at which the crisis reaches its point of greatest intensity and is thereafter resolved. It is also the peak of emotional response from a reader or spectator and usually the turning point in the action. The climax usually follows or overlaps with the crisis of a story, though some critics use the two terms synonymously. (Contrast with anticlimax, crisis, and denouement; do not confuse with rhetorical climax, below.)

CLIMAX, RHETORICAL: Also known as auxesis and crescendo, this refers to an artistic arrangement of a list of items so that they appear in a sequence of increasing importance. See rhetorical schemes for more information. The opposite of climax is bathos.

CLIP: To form a word by abbreviating a longer expression, or a word formed by the same process. For instance, the word auto (as in "auto shop") is a clipped form of automobile.

CLOSE READING: Reading a piece of literature carefully, bit by bit, in order to analyze the significance of every individual word, image, and artistic ornament. Click here for more information. The term is sometimes used synonymously with critical reading, though I arbitrarily prefer to reserve close reading as a reference for analyzing literature and critical reading as a reference for breaking down an essay's argument logically. Cf. critical reading.

CLOSED POETIC FORM: Poetry written in a a specific or traditional pattern according to the required rhyme, meter, line length, line groupings, and number of lines within a genre of poetry. Examples of a closed-form poetry include haiku, limericks, and sonnets, which have set numbers of syllables, lines, and traditional subject-matter. Contrast with open poetic form.

CLOSURE (Latin clausura, "a closing"): Closure has two common meanings. First, it means a sense of completion or finality at the conclusion of play or narrative work--especially a feeling in the audience that all the problems have been resolved satisfactorily. Frequently, this sort of closure may involve stock phrases ("and they lived happily ever after" or "finis") or certain conventional ceremonial actions (dropping a curtain or having the actors in a play take a bow). The narrative may reveal the solution of the primary problem(s) driving the plot, the death of a major character (especially the antagonist, the protagonist's romantic interest or even the protagonist herself), or careful denouement. An example of extended denouement as closure occurs in George Eliot's Middlemarch, in which the author carefully explains what happened in later years to each character in the novel. Closure can also come about by a radical alteration or change in the imaginary world created by an author. For instance, in J. R. R. Tolkien's The Lord of the Rings, much of the closure to the saga comes from the departure of the elves and wizards, who sail across the sea, leaving the world of human men and women forever, an act which apparently causes magic to fade. Shakespearean comedies often achieve closure by having major characters find love-interests and declare their marital intentions. Other more experimental forms of literature and poetry may achieve closure by "circular structure," in which the poem or story ends by coming back to the narrative's original starting spot, or by returning a similar situation to what was found at the beginning of the tale. See discussion under denouement. Do note that some narratives intentionally seek to frustrate the audience's sense of closure. Examples of literature that reject conventions of closure include cliffhanger serials (see above), which reject normal closure in an attempt to gain returning audiences. Many postmodern narratives influenced by existential philosophy, on the other hand, reject closure as too "simplistic" and "artificial" in comparison with the complexities of human living.

Secondly, some critics use the term "closure" as a derogatory term to imply the reduction of a work's meanings to a single and complete sense that excludes the claims of other interpretations. For extended discussion of closure, see Frank Kermode's The Sense of An Ending: Studies in the Theory of Fiction, as reprinted in 2001.

CLOWN: (1) A fool or rural bumpkin in Shakespearean vocabulary. Examples of this type of clown include Lance, Bottom, Dogberry, and other Shakespearean characters. (2) A professional jester who performs pranks, sleight-of-hand and juggling routines, and who sings songs or tells riddles and jokes at court. By convention, such jesters were given considerable leeway to speak on nearly any topic (even criticizing court policy) as long as the criticism was veiled in riddles and wordplay. Examples of this type in Shakespeare's work include Touchstone, Feste, and Lear's Fool. Cf. fool.

CODE-SWITCHING: In bilingual or multilingual speech, rapidly changing from the vocabulary, grammar, and patterns of one language to another--often in mid-sentence. An example sentence to illustrate this process using Latin, Spanish, German, and French might read as follows: "Imprimus, el commander qui runs his troops y sus attendants to death in a blitzkrieg isn't tres sapiens, n'est-pas?" [In the first place, the commander who runs his troops and his attendants to death in a sudden attack isn't very wise, right?]

Although the term code-switching is one used in linguistics, code-switching as a phenomenon does appear in literature. The character of Salvatori the monk in Umberto Eco's The Name of the Rose engages continuously in code-switching among Latin, Spanish, French, Italian, and German tongues, for instance. Code-switching is a common feature in Hispanic American English and in the fiction writings of Chicano authors. Cf. dog-latin and macaronic texts.

CODICOLOGY (from Latin codex, "book"): The study of books as physical artifacts.

COGNATE: Cognates are words that (1) match each other to some degree in sound and meaning, (2) come from a common root in an older language, but (3) did not actually serve as a root for each other. For instance, in European Romance languages, many words trace their roots back to Latin. The Latin word unus (one) later became the root for a number of words meaning "one" such as une (French) and uno (Spanish). Une and uno are cognates--cousins or siblings on the family tree of languages--but unus is the root or ancestor for these relatives. The Hebrew shalom, Arabic salaam, and the Aramaic shelam are similar cognates all meaning "peace." The amateur philologist should be cautious of false cognates and folk etymology, however. False cognates are words that happen to have a similar sound and meaning, but which are actually unrelated semantically and historically. Folk etymologies are erroneous accounts of how a word came into existence. Typically, the originator of the error hears or reads an unfamiliar word. The orginator then fabricates a spurious source by linking the strange word to a more familiar expression or then fashions a pun Copyright Dr. L. Kip Wheeler 1998-2012. Permission is granted for non-profit, educational, and student reproduction. Last updated March 30, 2012. Contact: kwheeler@cn.edu Please e-mail corrections, suggestions, or comments to help me improve this site. Click here for credits, thanks, and additional copyright information. qa Good Looking Stripped Singers Singers Good Looking Stripped Singers vi Good Looking Stripped Singers Good Looking Stripped Singers Passion