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i Goodlookingstrippedsingers ntsearched this revision a few years after Poe's death. Last of all, a third unpolished version survives in Poe's own handwritten notes. Scholars discover this last manuscript version squirreled away in the Morgan Library in 2010.

Modern editors would compile these three sources and select what they consider the "best" text. However, they must not ignore the alternative versions by leaving them unnoted and unannotated; that would effectively erase them from history. Accordingly, the editors might add a criticus apparatus. Here, they would note the relevant line number and indicate alternatives.

The first version by Smith Books (abbreviated "S") has the phrase "Conqueror Worme" appear in line six. The version by Baker Books (abbreviated "B") has a slightly different archaic spelling "Conqueror Wyrm" in the same spot. Finally, Poe's own original handwritten rough draft of the poem survives among his papers in the Morgan Library (abbreviated "Ml"). This manuscript uses the abbreviation "Conqu. Wm." scrawled in that line.

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:

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:

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:

"The Great Old Ones," an assortment of ancient, horrible, powerful (and often unpronounceable) deities/aliens including Cthulhu, Azathoth, Nyarlathotep, Shub-Niggurath, Hastur, Dagon, and Yog-Sothoth.

"The Elder Gods/Elder Things," A term used interchangeably with "The Great Old Ones" by Lovecraft, but used by August Derleth to refer to a separate group of aliens at war with the evil "Great Old Ones." They serve as a deus ex machina in several short stories of the Cthulhu mythos.

Servitor races, i.e., lesser alien species that worship and/or act as slaves to The Great Old Ones, including the shape-changing shoggoths, the intelligent fungus crabs (Mi-go) living on Pluto, the tentacled star-spawn, and the aquatic race of "Deep Ones" living near Devil's Reef in "The Shadow Over Innsmouth."

The imaginary town of Arkham, New England, used as a setting, along with nearby towns like Dunwich and Innsmouth along the Miskatonic river valley.

The theme of insanity (often protagonists suffer mental breakdowns merely by viewing one of the Old Ones).

The appearance of forbidden books of ancient and dangerous lore, such as the fictional Necronomicon, The Book of Eibon, and Unaussprechlichen Kulten.