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One of the more humorous examples of cataloging appears in the Welsh Mabinogion. In one tale, "Culhwch and Olwen," the protagonist invokes in an oath all the names of King Arthur's companion-warriors, giving lists of their unusual attributes or abilities running to six pages.
CATASTROPHE: The "turning downward" of the plot in a classical tragedy. By tradition, the catastrophe occurs in the fourth act of the play after the climax. (See tragedy.) Freytag's pyramid illustrates visually the normal charting of the catastrophe in a plotline.
CATCH: A lyric poem or song meant to be sung as a round, with the words arranged in each line so that the audience will hear a hidden (often humorous or ribald) message as the groups of singers sing their separate lyrics and space out the wording of the poem. For example, one might write a song in which the first line contained the words "up," the word "look" appears in the middle of the third line, the word "dress" appears in the second line, and the word "her" appears in the middle of the fourth line. When the song or poem is sung as a round by four groups of singers, the word order and timing is arranged so that the singers create the hidden phrase "look up her dress" as they sing, to the amusement of the audience as they listen to an otherwise innocent set of lyrics. Robert Herrick's "To the Virgins, to Make Much of Time" is an example of a catch, and when William Lawes adapted the poem to music for Milton's masque Comus, it became one of the most popular drinking songs of the 1600s (Damrosche 844-45).
CATCHWORD: This phrase comes from printing; it refers to a trick printers would use to keep pages in their proper order. The printer would print a specific word below the text at the bottom of a page. This word would match the first word on the next page. A printer could thus check the order by flipping quickly from one page to the next and making sure the catchword matched appropriately. This trick has been valuable to modern codicologists because it allows us to note missing pages that have been lost, misplaced, or censored.
CATHARSIS: An emotional discharge that brings about a moral or spiritual renewal or welcome relief from tension and anxiety. According to Aristotle, catharsis is the marking feature and ultimate end of any tragic artistic work. He writes in his 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
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