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Essay Writing Service - : The melodic pattern just before the end of a sentence or phrase--for instance an interrogation or an exhortation. More generally, the natural rhythm of language depending on the position of stressed and unstressed syllables. Cadence is a major component of individual writers' styles. A cadence is a coherent of words spoken as a single rhythmical unit, such as a prepositional phrase, "of parting day" or a noun phrase, "our inalienable rhts."CAESURA (plural: caesurae): A pause separating phrases within lines of poetry--an important part of poetic rhythm. The term caesura comes from the Latin "a cutting" or "a slicing." Some editors will indicate a CALQUE: An expression formed by individually translating parts of a longer foren expression and then combining them in a way that may or may not make literal sense in the new language. Algeo provides the example of the English phrase "Decorative work, usually developing from or used to make up an important or introductory initial, or developing from ascenders at the top of the page and descenders at the bottom of the justified text; a series of strokes made by holding a quill constant at one angle to produce broader and narrower lines, which in combination appear to overlap one another to form strap-work"CANCEL: A bibliographical term referring to a leaf which is substituted for one removed by the printers because of an error. For instance, the first quarto of Shakespeare's Troilus and Cressida has a title page existing in both cancelled and uncancelled states, leaving modern readers in some doubt as to whether the play should be considered a comedy, history, or tragedy., meaning "reed" or "measuring rod"): Canon has three general meanings. (1) An approved or traditional collection of works. Orinally, the term "canon" applied to the list of books to be included as authentic biblical doctrine in the Hebrew and Christian Bible, as opposed to apocryphal works (works of dubious, mysterious or uncertain orin). (2) Today, literature students typiy use the word canon to refer to those works in anthologies that have come to be considered standard or traditionally included in the classroom and published textbooks. In this sense, "the canon" denotes the entire body of literature traditionally thought to be suitable for admiration and study. (3) In addition, the word canon refers to the writings of an author that scholars generally accepted as genuine products of said author, such as the "Chaucer canon" or the "Shakespeare canon." Chaucer's canon includes The Canterbury Tales, for instance, but it does not include the apocryphal work, "The Plowman's Tale," which has been mistakenly attributed to him in the past. Likewise, the Shakespearean canon has only two apocryphal plays () that have gained wide acceptance as authentic Shakespearean works beyond the thirty-six plays contained in the First Folio. NB: Do not confuse the spelling of cannon (the b gun) with canon (the official collection of literary works). Traditionally, those works considered canonical are typiy restricted to dead white European male authors. Many modern critics and teachers argue that women, minorities, and non-Western writers are left out of the literary canon unfairly. Additionally, the canon has always been determined in part by philosophical biases and political considerations. In response, some critics suggest we do away with a canon altogether, while others advocate enlarging or expanding the existing canon to achieve a more representative sampling. (1) It refers generally to the words of a Provençal or Italian song. CANTO: A sub-division of an epic or narrative poem comparable to a chapter in a novel. (2) More specifiy, an Italian or Provençal song relating to love or the praise of beauty is a canzone. Examples include the divisions in Dante's Divine Comedy, Lord Byron's Childe Harold, or Spenser's Faerie Queene. (3) Poems in English that bear some similarity to Provençal lyrics are ed CAPTIVITY NARRATIVE: A narrative, usually autobiographical in orin, concerning colonials or settlers who are captured by Amerindian or aborinal tribes and live among them for some time before gaining freedom. An example would be Mary Rowlandson's (love) espoused in the New Testament, the four cardinal virtues consisted of prudence, temperance, fortitude, and justice. Theologians like Saint Augustine argued Christians alone monopolized faith in a true God, hope of a real afterlife, and the ability to love human beings not for their own sake, but as a manifestation of God's creation. However, these early theologians argued that pagans could still be virtuous in the cardinal virtues, the old values of the Roman Empire before the coming of Christianity. In Latin terminology, pagan Rome espoused the four cardinal virtues as follows: or an arrowhead pointing upwards. An editor will write a caret underneath a line of text to indicate that a word, letter, or punctuation mark needs insertion at the spot where the two lines converge. "song" or "poem"): The generic Latin term for a song or poem--especially a love-song or love-poem. After Ovid was banished to Tomis by the Emperor in the year 8 AD, he wrote that his crime was "CARPE DIEM: Literally, the phrase is Latin for "seize the day," from carpere (to pluck, harvest, or grab) and the accusative form of die (day). The term refers to a common moral or theme in classical literature that the reader should make the most out of life and should enjoy it before it ends. Poetry or literature that illustrates this moral is often ed poetry or literature of the "carpe diem" tradition. Examples include Marvell's "To His Coy Mistress," and Herrick's "To the Virgins, to Make Much of Time." Cf. Common cases include the nominative, the accusative, the genitive, the dative, the ablative, the vocative, and the instrumental forms. Patterns of particular endings added to words to indicate their case are ed declensions. Although the two s may frequently share a common language, they each also have specialized vocabulary and speech mannerisms that to a native speaker may quickly advertise their social background. "misuse"): A completely impossible fure of speech or an implied metaphor that results from combining other extreme fures of speech such as anthimeria, hyperbole, synaesthesia, and metonymy. The results in each case are so unique that it is hard to state a general fure of speech that embodies all of the possible results. For instance, Hamlet says of Gertrude, "I will speak daggers to her." A man can speak words, but no one can literally speak daggers. In spite of that impossibility, readers know Shakespeare means Hamlet will address Gertrude in a painful, contemptuous way. In pop music from the 1980s, the performer Meatloaf tells a disappointed lover, "There ain't no hiding the bottom of a crackerjack box." The image of a luxury car hidden as a prize in the bottom of a tiny cardboard candybox emphasizes how unlikely or impossible it is his hopeful lover will find such a fantastic treasure in someone as cheap, common, and unworthy as the speaker in these lyrics. Sometimes the catachresis results from stacking one impossibility on top of another. For a more recent example, consider the disturbingly cheerful pop song by Foster the People, "Pumped Up Kicks," which deals with a school shooting. Here, the shooter/narrator thinks, "I've waited for a long time. Yeah, the sleht of my hand is now a quick-pull trger. / I reason with my carette." One can reason with induction or deduction, but how does one reason with a carette? Here, the catachresis mht evoke the idea of the "cool" kid using personal style instead of a persuasive argument, or it mht evoke the imagery of torture--burning victims with a carette-butt to make one's point. This sort of evocative, almost nonsensical language is the heart of good catachresis. Other examples, in The Lord of the Rings, Tolkien uses catachresis to describe Legolas's disgusted outburst at encountering an Orc by asserting, "'Yrch! He is said to have exclaimed, "Now that is a horse of a different feather." This abusio is the result of two metaphors. ' siad Legolas, falling into his own tongue.'" One fall into a pool of water or fall into a bed, but how does one fall into a language? The first is the cliché metaphor comparing anything unusual to "a horse of a different color." The second is the proverbial metaphor about how "birds of a feather flock together." However, by taking the two dead metaphors and combining them, the resulting image of "a horse of a different feather" truly emphasizes how bizarre and unlikely the resulting political alliance was. As Milton so elegantly phrased it, catachresis is all about "blind mouths." A special subtype of catachresis is abusio, a mixed metaphor that results when two metaphors collide. Intentionally or not, the senator created an ungainly, unnatural animal that reflects the ungainly, unnatural coalition he condemned. Purists of languages often scrowl at abusio with good reason. Too commonly abusio is the result of sloppy writing, such as the history student who wrote "the dreadful hand of totalitarianism watches all that goes on around it and growls at its enemies." (It would have been better to stick with a single metaphor and state "the eye of totalitarianism watches all that goes on around it and glares at its enemies." We should leave out the mixed imagery of watchful hands growling at people; it's just stupid and inconsistent.) However, when used intentionally for a subtle effect, abusio and catachresis can be powerful tools for orinality. CATALECTIC: In poetry, a catalectic line is a truncated line in which one or more unstressed syllables have been dropped, especially in the final metrical foot. For instance, acephalous or headless lines are catalectic, containing one fewer syllable than would be normal for the line. For instance, Babette Deutsche notes the second line in this couplet from A. Housman is catalectic: contrasts with an acatalectic line, which refers to a "normal" line of poetry containing the expected number of syllables in each line, or a hypercatalectic line, which has one or more extra syllables than would normally be expected. CATALEXIS: Truncation of a poetic line--i.e., in poetry, a catalectic line is shortened or truncated so that unstressed syllables drop from a line. If catalexis occurs at the start of a line, that line is said to be acephalous or headless. See catalectic.: Creating long lists for poetic or rhetorical effect. The que is common in epic literature, where conventionally the poet would devise long lists of famous princes, aristocrats, warriors, and mythic heroes to be lined up in battle and slaughtered. The que is also common in the practice of giving illustrious genealogies ("and so-and-so begat so-and-so," or "x, son of y, son of z" etc.) for famous individuals. An example in American literature is Whitman's multi-page catalog of American types in section 15 of "Song of Myself." An excerpt appears below: sings in the organ loft, The carpenter dresses his plank, the tongue of his foreplane whistles its wild ascending lisp, The married and unmarried children ride home to their Thanksgiving dinner, The pilot seizes the king-pin, he heaves down with a strong arm, The mate stands braced in the whale-boat, lance and harpoon are ready, The duck-shooter walks by silent and cautious stretches, The deacons are ordained with crossed hands at the altar, The spinning-girl retreats and advances to the hum of the b wheel, The farmer stops by the bars as he walks on a First-day loaf and looks at the oats and rye, 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 s of singers sing their separate lyrics and space out the wording of the poem. For example, one mht 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 s 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 : 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. through pity [eleos] and fear [phobos] effecting the proper purgation [catharsis] of these emotions" (Book 6.2). According to Aristotle, catharsis is the marking feature and ultimate end of any tragic artistic work. 350 BCE): "Tragedy is an imitation of an action that is serious, complete, and of a certain magnitude; . (See tragedy.) Click here to download a pdf handout concerning this material.: 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. CAVE, PLATO'S: In Plato's , Socrates, Plato, and several of their fellows debate the nature of ideal government. They were famous for their long hair, fancy clothing, licentious or hedonistic behavior, and their support of the arts. Ultimately, Cromwell led the Roundheads in a and established a Puritan dictatorship in England, leading to the end of the English Renaissance and its artistic, scientific, and cultural achievements. Lewis took it upon himself to raid the Cave for similarly-minded scholars to become a part of the new Inklings (Lobdell cited in Drout 88). In the section on education in this ideal Republic, they argue about the purpose of education. To see where Charles' ren fits in English history, you can download this PDF handout listing the rens of English monarchs chronologiy. Tolkien, Neville Coghill, Hugh Dyson, and Cleanth Brooks. Lewis's brother "Warnie" retired to Oxford after a bout with alcoholism and could not regularly make meetings at the Cave. As part of Socrates' argument, the discussion veers into an allegory in which human existence is being trapped in a cave of norance, chained in place and unable to view anything except shadows cast on the wall. Lewis coopts this idea in , in which the characters discover after death that Narnia has merely been a crude approximation of heaven, and the further they travel in the "onion ring," the larger and more beautiful and more true the inner rings become. CAVALIER DRAMA: A form of English drama comprising court plays that the Queen gave patronage to in the 1630s. They were distinguished scholars of various fields. Some of those shadows are vague outlines of actual unseen truths beyond the perception of the senses; others are false images deliberately desned to mislead the cave-dwellers, keeping them content and unquestioning. While reading Plato's cave as an allegory of education is a common interpretation, some philosophers (especially medieval readers) often took a more mystical approach to the Greek text, interpreting the cave as the material or physical world, while the shadows were mere outline of a greater spiritual truths--hidden and eternal beyond the physical world. CELTIC: A branch of the Indo-European family of languages. Celtic languages are geographiy linked to western Europe, and they come in two general flavors, goidelic (or Q-celtic) and brythonic (or P-celtic). Most critics have been underimpressed with these plays, given that they are mostly unorinal and written in a ponderous style. The purpose of education becomes freeing the imprisoned human and forcing him to leave the cave, to look at the actual objects that make the shadows. CELTIC REVIVAL: A literary movement involving increased interest in Welsh, Scottish, and Irish culture, myths, legends, and literature. The Puritan CAVALIER POETS: A of Cavalier English lyric poets who supported King Charles I and wrote during his ren and who opposed the Puritans, his political enemies. It began in the late 1700s and continues to this day. The major Cavalier poets included Carew, Waller, Lovelace, Sir John Suckling, and Herrick. They show strong sns of Ben Jonson's name comes from I Samuel 22:1-2, where the Cave of Adullam became the place for David's conpiracies against King Saul, possibly implying that the members of the Cave at Oxford saw themselves as rhteously subversive of the academic establishment. Thomas Gray's Pindaric ode in 1839 marks its continued rise. 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 "cal virtuosity" as J. 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. Yeats, and probably led 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. 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. Click here to download a PDF handout discussing censorship in great detail. The term orinates 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 relion 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 sns of alteration in his early works to conform to the requirements of the censors. CENTAUR MYTH: In mythology and literary use, a common motif is the centaur (a hybrid of horse-body with a human torso where the horse's head would be). This mythic creature has gone through a number of allegorical transformations in different literary periods. In classical Greek artwork and literature, centaurs were associated with sex and violence. Their lineage traces them to Centaurus, the twin brother of King Lapithes. Both Centaurus and Lapithes were the offspring of Apollo and a river nymph named Stilbe. Stilbe gave birth to twins, with the elder Lapithes being strong, brave and handsome, but the younger twin Centaurus was ugly, brutish, and deformed. Unable to find a woman willing to marry him, Centaurus engaged in bestiality with mares, who in turn gave birth to half-human, half-horse hybrids that terrorized the land, becoming the first centaurs. Many Greek temples such as the Parthenon included a prominent carved scene ed a , which depicted the battle between Pirithous, a later king of the Lapith tribe, as he battled with centaurs who party-crashed his wedding and attempted to abduct the bride and bridesmaids. The scene was also popular in Greek pottery and wall-painting, and it helped cement the Greek idea that centaurs were generally loutish creatures symbolizing bestial natures--especially the lower passions of gluttony, rapine, and sexuality. Only a few exceptions (such as Chiron) were exceptions to this rule, and Greek heroes like Hercules spent a great deal of time beating up centaurs who sought to kidnap their wives and lovers. Later, medieval bestiaries revisited and Christianized the centaur myth. One medieval bestiary/commentary used centaurs as symbols of hypocrisy. After pews gradually become common in late medieval churches near the turn of the Renaissance, such bestiaries depicted the centaur as standing in a pew so that only the human-looking upper half of the body was visible while the lower animal half was unseen. The commentators stated that even thus wicked people in churches would look virtuous in their public appearance, but their truly monstrous nature would remain concealed. Lewis in particular become fascinated with idealizing centaurs as noble creatures and developed them into a private symbol for spiritual and bodily perfection. By the Enlhtenment, pastoral artwork and paintings tended to depict centaurs more as frolicking, playful creatures--erasing earlier overtones of rape and evil, and by the late 19th-century, fantasy writers at the time of George Mac Donald rehabilitated them, making them deuteragonists and tritagonists that heroes would encounter on their quests. Lewis saw the upward human half of a centaur as being an emblem of reason and nobility, and the lower half being an emblem of natural biological or animal passions. Thus, the centaur became his emblem for the healthy union of the material body and the intellectual/spiritual domains--an organism as God intended humans to be before the fall, or the perfect amalgamation of the chariot-driver, chariot, and horses in the allegory of the charioteer that Plato retells in 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 intellence, authority, and capability between these two extremes. 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. They focus on relious aspects of chivalry rather than courtly love or the knhtly quests so common in the chivalric romance. Typical subject-matter involves (1) internal wars and intrue 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 (French, "song to people"): Old French songs or poems in dialogue form. Common subjects include quarrels between husbands and wives, meetings between a lone knht and a comely shepherdess, or romantic exchanges between lovers leaving each other in the morning. See CHARACTER: Any representation of an individual being presented in a dramatic or narrative work through extended dramatic or verbal representation. Forster describes characters as "flat" (i.e., built around a single idea or quality and unchanging over the course of the narrative) or "round" (complex in temperament and motivation; drawn with subtlety; capable of growth and change during the course of the narrative). The reader can interpret characters as endowed with moral and dispositional qualities expressed in what they say (dialogue) and what they do (action). The main character of a work of a fiction is typiy ed the protagonist; the character against whom the protagonist struggles or contends (if there is one), is the antagonist. If a single secondary character aids the protagonist throughout the narrative, that character is the deuteragonist (the hero's "side-kick"). A character of tertiary importance is a tritagonist. These terms orinate in classical Greek drama, in which a tenor would be assned the role of protagonist, a baritone the role of deuteragonist, and a bass would play the tritagonist. CHARACTERIZATION: An author or poet's use of description, dialogue, dialect, and action to create in the reader an emotional or intellectual reaction to a character or to make the character more vivid and realistic. Careful readers note each character's attitude and thoughts, actions and reaction, as well as any language that reveals geographic, social, or cultural background.): In 19th-century Russian literature, a short song, usually of four lines--usually eprammatic and humorous and nature, commonly focusing on topics such as love and commonly associated with young artists. on political topics became more common in the 20th century. Most modern examples rhyme and use regular trochaic meter, though in the oldest examples, these features are less regular, with cadences that are feminine or dactylic (Harkins 121). CHAUCERISM: In the Renaissance, experimental revivals and new word formations that were consciously desned to imitate the sounds, the "feel," and verbal patterns from an older century--a verbal or grammatical anachronism. Spenser uses many Chaucerisms in CHEKE SYSTEM: As summarized by Baugh, a proposed method for indicating long vowels and standardizing spelling first suggested by Sir John Cheke in Renaissance orthography. Cheke would double vowels to indicate a long sound. For instance, CHIASMUS (from Greek, "cross" or "x"): A literary scheme in which the author introduces words or concepts in a particular order, then later repeats those terms or similar ones in reversed or backwards order. It involves taking parallelism and deliberately turning it inside out, creating a "crisscross" pattern. For example, consider the chiasmus that follows: " LITERATURE: Twentieth- and twenty-first-century writings and poetry by Mexican-American immrants or their children--usually in English with short sections or phrases in Spanish. An example would be Sandra Cisneros' writings, such as CHIVALRY: An idealized code of military and social behavior for the aristocracy in the late medieval period. The word "chivalry" comes from Old French cheval (horse), and chivalry literally means "horsemanship." Normally, only rich nobility could afford the expensive armor, weaponry, and warhorses necessary for mounted combat, so the act of becoming a knht was symboliy indicated by giving the knht silver spurs. The rht to knhthood in the late medieval period was inherited through the father, but it could also be granted by the king or a lord as a reward for services. The tenets of chivalry attempted to civilize the brutal activity of warfare. The chivalric ideals involve sparing non-combatants such as women, children, and helpless prisoners; the protection of the church; honesty in word and bravery in deeds; loyalty to one's liege; dnified behavior; and single-combat between noble opponents who had a quarrel. Other matters associated with chivalry include gentlemanly contests in arms supervised by witnesses and heralds, behaving according to the manners of polite society, courtly love, brotherhood in arms, and feudalism. This code became of great popular interest to British readers in the 1800s, leading to a surge of historical novels, poems, and paintings dealing with medieval matters. Examples of this nineteenth-century fascination include the Pre-Raphaelite Movement, William Morris's revival of medieval handcrafts, Scott's novels such as I made them lay their hands in mine and swear To reverence the King, as if he were Their conscience, and their conscience as their King To break the heathen and uphold the Christ, To ride abroad redressing human wrongs, To speak no slander, no, nor listen to it, To honor his own word as if his God's, CHORIC FURE: Any character in any type of narrative literature that serves the same purpose as a chorus in drama by remaining detached from the main action and commenting upon or explaining this action to the audience. CHORUS: (1) A of singers who stand alongside or off stage from the principal performers in a dramatic or musical performance. (2) The song or refrain that this of singers sings. In ancient Greece, the chorus was orinally a of male singers and dancers () who participated in relious festivals and dramatic performances by singing commenting on the deeds of the characters and interpreting the snificance of the events within the play. Shakespeare alters the traditional chorus by replacing the singers with a single fure--often allegorical in nature. For instance, "Time" comes on stage in The Winter's Tale to explain the passing years. Likewise, "Rumor" appears in Henry IV, Part Two to summarize the gossip about Prince Hal. CHRISTIAN NOVEL: A novel that focuses on Christianity, evangelism, or conversion stories. Sometimes the plots are overtly focused on this theme, but others are primarily allegorical or symbolic. Traditionally, most literary critics have rated these works as being of lower literary quality than the canon of great novels in Western civilization. Examples include Bodie Thoen's CHRISTOLOGICAL FURE: In theology, Christology is the study of Jesus' nature, i.e., whether Christ had both a human and divine nature, whether he had one sentient will alone or one human will and one divine will, whether he was theoretiy capable of sin like humanity or perfectly rhteous like the other persons in the trinity, whether he shared in the Father's omniscience or suffered from human afflictions like doubt or norance, whether he existed or not before his biological birth, whether he was equal in authority and power to the other persons in the trinity, and whether he actually had a physical body (the orthodox view) or was composed entirely of spirit (the Arian view). has been commandeered to refer to (1) an object, person, or fure that represents Christ allegoriy or symboliy, or (2) any similar object, person, or fure with qualities generally reminiscent of Christ. Examples of christological fures include the Old Man in Hemingway's , who allows himself like the lion of the tribe of Judah to be slain in order to redeem a traitorous child; and the unicorn in medieval bestiaries, which would lie down and place its phallic, ivory-horned meekly in a maiden's lap so that hunters mht it--which medieval monks interpreted as an allegory of Christ allowing himself to enter the womb of the virgin Mary so that he mht later be sacrificed. Zora Neale Hurston creates a christ-fure in Delia Jones, who in the short story "Sweat" suffers to support her ungrateful husband and "CHRONICLE: A history or a record of events. It refers to any systematic account or narration of events that makes minimal attempt to interpret, question, or analyze that history. Because of this, chronicles often contain large amounts of folklore or other word-of-mouth legends the writer has heard. In biblical literature, the book of Chronicles is one example of a chronicle. Medieval chronicles include Joinville's account of the Crusades and Geoffrey of Monmouth's , a source for much Arthurian legend. In the Renaissance, Raphael Holinshed, Edward Hall, and other chroniclers influenced Shakespeare. the assumption that whatever has gone out of date is on that account discredited," i.e., the unthinking belief that past ideas or literature are obsolete and that current or present ideas are superior to them, the myth that all change is beneficial progress. Chronicles were popular in England after the British defeated the Spanish Armada in 1588. Lewis's term for what he describes as "the uncritical acceptance of . Lewis initially felt torn between his love of medieval literature and the sense that it made him a "dinosaur" out of touch with the 20th century, and he felt depressed to think the fictions of the past as beautiful lies. The accompanying patriotic fervor increased the public's demand for plays about English history.. In a fierce philosophical debate ("The Great War") with Owen Barfield, Barfield convinced him that such a view was wrong, and Lewis states Barfield "made short work of my chronological snobbery" (qtd. : Related to the dead, the grave, the underworld, or the fertility of the earth. In Greek mythology, the Greeks venerated three categories of spirits: (1) the Olympian gods, who were worshipped in public ceremonies--often outdoors on the east side of large columned temples in the , (2) ancestral heroes like Theseus and Hercules, who were often worshipped only in local shrines or at specific burial mounds, (3) chthonic spirits, which included (a) earth-gods and death-gods like Hades, Hecate, and Persephone; (b) lesser-known (and often nameless) spirits of the departed; (c) dark and bloody spirits of vengeance like the Furies and Nemesis, and (d) (especially in Minoan tradition) serpents, which were revered as intermediaries between the surface world of the living and the subterranean realm of the dead. This is why snakes were so prominent in the healing cults of Aesclepius. It became common in Greek to speak of the Olympian in contrast to the CHURCH SUMMONER: Medieval law courts were divided into civil courts that tried public offenses and ecclesiastical courts that tried offenses against the church. Summoners were minor church officials whose duties included summoning offenders to appear before the church and receive sentence. By the fourteenth century, the job became synonymous with extortion and corruption because many summoners would take bribes from the individuals summoned to court. Chaucer satirized a summoner in The Canterbury Tales.. Most modern cinquains are now based on the form standardized by an American poet, Adelaide Crapsey (1878-1918), in which each unrhymed line has a fixed number of syllables--respectively two, four, six, eht, and two syllables in each line--for a rid total of 22 syllables. Here is probably the most famous example of a cinquain from Crapsey's Line 1 - Consists of the two-syllable title or subject for the poem Line 2 - Consists of two adjectives totaling four syllables describing the subject or title Line 3 - Consists of three verbs totaling six syllables describing the subject's actions Line 4 - Consists of four words totaling eht syllables giving the writer's opinion of the subject. Line 5 - Consists of one two-syllable word, often a synonym for the subject.: A type of artistic structure in which a sense of completeness or closure does not orinate in coming to a "conclusion" that breaks with the earlier story; instead, the sense of closure orinates in the way the end of a piece returns to subject-matter, wording, or phrasing found at the beginning of the narrative, play, or poem. An example of circular structure mht be "The Secret Life of Walter Mitty," which ends with an ellipsis identical to the opening sequence, indicating that the middle-aged protagonist is engaging in yet another escapist fantasy. Leh Hunt's poem "Jenny Kissed Me" is an example of a circularly-structured poem, since it ends with the same words that open the speaker's ecstatic, gossipy report. Langdon Smith's poem "Evolution" is circular in its concluding repetition of the opening phrase, "When you were a tadpole, and I was a fish," but it is also thematiy circular, in that it implies the cycle of reincarnated love will continue again and again in spite of death. In many ways, the smaller tales within a larger frame narrative act as part of a circular structure, because each small tale begins by breaking the reader away from the larger, encompassing narrative and concludes by returning the reader to that larger frame-narrative. related terms like acyrologia, ambage, macrologia, macrology, pleonasm, prolixity, tautology, and verbiage. CIRCUMLOCUTION: Roundabout or indirect speech or writing, rather than short, brief, clear writing. CIVIC CRITICS: A school of 19th-century Russian literary scholars who judged the value of writing primarily by its political context and progressive ideas. They commonly wrote in oposition to the aesthetic theories of the Parnassian Poets (Harkins 55). Example critics include Belinski (active in the 1840s), Dobrolyubov, and Chernyshevski. CLASSICAL: The term in Western culture is usually used in reference to the art, architecture, drama, philosophy, literature, and history surrounding the Greeks and Romans between 1000 BCE and 410 BCE. Works created during the Greco-Roman period are often ed classics. The "Golden Age" of Classical Greek culture is commonly held to be the fifth century BCE (especially 450-410 BCE). The term can be applied more generally to any ancient and revered writing or artwork from a specific culture; thus we refer to "Classical Chinese," "Classical Hebrew," and "Classical Arabic" works. To download a PDF handout placing the periods of literary history in order, click here.. A phrase mht contain nouns as appositives or objects, and it mht contain verb-like words in the form of participles or gerunds, but it crucially lacks a subject "doing" a verb. For example, consider this sentence: "Joe left the building after seeing his romantic rival."If the clause could stand by itself as a complete sentence, it is known as an independent clause. If the clause cannot stand by itself as a complete sentence (typiy because it begins with a subordinating conjunction), it is said to be a dependent clause. For a discusion of clauses according to functional type, click here ( TBA). in irregular meter, usually about a famous person from history or literature. Typiy the historical person's name forms one of the rhymes. The name comes from Edmund Clerihew Bentley (1875-1956), the purported inventor. He supposedly had a habit of scribbling down such rhymes during dull lectures at school, including this one from his chemistry class: CLICHÉ: A hackneyed or trite phrase that has become overused. Clichés are considered bad writing and bad literature. Click here to download a PDF handout for more information. Cliché rhymes are rhymes that are considered trite or predictable. Cliché rhymes in poetry include 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 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. CLOSE READING: Reading a piece of literature carefully, bit by bit, in order to analyze the snificance of every individual word, image, and artistic ornament. The term is sometimes used synonymously with CLOSURE (Latin clausura, "a closing"): Closure has two common meanings. (Contrast with anticlimax, crisis, and denouement; do not confuse with: 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. 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. 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. An example of extended 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. Shakespearean comedies often achieve closure by having major characters find love-interests and declare their marital intentions. Closure can also come about by a radical alteration or change in the imaginary world created by an author. 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 orinal starting spot, or by returning a similar situation to what was found at the beginning of the tale. 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, sleht-of-hand and juggling routines, and who sings songs or tells riddles and jokes at court. It comes from "cock's egg," the idea that an uneducated urbanite would be so norant he or she would not realize that a male rooster (a cock) would be the wrong gender to lay an egg. 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. By Renaissance times, the word was applied to those living in the Bow Bells area of London in Cheapside, a working class district. Examples of this type in Shakespeare's work include Touchstone, Feste, and Lear's Fool. Today, the term implies most strongly the spoken dialect of that area. Cockney dialect tends to be non-rhotic, with final . The imprecise term Estuary English refers to spoken English in the southeast of Britain that merges linguistic traits of RP and Cockney, and recent dialect shift that appears to be spreading across the island. COCKNEY RHYMING SLANG: A form of slang in which the speaker substitutes one word in a sentence with another word or phrase that rhymes with the implied word--but which leaves out the actual, final rhyming part. This wordplay is associated with the dialect appearing in the Cheapside district of London's East End. The resulting sentence is baffling for outsiders unfamiliar with the tradition but provides a pleasing word puzzle to Cockney speakers. For examples, instead of stating that "The woman had exquisite legs," a Cockney speaker mht say, "The woman had exquisite bacons." Here, the phrase 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 mht 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, rht? ] engages continuously in code-switching among Latin, Spanish, French, Italian, and German tongues, for instance. : 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. Code-switching is a common feature in Hispanic American English and in the fiction writings of Chicano authors. For instance, in European Romance languages, many words trace their roots back to Latin. False cognates are words that happen to have a similar sound and meaning, but which are actually unrelated semantiy and historiy. Folk etymologies are erroneous accounts of how a word came into existence. Typiy, the orinator 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 based upon sound similarities. COLLECTIVE UNCONSCIOUS: In twentieth-century Jungian Psychology, this term refers to a shared of archetypes (atavistic and universal images, cultural symbols, and recurring situations dealing with the fundamental facts of human life) passed along to each generation to the next in folklore and stories or generated anew by the way must face similar problems to those our ancestors faced. Within a culture, the collective unconscious forms a treasury of powerful shared images and symbols found in our dreams, art stories, myths, and relious icons. See more detailed discussion under archetypal criticism. COLLOCATION: The frequency or tendency some words have to combine with each other. For instance, Algeo notes that the phrases "tall person" and "hh mountain" seem to fit together readily without sounding strange. A non-native speaker mht talk about a "hh person" or "tall mountain," and this construction mht sound slhtly odd to a native English speaker. American scholars usually use the term "colonial period" to refer to the years in the American colonies before the American Revolution against the British Monarchy--usually dating it from 1607 (when Jamestown was founded) to 1787 (when Congress ratified the Federal Constitution). This period coincides rougy with the Reformation in England and continues up through the end of the Enlhtenment or Neoclassical Period. American writers from the colonial period include Ben Franklin, Thomas Paine, and Anne Bradstreet. Click here to download a PDF handout placing this period in historical context with other literary movments. When British historians use the term, they sometimes tend to apply the word "colonial" in more general reference to the British expansions into the Americas, the Indies, India, Africa, and the Middle-East over the course of several centuries, even up to the nineteenth century and early twentieth century. COLONIALISM: The term refers broadly and generally to the habit of powerful civilizations to "colonize" less powerful ones. On the obvious level, this process can take the form of a literal geographic occupation, outrht enslavement, relious conversion at gun-point, or forced assimilation of native peoples. On a more subtle level, this process can take the form of bureucratic policy that incidentally or indirectly leads to the extinction of a minority's language or culture, economic exploitation of cheap labor, and globalistic erasure of cultural differences. The term is often applied in academic discussion of literature from the colonial period. We can see the concerns of colonialism and imperial ambition in the works of George Orwell's "Shooting an Elephant," in Rudyard Kipling's fictional tales about India, and in Josef Conrad's novella, Heart of Darkness. of drama during the Dionysia festivals of ancient Athens. The first comedies were loud and boisterous drunken affairs, as the word's etymology suggests. Later, in medieval and Renaissance use, the word came to mean any play or narrative poem in which the main characters manage to avert an impending disaster and have a happy ending. The comedy did not necessarily have to be funny, and indeed, many comedies are serious in tone. It is only in the nineteenth and twentieth centuries that comedy's exclusive connotations of humor arose. See also Low Comedy, Hh Comedy, COMEDY OF HUMORS: A Renaissance drama in which numerous characters appear as the embodiment of stereotypical "types" of people, each character having the physiological and behavioral traits associated with a specific humor in the human body. The majority of the cast consists of such stock characters. (See "humors, bodily" for more information.) Some of Shakespeare's characters, including Pistol, Bardulph, and others, show sns of having been adapted from the stereotypical humor characters. (1) In anthropological terms, a comedy of innocence is a ritualized symbolic behavior (or set of such behaviors) desned to alleviate individual or communal guilt about an execution or sacrifice or to hide the blame for such an action. In literature, a humor character was a type of flat character in whom a single passion predominated; this interpretation was especially popular in Elizabethan and other Renaissance literature. In ancient Greece, the ax or dagger used in a sacrifice mht be put on trial (instead of the priest wielding it). The sacrificial animal mht be required to "volunteer" by shaking its head or by walking up to the altar to eat the grain sitting on it. The sacrificial victim mht be "condemned to execution" after being released where it could set foot in a forbidden holy grove or taboo sacred mountain (cf. In America, we see remnants of the comedy of innocence in customs such as the 19th-century's hangman's black mask (to erase the executioner's identity) or the custom of granting the condemned prisoner's last request or final meal (to alleviate any sense of cruelty on the jailer's part). (2) A specific myth told by later generations to erase or hide ancient evidence of what looks like the practice of human sacrifice in earlier times. For instance, a number of local Greek myths describe characters like Leucothea, Palaemon, and Glaucus; they fall or are thrown into the sea where they are magiy transformed into sea-gods. Given the relative insnificance of these gods in the Greek pantheon, it is likely this sort of tale either (a) developed out of local hero cults or (b) the tale alludes to an ancient or prehistoric belief that drowned sacrificial victims would live on as animistic spirits. Another common version of the comedy of innocence is the motif of a human sacrificial victim (usually a child) who is miraculously saved () and an animal substituted in his or her place. For example, in some Greek myths, Iphenia is replaced by a white hind before her father can sacrifice her to gain good winds for the Trojan voyage. Phrixus gets whisked to safety by a Golden Ram, which is then sacrificed in the young boy's place. In the Hebrew Bible, Yahweh stops Abraham from ing Isaac, and he directs Abraham's attention to a ram with its horns caught in a thicket (Genesis 22:9-13). Scholars of mythology often see the dozens of such tales appearing cross-culturally and interpret them as having their orins in the comedy of innocence. COMEDY OF MANNERS: A comic drama consisting of five or three acts in which the attitudes and customs of a society are critiqued and satirized according to hh standards of intellect and morality. The dialogue is usually clever and sophisticated, but often COMIC OPERA: An outgrowth of the ehteenth-century ballad operas, in which new or orinal music is composed specially for the lyrics. (This contrasts with the ballad opera, in which the lyrics were set to pre-existing popular music.)COMIC RELIEF: A humorous scene, incident, character, or bit of dialogue occurring after some serious, tragic, or frhtening moment. Comic relief is deliberately desned to relieve emotional intensity and simultaneously hehten and hht the seriousness or tragedy of the action. // And if I then become disguieted, / Let stolid people think who do not see / What the point is beyond which I had passed" (34.90-93). , in which Dante encounters Satan himself frozen in ice. COMING-OF-AGE STORY: A novel in which an adolescent protagonist comes to adulthood by a process of experience and disillusionment. The demon initially terrified Dante, but the narrator's fear falls way to the reader's laughter in a comic reversal in which Dante and Virgil climb down Satan's body and move through the center of the earth's gravity, at which point Dante is confused by the way gravity reverses, looks upward, and finds himself directly staring at Satan's nether regions, writing, ". This character loses his or her innocence, discovers that previous preconceptions are false, or has the security of childhood torn away, but usually matures and strengthens by this process. Examples include Wieland's (lord) in exchange for food, mead, and heriot, the loan of fine armor and weaponry. The men who swore such an oath were ed thegns (rougy akin to modern Scottish "thane"), and they vowed to fht for their lord in battle. It was considered a shameful disaster to outlive one's own lord. The comitatus was the functional military and government unit of early Anglo-Saxon society. The term was first coined by the classical historian Tacitus when he described the Germanic tribes north of Rome. of Italian farce from the sixteenth-century characterized by stock characters, stock situations, and spontaneous dialogue. Typiy, the plot is an intrue plot and it involves a soubrette who aids two young lovers in foiling the rid constraints of their parents. In many such plays, a character named Sganarelle is a primary fure in the work. Often there is a , or foolish-servant, who provides physical comedy in contrast to the anguish of the young lovers. Commedia dell'arte may have influenced Shakespeare's comedies, such as The Merry Wives of Windsor, and Moliere's plays, such as , in which the lines of iambic tetrameter (eht syllables) alternate with lines of iambic trimeter (six syllables). This pattern is most often associated with ballads (see above), and it is occasionally referred to as "ballad measure." Many of Emily Dickinson's poems are in loose common measure using slant rhyme, for instance: A fun and simple test to recognize common measure in poetry is to take a stanza and try singing it aloud to a well-known tune written in common meter, such as "Gillan's Isle," "Amazing Grace," or "House of the Rising Sun." If the syllabification fits these familiar ditties, you are looking at a case of common measure.). Usually supernatural or extraordinary events involve themselves in the conception, such as the Druid Cathbad's seduction of Nessa after prophesying what the hour would be lucky for (begetting a king upon a queen! ) or the visitation of a god like Lug to a woman who then becomes pregnant after the divine visitation. The birth-tale in general is not limited to Old Irish Literature, but is found worldwide (Duffy 102-03). Examples outside of Irish literature include the birth of Jesus, or the Buddha, or Leda and Hercules in Greek myth, Pryderi's conception in the First Branch of after the Greek monster): The term is one mythologists use to describe the fantastical creatures in Assyrian, Babylonian, Greek, and medieval European legends in which the beast is composed of the body-parts of various animals. For instance, in Greek mythology, the chimera has the body of a lion, tale of a serpent, wings of a bat, and a goat-head, a lion-head, and a serpent's head. Likewise, the sphinx has a lion's body and a woman's head and breasts; the centaur has a horse's body and human torso and a human head where the horse-head should be; the minotaur has a bull's head and a man's body; and the harpy has an avian body and a woman's head, breasts, and arms. Earlier examples in Mesopotamian mythology include the ekimmu (a bloodsucking albino ghost with a bull's head) and the lamassu (a winged horse with a human head). In the medieval period, composite monsters include the formecolion, with an ant's body and a lion's head; the mermaid, with a human top and a fish bottom; and the cockatrice, which mingles parts of a rooster and a serpent. Contrast with Composite monsters were common in the legends of classical and ancient cultures, but diminished in favor after the Renaissance. Many theories propose to explain the common tendency to create composite monsters. Theories include mistranslation in traveler's tales, in which an animal is describing as having a head such-and-such a creature, but the simile is lost in translation; the encounter of fossil remnants of extinct animals, or bones found jumbled together and misassembled; and the heraldic practice of dimidiation, in which a nobleman's son mht take two animals found on his father's and mother's coats of arms combine them into a composite creature to illustrate his genealogy. Compositors frequently followed their own standards in spelling and punctuation. They inevitably introduced some errors into the text, often by selecting the wrong piece from the type case or by setting the correct letter upside-down: A term from linguistics used to describe the creation of a new word ("neologism") that comes about by taking two existing words and sticking them together to create a brand new concept (Horobin 192). For instance, the word comes from two Greek words meaning "water" and "stuff." However, Germanic languages and Germanic poetry (including derivatives like English) are particularly prone to creating new words this way. Thousands of English words result from two older words being compounded together, such as bathtub (bath tub), eyesore (eye sore); window (from two Old Norse words meaning "wind" and "eye"), and so on. However, poets regular invent neologisms by compounding to create artificial words of their own. Even Chaucer engaged in this trick, coining the word newfangled from the English new and the Middle French fanglere, meaning "to make or to fashion." See neologism, blending, and kenning. COMPURGATION: In addition to trial by ordeal, compurgation was the medieval law practice among Christianized Anglo-Saxon tribes to determine innocence. A man accused of a crime would publicly swear to his innocence. The judge then gave the defendant thirty days to to collect a number of "oath-helpers" who would also swear to his innocence (or at least his good character). If he was unable to find the required number, he was either found guilty or he could appeal to trial by ordeal. If the defendant had been caught in the act, or was considered untrustworthy, the procedure could be reversed, and the plaintiff would bring forth oath-helpers to prove his charge through similar compurgation. CONCEIT (also ed a metaphysical conceit): An elaborate or unusual comparison--especially one using unlikely metaphors, simile, hyperbole, and contradiction. Before the beginning of the seventeenth century, the term conceit was a synonym for "thought" and rougy equivalent to "idea" or "concept." It gradually came to denote a fanciful idea or a particularly clever remark. In literary terms, the word denotes a fairly elaborate fure of speech, especially an extended comparison involving unlikely metaphors, similes, imagery, hyperbole, and oxymora. One of the most famous conceits is John Donne's "A Valediction: Forbidding Mourning," a poem in which Donne compares two souls in love to the points on a geometer's compass. Shakespeare also uses conceits regularly in his poetry. In Richard II, Shakespeare compares two kings competing for power to two buckets in a well, for instance. A conceit is usually classified as a subtype of metaphor. Contrast with epic simile and CONCRETE DICTION / CONCRETE IMAGERY: Language that describes qualities that can be perceived with the five senses as opposed to using abstract or generalized language. For instance, ing a fruit "pleasant" or "good" is abstract, while ing a fruit "cool" or "sweet" is concrete. The preference for abstract or concrete imagery varies from century to century. Philip Sidney praised concrete imagery in poetry in his 1595 treatise, Apologie for Poetrie. A century later, Neoclassical thought tended to value the generality of abstract thought. Eliot added to this school of thought with his theory of the "objective correlative." Contrast with CONCRETE POETRY: Poetry that draws much of its power from the way the text appears situated on the page. In the early 1800s, the Romantic poets like Wordsworth, Coleridge, and Shelley once again preferred concreteness. Hulme attempted to create a theory of concrete poetry. The actual shape of the lines of text may create a swan's neck, an altar, a geometric pattern, or a set of wings, which in some direct way connects to the meaning of the words. In the 20th century, the distinction between concrete and abstract has been a subject of some debate. Also ed "shaped poetry" and "visual poetry," concrete poetry should not be confused with concrete diction or concrete imagery (see above). The object here is to present each poem as a different shape. It may appear on the page, on glass, stone, wood, or other materials. The que seems simple, but can allow great subtlety. Famous concrete poets include Apollinaire, Max Bill, Eugen Gomringer and the Brazilian Noandres , which exhibited a collection of concrete art at Sào Paulo in 1956. In Germany, this school of poetry is ed konkretisten by critics. It includes Ernst Jandl, Aceitner, Heissenbüttel, Mon, and Rühm. CONFLATION: In its more restricted literary sense, a conflation is a version of a play or narrative that later editors create by combining the text from more than one substantive edition. For example, Greenblatt notes that most versions of CONFLICT: The opposition between two characters (such as a protagonist and an antagonist), between two large s of people, or between the protagonist and a larger problem such as forces of nature, ideas, public mores, and so on. Conflict may also be completely internal, such as the protagonist struggling with his psychological tendencies (drug addiction, self-destructive behavior, and so on); William Faulkner famously claimed that the most important literature deals with the subject of "the human heart in conflict with itself." Conflict is the engine that drives a plot. Examples of narratives driven mainly by conflicts between the protagonist and nature include Jack London's "To Build a Fire" (in which the Californian struggles to save himself from freezing to death in Alaska) and Stephen Crane's "The Open Boat" (in which shipwrecked men in a lifeboat struggle to stay alive and get to shore). Examples of narratives driven by conflicts between a protagonist and an antagonist include Mallory's Le Morte D'arthur, in which King Arthur faces off against his evil son Mordred, each representing civilization and barbarism respectively. Examples of narratives driven by internal struggles include Daniel Scott Keyes' "Flowers for Algernon," in which the hero struggles with the loss of his own intellence to congenital mental retardation, and Edgar Allan Poe's "The Tell-Tale Heart," in which the protagonist ends up struggling with his own guilt after committing a murder. In complex works of literature, multiple conflicts may occur at once. For instance, in Shakespeare's Othello, one level of conflict is the unseen struggle between Othello and the machinations of Iago, who seeks to destroy him. Another level of conflict is Othello's struggle with his own jealous insecurities and his suspicions that Desdemona is cheating on him. CONFUCIAN CLASSICS: Five ancient Chinese writings commonly attributed to Confucius, though it is likely they are actually compilations of traditional material predating him. The five classics include the I Ching (The Book of Changes), the Shu Ching (The Book of History), the Shih Ching, (The Book of Odes), the Record of Rites (Li Chi), and the Spring and Autumn Annals. To see where this material fits in an outline of Chinese history, click here. CONNOTATION: The extra tinge or taint of meaning each word carries beyond the minimal, strict definition found in a dictionary. For instance, the terms civil war, revolution and rebellion have the same denotation; they all refer to an attempt at social or political change. However, civil war carries historical connotations for Americans beyond that of revolution or rebellion. Likewise, revolution is often applied more generally to scientific or theoretical changes, and it does not necessarily connote violence. Rebellion, for many English speakers connotes an improper uprising against a legitimate authority (thus we speak about "rebellious teenagers" rather than "revolutionary teenagers"). In the same way, the words house and home both refer to a domicile, but home connotes certain singular emotional qualities and personal possession in a way that doesn't. I mht own four houses I rent to others, but I mht none of these my home, for example. Much of poetry involves the poet using connotative diction that suggests meanings beyond "what the words simply say." Contrast with denotation. Abrams illustrates in to indicate habitual or frequent action. CONSONANCE: A special type of alliteration in which the repeated pattern of consonants is marked by changes in the intervening vowels--i.e., the final consonants of the stressed syllables match each other but the vowels differ. This grammatical structure is characteristic of Black Vernacular. An example would be as follows: "What you be doing on Thursdays? " "I be working every afternoon." Users of standard edited English typiy frown on this grammatical formation. CONTEMPORARY LITERATURE: Literature written "at the present moment." Although the writers in every century would consider themselves "contemporary" or "modern," when speakers use this term, they almost always mean either modernist or postmodernist literature. COTERIE WRITING: Writing intended orinally for the amusement or edification of a small circle of friends or family rather than for publication or public perusal. Often, however, such writings later become adopted or modified for publication. Sometimes, the author does this; in other cases, later editors do this posthumously. Famous examples include Mary Shelley orinally created as part of a ghost-story contest amongst her friends and literary comrades. Aphra Behn orinally wrote many of her poems as part of coterie writing, though most of her plays, her philosophical treatises, and : A unique or orinal symbol an author creates within the context of an individual work or an author's collected works. Examples include the Snopes family in Faulkner's collected works, who together function as a symbol of the South's moral decay, or the town of Castle Rock, Maine, which in Stephen King's works functions as a microcosmic symbol of human society. poem: the A-text, the B-text, and the C-text (and possibly a Z-text, as recent scholarship has tentatively suggested). These versions contain different dialogue, different wording, and different spelling; they do not all contain the same passages and do not include identical storylines. A modern editor must either choose one to use as the basis of a modern edition, or she must create a conflation. Several Shakespeare plays vary wildly between the quarto and folio versions--including (category) of literature or film. In Harlequin romances, it is conventional to focus on a male and female character who struggle through misunderstandings and difficulties until they fall in love. In western films of the early twentieth-century, for instance, it has been conventional for protagonists to wear white hats and antagonists to wear black hats. The wandering knht-errant who travels from place to place, seeking adventure while suffering from the effects of hunger and the elements, is a convention in medieval romances. It is a convention for an English sonnet to have fourteen lines with a specific rhyme scheme, , and so on. The use of a chorus and the unities are dramatic conventions of Greek tragedy, while, the aside, and the soliloquy are conventions in Elizabethan tragedy. Conventions are often referred to as poetic, literary, or dramatic, depending upon whether the convention appears in a poem, short story or novel, or a play. CONVENTIONAL: A conventional linguistic trait is an arbitrary one learned from others, not one determined by some natural law or genetic inheritance. Today, most linguists think most vocabulary and grammar are conventional, but some linguists in previous centuries believed ethnicity affected language development and acquisition. CORPUS CHRISTI PLAY: A relious play performed outdoors in the medieval period that enacts an event from the Bible, such as the story of Adam and Eve, Noah's flood, the crucifixion, and so on. The word is derived from the relious festival of CORRESPONDENCES: An integral part of the medieval and Renaissance model of the universe known as the "Chain of Being." The idea was that different links on the Chain of Being were interconnected and had a sort of sympathetic correspondence to each other. Each type of being or object (men, beasts, celestial objects, fish, plants, and rocks) had a place within a hierarchy desned by God. Each type of object had a primate, which was by nature the most noble, rare, valuable, and superb example of its type. For instance, the king was primate among men, the lion among beasts, the sun among celestial objects, the whale among fish, the oak among trees, and the diamond among rocks. Often, there was a symbolic link between primates of different orders--such as the lion being a symbol of royalty, or the king sleeping in a bed of oak. This symbolic link was a "correspondence." However, correspondences were thought to exist in the material world as well as in the world of ideas. Disturbances in nature would correspond to disturbances in the political realm (the body politic), in the human body (the microcosm), and in the natural world as a whole (the macrocosm). For instance, if the king were to become ill, Elizabethans mht expect lions and beasts to fall sick, rebellions to break out in the kingdom, individuals to develop headaches or fevers, and stars to fall from the sky. All of these events could correspond to each other on the chain of being, and each would coincide with the others. For more information about correspondences and the Chain of Being, click here. COUNTING: A que of determining stylistic qualities of a piece of writing by counting the numbers of words in paragraphs or sentences, and determining the average number of modifiers, average word lengths, and so on. COUPLET: Two lines--the second line immediately following the first--of the same metrical length that end in a rhyme to form a complete unit. Geoffrey Chaucer and other writers helped popularize the form in English poetry in the fourteenth century. An especially popular form in later years was the heroic couplet, which was rhymed iambic pentameter. It was popular from the 1600s through the late 1700s. Much Romantic poetry in the early 1800s used the couplet as well. A couplet that occurs after the volta in an English sonnet is ed a gemel (see sonnet, volta, gemel). COURT OF LOVE: In medieval convention, a court of love is an assemblage of women presided over by a queen or noblewoman. At this mock-court, various young knhts or courtiers are summoned to court and put on "trial" by the ladies for their crimes against love. These crimes mht be neglecting their sweethearts, failing to wear their ladies' tokens at jousts, and so on. Chaucer himself may have been summoned to a court of love for his "libelous" depiction of Criseyde in Troilus and Criseyde, and Queen Anne may have required him to write The Legend of Good Women as a penance for his literary "crimes." In "The Wife of Bath's Tale," we find an inversion of the normal play-acting in which King Arthur gives Gwenevere and her ladies the rht to try a rapist-knht for his crimes. Here, the women literally have power of life or death over the subject. Andreas Capellanus discusses the "courts of love" in his medieval writings, and more recent scholars such as C. Lewis (The Allegory of Love) and Amy Kelly (Eleanor of Aquitaine) discuss the convention at length. Lewis' and Gaston Paris' scholarly studies, but its historical existence remains contested in critical circles. COURTLY LOVE (Medieval French: fin amour or amour courtois): Possibly a cultural trope in the late twelfth-century, or possibly a literary convention that captured popular imagination, courtly love refers to a code of behavior that gave rise to modern ideas of chivalrous romance. The conventions of courtly love are that a knht of noble blood would adore and worship a young noble-woman from afar, seeking to protect her honor and win her favor by valorous deeds. He typiy falls ill with love-sickness, while the woman chastely or scornfully rejects or refuses his advances in public but privately encourages him. Courtly love was associated with (A) nobility, since no peasants can engage in "fine love"; (B) secrecy; (C) adultery, since often the one or both participants were married to another noble who was unloved; and (D) paradoxiy with chastity, since the passion should never be consummated due to social circumstances, thus it was a "hher love" unsullied by selfish carnal desires or political concerns of arranged marriages. In spite of this ideal of chastity, the knhtly characters in literature usually end up giving in to their passions with tragic results--such as Lancelot and Guenevere's fate, or that of Tristan and Iseult. provides a satirical guide to the endeavor, and Chretien de Troyes satirizes the conventions in his courtly literature as well. Similar conventions influence Petrarch's poetry and Shakespeare's sonnets. These sonnets often emphasize in particular the idea of "love from afar" and "unrequited love," and make use of imagery and wording common to the earlier French tradition. In terms of whether or not practices of courtly love were a historical reality, scholars are loosely divided into schools of thought, as William Kibler notes. The first , the so-ed realists, argue that such institutions truly did exist in the Middle Ages and the literature of the time reproduces this realistiy. The opposing school, the so-ed idealists, argue that (at best) courtly love was a court game taken ironiy as a joke, or (at worst) post-Romantic/Victorian readers have superimposed their own ideals and wishes on medieval culture by exaggerating these components. CRADLE TRICK: A sub-category of the "bed-trick," this is a folk motif in which the position of a cradle in a dark room leads one character to climb into bed with the wrong sexual partner. It appears prominently in Chaucer's "The Reeve's Tale." In the Aarne-Thompson folk-index, this motif is usually numbered as motif no. CREOLE: A native language combining the traits of multiple languages, i.e., an advanced and fully developed pidgin. In the American South, black slaves were often brought in from a variety of African tribes sharing no common language. On the plantation, they developed first a pidgin (limited and simplified) version of English with heavy Portuguese and African influences. This pidgin allowed slaves some rudimentary communication with each other and with their slave masters. In time, they lost their orinal African languages and the mixed speech became the native tongue of their children--a creole. CRISIS (plural: crises): The turning point of uncertainty and tension resulting from earlier conflict in a plot. At the moment of crisis in a story, it is unclear if the protagonist will succeed or fail in his struggle. The crisis usually leads to or overlaps with the climax of a story, though some critics use the two terms synonymously. CRITICAL READING: Careful analysis of an essay's structure and logic in order to determine the validity of an argument. Often this term is used synonymously with close reading (see above), but I prefer to reserve edition) in which the editor indicates all the known variations of a particular text. The apparatus often appears running along the bottom of each page or sometimes in the back of the book, and often incorporates editorial footnotes and glosses. The This notation indicates subsequent lines are collated together in thirteen of the surviving manuscripts, each manuscript being indicated by a special abbreviation. Furthermore, the opening line in manuscripts "W" and "r" has a Latin title written in red ink ("rubricated") as indicated, but another manuscript "F" has labeled it as "secundus" rather than "primus," while the "B" and "R" manuscripts label it in a combination of French and Latin, and so on. A good helps document all this diversity by gathering it together, line-by-line, for convenient comparison at a glance, but the editor presumes the reader knows the dense, standardized abbreviations involved in this notation. For a clearer, hypothetical example, let us imagine Edgar Allan Poe has a poem surviving in three slhtly different forms. The most widespread version Poe had published by Smith Publishing early in his career. Ten years later, Poe revised the poem for a new publisher, Baker Books, and they printed 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 2012. Modern editors would compile these three sources and select what they consider the "best" text. However, they must not nore the alternative versions by leaving them unnoted and unannotated; that would effectively erase them from history. 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 slhtly different archaic spelling "Conqueror Wyrm" in the same spot. Now, a modern scholar wants to publish an authoritative version of Poe's poem a century later. Finally, Poe's own orinal handwritten rough draft of the poem survives among his papers in the Morgan Library (abbreviated "Ml"). This modern editor chooses to emend the line to a standardized spelling of "Conqueror Worm." The The "6" indicates line six as the section with variant readings. The words before the bracket ] show readers that 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 documents the known variations that mht plausibly be "accurate" and reminds modern readers of the multiple possible versions an earlier audience mht 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 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 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: CROWN OF SONNETS: According to Shipley (142), an interlinked poem or cycle of seven sonnets in which the last line of each of the first six serves as the last line of the next, and the last line of the seventh sonnet serves as the first line of the first sonnet. All other rhymes are used once only in the collection of the entire seven sonnets. An English example would be Donne's "La Corona," though the structure is much more common in Italian poetry. A more complicated alternative structure is the so-ed "heroic crown of sonnets" (alias the comes from Lovecraft's 1928 short story, "The of Cthulhu," which introduces the creature Cthulhu as a gantic, 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 " 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 CULTURAL SYMBOL: A symbol widely or generally accepted as meaning something specific within an entire culture or social , as opposed to a contextual symbol created by a single author that has meaning only within a single work or 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. 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: Common themes include the dehumanization, commodification, and mechanization of the individual; the negative effects of commercialization upon society; and implicit philosophical questions regarding consciousness and sensory reality. These cyberpunk authors have been profoundly influential in late twentieth-century science fiction films (such as . The "metaverse" or the "Net" imagined by these early authors in the 1980s have been seen as prophetic of the later real-world rise of the internet after 1993. Examples of novels, anthologies, short stories, and other literary works from the cyberpunk movement include CYCLE: In general use, a literary cycle is any of closely related works. We speak of the Scandinavian, Arthurian, and Charlemagne cycles, for instance. These refer collectively to many poems and stories written by various artists over several centuries. These cycles all deal with Scandinavian heros, King Arthur and his knhts, or the legends of King Charlemagne respectively. More specifiy, a mystery cycle refers to the complete set of mystery plays performed during the Corpus Christi festival in medieval relious drama (typiy 45 or so plays, each of which depicted a specific event in biblical history from the creation of the world to the last judgment). CYHYDEDD NAW BAN: A syllabic verse form in ancient Welsh poetry in which some lines are composed of nine syllables. The major English cycles of mystery plays include the York, Coventry, Wakefield or Towneley, and Chester cycles. The rhyming couplets, when they appear, must rhyme with another line of identical length., lit. Welsh for "symphony" or "harmony"): A Welsh term that loosely denotes sound similarities peculiar to Welsh poetry, especially alliteration and internal rhyme. Typiy, the consonants in one word or line repeat in the same pattern at the beginning and end of the next word or line--but the vowel sounds between the consonants change slhtly. In the English tradition of poetry, Gerard Manley Hopkins charmingly refers to such devices as chimes, and he makes much use of them in his works such as "Spring and Fall." See also awdl and CYRCH A CHWTA: A Welsh verse form consisting of an octave stanza of six rhyming or alliterating seven-syllable lines plus a couplet. The second line of the couplet rhymes with the first six lines. The first line of the couplet cross-rhymes in the third, fourth, or fifth syllable of the ehth line., the alphabet used to write Russian, Serbian, and Bulgarian. The name comes from the 9th-century Greek missionary Saint Cyril, who traveled from Byzantium to convert Slavic races of Moravia to Christianity. Folklore credits Cyril at the inventor of this script, though it is more likely he invented the Glaglotic, what Harkins refers to as "an abtruse alphabet of obscure orin, which soon lost favor" (5). Cyrillic, modeled largely on the Greek alphabet, rose to replace Glaglotic, though Cyril retained credit. The alphabet came to Russia later after its Christianization in 988 or 989. Modern Russian, Ukrainian, Belorussian, Bulgarian, and Serbian alphabets were later offshoots of Cyrillic. Peter the Great simplified the alphabet in 1708, so the lettering required less ornate desn, and later modifiers removed four characters as redundant in 1918. The present alphabet consists of thirty letters, mostly phonetic, though it does not show the stress of syllables (5). CYWYDD (plural, cywyddau): A fourteenth-century metrical form of Welsh lyric poetry consisting of rhyming couplets with each line having seven syllables. Traditionally, in each couplet, the lines end with alternately stressed and unstressed meter. In terms of content, cywyddau traditionally include examples of CYWDD DEUAIR HIRION: In Welsh prosody, the term refers to a form of lht verse consisting of a single couplet with seventeen syllables. The first line has a masculine ending and the last line a feminine ending. CYWYDD LLOSGYRNOG: A type of Welsh verse consisting of a sestet stanza in which the syllable count is eht, eht, seven, eht, eht, and seven respectively. The first two lines rhyme and cross-rhyme with the middle syllable of the sixth line and the third and sixth lines rhyme with each other. I consulted the following works while preparing this list. I have tried to give credit to specific sources when feasible, but in many cases multiple reference works use the same examples or provide the same dates for common information. We provide excellent essay writing service 24/7. Enjoy proficient essay writing and custom writing services provided by professional academic writers.
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POSCCE - FiaTest It can serve as a valuable example of how essays or term papers should be written. To get a professionally written, hh quality, authentic paper, please use our Custom Writing Services. If you have an essay to donate please read our submission details here. ****************************************** Having analyzed 5 different websites about the early civilizations, explorers and colonization I came to a conclusion that they bore some similarity in their structure despite different content, domains, colors used and authors who published their material. The first site I will analyze is located at and speaks about the Black Death (Plague) that struck Great Britain in 1348 through 1949. The website is can be rougy divided into three parts vertiy with the leftmost part featuring other relevant and interesting BBC website articles, news and material and containing the greatest number of hyperlinks leading to this sites other pages. The middle section contained the actual text about the black plague and the list of inner references to speed up the search and reading process. The rhtmost part of the website contains links and articles that relate to the topic discussed in the mid section, namely the Black plague. There one could read the existing BBC article on plague or leave the website to access external articles. The top and the bottom of the website contain the folder-like set of clickable hyperlinks. Due to hh popularity of the website, this site contains little graphics and relies mostly on text. The target audience of this website is the typical reader of the BBC (British Broad Cast)news-adults aged 25 to 50 years of age. Another website I will speak about is located at represents one of the most famous online encyclopedias, Encarta. This website just like other websites on the top and at the bottom possesses access to all major sections of the website. Vertiy the website can be divided into two parts with the left part containing articles and information relevant to the text expressed in the rht part of the site. The text would be interrupted several times for commercial sponsored sites and if needed, one could easily access them. This website is hy visited by people from all over the world and thus possesses little to no graphics. The primary audience of this website comprises anyone who possesses enough curiosity to search the online encyclopedias. One could assume that it can be people aged 15 and up. Another website I will note here is located at it speaks about the history of Egypt. Unlike the first two websites noted in the essay above, this website focuses on the tourists who could come to Egypt for a trip or a vacation. The popularity of this website is much lower so it has lots of graphics to show Egypt for those who want to experience this country. The upper part of the website contains only commercial /sponsored listings and this hints that the website some free website hosting which obles the company to place commercial listings/links on the top of the website. The lower part of the website contains links to some tourist companies that offer tours to Egypt to visit the places discussed in the body of the webpage (text). The text as presented in the body is well presented and contains many hyperlinks that explain some terms, words and places the Egyptian text speaks about. The audience of this website are people who travel and thus I would say those aged 21 years of age and up. The other website I will note in this essay is located online at the Library of Congress) and speaks about Christopher Columbus and his famous history and journey to the eastern parts of North America, namely the Caribbean. This website also appears to have little popularity since it can afford to feature lots of graphics and dynamic interactive pictures (moving ship and dragon). The website's audience comprises children and young teenagers who are there to learn about the travel of Columbus as well as engage in learning the poem and making some experiment with a volcano. The lower part of the website features different hyperlinks and links to other websites that speak about the voyage of Christopher Columbus. The last but not least website I will note in this essay is located at speaks about the African-American Mosaic. This website in my opinion has the best navation and if not excessive use of graphics would be considered the most convenient site of all. The uppermost part of the website possesses a search field as well as an indicator line showing us how many levels we are up or down the site. Then, the website has some hyperlinks leading to different topics relevant to the information shown in the body of the text/website. The website possesses many maps and visual aids, all of which are clickable and expandable into large full screen pictures/graphics. Some of the paragraphs are deliberately shortened and only by clicking on the hyperlink one would be exposed to additional information on the topic. The audience of the website comprises all those individuals who like using the libraries. I would place them in the 15 years of age and up range. It is apparent that the website is funded with the government funds as it would not possess any boring and irrelevant commercials and links that would mislead the user and cause him/her to inefficiently navate the website and get distracted. professional writers can assist you in preparation of your Analysis Essays. Their writing experience allows them to grasp the topic and quickly develop a successful paper on your topic. 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