Sex Goodlookingstrippedsingers e Reading d
n Goodlookingstrippedsingers Sex 2s
Reading searcho Reading d Reading o Goodlookingstrippedsingers k Reading nsearchs Sex e Goodlookingstrippedsingers Bsearchisearchd Sex Goodlookingstrippedsingers e Reading dn Goodlookingstrippedsingers Sex 2snakedkoreangirlsa Goodlookingstrippedsingers c Sex + Reading esearchr Sex hsmailikcheat%20%D1%81%D0%BA%D0%B0%D1%87%D0%B0%D1%82%D1%8C%20%D0%B1%D0%B5%D1%81%D0%BF%D0%BB%D0%B0%D1%82%D0%BD%D0%BEr Goodlookingstrippedsingers a Goodlookingstrippedsingers r Goodlookingstrippedsingers p Reading esearchssearchn Sex e
s Goodlookingstrippedsingers m searche Reading d Goodlookingstrippedsingers n Sex Goodlookingstrippedsingers he's (he is), and
they're (they are) are common in verbal communication,
but they are often considered too loose for more formal writing.
CONTRAPASSIO ("counter-suffering): A thematic principle involving situational irony in which a punishment's nature corresponds exactly to the nature of a crime. Much of Dante's Inferno revolves around elaborate contrapassio.
CONTRASTIVE PAIR: Another term for a minimal pair.
CONTROL TEXT: A specific text upon which a modern edition is based. For instance, there are at least three dominant manuscript traditions of Langland's Piers Plowman 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 Hamlet and King Lear. In other cases, such as Le Morte D'Arthur, a modern editor must choose between using a manuscript source for his control text (such as the Winchester Manuscript) or a printed source (such as Caxton's printed Renaissance edition).
CONVENTION: A common feature that has become traditional or expected within a specific genre (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 knight-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, abab, cdcd, efef, gg, 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 religious 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 religious festival of Corpus Christi (Latin: "The Body of Christ"). See also cycle and mystery play.
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 designed 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 might 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.
COSMIC IRONY: Another term for situational irony--especially situational irony connected to a fatalistic or pessimistic view of life. See discussion under irony, below.
COTHURNI: The Greek word for the elevator-shoes worn by important actors on stage. See discussion under buskins.
COTTABUS: See kottabos.
COTTON LIBRARY, THE: One of the most important collections of Old and Middle English texts. Click here for details.
COTTON NERO A.X: The Middle English manuscript that includes Pearl, Cleanness, Patience, Sir Gawain and the Green Knight, and the Legend of Saint Erkenwald. Click here for details.
COTTON VITELLIUS A.XV: The Old English manuscript that includes The Passion of Saint Christopher, The Wonders of the East, and The Letter of Alexander to Aristotle, Beowulf, and the Old English translation of Judith. Click here for details.
COUNTING: A technique 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 called 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 knights or courtiers are summoned to court and put on "trial" by the ladies for their crimes against love. These crimes might 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 right to try a rapist-knight 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. S. Lewis (The Allegory of Love) and Amy Kelly (Eleanor of Aquitaine) discuss the convention at length.
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 term itself was popularized by C. S. Lewis' and Gaston Paris' scholarly studies, but its historical existence remains contested in critical circles. The conventions of courtly love are that a knight 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 typically 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) paradoxically with chastity, since the passion should never be consummated due to social circumstances, thus it was a "higher love" unsullied by selfish carnal desires or political concerns of arranged marriages. In spite of this ideal of chastity, the knightly 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.
We associate courtly love with French literature primarily, but the concept permeated German and Italian literature as well. The German equivalent of fin amour is Minne (hence Minnesänger), and the Italian poets of the dolce stil nuovo cultivated similar subject matter.