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The Facts on File Dictionary of Allusions - Green Valley High School

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any<strong>on</strong>e will succeed in casting these m<strong>on</strong>ey changers out<br />

<strong>of</strong> the temple. See also den <strong>of</strong> thieves.<br />

cast <strong>of</strong> thousands A large number <strong>of</strong> people<br />

involved in a par tic u lar project. <str<strong>on</strong>g>The</str<strong>on</strong>g> phrase comes<br />

from publicity releases for movies <strong>of</strong> the 1920s,<br />

specifi cally <strong>on</strong>e for the fi rst screen versi<strong>on</strong> <strong>of</strong> Ben<br />

Hur (1925), which boasted “a cast <strong>of</strong> 125,000.” “A<br />

cast <strong>of</strong> thousands may have to be cut to seven”<br />

(Stafford Whiteaker, A Career in Advertising and Public<br />

Relati<strong>on</strong>s, 1986).<br />

Castor and Pollux (kastor, polbks) Archetypes <strong>of</strong><br />

devoted brothers. Castor and Pollux were identifi<br />

ed in Greek mythology as twin brothers, sometimes<br />

called the Dioscuri. As the s<strong>on</strong> <strong>of</strong> the god<br />

Zeus and the mortal Leda, Pollux enjoyed the gift<br />

<strong>of</strong> immortality, but Castor, being the s<strong>on</strong> <strong>of</strong> Leda<br />

and the mortal Tyndareus, was mortal. When Castor<br />

died, Pollux asked to be allowed to die with<br />

him so that they might not be parted. Zeus granted<br />

his wish and placed the two brothers in the sky as<br />

stars (in the c<strong>on</strong>stellati<strong>on</strong> <strong>of</strong> Gemini). Like Castor<br />

and Pollux, the brothers were inseparable as teenagers<br />

and maintained this closeness well into adulthood.<br />

cast pearls before swine See pearls before<br />

swine.<br />

cast the fi rst st<strong>on</strong>e See let him who is without<br />

sin cast the fi rst st<strong>on</strong>e.<br />

cast thy bread up<strong>on</strong> the waters To give generously,<br />

as acts <strong>of</strong> generosity or kindness will be<br />

rewarded eventually. <str<strong>on</strong>g>The</str<strong>on</strong>g> sentiment comes from<br />

Ecclesiastes 11:1: “Cast thy bread up<strong>on</strong> the waters:<br />

for thou shalt fi nd it after many days.” He little<br />

expected that he would ever benefi t from this casting <strong>of</strong><br />

bread up<strong>on</strong> the waters, but many years later he was<br />

pleasantly surprised to fi nd his generosity was paying<br />

dividends.<br />

catbird seat An advantageous positi<strong>on</strong>. <str<strong>on</strong>g>The</str<strong>on</strong>g><br />

phrase was pop u lar ized by radio sportscaster Red<br />

Barber (1908–92), who claimed to have borrowed<br />

it from a fellow poker player. <str<strong>on</strong>g>The</str<strong>on</strong>g> catbird (Dumetella<br />

carolinensis) is related to the mockingbirds and<br />

has a distinctive catlike cry. <str<strong>on</strong>g>The</str<strong>on</strong>g> team are well and<br />

truly in the catbird seat now.<br />

Catch- 22 (twenteetoo) A situati<strong>on</strong> in which <strong>on</strong>e<br />

outcome depends <strong>on</strong> another, which itself depends<br />

up<strong>on</strong> the fi rst outcome, and thus cannot be<br />

resolved. <str<strong>on</strong>g>The</str<strong>on</strong>g> allusi<strong>on</strong> is to the novel <strong>of</strong> the same<br />

title by Joseph Heller (1923–99), published in<br />

1961. At the heart <strong>of</strong> the novel are the attempts <strong>of</strong><br />

Captain Yossarian, an <strong>of</strong>fi cer in the U.S. Air Force<br />

stati<strong>on</strong>ed in Italy during World War II, to avoid<br />

taking part in further suicidal missi<strong>on</strong>s by pretending<br />

he is mad. His campaign falters when his<br />

superiors argue that by trying to escape such danger<br />

he is merely dem<strong>on</strong>strating his sanity (as made<br />

clear in regulati<strong>on</strong> 22 laid down by the military<br />

bureaucracy): “<str<strong>on</strong>g>The</str<strong>on</strong>g>re was <strong>on</strong>ly <strong>on</strong>e catch and that<br />

was Catch- 22 which specifi ed that c<strong>on</strong>cern for<br />

<strong>on</strong>e’s own safety in the face <strong>of</strong> dangers that were<br />

real and immediate was the pro cess <strong>of</strong> a rati<strong>on</strong>al<br />

mind.” “Asserting herself as a c<strong>on</strong>ceptual artist,<br />

c<strong>on</strong>sidering all her work as creative, whether<br />

working with other people or developing ideas for<br />

further projects, Jane nevertheless sees spending<br />

time <strong>on</strong> other people’s creativity as a Catch- 22<br />

situati<strong>on</strong>” (S. Townsend, Women’s Art, 1992).<br />

catcher in the rye See holden caulfi eld.<br />

Catherine wheel<br />

Catherine wheel (kathrin) A small circular fi rework<br />

that spins rapidly <strong>on</strong> a pin, shooting out<br />

83

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