\1'1" 1',1,, ,

Itrt'tttls,tntl,tr'tltt.tittl.rnr('s, l),llli( lrl.rllv rrr rrrrn,lrlrr tcl,rlron:.lrt;rr' (,oorlrrr,rtrlJror,vrt tttal

.'Hll \1,1,, tt'lr t l:

lr:,lr(':; onlolltt'r',ttllr':;sll()l':,. 1t'lr\rrorrlrttt, lor\ttrol,l:,.,1 nr1',,lr.,rrr rllrr'r,'rr',itltirs,trt'.rs; v.rsl,rs Iltt'otcirrt.rrrtl.rs lt,lirrl,rr ,r:, tlrt':;rrr l,,rrrrl llrt':,t,r,lt',r,,rl orr,lirttc totrstitntly .rrrtl irrcsistibly replenislrt'tl P1'1vP11"q livt's. l.lI r\rrrol,l':, ,,1 nrlrol ol'the flowing ocean changes, howevcl to a svnrlrol ol Ilrt' t'lrlrirrr', or r',rrr.thtrs inc'licating l-ris iclca that bclicf and rcligious ccrtaintv wt'rt' lallirrri ,rrr,rr[5] lt is this personal sense of spiritual emptiness that Amoltl is,rssori,rlirrr',with his owll times, because what he describes, in keeping with tht'svnll)()lism, is that in the present time the "drear" shorelir-re has been left v;rcant bv tlr(,"melar-rcholy lorrg withdrawing roar" of retreat and withdrawal (lines 25 27)

This specimell paragraph combines but also separates paraphrase, irrtcrpn'tation, ancl cluotatir)n, and it thereby eliminates any possible confusiclu alrorrtthe'origin of the ideas and also about who is saying what. In the first three scrrtenccs, thc writer uses the phrases "Arnold states," "To symbolize this iclc.r,"arrtl "Accordirrg to this symbolism," to show clearly that ir-rterpretation is lt'folkrw. Although the fourth sentence marks a new direction of Arnold's ic'lcls,iI continues to separate restatement from ir-rterpretatior-1. The fifth sentencc irlrlit:ates, through the phrase "irr keeping with the symbolism," to explain wh.rtseems to the writer to be the major idea of "Dover Beach."

lntegrate Materiql by Using Quotation MarksIt is often necessary, and also interesting, to use short quotations frorn vour arrtl'ror to illustrate and reinforce your ideas and interpretations. Here the prolrlern of separating your thoughts from the author's is solved by quotationmarks. ln such an internal quotation, you may treat prose and poetry in thesame way. If a poetic cluotation extends from the end of one line to the be.-ginning of another, however, inclictrte the line break with a virgule (/), and usca capital letter to begin the next line, as in the following:

In "l-ines Written in Early Spring" Worclsworth describes a condition in whichhis speaker is unitc.d with the' surrouncling natural world. Nature is a com-binatiorr of tl're "thousancl blended notes" of joyful birds (line 1), the sights of"budding twigs" (lirre 17) and the "periwinkle" (line 10). In the exact wordsof the speaker, these "fair works" form a direct "lir-rk" to "The humarr soul thatthrough me ran" (lines 5 and 6).

Blend Quotations into Your Own SentencesUsing internal quotations still creates the problem of blending materials, forcluotations should never be brought in unless you prepare your reader for themin some way. Do tlot, for example, use quotations in the following manner:

Wordsworth's woodland grove is filled with the sounds of birds, the sightsof flowers, and the feeling of the light wind, making for the thought that crea-tures of the natural world take pleasure in life. "The birds around me hoppedand played."

llrr,.,rltntl'l illol,rlronllro\\':, llrctr',trltt oll lt,rl,ttttt'l,t't,tttst'tl tsttol l,lt'tt,l,', 1rrrlo llrr.l)r('\'t()1t.,:,r,nl('n( ('. ll is ttctcss,tt'y [o lltt'p.l11'tltt't't'.trlt'r ltt tl)o\rt'ltirttt\/{)ur'(lis( lr:;r,ron lo llrt'tlrrol,ttiorr, as itr thc following rcvisiotr:

Wortlsw,orllr's r,r,oocllancl scene is m.rde joyful by tlre surroundinp; flowcrs.rrrtl thc ge rrtlc breeze, causing his speaker, who states that "The birds aroundnre ho;rped and played," to conclude that the natural world has resulted froma "holy plan" created by Nature.

I lcre the quotation is made an actual part of the sentence. Tl-ris sort of blend-irrg is satisfactorl., provided that the cluotation is brief.

lndent and Block Long Quotations'fhe standard for hclw tcl place cllr()tatiolrs sl.rotrlcl be not to cluote within a sen-tence any passage longer tharn twenty ()r twenty-five wttrtls (but consult yourinstructor, for the exact nunlbcr of worcls alkrwabk' nray vary). Quotations ofgreater length clemand so much sepilrat(, itttt'ntiott th.rl tlrt'y intt'rfere withyour own sentence. It is possiblc btrt rroI tlr'sir',rlrlt'lo ltitvt'ottt'ol.y(tttr sctt-tences conclude with a quotatiorl, but yorr slrorrltl rlcvt'r ttt,tkt',ttr cxtt'trsivccluotation inthemiddle of a senterrcc. lly tht'tinrt'yorr lirrislt strt lr ,rrr rrttwit'ltlysentence, your reader will have lost sight ()f h()w it lrr'1',v11. Wltctt yottt tltto[,t-tion is long, you should make a point of irrtnrrlut'irrg il ,rrrtl scllirrl', il oll sr'p-arately as a block.

The physical layout of block quotations shoulcl bc its lolkrw,s: l,t',tvt' lltt'ttblank lines between your own discourse and the cltl()til t i()tl. I )gr rlrlt' sl),lt t' lllt'cluotation(tiketherestof youressay),and indentitfive spat't's ltrrttt yottt lt'llmargin to distinguish it from your own writing. You r-rright ttst' lt'wt'r sl),lt t'sfor longer lines of poetry, but the standard should always t " ,,, ..,',11f it b,rlanced, neat page. After the quotation, leave a three-line space agaill, llllcl rt'sume your own discourse. Flcre is a specimen, from an essay abotttWordsworth's "Lines Written in Early Spring":

In "Lines Written in Early Spring" Wordsworth develops an idea thtrt tht'world of nature is linked directly to the moral human conscioust-tcss. I lt'speaks of no religious systems or books of moral values. Insteacl, Irt' tlt'rivt'shis ideas directly from his experience, assuming that the worlcl w.ts lrr,r(l(' l()r'the joy of the living creatures in it, including human beings ("man"), ,r rrtl llta tanyone disturbing that power of joy is violating "Nature's holy plarr" itst'li.Wordswortl-r's moral criticism, in other words, is derived fronr his laitlr irr theintegrity of creation:

If this belief from heaven be sent,If sucl'r be Nature's l-roly plan,Have I not reason to lamentWhat man has made of man?

(lines 21-24)

.rll I

Sandra Nicole Roldan

Sandra Nicole Roldan

.tH.t \yltr'tttlt t l:

lllt'rotttr'ltt llr,rl rrr{)l,rlil\,,rrrrl lilr',rr'lolt)(,rl r,, llrl rrrr,,l rnlr.rr.,.lrrrr,,nr(l (.nli,lllillll,lsl)(\'l ()l tltr'p1r1'111. lI st't'ttts to t'rrr'our',rr',t,,r livr' ,rnrl lll lrvr',rllrlrrrlltorv11,,1 ()tll('rs, lttx.vcvt'r, rt()t.u) ilctive pf()g,riln) ()l rlir'(\'l ()ulr'(.,)( ll ,rnrl Irt,lI

Wlrcrl cluoting lines of poetry, always remember to cluotc thcnt rrs /lirr's. | )r,lr()t run them together as though they were continuous prose. Whcrr vorr r n'ate such block cluotations, as in the preceding example, you do rr()F ncc(l (lr r( 'tation marks.

Today, computer usage is becoming a more established means ctf prcparirrr,,papers, and therefore computer styling has become prominent in the ht.rncllirrriof the matters discussed here. If you have style features in your menu, srrt rras "[)t'renr Tcxt" or "Quotation," each of which sets block quotations ap.]rlfronr "Nonnal" text, you may certainly make use of the features. Explain t,yotrr irrstructor, however, to make sure that your computer corresponds locxp('ctations established for your class.

Use Three Spaced Periods (an Ellipsis) to Show Onrissionswhether your quotation is long or short, you will often need to change solnt'of the rnaterial in it to conform to your own sentence requirements. you mightwish to omit something from the quotation that is not essential to your poinlor to the flow of your sentence. Indicate such omissions with three spaced pt'riods enclosed within brackets t . . . l, as follows:

Under the irnmediate threat of death, Farquhar's perceptions are sharpenedand heigl'rtened. In actuality there is "swirling water [ . . . ] racing madly be-r.reatl'r his feet," but it is his mind that is racing swiftly, and he accordingly per-ceives that tr "piece of dancing driftwood [ . . . ] down the current,, rnoves soslowly that he believes the stream is "sluggish."

lf your cluotatior-r is very brief, however, do not use spaced periods, as thevmight bc more'distractirrg than helpful. For example, do not use the spaceclperiods in a cluotation like this:

Keats asserts ihat ". . . a thing of beauty . . ." always gives joy.

Instead, make your cluotation without the ellipsis:

Keats asserts that "a thing of bcauty" always givr.s joy.

IIsc square Br&ckets to lnsert Your own Added words within euotationsll Vorr aclcl words of your own to integrate the cluotation into your own trainol t list otrrse or to explain words that may seem obscure, put scluare brackets.nolrrrrl tlrt'sc words, as in the passage at the top of page 283.

Ilr, Il,,1rl lirlrt,rrrr rttttl lttt,.rrt lVtrlrtt.'.' \l','ttl ltlttttltttt ''lll

Irr 'l rrr,... \\lrrllr.rrrtr | ,rrlt li1'11111,," WoRlsrvottlt tt'lt'tslo,l l),lsl ('\l)('li('ll(('ol.rlrr,rrr. lr.r1,;,1111..,.,, rrr rylrit lr N,rtrrlt'st.t'tttctl ttl "link / l ltt'lttrrltatt sotrl Ilt.rllltrrrlr,,lr I . . . lrirrrl r',trr." llt'is rlescribirrg a state of mystical awtlrcttess it'trvlritlr "1rlt'.rs.rnt th(}Ughts / Bring [himl sad thouehts," ancl make hir.n"l.rrnt,nt" rnorirl atrtl political cruelty (lines 2-B).

Do Nof Change Your Soutce;Reptoduce Quotations Wotd fot WordAllvays reproduce your source exactly. Although most anthologies mocl-crrrize the ipelling of older writers, sometimes the works of British authorsrrray include words llke tyrc and labour. Also, you may encounter "old-,p"ilit-rg,, editions in wllich all words-such as Musick, entring, Shart,, sltcci-fick, 'tr.oas, gttarnnty [for "guarantee"l or determiLl'tl-are spelled andcapitalized exactly as they were cctltLrrit's agc'r. Your principle should be fotlu'ltlicate caenlthin;4 exactly ns t1ott t'itttl lf, cvctr if this means spelling words likeurhirr,, as at;hicuc or jLtkt, as iorrl,. A stuclcut orrct' took the liberty of amend-ing the worLl rl? to "and" in thc crlnstnrr'tiorr "irrr I rt,crc" irl an Elizabethantext. T}re result was inacclrratc, bccarrsc itr itrtrocltrttory t'latrscs nrr reallymeant if (or and rp arrd not ond- Dif'ficultir's liLt' this ()tt('ilr(' rilrt', lrttt yclucanavoidthemif youreproducethctcxtilsv()u lirrtl it.Slrottltl vorr tlrinkthatsomething is either misspelled or confusitrg as iI st.ttrtls, y()tl lll.ry tlo otrt'tlltwo things:

1. Cilarify or correct the confusinp; word or phrasc r,vithirt lrrtre kt'ts, as itt tlrefollowing:ln1774,fencing was cousiderecl a "Gentlemany Ii.c., ee ntlcnranlyl sub-ject."

2. Use the word slc (Latin for f/rtts, meaning "lt is this way in tlre text") inbrackets imn-rediately after the problematic word or obvious misfake:IJe was just ,,finnirrg Isic] his way back fo he.alth" whcn thc next disasterstruck.

Do Nof Oaerquote

Aword of caution: Dtt rrot lrst'forr nttttt.V tluotations. You will be judgccl ()11 y()Llrown thought and on the. contintrity ancl clevclopment tlf yotrr owtr cssay. lt istempting io include many rltrotatior.rs ou tlrc tht'ory thirt ytltr rtct'tl [o tlsc cx-amtles figm the text to illustrirtc irntl sttpport vttttr itlt'as. Nattrrally, it is im-portant to introduce exantplcs, lrrrI yorr slrottltl rt'.rlizt'tlrlt Iotl tnanyquotations can disturb the flow ol'yotrr,l1a,11 [l11r11sltt. ll yorrr ('ssny consists ofmapy illustrations linked togethcr bv lro rttotc tltittt vottr itttrocluctory sen-tences, how much thinking havc yotr acttrallv sltorvtt l 'liv, lhcrcftlre, to createyour own cliscussion, using exanlplcs appropliittt'lV Io t'tttlt.tcct your thoughtto the text or texts you are analyzing.

Sandra Nicole Roldan

Sandra Nicole Roldan

Sandra Nicole Roldan

Sandra Nicole Roldan

Sandra Nicole Roldan

Sandra Nicole Roldan

,ft',l8'l I1'1r'rr,/r I li

Using the I'rcselrt'll'lrsc ol'Vcrbs Wht'rrReferring to Actions and ldeas irr a Work

l-iterary works spring into life with eacll and every re:ading. vrrr nrav lrrtrs ,r:,sumethateverythinghappeningtakesplaceinthepresent,arrcl whc'rr lvritirrr,,about literature, you should use the Ttresent tense of ucrhs.lt is corrccl [o s,r1"Mathilde and her husband roork and economize [not "utorketl and ccorrorrri-ttl" Ifor ten years to pay off the 18,000-franc debt that they undcrtttka fnctt " rnrrh,ttook"l to pay for the lost necklace."

When you consider an author's ideas, the present tense is also prope,r, r,rrthe principle that the words of an author are just as alive and current toc1.r1,(and tomorrow) as they were at the moment of writing-even if this same .r r ithor has been dead for hundreds or even thousands clfyears.

Because it is incorrect to shift tenses inappropriately, you may encountt,r'a problem when you want to refer to actions that have occurred prior to tlrt'tir.rre clf the main action. An instance occurs in Bierce's "An occurrence at on,lCreek Bridge" where the narrator explains an event that occurred shortly be-fore the time of the action. In such a situation, it is important to keep detailsin order, and thus you may use the past tense as long as you keep the relationship clear between past and present, as in this example: "Farquhar hatlclenrly planned to blow up the bridge after the union spy spoke to him, anrihence he is therefore nora liaing his last moments on earth." This use of the pastinfluencing the preselrt is acceptable because it corresponds to the cause-ancl-effect relationship brought out in the story.

A problem also arises when you intnrtluce historical or biographical de.-tails about a work or author. It is appropriirtc to r-rse the past tense for sucl-r cle-tails as long as they actually clo bt'lorru to the past. If you have occasion trrrt'ft'r to any ) be-fore and after Internet addresses, or uniform resource locators (LJ l{l ,s). lf yousee brackets around an address you want to use, do uot ttst' tlrt'tn ils part ofthe address when yc'lu are seeking retrieval. Also, sinct' a Irrttltber of word-processing programs now support the use of italics, yotl cill.l trst' italics as a reg-ular practice. Some researchers, however, still prefcr ttttticrliues, and if yourprograms (or typewriter) cannot produce italics, clf cottrsc use underlines. Ifin doubt about which to use, consult your instructor.

Sandra Nicole Roldan

Sandra Nicole Roldan