Quotations

Cite page numbers for prose and line numbers for poetry. If you are quoting a poem translated into prose, cite line numbers if possible; otherwise cite page numbers. If you are citing The Canterbury Tales from The Riverside Chaucer, you may replace the name of the tale with the fragment number. Hence you may cite line 1 of the Knight's Tale as "(Knight's Tale, 1)" or as "(I.859)" (that is, line 859 of Fragment I). When citing poetry indicate the line breaks you find in the edition you are quoting from. Do not cite the text as continuous prose. Short Quotations If you are quoting under four lines of poetry, indicate the line breaks with "/". Here is an example from an essay on Chaucer: [Chaucer's] images are simple and direct. They are for the most part introduced with nothing more than a "like to", or "as", and cover all phases of human activity, and make their effect by their homely and immediate appeal. The bells on the Monk's bridle ring "in a whistlynge wynd als cleere, / And eek as loude as dooth the chapel belle" (General Prologue, 170-171). Remember to separate the "/" from any other text or punctuation with spaces on either side. If your quotation is longer than four lines, you must indicate line breaks as they are printed in the text from which you are quoting--without slashes. The quotation must be indented and formatted as described below. Longer Quotations If your quotation consists of four or more lines or prose or poetry, follow the guidelines below: • • • Separate the quotation from the main text of your essay by indenting it. You may single space the quotation, but do not centre the text and do not change the font. The indentation indicates that the text is a quotation; you do not need quotations marks. However, if the quotation contains but does not consist entirely of dialogue, use quotation marks for the dialogue portions of the quotation. You must indicate the line breaks in poetry as they are printed in the text from which you are quoting. Do not use slashes. Here are two examples: The arming scene calls our attention to the difficulties of judging Gawain's actions. Hollis nicely states the problem: The poem itself prompts us to ask questions about the process involved in Gawain's action. The arming scene, in its interpretation of the pentangle symbol, presents us with an apparently perfect hero, one whose virtues are so preeminent and so tightly integrated that it appears impossible for evil to find entry (619-65, esp. 656-61). How, then, does it happen that, much as Gawain and the Green Knight differ in their judgement, Gawain acts in such a way that both agree he has fallen short of perfection? (1) It is thus important to consider in what ways Gawain considers himself to have failed. Gawain makes four attempts to explain his failing, each quite distinct in kind. His initial reaction to the Green Knight's revelation is to regard his action in terms of specific vices causing the destruction of virtue: "Corsed worth cowarddyse and couetyse bothe! In yow is vylany and vyse that vertue disstryez." Thenne he ka3t to the knot, and the kest lawsez, Brayde brothely the belt to the burne seluen" "Lo! ther the falssyng, foule mot his falle!" (2374-84) Gawain's account of his behaviour here is reminiscent of the action of a morality play. Here is an example without any dialogue: First we may take his work in rhyme royal and look at a passage in which a sense of considerable emotion has to be conveyed: The lyf so short, the craft so long to lerne, Th'assay so hard, so sharp the conquerynge, The dredful joye, alwey that slit so yerne: Al this mene I by Love, that my felynge Astonyeth with his wonderful werkynge So sore iwis, that whan I on hym thynke, Nat wot I wel where that I flete or synke. (The Parliament of Fowls, ll. 1-7) Now while it is true, as Professor Manly points out that his passage in an example of the rhetorical method of beginning a poem with a sententia, it is even more important to observe how Chaucer has given the bare idea a life and emotion of his own. Commas before Quotations Comma placement before a quotation also causes people trouble. Notice that in 'The bells on the Monk's bridle ring "in a whistlynge wynd als cleere…"' there is no comma after "ring" and before the beginning of the quote? This is because the quotation works grammatically in the sentence. In this case, the first letter of the quotation should be lower case (unless the first word is a proper noun). With shorter quotations you should attempt to do this wherever possible on stylistic grounds. Here are some examples of quotations integrated into the grammar of the sentence. The next step is his alliance with covetousness -- he identifies himself with a vice, forsaking his true nature to become "fawty and falce" (2382). Gawain has very good reasons besides modesty to decline the Lady's offer to "take the toruayle to myself to trwluf expoun" (1540). The Lady of the Castle appeals to Gawain's "manhod" when she reminds him that he is "stif innoghe to constrayne wyth strenkthe" (1497). Putter argues that "the poet's commitment to ideals of courtoisie, the high standards of refinement and delicacy imperative at court, inevitably entails emphasis on coarseness and locus to which it is intrinsic" (47-48). Both versions introduce Tom Bombadil without further explanation as "a merry fellow" (646). Both also give Tom four adventures, or encounters with malignant powers. Eomer says that "wanderers in the Riddermark would be wise to be less haughty in these days of doubt" (645-55). Shippey argues that "Tolkien knew (none better) that dwarf-names he had used in The Hobbit came from Old Norse" (55). If you are quoting dialogue, or a statement made by an author, and you are drawing attention to it as a statement, a comma normally precedes the quote. This almost always comes after a verb like "says", "asks", "responds", "states", "screams", etc. In these instances, the quotation begins with a capital letter. Consider the following examples: At the end of the first part of the Knight's Tale, Chaucer asks, "Who hath the worse, Arcite or Palamoun?" (Knight's Tale, 1348). The narrator's own summing up is, indeed, a slightly tempered view of the absolute perfection put forward in 632-35. Hearing the Green Knight's challenge, Arthur responds, "Sir cortays knyght, / If thou crave batayl bare, / Here faylez thou not to fyght" (276-78). He says, "This pure fyue / Were harder happed on that hathel then on any other" (645-55). According to Putter, "The great Ricardian poets bequeathed to modern criticism a suspicion about the literary seriousness of Arthurian romance" (1). Both versions introduce Tom Bombadil without further explanation: "Old Tom Bombadil was a merry fellow; / bright blue his jacket was, and his boots were yellow" (646). Both also give Tom four adventures, or encounters with malignant powers. Eomer says, "Wanderers in the Riddermark would be wise to be less haughty in these days of doubt" (645-55). According to Shippey, "Tolkien knew (none better) that dwarf-names he had used in The Hobbit came from Old Norse" (55). Integrating Quotations When you include a quotation to illustrate a point you have made, the quotation should be followed by an explanation of how the material in the quotation illustrates your point.