1. Capsule Overview (1a) In short The paper is to be your own analysis of a poem in R&J about which very little if anything at all has been written in secondary sources (the poem is the primary source), with a very light smattering of references to secondary sources that deal with the poet's other poetry (in general, or other specific poems). (1b) Timetable A Works Cited page, including the author and title of the poem you have chosen, is due one week after completion of OCE2 (on poetry); your rough draft is due by the end of the fifteenth week of classes. The final draft is due the day of the final exam. While working on this paper, as explained below, you are also studying for the final exam. (1c) Only use relevant sections of this pamphlet when needed(1c1) Before writing In the first stages of this assignment, all you need to study carefully are sections 2-4, and 14-15. (1c2) Works Cited page When it comes time for the Works Cited page, study sections 11-12, and 14. (1c3) When taking notes and writing, and before turning in the rough and final draft After having decided on the poem and gathered your sources, study sections 2, 5-10 and 13-14.

2. The topic and requirements. (2a) Topic The required topic for the documented paper is the student's own analysis of a poem from R&J about which nothing, or very little (not more than a couple of sentences, per source), has been written. The paper is not to be an interpretation patched together from quotations from various critics, with the inevitable temptations for overparaphrasing, overquotation, or plagiarism. (2b) (2b1) Length The essay body (not including the Works Cited page) is to run sixteen hundred words, which is about eight pages, wordprocessed (or typed). Word length is specified to indicate that excessively large margins or font size will not count toward the required length of the paper. (2b2) Sources A department requirement is five (or more) critical sources (secondary sources about the poet's work, not by the poet, at least one from a book, one from a periodical, and one from an online or electronic source (not including R&J, the textbook, which is a sixth source of the poem being studied, and may be an additional source of secondary comment, beyond the five required secondary sources, depending on whether Roberts and Jacobs say anything about the poet or poem). (2b3) Parenthetical documentation A departmental requirement is appropriate use of parenthetical documentation throughout the essay (which often, in this assignment, may simply indicate the appropriate page number or numbers, if the critic's name has been cited in the sentence prior to the parenthetical documentation). Besides citing line numbers of the poem in parentheses (as in the sample essays on poems in R&J), the research paper, as part of the departmental requirement, must have at least two parenthetical notes per secondary source (ten parenthetical notes, if five secondary sources are used; twelve parenthetical notes, if six secondary sources are used; and so on.) (2b4) Works Cited page A departmental requirement is that the research paper have an appropriate Works Cited page (which should closely resemble that of the MLA format research paper models in SFHW, the demonstrative documented/research paper on my Engl. 1102 webpage, and section VII of Prinsky's English 1102 Pamphlet, including appropriate alphabetical order of all sources, primary and secondary, in one list) following the essay body. (2c) Relation to the final exam Besides fulfilling the research paper topic requirement of English 1102 in general, this particular topic should help all students prepare for both the out-of-class essay on a poem and the final examination essay on a poem. In studying critics' and scholars' analyses of an author's poems (not the one being analyzed for the research paper), as well as working on their own interpretation of a poem from R&J, students will become ever more familiar with the methods and procedures of analysis, and good models of it, together with practice and lecture on poetry analysis in the last portion of the course, based on reading in the textbook-anthology.

3. Choosing the poem. (3a) Consult the last section of this pamphlet for choices. The last section of this pamphlet lists choices--that is, poems from authors about whom, as a poet, something should have already been written (at least four secondary sources), but about whose poem there should be no, or very little (not more than a couple of sentences, in one or two sources), specific analysis. Generally, the more recent the poet, the less likely that something will have been written about his or her particular poem. However, exceptions include recent much-analyzed poems, as well as famous poems by famous and established authors about which little, if anything has been written. (3b1) Consult the MLA Bibliography on Galileo At a computer in the library or one of the computer labs around campus, get into Galileo, choose the MLA Bibliography from the Humanities or Reference source list, and then find out how many articles and books have been written about your author's poetry. For example, such a search would tell us that William Carlos Williams' "The Dance" has had a dozen articles written about this poem, thus eliminating it from consideration for this research paper assignment. (3b2) Also consult Academic Search Premiere from Galileo > Literature, Literary Criticism > Academic Search Premiere.  (3c) Preliminary Works Cited page; changing poems. (3c1) Turn in a preliminary Works Cited page (just your surname and page number 9 in the upper right corner, plus all the appropriate primary and secondary sources listed in one alphabetical list, as per the sample Works Cited pages in the sample MLA format research papers in SFHW), along with a printout from the MLA Bibliography, by the deadline in section 1, above. Because secondary sources can be added or subtracted or otherwise changed, and even poems, this is a preliminary Works Cited page. (3c2) Changing poems If a new poem is chosen, then a new preliminary Works Cited page must be submitted, no later than a week after choosing the new poem.

(3d) In deciding on a poem, consult various reference books in the reference room of Reese Library (the ASU library). (3d1) Consult the various volumes of the reference book Poetry Explication. Consult Joseph Kuntz's and Nancy Martinez's Poetry Explication: A Checklist of Interpretation Since 1925 of British and American Poems Past and Present (1980) , Guide to American Poetry Explication (1989), and Guide to British Poetry Explication (depending on the dates of poet and poem, as well as the nationality of the poet) to get a preliminary estimate of the number of secondary sources available about any particular poem. Although these books have their limitations (e.g., analyses of a given poem from R&J may very well be found before 1925 and after 1977, the period covered by the first book; some analyses between 1925 and 1977 may not be listed), they will give a quick, rough idea of whether a poem has had a substantial number of critical analyses written about it. Note that these reference works often do not cover well specific books written about a single author; thus, you may very well find many analyses of a poem by, say, William Carlos Williams in specific book-length critical studies of Williams that are not listed in Poetry Explication or Guide to American Poetry Explication. Again, remember that you are checking to find that your poem hasn't been discussed in this and other reference sources. If you discover that there is at least one substantial article or portion of a book about your poem, then this poem should not be used for this paper. (3d2) Poetry Explication has been succeeded by six books: Guide to American Poetry Explication (two volumes: Vol. 1, Colonial to Nineteenth Century; Vol. 2, Modern and Contemporary, both copyrighted 1989 and listing material up through 1987) and Guide to British Poetry Explication (four volumes). These are more ample in their coverage but require the student to know whether the poem's author is American or British. (3e) Other sources to consult. Another source to be sure to check for your author, if he or she is from the twentieth century, is (3e1) Contemporary Authors, which is a hardcover periodical series covering virtually all modern authors who have published at least one book; check the most recent index volume that covers the series from its beginning to the most recent time. This source often has a brief bibliography of critical material about the author. Also, it has cross references to material about the author in other reference sources, many of which are carried by Reese Library and to be found in the reference room. Furthermore, it along with Contemporary Poets, lists all the author's books, indicating which are the poetry books. Knowing the titles and publication dates of the author's poetry books will enable you to find book reviews of these books, using the sources in 3e5 (below), such reviews counting as periodical sources. (3e2) Contemporary Poets is a massive encyclopedia that has run through six editions; be sure to check all the editions, since some modern poets are added or dropped from edition to edition, depending on whether they are still living. For example, the modern poet Robert Francis can be found in the fourth edition but not the fifth and sixth of this reference source. This source usually has a brief bibliography of both the author's poetry (and other books) as well as critical material about the author. The article on your poet may serve as one of your secondary book sources. (3e3) The Oxford Companion to Twentieth-Century Poetry in English is a parallel of Contemporary Poets, and both should be checked for modern authors. (3e4) Poetry Criticism is an ongoing, recent, reference series; this series can be used for bibliographical leads to critical material about poets covered. The introductory article on your poet, if covered, is a legitimate secondary book source. However, you may not use any of the excerpts that follow as secondary sources. You will have to get the original books and articles that the excerpts are from; you may photocopy and use these, but not the excerpts in Poetry Criticism. The excerpts, in other words, are good leads to articles or books you want to consult but are not satisfactory themselves. These comments also apply to the reference set Contemporary Literary Criticism. (3e5)Dictionary of Literary Biography (related to Contemporary Authors) is also a continuing reference series that can be used for bibliographical leads to critical material about poets covered. The general article about the poet that precedes listing of sources or excerpts can be used and counted as a secondary book source. It is one of the sources that is cross-referenced in Contemporary Authors. (3e6) The Oxford Companion to English Literature (latest edition) and its cousin The Oxford Companion to American Literature (there is also The Cambridge Guide to Literature in English) may have a brief article on your poet. (3e7) Critical Survey of Poetry: English Language Series has eight volumes, and the index volume (volume 8) should be checked for your poet's name. (3e8) Humanities Index, formerly called Social Sciences and Humanities Index and International Index of Social Sciences and Humanities may have leads either on articles on your poet, or on book reviews of your poet's book. To find reviews of your poet's books, you should check the year of publication of each book, as well as the year preceding and year following the date of publication of the book. Humanities Index will list book reviews not covered in the next two sources. This source is now online from Galileo. (3e9) Book Review Digest and Book Review Index are likely sources of secondary periodical articles on your poet, since some of your author's poetry books will have been reviewed in periodicals. These two reference series will probably list reviews of your author's poetry books, the names and years of which you can learn from the reference materials cited in 3e1 through 3e7, above. Let's say we discover in Contemporary Poets that William Carlos Williams published a book of poetry titled Pictures from Brueghel and Other Poems in 1962. Now we would know that we would check Book Review Digest under W for the volume 1962 to see if we could find in what periodicals the book was reviewed. We will also check the Book Review Digest volumes for 1961 and 1963, since book reviews sometimes appear early (periodicals and reviewers sometimes get advance copies of a book) and sometimes late (a book review of Williams's book might have appeared in January or February of 1963, though the book was officially published in 1962.) These sources are now online from Galileo.  (3e9b) No excerpts from Book Review Digest or Book Review Index These two guides to periodicals print excerpts from book reviews but not the whole reviews. For your paper you must look up and photocopy the entire review, not just the excerpt in either of these periodical guides. (3f1) Books by the poet in Reese Library irrelevant Books by the poet in the Reese Library collection are irrelevant for this assignment, unless they have introductions by critics other than the poet saying something about the poet's work. Do not list them on your Works Cited page. (3f2) Interviews with the poet irrelevant Some periodical articles are interviews with the poet. For purposes of this paper, which are partly to familiarize you with models of critical essays, such interviews are not relevant. What is important is for you to be exposed to models of critical analysis. Besides the sample essays in R&J, additional models in R&J can be found in "Edited Selections from Criticism of Dickinson's Poems" in Ch. 24 of R&J. (3g) Use the key word search in ATLAS to find the many books in the library about modern or contemporary American (or English) poetry Ask the Reference Librarian how to get into the online GIL key word search, and then look up various subject combinations like "contemporary American poetry," "modern American poetry," "criticism of modern American poetry," or "interpretation of contemporary poetry." (3h) Consult the "Appendix: Brief Biographies of the Poets" in R&J. While this source, located at the back of the book, is not very extensive, it is worth looking at. It can be used in your essay, but as with anything in R&J, will not count as one of the required five secondary sources. (3i) Additional Online resources Additional online resources from the Web/Internet, can be found by getting onto a search engine, like Google.com or Yahoo.com, and searching for something like "poetry analysis" or "poetry explication" or "poetry criticism."

4. Gathering sources; no excerpts or abridgments; photocopies; tabbed 8.5 X 11 file folder. (4a) Determining if the library has the periodical or the book After compiling your list of as many sources as possible (since some may be unavailable), you will need to check the online catalog. (4b) Possible interlibrary loan If some periodicals or books are unavailable at the Reese Library, try to fall back on alternate sources from your working list of sources. If absolutely essential sources are needed from other libraries, you may have to use WorldCat on Galileo (Galileo > list of databases > W > WorldCat) to see if a book or article is easily available at another library. If requesting interlibrary loan, courtesy requires you to offer to pay at least postage (about five dollars) for every article or book requested. (Hardly ever is there a charge levied, but conceivably it could happen.) You need to begin compiling your working bibliography as soon as possible because an interlibrary loan request may take two weeks to come in; putting such a matter off until the end of the quarter will make interlibrary loan unfeasible. (4c) No abridgments or excerpts The sources must be consulted and used in unabridged form; you may not use abbreviated or abridged excerpts of articles or books. Such series as Contemporary Literary Criticism, Poetry Criticism, and Book Review Digest are not acceptable because they collect short excerpts, abridgments, of critical articles or reviews, not the full articles or reviews themselves. These sources can be additional bibliographical aids in helping you to discover potential articles or parts of books about your poet, but these articles or parts of books must be consulted, used, and photocopied in their unabridged form. (4c1) However, you may use the general article on the poet that precedes the excerpts or abridgments in Poetry Criticism. This article is not an abridgment and can be an acceptable book source. Likewise, for Contemporary Authors and Contemporary Poets. (4d1) Required photocopies Photocopies of articles, as well as of the relevant pages from the book or books consulted, must be made, to be turned in (trimmed, or folded, to fit in an 8.5 X ll inch tabbed manila file folder) along with your essay--both essay and articles to be included in an 8.5 X ll inch manila file folder, with your name, your author's name, poem's name, the English 1102 section, and the quarter and year, all included on the file folder tab. (4d2) Photocopies of selected pages from book index When you take material about your poet from a book other than in the reference room of the library you must photocopy not only the pages you use but also the page or pages in the book's index that does or do contain or might have contained page references to your poem. Thus, if we were doing William Carlos Williams's poem "The Dance" and found the poem briefly mentioned in a book about W.C. Williams or modern American poetry, the page or pages in the book index that would have to be photocopied would be the index entries all around where DA (the key first letters of "The Dance") would be found. (4e1) Why photocopies The reasons for the photocopies are to discourage mutilation of periodicals and books (a serious problem that has occurred with respect to the research paper) and to allow me to see, exactly, what use the student has made of sources (e.g., whether the student has overquoted or used quotation marks where required, to avoid plagiarism). Be sure that the full page of every page of material used in your research paper is photocopied; if top or bottom margins, with print, are cut off in your photocopies, I will assume you have not made careful use of the material, some of which is obviously missing from the photocopy. (4e2) Be courteous to and considerate of classmates by not hoarding books whose pages will have to be photocopied anyway Some students have complained to me that classmates have kept books checked out, even though photocopies of the relevant pages are going to have to be made. Find the relevant pages as soon as possible and photocopy them (and perhaps the title and copyright pages also), and give others in this class or other classes a chance to use the book. (4f) Required 8.5 X 11 tabbed file folder The 8.5 X 11 tabbed file folder allows me to file research papers. These may be picked up the following quarter, after a trade has been made of another printout or photocopy of the student's paper in exchange for my marked, annotated copy.

(4g) Where books and periodicals physically are located in the Reese Library. (4g1) Reference books listed in sections 3d-3e These reference books are, oddly enough, to be found in the Reference Room of the Reese (Augusta State University) Library. Poetry Explication (and updates), Humanities Index (current years only; others are elsewhere in the Reference Room), and Black Authors (relevant to certain poets on the list of poems available at the end of this document) are located on the index tables of the library (those running parallel to the glass wall separating the Reference Room from the computer banks). Earlier volumes of the Humanities Index (which changed names, as explained in the chapters on the research paper in your composition handbook) and the MLA Bibliography are "overflowed" (the library term for putting other than the most current sources on the index tables) to the wall adjacent to the glass wall partitioning the Reference Room from the computer banks. The MLA Bibliography and Humanities Index are now available online at Galileo, as well.  Contemporary Authors, Contemporary Poets, The Oxford Companion to Twentieth-Century Poetry in English, Poetry Criticism, Critical Survey of Poetry: English Language Series, and Dictionary of Literary Biography, are located in the "P" section (P is for language and literature in the Library of Congress classification; discussed in your composition handbook in the chapters on the research paper). (4g2) Ask the Reference Librarian how to determine whether Reese Library has an article in a periodical available in hard copy or microfilm, if not available as full text on the Galileo search site. The bound volumes you will photocopy appropriate pages from yourself; the microfilm you will get from the Microform room (second floor) and take to the Circulation desk to have the Librarian make the photocopy from on a special machine. (4g3) Location of Bound periodicals : along the south wall of the second floor and are arranged alphabetically by title of the periodical. (4g4)Location of Microfilm periodicals : in the Microform room, directly across from the door from the stairs you come up, and are found in little boxes, also arranged on the shelf alphabetically by the title of the periodical. Find the box with the year or years you need, and take it to the librarian to photocopy the appropriate page or pages you need.

5. Avoiding the K-12 (Kindergarten through Twelfth-Grade) "research" paper that is simply a copying out and stringing together of sources.(5a) This paper is not to be the typical "paraphrase (or quote)-from- this-source, and then paraphrase (or quote)-from-the-next-source" elementary, junior high (or middle school), or high school "research" paper. (This K-12 "research" paper was the one that meant just copy out the article from the World Book or Encyclopedia Britannica, copy out the sources, or just string together a patchwork of quotations or paraphrases, with no real assimilation or analysis of the secondary materials.) (5b1) Rather, for this paper, you will first have to make sure that nothing, or very little (not more than a couple of sentences per source), has been written about your poem. This lack of previously published comment about your poem will guarantee that you will not rely too heavily on secondary sources, but will have to do your own analysis, in your own words. (5b2) If many general books or general articles about your poet's poetry have been published, the only way you and I can be certain that a lengthy comment about your particular poem isn't contained in these books and articles is to survey all of them (checking the indexes of the books to see if the particular poem has been discussed-- which would probably not be indicated in either the MLA Bibliography or Poetry Explication, which do not cover individual discussions of poems in books about the poet's work overall), whether or not they are held in the Reese Library (they can, after all, be gotten through interlibrary loan). Thus, the trick is to find a poet about whom not overly much has been written, but about whose work a limited amount has been written, so that you and I can be certain that nothing, or very little (i.e., not more than a couple of sentences, per source), has been written about the particular poem about which you are interested.

6. Using sources that don't say anything, or very much about your poem.(6a1) How to So how can you use sources that don't say anything about your particular poem, when the purpose of your essay is to analyze that particular poem? Simple: take comments about other poems the poet has written, or about the poet's poetry generally, and apply these in your analysis through comparison and contrast. For example, if an article in a reference book about your poet mentions that your poet frequently has religious themes or subjects, then mention this point in your analysis-- saying either that your poem also has a religious subject or theme, or that your poem, in contrast, to the comment in this article does not have a religious subject or theme. Remember that you should be able to find secondary sources in book reviews of your poet's book or books (finding out titles and years from Contemporary Authors or Contemporary Poets or some other similar reference source). Perhaps a book review of one of your poet's books (the review doesn't have to be of the book in which your poem appeared, although finding reviews of this book would be desirable) mentions that a particular poem uses the striking metaphor of a writer resembling a spider. You can say in your analysis that although your poem isn't about writers, the poet uses animal or insect metaphors; or you might say that not only is your poem not about writers, as the poem mentioned in the book review, but in your poem no animal or insect metaphors are used. (6a2) Must do Remember that you must make use of your secondary sources, at least two parenthetical documentary notes per source. Do not turn in a research paper that lists sources on your Works Cited page but makes absolutely no use of them (for two brief comments) in the paper. Do not turn in a research paper that has parenthetical notes without appropriate page numbers in the parentheses. (6b) Use the most relevant sources If your author has written prose fiction (short stories, novels) or drama, as well as poetry, be sure to use sources that bear directly on your author's poetry (e.g., reviews of your author's poetry book or books). Do not use reviews or discussions of your author's novels or plays. (6c) Try for brief summary paraphrase (a sentence or less) rather than quotation from your secondary sources Instead of a quotation, try for something like the following: The subject of William Carlos Williams' "The Dance" accords with Harrison Edwards' observation in his article "Metapoetics in Williams's Poetry" that art and literature are frequent topics in the author's literary corpus (317). (6d) Try for multiple references to secondary sources in part of a single sentence in which the major part is an observation you make about your poem If you cite two sources in one sentence (this multiple citation counting as two notes, one on each of the sources), just cite the page numbers in the order of the critics mentioned in the note. Example from later in the paper, after the critics have already been identified by first name and by title of article or book (and by the name of the periodical, if an article): Williams's meter in the poem is lilting, in contrast with the comments of Toliver and Calderwood about the rather disjointed rhythm of Williams's poem "Patterson" (131, 96).

7. Models of Your Paper Models of what a general analysis of a poem looks like (with the one exception that you will be slipping in occasional references to secondary sources about other poems of your poet, or about your poet's poetry in general) are in the second sample essay ("explication") in RJc3, Chapter 11, as well as the demonstrative documented/research paper posted on my Engl. 1102 webpage under these directions. Another model, along with comments about gathering material and organizing it about a general analysis of a poem, is to be found in Ch. 5 of Prinsky's English 1102 Pamphlet. Do not organize your paper line by line or word by word; organize it by main ideas, and include analysis of how all the elements of poetry discussed in RJc3  (Chs. 11-18) help convey or express the poem's main ideas. Along the way, bring in very brief comments (at least ten) from your secondary sources. How to use these sources is explained in section 6, above.

8. What to put, and not to put, in the paper's first paragraph.(8a) No mere biography Do not rehash in the paper's first paragraph or elsewhere the author's biography. Your topic and focus is a complete analysis of the poem you have selected, its main themes and ideas (plus indications of how these have been conveyed by all the components of poetry explained by Roberts and Jacobs in Chs. 11-18, and shown in Prinsky's English 1102 Pamphlet, section Ch. 5. (8b) No reprint of the poem Do not quote the whole poem or give a summary of it; I have a copy of Roberts and can easily read or reread the poem to familiarize myself with it, if I am not already familiar with it. (8c) Avoid the circumlocutory announcement Avoid the wordy and circumambulatory telegraphic topic sentence ("in this paper I propose to . . . ," "I am going to use . . . ," "I am going to discuss . . ."); see wdy-an, and wdy-I on my "Essay Correction Symbols." See Pep2 about avoiding this kind of opening statement in your first paragraph (in the material about introductions and introductory paragraphs in Pep2). Instead, get right into the particular thesis, which should indicate quite well enough what general territory is being covered, as well as what the main points are. (8d) Study the first paragraphs of the sample essays in Roberts Ch. 11 (second essay), the demonstrative documented/research paper on my Engl. 1102 webpage, and Prinsky's English 1102 Pamphlet, Ch. 5.

9. Don't make critics, reviewers, periodicals, or reference books anonymous. Identify critics, reviewers, periodicals, or reference sources the first time they're mentioned. (9a1) Feature critics' or reviewers' names in your sentences; don't subordinate them to parentheses Keep your critics' names prominent throughout the paper when you have occasion to use brief comments or ideas from them for your required twelve references. (9a2) Your reader--me--is interested in what source you have used. One reason for you to explicitly identify your critic or reviewer, as well as source, the first time the critic or reviewer is mentioned (subsequently, only the critic's or reviewer's last name, and no mention of the book or periodical), is that I am genuinely interested in learning who has written what, and where, about your poet. (9a3) Helping to make your sixteen hundred (or more) words. A second reason for being explicit is that the mention of not only the critic's or reviewer's name but also the title of the article, or book, or reference book source, will contribute to your required sixteen hundred (or more) words. Of course, you and I know that reason 9a2, above, is more important and of more concern than reason 9a3. (Isn't it?) (9b) A critic's or reviewer's name should thus appear in your sentences rather than in parenthetical documentation (only page numbers appear in parentheses when the author's name has already been mentioned: see SFHW on this). Do not make critics or reviewers anonymous. NOT: "As one critic observes . . ."; RATHER: "As Anne Henderson observes in "Poet of the Ordinary," her review of Williams' book Pictures from Breughel appearing in Partisan Review, . . ." Do not make critics' or reviewers' names disappear. NOT: "A fish image was used in . . . " [Henderson 65]. RATHER: "Henderson notes that a fish image was used in . . . to convey . . ." [65]). (You should not use square brackets; I had to in the preceding examples because of having a parenthesis inside a parenthesis.) (9c) No honorifics; both names (first time); then just last name As with authors of primary works discussed in literary analysis essays (as covered in Roberts, Ch. 1, and Prinsky's Eng. 102 Pamphlet, section V), both the first and last name of both your primary author and any critic should be used the first time the primary author or critic is mentioned in the paper, which should be as soon as possible. Thereafter, only the last name should be used--no "Mr.," "Miss," "Ms.," "Dr.," etc. (An exception would be if there are two different Smith critics, who need to be distinguished from each other by first name.) (9d) Give the title of the book or article the first time you use material from your critic or reviewer. Furthermore, the first time a particular critic is cited, by first and last name, so should the title of his or her publication (book or article); I may very well not be familiar with the title of the book or article, and this information will be helpful early on in the paper. (This information will also, as mentioned above, contribute to the fulfillment of the required length of the paper, besides informing your teacher about the title of the book or article, as well as the scholar's name.) (9e) Avoiding wordiness in your references Avoid the wordy phrase "Harold Toliver, author of the book Marvell's Ironic Vision, says . . . " or "James Calderwood, author of the article 'Marvell's "The Coronet"' notes that . . ." Rather, economically, use the prepositional phrase and quotation marks (for article) or underlining (for book) to identify author and title: "Harold Toliver in his Marvell's Ironic Vision says . . . " or "James Calderwood in 'Marvell's "The Coronet"' notes that . . ." (9f) No quotations not embedded in your own sentence Do not drop any quotation, from either your poem, or a secondary source, into your paper without providing your own lead-in sentence or clause (plus appropriate punctuation mark, not a period). Do not begin sentences with a quotation from the poem or one of your secondary sources.

(9g) Keep constantly explicit what literary component is being discussed, exactly Keep clear in your analysis or reference to a secondary source exactly what literary component of the poem is being discussed. Use appropriate technical terminology from Roberts Chs. 13-21 and 23. (9h1) Don't turn in a research paper lacking parenthetical documentation (line number of poem; page number of secondary source) in the essay body Remember section 2.b3 of this pamphlet. Every quarter one student or more turns in a research paper that is unsatisfactory because it has virtually no parenthetical documentation. Use parenthetical documentation appropriately (see the research paper material in Roberts and SFHW). (9h2) Parenthetical documentation required not only for direct quotation Study in SFHW the comments about when to document; also, study the sample MLA format research papers in SFHW, as well as the demonstrative documented/research paper on a poem posted on my Engl. 1102 webpage. Parenthetical documentation is required not only for direct quotation but also when information derived from a source (or sources) is referred to in your own words. To avoid plagiarism (study the comments about plagiarism in SFHW), you must document, give credit, to your sources of information. (9i) Handling references in your sentences to the occasional anonymous book reviewer Very occasionally book reviewers or article writers in reference works are anonymous. In these instances, refer in your sentence to "the Time reviewer of Nye's Hugging the Jukebox" (e.g., "The Time reviewer of Nye's Hugging the Jukebox notes that several of her poems are about loss" [plus documentation of page number in parentheses]) or "the writer of the article on Nye in Contemporary Authors" (e.g., "The author of the article on Nye in Contemporary Authors observes that a main theme of several of her poems is . . . " [plus documentation of page number in parentheses]).

10. (10a) Do not overquote. Do not overparaphrase from your poem or any secondary source. Analyze, and briefly summarize, cite, or quote from a secondary source. (10b) Working in brief phrasal quotations from a critic or reviewer is acceptable. (10c) Do not begin sentences with quotations or drop them in standing alone. See section 9, above, on this point. (10d) As explained in Roberts and Pep2, when writing about literature (or any form of writing), the grammar of the quotation must match the grammar of your sentence that contains it. Study Roberts's material about this matter in the textbook, as well as my discussion in Ch. 5 in Prinsky's English 102 Pamphlet.

11. Works cited page. (11a) It should look like the one for the model MLA format research paper in your composition handbook and Roberts Your Works Cited page (and indeed whole paper) should look like the one in the sample research paper illustrating the MLA style in Ch. 53 of SFHW7 (except, don't print paragraph symbols and paragraph numbers, which are supplied in the composition handbook only for reference). It should be alphabetized by authors' last names. (11b) Use the appropriate format for scholarly (that is, quarterly) periodicals with continuous pagination Most of your periodical sources will be scholarly periodicals with continuous pagination (see Chs. 52-53 of SFHW7) and have the form explained in SFHW. (11c) Careful about the special form for multiple entries from the same author If you have more than one article or book from the same author, don't forget the three hyphens and period (instead of repeating the author's name) required for multiple writings from the same author or same authors (see SFHW, Chs. 52-53). (11d) Special problems for articles from Explicator Articles from Explicator are a problem that must be handled in two different ways, depending on the date of the issue. In early issues of this periodical there were no page numbers, so articles must be identified, after author, article title (usually just the name of the literary work, in quotation marks, since this was the article's title), periodical title, and date (given with the form for scholarly periodicals, as explained in the composition handbook), by item number rather than pages, preceded by the capitalized word "Item." For later issues of this periodical that do have page numbers, page numbers should be given. (11e1) Careful about an article or essay from an anthology (a book collecting articles or essays) Be careful not to confuse author of an article, and the title of an article, with the editor of a book collecting several articles and the title of that book. If the article appeared in a book collecting articles, use the format of "Article or selection reprinted in a reader or anthology" found in SFHW7, Chs. 52-53, comparable to how your short story and poem are cited, as part of Roberts's Literature: An Introduction to Reading and Writing, for your out-of-class essays on a short story or poem from Roberts; see my comments about and explanations of this matter in my "Eng. 1102 Pamphlet"). (11e2) Your poem as an additional work cited, beyond the required four or more secondary sources Be sure to include a proper citation of your poem, in its proper alphabetical place (by the poet's last name) in your Works Cited entries, using the form you have already used for your out-of-class essays on a short story and on a poem, and using the model for an entry on a poem given in my Prinsky's English 1102 Pamphlet, Chapter 7C. (11f) Sometimes the need for the cross-reference style of citation If you use more than one article from a book collecting such articles, you should use the cross-reference style of citation, explained in SFHW. (11g) Forced page advance in essay body and hanging indent style in Works Cited entries Do not forget to use the forced page break or page advance and "hanging indent," "hanging paragraph," or "inverted paragraph style," as explained for the Work Cited page required for out-of-class essays on a story or poem from Roberts and shown in the model papers in Roberts and in SFHW. Your Works Cited page will automatically be double-spaced through the double-spacing command at the beginning of your (research) paper. (11h) Changes to Works Cited page during the course of your research You are free to add or subtract entries between the preliminary Works Cited page you turn in and your final Works Cited page, as long as you have at least the required number and variety indicated in sections 1-2 of this pamphlet. (11i) Changing poems during the course of your research You may change poems in the course of your work on the research paper, but you should notify me about the change and supply me with the new Works Cited page, as explained earlier in this pamphlet.

12. Turning in the Works Cited page first; not retyping the Works Cited page for your research paper. (12a) Due first Your Works Cited page will be the first part of your research paper due. The Works Cited page will be one file of your research paper; the other file will be the paper itself. But when you hand in the complete paper, there will be no need to retype the Works Cited page(s), because all powerful word processors have some way to add or insert or append one file to another. (12b) Set up Your Works Cited page will be set up like that for your out-of-class essays on the short story and poem, as explained in my Engl. 1102 Pamphlet. The only difference is that you will have to supply a double-space command and type in your own header line (your last name and the Arabic numeral 9) since the Works Cited page will be turned in by itself. Do not bother supplying MLA format material in the upper lefthand corner of your Works Cited page; your header will indicate your last name, which will be enough. Later on, when your Works Cited page is added to your whole research paper, you will delete the double-space command and typed-in header from the Works Cited page, since these will have been taken care of already on the first page of the whole research paper. (12c) No folder or photocopies yet When you turn in your Works Cited the week after OCE2 on a poem, do not put it in a folder. Retain any of the required photocopies of secondary sources you have made so that you can continue to work on your documented paper. All I need to see is your preliminary Works Cited page. (12d) Note that your Works Cited page, like the model one in section 53e of SFHW7 should have the title Works Cited centered, and that all entries should be in "hanging indent" style. Look up "hanging indent" in your book or from your "Help" function in your wordprocessor to find out how to make your wordprocessor do the "hanging indents" that constitute the upside-down paragraphs of the entries of a Works Cited page. (12d1) Adding the Works Cited page to the whole file when you've completed the documented paper When you are ready to hand in the whole, completed research paper, call up the file for your Works Cited page (named, say, "Wks-cit"). Now get rid of the double-space command and typed in header on the Works Cited page. (12d2) Save the document (named, say, "Wks-cit"). (12d3) Now you are ready to add this document, without having to retype it, to your research paper. At the end of the file containing the paper, four spaces below the last line of your final paragraph, if you have not done so already, add the command for a forced page break or forced page advance (control key + enter/return key, in WordPerfect). As indicated in my Engl. 1102 pamphlet, it's a good habit to get into for all wordprocessed papers requiring a Works Cited page to use the forced page break, or forced page advance command, four spaces below the bottom of your essay body. (12d4) Bring your cursor two lines below the line that now appears on the screen, indicating a new page. Make sure the cursor is at column 1. Now add the second document, your Works Cited page. (12d5) Now save this complete document ("Res-ppr," which now includes your Works Cited page or pages). (12d6) You now have the complete research paper ready to edit or print.

13. The overall form of the research paper; the tabbed file folder.(13a) Non-title page format Use the non-title page format of research paper shown in the model MLA style paper in Chapter 5 of Prinsky's English 1102 Pamphlet, the demonstrative documented/research paper on my Engl. 1102 webpage, and section 53a-e of SFHW; that is, use the same format required for usual out-of-class papers in the course (identifying material in upper lefthand corner, last name and page number in upper righthand corner, title [double spaced and centered] two spaces below lefthand identifying material, and two spaces above the beginning of the body of the essay). (13b) Neatly fitted into 8.5 X 11 tabbed file folder Put the paper and all required photocopied material (trimmed or folded to fit) in an 8.5 X ll manila tabbed file folder, with the required material on the tab of your name, Engl. 1102, the semester and year, and the poet and poem that are the focus of your paper. (13c) Why the file folder The reason for the file folder is that I keep these file folders in my office file cabinets.

14. What to study in regard to this assignment, besides your poem and secondary sources. (14a) Use relevant portions of my English 1102 Pamphlet and English 1101 Pamphlet Review Chapter 5 (writing about literature and about printed materials) in my Engl. 1102 Pamphlet, and from my Engl. 1101 Pamphlet, Chs.  6 (comparison and contrast), 7 (out-of-class papers, including format and use of wordprocessing), and 12 (general matters about introductions, conclusions, and so on, of essays)  for application to this assignment. (14b) Use the chapters on the research paper in your composition handbook Constantly review the chapters on the research paper in the composition handbook. Too often, students' research papers betray a disregard of material in this Research Paper pamphlet, my "Engl. 1102 Pamphlet," the model documented/research paper posted on my Engl. 1102 webpage, and the composition handbook (including wild formats bearing no resemblance to that of MLA style, so clearly explained and exemplified in the composition handbook, and to an extent, in my supplements). (14c) Review this pamphlet Review constantly the sections of this pamphlet. A key ingredient of success in this assignment--and other assignments in this class, and life generally--is simply paying attention to, heeding, and following very explicit directions.

15. List of Choices for Your Analysis

Your research or documented paper must come from one of the poems listed below, all culled from RJc3 (also with consideration about whether there would be either too little material about the poet, or too much about the particular poem.) Note that an extremely quick check about whether your author has written a book (and thus is a likely choice) can be made by consulting the "Appendix: Brief Biographies of the Poets" at the back of R&J. For example, we discover in this section that Williams's "The Dance" is taken from Collected Later Poems, which was published by New Directions in 1944. Knowing that the poet has at least one book makes him or her a likely choice, since he or she will be listed in Contemporary Authors (secondary book source) and the book very probably reviewed in one or more periodicals (secondary periodical sources).
 
Click here for the list of poems from which to choose for the documented paper.