(OCE2/Analysis of Marge Piercy's poem "Wellfleet Sabbath"): (1) MLAF as per SFHW6 48d/pp.760-63 or SFHW7 53e/pp.822-25: (2) Works Cited Page as per OCE dir and demonstrative essays in R&J7: (3) Title as per Norm's Notes & R&J: inclusion of author, title, genre of the work, plus clear indication of assigned topic & main point(s): (4a) First paragraph on p.1 as per Norm's Notes & R&J: inclusion of author, title, genre of the work, plus clear indication of assigned topic & main points (intro-t, ts): (4b) First paragraph on p.1 as per Norm's Notes & R&J: a one-sentence overview of the main parts of the poem and their content: (5) Avoidance of P1p.1 problem in topic-inc in listing of literary components at work in the poem (since usually more literary components at work than are listed): use broader phrase like "literary components" or "several literary components" to refer to what's at work in the poem to express themes, when material from Chs. 14-17 & 21, for this paper, or Chs. 14-21 & 23, for documented paper/final exam, is required; also, listing of all literary components tends to put the emphasis on them rather than where the emphasis belongs, the literary work's meanings and ideas: (6a) Adherence to and coverage of OCE2 dir, including analysis of the points raised and details covered: (6b) Adherence to this grading template for OCE#2, posted online with the assigned topics: (7) Avoidance of org-lit problem, as per Norm's Notes & R&J (organize literary analysis papers by main ideas and themes rather than by literary components, plot, or line-by-line or stanza by stanza in poetry): (8) tsb-lit: S1 of each P after P1p.1 should state main or minor overall theme or idea of the poem, not restricted to a small part of the poem or a literary component (also a need to indicate in each paragraph, using the appropriate terminology and material from Chs. 14-17, 21 & 23, how several components work in combination to convey a theme or idea, or themes or ideas, as well as how several details from different parts of the poem work together, such as the avian imagery [as per OCE2 dir]): (9) Proper use, in application rather than mere cataloguing or definition, of all relevant technical terminology from Chs. 13-17 & 21 & 23 in R&J: (10a) T-u: enough analytical connection of all the poem's details to the poem's subjects and themes, as outlined in OCE2 dir; avoidance of ellip-inf or disc-sh problem: (10b) noting of connections among details, not just analysis of individual details: (10c) avoidance of importing Christianity into a Jewish poem: (11) overall development (enough explanation, support, detail; avoidance of ellip-inf problem; avoidance of ellip-inf or disc-sh problem): (12) organization and transition (as per SFHW6 Chs. 3, 5, 13, and 15, or SFHW7 Chs. 3, 5, 15, and 17): (13) Handling of parenthetical documentation for a poem, as well as mechanics of quoting more than one line of verse: (14) Grammar, usage, or mechanics (including spelling and punctuation): (15) avoidance of special writing about text problems (as per Prinsky's Engl. 1102 Pamphlet, Ch. 5, in Prinsky's online Engl. 1102 materials; and "Norm's Notes on the Reading-Response Essay" in Prinsky's online Engl. 1101 materials; and R&J7 -- e.g., ref-lit, ref-rdg, pn-cx/lit or pn-cx/rdg, tm, ttl, authn, wdy-lit, not confusing author with "speaker" (and appropriate tm-n in using "speaker," as per R&J7, Ch. 15), illus-lit, qt-em, qt-con, qt-pn, qt-ellip [see demonstrative essays in R&J, as well as discussion in chb about qt-ellip], qt-wl): (16) Grade: