Two items on this page: a list of verbs to incorporate
into sentences with quotes and a list of sentences including sources.
Use both as tools to help you work quotes into your own
prose.
Use a verb from the following list when introducing
outside sources and then commenting on them. It can also come in handy
when providing context for quotes from the work your writing about.
What follows are a series of
sentences which successfully incorporate quotes from poems. Below that
are sentences which incorporate quotes from an outside source.
Review
these to get a sense of the rhythm and cadence involved in setting up a
quote and how the verb list above can help "launch" a quote.
The violence in Destiny
is even seen in arm movements. On several pages, men have their arms
upraised about to strike the main character. Even the main
character refects this imagery: she is depicted with a hatchet in her
hand about to kill the salesmen who lured her away from the Taylor.
Spiegelman's images of suprise include facial
expressions. When Vladek is shot at while urinating at night when
first captured, his eyes are sketched in a bullseye of suprise.
The family frustration and nervousness of life under
Nazi occupation is seen when Vladek's mother shouts "ENOUGH!" to his
father as he recounts how he was treated.
From the beginning of the
text, Bradford sets the Puritans apart from others. He writes that
"many became enlightened by the Word of God and had their ignorance and
sins discovered" (157). Separating the "enlightened" from what seems to
be the unenlightened makes a clear "us v. them" distinction.
The power of O'Connor's "The
Revelation" is derived from its moral tenacity. As the writer Joyce
Carol Oates observes, the story "questions the very foundations of our
assumptions of the ethical life" (52). Since Mrs. Turpin's "foundation"
was based upon a shallow and limited view of religion, she was ripe for
a fall.
Although some critics argue
that surrealism began in 1924 after the publication of the Surrealist
Manifesto by Andre Breton (Kershner 52), Kafka's work, published a
decade earlier, shares many qualities of surrealist art, and should be
considered a precursor to the later movement.
The critics David Boxer and
Cassandra Phillips also note Carver's seeming lack of style. They write
that "what seems to be casual talk, virtually empty of communication,
is really very deliberately and finely wrought" (99). This emphasis on
the craft of his fiction -- it is "deliberately and finely wrought" --
underscores the nature of Carver's oxymoronic talent: he made
conversation seem so natural that it seems to merely record what is
being said.
As Dickens wrote in an essay
published in the same decade as Hard Times, "It is probable that
nothing will ever root out from among the common people an innate love
they have for dramatic entertainment in some form or other" (305-306).
That Lousia and Tom, members of the upper-class, would also find
amusement in the circus shows that the differences between classes --
between people -- is not as well defined as we would think.
F. R. Leavis argues that the
circus performers are symbols of "human spontaneity" (344). As such,
they operate according to emotions rather than from the slow and
measured intellect of Gradgrind.
Mitchell Domhnal notes that
"some critics allege that to read Dickinson in any standard typographic
edition is effectively to read her in translation." This suggests that
the usual method of reading a poem in a textbook isn't the best way to
read Dickinson .
Leypoldt Gunter argues that
there are "two types of Carver stor[ies]," with one being realistic and
the other more experimental (320).