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 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. These sentences conclude
with a works cited page which would be needed if these quotes were
included in a single essay.
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).
Instructions on how to set up these entries are found
on the Citing Sources link.
Works Cited
Boxer, David and Cassandra Phillips. From "'Will You
Please
Be Quiet, Please?': Voyeurism, Dissociation, and the
Art of
Raymond Carver." Iowa Review.
10 (1979): 75-90. Rprt. In
“Raymond Carver.” Contemporary Literary
Criticism. Ed.
Sharon R. Gunton and Jean C. Stue. Vol. 22. Detroit
: Gale
Research, 1982. 98-101. Print.
Bradford, William. From Of Plymouth
Plantation. The Norton
Anthology of American Literature.
Vol. A. Eds. Nina
Baym, et al . New York :
Norton, 2003. 157-196. Print.
Dickens, Charles. "The Amusements of the People." From
Household Words 30 March
1850. Rprt. in Hard Times. Ed.
George Ford and Sylvere Monod. New York:
Norton, 1990.
305-307. Print.
Kershener, R. B. The Twentieth-Century
Novel: An Introduction.
New York: Bedford Books, 1997. Print.
Leavis, F. R. "Hard Times: An Analytic Novel." From
The Great Tradition. London:
Chatto and Windus, 1948. 227-
48. Rprt. in Hard Times. Ed.
George Ford and Sylvere Monod.
New York :Norton, 1990. 340-360. Print.
Mitchell, Domhnall. “The Grammar of Ornament: Emily
Dickinson's Manuscripts and Their Meanings.” Nineteenth-
Century Literature 55:2 (2001):
179-204.
Academic Search Premier. Web. 23 August 2001.
Oates, Joyce Carol. “The Visionary Art of Flannery
O'Connor.” Flannery O'Connor.
Ed. Harold Bloom. New York:
Chelsea House Publishers, 1986. 43-53. Print.