1. Edit the following citation to MLA format for a works cited list (i.e., write the correct format below, or type it on a separate piece of paper). Note that extra information is frequently provided.:
Book:A Narrative of the Life of Mrs. Charlotte Charke, by Charlotte Charke. Robert Rehder is the editor. The narrative was originally published in 1755. This edition was published in 1999 by Pickering and Chatto, who are located at 21 Bloomsbury Way, London, WC1A 2H, and at Old Post Road, Brookfield, VT 05036. It was typeset by Waveney Typesetters in Wymondham, Norfolk.
Journal article:Margins of Monstrosity: Martinus Scriblerus his "Double Mistress" in Memoirs of Martinus Scriblerus, by Judith Hawley. You got the article from the Project Muse database, and it was published as part of the journal Eighteenth-Century Life, a quarterly. It is the 22nd volume, and it is the first issue published in 1998. The pages are not continuously paginated (in other words, the numbers from one issue continue to the next for the entire year). Your article begins on page 1 and ends on page 14.
Website:You find some material you want to cite about wigs on the 18th Century Costume Resources Online page, located at http://www.costumes.org/history/100pages/18thlinks.htm. Exploring the site leads you to a page on making a wig, located at
2. You decide you want to interpret a section in Pope's Essay on Criticism in the text of your paper. You have several choices for the style of citation you will use. Evaluate the following methods of citation and describe the problems each one raises for the reader as well as the benefits each offers.
Eighteenth century poetry is more complex than it first seems. People get better at writing if they practice, just as they move more gracefully once they've learned how to dance. Also, poets need to make certain that the conventions of poetry contribute to the meaning of the poem (lines 362-365).
Eighteenth century poetry is more complex than it first seems. People get better at writing if they practice, just as they move more gracefully once they've learned how to dance. Also, poets need to make certain that the conventions of poetry contribute to the meaning of the poem (Pope lines 362-365).
Eighteenth century poetry is more complex than it first seems. People get better at writing if they practice, just as they move more gracefully once they've learned how to dance. Also, poets need to make certain that the conventions of poetry contribute to the meaning of the poem (Pope, Essay, lines 362-365).
Eighteenth century poetry is more complex than it first seems. According to Pope, people get better at writing if they practice, just as they move more gracefully once they've learned how to dance (lines 362-363). Also, poets need to make certain that the conventions of poetry contribute to the meaning of the poem (lines 364-365).
Eighteenth century poetry is more complex than it first seems. According to Pope in his Essay on Criticism, people get better at writing if they practice, just as they move more gracefully once they've learned how to dance. Also, poets need to make certain that the conventions of poetry contribute to the meaning of the poem (lines 362-365).
Eighteenth century poetry is more complex than it first seems. According to Pope in his Essay on Criticism, people get better at writing if they practice, just as they move more gracefully once they've learned how to dance: "True Ease in Writing comes from Art, not Chance, /
As those move easiest who have learned to dance" (lines 362-363). The way that poets show their skill is by making make certain that the conventions of poetry contribute to the meaning of the poem: "Tis not enough no Harshness gives Offence,/ The Sound must seem an Eccho to the Sense" (lines 364-365). Consequently, poetry is an integrated whole: the poetic devices must contribute to the meaning of the poem by evoking in the reader a sense of what the words say. Otherwise, the poet is not artistic.