Quotes and documentation quiz

Quotes and Documentation Quiz

Copy and paste these questions into a Word document, then complete the quiz. Bring your answers , either in print form or saved digitally, to class on Monday.
Correct any errors in citation and documentation for #'s 1-4:
1) The speaker in W. D. Snodgrass's "Leaving the Motel" advises his or her lover to "Keep things straight: don't take/The matches, the wrong keyrings--/We've nowhere we could keep a keepsake--/Ashtrays, combs, things/That sooner or later others/Would accidentally find.(9-14)"

2) In "Two Songs," by Adrienne Rich, the speaker says, "I'd call it love if love/ didn't take so many years/ but lust too is a jewel/ a sweet flower and what/ pure happiness to know/ all our high-toned questions/ breed in a lively animal."(720: 15-21).

3) When Herrick's speaker tells virgin maidens, "Gather ye rosebuds while ye may(1)", he is encouraging them to "seize the day."

4) The speaker in "The Negro Speaks of Rivers" says, "I've known rivers:/Ancient, dusky rivers./My soul has grown deep like the rivers."(8-10)

5) Which of the following (a-d) is correct:
a) Dickens intrudes even upon his own authorial commentary in the opening
sentence of The Chimes with a facetious remark on the special relationship
between writers and readers:
There are not many people—and as it is desirable that a
story-teller and a story-reader should establish a mutual
understanding as soon as possible, I beg it to be noticed
that I confine this observation neither to young people nor to
little people, but extend it to all conditions of people: little and
big, young and old: yet growing up, or already growing down
again—there are not, I say, many people who would care to
sleep in a church. (81)
Far from striving to keep the author behind the scenes in the illusion that novels
describe actual persons and events as modern writers do, Dickens seems instead
to impose his authorial presence deliberately between the reader and the scenes
he describes so that the reader always remembers an author is entertaining an
audience with a story.

b) Dickens intrudes even upon his own authorial commentary in the opening
sentence of The Chimes with a facetious remark on the special relationship
between writers and readers:
There are not many people—and as it is desirable that a
story-teller and a story-reader should establish a mutual
understanding as soon as possible, I beg it to be noticed
that I confine this observation neither to young people nor to
little people, but extend it to all conditions of people: little and
big, young and old: yet growing up, or already growing down
again—there are not, I say, many people who would care to
sleep in a church. (81)
Far from striving to keep the author behind the scenes in the illusion that novels
describe actual persons and events as modern writers do, Dickens seems instead
to impose his authorial presence deliberately between the reader and the scenes
he describes so that the reader always remembers an author is entertaining an
audience with a story.

c) Dickens intrudes even upon his own authorial commentary in the opening
sentence of The Chimes with a facetious remark on the special relationship
between writers and readers:
There are not many people—and as it is desirable that a story-teller and
a story-reader should establish a mutual understanding as soon as
possible, I beg it to be noticed that I confine this observation neither to
young people nor to little people, but extend it to all conditions of people:
little and big, young and old: yet growing up, or already growing down
again—there are not, I say, many people who would care to sleep in a
church. (81)
Far from striving to keep the author behind the scenes in the illusion that novels
describe actual persons and events as modern writers do, Dickens seems instead
to impose his authorial presence deliberately between the reader and the scenes
he describes so that the reader always remembers an author is entertaining an
audience with a story.

d) Dickens intrudes even upon his own authorial commentary in the opening
sentence of The Chimes with a facetious remark on the special relationship
between writers and readers:

There are not many people—and as it is desirable that a story-teller and
a story-reader should establish a mutual understanding as soon as
possible, I beg it to be noticed that I confine this observation neither to
young people nor to little people, but extend it to all conditions of people:
little and big, young and old: yet growing up, or already growing down
again—there are not, I say, many people who would care to sleep in a
church. (81)

Far from striving to keep the author behind the scenes in the illusion that novels
describe actual persons and events as modern writers do, Dickens seems instead
to impose his authorial presence deliberately between the reader and the scenes
he describes so that the reader always remembers an author is entertaining an
audience with a story.

6) Give correct works cited entries for the following (a-e):
a) The essay, "The Male Myth," which starts on p. 229 in our Little, Brown Reader text.
b) The play Hamlet, from the third edition of The Complete Works of Shakespeare, which is edited by David Bevington, of the University of Chicago. The book was published by Scott, Foresman and Company in Glenview, Illinois in 1980, and Hamlet is on pp. 1074-1120.
c) An article by Bill Williams titled "Re-Visioning the Double Play," from the scholarly journal, Academic Baseball, edited by Jack Johnson, published at the University of the Diamond Press in Atlanta, GA, in the 35th volume (the year 2001), on pages 295-375.
d) The 3rd edition of Boys Playing on Diamonds, written by Bill Williams and published in 2003 by the University of the Diamond Press in Atlanta, GA. The book has 673 pages.
e) An article by Tom Glavine entitled "A Bad Move," from the August 12, 2003 issue of the magazine, Major Mishaps, on pages 47-51. This article was accessed through the JSTOR library database online, on September 12, 2003, with the URL <http://www.jstor.org/stable/9876543>.