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For numbers 1-10, select the option which best follows MLA citation of the quoted passage:   1a) In one stormy scene of the novel, Jane asks Rochester, "Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless?(Bronte 222)" 1b) In one stormy scene of the novel, Jane asks Rochester, "Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless? (Bronte 222)." 1c) In one stormy scene of the novel, Jane asks Rochester, "Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless?"(222). 1d) In one stormy scene of the novel, Jane asks Rochester, "Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless?" (222). 1e) In one stormy scene of the novel, Jane asks Rochester, "Do you think, because I am poor, obscure, plain, and little, I am soulless and heartless?" (Bronte 222).   2a) When Vronsky tells Anna, "Leave your husband and make our life one (218)" some readers hope she will indeed leave her husband.  2b) When Vronsky tells Anna, "Leave your husband and make our life one"(Tolstoy 218) some readers hope she will indeed leave her husband. 2c) When Vronsky tells Anna, "Leave your husband and make our life one"(218), some readers hope she will indeed leave her husband. 2d) When Vronsky tells Anna, "Leave your husband and make our life one," some readers hope she will indeed leave her husband (218). 2e) When Vronsky tells Anna, "Leave your husband and make our life one,"  some readers hope she will indeed leave her husband. (Tolstoy 218)   3a) In one poem love is compared to "the boy stood on the burning deck / trying to recite 'The boy stood on / the burning deck'" (615).  3b) In one poem love is compared to "the boy stood on the burning deck / trying to recite 'The boy stood on / the burning deck'" (Bishop 615). 3c) In one poem love is compared to "the boy stood on the burning deck / trying to recite 'The boy stood on / the burning deck'" (2-4). 3d) In one poem love is compared to "the boy stood on the burning deck / trying to recite 'The boy stood on / the burning deck'" (615: 2-4). 3e) In one poem love is compared to "the boy stood on the burning deck / trying to recite 'The boy stood on / the burning deck'" (Bishop 2-4).   4a) Poe's narrator confesses because, as he puts it, "to-morrow I die, and to-day I would unburden my soul." (183). 4b) Poe's narrator confesses because, as he puts it, "to-morrow I die, and to-day I would unburden my soul" (183). 4c) Poe's narrator confesses because, as he puts it, "to-morrow I die, and to-day I would unburden my soul"(183). 4d) Poe's narrator confesses because, as he puts it, "to-morrow I die, and to-day I would unburden my soul(183)." 4e) Poe's narrator confesses because, as he puts it, "to-morrow I die, and to-day I would unburden my soul (183)."   5a) The speaker in Plath's "Daddy" says, "Daddy, you can lie back now./There's a stake in your fat black heart/And the villagers never liked you"(75-77). 5b) The speaker in Plath's "Daddy" says, "Daddy, you can lie back now. / There's a stake in your fat black heart / And the villagers never liked you." (75-77). 5c) The speaker in Plath's "Daddy" says, "Daddy, you can lie back now. / There's a stake in your fat black heart / And the villagers never liked you" (75-77). 5d) The speaker in Plath's "Daddy" says,  Daddy, you can lie back now.  There's a stake in your fat black heart  And the villagers never liked you. (75-77) 5e) The speaker in Plath's "Daddy" says,  "Daddy, you can lie back now. There's a stake in your fat black heart  And the villagers never liked you" (75-77).   6a) In Hard Times, Thomas Gradgrind says that "Facts alone are wanted in life" (1). 6b) In Hard Times, Thomas Gradgrind says that "Facts alone are wanted in life" (Dickens 1). 6c) In Hard Times, Thomas Gradgrind says that "Facts alone are wanted in life"(Dickens 1). 6d) In Hard Times, Thomas Gradgrind says that "Facts alone are wanted in life(Dickens 1)." 6e) In Hard Times, Thomas Gradgrind says that "Facts alone are wanted in life (Dickens 1)."   7a) Parker's poem ends with irony: "Why is it no one ever sent me yet/One perfect limousine, do you suppose?/Ah no, it's always just my luck to get/One perfect rose. (Parker 735)"  7b) Parker's poem ends with irony: "Why is it no one ever sent me yet/ One perfect limousine, do you suppose?/ Ah no, it's always just my luck to get/ One perfect rose. (735: 9-12)"  7c) Parker's poem ends with irony: "Why is it no one ever sent me yet / One perfect limousine, do you suppose? / Ah no, it's always just my luck to get / One perfect rose" ( Parker 9-12).  7d) Parker's poem ends with irony:  Why is it no one ever sent me yet One perfect limousine, do you suppose? Ah no, it's always just my luck to get One perfect rose.  (9-12) 7e) Parker's poem ends with irony:  "Why is it no one ever sent me yet One perfect limousine, do you suppose? Ah no, it's always just my luck to get One perfect rose"  (9-12).   8a) Blake's speaker finds that a church has been built where the Garden of Love used to be.  He sees tombstones and graves where there had been flowers, "And Priests in black gowns were walking their rounds, / And binding with briars my joys & desires" (Blake 11-12). 8b) Blake's speaker finds that a church has been built where the Garden of Love used to be.  He sees tombstones and graves where there had been flowers, "And Priests in black gowns were walking their rounds, / And binding with briars my joys & desires" (63: 11-12). 8c) Blake's speaker finds that a church has been built where the Garden of Love used to be.  He sees tombstones and graves where there had been flowers, "And Priests in black gowns were walking their rounds, / And binding with briars my joys & desires" (11-12). 8d) Blake's speaker finds that a church has been built where the Garden  of Love used to be.  He sees tombstones and graves where there  had been flowers,  And Priests in black gowns were walking their rounds,  And binding with briars my joys & desires. (11-12) 8e) Blake's speaker finds that a church has been built where the Garden  of Love used to be.  He sees tombstones and graves where there  had been flowers,  "And Priests in black gowns were walking their rounds,  And binding with briars my joys & desires" (11-12).   9a) Virginia Woolf imagines the frustration a female writer in the 1600s with the talent and aspirations of Shakespeare would have experienced pursuing a writing career.  The imaginary Judith Shakespeare, Woolf says, would "kill herself one winter's night" (50) and then be altogether forgotten.  9b) Virginia Woolf imagines the frustration a female writer in the 1600s with the talent and aspirations of Shakespeare would have experienced pursuing a writing career.  The imaginary Judith Shakespeare, Woolf says, would "kill herself one winter's night(50)" and then be altogether forgotten.  9c) Virginia Woolf imagines the frustration a female writer in the 1600s with the talent and aspirations of Shakespeare would have experienced pursuing a writing career.  The imaginary Judith Shakespeare, Woolf says, would "kill herself one winter's night" and then be altogether forgotten. (50) 9d) Virginia Woolf imagines the frustration a female writer in the 1600s with the talent and aspirations of Shakespeare would have experienced pursuing a writing career.  The imaginary Judith Shakespeare, Woolf says, would "kill herself one winter's night" and then be altogether forgotten (50). 9e) Virginia Woolf imagines the frustration a female writer in the 1600s with the talent and aspirations of Shakespeare would have experienced pursuing a writing career.  The imaginary Judith Shakespeare, Woolf says, would "kill herself one winter's night" and then be altogether forgotten (Woolf 50).   10a) When Hemingway's narrator uses the present tense we recognize the  utterance as discourse and not historical narration.  Joyce's Portrait offers intrusions more surreptitious still:    The figure of woman as she appears in the liturgy of the  church passed silently through the darkness: a whiterobed  figure, small and slender as a boy and with a falling girdle.  Her voice, frail and high as a boy's, was heard intoning from  a distant choir the first words of a woman which pierce the  gloom and clamour of the first chanting of the passion. (244) Here we see appears and pierce in present tense and recognize that  Joyce's narrator is subtly mixing narrative discourse with historical narration.  10b) When Hemingway's narrator uses the present tense we recognize the  utterance as discourse and not historical narration.  Joyce's Portrait offers intrusions more surreptitious still:  The figure of woman as she appears in the liturgy of  the church passed silently through the darkness: a  whiterobed figure, small and slender as a boy and  with a falling girdle.  Her voice, frail and high as a  boy's, was heard intoning from a distant choir the first  words of a woman which pierce the gloom and clamour of the first chanting of the passion. (244) Here we see appears and pierce in present tense and recognize that  Joyce's narrator is subtly mixing narrative discourse with historical narration. 10c) When Hemingway's narrator uses the present tense we recognize the  utterance as discourse and not historical narration.  Joyce's Portrait offers intrusions more surreptitious still:    The figure of woman as she appears in the liturgy of the church passed silently through the darkness: a whiterobed figure, small  and slender as a boy and with a falling girdle.  Her voice, frail and  high as a boy's, was heard intoning from a distant choir the first  words of a woman which pierce the gloom and clamour of the  first chanting of the passion. (244) Here we see appears and pierce in present tense and recognize that  Joyce's narrator is subtly mixing narrative discourse with historical  narration. 10d) When Hemingway's narrator uses the present tense we recognize the  utterance as discourse and not historical narration.  Joyce's Portrait offers intrusions more surreptitious still:  The figure of woman as she appears in the liturgy of the church  passed silently through the darkness: a whiterobed figure, small  and slender as a boy and with a falling girdle.  Her voice, frail and  high as a boy's, was heard intoning from a distant choir the first  words of a woman which pierce the gloom and clamour of the  first chanting of the passion. (244) Here we see appears and pierce in present tense and recognize that  Joyce's narrator is subtly mixing narrative discourse with historical  narration. Give correct MLA-style works cited entries for numbers 11-14: Note: Normally, works cited entries should have "hanging indention" (See QD5hi).  If you have difficulty indenting the entries on this exam in the "text boxes," I won't take off points for incorrect indention. Note 2: Indicate underlining by enclosing the items to be underlined with asterisks (*Like so*).

11) The essay "The Way to Wealth" from our Norton textbook (starts on p. 516).

12) The novel Lonesome Dove, by Larry McMurtry, published in 1985 by Simon and Schuster & Co., Publishers, in New York City.  843 pages.

13) The journal article by Norman Friedman titled "Point of View in Fiction: The Development of a Critical Concept," in the journal PMLA, which is edited by T. R. Burdowski and published in New York.  The article in question appeared in 1955, Vol. 70, on pages 1160-84.