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 IHJL MI 
 
 3SHHOD 
 
THE PREPARATION OF 
 
 COURSE PAPERS IN THE FIELD 
 
 OF LITERATURE 
 
 * 
 
 LOUIS WANN, PH.D. 
 
 Professor of English Language and Literature 
 University of Southern California 
 
 1922 
 JESSE RAY MILLER 
 
 UNIVERSITY OF SOUTHERN CALIFORNIA PRESS 
 LOS ANGELES 
 
COPYRIGHT, 1922, JESSE RAY MILLER 
 
CONTENTS 
 
 Introduction: The Purpose of the Course Paper 7 
 
 I. Determining the Subject 10 
 
 II. Preparing the Bibliography 11 
 
 III. Gathering the Material 15 
 
 IV. Constructing the Argument 20 
 
 V. Putting the Argument on Paper 22 
 
 Appendix: Selected Bibliographies 37 
 
 A. Standard Reference Works 
 
 B. Works on Literary Criticism 
 
 and Appreciation 
 
 C. Works on Composition and the 
 
 Preparation of Manuscript 
 
 5T ' O , 
 
PREFACE 
 
 The present manual, The Preparation of 
 Course Papers in the Field of Literature, has 
 grown out of a long-cherished desire on the part 
 of the writer for a compact, easily accessible, and 
 inexpensive presentation of the whole technique 
 involved in the preparation of course papers in 
 the general field of literature. With no such 
 manual to which the student may be referred, 
 the instructor is forced, either to consume valu- 
 able time from the course in giving oral instruc- 
 tions, with the certainty that many will fail to 
 understand these instructions completely, or to 
 refer the student to one or more manuals of 
 style, which may be difficult of access in a suffi- 
 cient number of copies, or prove to contain either 
 too scanty or too elaborate a treatment of the 
 subject to be adapted readily to the special cir- 
 cumstances involved in the preparation of a 
 course paper. It is hoped that the present man- 
 ual will contribute materially toward economiz- 
 ing the time and energy of both student and in- 
 structor and result in the production of more 
 effective papers. 
 
6 THE PREPARATION OF COURSE PAPERS 
 
 In compiling the bibliographies in the Appen- 
 dix the author has been indebted to several of his 
 colleagues in the University of Southern Cali- 
 fornia for their cooperation and counsel. 
 
 L. W. 
 
 Los Angeles, California, 
 August /, 1922. 
 
INTRODUCTION 
 THE PURPOSE OF THE COURSE PAPER 
 
 The general purpose of a course paper on some 
 aspect of literature, such as that which commonly 
 forms a part of the requirements for the satis- 
 factory completion of a college course in any 
 department of that field, such as English, French, 
 or German, may be described as two-fold. 
 
 First of all, the preparation of the paper 
 serves to direct the special attention of the 
 writer to some one particular author, work, 
 movement, type, or phenomenon which, because 
 of the very nature of the course, may be treated 
 only incidentally or with slight emphasis by the 
 instructor or lecturer. In thus restricting his 
 attention, the individual student is enabled to 
 get a more complete understanding of his own 
 subject, to realize the proper relation of his sub- 
 ject to the whole field, and to develop and ex- 
 hibit the research attitude, which is simply the 
 honest endeavor to discover and to report new 
 truth. The writer of each paper, therefore, is 
 given and expected to use the opportunity to 
 
8 THE PREPARATION OF COURSE PAPERS 
 
 develop that true scholarship which it is the pri- 
 mary function of all education to develop. 
 
 The second, and incidental, purpose of such a 
 paper is to insure the instructor or lecturer that, 
 in addition to the more general information or 
 inspiration derived from the course, the student 
 has actually observed a scholarly attitude in his 
 reading and thinking. The properly completed 
 course paper thus presents in tangible form, not 
 merely the evidence of a scholarly attitude, but 
 the fruit of a concrete accomplishment which in- 
 spires satisfaction in the creator of any new 
 thing. 
 
 The first essential, then, is the appreciation of 
 what constitutes scholarship and the research at- 
 titude. This attitude is by no means confined 
 to those properly termed "scholars." It is simply 
 the honest endeavor, always and in all aspects 
 of life, to get the truth, and especially to discover 
 new truth. The result of this attitude may be 
 large or small. It may be merely the discovery 
 of the actual working of a carburetor or, on the 
 other hand, so revolutionary an invention as that 
 of wireless telephony. It may be simply the com- 
 plete appreciation of a poem or the discovery of 
 new documents radically changing our concep- 
 tion of Shakespeare. Though producing results 
 
IN THE FIELD OF LITERATURE 9 
 
 of varying importance and persisted in with dif- 
 ferent degrees of consciousness, the underlying 
 attitude is the same. It is not expected that even 
 one of every hundred average students shall dis- 
 cover something really new. It is expected that 
 every student shall be on the lookout for some- 
 thing new. Even though the apparently new 
 proves to have been discovered before, there is 
 for the student the same joy of appreciation or 
 discovery that has animated all of his predeces- 
 sors. In very many cases, the purpose has been 
 served if the student has, through his own efforts, 
 come to the realization of a truth which, without 
 his knowledge, has been realized by others be- 
 fore him. In order, however, to conserve our 
 time and energies, it is obviously desirable that 
 we know what ground has been covered before 
 and, by first mastering the known, be enabled 
 with assurance to proceed to the conquest of the 
 unknown. It is for this reason chiefly that cer- 
 tain more or less clearly marked steps have come 
 to be generally agreed upon as essential to the 
 proper preparation of a paper which shall ex- 
 hibit the research attitude. 
 
 These steps may be designated as follows: 1. 
 Determining the subject, 2. Preparing the bib- 
 liography, 3. Gathering the material, 4. Con- 
 
10 THE PREPARATION OF COURSE PAPERS 
 
 strutting the argument, 5. Putting the argu- 
 ment on paper. 
 
 I. DETERMINING THE SUBJECT 
 
 The determination of the exact subject which 
 the student will handle does not often rest en- 
 tirely with the student himself. Circumstances, 
 such as the presence of a number of workers in 
 the same field, time and space limitations, and 
 so forth, may make the assignment of a specific 
 subject desirable. It is obvious, however, that 
 some range of choice will enable the student to 
 select that subject which, by inclination or train- 
 ing, he thinks himself best fitted to handle. In 
 whatever manner the subject may become the 
 property of the student, there still remains the 
 careful analysis of the scope of the topic, the 
 manner in which it should be treated, the re- 
 sults to be attained. 
 
 Take, for illustration, the two subjects: 
 "Burns's Attitude toward Religion" and "Clas- 
 sical Mythology in Keats's Poems." It is appar- 
 ent that the first of these subjects requires the 
 study and inclusion of more biographical ma- 
 terial than the second. It is also apparent that 
 the first is more sociological in nature and the 
 
IN THE FIELD OF LITERATURE 11 
 
 second more distinctly literary. Both require 
 reference to individual poems for proof of asser- 
 tions made. Again, the one presents the simple 
 question, "What was Burns's attitude toward 
 religion?" The other asks several questions: 
 "To what extent does classical mythology appear 
 in the poems of Keats?" "What use does he 
 make of the myths?" "How does he differ from 
 other users of similar material?" and so forth. 
 In the same way, "The Critical Method of 
 Sainte-Beuve" and "The Short Story in Spain" 
 each demands its peculiar kind of treatment. 
 The former, by centering attention upon one 
 man, demands intensive treatment of his work. 
 The latter, by requiring, not only some prelimi- 
 nary discussion of the short story as a type, but 
 a comprehensive survey of the development of 
 that type in the hands of many writers, calls for 
 a wider perspective and more general treatment. 
 Much time may be saved by determining exactly 
 what the subject implies. The trail may then 
 be followed with assurance. 
 
 II. PREPARING THE BIBLIOGRAPHY 
 
 A bibliography is a list of books, magazine and 
 newspaper articles, manuscripts, or similar ma- 
 terial which the student may consult in the prep- 
 
12 THE PREPARATION OF COURSE PAPERS 
 
 aration of his paper. Having determined the ex- 
 act nature of his subject, the writer should pro- 
 ceed to compile from the proper sources a list of 
 all such documents as seem to promise material 
 on his subject. Two questions are at once asked 
 at this point: "Where shall I find my bibliog- 
 raphy?" and "In what form shall I make my 
 list?" 
 
 The answer to the first question is, Turn first 
 to the most authoritative general works of refer- 
 ence in your field, those which themselves con- 
 tain both general and special bibliographies that 
 will serve as a foundation. Although the best 
 obtainable general reference works on the vari- 
 ous literatures differ considerably in plan, up-to- 
 dateness, and authoritativeness, the list given in 
 appendix A (page 37) presents, for the average 
 student, perhaps the most serviceable works in 
 the more common departments and may be con- 
 sidered as standard. 1 
 
 Two things that are essential to a good refer- 
 ence work are found in such works as those re- 
 ferred to: authoritative treatment of the subject 
 
 !For the standard reference works in any of the numerous de- 
 partments of literature not represented in this list, the student should 
 consult his instructor. In all cases, of course, the counsel of the 
 instructor should be the student's specific guide. 
 
IN THE FIELD OF LITERATURE 13 
 
 and adequate bibliographical help. The plan of 
 each must be clearly understood. For example, 
 both of the Cambridge Histories are the result of 
 the cooperation of a great body of specialists 
 throughout the world, each man writing one or 
 more chapters on the one or more aspects of the 
 literature which he is best fitted to treat. In 
 general, the arrangement is chronological. Both 
 the table of contents and the index of each vol- 
 ume need to be consulted to ensure all of the 
 material being located. At the back of each vol- 
 ume will be found, in order, the bibliographies 
 for the separate chapters in that volume. In 
 some of the other works listed, the bibliographies 
 will be found at the ends of chapters, instead of 
 being assembled at the back of the book. 
 
 When you have compiled your list, in the man- 
 ner indicated below, from whatever bibliogra- 
 phies in these works offer you material, you 
 should then, for the sake of completeness, sup- 
 plement your list with magazine references to be 
 found in such indices as The Reader s Guide to 
 Periodical Literature and Poolers Index, with 
 their supplements. The magazine articles and 
 reviews thus referred to will give you, not only 
 material w r hich for some good reason was omit- 
 ted from the standard bibliographies, but also 
 
14 THE PREPARATION OF COURSE PAPERS 
 
 material which appeared after those bibliogra- 
 phies were compiled. For example, the chapter on 
 Shelley and its bibliography in The Cambridge 
 History of English Literature were prepared some 
 years ago. But the centenary of Shelley's death, 
 coming in 1922, brought out a number of val- 
 uable criticisms of his work which need to be 
 included in an up-to-date bibliography of 
 Shelley. 
 
 Through these two general avenues of ap- 
 proach, the standard reference work and the 
 magazine index, an adequate bibliography can 
 in the great majority of cases be obtained.. 
 
 The next question concerns the mechanical 
 preparation of the list of references. The most 
 practicable method is that which employs the 
 3x5 card. Place on a separate card the following 
 data concerning each reference: the author's 
 surname, followed by his initials or given name ; 
 the title of the book (underscored) or article (in 
 quotation marks) ; place of publication, pub- 
 lisher's name, and date of publication (if a 
 book) ; or the name of the periodical (under- 
 scored), volume number (or date), and page ref- 
 erence (if a periodical). The following exam- 
 ples will illustrate various types of reference: 
 
IN THE FIELD OF LITERATURE 15 
 
 Wendell, Barrett 
 
 A Literary History of America (1600-1900) 
 
 New York. Chas. Scribner's Sons. 1900. 
 More, Paul Elmer 
 
 "The Influence of Emerson" 
 
 Shelburne Essays, First Series } pp. 71-84. 
 Thompson, J. B. 
 
 "The Genesis of the Rip Van Winkle Legend" 
 
 Harper's Magazine, Vol. 20, 1860. 
 Guerard, A. L. 
 
 "Dante and the Renaissance" 
 
 The Rice Institute Pamphlet, Vol. VIII, No. 2. 
 
 When all of the available items have thus been 
 listed, arrange the cards in alphabetical order by 
 authors (or editors), and the bibliography is 
 ready for use. 
 
 III. GATHERING THE MATERIAL 
 
 Your bibliography is the guide to the possibly 
 accessible material which you may consult. The 
 next step is to get access to your books and mag- 
 azine articles. Taking your alphabetically ar- 
 ranged list to the card catalogue of the college, 
 public, or special library, mark the library call 
 number on each card whose book reference that 
 library contains. In the same manner, by refer- 
 ence to the library's list of periodicals, check off 
 
16 THE PREPARATION OF COURSE PAPERS 
 
 those magazine references which are accessible in 
 that library. When the facilities of the various 
 libraries open to the student have thus been ex- 
 actly determined, it is then time to consider, by 
 consultation with your instructor, whether it is 
 advisable or necessary to secure additional ma- 
 terial not already provided. 
 
 You now know what material you have to 
 work with. The next step is the taking of notes. 
 System in note-taking will save a great amount 
 of time and labor. The exact method may differ, 
 depending somewhat on individual preferences 
 and the nature of the work. But a practicable 
 method for the average student is the following : 
 
 Provide yourself with a quantity of sheets of 
 paper of uniform size (Sy 2 x 11 or preferably 
 half size). With a book or article before you, 
 write the author's name and the title of the book 
 and volume number (or title of article, name 
 of periodical, and volume number) in the upper 
 right-hand corner of the page, so that your notes, 
 when desirable, may be kept, by authors, in the 
 same alphabetical order as your bibliography. 
 As you read, record legibly in brief digest from 
 the ideas that seem serviceable or quote accu- 
 rately passages that you might wish to use in the 
 author's own words. Save time by making use 
 
IN THE FIELD OF LITERATURE 17 
 
 of clear abbreviations for frequently recurring 
 words (as "lit." for "literature," "Span." for 
 "Spanish"). In every case place opposite the 
 note, in the left-hand margin, the page on which 
 the idea or passage was found, in order that in 
 the future you may refer at once to the exact 
 place for further information or for confirmation, 
 and in order that you may, in writing your paper, 
 indicate your footnote references with ease and 
 accuracy. It will be obvious that, in order to 
 enable you later to rearrange these notes in out- 
 line form, you must avoid placing on the same 
 page two notes that relate to separate aspects of 
 the main subject. If, in an atricle on Words- 
 worth, you find material on his style, his philoso- 
 phy, and his political opinions, you will keep on 
 separate sheets the notes on these respective as- 
 pects of the subject. If more than one sheet be 
 needed for a point, simply number the second 
 sheet and clip the two together. When you have 
 completed your notes on one page, place a brief 
 indication of the subject of those notes in the 
 upper left-hand corner of the page, for use in 
 organizing your material in topical form. You 
 may modify this general method to suit the cir- 
 cumstances. If you wish to file your notes, use 
 cards instead of paper. But whatever the 
 
18 THE PREPARATION OF COURSE PAPERS 
 
 method, once you are convinced of its service- 
 ability stick to it. 
 
 Below is a sample of note-taking illustrating 
 the general method above outlined, making use 
 of the half-size sheet: 
 
 European influence Moore, Olin H. 
 
 on M. T. "Mark Twain and Don Quixote" 
 
 Pub. of M. L. A. of A., XXXVII 
 
 p. 324 Purpose of paper to trace influence of Cervantes on M. T. 
 particular attention to Huckleberry Finn and Tom Sawyer. 
 
 p. 325 M. T. not so original as most Americans have thought 
 drew much inspiration from European models. 
 
 p. 325 M. T.'s liking for French, Span, and Ital. authors Saint- 
 Simon, Casanova, etc. 
 
 Discretion needs to be exercised in your read- 
 ing. Not all material is of equal authoritative- 
 ness. A merely popular article cannot usually 
 be relied upon to the same degree as a carefully 
 prepared book or chapter by a recognized scholar. 
 Moreover, some material is in much more con- 
 densed form and thus requires more careful at- 
 tention than a chatty, informal discussion. For 
 the latter type of writing it is desirable to culti- 
 
IN THE FIELD OF LITERATURE 19 
 
 vate the "gentle art of skimming," which is by 
 no means a careless, unseeing manner of reading, 
 but an alert though rapid sensing of the import- 
 ance and content of whole sentences, paragraphs, 
 and even pages. Still further, it is of vital im- 
 portance not to let yourself be sidetracked into 
 interesting but irrevelant by-paths. Keep the 
 main purpose of your paper steadily in mind. To 
 paraphrase the oath taken by the witness in 
 court, you are responsible for "the subject, the 
 whole subject, and nothing but the subject." 
 
 What has been said so far applies only to that 
 material which the student gets from others. No 
 paper is of much value that does not, in addition 
 to showing one's knowledge of other people's 
 opinions and researches, also indicate a consider- 
 able amount of individual interpretation and re- 
 action. The proportionate amount of original 
 matter expected in a paper will of course depend 
 upon the nature of the topic, the type of course 
 for which the paper is written, and the status of 
 the student in that course. In general, the more 
 restricted the topic, the more intensive the course, 
 and the more advanced the student, the greater 
 is the amount of research work expected. More- 
 over, it is obvious that the topic "My Favorite 
 American Poet" by its very implication calls for 
 
20 THE PREPARATION OF COURSE PAPERS 
 
 a preponderance of personal opinion, whereas 
 "How Vergil Was Regarded by his Contempo- 
 raries" calls for very little, in spite of the fact 
 that the former calls for less investigation than 
 the latter. If you have analyzed your subject 
 properly in the first place, you w r ill know how 
 much more you have to do besides reporting 
 what others have said about it. Finally, it should 
 always be kept in mind that in the field of liter- 
 ature particularly nothing will take the place of 
 first-hand, intelligent, appreciative reading of the 
 poems, dramas, novels, essays themselves, with- 
 out which we should have no criticism whatever. 
 Having recorded the results of your own study 
 in the same manner as you have taken your other 
 notes, you now have before you in easily acces- 
 sible form and capable of arrangement in any 
 order you desire a complete set of notes to form 
 the basis of your paper. 
 
 IV. CONSTRUCTING THE ARGUMENT 
 
 You are now ready to "build" your paper, to 
 construct your argument in such a manner that 
 the reader may proceed naturally and inevitably 
 to your conclusions. A famous French drama- 
 tist, when asked if he had yet finished a new 
 tragedy upon which he was known to be work- 
 
IN THE FIELD OF LITERATURE 21 
 
 ing, replied: "Yes, I have only to compose the 
 verses." He thus illustrated the supreme im- 
 portance of thinking out from beginning to end 
 the structure of any piece of literary work before 
 any writing is done. 
 
 With your sheaf of notes before you, glance 
 through them to see what fundamental points 
 seem to have been established, what divisions the 
 treatment of the subject seems to call for. Place 
 together all those notes which contribute to each 
 of a few main aspects of the subject. You will 
 now resort to the outline as a device for clarify- 
 ing in your own mind the organization of your 
 material. Suppose, for example, that you are 
 writing a paper on "The Essays of Robert Louis 
 Stevenson" for an elementary course in The 
 English Essay. On sorting over your notes and 
 distributing them into separate piles, you may 
 find that you have the following main divisions 
 of material in the order that seems to promise 
 the most logical development of your subject: 
 
 I. Biographical data 
 
 II. Critical essays 
 
 III. Philosophical essays 
 
 IV. Personal essays 
 
 V. Stevenson's essay style 
 VI. Stevenson's message 
 VII. Stevenson's place as an essayist 
 
22 THE PREPARATION OF COURSE PAPERS 
 
 Having determined, for the time being, that 
 this is the logical order of treatment, you then 
 proceed to enlarge your main divisions by the 
 inclusion of subordinate headings, represented by 
 the detailed notes in each division. When all of 
 your notes have found their place in your out- 
 line, you may then subject the complete outline 
 to a final scrutiny to take care of duplication of 
 material, wrong order of emphasis, and so forth, 
 realizing at the same time that no outline is per- 
 manent. It may change very considerably as 
 you write and as you realize more clearly the 
 meaning of your material in the actual work of 
 composition. The outline is merely the safest 
 insurance against waste of time and faulty per- 
 spective. "What is well begun is half done." 
 
 V. PUTTING THE ARGUMENT ON PAPER 
 
 You are now ready for the final step putting 
 on paper the results of your reading and study. 
 To many this seems the most difficult part of the 
 process. Yet much of the difficulty is imaginary 
 and may be overcome by the realization that 
 you do not have to think of the whole paper at 
 once. It is the visualization of that mass of 
 notes which somehow must be transformed into 
 
IN THE FIELD OF LITERATURE 23 
 
 that complete paper, which you feel has not even 
 had a beginning, that causes all the dread. But 
 if you have made a fairly logical outline, you 
 may forget for the moment all the rest. It may 
 even make little difference with which part you 
 begin. The essential thing is, for the time being, 
 to handle each aspect of the subject with com- 
 plete attention to that aspect. The joining to- 
 gether of the various divisions is a later step. 
 
 It is almost impossible, except for an expert, 
 to write an adequate paper in one draft. You 
 should always write out your complete "rough 
 draft" with little or no thought that this will be 
 adequate as a "final draft." It will depend upon 
 your experience in writing, your command of 
 English, your sense of proportion as to how 
 nearly the form of your "rough draft" will prove 
 to be completely acceptable form for the "final 
 draft." If you leave liberal spaces between the 
 lines, you may make later changes more easily. 
 If you are bothered by such mechanical matters 
 as spelling, punctuation, paragraphing, and so 
 forth, forget them for the time and put all of 
 your attention to getting down on paper the 
 ideas which you have to present. When the 
 ideas are in black and white, in complete "rough 
 draft," then and then only have you a complete 
 
24 THE PREPARATION OF COURSE PAPERS 
 
 basis for revision into final form. 
 
 With the "rough draft" before you, and pref- 
 erably in a fresh state of mind (after the lapse 
 of, say, several days), read through your paper 
 to see whether, in general, you have accom- 
 plished your purpose. If you have departed from 
 your outline, see whether you can justify that 
 departure. Try to assume the point of view of 
 an outsider, one who knows nothing about the 
 subject. Is the presentation clear and convinc- 
 ing? If the "rough draft" stands this general 
 test, you are ready for the final process, revision 
 into the "final draft" form. 
 
 Now go over your "rough draft" for mechan- 
 ical errors, for the improvement of sentence 
 structure, punctuation, choice of words, and so 
 forth. See that your paragraphs are units of 
 thought and that they are neither so short as 
 to be choppy or so long as to be obscure and 
 monotonous. See that there is a continuous flow 
 of thought, that there are plenty of connective 
 words and phrases to bridge over from thought 
 to thought. See that so far as possible your style 
 has the elements of interest, clarity, smoothness, 
 and emphasis necessary to a convincing and ap- 
 pealing presentation. When your paper satisfies 
 you, not only as to its ideas but as to its form, 
 
IN THE FIELD OF LITERATURE 25 
 
 you are prepared for the actual transference of 
 the "rough draft" to the final form in which it 
 is to be handed in to your instructor. 
 
 Now, it is this final form about which there is 
 apt to be the most ignorance, for in this as in 
 most aspects of even our everyday life there are 
 certain established conventions. As there is a 
 right and a wrong way to dress for a formal din- 
 ner, there is a right and a wrong way to present 
 the results of a literary study. The established 
 conventions for a formal paper may be summar- 
 ized as follows : 
 
 I. Paper, ink, and typewriter 
 
 (a) Use good, unruled paper, 8^2 x 11 inches. 
 
 (b) Write or typewrite on only one side of the 
 sheet. 
 
 (c) Use only black or dark blue ink or a type- 
 writer with a clean ribbon. Typewriting 
 is not necessary, but legibility and neatness 
 are of paramount importance in either case. 
 
 II. Margins and spacing 
 
 (a) Place the title two inches from the top of 
 the first page; do not underline or quote 
 the title; leave an inch between the title 
 and the first line of the text. 
 
 (b) Leave a margin of an inch and a half on 
 the left; at the right leave enough to avoid 
 the appearance of crowding. 
 
26 THE PREPARATION OF COURSE PAPERS 
 
 (c) Leave liberal space between lines of hand- 
 writing; do not crowd either handwriting 
 or typewriting at the bottom of the page. 
 
 III. Indentation 
 
 (a) Indent one inch in handwriting from the 
 left-hand margin for paragraphs; in type- 
 writing, indent at least three spaces. 
 
 (b) Do not leave any lines blank except when 
 a short line ends a paragraph. 
 
 IV. Quoting verse and prose 
 
 (a) Indent both verse and prose quotations at 
 least an inch from the left-hand margin. 
 
 (b) Put double quotation marks at the begin- 
 ning and end of each passage of verse or 
 prose quoted, except when in typewriting 
 the passage is single-spaced (the unquoted 
 portions of the paper being double- 
 spaced). In the latter case no quotation 
 marks are necessary. 
 
 (c) In quoting verse, reproduce with exactness 
 the arrangement of the lines as you found 
 them in print, observing all indentations, 
 punctuation, italicizing, and so forth. 
 
 EXAMPLE: A good illustration of Ben 
 Johnson's skill in writing epitaphs is the 
 following, entitled "An Epitaph on Mas- 
 ter Philip Gray": 
 
IN THE FIELD OF LITERATURE 27 
 
 "Reader, stay; 
 
 And if I had no more to say 
 But: 'Here doth lie, till the last day, 
 All that is left of PHILIP GRAY/ 
 It might thy patience richly pay: 
 For if such men as he could die, 
 What surety o' life have thou and I?" 
 
 (d) Paragraph each speech of dialogue, no mat- 
 ter how short. 
 
 (e) In reproducing a passage from a drama, 
 indicate the speaker by placing his name 
 either in the middle of the page without 
 punctuation or at the left of his speech, 
 following it with a period, colon, or dash. 
 Put stage directions in italics (that is, un- 
 derlined) and enclose in brackets. 
 
 (f) In quoting, particularly from languages 
 other than modern English, be careful to 
 reproduce all such diacritical, punctuation, 
 and other marks as the following: accents 
 like the macron ( ), acute ('), grave ( r ), 
 circumflex ( A ,~,~), dot (*), diaresis ("), 
 and umlaut ( "), all of which may be found 
 above a letter; accents like the cedilla ( 5 .)> 
 reversed comma ('), and dot (.), which 
 may be found below the letter; the apos- 
 trophe, indicating omission; the hyphen, in- 
 dicating compounds; the dash, as in French 
 to indicate change of interlocutor; capital- 
 ization of all nouns, etc., as in German; 
 
28 THE PREPARATION OF COURSE PAPERS 
 
 and the peculiar use of the interrogation 
 and exclamation points, the first member of 
 a pair being inverted, as in Spanish. 
 
 V. Italics and quotation marks 
 
 (a) Italics are indicated in manuscript (either 
 handwritten or typewritten) by underlining 
 the words that in printing are set in italic 
 type. Underline all titles of complete works, 
 such as books, magazines, dramas, epics, 
 novels. This is necessary, for one thing, 
 to distinguish clearly between reference to 
 a character, like Hamlet (not underlined) 
 and the work in which the character ap- 
 pears, like the play Hamlet. 
 
 (b) Use quotation marks to indicate parts of 
 works, such as an individual poem in a col- 
 lection, or an article in a magazine, or a 
 chapter in a book. 
 
 EXAMPLE: "The Coming of Arthur" 
 is the first poem in the series of Idyls of 
 the King. 
 
 EXAMPLE: Professor F. L. Pattee 
 treats the contribution of Poe in his chap- 
 ter on "The Short Story" in The Cam- 
 bridge History of American Literature. 
 
 (c) Underlining may also be used sparingly for 
 emphasis. 
 
 (d) Use double quotation marks at the begin- 
 ning and end of every quoted word, phrase, 
 or passage, except in the case noted in IV 
 
IN THE FIELD OF LITERATURE 29 
 
 (b) above. Use single quotation marks to 
 indicate a quotation within a quotation. 
 
 VI. Footnotes 
 
 (a) Three reasons may be cited for the use of 
 reference footnotes in a course paper. First 
 of all, justice demands that when you are 
 indebted to someone else for an important 
 idea, whether you quote his words or not, 
 you should give him credit for the idea. 
 Second, reference to an authority places the 
 responsibility for the statement where it be- 
 longs; if the statement should prove faulty, 
 you are not to be held responsible (unless 
 you had means for ascertaining its falsity). 
 Third, footnotes are a valuable aid to the 
 reader who may want to turn to the au- 
 thority referred to or to the exact lines of 
 a poem from which you have quoted. 
 
 (b) Give footnotes for every important asser- 
 tion or idea which you are conscious of 
 having derived from someone else. Many 
 ideas and facts are common property. 
 These do not need footnotes; they would 
 merely clutter up the page to no end. Use 
 judgment and show a desire to give credit 
 where it is due. 
 
 (c) Use footnotes in every case where you quote 
 the actual words of a writer, whether you 
 are quoting from a poem or from a criticism 
 of the poem. 
 
30 THE PREPARATION OF COURSE PAPERS 
 
 (d) At the end of the passage in question, 
 whether it be actually quoted or not and 
 regardless of where it occurs in the sentence 
 or paragraph, place an arabic numeral, 
 somewhat above the line. Do not place 
 such symbols in the margin or at the begin- 
 ning of the passage in question. 
 
 EXAMPLE: Lanier's little poem "Night 
 and Day" 1 opens with these lines, at once 
 suggesting the play of Othello: 
 
 "The innocent, sweet Day is dead. 
 Dark Night hath slain her in her bed. 
 O, Moors are as fierce to kill as to wed ! 
 Put out the light, said he." 2 
 
 (e) At the bottom of the page and separated 
 from the text of the paper by a horizontal 
 line, repeat the symbol or symbols on that 
 page and give the reference or explanation 
 required. Make it as brief as is consistent 
 with clarity and completeness, using the 
 conventional abbreviations for titles, pub- 
 lishers' names, places, and all words neces- 
 sary to indicate the reference. Frequently 
 used abbreviations are: vol. Ill (vols.); 
 chap, ii (chaps.); bk. (bks.); sec. (sees.); 
 art. (arts.); div. (divs.); no. (nos.); col. 
 (cols.); fig. (figs.); n. (note; plural: nn.); 
 p. 17 (pp.)j PP- 8-15 (pages 8 to 15 in- 
 clusive) ; pp. 8f (page 8 and the follow- 
 ing page) ; pp. 8ff (page 8 and the fol- 
 
IN THE FIELD OF LITERATURE 31 
 
 lowing pages); 1. 5 (line 5; plural: 11.); 
 vs. (vss.); ed. (eds.); for drama, II, ii, 
 44 (act two, scene two, line 44) ; ibid, 
 (the same reference as that immediately 
 preceding) ; op. cit. (work cited) ; loc. cit. 
 (place cited); cf. (see or compare). 
 
 EXAMPLES: (The first two footnotes 
 are those indicated in (d) above). 
 
 1 Dated "Montgomery, Alabama, 
 1866" and printed in The Independ- 
 ent, July, 1884. 
 
 2 Poems of Sidney Lanier, new ed., 
 Scribner's, 1920, p. 228. 
 
 3 Camb. Hist, of Eng. Lit., vol. Ill, 
 pp. 25ff. 
 
 4 Ibid., pp. 27f. 
 
 5 Hamlet, IV, ii, 20-25. 
 
 6 Shelley, Ode to the West Wind, 11. 
 20ff. 
 
 7 Cf. Morel-Fatio, Bulletin Hispan- 
 ique, II, 239. 
 
 8 Loc. cit., p. 240. 
 
 VII. Making corrections and changes 
 
 In making necessary corrections and changes in 
 the final draft observe the following points: 
 
 (a) To cancel a word or passage draw a hori- 
 zontal line through the words to be can- 
 
32 THE PREPARATION OF COURSE PAPERS 
 
 celed. Do not enclose such words in paren- 
 theses or brackets. Such matter within 
 parentheses would be properly read as ex- 
 planatory matter. Such matter within 
 brackets would be properly taken as an ad- 
 dition to or correction of an imperfect text 
 or an incorrect or obscure statement of 
 another. The following sentences illustrate 
 the proper use of these three marks: 
 
 He was not considered conoidorod a pre- 
 cocious child. 
 
 His first poem (published at the age of 
 fifteen) was nothing remarkable. 
 
 Poe wrote of himself: "Born January, 
 1811 [the correct date is 1809] . . ." 
 
 (b) To insert a word or passage place a caret 
 (A)below the line at the point where the 
 insertion is to be made; then write the in- 
 serted words above the line, thus: 
 
 altogether 
 I do not see that this criticism is just. 
 
 A 
 
 (c) To indicate a paragraph indentation where 
 there is none, place the mark jf imme- 
 diately before the word that should begin 
 the paragraph. To cancel a paragraph 
 indentation, write in a similar manner 
 "No fl." 
 
IN THE FIELD OF LITERATURE 33 
 
 VIII. The title page 
 
 (a) Use one entire sheet for the title page. 
 
 (b) In the center of the page, liberally spaced 
 and well balanced, place the appropriate 
 information according to the following gen- 
 eral form: 
 
 THE FABLES OF LA FONTAINE 
 
 By Pearl Adams 
 
 COURSE PAPER FOR 
 
 FRENCH 34 (GENERAL SURVEY) 
 
 INSTRUCTOR: PROFESSOR ARMAND 
 
 MAY 15, 1922 
 
34 THE PREPARATION OF COURSE PAPERS 
 
 IX. Bibliography 
 
 On a separate sheet or sheets present the list of 
 those books and articles which you have used in 
 the preparation of your paper. Do not, except for 
 special reasons, include those items which may 
 have been in your original bibliography but were 
 for some reason not consulted. Your final bib- 
 liography should indicate the actual extent of your 
 reading. There is no perfectly uniform style fol- 
 lowed by writers for the citation of works. But 
 whatever style is followed is consistently followed. 
 The usual form is as follows: 
 
 (a) For reference to a book, give the following 
 items, consistently punctuated: surname of 
 author, editor, or compiler, followed by in- 
 itials or given name; exact title of book (un- 
 less too lengthy) underlined; place of pub- 
 lication; name of publisher; date of pub- 
 lication. 
 
 EXAMPLES: 
 
 Mackaye, Percy. Poems and Plays. 
 Two volumes. New York. The 
 Macmillan Co. 1910. 
 
 Amicis, Ed. de. Cuore. Milano. Fra- 
 telli Treves, Editori. 1910. 
 
 (b) For reference to a magazine, give the fol- 
 lowing items, consistently punctuated: sur- 
 name of writer, followed by initials or given 
 name; title of article, in quotation marks; 
 
IN THE FIELD OF LITERATURE 35 
 
 name of periodical, underlined; volume and 
 page (or pages inclusive) ; month and year 
 of issue. (Sometimes either the volume num- 
 ber or the month and year is omitted). 
 
 EXAMPLES: 
 
 Scudder, H. E. "William Blake, Painter 
 and Poet." Scribner's Mthly. Mag., 
 XX, 234 (June, 1880). 
 
 Lansing, R. "The Thirteenth Century 
 Legal Attitude Towards Women in 
 Spain." Pub. of the Mod. Lang. 
 Assoc. of America, XXXVI, 492-507. 
 
 (c) Use brackets to include interpolated ma- 
 terial, such as a date or an author's name 
 not ascertainable from the work itself but 
 needed for complete information. 
 
 (d) The order in which the items appear will 
 usually be alphabetical by authors, some- 
 times in two or more groups, such as "Bio- 
 graphical" and "Critical," or "Primary 
 Sources" and "Secondary Sources." Occa- 
 sionally it is desirable to arrange the items 
 in chronological order, especially in listing 
 the writings of a particular author or in 
 attempting to show the development of 
 some literary or other phenomenon. 
 
36 THE PREPARATION OF COURSE PAPERS 
 
 X. The format of the complete paper 
 
 The usual order for the parts of the complete 
 paper will be: 
 
 Cover (if desired) 
 
 Title page 
 
 Table of contents or outline (if desired) 
 
 Text of paper 
 
 Bibliography 
 
 Number the pages in arabic numerals, in the upper 
 right-hand corner. Then fasten the sheets to- 
 gether, left flat, with detachable clips or fasteners, 
 never with pins, string, or ribbon. 
 
 XL Miscellaneous 
 
 For more detailed directions as to punctuation, 
 capitalization, spelling, syllabification, compounds, 
 writing numbers, abbreviations, and so forth, see 
 any good manual of style, such as those mentioned 
 in the Appendix. You will be held responsible for 
 an accurate command of the language in which 
 you write. 
 
APPENDIX: 
 SELECTED BIBLIOGRAPHIES 
 
 The following bibliographies represent care- 
 fully selected lists of works in the three classes 
 called for by one preparing a course paper in the 
 field of literature : A. Standard reference works, 
 containing authoritative information on the sub- 
 ject and bibliographical guidance; B. Works on 
 literary criticism and appreciation; C. Works 
 on composition and the technique of the prepara- 
 tion of manuscript. The lists are designed to 
 give, in brief compass, adequate direction on all 
 aspects of the subject covered by this manual. 
 
 A. STANDARD REFERENCE WORKS 
 1. GENERAL 
 
 Kroeger, Alice B. Guide to the Study and Use of Refer- 
 ence Books. 3rd ed., revised. Chicago. American 
 Library Association. 1917. (Useful for the average 
 student in directing attention to standard works of 
 reference, such as encyclopedias, dictionaries, bio- 
 graphical dictionaries, phrase books, allusion books, 
 and so forth.) 
 
38 THE PREPARATION OF COURSE PAPERS 
 
 2. PARTICULAR LITERATURES 2 
 
 English 
 
 Ward, A. W., and Waller, A. R. (editors). The Cam- 
 bridge History of English Literature. 14 vols. N. Y. 
 and London. G. P. Putnam's Sons. 1907-17. 
 (Complete; scholarly; up-to-date.) 
 
 American 
 
 Trent, W. P., Erskine, John, Sherman, S. P., and Van 
 Doren, Carl (editors). The Cambridge History of 
 American Literature. N. Y. G. P. Putnam's Sons. 
 1917-21. (Complete; scholarly; up-to-date.) 
 
 French 
 
 Lanson, Gustave. Histoire de la litterature jranqaise. 
 12 ed. rev. Paris. Hanchette & cie. 1912. (Con- 
 venient; fairly compendious; authoritative; excellent 
 bibliography.) 
 
 Petit de Julleville, Louis (editor). Histoire de la 
 langue et de la litterature jran$aises des origines a 
 IQOO. 8 vols. Paris. A. Colin & cie. 1896-99. 
 (Elaborate; handsome.) 
 
 Wright, C. H. C. History of French Literature. N. Y 
 Oxford Univ. Press (Amer. Branch). 1912. (Copi- 
 ous bibliographies.) 
 
 2 See note on page 12. 
 
IN THE FIELD OF LITERATURE 39 
 
 Spanish 
 
 Fitzmaurice-Kelly, James. A History of Spanish Lit- 
 erature. N. Y. D. Appleton and Co. 1910. (Also 
 in French and Spanish, either of which versions is 
 considered superior to the English version.) 
 
 Ford, J. D. M. Main Currents of Spanish Literature. 
 N. Y. Henry Holt and Co. 1919. (Contains a chap- 
 ter on "High Points of Spanish-American Litera- 
 ture.) 
 
 Italian 
 
 Gaspary, Adolf. The History of Early Italian Litera- 
 ture to the Death of Dante, translated from the Ger- 
 man of Adolf Gaspary, together with the author's 
 additions to the Italian translation (1887) and with 
 supplementary bibliographical notes (1837-1899), by 
 Herman Oelsner. London. G. Bell and Sons. 1901. 
 (Incomplete, but containing excellent bibliography; 
 also in German and Italian.) 
 
 D' Ancona and Bacci's Manuale della Letter atur a Ital- 
 iana. S vols. and Index. 2nd ed. Florence. 1906. 
 (Text, selections, and bibliographical notes.) 
 
 Garnett, Richard. History of Italian Literature. Lon- 
 don. D. Appleton & Co. 1898. (Readable, not ex- 
 haustive.) 
 
 German 
 
 Vogt, F. and Koch, M. Geschicte der Deutschen Lit- 
 eratur. 2 vols. Leipsic and Vienna. Bibliograph- 
 isches Institut. 1904. (Scholarly.) 
 
40 THE PREPARATION OF COURSE PAPERS 
 
 Biese, Alfred. Deutsche Literaturgeschichte. 3 vols. 
 Munich. Oscar Beck. 1913. (Readable.) 
 
 Latin and Greek 
 
 Husband, R. W. "A Working Library for Students of 
 the Classics." Classical Weekly, VII, 58-64, 66-72, 
 and Supplement to Classical Weekly, IX, 49-52. 
 
 Teuffel and Schwabe's History of Roman Literature, 
 translated by G. C. W. Warr. 2 vols. London. 
 G. Bell and Sons. 1900. (Best treatment of the 
 subject; indispensable for sources and bibliography.) 
 
 Fowler, H. N. A History of Roman Literature. N. Y. 
 and London. D. Appleton and Co. 1909. (Good 
 brief statement, with bibliography.) 
 
 Mahaffy, J. P. A History of Classical Greek Litera- 
 ture. 2 vols. London and N. Y. The Macmillan 
 Co. 1895. (One of the older standard treatments.) 
 
 Wright, W. C. A Short History of Greek Literature. 
 N. Y., etc. American Book Co. 1907. (Excellent 
 survey of forms of literature; good bibliographies.) 
 
 B. WORKS ON LITERARY CRITICISM AND 
 APPRECIATION 
 
 Corson, Hiram. The Aims of Literary Study. N. Y. 
 The Macmillan Co. 1905. 
 
 Gayley, C. M., and F. N. Scott. An Introduction to the 
 Methods and Materials of Literary Criticism, etc. 
 Boston. Ginn and Co. 1899. 
 
IN THE FIELD OF LITERATURE 41 
 
 Gayley, C. M., and Kurtz, B. P. Methods and Materials 
 of Literary Criticism; lyric, epic and allied forms of 
 poetry. Boston, etc. Ginn and Co. [1920]. 
 
 (The above two works constitute the first two volumes 
 of a series. "A third volume, approaching completion, 
 will present tragedy, comedy and cognate forms" 
 Preface to second volume.) 
 
 Manly, J. M., and Rickert, Edith. The Writing of 
 English. 2nd ed. N. Y. Henry Holt and Co. [1920]. 
 (See especially Chapter XXI, on "Criticism.") 
 
 Moulton, R. G. The Modern Study of Literature; an 
 introduction to literary theory and interpretation. 
 Chicago. Univ. of Chicago Press. 1915. 
 
 Sheran, W. H. A Handbook of Literary Criticism; an 
 analysis of literary forms in prose and verse, etc. 
 N. Y. Hinds, Noble and Eldredge. [c. 1905.] 
 
 Shuman, E. L. How to Judge a Book; a handy method 
 of criticism for the general reader. Boston and N. 
 Y. The Macmillan Co. 1910. 
 
 Winchester, C. T. Some Principles of Literary Criticism. 
 N. Y. The Macmillan Co. 1908. 
 
 C. WORKS ON COMPOSITION AND THE 
 PREPARATION OF MANUSCRIPT 
 
 Fulton, M. G. Expository Writing. N. Y. The Mac- 
 millan Co. 1912. 
 
 Ives, George B. Text, Type, and Style. Boston. At- 
 lantic Monthly Press. 1921. 
 
42 THE PREPARATION OF COURSE PAPERS 
 
 Lathrop, H. B. Freshman Composition. N. Y. The 
 Century Co. 1920. (See especially Chapter XIII, 
 on "The Use of Authorities.") 
 
 Manly, J. M., and Rickert, Edith. The Writing of 
 English. 2nd ed. N. Y. Henry Holt and Co. 
 [1920.] (See especially Chapter III, on "Use of the 
 Library," Chapter XXII, on "Research Work," and 
 Appendices I and II, on "Good Form in Writing" 
 and "Note-Taking.") 
 
 Manual of Style. Chicago. Univ. of Chicago Press. 5th 
 ed. 1917. 
 
 Pence, R. W. A Manual of the Mechanics of Writing. 
 N. Y. The Macmillan Co. 1921. 
 
 Scott, F. N., and Denney, J. V. Paragraph-Writing. 
 New ed. Boston and Chicago. Allyn and Bacon. 
 [1909.] 
 
 Style Book. Washington, D. C. Government Printing 
 Office. 1917. 
 
 Summey, George, Jr. Modern Punctuation; its utilities 
 and conventions. N. Y. Oxford Univ. Press (Amer. 
 Branch.) 1919. 
 
 Woolley, E. C. Handbook of Composition. Rev. ed. 
 Boston, etc. D. C. Heath and Co. [1920.] 
 

 
Photomount 
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 Syracuse, N. Y. 
 
 PAT. JAN 21, 1908 
 
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