MLAで詩または短編小説を引用する方法

引用文献 — 本の中の詩または物語：

Author. "Title of the Poem." Title of the Container, edited by Editor Name, Publisher, Year, p. xx.

引用文献 — ウェブサイト上の詩：

Author. "Title of the Poem." Title of the Website, Publisher if different, Date if given, URL.

本文中 — 短い詩（1ページまたは1つのURL）：

(Author) or (“Shortened Title”)

本文中 — 長い番号付きの詩、初出：

(Author, lines xx–xx)

本文中 — その詩の以降の引用：

(xx–xx)

本文中 — ページのある短編：

(Author xx) — no comma before the page

When the source being documented forms part of a larger whole, the larger whole can be thought of as a container that holds the source. For example, a short story may be contained in an anthology. The short story is the source, and the anthology is the container.

The ultimate goal is to be concise and to cite what is most useful to the reader.

If the poem is short (no longer than a page or its online equivalent), do not cite any number in the text. The page number or web location that appears in the poem’s works-cited-list entry will be specific enough to identify a borrowing from such a short text.

If the poem is longer than a page (or its online equivalent) and is published with explicit numbers marking lines or other parts (e.g., stanzas, cantos, books), cite the line numbers and other part numbers but not page numbers. If lines alone are numbered, use the form “line 57” or “lines 119–20” in the first citation, and cite the line numbers alone, without the label line or lines, in the later citations.

If other parts are numbered as well as lines, combine the numbers without a label. For instance, if books and lines are numbered, “9.19” means book 9, line 19.

If the poem is longer than a page and is not published with explicit numbers marking lines or other parts, cite page numbers (as you would for a work in prose) if the poem is in print. If no page numbers are present (as is often the case online), none can be cited.

To determine whether to style a work on a website in italics or quotation marks, you must consider the work’s length, genre, and context. Long works and works that are self-contained and independent are generally styled in italics. Short works and works that form part of a larger work are generally styled in quotation marks.

Poems–except for epic poems such as Paradise Lost–are usually styled in quotation marks, even if they are published by themselves on a website rather than as part of a collection:

公式のウェブサイト詩の例：

Shelley, Percy Bysshe. "Matilda Gathering Flowers." Poetry Foundation, 2017, www.poetryfoundation.org/poems/92195/matilda-gathering-flowers.

Author. "Title of the Poem or Story." Title of the Container, contributed by Editor or Translator, version, number, Publisher, date, location.

Oliver, Mary. "Wild Geese." Dream Work, Atlantic Monthly Press, 1986, p. 14.

Note that in the example above, “by Benjamin” appears after the title of the collection so that the reader will know that all the contributions are by the same author. Otherwise, since the collection has an editor, the reader might assume that various authors contributed to the work, unless the title of the work (e.g., The Complete Works of Edgar Allan Poe) makes the authorship clear.

詩集全体（複数篇）：

Benjamin, Walter. Reflections: Essays, Aphorisms, Autobiographical Writing, edited by Peter Demetz, translated by Edmund Jephcott, Schocken Books, 1978.

その詩集からの一篇：

Benjamin, Walter. "One-Way Street (Selection)." Reflections: Essays, Aphorisms, Autobiographical Writing, by Benjamin, edited by Peter Demetz, translated by Edmund Jephcott, Schocken Books, 1978, pp. 61–94.

Shakespeare shows how memories of grief and loss can all too easily dominate “the sessions of sweet silent thought” if not counterbalanced by the recollection of joy.

Shakespeare, William. Sonnet 30. The Norton Anthology of English Literature, M. H. Abrams, general editor, 6th ed., vol. 1, W. W. Norton, 1993, p. 812.

In sonnet 75, the poet vows to immortalize his love by writing it “in the heavens” (Spenser 737).

Spenser, Edmund. Excerpt from Amoretti. The Norton Anthology of English Literature, M. H. Abrams, general editor, 6th ed., vol. 1, W. W. Norton, 1993, pp. 734–38.

Shakespeare’s sonnet 130 is an anti-Petrarchan poem, negating the conventions of love poetry Petrarch had made popular. It begins with an unflattering comparison: “My mistress’ eyes are nothing like the sun” (line 1).

Shakespeare, William. Sonnet 130. The Complete Sonnets and Poems, by Shakespeare, edited by Colin Burrow, Oxford UP, 2002, p. 641. Oxford Scholarly Editions Online, doi:10.1093/actrade/9780198184317.book.1.

Dickinson’s poem “I heard a Fly buzz—when I died—” contrasts the everyday and the momentous.

Dickinson, Emily. "I heard a Fly buzz—when I died—." Poetry Foundation, 2017, www.poetryfoundation.org/poems/45703/i-heard-a-fly-buzz-when-i-died-591.

As always, when you are citing a work contained in a larger work, you must identify the particular work you are citing. Thus, if you are citing more than one sonnet from a sequence of sonnets, include the word sonnet and the sonnet’s number in your prose or parenthetically and create one works-cited-list entry for the entire collection of sonnets.

In sonnet 137 William Shakespeare asks Love, “[W]hat dost thou to mine eyes, / That they behold and see not what they see?” (lines 1–2), and he speaks of a “perjur’d eye” in sonnet 152 (line 13).

In his Sonnets, William Shakespeare asks Love, “[W]hat dost thou to mine eyes, / That they behold and see not what they see?” (sonnet 137, lines 1–2), and he later speaks of a “perjur’d eye” (sonnet 152, line 13).

Shakespeare, William. Sonnets. The Riverside Shakespeare, edited by G. Blakemore Evans et al., 4th ed., vol. 2, Houghton Mifflin, 1974, pp. 1745–80.

As Wordsworth writes in his series of sonnets The River Duddon, “Child of the clouds! remote from every taint / Of sordid industry thy lot is cast” (sec. 2, lines 1-2).

Wordsworth, William. Excerpt from The River Duddon. Major British Poets of the Romantic Period, edited by William Heath, Macmillan, 1973, pp. 391-92.

Dickinson, Emily. "Safe in their Alabaster Chambers—." 1859. Poetry: An Introduction, edited by Michael Meyer, 2nd ed., Bedford Books, 1998, p. 261.

---. "Safe in their Alabaster Chambers—." 1861. Poetry: An Introduction, edited by Michael Meyer, 2nd ed., Bedford Books, 1998, p. 262.

本文中、最初の固有要素を角括弧に：

("Safe" [1859])

本文中、もう一方の版：

("Safe" [1861])

According to the ninth edition of the MLA Handbook, three em dashes or three hyphens can take the place of identical names in consecutive works-cited-list entries (sec. 5.126), but using dashes and hyphens in that way can cause accessibility issues for users of screen readers and other assistive technologies.

You are welcome to use either style—using dashes or hyphens, or writing out all names in full—in advance of the next handbook edition, as long as your instructor doesn’t object to your deviating from the guidance published in the ninth edition.

Eliot, T. S. The Waste Land. Boni and Liveright, 1922.

Beowulf. Translated by Seamus Heaney, W. W. Norton, 2000.

本文中のテンプレート（無署名のタイトル付き翻訳）：

(Beowulf lines xx–xx) は、版に行番号がある場合の初出。以降は (Beowulf xx–xx)。

Collins, Billy. "Forgetfulness." Poetry, Jan. 1990. Poetry Foundation, https://www.poetryfoundation.org/poetrymagazine/poems/37695/forgetfulness.

Angelou, Maya. "Still I Rise." Poetry Foundation, https://www.poetryfoundation.org/poems/46446/still-i-rise.

A story is generally considered a short work and often published as part of a collection or in a magazine, so it too is styled in quotation marks:

Munro, Alice. "The Bear Came Over the Mountain." The New Yorker, 27 Dec. 1999, https://www.newyorker.com/magazine/1999/12/27/the-bear-came-over-the-mountain.

Author. "Title of the Story." Title of the Anthology, edited by Editor Name, edition, Publisher, year, pp. xx–xx.

When quoting poetry in your prose (i.e., when quoting three lines or fewer), use a double slash to indicate a stanza break, as described in section 1.3.3 of the MLA Handbook:

“Since here the mournful seal was set / By love and agony! // Temple and tower have mouldered” (lines 3–5).

Hemans, Felicia. "The Image in Lava." The Poetical Works of Mrs. Felicia Hemans, Grigg and Elliot, 1843, p. 318.

番号付きの長詩、初出（Style Center公式の所在情報）

The opening comparison is already a refusal: “My mistress’ eyes are nothing like the sun” (Shakespeare, line 1).

同じ詩の以降の引用

The volta lands on ordinary breath: “And yet, by heaven, I think my love as rare” (13).

1ページまたは1つのURLの短い詩

Oliver’s speaker places the reader “in the family of things” (“Wild Geese”).

巻番号と行番号を組み合わせる（Style Centerの公式形）

(9.19) のような引用は第9巻、第19行を意味し、余分なラベルは付けません。

行番号を振り直す部分（Style Centerの公式形）

(sec. 2, lines 1-2)

ページ割りのない雑誌ページの短編

Grant watches Fiona’s new attachment without a vocabulary for it (Munro).