The most commonly used source for literary criticism is an anthology. A literary criticism anthology is a collection of previously published essays and articles on a specific author or story usually written by many different authors and includes an editor or compiler who puts them all together for re-publication. When citing an anthology you will include both the author of the essay and the editor(s) of the book the essays were re-published in. You can usually use more than one essay from the same published anthology because the essays are written by different people. The sample citations (in the next three tabs) are from anthologies available at the CF Library.
An MLA citation for an anthology includes the following elements (in order):
- Author of the essay (last name, first name).
- Title of the essay (in quotes).
- Title of the anthology (italicized).
- Edited by Editor's first name last name.
- Volume number (if more than one volume).
- Year of publication.
- Page numbers of the essay
Venus and Adonis, published by Richard Field in 1593 and addressed to "the Right Honourable Henry Wriothesly, Earl of Southampton," begins by immediately invoking its own Ovidian context through an epigraph from the Amores: "Let base-conceited wits admire vile things, / Fair Phoebus lead me to Castilian springs" (Roe, 78). While hymning the classical Muses remains a conventional enough way to begin a poem, John Roe has suggested that one might well interpret Shakespeare's tag as a conscious "signalling [of] the rarefied eroticism that is to follow" (Roe, 78).
According to William Bradford, "[Morton] employed some of [the Indians] to hunt and fowl for him . . . [But] when they saw the execution a piece would do, and the benefit that might come by the same, they became mad . . . . accounting their bows and arrows but baubles in comparison of them" (Bradford, 189).
In this extract the words replaced by those in square brackets are "he," "them" and "So as when." The writer has altered these terms in order to make the quote fit the context of her argument (where the identity of those represented by these pronouns is not certain) and to alter the sense so as to prevent the cuts signalled by her ellipses from making Bradford's prose incoherent. The ellipses let the reader know that some text has been omitted at this point. Use three dots (. . .) to signal a cut within a single sentence and four (. . . .) to signal that the cut runs over a period in the original text. If your ellipsis starts at the end of a complete sentence, use the following procedure: "The instructor's lecture on the Enlightenment was boring. . . . and I didn't understand what he meant by tabula rasa." In this example, the original sentence finished after "boring" and an edit was made after the period and before "and." The three dots signal that "and I didn't understand . . ." is part of the next full sentence after "boring."