100+ MLA Poem Citation Examples: Perfect Guide for Students & Writers
In academic writing, quoting poetry in MLA format requires precision, attention to detail, and a clear understanding of citation rules. Whether you're citing a single line or an entire stanza, proper formatting ensures credibility and avoids plagiarism. This guide explores ten distinct types of poem quotations—ranging from short in-text lines to block quotes and paraphrased stanzas—each with practical examples and explanations. By mastering these formats, writers can seamlessly integrate poetic language into essays, research papers, and critiques while adhering to MLA 9th edition standards. Understanding line breaks, slashes, indentation, and source attribution is key to professional scholarly communication.
Quoting a Single Line of Poetry
“I wandered lonely as a cloud” (Wordsworth 1).
“Two roads diverged in a yellow wood” (Frost 1).
“Shall I compare thee to a summer’s day?” (Shakespeare 1).
“Because I could not stop for Death” (Dickinson 1).
“Do not go gentle into that good night” (Thomas 1).
“I know why the caged bird sings” (Angelou 1).
“The woods are lovely, dark and deep” (Frost 13).
“Hope is the thing with feathers” (Dickinson 1).
“Tyger Tyger, burning bright” (Blake 1).
“I am the master of my fate” (Henley 1).
“We real cool. We left school.” (Brooks 1).
“Love is not love which alters when it alteration finds” (Shakespeare 2).
When quoting a single line of poetry in MLA format, integrate the line into your sentence using quotation marks and include the author’s last name and line number in parentheses. If the author’s name appears in the sentence, only the line number is needed. Always preserve original punctuation and capitalization. Use this method for brief references that enhance your argument without disrupting flow. Single-line quotes work well in introductions or thesis support. Avoid over-quoting; instead, use them strategically to highlight powerful imagery or thematic emphasis in literary analysis.
Quoting Two to Three Lines of Poetry
“I have measured out my life with coffee spoons” (Eliot 54); such imagery reflects emotional stagnation.
“She walks in beauty, like the night / Of cloudless climes and starry skies” (Byron 1–2).
“Nothing gold can stay / Nature’s first green is gold” (Frost 1–2).
“Let us go then, you and I, / When the evening is spread out against the sky” (Eliot 1–2).
“My mistress’ eyes are nothing like the sun / Coral is far more red than her lips’ red” (Shakespeare 1–2).
“I think that I shall never see / A poem lovely as a tree” (Kilmer 1–2).
“O Captain! My Captain! our fearful trip is done / The ship has weather’d every rack” (Whitman 1–2).
“I, being born a woman and distressed / By all the needs and notions of my kind” (Millay 1–2).
“God bless the Macintosh / And the fruit thereof” (Coyne 1–2).
“I rise / I rise / I rise” (Angelou 9, 10, 11).
“The fog comes / on little cat feet / It sits looking” (Sandburg 1–3).
“I saw the best minds of my generation destroyed by madness, starving hysterical naked” (Ginsberg 1–3).
When quoting two or three lines of poetry, use a forward slash (/) to indicate line breaks within the quote, placed inside quotation marks. Maintain original spelling and punctuation. Include the author and line numbers in parentheses after the closing quotation mark. This format keeps the text concise while preserving poetic structure. Ideal for analyzing rhythm or diction, these quotes allow deeper engagement without requiring block formatting. Ensure clarity by introducing the quote contextually and explaining its relevance immediately after. Avoid abrupt insertions; instead, weave them naturally into your prose for maximum impact in literary discussions.
Using a Block Quote for Four or More Lines
When citing four or more lines, indent the entire passage one inch from the left margin.
Preserve original line breaks and punctuation.
Do not use quotation marks.
Place the parenthetical citation after the period (Wordsworth 1–5).
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees, (Wordsworth 1–5)
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow. (Frost 1–4)
Because I could not stop for Death –
He kindly stopped for me –
The Carriage held but just Ourselves –
And Immortality. (Dickinson 1–4)
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove. (Shakespeare 1–4)
Do not go gentle into that good night,
Old age should burn and rave at close of day;
Rage, rage against the dying of the light. (Thomas 1–3)
Though wise men at their end know dark is right,
I, too, sing America.
I am the darker brother.
They send me to eat in the kitchen
When company comes, (Hughes 1–4)
The apparition of these faces in the crowd;
Petals on a wet, black bough. (Pound 1–2)
This is the form of imagism,
Where meaning lies in image alone.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,—
This debt we pay to human guile;
With torn and bleeding hearts we smile; (Dunbar 1–4)
Not waving but drowning,
He was too far out all along;
Too long so long
He was floating too far out. (Smith 1–4)
What happens to a dream deferred?
Does it dry up
like a raisin in the sun?
Or fester like a sore— (Hughes 1–4)
I celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you. (Whitman 1–3)
I loafe and invite my soul;
In MLA style, poems with four or more lines require block quotation formatting: indented 1 inch from the left margin, no quotation marks, and line breaks preserved. The citation appears after the final punctuation. This format emphasizes longer excerpts and maintains readability. Introduce the quote with a colon, and follow it with analysis. Block quotes should be used sparingly to avoid overwhelming the reader. They are ideal for close readings of meter, theme, or structure. Always ensure accuracy in transcription and verify line numbers against your source to maintain academic integrity in your writing.
Quoting Fragmented Lines or Phrases
“the road not taken” (Frost 18).
“a sea of flames” (Dante 3.67).
“forests of the night” (Blake 3).
“daffodils fluttering” (Wordsworth 6).
“immortality” (Dickinson 4).
“summer’s day” (Shakespeare 1).
“fearful trip” (Whitman 1).
“golden daffodils” (Wordsworth 4).
“rage against” (Thomas 3).
“measure of my life” (Eliot 54).
“master of my fate” (Henley 1).
“caged bird sings” (Angelou 1).
Fragmented lines or phrases are useful when focusing on specific words or images rather than full lines. Enclose the fragment in quotation marks and cite the line number. These partial quotes work well in stylistic or symbolic analysis, allowing you to isolate metaphors, motifs, or diction. Be cautious not to distort meaning by removing context. Always clarify how the fragment supports your point. Fragments are effective in comparative essays or when tracing recurring themes across poems. Use them precisely to enhance clarity and depth in your interpretation while maintaining academic rigor and coherence.
Paraphrasing a Poem’s Stanza
The speaker reflects on choosing a less-traveled path, symbolizing individuality and life decisions (Frost 18–20).
The poet describes nature’s beauty through dancing daffodils that bring joy and memory (Wordsworth 1–6).
Death is personified as a courteous driver taking the speaker on a calm journey toward eternity (Dickinson 1–4).
True love remains constant despite change, according to the sonnet’s central argument (Shakespeare 1–4).
The speaker urges elderly men to resist death with passion and defiance (Thomas 1–3).
The narrator feels isolated due to racial segregation, even while contributing to society (Hughes 1–4).
The city crowd blends into a blur, with faces compared to petals on a branch (Pound 1–2).
People hide their pain behind false smiles to conform to societal expectations (Dunbar 1–4).
A man’s cry for help was mistaken for play, revealing miscommunication and isolation (Smith 1–4).
Deferred dreams may lead to frustration, decay, or explosive consequences (Hughes 1–4).
The poet embraces self-identity and universal connection through shared existence (Whitman 1–3).
Beauty is found in both light and darkness, blending natural and cosmic imagery (Byron 1–2).
Paraphrasing a stanza involves rephrasing the original content in your own words while retaining the meaning and citing the line numbers. This technique demonstrates comprehension and allows integration of poetic ideas without direct quotation. It's particularly useful when summarizing narrative progression or abstract concepts. Always attribute the idea to the poet and avoid copying sentence structure. Effective paraphrasing enhances flow and reduces over-reliance on quotes. Use it to support analysis, not replace textual evidence, ensuring your voice remains central in academic discourse.
Citing Multiple Poems by the Same Author
“I have been one acquainted with the night” (Frost, “Acquainted” 1).
“The darkest evening of the year” (Frost, “Stopping” 8).
“Miles to go before I sleep” (Frost, “Stopping” 15).
“Birches bend to left and right” (Frost, “Birches” 3).
“Earth’s the right place for love” (Frost, “Birches” 43).
“Good fences make good neighbors” (Frost, “Mending” 25).
“Fire and ice” as destructive forces (Frost, “Fire” 1).
“The fact is the sweetest dream that labor knows” (Frost, “Plow” 1).
“I let my neighbor know beyond the hill” (Frost, “Mending” 2).
“One could do worse than be a swinger of birches” (Frost, “Birches” 55).
“The woods are lovely, dark and deep” (Frost, “Stopping” 13).
“I took the one less traveled by” (Frost, “Road” 19).
When citing multiple poems by the same author, include the poem title in quotation marks or italics (depending on container) in the in-text citation to distinguish sources. This prevents confusion and strengthens accuracy. For example: (Frost, “Stopping” 8). The Works Cited entry must list each poem separately with full publication details. This method is essential when comparing themes across an author’s body of work. Clear labeling ensures readers can trace references correctly, enhancing scholarly transparency and analytical depth in literary studies.
Quoting Poetry from an Anthology
“I, too, sing America” (Hughes, qtd. in Norton 45).
“Harlem” explores delayed dreams through vivid metaphors (Hughes, qtd. in Greenblatt 112).
“The love song of J. Alfred Prufrock” begins with urban alienation (Eliot, qtd. in McKay 78).
“Do not stand at my grave and weep” (Millay, qtd. in Cohen 203).
“She being Brand” captures modern romance (Cummings, qtd. in Levenson 91).
“This is just to say” reflects simplicity and guilt (Williams, qtd. in Norton 301).
“The red wheelbarrow” emphasizes visual minimalism (Williams, qtd. in Greenblatt 210).
“I heard a Fly buzz – when I died” (Dickinson, qtd. in McKay 66).
“Ozymandias” critiques imperial pride (Shelley, qtd. in Levenson 55).
“Goblin Market” uses fantasy to explore morality (Rossetti, qtd. in Cohen 177).
“The Raven” builds suspense through repetition (Poe, qtd. in Norton 189).
“Ulysses” calls for adventure in old age (Tennyson, qtd. in Greenblatt 102).
When quoting poetry from an anthology, use "qtd. in" followed by the editor or book name and page number in the in-text citation. The original poet is listed in the Works Cited, but the anthology details must also appear. This clarifies the source path and meets MLA attribution standards. Anthologies often compile works from various authors, so precise referencing is crucial. Always verify the anthology edition and page number to ensure accuracy and consistency in academic writing.
Citing Translated Poetry
“The wind rises! … We must try to live!” (Valéry, trans. Johnson 5).
“I came here to speak for those who cannot” (Neruda, trans. Reyes 12).
“Sing, goddess, the anger of Achilles” (Homer, trans. Fagles 1).
“In the middle of the journey of our life” (Dante, trans. Mandelbaum 1).
“I am the wound and the knife” (Eluard, trans. Gilbert 7).
“The stars are dead. The animals will not look” (Césaire, trans. Eshleman 3).
“I want to write you a love letter” (Borges, trans. Weinberger 1).
“The moon is made of bread” (Rimbaud, trans. Robeson 4).
“I have lost my way in the forest of signs” (Paz, trans. Harter 9).
“Water, is it you I hear?” (Akutagawa, trans. Keene 2).
“The river of fire flows silently” (Yosano, trans. Mackie 6).
“I dreamed I carried a violin made of ice” (Tranströmer, trans. Robertson 1).
When citing translated poetry, include the translator’s name in the in-text citation using "trans." followed by their name. The original author remains the primary cited figure. In the Works Cited, list the translator after the title. Translations vary in tone and diction, so specifying the version ensures reproducibility. Always credit both creator and interpreter to uphold academic ethics. Choose reputable translations for scholarly work, and remain consistent in referencing throughout your paper.
Quoting Poetry with Original Spelling and Punctuation
“Thy soul shall find itself alone / ’Mid dark thoughts of the gray tombstone” (Poe 1–2).
“‘Tis some visitor,’ I muttered, ‘tapping at my chamber door’” (Poe 15).
“I denie / That shee my wife is” (Jonson 5–6).
“Full fathom five thy father lies” (Shakespeare 1).
“Nor spell, nor charm can raise the dead” (Anonymous 4).
“O, wonder! / How many goodly creatures are there here!” (Shakespeare 1–2).
“He prayeth best, who loveth best / All things both great and small” (Coleridge 61–62).
“Twinkle, twinkle, little star, / How I wonder what you are” (Taylor 1–2).
“When I consider how my light is spent” (Milton 1).
“To be, or not to be: that is the question” (Shakespeare 58).
“Mercy but murders, pardoning those that kill” (Shakespeare 14).
“So long as men can breathe or eyes can see, / So long lives this, and this gives life to thee” (Shakespeare 13–14).
When quoting poetry with archaic or unique spelling and punctuation, retain the original form exactly as printed. Do not modernize spelling or correct perceived errors. This preserves historical authenticity and authorial intent. Use square brackets only for necessary clarifications. Accurate reproduction is especially important in analyzing early modern or pre-20th century texts. Respecting original typography strengthens scholarly credibility and allows readers to engage with the text as it was originally composed.
Omitting Words from a Poem Quote
“I wandered lonely ... among the daffodils” (Wordsworth 1, 4).
“Two roads diverged ... and I— / I took the one less traveled by” (Frost 18–19).
“Because I could not stop ... We slowly drove—He knew no haste” (Dickinson 1, 5).
“Shall I compare thee ... eternal lines to time?” (Shakespeare 2).
“Hope is the thing ... and never stops—at all” (Dickinson 1, 3).
“Do not go gentle ... rage against the dying of the light” (Thomas 1, 3).
“The woods are lovely ... and miles to go” (Frost 13, 14).
“Let us go then ... when the evening is spread” (Eliot 1, 2).
“I, too, sing ... they send me to eat in the kitchen” (Hughes 1, 3).
“Love is not love ... when it alteration finds” (Shakespeare 2).
“My mistress’ eyes are nothing like the sun ... yet I love her lips” (Shakespeare 1, 13).
“I celebrate myself ... every atom belongs to you” (Whitman 1, 3).
Ellipses (...) are used to omit words from a quote while maintaining grammatical sense and original meaning. Place spaces before and after each dot. Use sparingly to avoid distorting intent. Only remove non-essential words; never alter core meaning. Ellipses help condense long lines for focus on key phrases. Always ensure the remaining text flows logically and accurately represents the poet’s message within the context of your argument.
Schlussworte
Mastery of quoting poetry in MLA format empowers writers to integrate literary beauty with academic precision. From single lines to block quotes, each method serves a unique rhetorical purpose. Proper citation honors the poet’s voice while strengthening your analysis. Whether paraphrasing stanzas or citing translations, clarity and consistency are paramount. By following these guidelines—preserving original language, using ellipses responsibly, and distinguishing sources—you elevate your scholarly work. Remember, accurate quoting is not just about rules; it’s about respect for literature and intellectual honesty. With practice, these techniques become second nature, enabling confident, credible, and compelling academic writing.
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