BROKENSHIRE COLLEGE TORIL, DAVAO CITY, INC.

Purok 8 Pagkakaisa Village, Lubogan, Toril, Davao City

Tel. No.: 291-2556, 291- 2512 Mobile: 09283232892
Email add: bc_toril@[Link]
TEACHING GUIDE
Grade 12- CREATIVE NON-FICTION

Month: November
Week: (✔ ) 1st ( ) 2nd ( ) 3rd ( ) 4th

Semester: 2nd Content: Time Frame: November

11-15, 2020
Quarter:1st Introduction to Literary Genres:
Fiction

Content Standard: Performance Standard:

 The learner understands the literary conventions  The learner clearly and coherently uses a
that govern the different genres. (e.g., narrative chosen element conventionally identified with a
convention of fiction, etc.) genre for a written output

Learning Competency: Code

1. Identify dominant literary conventions of a particular genre HUMSS_CNF11/12-Ia-1

2. Compare and contrast how the elements are used in the different genres HUMSS_CNF11/12-Ia-2

3. Analyze and interpret the theme and techniques used in a particular text HUMSS_CNF11/12-Ia-3

4. Create samples of the different literary elements based on one’s experience HUMSS_CNF11/12-Ib-d-4

5. Write a draft of a short piece using any of the literary conventions of genre HUMSS_CNF11/12-Ib-d-5

6. Peer-edit each other’s draft HUMSS_CNF11/12-Ib-d-6

7. Revise the draft of a short piece using any of the literary conventions of a genre HUMSS_CNF11/12-Ib-d-7

MATERIALS PowerPoint presentation

RESOURCES Angeles, M. A. (2017). Creative Nonfiction.

Makati, Philippines. DIWA Learning System Inc.

MEETING THE
PROCEDURE STUDENTS’ NEEDS

I. INTRODUCTION GUIDE QUESTIONS

Preliminary Activities:
Opening Prayer
Checking of Attendance
Checking of classroom cleanliness

II. MOTIVATION

 The teacher will ask the following questions:

1. What are your favorite fairytale stories?

2. Have you heard of some legends of peculiar creatures in your place?
  The teacher will let the students share stories.
 The teacher will ask if those stories are true or are there any evidences that prove that
those stories are true.

III. INSTRUCTION/ DELIVERY

FICTION

“Fiction, literature created from the imagination, not presented as fact, though it may be

based on a true story or situation. Types of literature in the fiction genre include
the novel, short story, and novella. The word is from the Latin fictiō, “the act of making,
fashioning, or molding.”. Examples of classic fiction include To Kill a Mockingbird by
Harper Lee, A Tale of Two Cities by Charles Dickens, 1984 by George Orwell and Pride and
Prejudice by Jane Austen.

It is one of the two branches of literature, the other being non-fiction. This particular branch
of literature consists of stories, novels, and dramas based on made-up and fabricated stories
and characters. Fiction contains certain symbolic and thematic features known as “literary
merits.” In other words, fiction narrates a story, which aims at something bigger than merely
a story. In this attempt, it comments on something significant related to social, political, or
human related issues.

Fiction may be based on stories of actual historical events. Although fictitious characters are
presented in a fictitious setting in stories and novels, they may have some resemblance to real
life events and characters. Writers alter their characters very skillfully when they take them
from actual life.

Examples of Fiction in Literature

Example #1: Alice in Wonderland (By Lewis Carrol)

Alice in Wonderland by Lewis Carroll is a good example of fiction. The story narrates
various adventures of the main character, Alice, in a fictitious land full of incredible creatures
and events. Alice has to go through certain magical experiences in the wonderland.
According to the story, one day, while reading book, Alice grows bored, and notices a white
rabbit. She follows the rabbit when it goes into a hole in the ground.

When peeping through the hole, Alice loses her balance and falls in. She floats down slowly
into the hole, and observes everything around her. Then Alice enters Wonderland, where she
witnesses a number of weird things.  This entire magical tale is fabricated and imaginary, GUIDE QUESTIONS:
which makes it a good fiction to enjoy.
Poetry and drama are
FICTION WRITING works of fiction. How do
we classify or categorize
Traditional education tells you that literary texts are classified under fiction and nonfiction- them according to genre?
and there are divisions like prose and poetry which describes how texts are arranged.

If you follow such marking out, you will find yourself confused with the generalization.
Listed under fiction are short stories, novels, poems and plays. They are either prose or
poetry or both.

mix-ups can happen fairly nowadays because many writers experiment and innovate their
form and style of writing. There are genre-bending texts such that a poem can be novel-
length. You will also find that some poems are not convoluted anymore, or they do not
appear to be. And that novels are not as stretched out as they were before. Even for a trained
eye, personal essays that have dialogues may be interpreted as fictional stories.

Just as works of fiction had emerged as canon in literary genre, more experimentations in
form and content have given life to literature. Like language, the dynamics of literary genre is
to yield to a new one or to fuse with other genres.

H. THOMAS MILHORN’s classification of fiction based on the number of words used.

Short story – brief work of fiction, usually considered to be ;less than 7,500 words although
some extend the length to 10,000
Examples:

Gift of Magi, The Blind Man’s Holiday, The Lottery Ticket.

Flash fiction – characterized by an even more limited word length generally less than 2,000
words around 5 pages.

Example: Aesop’s fables

Novelette – a work of fiction between short story and novella and length (17,500 and 17,499
words) example: Shop Girl (2001) by Steve Martin, it is a recent novelette that was made into
a move in 2005

Novella – work of fiction shorter than a novel but longer than a novelette (17.500 and 39,999
words). However some consider the upper limit of a novella to be anywhere from 49,999 to
59,999 words. Examples are strange case of Dr. Jekyll and Mr. Hyde (1886) by Robert Lewis
Stevenson and The Heart of Darkness (1902) by Joseph Conrad

Novel – a long work of fiction of 40,000 words or more although some consider the lower
limit of a novel to be anywhere from 50,000 to 60,000 words.

ELEMENTS OF FICTION

Characters

Characters are the people, animals, or aliens in the story. Readers come to know the
characters through what they say, what they think, and how they act.

E. M. Forster, an English novelist, identified that characters are either flat or round. Flat
characters do not play important roles in the stories. They often have only one or two traits
with little description about them. A flat character may even be a stock character, which is a
stereotypical figure that is easily recognized by readers, for example, the mad scientist or the
evil stepmother.

On the other hand, the round characters play an important role, often the lead roles in stories.
They are complex, dimensional, and well-developed. The stories are about them; therefore,
pages of writing will be about them. They often change by going through a life-changing
experience as the story unfolds.

When discussing stories with other readers and writers or when writing an analysis of a story,
fictional characters can be described as static or developing. Static means the character stays
the same throughout the story. They do not change. Developing, also called dynamic, means
the character changes. The change may impact the character’s beliefs, attitudes, or actions.
The change may be small or large. This change occurs because the character experiences an
epiphany, an insight about life.

If writers write about characters outside their own culture, they need to do research so as not
to misrepresent a particular culture. The same is also true of characters, who have illnesses.
The writer may need to research the illness and treatment for it in order to be accurate about
it.

Setting

Setting is where and when the story takes place. It includes the following:

 The immediate surroundings of the characters such as props in a scene: trees,

furniture, food, inside of a house or car, etc.
 The time of day such as morning, afternoon, or night.
 The weather such as cloudy, sunny, windy, snow, or rain, etc.
 The time of year, particularly the seasons: fall, winter, summer, spring.
 The historical period such as what century or decade the story takes place.
 The geographical location including the city, state, country, and possibly even the
universe, if the writer is writing science fiction.

Setting can function as a main force that the characters encounter, such as a tornado or flood,
or a setting can play a minor role such as setting the mood. Often times, the setting can reveal
something about the main character as he/she functions in that place and time period.

Writers write about places they are familiar with. If they aren’t familiar with the place, then
they need to research it in order to be accurate about the place.

Plot

Plot is the order of events in the story. The plot usually follows a particular structure called
Freytag’s Pyramid. Gustav Freytag, a German playwright who lived during the 1800s,
identified this structure.

Freytag’s Pyramid has five parts: exposition, rising action, climax, falling action, and
denouement, also known as resolution.

Freytag’s Pyramid

Exposition is an introduction to the characters, time, and the problem. At the point where
exposition moves into rising action a problem, sometimes called an inciting incident, occurs
for the main character to handle or solve. This creates the beginning of the story.

Rising action includes the events that the main character encounters. Each event, developed
in separate scenes, makes the problem more complex.

Climax is the turning point in the story. Usually, it is a single event with the greatest intensity
and uncertainty. The main character must contend with the problem at this point.

Falling action includes the events that unfold after the climax. This usually creates an
emotional response from the reader.

Denouement or resolution provides closure to the story. It ties up loose ends in the story.

Do writers plan out their stories? Some do, especially if they are an extreme think-write
writer.  Some don’t. They have a story idea, begin it, and watch it unfold as they write.

Always remember that a story does not have to be chronological. A lot of stories nowadays
are nonlinear or not in chronological order.

Examples:

 In Medias Res means narrating a story from the middle after supposing that the
audiences are aware of past events.
 Foreshadowing is a literary device in which a writer gives an advance hint of what is
to come later in the story. Foreshadowing often appears at the beginning of a story,
or a chapter, and helps the reader develop expectations about the coming events in a
story.
 Flashback is an occurrence in which a character remembers an earlier event that
happened before the current point of the story. The definition of flashback is identical
to that of analepsis, which comes from the Greek for “the act of taking up.” There are
 two types of flashbacks—those that recount events that happened before the story
started (external analepsis) and those that take the reader back to an event that
already happened but that the character is considering again (internal analepsis).

The 4 Advantages of Using a Non-Linear Narrative

Non-linearity as a narrative structure might be a challenge to pull off—the order in which

everything is presented must still be logical, if not chronological—but when done well, it
allows a more nuanced, masterful story to emerge.

1. Intrigue. By disorienting the reader, a nonlinear structure creates a puzzle that

requires more engagement with the individual pieces of the story. Cause and effect
cease to be predictable or immediately visible, allowing the reader to curate their
own logic. When a novel opens with a murder, the series of events that follow
carry greater weight and add to the anticipation of the final (known) outcome.
When the reader knows more about a character’s fate than they do, opportunities
also arise for moments of irony, be they tragic or comic.

2. Worldbuilding. Not only can you use a non-linear structure to incorporate

different time periods into your story, taking a momentarily different point of view
can give the reader more insight into other aspects of the setting—think subplots
unfolding on the other side of the world that will eventually become meaningful,
or perhaps historical events that come to bear on the lives of your characters. 

3. Depth of character. The more the reader learns of your main character’s
backstory, the better they understand the choices they make throughout the
narrative. Instead of simply telling the reader your character is an orphan, send
them back to the moment they became one. Those experiences stay with the reader
as they continue through the story.
4. Flow. Nonlinear storytelling moves your narrative form into something closer to
art. While humans might be instinctually drawn to the neatness of chronological
order, they are enchanted by the complex. Interchanging the main plot with a non-
linear plot allows you to capture more of what it means to be human, and then
some: giving shape to all the connections that bind a group a people together,
though they themselves remain blind to it.

Conflict

Conflict is the struggle between two entities. In story writing the main character, also known
as the protagonist, encounters a conflict with the antagonist, which is an adversary. The
conflict may be one of six kinds:

 Character vs. character

 Character vs. nature or natural forces
 Character vs. society or culture
 Character vs. machine or technology
 Character vs. God
 Character vs himself or herself

Point of View

Stories are generally told in one of two points of views:

 First-person point of view

 Third-person point of view

First-person point of view means that one of the characters in the story will narrate–give an
account–of the story. The narrator may be the protagonist, the main character. Writing in
first-person point of view brings the readers closer to the story. They can read it as if they are
the character because personal pronouns like I, me, my, we, us, and our are used.

Third-person point of view means that the narrator is not in the story. The third-person
narrator is not a character. Third-person point of view can be done two ways:

 Third-person limited
 Third-person omniscient

Third-person limited means that the narrator limits him/herself by being able to be in one
character’s thoughts.  Whereas, third-person omniscient means the narrator has unlimited
ability to be in various character’s thoughts.  Writing in third-person point of view removes
readers from the story because of the pronouns he, she, it, him, her, his, hers, they, them,
and theirs.

Theme

A theme is not the plot of the story. It is the underlying truth that is being conveyed in the
story. Themes can be universal, meaning they are understood by readers no matter what
culture or country the readers are in. Common themes include coming of age, circle of life,
prejudice, greed, good vs. evil, beating the odds, etc.

IV. PRACTICE

Create a blog account. Post all your answers for the exercises as blog entries except for the
writing activities.
 Go to a search engine and find the definition and characteristics of the following:
1. sudden fiction
2. palm-of-the-hand stories
3. drabble

The teacher will randomly pick some students to discuss what they have researched.

 Read the short story entitled “My Father Goes to Court” written by Carlos Bulosan
and answer the following questions below:
1) How will you describe the narrator in the story?
2) What technique did the author use to start the story?
3) At the courtroom, th Judge said “Proceed” thrice. What does the word mean?
Do you think a person who has no knowledge of the law will use that word?
4) Where did the scene(s) take place?
5) What is the denouement of the story?

IV. ENRICHMENT

Research online the definition of historical fiction and thesis statement. You will use what
you have learned from your research in the next writing activity, which will challenge you to
mix various literary genres and styles.

Write a draft of flash fiction (a historical fiction) on your writer’s notebook following these
pointers:
 The topic dhould be something that had happened to you in real life or that you have
seen or heard: but change the setting to Pre-Spanish times in the Philippines.
 formulate a thesis statement O
 Organize and develop the ideas
 Ensure that the theme and techniques are effectively developed.
Find a partner and peer-edit each other’s draft based on the following
 Clarity of ideas
 Appropriate choice and use of literary elements
 Effective combination of ideas and the chosen literary elements

Revise your draft using the literary conventions of flash fiction and the feedback of your
partner.

V. EVALUATION

A. Read “Six Tips for Engaging Readers within Two Seconds: The Hook in Fiction and
Memoir” by Paula Berinstein on [Link]
engaging-readers-within-two-seconds-the-hook-in-fiction-and-memoir/
 Answer the following questions:

1. Why do you have to capture your readers’ attention in just few seconds?
2. How does in medias res engage readers?
3. which of the six examples given by berinsteindo you think can best hook the
readers? Justify your answer

B. Answer the following questions:

1) How would you feel about the ever-changing rules on classifying literary
pieces, which make creative writing appear temporary and unstable?
2) What similarities does a children’s story have with flash fiction?
3) Why is it important for readers to understand the milieu of the story?
4) How do you respond to stories that do not relate to you because the
descriptive details are not sufficient?

Prepared by: Checked by:

IRENE P. LORENZO, LPT CRISTINA A. PUSTA, LPT, MAST

Subject Teacher SHS Principal

JESSA MAE GAMOROT, LPT

Subject Teacher

ABEGAIL PESCADERO, LPT

Subject Teacher

BROKENSHIRE COLLEGE TORIL, DAVAO CITY, INC.

Purok 8 Pagkakaisa Village, Lubogan, Toril, Davao City
Tel. No.: 291-2556, 291- 2512 Mobile: 09283232892
Email add: bc_toril@[Link]

TEACHING GUIDE
Grade 12- CREATIVE NON-FICTION
Month: June
Week: ( ) 1st (✔) 2nd ( ) 3rd ( ) 4th

Semester: 2nd Content: Time Frame: November

18-22, 2020
Quarter:1st Introduction to Literary Genres:
Poetry

Content Standard: Performance Standard:

 The learner understands the literary conventions  The learner clearly and coherently uses a
that govern the different genres. (e.g., narrative chosen element conventionally identified with a
convention of fiction, etc.) genre for a written output

Learning Competency: Code

1. Identify dominant literary conventions of a particular genre HUMSS_CNF11/12-Ia-1

2. Compare and contrast how the elements are used in the different genres HUMSS_CNF11/12-Ia-2

3. Analyze and interpret the theme and techniques used in a particular text HUMSS_CNF11/12-Ia-3

4. Create samples of the different literary elements based on one’s experience HUMSS_CNF11/12-Ib-d-4

5. Write a draft of a short piece using any of the literary conventions of genre HUMSS_CNF11/12-Ib-d-5

6. Peer-edit each other’s draft HUMSS_CNF11/12-Ib-d-6

7. Revise the draft of a short piece using any of the literary conventions of a genre HUMSS_CNF11/12-Ib-d-7

Objectives:

 Identify the dominant literary conventions of works of Poetry such as epic, sonnet, ambahan, tanaga, haiku, free
verse, and prose poem
 Analyze and interpret the elements, themes, and techniques used in poetry
 Write drafts of an ambahan, do peer-editing and revise
 Use clearly and coherently a chosen conventional element identify with a genre for a written output
 Compare and contrast how literary elements are used in different genres.
 Create examples of literary elements based on my experiences.

MATERIALS PowerPoint presentation

RESOURCES Angeles, M. A. (2017). Creative Nonfiction.

Makati, Philippines. DIWA Learning System Inc.

MEETING THE
PROCEDURE STUDENTS’ NEEDS

I. INTRODUCTION
Preliminary Activities:
Opening Prayer
Checking of Attendance
Checking of classroom cleanliness

II. MOTIVATION

Give a hand-out of a prose poem written by Mark Angeles entitled “Sweater”.

Guide questions:
1. What do you think is the genre of the poem that you have just read?
2. Do you know that this is also a poem?
3. Do you know that poems are not always grouped into lines and stanzas, some are
written in paragraphs.

III. INSTRUCTION/ DELIVERY

You have learned from the previous lessons about fictional works in prose. Now, you will be
introduced to be sublime and ever-changing forms of poetry.

If every country has myths, legends and folktales transferred orally from one generation to
another, before they were inked onto paper, then posted online, like short stories and novels,
you will discover that even poetry started as an oral tradition.

ON POETRY WRITING

You have listened to, read and written poems since you were in first grade. You have already
learned that poems consists of line and stanzas. A stanza is a group of lines in a poem. The
term stanza comes from the Italian word for a room or stopping place. The lines in a poem
are called verses. The term verse comes from the Latin word versus. It means the same thing
as a furrow.
Poems are not always
In poetry, the practice of breaking down a group of texts into lines is called versification. But grouped into lines and
you should be reminded that in the previous lesson, you have learned that literary works have stanzas. Some are written
gone beyond strict restrictions of the traditional rules of each literary genre. So a poem can in paragraphs.
look like a prose; a personal essay can look like a short story.

So if poems can look like prose, does a poem have that one unique characteristic that
separates it from prose? A possible answer comes from Polish Poet and Fictionist Czeslaw
Milosz, who points out that “Prose is made to be written, a poem is made to be read.”

In other words, Milosz says that a poem must have a pattern of musicality or rhythm, What is in a poem that
regardless if it has a rhyme and meter or is written in free verse. Considering that poetry made Czeslaw Milosz say
stems from oral tradition, it can be deduced that poems recited long, long ago, were not that it is “made to be read”?
actually recited; instead, they were sung.

One of the key elements of poetry is rhythm. According to Oxford English Dictionary,
rhythm is a strong, regular, repeated pattern of movement or sound.”

Having rhythm does not mean that that the lines in your poem should always rhyme (which
happens at the end of lines and stanzas). But each line has to have music.

RHYTHMIC PATTERNS IN POETRY

There are two rhythmic patterns in poetry: lyrical and breathing. A lyrical poem follows a
metrical pattern derived from the lyre, the musical instrument used for reciting or singing How is the lyre connected
poems in ancient times. An example of this type is John Donne’s “Song: Go and Catch a to the early forms of
Falling star” poetry?

Go and catch a falling star,

Get with child a mandrake root,
Tell me where all past years are,
Or who cleft the devil's foot,
Teach me to hear mermaids singing,
Or to keep off envy's stinging,
And find
What wind
Serves to advance an honest mind.

As for the breathing pattern, National Artist Cirilo Bautista noted that “the originators” of
free verse believed that the language of the poem should be as close as possible to common
speech—in rhythm, diction, and tempo.” He said that even in free verse, the matter of how
long or short a line should depend on the natural system of breathing.”

You may be able to observe how the breathing pattern works in poetry in Gertrude Stein’s
poetry collection Tender Buttons.
A PIECE OF COFFEE.

More of double.

A place in no new table.

A single image is not splendor. Dirty is yellow. A sign of more in not mentioned. A piece of
coffee is not a detainer. The resemblance to yellow is dirtier and distincter. The clean
mixture is whiter and not coal color, never more coal color than altogether.

The sight of a reason, the same sight slighter, the sight of a simpler negative answer, the
same sore sounder, the intention to wishing, the same splendor, the same furniture.

The time to show a message is when too late and later there is no hanging in a blight.

A not torn rose-wood color. If it is not dangerous then a pleasure and more than any other if
it is cheap is not cheaper. The amusing side is that the sooner there are no fewer the more
certain is the necessity dwindled. Supposing that the case contained rose-wood and a color.
Supposing that there was no reason for a distress and more likely for a number, supposing
that there was no astonishment, is it not necessary to mingle astonishment.

The settling of stationing cleaning is one way not to shatter scatter and scattering. The one
way to use custom is to use soap and silk for cleaning. The one way to see cotton is to have a
design concentrating the illusion and the illustration. The perfect way is to accustom the
thing to have a lining and the shape of a ribbon and to be solid, quite solid in standing and to
use heaviness in morning. It is light enough in that. It has that shape nicely. Very nicely may
not be exaggerating. Very strongly may be sincerely fainting. May be strangely flattering.
May not be strange in everything. May not be strange to.

Breathing pattern in poetry follows the beating of the heart. It sets the tone of the poem
which according to Poetry Foundation, is

“the poet’s attitude toward the poem’s speaker, reader, and subject matter, as interpreted by
the reader. Often describe as a “mood” that pervades the experience of reading the poem. It is
created by the poem’s vocabulary, metrical regularity or irregularity, syntax, use of figurative
language, and rhyme.

Notice how lines are lad in a poem. When you are angry and agitated, your heartbeat is fast.
When you are melancholic and relaxed, your heartbeat is slow. You apply those pattern in
your poetry. For example, when the tone, theme or message of your poem is defiant, your
mood, the way your poem is read or performed should sustain the intense emotion as As someone who had
[Link] poem which showcases the changes in tone and mood would be Maya Angelou’s written poems, inside or
“And Still I Rise” (you can watch it on ([Link] outside your literature
class, how would you feel
Other Elements of Poetry about poets not giving
consideration to the
Rhythm and insight are two essential elements of poetry. In Filipino, those are rhythmic patterns required
ritmo/indayog, talinghaga, respectively. of poetry?

Another basic element of poetry is the persona. In the previous lesson, you have learned that
the speaker in a work of fiction is called narrator. In poetry, it is called persona.

Same as in fiction, the persona does not have to be the main character or one of the characters
in your poem. But your poem can mention who or what the persona is. You can also imply it
by using out clues or descriptions. Also, you will notice that, as in fiction writing, POV of the
person is also important.

As a poet, you have to make sure that the persona in your poem is transparent. That means
that the reader of the poem that you wrote must be able to identify who or what is speaking in What is the importance of
your poem. In your end, anything that a persona says must be limited to his/her/its capacity or having a transparent
knowledge. For example, if the persona is a toddler, he or she cannot explain stuff about persona in a poem?
quantum physics, unless he or she is savant on that field.

Take this poem for example:

The fly
William Blake

Little Fly,
Thy summer's play
My thoughtless hand
 Has brushed away.

Am not I
A fly like thee?
Or art not thou
A man like me?

For I dance,
And drink, and sing,
Till some blind hand
Shall brush my wing.

If thought is life
And strength and breath,
And the want
Of thought is death;

Then am I
A happy fly.
If I live,
Or if I die.

The person is clear. The “man” (not necessarily the author, William Blake) is talking to a fly.

FORMS OF POETRY

Poetic form, according to The Poetry Archive, it can be understood as the physical structure
of the poem: the length of the lines, their rhythms, and their system of rhymes and repetition.

There are various form of poetry that you can appreciate. One of them is the epic poem. An
epic poem is a long poem which narrates the journey of a hero or nation.

Epic poems like the blind pet Homer’s Iliad and Odyssey are at your disposal. So are Ovid’s
Metamorphoses, and Dante Alighieri’s Divina Comedia.

SONNETS

Read this poem by William Shakespeare:

Shall I compare thee to a summer's day?

Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
   So long as men can breathe, or eyes can see,
   So long lives this, and this gives life to thee.

The poem shows the characteristics of a sonnet. It has 14 line with 10 syllables each line and
a rhyme scheme. A rhyme scheme is a structure of a rhyming pattern. The pattern in this case
is a-b-a-b....c-d-c-d....e-f-e-f....g-g.. Day is rhymed with May, Temperate is rhymed with
date, shines is rhymed with declines, and so on and so forth. Remember that this scheme is
only for Shakespearean sonnets—those written by Shakespeare or which followed his Why do sonnets have an
scheme. There are sonnets schemes like the Petrarchan (abba/cde/cde or abba abba cdc dcd) appeal to Filipinos when
and the Spenserian (abab bcbc cdcd ee) the topic is love?

Other poetic forms with a specific rhyme scheme include the ballad, limerick sestina,
pantoum, haiku, and villanelle.

Knowing that our country has diverse oral poetry traditions can give you a sense of place in
world literature. Those poetry forms also follow rules of rhyming. Take this tanaga, for
example:

Catitibay ca tolos
 Sacaling datnang agos!
Aco’l momonting lomot
Sa iyo, ipopolopot

English translation by Mark Angeles:

You better have strength, Picket,

When water starts to thicket!
I a moss that seemed wicket
Will strangle like a tippet.

Both the original the original Tagalog and the translation of this author show the
characteristics of tanaga. You can see that both have four lines, with seven syllables each,
and has an aaaa rhyme scheme.

If you read poems with rhyme (tugma) and meter (sukat), you will see that there is a rule in
end rhyme. Only end words with As (being the last letter) that have a glottal stress (for
example tula and wika) rhyme. The ones that do not have glottal stress (like ligaya and sinta)
rhyme. this goes with lines that end with E/I and O/U. Consider the following the stanza:

“itong aking tula

Bukal ng ligaya
Salat man sa wika
Alay ko sa Sinta.”

The rhyme scheme in the stanza on the previous page seems to be aaaa because all the lones
have last words ending in a. but if we review the rules of rhyming in Filipino, the rhyme
scheme should be abab

The rule of consonants is much simple. It is divided into two groups:

Group 1 – b,k,d,g,p,s,t
Group 2 – I,m,n,ng,r,w,y

The consonants in Group 1have strong sounds. The ones in Group 2 have weaker sounds.
The words basbas and batak rhyme with each other. So do dasal and sayang.

Another technique in poems with rhyme and meter is creating a [Link] is how you cut
each line equally. Take, for example, this stanza from Benigno Ramos’s: “Panulat”:

Kung ikaw, Panulat, ay di magagamit

kundi sa paghamak sa Bayang may hapis,
manong mabakli ka’t ang taglay mong tulis
ay bulagin ako’t sugatan sa dibdib.

In the above stanza the caesura works this way:

Kung ikaw, Panulat, / ay di magagamit

kundi sa paghamak / sa Bayang may hapis, In Filipino poetry, not all
manong mabakli ka’t / ang taglay mong tulis lines which end in the same
ay bulagin ako’t / sugatan sa dibdib. vowel rhyme. For similar
vowels, only those that
If you notice each line is cut equally by two groups of six syllables. You may replicate the have glottal stress when
same process by making three groups of four syllables if you have twelve syllables per line, pronounced belong to the
like the poem above, now you are ready to learn some things about vers libre. same group. The same
thing goes with those that
do not have a glottal stress
FREE VERSE when pronounced.

You should take note that the vers libre, also known as free verse, has its own rules as well.
Bautista quipped that there is really nothing “free” about free verse. Though it rejects specific
stanzaic measures, rhymes, and poetics technique associated with traditional verse, it must
observe a body of rules that dictates its shapes and sounds. To write free verse is not simply a
matter of chopping sentences into random linear fragments. The matter of how long or short a
line should depend on the natural system of breathing.”

Free verse originated in Paris where the poetic form Alejandrine, a rhyme-and-meter poem
with 12 syllables each line, was practiced. The Romaticists grew tired of the traditional form.
They wanted to free it, to let it find its own shape. They made the caesura inconsistent and
employed enjambment. Ezra Pound said that poetry could be divided according to three
essential elements: phanopoeia, melopoeia. And logopoeia—the play of image, music and
meaning.

By tradition whole lines from a phrase or have a complete thought. You cut the line where
the comma or period ends it. With enjambment, you cut the line for effect. Though the
cutting seems abrupt, you give emphasis either on the last word or first word of the next line.
Take this stanza, for example,

High in September’s frontier winds, white

Brocade feathers, the Mongol falcon flies

Alone, a flake of snow, a hundred miles

Some fleeting speck of autumn in its eyes.

Translated by David Hinton, this line from Li Po’s poem shows how to use enjambment to
heighten the imagery. Notice the effect of being “white” and “alone” were intensified.

PROSE POETRY
Although free verse is
A prose poem is a poem in prose poem. Read the example below: called free, it is not entirely
free because it also needs
Sweater to observe a body of rules
Mark Angeles that dictates its shape and
sound.
When I hold this sweater I picture you. One summer we were in Baguio rummaging the hills
of used Clothing when you said something about mystery schools. The curious cat that I was
I began making a mountain out of a molehill. You answered back with a piece of wool
sweater—Celtic green patterns coiling on onyx black-and with serious, subterranean eyes,
you covered me with it as though it was a blanket and said, “Kasya kaya?” For a moment I
was tentative I was there. I was there, alright. But I was somebody else, or something else,
like a headless mannequin, strangely naked, making the most of Myself-the replacement of
someone corporeal. And so, when you said, “Kasya kaya?”, I pokerfaced. That night, when
it started to drizzle, you knocked on my door and said you will be out for a while some
rendezvous. Perhaps with your mystery school. But you never returned. You left me with this
Sweater which I carried back to our hometown without the slightest idea who it was for.

When I hold this sweater I imagine you. One summer I surveyed Baguio, alone, and paved
my way through hills of old clothes, inhaling their rot and story. The schmaltzy beaver that I
was I began conjuring the people who once wore them. I imagined them ailing or dead, their
next of kin granting The Salvation Army their possessions as a symbol of releasing
themselves from the memory of skin. I salvaged a piece of wool sweater—hideous and
impersonal-and with you in mind, I mumbled “Kasya Kaya? For a moment I was certain you
were there. I didn’t know where you were, really. You were like a drizzle. You knocked on my
window in tiny and almost invisible pieces. I longed for rain, the solidness of glass. I bought
the sweater with the will of a harbor that you will sail back to me. (If not in time, it would not
matter. So long as you arrive.)

When I hold this sweater I have the hankering to think of someone. I try to remember who it
was shuffling faces, names, places in my mind. (Will it help to think where I bought this piece
of clothing?) It am trying to grab strings of smoke rising from a blazing photograph, as
though I am trying squeeze shards of glass in my hand until they sink their teeth into my
palm. I remember a scene, though vaguely. I suppose it was drizzling by the whiff of damp
earth. I remember this sweater, its green patterns coiling on black, on the bedside, in a
manner it is worn by a person lying there with his face down like a grapefruit beaten to a
pulp.

When you read the poem, you will notice that there is a certain cadence or rhythmic pacing to
it despite not appearing in verse form. While it lacks the line breaks associated with poetry,
the prose poem according to [Link], maintains a poetic quality, often utilizing techniques
common to poetry, such as fragmentation, compression, repetition, and rhyme.
There are a lot of techniques that you can employ to make your poem more effective, Use
idioms and figures of speech. Innovations also escalate. For example, a script can be accepted
as a prose poem. A text of a poem about a tree can look like a tree. It is called concrete poem.
When you stack books, the spines can form lines to make a poem. You can erase texts and
make an erasure poem. You can collect pictures and texts and form a collage. You can make
a digital image and call it visual poem. You can have a verbal joust. You can do performance
poetry such as spoken word. There are many ways and avenues to innovate the form and
content of a poem. Some poets use html codes for hypertextual poems. Whether your poem is
narrative or lyrical, visual or aural, it has to be understood by your readers.
 IV. PRACTICE

Have a research online about lyrical patterns. How would you describe the following
patterns: Iambic, trochaic, pyrrhic, anapestic, dactylic, and spondaic/ think of popular poems
that can serve as examples for each? Make a blog entry and explain your answers in
paragraph form.

IV. ENRICHMENT

Research online about the culture of the Lumadnon (Lumad people). One good source would
be Michael L. Tan’s Pinoy Kasi column “Who are the Lumad’?” which you can view on
[Link]

Write a draft of an ambahan with 20 lines on your writer’s notebook following these
pointers:

 The topic should be about how you imagined the childhood of a Lumad.
 Formulate a thesis statement.
 Organize and develop ideas.
 Ensure that the theme and techniques are effectively developed.

Find a partner. Peer-edit each other’s draft based on the following:

 Clarity of idea
 Appropriate choice of literary elements
 Effective combination of the idea and the chosen literary element.

Revise your draft using the literary conventions of ambahan and feedback of your partner.

V. EVALUATION

An ambahan is a poem native to the Mangyan people. It does not have a definite number of
lines. It can go on and on. Read sample of this poetic on page 9 of Antoon Postma’s “The
Concept of time among Mangyans,” which you can find on [Link]
[Link]/nfile/1311 and answer the following questions:

1. How many syllables does each line have?

2. Does it follow the rules on rhyming for consonants?
3. What does the ambahan say about the Mangyan culture?

Prepared by: Checked by:

IRENE P. LORENZO, LPT JR M. UY, LPT

Subject Teacher SHS Coordinator

JESSA MAE GAMOROT, LPT

Subject Teacher Approved by:

ABEGAIL PESCADERO, LPT CRISTINA A. PUSTA, LPT, MAST

Subject Teacher SHS Principal

BROKENSHIRE COLLEGE TORIL, DAVAO CITY, INC.

Purok 8 Pagkakaisa Village, Lubogan, Toril, Davao City
Tel. No.: 291-2556, 291- 2512 Mobile: 09283232892
Email add: bc_toril@[Link]
TEACHING GUIDE
Grade 12- CREATIVE NON-FICTION

Month: November
Week: ( ) 1st ( ) 2nd ( ✔) 3rd ( ) 4th
Semester: 2nd Content: Time Frame: November
25-29, 2020
Quarter:1st Introduction to Literary Genres: Drama

Content Standard: Performance Standard:

 The learner understands the literary conventions  The learner clearly and coherently uses a
that govern the different genres. (e.g., narrative chosen element conventionally identified with a
convention of fiction, etc.) genre for a written output

Learning Competency: Code

8. Identify dominant literary conventions of a particular genre HUMSS_CNF11/12-Ia-1

9. Compare and contrast how the elements are used in the different genres HUMSS_CNF11/12-Ia-2

10. Analyze and interpret the theme and techniques used in a particular text HUMSS_CNF11/12-Ia-3

11. Create samples of the different literary elements based on one’s experience HUMSS_CNF11/12-Ib-d-4

12. Write a draft of a short piece using any of the literary conventions of genre HUMSS_CNF11/12-Ib-d-5

13. Peer-edit each other’s draft HUMSS_CNF11/12-Ib-d-6

14. Revise the draft of a short piece using any of the literary conventions of a genre HUMSS_CNF11/12-Ib-d-7

Objectives:

 Identify dominant literary conventions of drama such as one-act-plays and others.

 Analyze and interpret the elements, themes and techniques used in drama
 Write a draft of a one-act-play, do peer-editing, and revise
 Use clearly and coherently a chosen element identified with a genre for a written output.
 Compare and contrast the elements of drama used in different genres
 Create examples of literary elements based on my experiences

MATERIALS PowerPoint presentation

RESOURCES Angeles, M. A. (2017). Creative Nonfiction.

Makati, Philippines. DIWA Learning System Inc.

MEETING THE
PROCEDURE STUDENTS’
NEEDS

I. INTRODUCTION
Preliminary Activities:
Opening Prayer
Checking of Attendance
Checking of classroom cleanliness

II. MOTIVATION

If Filipino poets, according to some of the poets themselves, are in danger of extinction, you could
say the same thing about playwrights (those who write dramatic plays) and scriptwriters. In fact, if
you ask the judges for poetry and any category on drama (one-act play and full-length play) in the
Carlos Palanca Memorial Awards, they will tell you that the entries submitted for the latter would
not even reach a quarter of the former.
But there is an emergent poetic genre for young ones like you. This form of performance poetry,
called spoken word, is an idea that Project voice founder Sarah Kay was fascinated about, because
her "two secret loves-poetry and theater -had come together."

Go to [Link] and watch Sarah Kay’s

Ted talk.

Process questions:

1. What is Spoken word poetry according to Sarah Kay?

2. How did she divide her spoken word journey? What are those three steps?
3. Why did she say that spoken word poetry is accessible?
4. Do you think spoken word can be considered as drama?

III. INSTRUCTION/ DELIVERY

For starters, you need to understand the difference between drama and play; also, drama, dula, and
teatro in Filipino. The Western concept of drama, based on its equivalent, stage play, is a play with
dialogue and performance by actors for the stage. Theater is a performance or a place where actors
perform. By today's standards, drama is a play not only performed onstage, but also on television,
radio, and other platforms. Would you consider
watchin a play online
If you notice, stage is a key word here. A play has to be performed onstage. By Western standards or be a part of live
for centuries, a play that was not performed onstage is a debilitated play. To a greater extent, they audience? What
dismiss that it is not a play at all. difference does it
make to the
In his book El Teatro Tagalog (1889), Vicente Barrantes, the first Spaniard who wrote about plays cultivation of the soul
in the country, proclaimed that all Tagalog plays were only copied from Spanish plays. He even and culture of the
went so far as to say that it is useless to search for proof of a "national literature" and a "respectable individual?
play" before his countrymen arrived. After scouring tons of documents, it was expected that
Spanish historiographer, Weceslao Retana would disagree. But in 1909, he sided with Barrantes
and said not a single Tagalog play existed before 1571, the year the Spanish conquistadors
occupied and declared Manila as their colonial capital.
What are the basic
These details, documented by literary essayist and food critic Doreen Fernandez in her book, elements of the
Palabas: Essay on Philippine Theater History, are useful to you in your study of the drama. For the Western concept of
two Spanish scholars, in order for a play to be considered genuine, it has to satisfy two demands: it drama?
has to be perfumed onstage and it has to be based on a script. The second condition highlights the
claim that a play should be written first before it is performed. There was a third demand,
according to them: the actors have to have elegant costumes like the ones that were used in the
comedia and auto Sacramentales of the Spaniards. The Western concept
of drama came during
The accepted traditional Philippine drama, according to essayist and National Artist for Literature the Spanish
Dr. Bienvenido Lumbera, "comes in three Western forms introduced during the period of Spanish colonization. This
colonization. These are the sinakulo and the komedya, which native playwrights writing between concept requires a
the 17th and the 19th centuries developed under the auspices of parish priests and landholding play with dialogue
native elites in Manila and the provinces. A third form, introduced during the final decades of and performance by
Spanish rule was the sarsuwela, which an emerging intelligentsia was to cultivate as a dramatic actors for the stage.
form that best represented the interests and self-image of the Filipino after the Revolution of 1896."
However, we must look at our traditional theater in the form of native rituals, ceremonies, chanting,
and dances. For example, the Tagbanua's nine-day harvest time dance ritual of the babaylan and
her baylanes called Inim or Pagdidiwata.

ELEMENTS OF DRAMA

Plot is one element of drama. Try to recall how a narrative is divided using Freytag's Pyramid-from
the exposition, to the rising action, reaching the climax, then sliding down to the falling action, and
to close the story, the denouement. This formula is also used in drama. It is also called dramatic
structure

Note that the tripartite division of plot (beginning, middle, end) is evident in the three-act play. A
play can be divided into acts (mga yugto). The shorter one is called one-act play, while the longer
one is the full-length play or three-act play. One act can last from 30 to 90 minutes, sometimes,
1O minutes. As a playwright, having this knowledge of how long an act takes to finish will give
you an idea as to how many pages it would take to finish your script
The curtain is closed after each act. At this point, the voice-over announces that there will be a
break for a few minutes. The audience can freshen up. But this break also gives the production the
chance to change the set, props, and backdrop. As a playwright, this knowledge suggests to you
that you can change the setting of your story.
In a three-act play, each act usually has a different tone to it. The most commonly used, but not
always, is the first act having a lot of introductory elements; the second act can usually be the
darkest, with the antagonists having a greater encompass; the third act is the resolution, with the
protagonists prevailing. There is an age-old saying that "the second act is the best" because it is in
between a starting act and ending act; thus, it is able to delve deeper into more of the meat of the
story since it does not need to have as many prominent introductory or resolutive portions. Of
course, this is not always so since a third act or even a first act can have the common second act
characteristics, but the most used is that type of structure. There is also a five-act play.

Setting
The setting is another element of drama. You already learned a few things about the milieu from
the previous lessons. As in a written narrative, the setting should be clear in your script. Your script
must specify the details of the place where the story is happening and the time when it is
happening. Take, for example, the first part from Nick Joaquin's play, A Portrait of the Artist as
Filipino: An Elegy in Three Scenes.

Based on Joaquin’s
script of A Portrait of
the Artist as Filipino:
an Elegy in Three
Scenes, why can we
consider him a
director’s, actors’ and
readers’ best friend?

When you write the script, you do not just say, for example, that the scene happens at a house.
Keep in mind the following:

1. Mention what part of the house the scene is taking place.

2. Mention where the house is located.
3. Mention the time of the day and the date

Those pieces of information are needed because most of the time, the playwright is not the same
person as the director. Also, the playwright is not present during the brainstorming and the
rehearsals all of the time. It you have specified the setting in your script, you will not only help the
director and the actors. The production staff who makes the costumes, props, and backdrop will
benefit from it as well. They will know what they have to produce, down to the last detail.

CHARACTERS

The set of characters is another element of drama. Go back to Joaquin's play. Notice that a short
description of each character -what they are or how they are related to each other is mentioned right
away. Again, this is a big help for the director and the actors. The actors will be able to internalize"
their role. Remember that the "characters in a play are not the "actors." The actors are the ones who
portray the role of the characters in the story. The characters do not have to be humans. They could
be animals or inanimate objects depending on the story.

OTHER FORMS OF THEATRICAL PERFORMANCE

Earlier, you learned that some acts do last for 10 minutes tops. But there are other short theatrical
performances aside from the one-act play such as the improv, skit, and monologue, for example:

A skit ranges from a one-minute to a ten-minute performance. Skits can be performed anywhere;
in-between acts or at a cosplay (costume play) contest.

A monologue does not have a specific length. Long form monologues can take as long as two
hours to perform. If an actor needs to perform a monologue for an audition, he or she may choose a
script that can be performed in three minutes, with words that will showcase his or her acting
prowess in less than a minute.

You can make a monologue out of a part of a play, a poem, or another monologue. There are two
types of monologue based on how the actor delivers it.
 Internal monologue - when the actor expresses his or her innermost thoughts and feelings.
 Dramatic monologue when the actor is talking to another individual, may it be an
imaginary character or a part of the audience.

The improv is another short form of theatrical performance. Palanca hall-of-famer, Dr. Reuel
Aguilla said the improvisation method does not use a formal script; just an outline of the dramatic
situation. While in the usual setup, only the director interprets your script, the improv lets the actors
participate in the creation of the play.

Essayist Dr. Apolonio Chua further explained improvisation as the creation of a play based on the
personal experience or observation of the people involved in the creation. It is a collective process.

Take note that an actual, elevated stage is not needed to perform the three short forms of play.
Also, in terms of drama, the live performance of actors is not needed. In a radio drama, for
example, the station can broadcast a performance using a recorded audio medium such as tape or
CD

In a radio play, the audience or the receiver will not be able to see the actions, because it is limited
to a pure acoustic performance, the dialogue should be more detailed. If an actor is afraid, or if he
or she has tears in his or her eyes, the audience will not know it. So, it must be a part of the
dialogue. The actor should say, "I am afraid," Or better yet, exaggerate it, like "Oh my God! Why
am I feeling this way? I am scared to death or, use figurative speech like, "| am shaking like a leaf!”
The same way with having tears in one’s eyes, another actor can say to the person, "Why are you
crying? Or "why are there tears in your eyes?" Or any of the actors can voice out his or her
thoughts. Or a sound effect can do this for you, like the sound of a racing heartbeat or labored
breathing.

LITERARY TECHNIQUES IN DRAMA

A literary technique that stems from drama or theater is called breaking the fourth wall. In a work
of fiction, breaking the fourth wall means the narrator or any of the characters suddenly *woke up,
“realizes that he or she is in a fictional work, and addresses the reader. In drama, it means one of
the actors suddenly talks to the audience or responds to the reaction of the audience. Or, the
audience suddenly participates in the play itself!
Why is an actual
“What is the fourth wall?” you may ask. Imagine the stage where the drama, theater, or elevated stage not
performance art takes place. The stage has three walls utilized for the fictional work: the upstage needed to perform the
(furthest from the audience), stage left (to the performers' left), and stage right (to the performers three short forms of
right). The production staff could install the set, props, and backdrop on those three walls. The play?
"fourth wall” is the imaginary wall between the stage or performers and the audience. The
audience is always expected to just watch and enjoy the performance. When the fourth wall is
broken, they participate in the play.

The literary technique Chekhov’s gun was named after Russian playwright and fictionist Anton
Chekhov. He advised to "remove everything that has no relevance to the story. If you say in the
first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely
must go off. If it's not going to be fired, it shouldn't be hanging there.

"Just like any form of art, drama is mimetic. It imitates life. Aside from the radio drama, we have
scripted dramas in television in the form of a drama show or drama series. Also, you will notice
that, just like our Southeast Asian neighbors, we also have a long tradition of shadow plays and
puppet shows with puppets made from wood, paper, fabric, and other materials..

IV. PRACTICE

Read the script of Alberto S. Florentino’s play Oli Impan on

[Link] and answer the
following questions: How would you feel
 watching a play when
1. What does Oli Impan mean? breaking the fourth
2. How was Alberto Florentino able to utilize POV as an element in his play? wall was used
without your
3. Can you consider Oli Impan as an example of historical fiction? Explain your
knowledge?
answer.

IV. ENRICHMENT

Read Pablo Neruda’s “A Dog has Died” on

[Link]

Write a draft of a ten-minute one-act-play based on Neruda’s poem following these

pointers:
 The topic should be in Philippine context, inspired by your own experiences or
what you have been told.
 Formulate a thesis statement
 Organize and develop ideas
 Ensure that the theme and techniques are effectively developed

Find a partner and peer-edit each other’s draft based on the following:
 Clarity of idea
 Appropriate choice and use of literary elements
 Effective combination of the idea and the chosen literary elements

Revise your draft using the literary conventions of a one-act-play and the feedback of your
partner.

V. EVALUATION

Answer the following questions:

1. Why is the monologue different from soliloquy?

2. Why is there at least one other character present in the scene, to whom the monologue is
addressed, in a dramatic monologue?

3. How does a speaker drive an agenda, in pursuit of a goal, and make an effective monologue?

Prepared by: Checked by:

IRENE P. LORENZO, LPT JR M. UY, LPT

Subject Teacher SHS Coordinator

JESSA MAE GAMOROT, LPT

Subject Teacher Approved by:

ABEGAIL PESCADERO, LPT CRISTINA A. PUSTA, LPT, MAST

Subject Teacher SHS Principal

BROKENSHIRE COLLEGE TORIL, DAVAO CITY, INC.

Purok 8 Pagkakaisa Village, Lubogan, Toril, Davao City
Tel. No.: 291-2556, 291- 2512 Mobile: 09283232892
Email add: bc_toril@[Link]
TEACHING GUIDE
Grade 12- CREATIVE NON-FICTION
Month: December
Week: (✔ ) 1st ( ) 2nd ( ) 3rd ( ) 4th

Semester: 2nd Content: Time Frame: December

2-6, 2020
Quarter:1st Introduction to Literary Genres:
Essay

Content Standard: Performance Standard:

 The learner understands the literary conventions  The learner clearly and coherently uses a
that govern the different genres. (e.g., narrative chosen element conventionally identified with a
convention of fiction, etc.) genre for a written output

Learning Competency: Code

1. Identify dominant literary conventions of a particular genre HUMSS_CNF11/12-Ia-1

2. Compare and contrast how the elements are used in the different genres HUMSS_CNF11/12-Ia-2

3. Analyze and interpret the theme and techniques used in a particular text
HUMSS_CNF11/12-Ia-3
4. Create samples of the different literary elements based on one’s experience
HUMSS_CNF11/12-Ib-d-4

5. Write a draft of a short piece using any of the literary conventions of genre HUMSS_CNF11/12-Ib-d-5

6. Peer-edit each other’s draft HUMSS_CNF11/12-Ib-d-6

7. Revise the draft of a short piece using any of the literary conventions of a genre
HUMSS_CNF11/12-Ib-d-7

Objectives:

 Identify the dominant literary conventions of essay.

 Analyze and interpret the elements, themes, and techniques used in various kinds of essay.
 Write a draft of an essay, do peer-editing, and revise.
 Use clearly and coherently a chosen element identified with a genre for a written output.
 Compare and contrast how the elements of essay are used in the different literary genres.
 Create examples of literary elements based on my experiences.

MATERIALS PowerPoint presentation

RESOURCES Angeles, M. A. (2017). Creative Nonfiction.

Makati, Philippines. DIWA Learning System Inc.
s

MEETING THE
PROCEDURE STUDENTS’ NEEDS

I. INTRODUCTION
Preliminary Activities:
Opening Prayer
Checking of Attendance
Checking of classroom cleanliness

II. MOTIVATION

- Explain how did writing essays improved your skills in writing.

 - Explain the relevance of essay to you as a student.

III. INSTRUCTION/ DELIVERY

How did you feel upon
ESSAY knowing that the essay
stemmed not from
As you draw near to learning the fine points of—that is to say how to distinguish, Michel de Montaigne, a
write, and critique CNF you must first polish up your knowledge on the essay. The man, as it was often
essay is a form of writing that you will always employ. Remember the formal themes discussed in Literature
(sulatin) that you composed and revised in your English and Filipino classes. The classes, but from a
skill that you learned came in handy when you were asked to write essays as part of Japanese court lady?
your exam for other subjects such as Science and Araling Panlipunan.

After graduation, you will need to write an admission essay as required by

universities in selecting applicants. You will write more reviews and reaction papers.
You will write more research papers. When you apply for a job, chances are, you will
be required to write an employment essay to detail your experiences and
qualifications. Before Montaigne,
published his essays,
The word essay was adapted from the French literary corpus when 16th century zuihitsu had already
philosopher Michel de Montaigne described his writings as attempts." Montaigne emerged in Japan with
began composing his essays in 1572 and published his two-volume collection entitled the reflective essays of
Essays in 1580. From France, the essay form went to England, through 16th century Sei Shonagon.
philosopher Francis Bacon's Essayes. However, the French word originated from the
Latin verb exigere, which means "to drive out." And before Montaigne developed the
genre, Japanese literature already had zuihitsu. Makura no Söshi (The Pillow Book)
by Sei Shonagon, court lady to Empress Consort Teishi, already had written a few of
these "essays. The court lady started writing her diary at the end of the 10th century. Would you consider a
Meanwhile, our term sanaysay was coined by Modernist Filipino poet and critic traditional poem
Alejandro G. Abadilla in 1938. It is a portmanteau for a written account of someone (complete with rhyme
who is "sanay sa pagsasalaysay" (skilled in narration). and meter) an essay?

In order for you to flesh out the essay, you need to go back to the binary oppositions
in literature--fiction versus nonfiction and prose versus poetry.

You know, prose is any kind of written text that is not poetry (in verse form); that is Why are memories or
to say, it is written In paragraphs. The essay is written in prose form. Also, essay is complaint letters
anything prose that is not fiction. But notice, as you have learned from the previous considered as essays?
lessons, there are always gray areas, and hybrids always emerge.

Though most essays are written in prose, there are some poems that are labeled as
essays. One such poem is Alexander Pope's "An Essay on Criticism." During the
Spanish colonization, poems served as forewords for books published in the country.
The poems did not only establish the purpose and goals of the author, but they also
praised the author as well. Tomas Pinpin broke this tradition.

You may find it interesting how Aldous Huxley divided essays into different
categories in the preface to his 1958 book Collected Essays, which read:

Essays belong to a literary species whose extreme variability can be studied most
effectively within a three-poled frame of reference. There is the pole of the personal
and the autobiographical; there is the pole or the objective, the factual, the concrete-
particular; and there is the pole of the abstract-universal. Most essayists are at home
and at their best in the neighborhood of only one of the essay's three poles, or at the
most only in the neighborhood of two of them. There are the predominantly personal
essayists, who write fragments of reflective autobiography and who look at the world
through the Keyhole of anecdote and description. There are the predominantly
objective essayists who do not speak directly or themselves, but turn their attention
outward to some literary or scientific or political theme. Their art consists in setting
forth, passing judgment upon, and drawing general conclusions from, the relevant How did Huxley
data. In a third group we find those essayists who do their work in the world of high effectively study essays?
abstractions, who never condescend to be personal and who hardly deign to take
notice of the particular facts, from which their generalizations were originally
drawn. Each kind of essay has its special merits and defects. The personal essayists
may be as good as Charles Lamb at his best, or as bad as Mr. X at his cutest endmost
self-consciously whimsical. The objective essay may be as lively, as brassily
contentious as apiece by Macaulay; but it may also, with fatal ease, degenerate into
something merely informative or, if it be critical, into something merely learned and
academic.

In the preface to the anthology Mga Piling Sanaysay which Abadilla edited in 1950,
he classified essays into critical, satirical, political, social, historical, philosophical,
didactic, spiritual, biographic, inspirational, reminiscent, literary, and humorous.

Formal essays are characterized by philosophical, scientific, or historical treatise.

They are impersonal and didactic. On the other hand, informal essays could be as
imaginative as fictional works. Montaigne, who wrote "I confess myself in public," is
considered the "Father of Informal essay.

The binary opposition of formal versus informal was already used in the 19th century
to describe Irving, and William Makepeace Thackeray. Familiar essays were already
popular in the 18th century with the works of Joseph Addison, Richard Steele, and
Samuel Johnson. Even Montaigne and John Donne's essays were labeled as either
familiar or informal.

Fictionist Genoveva Edroza-Matute, in her foreword to the 1984 anthology Piling

Maiikling Katha ng Huling 50 Taon, grouped essays into two categories: maanyo
(formal/impersonal essays) and palagayan (informal/personal essays).

If you notice, Abadilla divided traditional essays based on style and tone. For
example, there is no didactic essay; just an essay with a didactic tone. Another
example is the reminiscent essay. Personal essays like the memoir are forms of
reminiscence. Here, you have already established three elements of the essay: the
tone is the manner of approaching a thesis, while the form and structure give a logical
arrangement of ideas and events. The tone of your essay can be formal or personal. It
may be diplomatic or sarcastic. Other elements of the essay include the form and
structure which give a logical arrangement of ideas and events.

In essay writing, you may get confused with the topic, theme, and thesis statement.
The topic is the subject matter of your essay. The theme narrows the topic. Your
essay could have multiple themes-both major and minor and may just be implied. The
major theme is the main or central idea. When you directly state your main idea in a
sentence, it is called thesis statement. Your thesis statement is how you interpret the
theme. It is your personal take or insight.

The structure of a narrative has three parts: the beginning, the middle, and the end. How important is the “I”
The same format applies in writing an essay. An essay has an introduction, a body, in an essay?
and a conclusion.

AUTHORIAL VOICE.

The speaker is very important in an essay. While fiction has a narrator and poetry has
a persona, your essay has a speaker. It is the authorial voice that you set in your
writing-your POV. It sets the tone of your essay.

Henry David Thoreau, in his autobiography Walden, said:

In most books, the , or first person, is omitted; in this it will or not remember that it
is, after all, always the first person that is speaking. I should not talk so much about
myself if there were anybody else whom I knew as well. Unfortunately, I am confined
to this theme by the narrowness of my experience. Moreover, 1, on my side, require
of every writer, first or last, a simple and sincere account of his own life, and not
merely what he has heard of other men's lives.

IV. PRACTICE

Essays are divided into four most common forms (description, narration, exposition,
and argumentation/persuasion) based on their purpose (called rhetorical modes or
modes of discourse). Read about the essay and its four forms on
[Link] (called genre on this site).

Process Questions:
 1. What are the guidelines for each form of essay (descriptive, narrative, expository,
and argumentative/persuasive)? Name at least one essay for each form.

2. Why does descriptive essay allow for a great deal of artistic freedom?

3. Why is the first person pronoun / welcomed in a narrative essay?

4. How does the five-paragraph approach work for argumentative and expository
essays?

IV. ENRICHMENT
1. Having been promoted as an associate editor for your university newspaper, you
are tasked to write the next editorial. You were previously the features editor. You
already published two columns for the paper. Consider in this endeavor the
characteristics of editorials that are not similar to columns and feature articles. To
build an argument, you must bear in mind the basic structure of the essay. You need
to flesh out your thesis statement. Your argument must be supported by evidence.
Make sure, too, that you select the best words, impart a clear message, present the
right information, and uphold the ethical standards of journalism.

2. Read Arundhati Roy's essay "The Algebra of Infinite Justice" which you can
access on [Link]
Find the thesis statement.

Write a draft of a five-paragraph essay based on Roy's thesis statement following these
pointers:
- The topic should be the Philippines in a global context.
- Formulate your own thesis statement.
- Organize and develop ideas based on what you have encountered in social media.
- Ensure that the thesis and techniques are effectively developed.

Find a partner and peer-edit each other's draft based on the following:
- clarity of idea
- appropriate choice and use of literary elements
- effective combination of the idea and the chosen literary elements

Revise your draft using the literary conventions of essay and the feedback of your
partner.

V. EVALUATION

Read how a thesis statement is composed on

[Link] You can
also skim through different tabs found at the right side of the web page.

Process Questions:
1. Why will you risk both appearing confused and confusing the reader if you cannot
state the thesis statement in one to three sentences?

2. What will happen to your argument if you do not include evidence in your essay?

3. Why do literary texts tend to focus more on exploring problems, conflicts, and
questions than on offering solutions, resolutions, and answers?

Prepared by: Checked by:

IRENE P. LORENZO, LPT JR M. UY, LPT

Subject Teacher SHS Coordinator

JESSA MAE GAMOROT, LPT

Subject Teacher Approved by:

ABEGAIL PESCADERO, LPT CRISTINA A. PUSTA, LPT, MAST

Subject Teacher SHS Principal