Senior High School
NOT
21st Century
Literature from the
Philippines and the
World
Department of Education ● Republic of the Philippines
st
21 Century
Literature from
the Philippines
and the World
Quarter 2 - Module 2
Literature Around the World
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Department of Education ● Republic of the Philippines
21st Century Literature from the Philippines and the World
Alternative Delivery Mode
Quarter 1 – Module 1: Philippine Literature
Quarter 2 – Module 2: Literature Around the World
First Edition, 2020
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Reviewers:
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Table of Contents
What This Module is About ....................................................................................................................... i
What I Need to Know .................................................................................................................................. i
How to Learn from this Module .............................................................................................................. ii
Icons of this Module ................................................................................................................................... ii
What I Know ................................................................................................................................................iii-vii
Lesson 8 Week 1:
Asian Literature (China) ...................................................................................................... 1
What I Need to Know..................................................................................................... 1
What I Know ..................................................................................................................... 1
What’s In............................................................................................................................ 2
What’s New: ..................................................................................................................... 3
What Is It ........................................................................................................................... 4
What’s More: .................................................................................................................... 7
What I Have Learned: ................................................................................................... 7
What I Can Do: ................................................................................................................ 8
Assessment: (Post-Test) ............................................................................................. 9
Lesson 9 Week 2:
Asian Literature (Singapore) .......................................................................................... 10
What I Need to Know..................................................................................................... 10
What I Know ..................................................................................................................... 10
What’s In............................................................................................................................ 11
What’s New: ..................................................................................................................... 12
What Is It ........................................................................................................................... 13
What’s More: .................................................................................................................... 17
What I Have Learned: ................................................................................................... 17
What I Can Do: ................................................................................................................ 18
Assessment: (Post-Test) .......................................................................................... 18
Lesson 10 Week 2:
Asian Literature (Japan) ...................................................................................................... 20
What I Need to Know..................................................................................................... 20
What I Know ..................................................................................................................... 20
What’s In............................................................................................................................ 22
What’s New: ..................................................................................................................... 22
What Is It ........................................................................................................................... 23
What’s More: .................................................................................................................... 27
What I Have Learned: ................................................................................................... 28
What I Can Do: ................................................................................................................ 28
Assessment: (Post-Test) ......................................................................................... 29
Lesson 11 Week 3:
African Literature ....................................................................................................................... 30
What I Need to Know..................................................................................................... 30
What I Know ..................................................................................................................... 30
What’s In............................................................................................................................ 31
What’s New: ..................................................................................................................... 32
What Is It ........................................................................................................................... 33
What’s More: .................................................................................................................... 36
What I Have Learned: ................................................................................................... 38
What I Can Do: ................................................................................................................ 39
Assessment: (Post-Test) .......................................................................................... 40
Lesson 12 Week 4:
European Literature - I
......................................................................................................... 41
What I Need to Know..................................................................................................... 41
What I Know ..................................................................................................................... 41
What’s In............................................................................................................................ 42
What’s New: ..................................................................................................................... 43
What Is It ........................................................................................................................... 44
What’s More: .................................................................................................................... 49
What I Have Learned: ................................................................................................... 49
What I Can Do: ................................................................................................................ 49
Assessment: (Post-Test) .......................................................................................... 50
Lesson 13 Week 4:
European Literature - II ......................................................................................................... 51
What I Need to Know..................................................................................................... 51
What I Know ..................................................................................................................... 52
What’s In............................................................................................................................ 53
What’s New: ..................................................................................................................... 54
What Is It ........................................................................................................................... 54
What’s More: .................................................................................................................... 57
What I Have Learned: ................................................................................................... 57
What I Can Do: ................................................................................................................ 58
Assessment: (Post-Test) .......................................................................................... 59
Lesson 14 Week 5:
European Literature - III ....................................................................................................... 60
What I Need to Know..................................................................................................... 60
What I Know ..................................................................................................................... 61
What’s In............................................................................................................................ 62
What’s New: ..................................................................................................................... 63
What Is It ........................................................................................................................... 64
What’s More: .................................................................................................................... 68
What I Have Learned: ................................................................................................... 68
What I Can Do: ................................................................................................................ 68
Assessment: (Post-Test) .......................................................................................... 69
Lesson 15 Week 6:
North American Literature - I ......................................................................................... 71
What I Need to Know..................................................................................................... 71
What I Know ..................................................................................................................... 71
What’s In............................................................................................................................ 72
What’s New: ..................................................................................................................... 73
What Is It ........................................................................................................................... 74
What’s More: .................................................................................................................... 76
What I Have Learned: ................................................................................................... 76
What I Can Do: ................................................................................................................ 77
Assessment: (Post-Test)
78
Lesson 16 Week 7:
North American Literature - II........................................................................................ 80
What I Need to Know..................................................................................................... 80
What I Know ..................................................................................................................... 80
What’s In............................................................................................................................ 81
What’s New: ..................................................................................................................... 82
What Is It ........................................................................................................................... 83
What’s More: .................................................................................................................... 84
What I Have Learned: ................................................................................................... 85
What I Can Do: ................................................................................................................ 85
Assessment: (Post-Test) ............................................................................................. 86
Lesson 17 Week 8:
Latin American Literature - I ........................................................................................... 88
What I Need to Know..................................................................................................... 88
What I Know ..................................................................................................................... 88
What’s In............................................................................................................................ 90
What’s New: ..................................................................................................................... 91
What Is It ........................................................................................................................... 92
What’s More: .................................................................................................................... 99
What I Have Learned: ................................................................................................... 99
What I Can Do: ................................................................................................................ 99
Assessment: (Post-Test) ............................................................................................. 100
Lesson 18 Week 9:
Latin American Literature - II ......................................................................................... 101
What I Need to Know..................................................................................................... 101
What I Know ..................................................................................................................... 101
What’s In............................................................................................................................ 103
What’s New: ..................................................................................................................... 104
What Is It ........................................................................................................................... 104
What’s More: .................................................................................................................... 105
What I Have Learned: ................................................................................................... 106
What I Can Do: ................................................................................................................ 106
Assessment: (Post-Test) ............................................................................................. 107
Summary .................................................................................................................................................... 109
Assessment: (Post-Test) ...................................................................................................................... 110
Key to Answers......................................................................................................................................... 115
References................................................................................................................................................. 119
What This Module is About
Hello Learners! We have explored our country’s literature. Let us now turn to the
astounding wealth of literature of other countries. In this module, you will discover, appreciate,
and delight in the excellent literature from each region that we will explore.
The following are the lessons contained in this module:
1. Asian Literature
2. African Literature
3. European Literature
4. North American Literature
5. Latin American Literature
What I Need to Know
In this module, you are going to write a close analysis and critical interpretation
of literary texts, applying a reading approach, and doing an adaptation of these which
require you the ability to:
a. identify representative texts and authors from Asia, North America, Europe, Latin
America, and Africa,
c. compare and contrast the various 21st century literary genres and their elements,
structures, and traditions from across the globe,
d. produce a creative representation of a literary text by applying multimedia and ICT
skills,
e. do self-and/or peer assessment of the creative adaptation of a literary text, based on
rationalized criteria, prior to presentation
i
How to Learn from this Module
To achieve the objectives cited above, you are to do the following:
•
Take your time reading the lessons carefully.
•
Follow the directions and/or instructions in the activities and exercises diligently.
•
Answer all the given tests and exercises.
Icons of this Module
What I Need to
Know
This part contains learning objectives that
are set for you to learn as you go along the
module.
What I know
This is an assessment as to your level of
knowledge to the subject matter at hand,
meant specifically to gauge prior related
knowledge
This part connects previous lesson with that
of the current one.
What’s In
What’s New
An introduction of the new lesson through
various activities, before it will be presented
to you
What is It
These are discussions of the activities as a
way to deepen your discovery and understanding of the concept.
What’s More
These are follow-up activities that are intended for you to practice further in order to
master the competencies.
What I Have
Learned
Activities designed to process what you
have learned from the lesson
What I can do
These are tasks that are designed to showcase your skills and knowledge gained, and
applied into real-life concerns and situations.
ii
Pre-Test
Multiple Choice. Answer the questions that follow. Choose the best answer from
among the given choices.
1. Confucius is a famous ______________ in ancient Chinese history.
A. writer
B. narrator
C. philosopher
D. poet
2. The oldest collection of Chinese poetry is called ___________.
A. Book of Poetry
B. Book of Songs
C. Book of Changes D. Book of Olds
3. Who was the first writer in Chinese to win Nobel Prize for literature?
A. Kung Fu Tzu
B. Mo Yan
C. Lu Xun
D. Lao Tzu
4. Who is commonly considered the greatest Chinese writer of the 20th century?
A. Lu Xun
B. Lao Tzu
C. Confucius
D. Mo Yan
5. The theme of the The Taximan’s Story is
A. how hardworker the taximan is
B. how the passenger appreciates the taximan
C. how the taximan’s daughter is different compared to other girls.
D. how teenagers nowadays are different compared to older generations
6. The Taximan’s Story is written in ___________ point of view
A. first person point of view
C. Second person point of view
B. third person point of view
D. Omniscient point of view
7. The literature of Singapore comprises a collection of literary works by Singaporeans in any
of the country’s _______ languages.
A. two
B. three
C. four
D. five
8. It is something that shows how two things are alike, but with the ultimate goal of making a
point about this comparison.
A. simile
B. metaphor
C. analogy
D. allegory
9. A figure of speech that makes an implicit, implied, or hidden comparison between two
things that are unrelated but which share some common characteristics.
A. analogy
B. allegory
C. allusion
D. metaphor
10. A figure of speech whereby the author refers to a subject matter such as a place, event,
or literary work by way of a passing reference.
A. allegory
B. analogy
C. allusion
D. metaphor
11. The sequence of series of events in a story
A. setting
B. plot
C. theme
D. conflict
12. The underlying message that the writer would like to get across.
A. plot
B. theme
C. conflict
D. setting
13. The locale or period in which the action of a story takes place
A. conflict
B. setting
C. plot
D. mood
iii
14. ___________ is considered the world’s first novel.
A. Tale of Genji
B. Book of Songs
C. Tale of Yasunari
D.Book of Poetry
15. The country which has much influence on Japanese literature was ___________.
A. Singaporean
B. Chinese
C. Mongolian
D. Vietnamese
16. It consists of one or two pages of written critique that will succinctly discuss your idea,
realization, or concept regarding a literary selection.
A. essay
B. short paper
C. narrative
D. analysis
17. In the movie The Hunger Games why does the Capitol hold the Hunger Games?
A. To keep the districts happy
B. because they are part of a religious festival
C. as a way to control the size of the population
D. To remind the districts that they are powerless against it
18. Under what circumstances did Katniss first meet Peeta in Hunger Games?
A. They did a project at school together
B. They were both in the woods hunting
C. Peeta was injured and Katniss’ mother helped him.
D. Katniss was looking for food and Peeta gave her bread.
19. How do Katniss and Peeta force the Capitol to declare them both winners?
A. They threatened to run away
B. They threaten to commit suicide.
C. They threaten to cause a rebellion against the Capitol.
D. They threaten that the winner will tell about everything.
20. The bottle fizzed then popped is an example of _________.
A. onomatopoeia
B. simile
C. repetition
D. metaphor
21. The mouse beneath the stone is still as death is an example of _____________.
A. simile
B. metaphor
C. onomatopoeia
D. personification
22. When the word at the end of a line rhymes with another word at the end of another line, it
is called
A. internal rhyme
B. end rhyme
C. rhythm
D. repetition
23. A poem with songlike feel; it focuses on adventure or romance and tells a story it is
called
A. figurative language B. lyric
C. narrative
D. rhythm
24. The author of a poem is called ___________.
A. narrator
B. poet
C. author
D. writer
25. The movement that opened the avenue for writers to celebrate what is truly African
A. nationalistic
B. Negritude
C. Africanism
D. patriotism
26. Though African writers wrote in European language, they nevertheless embodied the
spirit of __________.
A. patriotism
B. nationalism
C. truth
D. bayanihan
iv
27. He took credit for developing magical realism
A. Mario Vargas Llosa
B. Gabriel Garcia Marquez
C. Julio Cortazar
D. Jose Garcia Villa
28.Which of the following is TRUE about magical realism?
A. It follows the traditional time structure.
B. It occurs because of the use of devices not similar to poetry.
C. The elements of the magical and the ordinary are interwoven seamlessly.
D. Magic realism is like science fiction.
29. Who said that immature poets imitate; mature poets steal?
A. Thomas Hardy
C. T.S. Eliot
B. Thomas Babington Macaulay
D. William Wordsworth
30. It is imaginative response to an experience reflecting a keen awareness of
language.
A. narrative
C. poetry
B. figurative language
D. words
31. Poetry uses two kinds of language. What are they?
A. long and short
C. lyric and narrative
B. literal and figurative
D. emotional and comparative
32. It is the spontaneous overflow of powerful words collected in moments of
tranquillity. This refers to what kind of poetry?
A. lyric
C. narrative
B. poetry
D. figurative
33. What kind of poetry gives a verbal representation, in verse, of a sequence of
connected events, it propels characters through a plot?
A. narrative
C. literal
B. lyric
D. figurative
34. In "Death" by Emily Dickinson, the three things that Death's carriage holds are...
A. hope, superstition, and truth
B. clarity, despair, and triumph
C. death, the speaker, and immortality
D. a way out, acceptance, and understanding
35. What does ‘setting sun’ indicate in the poem “Death” by Emily Dickinson?
A. death
C. life
B. sun
D. sunset
36. Which of the following statements about Emily Dickinson’s poem “Death” is TRUE?
A. It portrays death as something that should be feared.
B. It portrays death as something that should not be feared.
C. It highlights how everyone interprets death in the same way.
D. It highlights how everyone’s interpretation of death is unique.
37. As a literary device, persona refers to what three things:
A. character, voice, and role
B. drama, poetry and prose
C. music, movies, and audiobooks
D. fiction, non-fiction and historical fiction
v
38. What is a thing that represents something else?
A. symptom
B. theme
C. symbol
D. thesis
39. What is symbolism?
A. Any story that attempts to explain how the world was created
B. A pattern of sound that includes the repetition of consonant sounds
C. An actor’s speech, directed to the audience, that is not supposed to be heard by other
actors.
D. The use of an object, person, situation, or word to represent something else (an
idea) in literature
40. Which of the following is an example of symbolism in literature?
A. Fall representing growing old
B. water symbolizing rebirth
C. The color black to symbolize evil
D. All of these are correct
41. Identify what stage symbolizes.
“All the world’s a stage.
And all the men and women merely players;
they have their exits and their entrances;
And one man in his time plays many parts,”
A. world
B. participants
C. play
D. theatre
42. What is central idea?
A. tone of the passage
B. theme of the passage
C. a summarized sentence
D. central point that ties everything together.
43. Where could you find central idea?
A. first sentence
B. last sentence
C. not stated by implied
D. all of the above
44. Why would you need to know what the central idea of a paragraph/poem is?
A. I don’t know.
B. So you can find the theme.
C. So you could find the main idea.
D. so you can understand what the article/poem is about
45. In Sonnet XVII by Pablo Neruda, who is the persona talking to?
A. his mother
B. his sister
C. his other woman
D. a woman that he loves
46. What does rose of salt symbolize in Sonnet XVII?
A. something near the ocean
B. a rose made of salt
C. sand in the ocean
D. flower that grows near the ocean
vi
47. What is the meaning of the 3rd stanza of Sonnet XVII?
A. he simply loves her no matter what happens
B. he is telling his lover about a few things that don’t represent his love
C. he is telling how it is that he does love his partner.
D. he re-emphasizes the fact that his love is not based on beauty
48. To what sense does the second stanza appeal to?
A. smell
B. taste
C. sight
D. touch
49. What is the central idea of the sonnet?
A. one should not fear death
B. growth and decay evident in the battle against time
C. immortality can be reached through the poet's "engrafting
D. to love completely and honestly is the most beautiful thing of all
50. What is literature?
A. It refers to writing considered to be an art form or any single writing deemed to have artistic
or intellectual value.
B. It is a survey of scholarly sources (such as books, journal articles, and theses) related to a
specific topic.
C. It is the comparison, analysis, interpretation, and/or evaluation of works of literature.
D. It is subjective writing because it expresses the writer's opinion or evaluation of a text
vii
Lesson
8
Asian Literature: Chinese
Grade 12, First Semester, Q2 – Week 1
What I Need to Know
In this module, you are going to write a close analysis and critical
interpretation of literary texts and doing an adaptation of these which require
you the ability to:
In this lesson, you are going to:
a. Identify representative texts and authors from Asia, North America,
Europe, Latin America, and Africa; (EN12Lit-IIa-22)
b. Produce a creative representation of a literary text by applying
multimedia and ICT skills; (EN12Lit-IIij-31.1)
c. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
What I Know
Try your hand on the crossword puzzle. Which ones do you know
about Chinese literature?
Across
1. Confucius is a famous ____ in
ancient Chinese history.
2. The mystic philosophy inspired
by Chinese philosopher Lao Tzu
3. oldest collection of Chinese
poetry
5. Chinese literature has very
_____beginnings.
6. It is a series of rulers from the
same family
9. The poet who centers his works
on war and bitter experience.
Down
2. The great poets Li Po and Tu Fu
became popular during this dynasty.
4. He is Kung Fu Tzu, and he founded
Confucianism.
7. Who was the first writer in Chinese to
win Nobel Prize for literature?
8. Who is commonly considered the
greatest Chinese writer of the 20th
century?
1
What’s In
Having probed the diversity and vast richness of Philippine literature –
from the country’s pre-colonial oral traditions to the literature at contemporary times,
let us now explore the literature of other countries across the globe and discover the
uniqueness, distinction, and complexity of their literary traditions. We will have a tour
from one continent to another for us to appreciate the literature of each region. Our
exploration will start with our neighboring countries in Asia.
Asian regions that have produced literature through the ages include: East Asia
(China, Japan, Korea); South Asia (which includes India); Central Asia (Afghanistan,
Kazakshtan, Turkmenistan, Uzbekistan, Mongolia, Tibet, and Nepal); the Middle East;
and Southeast Asia (which includes the Philippines).
Modern influences on Asian literature include cultural movements, war and
colonization, and influence from the West. (Simoun Victor D. Redoblado, Brilliant Creations
Publishing, Inc., 2017, 102-105)
Before we take the tour, let’s look back at what you’ve learned from our own
Philippine literature.
Read carefully each statement. Choose the correct answer, and write the letter of the
correct answer in your LITERATURE ACTIVITY NOTEBOOK.
1. What poetry is written and read on a mobile phone?
A. rhyme
B. hypertext
C. lyric poetry
D. textual
2. Which of these statements is NOT TRUE about creative nonfiction?
A. It tells a real story.
C. It is a major genre of literature.
B. It tells a realistic story.
D. It uses a literary style of writing
3. All of these kinds of electronic literature are of the same genre EXCEPT one.
Which one is it?
A. hyperfiction
B. hyperpoetry
C. photo poem
D. textual
4. Characterized by beauty of expression and form and by the universality of
intellectual and emotional appeal is ____________.
A. literature
B. poem
C. prose
D. story
5. It covers all stories from fantasy to science fiction to slipstream to magic realism to
urban fantasy.
A. Chick lit
C. hyper poetry
B. flash fiction
D. speculative fiction
6. What is 21st century literature?
A. anything written and published in the year 1900
B. anything written and published in 1990 onwards
C. anything written and published in the year 2000s.
D. anything written and published in the year 2010 onwards
7. “Manananggal Terrorizes Manila and Other Stories” is an example of this 21st
century literature genre. What is it?
2
A. Chick lit
B. Creative Nonfiction
C. Flash fiction
D. Graphic novels.
8. It is consists of heroine-centered narratives that focus on the trials and tribulations
of their individual protagonists.
A. speculative fiction
B. chick lit
C. creative nonfiction
D. flash fiction
9. Flash fiction goes by many names, and they include the following EXCEPT
A. microfiction
B. microstories
C. short-short stories
D. story card fiction
10. It is an online journal or informational website displaying information in the
reverse chronological order, with latest posts appearing first.
A. graphic novels
B. blog
C. text tula
D. hyperpoetry
What’s New
At this point in our study of world literature, we are going to take a look
at Chinese culture. Take a minute or two to remember the things you already know
about China. You will give three(3) of each category that will be asked. Write your
answers in your LITERATURE ACTIVITY NOTEBOOK.
A. Entertainment
Name 3 types of Chinese Art
1.
C. History
Name 3 dynasties in China
1.
2.
2.
3.
3.
B. Food
Name 3 crops grown in China
1.
D. Religion
Name 3 religions in China
1.
2.
2.
3.
3.
3
\What Is It
Chinese literature began more than two thousand years ago, with The Book of
Poetry (Shijing) as its first anthology. This book, compiled sometime after 600 B.C. by
Confucius (551–479 B.C.), is a collection of 305 poems that date back to a period
between approximately 800 and 600 B.C.
Among the rhetorical devices employed in this first poem of The Book of Poetry
is the use of metaphor — crying ospreys compared to the lord and lady, for instance.
Following The Book of Poetry, highlights of traditional Chinese literature include
The Songs of the South (Chuci); the prose writings in history and philosophy of the Qin
and Han dynasties; Tang poetry; the Song lyric; the prose of the Tang and Song
dynasties; and the short stories, novels, and dramas from the Tang to the Qing
dynasties.
The modern period of Chinese literature, which began in the 1910s, is even
more multifarious and voluminous. Running the risk of abstraction and
oversimplification, Chinese literature is characterized as the expression of both the
heart and the mind, as concerning the individual and society, as variously sublime and
graceful, and as blending reality and the imagination.
Traditional Chinese literature developed under the intellectual influences of
Confucianism, Daoism (Taoism), and Buddhism. Confucianism preaches
benevolence, righteousness, individual effort, commitment to society, and harmony
among people.
Traditional Chinese literature came under the influence of Christianity in the
Ming dynasty (1368 – 1644), when Western missionaries made their way to China. As
music is related to poetry, traditional Chinese poetry was inevitably influenced by the
music of the non-Chinese ethnic groups who resided mostly on the Chinese borders.
In general, traditional Chinese literature, though mainly a product of Chinese
civilization, has absorbed, in its course of development, certain elements from cultures
other than the Chinese.
Chinese literature in the twentieth century made a dramatic turn to the West.
This change affected not just literature but virtually all aspects of Chinese culture.
To be sure, twentieth-century Chinese literature has been receptive to the
literary works of such Eastern countries as India and Japan, but the presence of the
West is quite overwhelming.
In Modern times, Chinese writers have remained prolific. Though the social
impact of literature may be as monumental as it was in the past, the Chinese literary
tradition is nevertheless prosperous. Notable names include Mo Yan, a fictionist who
won the 2012 Nobel Prize for Literature. Remarkable too were the novels of Yu Hua,
Wang Shuo and Shi Tiesheng, and the stories of Gao Xiaosheng, Wang Zengqi, and
Zhang Chenzhi. ( https://core.ac.uk/download/pdf/46722071.pdf & Simoun Victor D. Redoblado,
Brilliant Creations Publishing, Inc., 2017), 104)
https://www.slideshare.net/geumjen2/the-literature-of-china
4
As religion, war, and politics shaped Asian societies, literature prospered to
mirror these developments. As children of this continent, we need to appreciate the
literary outputs of our Asian neighbors.(Simoun Victor D. Redoblado, (Brilliant Creations
Publishing, Inc., 2017), 102.
Now, be ready to read one of Arthur Waley’s works. Arthur Waley was a 20th
century scholar who translated numerous Chinese and Japanese classics.
Battle
Chu’ü Yüan
translated by Arthur Waley
“We grasp our battle-spears: we don our breast-plates of hide.
The axles of our chariots touch: our short swords meet.
Standards obscure the sun: the foe roll up like clouds.
Arrows fall thick: the warriors press forward.
They menace our ranks: they break our line.
The left-hand trace-horse is dead: the one on the right is smitten.
The fallen horses block our wheels: they impede the yoke-horses!”
They grasp their jade drum-sticks: they beat the sounding drums.
Heaven decrees their fall: the dread Powers are angry.
The warriors are all dead: they lie on the moor-field.
They issued but shall not enter: they went but shall not return.
The plains are flat and wide: the way home is long.
Their swords lie beside them: their blacks bows, in their hand.
Though their limbs were torn, their hearts could not be repressed.
They were more than brave: they were inspired with the spirit of “Wu.”
Steadfast to the end, they could not be daunted.
Their bodies were stricken, but their souls have taken Immortality –
Captains among the ghosts, heroes among the dead.
https://doina-touchingheartsblogspot.com/2019/01/battle-by-chu-yuan-332-295-bcfrom.html
Source: https://mongolempirewhap.weebly.com/conquest.html
5
Read another poem written by a modern Chinese poet, Yu Xiuhua, who
became well known in 2014 with her online poem “Crossing Half of China to Sleep
with You.” Explore one of her poems.
On the Threshing Floor, I Chase Chickens Away
Yu Xiuhua
translated by Ming Di
And I see sparrows fly over. They look around
as if it’s inappropriate to stop for just any grain of rice.
They have clear eyes, with light from inside.
Starlings also fly over, in flocks, bewildered.
They flutter and make a sound that seems to flash.
When they’re gone, the sky gets lower, in dark blue.
In this village deep in the central plain
the sky is always low, forcing us to look at its blue,
the way our ancestors make us look inside ourselves,
narrow and empty, so we look out again
at the full September –
we’re comforted by its insignificance but hurt by its smallness.
Living our life this way, we feel secure.
So much rice. Where does it come from?
So much gold color. Where does it come from?
Year after year I’ve been blessed, and then deserted.
When happiness and sadness come in the same color code,
I’m happy
to be forgotten. But who am I separated from?
I don’t know. I stay close to my own hours.
https://www.worldliteraturetoday.org/2018/july/two-poems-yu-xiuhua
https://commons.wikimedia.org/wiki/File:Pirosmani._Threshing-floor._1916,_Oil_on_cardboard,_72X100.jpg
6
What’s More
Compare the work of Chu’ü Yüan with the work of Yu Xiuhua. Consider
the similarities and differences in subject matter, imagery, and style in your
comparison. Copy the diagram in your LITERATURE ACTIVITY NOTEBOOK.
Then, Fill in the Venn Diagram with the similarities and differences of the two
poems.
Battle
Chu’ü Yüan
Battle
Subject
matter:
Chu’ü Yüan
On the Threshing Floor, I Chase
Chickens Away
Similarities
Battle
Chu’ü Yüan
Yu Xiuhua
Battle
Chu’ü Yüan
imagery:
style:
What I Have Learned
Answer the following questions. Write your answers in your
LITERATURE ACTIVITY NOTEBOOK.
1. What emotions do you feel after reading the poem? Why did you feel that way?
___________________________________________________________________
2. How would you compare the two poems? Which elements do they share, and
what differences do they have?
___________________________________________________________________
___________________________________________________________________
3. What message does each poem convey?
___________________________________________________________________
___________________________________________________________________
7
What I Can Do
Your task is to create a beautiful multimedia presentation that showcases one
of the best Chinese short stories written. Your multimedia must not exceed five (5)
minutes. It must have the complete elements of the story. Be creative and be visually
appealing.
Criteria
Description
Score
10 points
7 points
4 points
The
The
The
Visual appeal
presentation is presentation is presentation
visually
moderately
has poor visual
appealing, with appealing
appeal, with
harmonious
visually, with
unbalanced
colors, shapes, generally
color
and sizes of
harmonious
combinations,
figures in the
colors, shapes, shapes, and
presentation.
and sizes of
sizes of figures
figures in the
in the
presentation
presentation
Cohesion
The
The
The
presentation
presentation
presentation is
shows all the
shows some of confusing; it
elements of the the elements of does not show
short story and the short story all the
blends it well in and blends it in elements of the
the narrative
the narrative.
short story and
these do not
blend well in
the narrative
Creativity
The
The
The
presentation is presentation is presentation is
unique,
somewhat
unoriginal, and
interesting, and unique and fun it is not
innovative. It is to watch.
pleasant to
a pleasure to
watch.
watch.
Score
Adopted: DIWA Senior High School Series, DIWA Textbooks, 2016, p. 67
8
/30
Post Assessment
Read carefully each statement. Choose the correct answer, and write
the letter of the correct answer in your LITERATURE ACTIVITY NOTEBOOK.
1. Confucius is a famous ____ in ancient Chinese history.
A. historian
B. poet
C. philosopher
D. emperor
2. Name the mystic philosophy inspired by Chinese philosopher Lao Tzu.
A. Daoism
B. Confucianism
C. Taoism
D. Buddhism
3. The great poets Li Po and Tu Fu became popular during this dynasty.
A. Shang Dynasty
B. Ming Dynasty
C. Tang Dynasty
D. Hang Dynasty
4. What is the subject matter of the poem “Battle” by Chu’ü Yüan?
A. nationalism
B. patriotism
C. independence D. loyalty
5. Chinese literature has very _____beginnings.
A. new
B. ancient
C. recent
D. contemporary
6. Which of the following is the oldest collection of Chinese poetry?
A. Book of Psals
B. Book of Songs C. Book of poetry D. Book of old
7. Who was the first writer in Chinese to win Nobel Prize for literature?
A. Li Po
B. Du Fu
C. Lu Xhun
D. Mo Yan
8. Which of the following imagery is used in “On the Threshing Floor, I Chase
Chickens Away?
. A. arrows fall thick
B. the virtual spring in the flowering
C. starlings also fly over, in flocks, bewildered
D.the axles of our chariots touch: our short swords meet
9. The poet who centers his works on war and bitter experience.
A. Du Fu
B. Lu Xhun
C. Mo Yan
D. Chu’ü Yüan
10. Who is commonly considered the greatest Chinese writer of the 20 th century?
A. Mo Yan
B. Du Fu
C. Yu Xiuhua
D. Lu Xhun
9
Lesson
9
Asian Literature: Singaporean
Grade 12, First Semester, Q2 – Week 2
What I Need to Know
You will continue your journey in discovering Asian literature. This time
you will learn about Singaporean literature. Be ready to experience different activities
that are designed to help deepen your understanding about the country’s literature.
In this Lesson, you are going to:
a. Compare and contrast the various 21st century literary genres and
their elements, structures, and traditions from across the globe;
(EN12Lit-IId-25)
b. Produce a creative representation of a literary text by applying
multimedia and ICT skills; (EN12Lit-IIij-31.1)
c. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
What I Know
Congratulations! You finished exploring Chinese literature. You were able to
compare and contrast two poems written by calibre poets. Now, it’s time for you to
move to another destination - a country which is just a neighbour to us in Southeast
Asia, but before we move on, let’s check what you now know about Singapore’s
literature.
. Read carefully each statement. Choose the correct answer, and write the letter of the
correct answer in your LITERATURE ACTIVITY NOTEBOOK.
1. The literature of Singapore comprises a collection of literary works by Singaporeans
in any of the country’s four main languages namely, English, _______, Malay and
Tamil.
A. Singaporean
B. Chinese
C. Malaysian
D. Indonesian
2. The poetry of this Singaporean younger generation is often politically aware,
____________ and cosmopolitan.
A. global
B. transnational
C. national
D. hierarchical
3. What is the predominant mode of expression in Singaporean literature?
10
A. novel
B. drama
C. poetry
D. song
4. _____________ writing in English did not start in earnest until after independence.
A. Poetry
B. Narrative
C. Fiction
D. Novel
5. Who remains a pioneer in writing novels?
A. Catherine Lim
B. Goh Poh Seng C. Kuo Pao Kun
D. Robert Yeo
6. At what point of view is The Taximan’s Story is written?
A. first person
B. third person
C. second person
D. omniscient
7. The passenger of the taximan in the story is a ____________________.
A. woman
B. teacher
C. doctor
D. tourist
8. In the Singaporean story The Taximan’s Story, what is the irony?
A. The taximan picks up young girls and their foreign boyfriends in his taxi to make
more money, but his son also hangs out with his foreign friends to make money.
B. The taximan stated that he must sweat a lot, so he could support his family while
he just lets his daughter stay in the house.
C. The taximan talks to his passenger about his life as a taxi man, where he had
been driving the taxi for 20 years, but he said that his life has no improvement.
D. The taximan picks up young girls and their foreign boyfriends in his taxi to make
more money, but his daughter also hangs out with foreign men for money.
9. The passenger of the taximan wants him to take her to the ________________.
A. National hotel of Singapore
B. National University of Singapore
C. National museum of Singapore
D. National airport of Singapore
10. What is the theme of The Taximan’s Story?
A. lack of moral values among teenagers these days
B. the problem of the taximan about his daughter
C. the financial struggle of the taximan
D. the dishonesty of some students towards their parents
11
What’s In
Before we move on, let’s check what you’ve learned about Chinese
literature.
Fill in the blanks with word/s that will complete each statement about Chinese
literature. Write your answer in your LITERATURE ACTIVITY NOTEBOOK.
1-3. Modern influences on Asian literature include ___________ movements, war
and ________________, and influence from the ____________.
4-5. Asian regions that have produced literature through the ages include East Asia,
____________, Central Asia, the Middle East, and ______________.
6. __________________ wrote the poem Battle.
7. On the Threshing Floor, I Chase Chickens Away was written by ______________.
8. The theme of the poem Battle is ______________________.
9. ____________________ was a 20th century scholar who translated numerous
Chinese and Japanese classics.
10. On the Threshing Floor, I Chase Chickens Away was originally written in Chinese,
but it was translated by _________________ to English.
What’s New
Create a semantic map about everything you know about Singapore
and its literature. An example of a semantic map is given below. You may create
your own. Write your answer in your LITERATURE ACTIVITY NOTEBOOK.
Singapore
12
What Is it
The literature of Singapore comprises a collection of literary works by
Singaporeans in any of the country’s four main languages: English, Chinese, Malay
and Tamil. A number of Singaporean writers such as Tan Swie Hian and Kuo Pao Kun
have contributed work in more than one language.
There were varying levels of activity in succeeding decades, with poets in the
late 1980s and early 1990s including Simon Tay, Leong Liew Geok, Koh Buck Song,
Heng Siok Tian and Ho Poh Fun. In the late 1990s poetry in English in Singapore
found a new momentum with a whole new generation of poets born around or after
1965 now actively writing and publishing, not only in Singapore but also internationally.
The poetry of this younger generation is often politically aware, transnational and
cosmopolitan, yet frequently presents their intensely focused, self-questioning and
highly individualised perspectives of Singaporean life, society and culture. Some poets
have been labelled Confessional for their personalised writing, often dealing with
intimate issues such as sexuality.
With the independence of Singapore in 1965, a new wave of Singapore writing
emerged, led by Edwin Thumboo, Arthur Yap, Robert Yeo, Goh Poh Seng, Lee Tzu
Pheng and Chandran Nair. Poetry is the predominant mode of expression; it has a
small but respectable following since independence, and most published works of
Singapore writing in English have been in poetry.
Drama in English found expression in Goh Poh Seng, who was also a notable
poet and novelist, in Robert Yeo, author of 6 plays, and in Kuo Pao Kun, who also
wrote in Chinese. The late Kuo was a vital force in the local threatre rrenaissance in
the 1980s and1990s.
Fiction writing in English did not start in earnest until after independence. Short
stories flourished as a literary form, the novel arrived much later. Goh Poh Seng
remains a pioneer in writing novels well before many of the later generation, with titles
like If We Dream Too Long (1972) – widely recognised as the first true Singaporean
novel – and A Dance of Moths (1995). (https://www.scribd.com/document/412634387/21stCentury-Literature-of-the-Philippines-and-of-the-World-1)
Below is the text “The Taximan’s Story.” Read the text and identify the points in
which Singaporean literature is similar with Philippine literature and the points in which
they differ.
The Taximan’s Story
By Catherine Lim “Little Ironies” : Stories of Singapore
Take me to National University of Singapore, please make it fast cause I got a
meeting to attend and I need to be there on time. Very good, Madam. Sure I will take
you there in plenty good time for your meeting, Madam. This way better, less traffic,
less car jams. Half hour should make it, Madam, so not to worry.
Have you been taxi man for a long time? What did you say, Madam? I said
have you been taxi man for a long time? Ha, ha, Yes, yes. I’ve been taxi man for 20
13
years now, Madam. A long time ago, Singapore not like this – so crowded, so busy.
Last time, more peaceful, not so much taxi men or so much cars and buses.
Oh, you must been working so hard! Yes,Madam, I can make a living. So so.
What to do? I must work hard if wants to success in Singapore. People like us, no
education, no capital for business, we must sweat to earn money for wife and children.
Do you have a big family? Yes, Madam,quite big family–eight children,six
sons,two daughters.Big family! Ha!ha! No good, Madam. In those days, where got
Family Planning in Singapore? People born many, many children, every year, one
childs.Is no good at all. Two children, three children, enough, stop. Our goverment say
stop.
Lucky for me, all my children big now. Four of my sons working–one a
businessman, two clerks, one a teacher in Primary school, one in National Service,
one still schooling. My eldest daughter, she is twenty plus, stay at home, help the
mother.
Is your daughter already married? No,not married yet–very shy, and her health
not so good, but a good, obedient girl. My other girl– Oh, Madam! Very hard for father
when daughter is no good and go against her parents. Very sad, like punishment from
God
Today, young people not like us when we are young. We obey. Our parents say
don’t do this, we never do. Otherwise, the cane. My father cane me, I was big enough
to be married, and still got caning. My father he was very strict, and that is good thing
for parents to be strict. If not, young boys and girls become very useless. Do not want
to study, but run away, and go to night clubs and take drugs and make love. You agree
with me, Madam?
Yes! I absolutely agree with you. Today, young people they are very trouble to
their parents. Madam, you see this young girl over there, outside the coffee house?
See what I mean, Madam? Yes. they are only schoolboys and schoolgirls, but they
act as big shots, spending money, smoking, wearing latest fashion, and making love.
Yes, that’s true. Even though you’re just a taxi man you are aware about the behaviour
of the teenagers today. Ah, madam, I know! As taxi man, I know them and their habits.
Madam, you are a teacher, you say? Yes. You know or not that young
schoolgirls, fifteen, sixteen year old, they go to school in the morning in their uniforms
and then afterschool, they don’t go home, they have clothes in their schoolbag, and
they go to public lavatory or hotel and change into these clothes, and they put makeup on their face. Their parents never know. They tell their Mom go school meeting,
got sports and games, this, that, but they really come out and play the fool.
Ah, Madam, I see you surprise but I know, I know all their tricks a lot. as I take
them in my taxi. they usual is wait in bowling alley or coffee house or hotel, and they
walk up, and friend, the European and American tourists, and this is how they make
fun and also extra money.
Madam, you believe or not when I tell you how much money they got? I say!
Last night, Madam, this young girl, very pretty and make-up and wear sexy dress. She
told me take her to orchid mansions – this place famous, Madam, fourth floor flat –
and she open her purse to pay me, and I say! All American notes – ten dollar notes
all, and she pull one out and say keep change! As she has no time already.
Madam, I tell you this, every month, I got more money from these young girls
and their American and European boyfriends in my taxi, more than I get from other
14
people who bargain and say don’t want go by meter and wait even for ten cents
change. Phui!! Some of them really make me mad. But these young girls and their
boyfriends don’t bargain, they just pay, pay, and they make love in taxi so much they
don’t know if you go round and round and charge them by meter!
I tell you, Madam, some of them don’t care how much they spend on taxi. It is
like this: after 1 a.m. taxi fare double, and I prefer working this time, because naturally,
much more money. I go and wait outside Elroy Hotel or Tung Court or Orchid
Mansions, and such enough, Madam, will have plenty business. Last Saturday,
Madam, no joking, on one day alone I make nearly one hundred and fifty dollars! Some
of it for services. Some of tourists don’t know where, so I tell them and take them there,
and that’s extra money.
You surely know a lot of things. Ah Madam, if I tell you all, no end to the story.
But I will tell you this, Madam. If you have young daughter and she say Mummy I got
meeting today in school and will not come home, you must not say, Yes, yes, but you
must go and ask her where and why and who, and you find out. Today young people
not to trust, like young people in many years ago.
Why are you telling this? Oh, Madam, I tell you because I myself have a
daughter – oh, Madam, a daughter I love very much, and she is so good and study
hard. And I see her report cards and her teacher write ‘Good work’ and ‘Excellent’ so
on, so on. Oh, Madam, she my favourite child, and I ask her what she want to be after
left school, and she says go to University.
None of my other children could go to University, but this one, she is very smart
and intelligent – no boasting, Madam – her teachers write ‘Good’ and ‘Excellent, and
so on, so on, in her report cards. She study at home, and help the mother, but
sometimes a little lazy, and she say teacher want her to go back to school to do extra
work, extra coaching, in her weak subject, which is math, Madam.
So I let her stay back in school and day after day she come home in evening,
then she do her studies and go to sleep. Then one day, oh Madam, it makes me so
angry even now – one day, I in my taxi driving, driving along and hey! I see a girl
looking like my Lay Choo, with other girls and some Europeans outside a coffee-house
but I think, it cannot be Lay Choo, how can, Lay Choo is in school, and this girl is all
dressed up and mak-up, and very bold in her behaviour, and this is not like my
daughter at all.
Then they go inside the coffee-house, and my heart is very, very – how you
describe it, Madam, my heart is very susah hati’ and I say to myself, I will watch that
Lay Choo and see her monkey tricks. The very next day she is there again I stop my
taxi, Madam, and I am so angry. I rush up to this wicked daughter and I catch her by
the shoulders and neck, and slap her and she scream, but I don’t care. Then I drag
her to my taxi and drive all the way home, and at home I thrash the stupid food and I
beat her and slap her till like hell. My wife and some neighbors they pull me away, and
I think they not pull me away, I sure to kill that girl.
I lock her up in her room for three days, and I ashamed to tell her teacher, so I
just tell the teacher that Lay Choo is sick, so please to excuse her. Oh, Madam, how
you feel in my place? Make herself so cheap, when her father drive taxi all day to save
money for her University.
Is everything between you and your daughter okay now? What is it, Madam? I
said is everything between you and your daughter okay now? Yes, yes, everything
15
okay now, thank you. she cannot leave the house except to go to school, and I tell her
mother always check, check in everything she do, and her friends – what sort of people
they are…
Can you wait for me until my meeting is done? What, Madam? Oh, so sorry,
Madam, cannot wait for you to finish your meeting. Must go off, please to excuse me.
In a hurry, Madam. Must go off to Hotel Elroy –there plenty people to pick up. So very
sorry, Madam, and thank you very much. Oh, that’s ok. Here’s the payment. Thank
you for sharing your story to me.
My youngest daughter have a similar behavior. Similar like the other schoolgirls
that act like gangster since you’re a teacher, did you know something strange about
the girls? After school time, they don’t really go home but they go to hotels and other
places for sure.
If you have a daughter, don’t accept her trust. But you only do that when she
wants to go out just like my naughty daughter who really got caught. For that, I scolded
her so loud that I don’t even care so I just shout. ----end---(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-ofthe-World-1)
source: https://www.piqsels.com/sv/search?q=singapore%2C+stad&page=12
What’s more
Answer the questions below. Write your answers in your LITERATURE
ACTIVITY NOTEBOOK.
1. Who are the characters presented in the story? Can you describe them?
2. What is the irony in the story?
3. What themes are discussed in the story?
What I Have Learned
Answer the following questions about the story you’ve read. Write your
answers in your LITERATURE ACTIVITY NOTEBOOK.
16
1. How do you like “The Taximan’s Story?”
______________________________________________________________
2. Do you think the characteristics and personality of the taxi driver is true for
all taxi drivers? Explain your answer.
______________________________________________________________
3. How realistic is this story? _______________________________________
______________________________________________________________
4. What do you think of the taximan? Do you feel sympathy for him?
______________________________________________________________
What I Can Do
Write a comparative analysis of the Singaporean story The Taximan and
a literary work from the Philippines. Your aim is to use defamiliarization which means
that your focus should be on the form and technique used in literature rather than in
its content. Write your analysis in your LITERATURE ACTIVITY NOTEBOOK.
Rubric:
Criteria
Analysis
Description
10 points
The analysis is
comprehensive,
exhaustive, and
logical.
Cohesion
The paper is
cohesive and all
ideas relate with
one another.
Research
The paper is wellresearched.
7 points
The analysis may be
given more
comprehension and
must be edited for
brevity.
The paper is slightly
cohesive and may
need to rid of some
ideas that do not
relate to the
wholeness of the
paper.
The paper needs
further research.
Score
4 points
The analysis needs
thorough editing
for comprehension
and logic.
The paper needs
thorough editing
for cohesion and
logic.
The research
presented in the
paper does not
suffice at all.
Score
Adopted: DIWA Senior High School Series, DIWA Textbooks, 2016, p. 187
/30
Post assessment
Let’s recall our lesson about Singapore literature. Read carefully each
statement. Choose the correct answer, and write the letter of the correct answer in
your LITERATURE ACTIVITY NOTEBOOK.
17
1. Poetry writing in English did not start in earnest until after _____________.
A. war
B. independence
C. World War 1
D. holocaust
2. The __________of this Singaporean younger generation is often politically aware,
transnational and cosmopolitan.
A. novel
B. drama
C. poetry
D. song
3. The literature of Singapore comprises a collection of literary works by Singaporeans
in any of the country’s _________ main languages .
A. two
B. three
C. four
D. five
4. What is the predominant mode of expression in Singaporean literature?
A. novel
B. drama
C. poetry
D. song
5. Who remains a pioneer in writing novels?
A. Catherine Lim
B. Goh Poh Seng C. Kuo Pao Kun
D. Robert Yeo
6. The passenger of the taximan in the story is a ____________________.
A. woman
B. teacher
C. doctor
D. tourist
7. The passenger of the taximan wants him to take her to the ________________.
A. National hotel of Singapore
B. National University of Singapore
C. National museum of Singapore
D. National airport of Singapore
8. What is the theme of The Taximan’s Story?
A. lack of moral values among teenagers these days
B. the problem of the taximan about his daughter
C. the financial struggle of the taximan
D. the dishonesty of some students towards their parents
9. At what point of view is The Taximan’s Story is written?
A. first person
B. third person
C. second person
D. omniscient
10. In the Singaporean story The Taximan’s Story, what is the irony?
A. The taximan picks up young girls and their foreign boyfriends in his taxi to make
more money, but his son also hangs out with his foreign friends to make money.
B. The taximan stated that he must sweat a lot, so he could support his family while
he just lets his daughter stay in the house.
C. The taximan talks to his passenger about his life as a taxi man, where he had
been driving the taxi for 20 years, but he said that his life has no improvement.
D. The taximan picks up young girls and their foreign boyfriends in his taxi to make
more money, but his daughter also hangs out with foreign men for money.
Lesson
10
Asian Literature: Japanese
Grade 12, First Semester, Q2 – Week 2
18
What I Need to Know
We are now on Lesson 3 which is still about Asian literature, but this time
our focus is on the literature of the Land of the Rising Sun, Japan. Let’s explore
richness of their literature.
In this lesson, you are going to:
a. Compare and contrast the various 21st century literary genres and
their elements, structures, and traditions from across the globe
(EN12Lit-IId-25)
b. Produce a creative representation of a literary text by applying
multimedia and ICT skills; (EN12Lit-IIij-31.1)
c. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
What I Know
A. Figures of speech are used in writing to show comparison. Some of
these are simile, metaphor, analogy, allegory, and allusion.
Tell which figure of speech is being defined. Write the correct word in
your LITERATURE ACTIVITY NOTEBOOK.
It is something that shows how
two things are alike, but with the
ultimate goal of making a point
about this comparison.
Ex. I like to imagine that the world is
one big machine. ...
A figure of speech that makes an
implicit, implied, or hidden
comparison between two things
that are unrelated but which
share some common
characteristics.
1. ___________________________
2. ___________________________
Ex. Her long hair was a flowing
golden river.
A
of speech
in whichone
Anfigure
expression
comparing
abstract
and principles
thing withideas
another,
always are
described
in terms
characters,
including the
wordsof“as”
or “like”
figures,
and events.
Ex.
Ex. The Masque of the Red Death
by Edgar Allan Poe is an allegory for
death. The moral is no man escapes
death.
19
3. ___________________________
4. ___________________________
Ex. Her cheeks are red like a rose.
A figure of speech whereby the
author refers to a subject matter
such as a place, event, or literary
work by way of a passing
reference.
5. ___________________________
B. Fill in each blank with the correct word to complete each statement below about
Japanese literature. Choose from the word bank. Write your answers in your
LITERATURE ACTIVITY NOTEBOOK.
China
classical
kabuki
ancient
medieval
poetry
myths
modern
yomihon
Heian
legends
Tale of Genji
history
literature
drama
1. The country which has much influence on Japanese literature was ____________.
2. Japanese literature can be divided into four periods: the ___________,
____________, ___________________, and ________________.
3. Ancient literature in Japan deals primarily with ______________ and __________.
4. The classical literature in Japan occurred during the golden age, the ____________
period.
5. ______________ is considered the world’s first novel.
6. ____________ and ______________ intertwined during the Medieval period due
to the influence of the civil wars and the emergence of the warrior class.
7. The early modern period gave way to the rise of new genres like the Japanese
_____________, _______________, _________________, and _____________.
What’s In
In Lesson 2, you’ve learned about the Singaporean literature which is
similar to Philippine literature when it comes to association in culture, customs and
traditions. Now, it is time for you to discover the literary traditions of another Asian
country. Before you proceed, answer the activity below.
20
Fill in the blanks with word/s to complete each statement. Write your answers in your
LITERATURE ACTIVITY NOTEBOOK.
1. The literature of Singapore comprises a collection of literary works by Singaporeans
in any of the country’s four main languages namely, English, _______, Malay and
Tamil.
2. The poetry of this younger generation is often politically aware, ____________ and
cosmopolitan.
3. _________ is the predominant mode of expression; it has a small but respectable
following since independence, and most published works of Singapore writing in
English have been in poetry.
4. _____________ writing in English did not start in earnest until after independence.
5. _____________ remains a pioneer in writing novels
6. The Taximan’s Story is written in ____________________point of view.
7. The passenger of the taximan in the story is a ____________________.
8. The daughter of the taximan who was no different than other young girls who have
American and European boyfriend is _______________________.
9. The passenger of the taximan wants him to take her to _____________________.
10. The setting of the The Taximan’s story is _______________________________.
What’s New
Identify the figurative language used in each item below. Tell if it is a
sample of simile, metaphor, allusion, analogy, or allegory. Write your answer in
your ACTIVITY NOTEBOOK.
1. I could stare into your eyes as / a thousand years come and go.
2. You brag about your backyard so much people will think it's the Garden of Eden.
3. Aesop’s fable “The Hound Dog and the Rabbit” teaches that incentive will spur
effort.
4. Kisses are the flowers of affection.
5. Look, love, what envious streaks
Do lace the severing clouds in yonder East:
Night’s candles are burnt out, and jocund day
Stands tiptoe on the misty mountain tops.
What Is It
Japanese literature has been influenced heavily by the Chinese
literature from the ancient period all the way to the Edo Period (1603-1868) which
corresponds to the early modern Japanese literature. Japanese literary works also
21
reveal elements of Indian and later of Western elements but above all, they reveal a
distinct style which has also greatly influenced both Eastern and Western literatures.
Japanese literature can be divided into four periods: the ancient, classical,
medieval, and modern.
Ancient literature in Japan deals primarily with myths and legends. Tales like
the creation of Japan, wherein the islands came from the gemstones imbued in the
swords of gods are very prominent during this period. The celebrated writers during
this period are Ono Yasumaro, Nihon Shoki, and Man’yoshu who wrote based on real
events in the country.
The classical literature in Japan occurred during the golden age, the Heian
period. During this period, Murasaki Shikibu, one of the greatest Japanese writers,
wrote the seminal text, Tale of Genji. Tale of Genji, considered the world’s first novel,
is a very charming and accurate depiction of the Japanese court during the Heian
period under the reign of Empress Akiko.
History and literature were intertwined during the Medieval period due to the
influence of the civil wars and the emergence of the warrior class. Thus, war tales are
very prominent during this period. Besides war stories and tales, the popular form of
Japanese poetry, the renga, saw its rise.
Modern literature can be further divided into early modern, which happened
during the Edo period, and modern, which started during the Meiji period, when Japan
opened its doors to the West. The early modern gave way to the rise of new genres
like the Japanese drama, kabuki, the poetry form known for its simplicity and subtlety,
haiku, and the yomihon, a type of Japanese book which put little emphasis on
illustration.
The modern period also marked the emergence of new styles of writing.
Japanese writers started to romanticize and tried experimenting with different genres
and subject matters. The Second World War heavily affected Japanese literature but
soon, the distinct Japanese style of writing manage to regain its popularity. Some of
the prominent modern Japanese writers are Yasunari Kawabata, Kobi Abe, Takiji
Kobayashi,
and
Haruki
Murakami
to
mention
a
few.
(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-ofthe-World-1)
You are now ready to ready to read an excerpt from Haruki Murakami’s Kafka on the
Shore.
The Boy Named Crow (an excerpt from Kafka on the Shore)
by Haruki Murakami
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“So you’re all set for money, then?” the boy named Crow asks in his typical
sluggish voice. The kind of voice like when you’ve just woken up and your mouth still
feels heavy and dull. But he’s just pretending. He’s totally awake. As always.
I nod.
“How much?”
I review the numbers in my head. “Close to thirty-five hundred in cash, plus
some money I can get from an ATM. I know it’s not a lot, but it should be enough. For
the time being.”
“Not bad,” the boy named Crow says. “For the time being.”
I give him another nod.
“I’m guessing this isn’t Christmas money from Santa Claus.”
“Yeah, you’re right,” I reply.
Crow smirks and looks around. “I imagine you’ve started by rifling drawers, am
I right?”
I don’t say anything. He knows whose money we’re talking about, so there’s
no need for any long-winded interrogations. He’s just giving me a hard time.
“No matter,” Crow says. “You really need this money and you’re going to get it
– beg, borrow, or steal. It’s your father’s money, so who cares, right? Get your hands
on that much and you should be able to make it. For the time being. But what’s the
plan after it’s all gone? Money isn’t like mushrooms in a forest – it doesn’t just pop up
on its own, you know. You’ll need to eat, a place to sleep. One day you’re going to run
out.”
“I’ll think about that when the time comes,” I say.
“When the time comes,” Crow repeats, as if weighing these words in his hand.
I nod.
“Like by getting a job or something?”
“Maybe,” I say.
Crow shakes his head. “You know you’ve got a lot to learn about the world.
Listen – what kind of job could a 15-year old kid get in some far-off place he’s never
been to before? You haven’t even finished junior high. Who do you think’s going to
hire you?”
I blush a little. It doesn’t take much to make me blush.
“Forget it,” he says. “You’re just starting out and I shouldn’t lay all this
depressing stuff on you. You’ve already decided what you’re going to do, and all that’s
left is to set the wheels in motion. I mean, it’s your life. Basically, you have to go with
what you think is right.”
That’s right. When all is said and done, it is my life.
“I’ll tell you one thing, though. You’re going to have to get a lot tougher if you
want to make it.”
“I’m trying my best,” I say.
“I’m sure you are,” Crow says. “These last few years you’ve grown a whole lot
stronger. I’ve got to hand it to you.”
I nod again.
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“But let’s face it – you’re only 15,” Crow goes on. “Your life’s just begun and
there’s a ton of things out in the world you’ve never laid eyes on. Things you never
could imagine.”
As always, we’re sitting beside each other on the old sofa in my father’s study.
Crow loves the study and all the little objects scattered around there. Now he’s toying
with a bee-shaped glass paperweight. If my father was at home, you can bet Crow
would never go anywhere near it.
“But I have to get out of here,” I tell him. “No two ways about it.”
“Yeah, I guess you’re right.” He places the paperweight back on the table and
links his hands behind his head. “Not that running away’s going to solve everything. I
don’t want to rain on your parade or anything, but I wouldn’t count on escaping this
place if I were you. No matter how far you run. Distance might not solve anything.”
The boy named Crow lets out a sigh, then rests a fingertip on each of his closed
eyelids and speaks to me from the darkness within.
“How about we play our game?” he says.
“All right,” I say. I close my eyes and quietly take a breath.
“OK, picture a terrible sandstorm,” he says. “Get everything else out of your
head.”
I do as he says, get everything else out of my head. I forget who I am, even.
I’m a total blank. Then things begin to surface. Things that – as we sit here on the old
leather sofa in my father’s study – both of us can see.
“Sometimes fate is like a small sandstorm that keeps changing direction,” Crow
says.
Sometimes fate is like a small sandstorm that keeps changing direction.
You change direction, but the sandstorm chases you. You turn again, but the
storm adjusts. Over and over you play this out, like some ominous dance with
death just before dawn. Why? Because this storm isn’t something that blew in
from far away, something that has nothing to do with you. This storm is you.
Something inside you. So all you can do is give in to it, step right inside the
storm, closing your eyes and walk through it, step by step. There’s no sun there,
no moon, no direction, no sense of time. Just fine white sand swirling up into
the sky like pulverised bones. That’s the kind of sandstorm you need to imagine.
And that’s exactly what I do. I imagine a white funnel stretching vertically up like
a thick rope. My eyes are closed tight, hands cupped over my ears, so those fine grains
of sand can’t blow inside me. The sandstorm draws steadily closer. I can feel the air
pressing on my skin. It really is going to swallow me up.
The boy called Crow rests a hand softly on my shoulder, and with that the storm
vanishes.
“From now on – no matter what – you’ve got to be the world’s toughest 15-yearold. That’s the only way you’re going to survive. and in order to do that, you’ve got to
figure out what it means to be tough. You following me?”
I keep my eyes closed and don’t reply. I just want to sink off into sleep like this,
his hand on my shoulder. I hear the faint flutter of wings.
“You’re going to be the world’s toughest 15-year old,” Crow whispers as I try to
fall asleep. As if he were carving the words in a deep blue tattoo on my heart.
24
And you really have to make it through that violent, metaphysical storm.
No matter how metaphysical or symbolic it might be, make no mistake about it:
it will cut through flesh like a thousand razor blades. People will bleed there,
and you will bleed too. Hot, red blood. You’ll catch that blood in your hands,
your own blood and the blood of others.
And once the storm is over you won’t remember how you made it through,
how you managed to survive. You won’t even be sure, in fact, whether the storm
is really over. But one thing is certain. When you come out of the storm you
won’t be the same person who walked in. That’s what this storm’s all about.
On my fifteenth birthday I’ll run away from home, journey to a far-off town and
live in a corner of a small library. It’d take a week to go into the whole thing, all the
details. So I’ll just give the main point. On my fifteenth birthday I’ll run away from
home, journey to a far-off town, and live in a corner of a small library.
It sounds a little like fairytale. But it’s no fairy tale, believe me. No matter what
sort of spin you put on it. (Marikit Tara A. Uychoco, Rex Bookstore 2016), 152-155
source: p113/nick-ian/art/The-Boy-Named-Crow-456862974
What’s more
A. Answer the following questions. Write your answers in your LITERATURE
ACTIVITY NOTEBOOK.
25
1. What does the boy feel toward Crow? Give textual evidence to prove your
point.
2. How would you describe the boy named Crow?
3. What does the sandstorm represent? Give textual evidence to prove this.
4. Why does the boy in the story have to be the toughest 15-year-old in the
world?
B. Among the figures of speech you’ve learned from the previous activity (metaphor,
simile, analogy, allusion, allegory), which of them are used in the excerpt The Boy
Named Crow? Extract the part that shows the figure of speech and then identify what
it means. The first one is done for you.
1. Sentence – Money isn’t like mushrooms in a forest; it doesn’t just pop up on its own
Figure of speech used - simile
Meaning – Money is going to run out one day.
2. Sentence - ________________________________________________________
Figure of speech used _______________________________________________
Meaning - _________________________________________________________
3. Sentence - ________________________________________________________
Figure of speech used _______________________________________________
Meaning - _________________________________________________________
4. Sentence - ________________________________________________________
Figure of speech used _______________________________________________
Meaning - _________________________________________________________
5. Sentence - ________________________________________________________
Figure of speech used _______________________________________________
Meaning - _________________________________________________________
What I Have Learned
Answer the two questions below. Write your answers in your LITERATURE
ACTIVITY NOTEBOOK.
26
1. Could you relate to the main character of the story? Why or why
not?__________________________________________________________
2. Do you think all of us have experienced the storm that the text is talking
about? Support your answer._______________________________________
______________________________________________________________
What I Can Do
It is Asian week at your school, and you are tasked to create an
infographic digital poster that features the characteristics of Japan’s literary texts. Your
poster must be colourful, interactive, and informative. It will be judged using the rubric
below.
Criteria
Description
10 points
The poster is
visually appealing,
with harmonious
colors, shapes, and
sizes of figures in
the presentation.
Visual appeal
Information
The poster presents
the right
information to the
audience.
Graphics Relevance
All graphics are
related to the topic
and make it easier
to understand. All
borrowed graphics
have a note about
their source.
7 points
The poster is
moderately
appealing visually,
with generally
harmonious colors,
shapes, and sizes of
figures in the
presentation
The poster
somewhat presents
the right
information to the
audience.
All graphics are
related to the topic
and most make it
easier to
understand. Some
graphics have a
note about their
source.
Score
4 points
The poster has poor
visual appeal, with
unbalanced color
combinations,
shapes, and sizes of
figures in the
presentation
The poster does not
have sufficient
information or
presents the wrong
information to the
audience.
Only some of the
graphics relate to
the topic. One or
two borrowed
graphics have
sources noted.
Score
/30
Adopted: DIWA Senior High School Series, DIWA Textbooks, 2016, p. 199
Post assessment
Read carefully each statement. Choose the correct answer, and write
the letter of the correct answer in your LITERATURE ACTIVITY NOTEBOOK.
1. I like to imagine that the world is one big machine. This is an example of _______.
A. simile
B. metaphor
C. analogy
D. allusion
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2. Her long hair was a flowing golden river is an example of what figurative
language.
A. analogy
B. metaphor
C. allusion
D. allegory
3. The Masque of the Red Death by Edgar Allan Poe is a/an ________ for death
where the moral is no man escapes death.
A. allegory
B. analogy
C. allusion
D. metaphor
4. Her cheeks are red like a rose. What is this an example of?
A. simile
B. metaphor
C. allusion
D. allegory
5. What country has much influence on Japanese literature?
A. USA
B. Korea
C. China
D. Thailand
6. The classical literature in Japan occurred during this period.
A. Nara
B. Heian
C. Muromachi
D. Edo
7. What is considered as the world’s first novel?
A. The Tale of Genji
B. The Tale of Vesperia
C. Tales of Amadou Koumba
D. Tales of the World
8. What does sandstorm represent in the story The Boy Named Crow?
A. the way the world tries to take us away from our problems
B. running away could resolve a problem
C. the challenges and problems we face in our journey in life.
D. a small fate that keeps changing our directions
9. According to the boy named Crow, what does Kafka have to become?
A. a criminal on the run
B. a metaphysical concept
C. the world’s smartest fifteen-year-old
D. the world’s toughest fifteen-year-old
10. What does the boy feel toward Crow?
A. He is afraid of him.
B. He just ignores him.
C. He has no fear of Crow.
D. He baits him and laughs in his face
Lesson
11
African Literature
28
Grade 12, First Semester, Q2 – Week 3
What I Need to Know
Congratulations! You are now in Lesson 4 of this module. It is time for us to visit
another continent. This time let’s go to Africa known to be “The Cradle of Humankind.”
In this Lesson, you are going to:
a. Identify representative texts and authors from Asia, North America,
Europe, Latin America, and Africa; (EN12Lit-IIa-22)
b. Compare and contrast the various 21st century literary genres and
their elements, structures, and traditions from across the globe
(EN12Lit-IId-25)
c. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
What I Know
Let’s review the elements of a story. Identify the element being
described. Choose your answer from the word bank below.
exposition
climax
setting
theme
rising action
conflict
mood
denouement
plot
falling action
1. The complication begins to show itself on the
characters, setting, and events in the story
___________________
2. The result of the climax, and it is the part
when things start falling into place for the characters
3. The locale or period in which the action of
a story takes place
___________________
4. The sequence of series of events in a story
___________________
5. The underlying message that the writer would
like to get across.
___________________
6. The beginning of the story, wherein the writer
___________________
___________________
sets the scene by introducing the characters,
describing the setting, and sometimes will give
a brief background of the story.
7. The event with the greatest tension in the story.
29
___________________
8. Where the story reaches its final conclusion
___________________
and the writer starts to get ready to tell the ending
by way of explaining a finality to make the story complete.
9. A struggle between two opposing forces
___________________
10. Evokes certain feelings or vibes in readers through
words and descriptions
___________________
What’s In
We were able to go around our neighboring countries in Asia. We have
learned a lot from their literature. Our last stop was in Japan. Let’s look back and see
how much do we remember about their literature by answering the activity below.
1. The country which has much influence on Japanese literature was ____________.
2. Japanese literature can be divided into four periods: the ___________,
____________, ___________________, and ________________.
3. Ancient literature in Japan deals primarily with ______________ and __________.
4. The classical literature in Japan occurred during the golden age, the ____________
period.
5. ______________ is considered the world’s first novel.
6. ____________ and ______________ intertwined during the Medieval period due
to the influence of the civil wars and the emergence of the warrior class.
7. The early modern period gave way to the rise of new genres like the Japanese
_____________, _______________, _________________, and _____________.
What’s New
Every story has basic components: characters, setting, plot, theme,
conflict. Read Aesop’s fable The Lion and the Mouse, and fill in the story mind map
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below. You need to copy the mind map in your LITERATURE ACTIVITY
NOTEBOOK.
The Lion and the Mouse
Once when a Lion was asleep a little Mouse began running up and down upon
him. This soon awakened the Lion, who placed his huge paw upon the Mouse and
opened his big jaws to swallow him.
“Pardon, O King,” cried the little Mouse, “forgive me this time, I shall never forget
it: and I may be able to do you a favor in the future.” The Lion was so taken at the idea
of the Mouse being able to help him, that he let him go.
Some time after, the Lion was caught in a trap, and the hunters tied him to a
tree. Just then the little Mouse happened to pass by, and seeing the sad plight of the
Lion, went up to him and soon gnawed away the ropes that bound the King of the
Beasts. “Was I not right?” said the little Mouse.
Story Mind Map
What is it about?
Where did it take place?
Title
Who are the characters?
When did it happen?
Why did it happen?
What Is It
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The development of African literature, from its oral tradition up to the current
trends, reflects the history of its people, the continent’s feelings and the minds of its
population.
Having been denied sharing their unique culture to the rest of the world, African
literature takes pride in their identity as a people along with their rich heritage. The
Dark Continent enjoys a vast collection of masterpieces, both in oral and written
literature, which are highly diverse and at the same time common.
The writings on Africa started in the middle ages when Arabic was introduced
to them and then it moved forward in the 1800s with the coming of the alphabet. With
the birth of the Negritude (which literally means ‘blackness’) movement in 1934,
African writers committed to look into their own culture, traditions, and values that can
be applied in the modern world. The drive of writers to write and excite political freedom
grew and the dignity of African traditions has been asserted. The Negritude movement
opened the avenue for writers to celebrate what is truly African.
Though African writers like Chinua Achebe, Wole Soyinka, Kofi Awoonor, Ngugi
wa Thiong’o, Okot p’Bitek, Dennis Crutus, Es’kia Mphahlele, Nadine Gordimer, and
Jacques Rabemananjara wrote in European language, they nevertheless embodied
the spirit of nationalism. So strong and effective were their works that they gained
worldwide acclaim.
In the aftermath of the colonial experience, African writers have since
chronicled new challenges that have emerged in their respective societies. New,
sovereign governments may have been installed, but their own problems caused
writers to react. This was evident in the case of Ngugi wa Thiong’o, who was
imprisoned for a play considered to have subversive messages against the Kenyan
administration of the time. Corruption in society, a longstanding theme of African
writers in postcolonial times, was reflected in V.Y. Mudimbe’s Before the Birth of the
Moon (1989). (https://www.scribd.com/document/412634387/21st-Century-Literature-of-thePhilippines-and-of-the-World-1) and Simoun Victor D. Redoblado, (Brilliant Creations Publishing,
Inc., 2017), 108
Even before the colonizers arrived in Africa and indelibly shaped the continent’s
identity, local traditions were already flourishing in terms of cultural wealth. The
following selections, both belonging to the myth genre, attest to the power of the
motherland’s literary tradition that had its roots in ancient times.
The Clever Young Man and the Monster
Tanzania
Once upon a time in East Africa, the monster or ogre Shing’weng’we swallowed
all the people in the world together with all the domestic animals, except one pregnant
woman who hid in a pile of chaff. Later this woman gave birth to a boy named Masala
Kulangwa (whose name means “the smart or clever person who understands quickly”).
When he grew up he asked: “Mother, why are there only the two of us? Where are the
other people?” She answered: “My dear one, everyone else was swallowed by
Shing’weng’we. We two are the only ones left.”
From that day on, the young man started looking for the monster. One day, he
killed a grasshopper and arrived home singing: “Mother, Mother, I have killed
he killed a grasshopper and arrived home singing: “Mother, Mother, I have killed
Shing’weng’we. Rejoice and shout for joy.” But his mother answered: “My dear one,
this is only a grasshopper, not the monster. Let’s roast him and eat him.”
Another day, he killed a bird and arrived home singing: “Mother, Mother, I have
killed Shing’weng’we up in the hills. Rejoice and shout for joy.” But his mother
answered: “My dear one, this is only a bird, not the monster. Let’s roast it and eat it.”
32
Another day he killed a small gazelle and arrived home singing: “Mother,
Mother, I have killed Shing’weng’we up in the hills. Rejoice and shout for joy.” But his
mother answered: “My dear one, this is only a small gazelle, not the monster. Let’s
roast it and eat it.”
Another day he killed an antelope and arrived home singing: “Mother, Mother,
I have killed Shing’weng’we up in the hills. Rejoice and shout for joy.” But his mother
answered: “My dear one, this is only an antelope, not the monster. Let’s roast it and
eat it.”
Finally, the clever young man Masala Kulangwa found Shing’weng’we,
overcame him and cut open the monster’s stomach. Out came his father, along with
his relatives and all the other people. But by bad luck, when he split open the monster’s
back, Masala Kulangwa cut off the ear of an old woman. This woman became very
angry and insulted the young man. She tried to bewitch him. But Masala Kulangwa
found medicine and healed the old woman. Then, all the people declared the young
man chief and raised him up in the Chief’s Chair. Masala Kulangwa became the chief
of the whole world and his mother became the Queen Mother.
Rawera (the Comforter) and the Monster
Nairobi, Kenya
A long time ago, the people of Funtu lived happily. They worked hard and
produced much food. They loved each other. The King was kind: everybody loved him.
Meanwhile, there was a woman, Ng’uono, who lived in the village. Because she was
barren, men refused to marry her. Elders forcefully married Ng’uono to Jater, an old
man. Ng’uono and Jater had no friends. Despite being treated badly, they were not
bitter. They humbly accepted their situation.
One day, there was a feast. As usual, Ng’uono and Jater were not invited. From
their home, they heard people singing and shouting joyfully. Suddenly, the music
stopped. Cries of agony filled the air. Curious, Jater and Ng’uono came out. What they
saw frightened them. Creatures bigger than millet granaries, with eyes as big as
cooking pots surrounded the village. These odd-looking beings had hairy bodies, with
claws for toes. Ng’uono and Jater trembled just by looking at them. “These are
monsters. Let us run,” Ng’uono said fearfully. “No. They will reach us in no time and
eat us up,” Jater said. “Come with me,” he said, taking his wife by the hand. They hid
in a hole under a big tree. They could hear people crying as the monsters chased
them. The noise stopped after a long time. “Wait here. I will go and see what is
happening,” Jater said to his wife. “You cannot go out there! You will be killed,”
Ng’uono objected. Jater ignored her and slid out of the hole. There was not a single
person. The monster had flattened all the huts. The crops were all destroyed.
Shocked, Jater stood out there, lost in thought. Back in the hole, Ng’uono was worried
about her husband. Unable to wait any longer, she came out and saw him. “Oh! What
destruction!” she moaned. Walking towards him, she asked, “What shall we do?” “I
don’t know,” Jater replied sadly. They sat under the big tree and soon fell asleep.
Ng’uono was woken up by the cry of a bird perched on her forehead. “Wake up. What
happened?” asked the bird. Sobbing, she told him the story. “Wake up hour husband
and follow me,” the bird commanded. After walking for several days, the bird led them
to a valley, green with vegetation, beautiful flowers and clear streams. “This is your
new home. There are crops of all types: harvest them and eat.” After saying this the
bird turned to fly away. “Oh! Before I leave… Ng’uono, take good care of your son.
Bye.” “What are you talking about? I am …” she started but the bird had already flown
away.
33
Jater and his wife remained standing, unable to understand. Ng’uono gave birth
to a baby boy a few months later. They called him Rawera, the comforter. Rawera
grew up strong and obedient. One afternoon, while he was out hunting, he saw huge
footprints at the edge of the forest. The footprints were bigger than any he had seen
before. Afraid but curious, he followed the footprints. Deeper and deeper he went into
the thick forest. The forest was so dark that he could not find his way through. Tired,
he sat under the nearest tree and fell asleep, his dog beside him. The barking of the
dog woke him. Sleepily, he stood up. And then heard it: a voice stronger than thunder.
It came from deep inside the forest. He could not understand what the voice said.
Soon, there were more voices, equally loud. The earth shook and trees swayed.
Frightened, Rawera ran. Fear, hunger and confusion slowed him tremendously. The
slower he ran, the louder the voices became. Finally, he reached the edge of the forest
and collapsed. He could no longer hear the terrible voices.
He rested for a few minutes and walked home. “Where have you been,” his
mother asked. “Mother, I was just out for hunting,” “Never stay late in the forest: it is
dangerous,” warned his father. He did not tell them what happened. For many days
after, Rawera thought about the voices. He was sure the creatures were not human.
Determmined to find out, he made several poisoned arrows and spears. He hid these
carefully. For many months, he trained his dog and fed it well. His dog, Sibuor, grew
large and fierce. Satisfied with his preparations, Rawera set out at dawn one day. He
took his weapons and told his parents that he was going hunting. At the edge of the
forest, he stopped to eat, rest and feed his dog. Soon after, they entered the forest.
They walked for a long, long time without hearing any sound. Rawera was
disappointed but he walked on. “Stop!” a voiced called from above. He looked up
anxiously but did not see anything and walked on. “I said stop. You will be killed,” the
shrill voice said again. “Who are you and how do you know where I am going?” Rawera
asked. A bird landed on his forehead, scaring him. He jumped to one side, ready to
attack. “Do not kill me. I want to save you,” the bird said, perching on Sibuor’s head.
“The voices you hear the other time belong to monsters. They ate your ancestors. I
am sure your parents told you this. Now, go back home. “Whaaat? Monsters live here?’
Rawera asked. “Believe it: in this forest live many monsters,” the bird confirmed. “You
say these monsters ate my people? How then can you tell me to go back? I will find
and kill them all. Show me where to find them,” Rawera said defiantly. “Well, I have
warned you. Come with me.”
The bird led Rawera and Sibuor further into the forest. “Look over there,” he
said upon reaching a clearing. Rawera trembled at the sight before him: many giants
seated round a big fire. Their bodies were hairy. Smoke escaped from their big noses.
Seeing how frightened Rawera was, the bird said, “I told you. You can fight them, can
you?” “Bu-u-t they killed my people. I must kill them,” Rawera stammered. “Because
you are so determined, I will help you,” said the bird. “When you shoot them, aim for
the palm. Go now.” His dog beside him, Rawera walked into the clearing. The
monsters smelled him may meters away, stood as one and walked to meet him, saliva
pouring from their big mouths. Terrified, Rawera turned back and ran. “Do not run.
Turn back and shoot,” the bird encouraged him.
He turned, took aim and fired his first arrow. One of the monsters swallowed it.
“Shoot at the palm,” the bird shouted. The monsters were approaching fast. Rawera
let go of another arrow. He aimed at the palm and felled one monster. Encouraged,
he shot the monsters rapidly. Only one remained, the biggest of them.
Rawera had only one arrow left. “Wait,” the bird called out. “Let Sibuor go out
and meet him. Then, shoot the monster through the left ear.” Rawera commanded his
dog to attack the monster. As the monster picked Sibuor to swallow him, Rawera shot
him through the left ear. The monster died. “Cut the monster’s big toes,” the bird
34
ordered Rawera. When he did, all the people who had been eaten by the monsters
came out. They were excited to be back. They thanked Rawera.
They all walked to the valley where Rawera and his parents lived. Jater and
Ng’uono were happy to see all the people of the village. After listening to Rawera’s
story, everybody was proud of him. They made him chief. All villagers then respected
Ng’uono and Jater.(Simoun Victor D. Rodoblaco, Brilliant Creations Publishing, Inc., 2017, 110113)
What’s More
Compare the two African myths to the narrative below. Consider how the
story-telling evolved from the myths of ancient times to the stories of the modern
scene. Analyze the structure, plot, and underlying purpose of the narratives. Copy the
table in your LITERATURE ACTIVITY NOTEBOOK.
Things Fall Apart (summary)
Chinua Achebe
Okonkwo is a wealthy and respected warrior of the Umuofia clan, a lower
Nigerian tribe that is part of a consortium of nine connected villages. He is haunted by
the actions of Unoka, his cowardly and spendthrift father, who died in disrepute,
leaving many village debts unsettled. In response, Okonkwo became a clansman,
warrior, farmer, and family provider extraordinaire. He has a twelve-year-old son
named Nwoye whom he finds lazy; Okonkwo worries that Nwoye will end up a failure
like Unoka.
In a settlement with a neighboring tribe, Umuofia wins a virgin and a fifteen-year-old
boy. Okonkwo takes charge of the boy, Ikemefuna, and finds an ideal son in him.
Nwoye likewise forms a strong attachment to the newcomer. Despite his fondness for
Ikemefuna and despite the fact that the boy begins to call him “father,” Okonkwo does
not let himself show any affection for him.
During the Week of Peace, Okonkwo accuses his youngest wife, Ojiugo, of
negligence. He severely beats her, breaking the peace of the sacred week. He makes
some sacrifices to show his repentance, but he has shocked his community
irreparably.
Ikemefuna stays with Okonkwo’s family for three years. Nwoye looks up to him
as an older brother and, much to Okonkwo’s pleasure, develops a more masculine
attitude. One day, the locusts come to Umuofia—they will come every year for seven
years before disappearing for another generation. The village excitedly collects them
because they are good to eat when cooked.
Ogbuefi Ezeudu, a respected village elder, informs Okonkwo in private that the
Oracle has said that Ikemefuna must be killed. He tells Okonkwo that because
Ikemefuna calls him “father,” Okonkwo should not take part in the boy’s death.
Okonkwo lies to Ikemefuna, telling him that they must return him to his home village.
Nwoye bursts into tears.
As he walks with the men of Umuofia, Ikemefuna thinks about seeing his
mother. After several hours of walking, some of Okonkwo’s clansmen attack the boy
with machetes. Ikemefuna runs to Okonkwo for help. But Okonkwo, who doesn’t wish
to look weak in front of his fellow tribesmen, cuts the boy down despite the Oracle’s
admonishment. When Okonkwo returns home, Nwoye deduces that his friend is dead.
35
Okonkwo sinks into a depression, neither able to sleep nor eat. He visits his
friend Obierika and begins to feel revived a bit. Okonkwo’s daughter Ezinma falls ill,
but she recovers after Okonkwo gathers leaves for her medicine.
The death of Ogbuefi Ezeudu is announced to the surrounding villages by
means of the ekwe, a musical instrument. Okonkwo feels guilty because the last time
Ezeudu visited him was to warn him against taking part in Ikemefuna’s death. At
Ogbuefi Ezeudu’s large and elaborate funeral, the men beat drums and fire their guns.
Tragedy compounds upon itself when Okonkwo’s gun explodes and kills Ogbuefi
Ezeudu’s sixteen-year-old son.
Because killing a clansman is a crime against the earth goddess, Okonkwo
must take his family into exile for seven years in order to atone. He gathers his most
valuable belongings and takes his family to his mother’s natal village, Mbanta. The
men from Ogbuefi Ezeudu’s quarter burn Okonkwo’s buildings and kill his animals to
cleanse the village of his sin.
Okonkwo’s kinsmen, especially his uncle, Uchendu, receive him warmly. They
help him build a new compound of huts and lend him yam seeds to start a farm.
Although he is bitterly disappointed at his misfortune, Okonkwo reconciles himself to
life in his motherland.
During the second year of Okonkwo’s exile, Obierika brings several bags of
cowries (shells used as currency) that he has made by selling Okonkwo’s yams.
Obierika plans to continue to do so until Okonkwo returns to the village. Obierika also
brings the bad news that Abame, another village, has been destroyed by the white
man.
Soon afterward, six missionaries travel to Mbanta. Through an interpreter
named Mr. Kiaga, the missionaries’ leader, Mr. Brown, speaks to the villagers. He tells
them that their gods are false and that worshipping more than one God is idolatrous.
But the villagers do not understand how the Holy Trinity can be accepted as one God.
Although his aim is to convert the residents of Umuofia to Christianity, Mr. Brown does
not allow his followers to antagonize the clan.
Mr. Brown grows ill and is soon replaced by Reverend James Smith, an
intolerant and strict man. The more zealous converts are relieved to be free of Mr.
Brown’s policy of restraint. One such convert, Enoch, dares to unmask an egwugwu
during the annual ceremony to honor the earth deity, an act equivalent to killing an
ancestral spirit. The next day, the egwugwu burn Enoch’s compound and Reverend
Smith’s church to the ground.
The District Commissioner is upset by the burning of the church and requests
that the leaders of Umuofia meet with him. Once they are gathered, however, the
leaders are handcuffed and thrown in jail, where they suffer insults and physical abuse.
After the prisoners are released, the clansmen hold a meeting, during which
five court messengers approach and order the clansmen to desist. Expecting his fellow
clan members to join him in uprising, Okonkwo kills their leader with his machete.
When the crowd allows the other messengers to escape, Okonkwo realizes that his
clan is not willing to go to war.
When the District Commissioner arrives at Okonkwo’s compound, he finds
that Okonkwo has hanged himself. Obierika and his friends lead the commissioner to
the body. Obierika explains that suicide is a grave sin; thus, according to custom, none
of Okonkwo’s clansmen may touch his body.
(https://www.sparknotes.com/lit/things/summary/)
36
What I Have Learned
The Clever Young Man and
the Monster & Rawera (the
Comforter) and the Monster
Things Fall Apart
Structure
Exposition
Rising action
Climax
Falling action
Denouement
Plot
Purpose
Answer the questions. Write your answers in your LITERATURE
ACTIVITY NOTEBOOK.
1. What is unique about African culture as shown in the myths you’ve read?
______________________________________________________________
______________________________________________________________
2. How can you show heroism today? ______________________________
______________________________________________________________
What I Can Do
Your task is to write a critical review of a myth or story found in your
region or hometown. It may be written in English or in other languages. Your review
must be one to two pages long, double-spaced, and with a proper title.
37
Writing Short Paper
A short paper is literally “short.” It consists of one or two pages of written critique
that will succinctly discuss your idea, realization, or concept regarding a literary
selection. The point here is to introduce your idea or discovery about a literary
selection.
Tips in Writing Short Paper
1. Choose a literary selection that you want to analyse.
2. Always begin with an outline.
3. Start with a joke, an anecdote, or a quotation from the literary text as your
introduction.(The idea is to hook your readers so that they will be more willing to
listen to your idea).
4. The body of your essay must try to discuss the relation of your idea with the
literary text.
5. The conclusion is just like any conclusion when you are writing an essay –
summarize what you have said or discussed in the body in two to three sentences.
Source: DIWA Senior High School Series, DIWA Learning Systems Inc., 2016, 112-113
Rubric
Criteria
Description
10 points
Outstanding use of
color, design and
space; overall
design is pleasing
and harmonious
Accuracy
Cohesion
The essay is
cohesive and has
only one voice.
Organization
The essay is
organized and can
be understood
easily.
7 points
Adequate use of
color, design, and
space; overall
design is mostly
pleasing and
harmonious
The essay is
moderately
cohesive and has
two or three voices,
which can be
further edited.
The essay is
moderately
organized and
needs some editing.
Score
4 points
Inappropriate use
of color, design, and
space; lack of
harmonious design
in presentation
The essay is not
cohesive at all and
needs further
editing.
The essay is not
organized at all and
needs major
rewriting.
Score
/30
Post assessment
Read carefully each statement. Choose the correct answer, and write the letter
of the correct answer in your LITERATURE ACTIVITY NOTEBOOK.
38
1. This the part of the story where complication begins to show itself on the
characters, setting, and events in the story.
A. exposition
B. rising action
C. climax
D. plot
2. The result of the climax, and it is the part when things start falling into place for the
characters.
A. denouement
B. falling action
C. conflict
D. exposition
3. What is the locale or period in which the action of a story takes place?
A. conflict
B. setting
C. theme
D. plot
4. Which of the following tells about the sequence of series of events in a story?
A. plot
B. conflict
C. setting
D. theme
5. Theme is the underlying message that the writer would like to get across. What is
the theme of Things Fall Apart?
A. struggle between change and tradition
B. struggle between Okonkwo and the whites
C. struggle of Okonkwo
D. struggle of the colonizers
6. Which of the following is the exposition of the The Clever Young Man and the
Monster?
A. The woman gave birth to a boy named Masala Kulangwa.
B. From that day on, the young man started looking for the monster.
C. When he grew up he asked: “Mother, why are there only the two of us?
D. The monster or ogre Shing’weng’we swallowed all the people in the world.
7. The event with the greatest tension in the story.
A. exposition
B. rising action
C. climax
D. plot
8. Where the story reaches its final conclusion and the writer starts to get ready to
tell the ending by way of explaining a finality to make the story complete.
A. exposition
B. climax
C. falling action
D. denouement
9. A struggle between two opposing forces
A. plot
B. conflict
10. What is the mood of Things Fall Apart?
A. somber and tragic
B. cheerful and reflective
C. gloomy and melancholy
D. romantic and whimsical
Lesson
39
C. setting
D. theme
12
European Literature - I
Grade 12, First Semester, Q2 – Week 4
What I Need to Know
Congratulations! You are now in Lesson 4 of this module. In this lesson, your
quest is to explore the literature of Europe.
In this Lesson, you are going to:
a. Identify representative texts and authors from Asia, North America,
Europe, Latin America, and Africa;
(EN12Lit-IIa-22)
b. Compare and contrast the various 21st century literary genres and
their elements, structures, and traditions from across the globe
(EN12Lit-IId-25)
c. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
What I Know
Let’s check your knowledge about European literature. Answer
each item below. Choose the correct answer, and write ONLY the letter your answer
in your LITERATURE ACTIVITY NOTEBOOK.
1. Who is Sir Kay’s squire?
A. Merlin
B. Arthur
C. His cousin
D. Sir Ector
2. Who lied about finding the sword?
A. Arthur
B. Archbishop
C. Kay
D. Ector
3. Why did Merlin wait to the very last minute to have Arthur pull the sword from the
stone?
A. To show everyone how smart he is
B. To show everyone Arthur was king
C. To prove that the Archbishop is very noble
D. To show that those arrogant men were weak
4. How does Arthur prove he is the rightful king of England?
A. by winning the tournament
B. he married the princess
40
C. by pulling the sword from the stone
D. by dividing the stone
5. The Middle Ages in Europe had been regarded as the Age of ___.
A. poetry
B. drama
C. epics
D. prose
6. No other period in English literature displayed more variety in style, theme, and
content. What period is it?
A. Medieval
B. Romantic
C. Victorian
D. Enlightenment
7. What period in European literature gives attention to detail and replicates the true
nature of reality?
A. Romantic
B. Victorian
C. Realism
D. Naturalism
8. During this period, writers identify the underlying causes for a person’s actions or
beliefs; the environment played a large part in the narrative structure of their works.
A. Realism
B. Naturalism
C. Victorianism
D. Imperialism
9. The ________ literary period uses crime and punishment as example of the
principles used in their work.
A. Realism
B. Naturalism
C. Imperialism
D. Existentialism
10. Writers during this period are now free to try new concepts in writing like the use
of the unreliable narrator.
A. Naturalism
B. Existentialism
C. Modernism
D. Naturalism
What’s New
Let’s see what you know, what you don’t know, and what you want to
know about Europe. Fill in the columns in the worksheet below.
What You Know About
What You Do not Know What You Want to Know
Europe
About Europe
About Europe
What Is It
41
The history and catalogue of the European literature is so rich that it is quite
close to impossible to describe it and give justice to its entire list of great works and
even greater writers in an introduction. However, to give learners a little background
information, European literature refers to the literature in many languages; among the
most important of the modern written works are those in English, Spanish, French,
Dutch, Polish, German, Italian, Modern Greek, Czech, Russian, Bosnian and works
by the Scandinavians and Irish. Important classical and medieval traditions are those
in Latin, Ancient Greek, Old Norse, Medieval French and the Italian Tuscan dialect of
the renaissance are also part of its collection.
The Medieval Period (500-1500) of European literature already saw masterful
works like Beowulf, The Song of Roland, The Nibelungenlied, and seminal work of
Geoffrey Chaucer, The Canterbury Tales. The mentioned works of art was followed
by even more popular titles, because during the Renaissance Period, writers like
Edmun Spencer (The Faerie Queen), John Milton (Paradise Lost), and William
Shakespeare (Romeo and Juliet ;Macbeth) took the level of its literary standard into a
whole new high.
Following the Medieval Period was the Age of Enlightenment (1700-1800) and
at its center was a celebration of ideas – ideas about what the human mind was
capable of, and what could be achieved through deliberate action and scientific
methodology. Many of the new, enlightened ideas were political in nature. Writers like
Voltaire and Jean-Jacques Rousseau were the torchbearers of Enlightenment
literature and philosophy.
No other period in English literature displays more variety in style, theme, and
content than the Romantic Movement (1798-1870) of the 18th and 19th centuries.
Romanticism is concerned with the masses and not with the middle class, the
individual more than with society. With writers like Mary Shelley and her masterpiece,
Frankenstein and Lord Byron’s Don Juan, the focus of literature shifted from the
scientific to the mysterious.
Then came the Victorian Period. The name given to the period is borrowed from
the royal matriarch of England, Queen Victoria. The Victorian writers exhibited some
well- established habits from previous eras, while at the same time pushing arts and
letters in new and interesting directions. Victorian novelists and poets like Charlotte
and Emily Bronte, Lord Tennyson, Robert Browning, Gustave Flaubert, George Eliot,
Fyodor Dosteyevsky, and Thomas Hardy wrote with simplicity, truth and tempered
emotion.
Realism (1820-1920), the next period in European literature, is precisely what
it sounds like. It is attention to detail, and an effort to replicate the true nature of reality
in a way that novelists had never attempted. Famous writers during this period were
Franz Kafka, William Butler Yeats, T.S. Eliot, and Vicente Biasco Ibanez, among
others.
Naturalism (1870-1920) sought to go further and be more explanatory than
Realism by identifying the underlying causes for a person’s actions or beliefs. In
Naturalism, the environment played a large part in the narrative structure. Emile Zola,
one of the most influential writers in this period of literature, provided inspiration and
model in writing during this period.
Crime and punishment is a profound example of how some of the principles of
existentialist (1850-today), the next literary period. Doytoyevsky’s story shows that
thinking can be perverted, leading to ethical decay and personal destruction. Another
writer, Franz Kafka, has also been associated with 20th century existentialism. But the
name most related to existential literature is Albert Camus.
42
The Modernist Period (1910-1965) in literature presented a new way of living
and seeing the world. Writers are now free to try new concepts in writing like the use
of the unreliable narrator, among others. Modernism was set in motion, in one sense,
through a series of cultural shocks where the poets took fullest advantage of the new
spirit of the times, and stretched the possibilities of their craft to lengths not previously
imagined.
All these period in literature influenced and led to what is now seen in the works
of 21st century European writers. ("21St Century Literature Of The Philippines And Of The
World (1) Scribd" 2020)
King Arthur is a key figure in all of European literature. The legendary
king and the episodes of his life have been echoed in literary texts for several
centuries. The following selection presents the pivotal movement in which a
precocious young man began his transformation into ruler of England.
The Miracle of the Sword and Stone
Now Arthur, the prince, had all this time been nourished in Sir Ector’s house as
his own son, and was fair and tall and comely, being of the age of fifteen years, great
in strength, gentle in manner, and accomplished in all exercises proper for the training
of a knight.
But as yet he knew not of his father, for Merlin had so dealth, that none save
Uther and himself knew aught about him. Wherefore it befell, that many of the knights
and barons who heard King Uther speak before his death, and call his son Arthur his
successor, were in great amazement; and some doubted, and others were displeased.
Anon the chief lords and princes set forth each to his own land, and, raising,
armed men and multitudes of followers, determined every one to gain the crown for
himself; for they said in their hearts, “If there be any such a son at all as he of whom
this wizard forced the king to speak, who are we that a beardless boy should have rule
over us?”
So the land stood long in great peril, for every lord and baron sought but his
own advantage; and the Saxons, growing ever more adventurous, wasted and overran
the towns and villages in every part.
Then, Merlin went to Brice, the Archbishop of Canterbury, and advised him to
require all the earls and barons of the realm and all knights and gentlemen-at-arms to
come to him at London, before Christmas, under pain of cursing, that they might learn
the will of Heaven who should be king. This, therefore, the archbishop did, and upon
Christmas Eve were met together in London all the greatest princes, lords, and barons;
and long before day they prayed in St. Paul’s Church, and the archbishop besought
Heaven for a sign who should be lawful king of all the realm.
And as they prayed, there was seen in the churchyard, set straight before the
doorways of the church, a huge square stone having a naked sword stuck in the midst
of it. And on the sword was written in letters of gold, “Whoso pullet out the sword from
this stone is born the rightful King of Britain.”
At this, all the people wondered greatly; and, when Mass was over, the nobles,
knights, and princes ran out eagerly from the church to see the stone and sword, and
a law was forthwith made that whoso should pull out the sword should be
acknowledged straightway King of Britain.
Then, many knights and barons pulled at the sword with all their might, and
some of them tried many times, but none could stir or move it.
43
When all had tried in vain, the archbishop declared the man whom Heaven had
chosen was not yet there. “But God,” said he, “will doubtless make him known ere
many days.”
So ten knights were chosen, being men of high renown, to watch and keep the
sword, and there was proclamation made through all the land that whosoever would,
had leave and liberty to try and pull it from the stone. But though great multitudes of
people came, both gentle and simple, for many days, no man could ever move the
sword a hair’s breadth from its place.
Now at the New Year’s Eve, a great tournament was to be held in London,
which the archbishop had devised to keep together lords and commons, lest they
should grow estranged in the troublous and unsettled times. To the which tournament
there came, with many other knights, Sir Ector, Arthur’s foster-father, who had great
possessions near to London, and with him came his son, Sir Key, but recently made
knight, to take his part in jousting, and young Arthur also to witness all the sports and
fighting.
But as they rode towards the jousts, Sir Key found suddenly he had no sword,
for he had left it at his father’s house; and turning to young Arthur, he prayed him to
ride back and fetch it for him. “I will with a good will,” said Arthur, and rode fast back
after the sword.
But when he came to the house he found it locked and empty, for all were gone
forth to see the tournament. Whereat, being angry and impatient, he said within
himself, “I will ride to the churchyard and take with me the sword that sticketh in the
stone, for my brother shall not go without a sword this day.”
So he rode and came to the churchyard, and alighting from his horse he tied
him to the gate, and went to the pavilion, which was pitched near the stone, wherein
abode the ten knights who watched and kept it, but he found no knights there, for all
were gone to see the jousting.
Then he took the sword by its handle, and lightly and fiercely he pulled it out of
the stone, and took his horse and rode until he came to Sir Key and delivered him the
sword. But as soon as Sir Key saw it, he knew well it was the sword of the stone, and
riding swiftly to his father, he cried out, “Lo! here, sir, is the sword of the stone,
wherefore it is I who must be king of all this land.”
When Sir Ector saw the sword, he turned back straight with Arthur and Sir Key
and came to the churchyard, and there alighting, they went all three into the church,
and Sir Key was sworn to tell truly how he came by the sword. Then he confessed it
was his brother Arthur who had brought it to him.
Whereat Sir Ector, turning to young Arthur, asked him – “How gottest thou the
sword?”
“Sir,” said he, “I will tell you. When I went home to fetch my brother’s sword, I
found nobody to deliver it to me, for all were abroad to the jousts. Yet was I loath to
leave my brother swordless, and, bethinking me of this one, I came hither eagerly to
fetch it for him, and pulled it out of the stone without any pain.”
Then said Sir Ector, much amazed and looking steadfastly on Arthur, “If this
indeed be thus, ‘tis thou who shalt be king of all this land – and God will have it so –
for none but he who should be rightful Lord of Britain might ever draw this sword from
that stone. But let me now with mine own eyes see thee put back the sword into its
place and draw it forth again.”
“That is no mystery,” said Arthur, and straightway set it in the stone. And then
Sir Ector pulled at it himself, and after him Sir Key, with all his might, but both of them
in vain; then Arthur reaching forth his hand and grasping at the pommel, pulled it out
easily, and at once.
Then fell Sir Ector down upon his knees upon the ground before young Arthur,
and Sir Key also with him, and straightway did him homage as their sovereign lord.
44
But Arthur cried aloud, “Alas! mine own dear father and my brother, why kneel
ye thus to me?”
“Nay, my Lord Arthur,” answered then Sir Ector, “we are of no blood-kinship
with thee and little though I thought how high thy kin might be, yet wast thou never
more than foster-child of mine.” And then he told him all he knew about his infancy,
and how a stranger had delivered him, with a great sum of gold, into his hands to be
brought up and nourished as his own born child, and then had disappeared.
But when young Arthur heard of it, he fell upon Sir Ector’s neck, and wept, and
made great lamentation, “For now,” said he, “I have in one day lost my father and my
mother and my brother.”
“Sir,” said Sir Ector presentlym, “when thou shalt be made king, be good and
gracious unto me and mine.”
“If not,” said Arthur, “I were no true man’s son at all, for thou art he in all the
world to whom I owe the most; and my good lady and mother, thy wife, hath ever kept
and fostered me as though I were her own; so if it be God’s will that I be king hereafter
as thou sayest, desire of me whatever thing thou wilt and I will do it; and God forbid
that I should fail thee in it.”
“I will but pray,” replied Sir Ector, “that thou wilt make my son Sir Key, thy fosterbrother, seneschal of all the lands.”
“That shall he be, “said Arthur; “and never shall another hold that office, save
thy son, while he and I do live.” (Simoun Victor D. Rodoblaco, Brilliant Creations Publishing,
What’s More
Determine how the Arthurian themes are echoed in the work of 21st
century writer, Alan Fenton. Then, identify how the writer uses characters, scenes,
and imagery that parallel the tales of King Arthur and his knights. Copy the table in
your LITERATURE ACTIVITY NOTEBOOK. Then, fill in the table that can be found
after the story with your answer.
CALL OF DESTINY (excerpt)
Alan Fenton
On the summit of a hill in the county of Somerset stands a solitary church tower,
bearing witness to the ferocity of nature and of man. It is all that survives of two
churches that once stood here. The first was destroyed by an earthquake, the second
by the command of Henry the Eight. As sunset approaches, subtle details of stone
and lichen, archway and niche, buttress and embrasure, are lost in the deepening
shadows. Silhouetted against the evening sky the stark stone mass of the tower
dominates the soft contours of the landscape, uniting earth and heaven.
A few yards from the base of the tower, on a mound that marks the crest of the
Tor two motionless figures stand, one taller than the other. Seen from the valley below,
their dark shapes loom, remote and mysterious. There is a haunting and powerful aura
about them, as if they were not people but primeval monoliths or statues of pagan
gods in an ancient burial ground. In some strange way they are beings apart, belonging
not to the present time, but to time itself.
The hill is otherwise deserted, as are the woods at its foot and the countryside
beyond.
45
The red ball of the sun sinks below the horizon, the west wind that has gusted
all day is suddenly stilled. Not a sound, not even a breath of air, disturbs the silence.
Nothing stirs. In this hushed moment, the earth and all the planets that only an instant
before wheeled round the sun, seem to hang motionless in space.
Slowly the taller figures raises his hand, as if to release the world from its spell,
then touches the boy lightly on the shoulder. ‘Shall we go? It’s getting late.’
They begin the descent. ‘Tell me more about him.’ says the boy.
‘He was a great leader,’ his older companion responds. ‘King of Britain, as they
called it then. When he came to the throne the country was under constant attack by
its enemies, both from outside and within.’
Down the steep track they jolt, each for a time absorbed in his own thoughts,
the boy’s head buzzing with questions.
‘But what exactly did he do?’
‘The world had gone mad. The king tried to bring it back to its senses, and
restore meaning to people’s lives. He wanted to give them courage and hope for the
future. But to do that he first had to impose order on chaos.’
“How do you mean, impose?’
The man nods approvingly. ‘You are right to question that word. He questioned
it too. The thought of using force troubled him. But after much heart searching he
decided that if mankind was to be saved, he had no other choice. He was given the
power to do it, you see, power so formidable that many thought he had been sent to
earth by God, or even that he himself was a divine being.’
‘And was he?’
‘No.’
‘So he was just an ordinary man?’
A brief silence. ‘He was a man, but no ordinary man. When he was young he
found it hard to believe he had a special destiny. He wanted to lead a fun life and have
a happy time, just as most people do. But as he grew older he came to understand
that he was not the same as other men, and that the road he would have to take would
be a different one.’
‘Because of the power he had?’
‘Yes. And because of the way he chose to use it.’
‘How do you mean?’
‘Other men would have used it for selfish ends, but not him. He decided to fight
the forces of darkness and chaos. He was a brave and cunning warrior; but he was
also much more than that, a philosopher and a visionary, a wise and humane
individual, gallant, just and honourable. Those who ruled by terror feared him. Those
whom they terrorised, worshipped him. And in return he loved and honoured them, the
ordinary men and women. He had a dream, a dream that one day the meek really
would inherit the earth. But he knew they could only do it with his help.’
‘Was there no one else they could turn to?’
‘No one else whom good men and women would follow, no other leader who
had the courage and strength of character to meet the challenge. Not that he was the
only one who saw the world descending into chaos; there were leaders in other lands
who feared for the future but were too weak, or too corrupt, or simply too afraid to act.
As everything around them disintegrated, resigned to self-destruction, accepting that
mankind was doomed. They had abandoned all hope of changing anything; they no
longer cared what happened. But he cared. He did everything in his power to create a
new world for mankind, a world based on love and respect and justice.’
‘And did he succeed?’
‘
For a while. Until things started to go wrong.’
46
The boy is impatient. ‘But how? Why? I want to know everything.’
‘It’s a long story. Are you sure you want to hear it?’ asks the man, teasing his
young friend.
‘You know I do!’
A loving hand rests lightly on the boy’s head. ‘Then you shall.’
A mole of thought furrows the boy’s brow. ‘Is it just a story? or was there really
such a person?’
‘There was,’ says the man, adding tantalisingly, ‘and may be again.’ The boy
looks puzzled.
‘There are those who say that if ever he is needed, he will come again.’
The boy’s eyes shine. ‘What will he do?
In the twilight the first star shows itself. A pale silver of moon floats above the
horizon.
‘Now there’s a question,’ the man says softly. ‘What will he do…? Well now, I
imagine he will try to save mankind, just as he did all those centuries ago. Lord knows,
we need saving.’
The boy nods in acknowledgement, though scarcely understanding.
‘You never told me his name.’
‘You know it already.’
‘I do?’
‘From the story books.’
the boy stands still and looks up at his beloved mentor, puzzled.
The man looks fondly down. ‘You want a clue?’
‘Yes.’
‘You have the same name as that king.’
For a second or two the wide eyes dream, catching the starlight, then suddenly
sparkle as he laughs with delight. ‘Oh, that king!’ On an impulse he cups his hands
around his mouth and shatters the silence, crying out the name at the top of his voice.
‘Arthur!’
https://www.alanfenton.co.uk/the-call-of-destiny-the-first-book-by-author-alan-fenton/
The Miracle of the Sword
and Stone
Characters
* protagonist
* antagonist
Scenes
Imagery
What I Have Learned
47
Call of Destiny
Answer the questions below. Write your answers in your LITERATURE
ACTIVITY NOTEBOOK.
1. What is the moral of the story The Miracle of the Sword and Stone?
_______________________________________
___________________________________________________________________
2. What is the theme of The Miracle of the Sword and the Stone? ______________
___________________________________________________________________
What I Can Do
As a volunteer for a charitable institution that services children in foster care,
you and your fellow volunteers are tasked to perform a play of a folktale from the
Brothers Grimm. The concept is to encourage the children to read fairy tales and
enlightened of their origins as stories. Your play must be less than 10 minutes, suitable
for children, and must also have a part for audience interaction. You will be peerevaluated by your other fellow volunteers using the rubric below.
PLAYWRITING RUBRIC
Exceeds Meets Working Below
Towards
PLOT makes sense.
4
3
2
1
CHARACTERS are believable for the situation. They
are well-developed and have motivations for their
4
3
2
1
actions.
EXPOSITION provides enough background on the
4
3
2
1
characters and setting for the play to make sense.
Has a CONFLICT that gets introduced in the
4
3
2
1
INCITING INCIDENT.
Tension/suspense increases through
4
3
2
1
COMPLICATIONS in RISING ACTION
Has a CLIMAX that is the highest point of
4
3
2
1
suspense/tension or a turning point.
FALLING ACTION ties up loose ends and possibly
4
3
2
1
shows how the conflict is won or lost.
The RESOLUTION gives the play an ending that
includes a BUTTON at the end to give a feeling of
4
3
2
1
satisfaction or completion.
The play shows action rather than telling us about it.
4
3
2
1
The play can be produced on a stage in front of a live
4
3
2
1
audience.
Formatted correctly:
Includes a title and list of characters
Character names in ALL CAPS at the
beginning of the line of dialogue, followed by
a colon ( : )
48
4
3
2
1
Character names in ALL CAPS in stage
directions
Stage directions should be in parenthesis
and, if typed, italicized
New scenes begin if there is a change in
LOCATION or TIME
Adopted:
https://www.emsd63.org/cms/lib7/IL01906326/Centricity/Domain/225/PLAYWRITING%20RUBRI
C%20w%20Sample.pdf
Post assessment
Let’s check what you’ve learned from our lesson on European
literature. Answer each item below. Choose the correct answer, and write ONLY the
letter your answer in your LITERATURE ACTIVITY NOTEBOOK.
1. No other period in English literature displayed more variety in style, theme, and
content. What period is it?
A. Medieval
B. Romantic
C. Victorian
D. Enlightenment
2. What period in European literature gives attention to detail and replicates the true
nature of reality?
A. Romantic
B. Victorian
C. Realism
D. Naturalism
3. During this period, writers identify the underlying causes for a person’s actions or
beliefs; the environment played a large part in the narrative structure of their works.
A. Realism
B. Naturalism
C. Victorianism
D. Imperialism
4. The ________ literary period uses crime and punishment as example of the
principles used in their work.
A. Realism
B. Naturalism
C. Imperialism
D. Existentialism
5. Writers during this period are now free to try new concepts in writing like the use
of the unreliable narrator.
A. Naturalism
B. Existentialism
C. Modernism
D. Naturalism
6. Who is Sir Kay’s squire?
A. Merlin
B. Arthur
C. His cousin
D. Sir Ector
7. Which of the following is NOT a theme of The Miracle of the Sword and the
Stone?
A. deception
B. trust
C. betrayal
D. love
8. Why did Merlin wait to the very last minute to have Arthur pull the sword from the
stone?
A. To show everyone how smart he is
B. To show everyone Arthur was king
C. To prove that the Archbishop is very noble
D. To show that those arrogant men were weak
9. How does Arthur prove he is the rightful king of England?
A. by winning the tournament
49
B. he married the princess
C. by pulling the sword from the stone
D. by dividing the stone
10. Which of the following is the moral of the story The Miracle of the Sword and the
Stone?
A. Follow your instincts.
B. It's about recognizing other people’s powers.
C. Follow your destiny no matter what happens.
D. It's about how to grow up well and be a good person.
Lesson
13
European Literature - II
Grade 12, First Semester, Q2 – Week 4
What I Need to Know
Congratulations! You are now in Lesson 13 of this module. In this
lesson, you’re going to continue your exploration in the continent of Europe.
In this Lesson, you are going to:
a. Compare and contrast the various 21st century literary genres and
their elements, structures, and traditions from across the globe
(EN12Lit-IId-25)
b. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
50
What I Know
Have you watched the movie adaptation of Harry Potter and the
Sorcerer’s Stone? Try to recall the movie and answer the questions below.
Write only the letter of the answer
_____1. How does Harry first learn that he is a wizard?
a. Dudley accidentally lets it slip
b. He reads about it in the Daily Prophet
c. The Dursleys tell him when he is eight
d. Hadgrid has to track him down to tell him
_____2. Where does Harry live in the Dursley’s home?
a. with Dudley
b. in the guest house
c. in a cupboard under the stairs
d. in Mr. and Mrs. Dursley’s room
_____3. Who decides where the children will be housed at Hogwarts?
a. The Sorting Broom
b. Albus Dumbledore
c. The Sorting Hat
d. Each child decides for himself or herself
_____4. How do the children wants to get rid of Hagrid’s dragon?
a. They poison it.
a. They bring it up to the top of the tallest tower and push it off
c. They bring it up to the top of the tallest tower and give it to Voldermort
d. They bring it up to the top of the tallest tower and give it to Ron’s older
brother’s friends
_____5. Who is Fluffy?
a. Harry’s own dragon
b. Hagrid’s dog
c. Dumbledore’s pet snake
d. Hagrid’s three-headed dog
_____6. Which teacher is trying to steal the Sorcerer’s Stone?
a. Quirrell
b. Snape
c. Dumbledore
d. McGonagall
_____7. To whom does the Sorcerer’s Stone belong?
a. Harry
b. Hagrid
c. Voldermort
d. Nicolas Flamel
_____8. What does Harry see when he looks in the Mirror of Erised for the first time?
a. His parents
b. A Quidditch trophy
c. The Sorcerer’s Stone
d. Himself as an old, wise wizard
51
_____9. Who actually puts the curse on Harry during the Quidditch match?
a. Quirrell
b. Snape
c. Malfoy
d. Nicolas Flamel
_____10. What do the first two initials in J.K. Rowling’s name stand for?
a. Jenna Kate
b. Jennifer King
c. Joan Kinsey
d. Joanna Kathleen
What’s In
In Lesson 12, you were introduced to European literature through the
story The Miracle of the Sword and Stone which tells about how the precocious young
man became King Arthur, the ruler of England. Now, check what you’ve learned from
the lesson.
Create a timeline to note the important periods in European literature as written in
Lesson 5. A sample timeline template is given, but you may create your own.
52
What’s New
Name a character in a movie or story which you can relate with each
word below. Write your answers in your LITERATURE ACTIVITY NOTEBOOK.
Example:
HERO
- SUPERMAN
1. HERO
2. MENTOR
3. LOYAL COMPANION
4. EXPLORER
5. LOVER
6. MAGICIAN
7. INNOCENT
8. BULLY
9. RULER
10. EVIL GENIUS
- ______________
- ______________
- ______________
- ______________
- ______________
- ______________
- ______________
- ______________
- ______________
- ______________
What Is It
Archetypes are universal symbols that encapsulate the collectivelyinherited unconscious idea, pattern of thought, image, etc., that is, universally present
in people. Psychologist Carl Gustav Jung described several archetypes that are based
in the observation of differing but repeating patterns of thought and action that reappear time and again across people, countries and continents.
The following are information on the different archetypes for characters.
Eight Male Archetypes
Chief
Leader, tough; decisive; goal-oriented; over-bearing; top
of his field
Bad boy
Rebel; the boy from the wrong side of the track; bitter;
crash idealist; charismatic, street-smart, hates authority
The best friend
Kind, responsive, decent, regular, Mr. Nice Guy; doesn’t
enjoy confrontation, values teamwork
Charmer
Fun, irresistible; not too responsible or dependable;
rouge, not crazy about hard work
The lost soul
Tortured, secretive, unforgiving; vulnerable, creative but
loner
The professor
Logical, introverted, inflexible, boring; genuine about
feelings, honest, faithful
The swashbuckler
Man of action, physical endearing, fearless, explorer
The warrior
Reluctant rescuer, knight-in-shining-armor; relentless,
hero, doesn’t go along to get along
Eight Female Archetypes
Boss
Leader; tough; decisive; goal-oriented; over-bearing; top
of her field
The Survivor
Sizing up everyone, mysterious, manipulative, tough
53
The spunky kid
The Free Spirit
The waif
The librarian
The crusader
The nurturer
Rebel; bitter; crash idealist; charismatic, street-smart,
hates authority
Fun, irresistible, not too responsible or dependable;
rouge, not crazy about hard work
Damsel in distress; childlike innocence
Proper but with underlying passion
Woman of action, physical endearing, fearless, explorer
Takes care of everyone
(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-ofthe-World-1)
Read the summary of Harry Potter and the Sorcerer’s Stone below and do the
activities that follow.
Harry Potter and the Sorcerer’s Stone
J.K. Rowling
Mr. Dursley, a well-off Englishman, notices strange happenings on his way to
work one day. That night, Albus Dumbledore, the head of a wizardry academy called
Hogwarts, meets Professor McGonagall, who also teaches at Hogwarts, and a giant
named Hagrid outside the Dursley home. Dumbledore tells McGonagall that someone
named Voldemort has killed a Mr. and Mrs. Potter and tried unsuccessfully to kill their
baby son, Harry. Dumbledore leaves Harry with an explanatory note in a basket in
front of the Dursley home.
Ten years later, the Dursley household is dominated by the Dursley’s son,
Dudley, who torments and bullies Harry. Dudley is spoiled, while Harry is forced to
sleep in a cupboard under the stairs. At the zoo on Dudley’s birthday, the glass in front
of a boa constrictor exhibit disappears, frightening everyone. Harry is later punished
for this incident.
Mysterious letters begin arriving for Harry. They worry Mr. Dursley, who tries to
keep them from Harry, but the letters keep arriving through every crack in the house.
Finally, he flees with his family to a secluded island shack on the eve of Harry’s
eleventh birthday. At midnight, they hear a large bang on the door and Hagrid enters.
Hagrid hands Harry an admissions letter to the Hogwarts School of Witchcraft and
Wizardy. Harry learns that the Dursleys have tried to deny Harry’s wizardry all these
years.
The next day, Hagrid takes Harry to London to shop for school supplies. First
they go to the wizard bank, Gringotts, where Harry learns that his parents have left
him a hefty supply of money. They shop on the wizard’s commercial street known as
Diagon Alley, where Harry is fitted for his school uniform. Harry buys books,
ingredients for potions, and, finally, a magic wand – the companion wand to the evil
Voldemort’s.
A month later, Harry goes to the train station and catches his train to Hogwarts
on track nine and three quarters. On the train, Harry befriends other first-year students
like Ron Weasley and Hermione Granger, a Muggle girl chosen to attend Hogwarts.
At school, the first- years take turns putting on the “Sorting Hat” to find out in which
residential house they will live. Harry fears being assigned to the sinister Slytherin
house, but he, Ron, and Hermione end up in the noble Gryffindor house.
As the school year gets underway, Harry discovers that his Potions professor,
Snape, does not like him. Hagrid reassures Harry that Snape has no reason to dislike
him. During their first flying lesson on broomsticks, the students are told to stay
54
grounded while the teacher takes an injured boy named Neville to the hospital. Draco
Malfoy, a Slytherin bully, snatches Neville’s prized toy and flies off with it to the top of
a tree. Harry flies after him. Malfoy throws the ball in the air, and Harry speeds
downward, making a spectacular catch. Professor McGonagall witnesses this incident.
Instead of punishing Harry, she commends that he play Quidditch, a much-loved game
that resembles soccer played on broomsticks, for Gryffindor. Later that day, Malfoy
challenges Harry to a wizard’s duel at midnight. Malfoy doesn’t show up at the
appointed place, and Harry almost gets in trouble. While trying to hide, he accidentally
discovers a fierce three-headed dog guarding a trapdoor in the forbidden third-floor
corridor.
On Halloween, a troll is found in the building. The students are all escorted back
to their dormitories, but Harry and Ron sneak off to find Hermione, who is alone and
unaware of the troll. Unwittingly, they lock the troll in the girl’s bathroom along with
Hermione. Together, they defeat the troll. Hermione tells a lie to protect Harry and Ron
from being punished. During Harry’s first Quidditch match, his broom jerks out of
control. Hermione notices Snape staring at Harry and muttering a curse. She
concludes that he is jinxing Harry’s broom, and she sets Snape’s clothes on fire. Harry
regains control of the broom and makes a spectacular play to win the Quidditch match.
For Christmas, Harry receives his father’s invisibility cloak, and he explores the
school, unseen, late at night. He discovers the Mirror of Erised, which displays the
deepest desire of whoever looks in it. Harry looks in it and sees his parents alive. After
Christmas, Harry, Ron, and Hermione, begin to unravel the mysterious connection
between a break-in at Gringotts and the three-headed guard dog. They learn that the
dog is guarding the Sorcerer’s Stone, which is capable of providing eternal life and
unlimited wealth to its owner and belongs to Nicolas Flamel, Dumbledore’s old partner.
A few weeks later, Hagrid wins a dragon egg in a poker game. Because it is
illegal to own dragons, Harry, Ron, and Hermione contact Ron’s older brother, who
studies dragons. They arrange to get rid of the dragon, Fluffy, but get caught. Harry,
Ron, and Hermione are severely punished, and Gryffindor is docked 150 points.
Furthermore, part of their punishment is to go into the enchanted forest with Hagrid to
find out who has been killing unicorns recently. In the forest, Harry comes upon a
hooded man drinking unicorn blood. The man tries to attack Harry, but Harry is rescued
by a friendly centaur who tells him that his assailant was Voldemort. Harry also learns
that it is Voldemort who has been trying to steal the Sorcerer’s Stone.
Harry decides that he must find the stone before Voldemort does. He, Ron, and
Hermione sneak off that night to the forbidden third-floor corridor. They get past the
guard dog and perform many impressive feats as they get closer and closer to the
stone. Harry ultimately finds himself face to face with Quirrell, who announces that
Harry must die. Knowing that Harry desires to find the stone, Quirrell puts Harry in
front of the Mirror of Erised and makes him state what he sees. Harry sees himself
with the stone in his pocket, and at that same moment he actually fells it in his pocket.
But he tells Quirrell that he sees something else. A voice tells Quirrell that the boy is
lying and requests to speak to Harry face to face. Quirrell removes his turban and
reveals Voldemort’s face on the back of his head. Voldemort, who is inhabiting
Quirrell’s body, instructs Quirrell to kill Harry, but Quirrell is burned by contact with the
boy. A struggle ensues and Harry passes out.
When Harry regains consciousness, he is in the hospital with Dumbledore.
Dumbledore explains that he saved Harry from Quirrell just in time. He adds that he
and Flamel have decided to destroy the stone. Harry heads down to the end-of-year
banquet, where Slytherin is celebrating its seventh consecutive win of the house
championship cup. Dumbledore gets up and awards many last-minute points to
Gryffindor for the feats of Harry and his friends, winning the house cup for Gryffindor.
55
Harry returns to London to spend the summer with the Dursleys. ("Sparknotes: Harry
Potter And The Sorcerer’S Stone: Plot Overview" 2020)
What’s More
Based on the given information on the different archetypes for characters, use
the table below to specify which character in Harry Potter and the Sorcerer’s Stone
subscribes to the given archetype.
Eight Male Archetypes
Chief
Bad boy
The best friend
Charmer
The lost soul
The professor
The swashbuckler
The warrior
Eight Female Archetypes
Boss
The Survivor
The spunky kid
The Free Spirit
The waif
The librarian
The crusader
The nurturer
What I have learned
Answer the questions below. Write your answers in your LITERATURE
ACTIVITY NOTEBOOK.
1. What is the main message of Harry Potter and
the Sorcerer’s Stone?
______________________________________________________________
______________________________________________________________
2. What life’s lessons does Harry Potter and the Sorcerer’s Stone teach?
______________________________________________________________
______________________________________________________________
What I Can Do
56
Using your knowledge about the archetypes found in Harry Potter and
the Sorcerer’s Stone, write a critical paper about the impact of the archetypes to the
story. Your paper will be rated based on the rubric below.
Criteria
Introduction
and conclusion
(Background
history/ Thesis
statement)
Main points
(Body
paragraphs)
Organization
(Structure and
Transition)
Style
(Sentence
flow, variety,
diction)
Mechanics
(Spelling,
punctuation,
capitalization)
Description
10 points
There is a well-developed
introduction with an attention
grabber that gets the reader’s
interest and continues to
engage the reader up until the
thesis statement. The thesis
statement should clearly state
the experience or event that will
be described as well as the
effect on the writer. Conclusion
should effectively wrap up and
re-stress the importance of
thesis.
Well-developed main
points/topic sentences that
relate directly to the thesis.
Supporting examples are
concrete and detailed. The
analysis is developed with an
effective point of view.
Logical progression of ideas with
a clear structure that enhances
the thesis. Transitions are
effective and vary throughout
the paragraph, not just in the
topic sentence.
Writing is smooth, skilful, and
coherent. Sentences are strong
and expressive with varied
structure. Diction is consistent
and words are well-chosen.
Punctuation, spelling, and
capitalization are all correct. No
errors.
Score
7 points
Introduction creates
interest. Thesis states
the position.
Conclusion effectively
summarizes the topic
4 points
Introduction
adequately
explains the
background, but
may lack detail.
Thesis states the
topic, but key
elements are
missing.
Three or more main
points relate to the
thesis, but some may
lack details. The
analysis shows events
from the author’s point
of view, but could use
more descriptive
language.
Logical progression of
ideas. Transitions are
present throughout the
essay, but lacks variety
Three or more
main points are
present, but lack
details in
describing the
event. Little
descriptive
language is used.
Writing is clear and
sentences have varied
structure. Diction is
consistent.
Writing is clear,
but could use a
little more
sentence variety to
make the writing
more interesting.
There are only a
few(3-4) errors in
punctuation,
spelling, and
capitalization.
Score
Punctuation, spelling,
and capitalization are
generally correct with
few errors(1-2).
Organization is
clear. Transitions
are present at
times, but there is
very little variety.
/50
Adopted: https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippinesand-of-the-World-1
Post assessment
57
Let’s check what you’ve learned. Answer each item below. Write only
the letter of the correct answer in your LITERATURE ACTIVITY NOTEBOOK.
_____1. How does Harry first learn that he is a wizard?
a. Dudley accidentally lets it slip
b. He reads about it in the Daily Prophet
c. The Dursleys tell him when he is eight
d. Hadgrid has to track him down to tell him
_____2. Where does Harry live in the Dursley’s home?
a. with Dudley
b. in the guest house
c. in a cupboard under the stairs
d. in Mr. and Mrs. Dursley’s room
_____3. Who decides where the children will be housed at Hogwarts?
a. The Sorting Broom
b. Albus Dumbledore
c. The Sorting Hat
d. Each child decides for himself or herself
_____4. How do the children wants to get rid of Hagrid’s dragon?
a. They poison it.
a. They bring it up to the top of the tallest tower and push it off
c. They bring it up to the top of the tallest tower and give it to Voldermort
d. They bring it up to the top of the tallest tower and give it to Ron’s older
brother’s friends
_____5. Which teacher is trying to steal the Sorcerer’s Stone?
a. Quirrell
b. Snape
c. Dumbledore
d. McGonagall
_____7. To whom does the Sorcerer’s Stone belong?
a. Harry
b. Hagrid
c. Voldermort
d. Nicolas Flamel
_____8. Who is Fluffy?
a. Harry’s own dragon
b. Hagrid’s dog
c. Dumbledore’s pet snake
d. Hagrid’s three-headed dog
_____9. What does Harry see when he looks in the Mirror of Erised for the first time?
a. His parents
b. A Quidditch trophy
c. The Sorcerer’s Stone
d. Himself as an old, wise wizard
_____9. Who actually puts the curse on Harry during the Quidditch match?
58
a. Quirrell
b. Snape
c. Malfoy
d. Nicolas Flamel
_____10. What do the first two initials in J.K. Rowling’s name stand for?
a. Jenna Kate
b. Jennifer King
c. Joan Kinsey
d. Joanna Kathleen
Lesson
14
European Literature - III
Grade 12, First Semester, Q2 – Week 5
What I Need to Know
Congratulations! You are now in Lesson 6 of this module. In this lesson,
you’re going to continue your exploration in the continent of Europe.
In this Lesson, you are going to:
a. Identify representative texts and authors from Asia, North America,
Europe, Latin America, and Africa; (EN12Lit-IIa-22)
b. Compare and contrast the various 21st century literary genres and
their elements, structures, and traditions from across the globe
(EN12Lit-IId-25)
c. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
59
What I Know
A. Do you still remember the classification of the character types in
literature? Identify the character type being described in each item
below. Write your answer in your LITERATURE ACTIVITY NOTEBOOK.
______________1. Every story has this type of character that evolve around it. It is
the main character or the hero. It appears in the story from the start to end. It is the
one who fights with the situations and antagonist characters and takes the story to
the happy (or unhappy) ending
______________2. He plays against this heroic character and tries to stop him by
posing threats to his and others’ lives. Note that he doesn’t always need to be a person
or a group of people working to ensure the misery of the protagonist. It can also be a
difficult situation or accidental event that works against the main and positive
character.
______________3. This character is not an eye-catching part of the story, but still
plays an important role in the flow and helps the main character in his or her intention.
This character doesn’t have strong characteristics or doesn’t reveal much about the
self. It also stays static throughout the story and feels the gap in the storyline.
______________4. This character plays a role that develops and changes during the
events in the story. This character may change positively or negatively depending on
the need of the story. It can be anything from a supporter of the main character to a
partner of the antagonist and may change its direction from positive to negative or
negative to positive.
______________5. This is the character which contributes the most in making the
story interesting and keeps the reader confused about the person’s actual nature. This
type of character acts subtly and changes in the face of conflict. This character
develops itself and rather becomes complex as the story progresses as he or she
doesn’t stick to the limited qualities.
B. Answer each item below. Write only the letter of the correct answer.
6. Authors create dependable, unchanging characters. What are they called?
A. static
B. round
C. dynamic
D. flat
7. This character is important to the story, but they stay angry and seething the entire
time, what kind of character are they?
A. flat
B. villain
C. dynamic
D. static
8. A plane crashed on an island in the middle of the ocean. Wilson had to
survive…all on his own. What conflict is shown here?
A. character vs. self
60
B. character vs. society
C. character vs. nature
D. character vs. character
9. He wants to ask someone to dance with him on the dance floor, but he’s afraid too
ask her. Identify the conflict.
A. character vs. self
B. character vs. nature
C. character vs. character
D. character vs. society
10. When the character goes up against the laws or beliefs of a group, it is called
character vs. __________.
A. self
B. society
C. character
D. technology
What’s In
61
Let’s continue exploring the literature of Europe. But before going further,
do the activity below.
You have already read the summary of Harry Potter and the Sorcerer’s Stone. Now,
complete the graphic organizer below.
Setting
Main Characters
Title and author
Problem
Supporting characters
solution
What’s New
62
Einstein’s riddle is a challenging detective-style activity you have to use logic to solve the
nationality, pet, drink, color and hobby of each home owner. Answer this activity in your
LITERATURE ACTIVITY NOTEBOOK.
"Einstein's Riddle: Detective-Style Logic Activity - ALL ESL". 2019. ALL ESL. https://allesl.com/einsteins-riddle/.
What Is It
63
Detective story is an exciting type of popular literature with a very gripping story
telling technique in which a crime is introduced, investigated, and ultimately solved.
Writers like Edgar Allan Poe, Sir Arthur Conan Doyle, Dan Brown, James Patterson
and John Grisham are some of the more popular names when it comes to detective
story writing.
Elements for detective stories would usually include an almost flawless crime,
an innocent suspect, law officers that are inept, the cunning detective who will reveal
the real culprit, and the denouement where the detective explains how he solved the
puzzling crime.
The most popular detective work is Conan Doyle’s Sherlock Holmes. Holmes
enigmatic appeal drew millions of fans into following his adventures along with his
companion, Dr. Watson. Holme’s popularity still remains 126 years after his first
appearance even generating new versions like the Japanese animé, Detective Conan,
the BBC’s famous television show Holmes, and Hollywood blockbusters which stars
Robert Downey Jr.
The popularity of detective stories relies heavily on the suspense it creates and
the reader’s anticipation for the revelation. By far, serial writers of the 21st century have
not failed their fans yet.
(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-ofthe-World-1)
Read the summary of the story A Study in Emerald. The story follows
the cliffhanger plot device. In fiction writing, the cliffhanger technique features a main
character in a precarious or difficult dilemma, or confronted with a shocking revelation
at the end of an episode of serialized fiction.
A STUDY IN EMERALD (summary)
Written by Neil Gaiman
1. The New Friend
In 1881, the (yet-unnamed) narrator is sent home to convalesce after being
wounded in the shoulder in Afghanistan. In London, a mutual friend introduces the
narrator to a potential flatmate. The two meet in the chemical lab of St. Bartholomew’s
Hospital, where the man proceeds to astonish the narrator by deducing that he is a
soldier recently returned from Afghanistan. Although the narrator warns the man that
he sometimes screams in his sleep, the man humorously replies that he snores, is
easily bored, is selfish, and sometimes uses the mantle for target practice. The two
take up lodgings in Baker Street, where the narrator is intrigued by the constant flow
of odd visitors that his flatmate receives.
Sometime later the two are eating breakfast when the narrator’s friend
perceives that they will shortly be joined by a client. He is proved right when Inspector
Lestrade of Scotland Yard enters, who proceeds to sit down and help himself to some
sausages. The narrator’s friend states that clearly this must be a case of national
importance, frightening Lestrade into believing that the matter was public knowledge.
However, he reassures him that he only deduced so because Lestrade came despite
not being able to be publicly seen getting the advice of London’s only “consulting
detective”, and in addition without eating breakfast. Lestrade, somewhat cautiously,
asks whether it would be best for the narrator to leave the room; however, the detective
assures him that it is better he stay. The detective then again confounds Lestrade by
64
asking when they should leave for Shoreditch (because of the yellow mud on the
inspector’s pants), and accepts the case.
The narrator and the detective travel to the East End of London, though in a
separate cab from Lestrade. On the ride there, the narrator asks his friend about his
job as a “consulting detective”. The detective responds that he does not take cases:
rather, people bring him their insoluble problems, he listens, and sometimes solves
them. Most of his clients are in fact police and detectives who are incapable of solving
their crimes. As they enter the rookery slum of St Giles, the narrator asks the detective
if he is sure he had like to have him along. The detective replies that he feels the two
were meant to be together, and that knows the value of a good companion, making
the narrator feel self-worth for the first time since Afghanistan.
2. The Room
In Shoreditch, the two friends reunite with Lestrade and make for the crime
scene, located in a cheap lodging house guarded by policemen. The body lies gutted
in the center of the room, and green blood is splattered on the floors and walls. On
one wall the word "Rache" is written in the victim's blood, which the detective proceeds
to examine. Lestrade assumes that the victim was writing the name "Rachel". He
deduces from the green colour of the blood, the number of limbs on the body, and the
nature of the eyes that the victim was clearly a royal, likely a prince of a German state.
Lestrade confirms that the victim was Prince Franz Drago of Bohemia, a nephew of
Queen Victoria who was staying in England for his health (or, as the detective puts it,
for "theatres, whores, and gaming tables"). The detective, complaining about the
police's amateurish efforts destroying the evidence, proceeds to inspect some
splattered mud and a pile of ash. He then states that Lestrade is foolish to be looking
for a woman, as the word "Rache" means "revenge" in German.
After leaving the detective notices the narrator visibly shaken, and asks is it is
the first time he has encountered royalty. The narrator responds yes, to which the
detective replies that he will shortly have the pleasure of meeting a royal in person.
The detective points out a black carriage with the royal crest emblazoned in gold on
the door. The two climb into the carriage and head off towards towards the royal
palace.
3. The Palace
At the palace the two men are met by the Queen's consort, Prince Albert. The
prince informs them that the queen is very upset, and that is was he who suggested
bringing the detective in to work on the case. The two are ushered in to the Queen's
audience chamber, a cavernous, dark room where the Queen, a massive, hulking
figure, squats in a corner. She beckons them forward with a squirming limb: the
narrator is too frightened to move, but the detective pulls him forward. The Queen
places her limb on his shoulder, relieving his pain and filling him with a sense of-well
being. She then communicates (apparently telepathically) with the detective, who fills
her in on the details of the case, stating that there were two men in the room with her
nephew. After leaving the palace it is already dark, and the detective says nothing to
his companion all the way back to Baker Street. Upon returning to the house, the
narrator looks at his wounded shoulder in the mirror: he notices that some colour has
come back to the formerly frog-white skin.
4. The Performance
Over the next ten days the detective leaves the house several times under a
number of masterful disguises, but shares nothing with the narrator about what he has
been doing. At last the detective asks the narrator if he would like to accompany him
to the theatre, an invitation which he accepts. They head to the Royal Court Theatre,
65
located very near the rookery of St Giles on Drury Lane. The narrator, who was
expecting some sort of opera, is surprised as the theatre is the worst on the street. As
they take their seats in the stalls, the detective tells the narrator he should be glad he
did not have to accompany him to the brothels and gambling-houses, or the
madhouses, where the prince also liked to visit. He begins to tell the narrator that the
prince never visited one place more than once, with one exception, but is cut off by
orchestra signalling the start of the show.
The show consists of three one-act plays, the first a comedy of mistaken
identity, and the second a tragedy about an impoverished young violet-seller. The third
act, however, is a historical epic entitled "The Great Old Ones Come", which recounts
the emergence of the Old Ones from the sea and their conquest of the world. The
show ends with the entire audience cheering as a paper moon turns from yellow (as it
was in the past) to crimson (as the narrator remarks it is currently.)
Following the performance, the detective and narrator go backstage, where the
detective asks for Mr Sherry Vernet. The detective introduces himself as Mr 'Henry
Camberley', a theatrical promoter from the New World, and his friend as Mr Sebastian.
'Camberley' asks if Vernet wrote the last play: Vernet replies no, although he did devise
the magic lantern effects that accompanied it. He declines to name the author, stating
that he does not want his connection to the theatre to be known. 'Camberley' acts
disappointed, then brings out a pipe and pats his pockets. Not having any tobacco, he
asks for some of Vernet's, who gladly gives him some of his. The two smoke while
'Camberley' describes his vision of a multinational performance tour, starting with the
play depicting the arrival of the Old Ones and followed by two more new acts written
by the mysterious author. He promises Vernet fifty percent of the take, if he and his
author friend will come to Baker Street the next morning to draw up the contracts.
Vernet announces this to the company, who react enthusiastically.
After the two leave the theatre, the narrator attempts to ask the detective what
he was looking for, but is interrupted by his friend, who cautions him that the city has
many ears. Once inside a cab, the detective proceeds to tap the tobacco from his pipe
into a small tin, and announces that he has found the Tall Man, and hopefully tomorrow
will have found the Limping Doctor. The narrator reacts with confusion to this, but the
detective explains that from the footprints at the crime scene he could tell that of the
two men in the room, one was very tall: this was the Mr Vernet they had just met. The
other had a limp, and from the skill which he eviscerated the prince, must have been
a doctor. As the two get off the cab, the detective tips the man a florin, but finds it odd
when he does not stop for another man at the corner.
5. The Skin and the Pit
The next morning Lestrade arrives at Baker Street, and posts policemen
outside to arrest anyone who tries to leave the building after entering as they wait for
Mr Vernet to arrive. The detective shows his pipe from last night and the vial of ash he
collected in Shoreditch to Lestrade, saying that it is the final nail in the coffin of Mr
Vernet. He then asks the narrator what he knows of the Restorationists.
Despite Lestrade's obvious discomfort and protestations, the detective
proceeds to explain that the Restorationists are rebels who want to overthrow the Old
Ones and put mankind back in control of its own destiny. It was they who killed Prince
Franz Drago. The word "Rache", an old term for a hunting dog as well as meaning
revenge, was his signature. However, the hunter did not kill the prince. The man who
wrote the word on the wall was tall, having written the word at eye-level and tapped
his pipe out on the mantle – an unusual blend of shag. The footprints in the room
indicated that someone had been waiting inside the room, someone who had put more
66
pressure on his right foot. The tall man had entered the room with the prince, where
his accomplice had been waiting to murder him. However, despite spending days
retracing the prince's movements, he had not been able to figure out who the tall man
was until he saw in a Bohemian newspaper, that an English theatrical troupe had
performed for the prince in Prague. The leading man, Sherry Vernet, was therefore
obviously a restorationist.
At that moment a knock comes on the door. The three men are disappointed to
see it is not Vernet, or the limping doctor, but rather a young boy with a letter for Mr
'Henry Camberley'. The detective accepts the letter, and asks about the man who gave
it to the boy: he replies that the man was tall, dark-haired, and smoked a pipe.
The letter reveals that the Tall Man knows not only that the detective is not
Henry Camberley, but that he knows his real name. He in fact has read a number of
his papers, and corresponded with him on his paper The Dynamics of an Asteroid.
He proceeds to list the mistakes the detective made in his disguise when visiting
the theatre: firstly, that it is unlikely a pipe-smoking man would have a new pipe and
no tobacco; secondly, that it is very unlikely that a theatrical producer would not only
be ignorant of the usual theatrical payment standards; and thirdly, that he would be
accompanied by a taciturn ex-army officer (whom he also correctly deduces is back
from Afghanistan). Furthermore, he advises that cab drivers also have ears, and that
in the future it would be best not to take the first cab that comes along.
Finally, the letter-writer admits that he was the one who lured the "half-blood
creature" to the room in Shoreditch, after promising him a virginal girl abducted from
a convent in Cornwall whom the prince could easily drive to madness, a practice for
which the prince (and the other Old Ones) was known. The doctor, who also wrote the
play seen, was waiting for them. The letter concludes by saying that the detective
almost proved a worthy adversary, and the Tall Man will not reveal his name until the
world is restored. It is signed "Rache".
Inspector Lestrade leaves with the young urchin for the place where he was
given the letter. The detective comments that the police will likely close all the ports
and trains to prevent them from leaving the country, but that it is more likely that the
two are hiding out in the rookery of St. Giles until the search dies down. The narrator
asks how he knows, to which the detective replies that it is what he would do if their
situations were reversed. He advises the narrator to burn the letter.
In the end, Lestrade keeps his job, and Prince Albert writes a letter
congratulating the detective on his job, though lamenting that the criminal is still at
large. Sherry Vernet remains at large, his true identity unknown, as does his
accomplice, tentatively identified as John (or James) Watson, another veteran of the
Afghan war. The narrator's shoulder continues to heal where the Queen touched it,
and he comments that soon he shall be able to shoot once again. The narrator asks
the detective if he remembered his correspondence with Rache, to which the detective
replies that he did, though at the time he had been using the name "Sigerson". Finally
the Palace sends word that the Queen was pleased, finally closing the case: however,
the narrator is unconvinced, saying it will not be over until either the detective or Rache
kills the other.
The story concludes with the narrator requesting for his manuscript to be sealed
in a strongbox and not opened until everyone is dead, though this may be closer than
he anticipates due to recent events in Russia. The letter concludes with the signature
"S_ M_, Major (retired), Baker Street, London, New Albion, 1881."("A Study In Emerald"
2020)
What’s More
Answer the following questions. Write your answers in your
67
LITERATURE ACTIVITY NOTEBOOK.
1. Who are the protagonist and the antagonist in the story? Describe them.
2. Where was the story set? How do the details in the setting build-up the
tension?
3. What is the conflict? Did the protagonist solve it at the end of the story?
What I Have Learned
Answer the questions below. Write your answers in your LITERATURE
ACTIVITY NOTEBOOK.
1. What is the main idea of the story?
______________________________________________________________
2. Does this story have any social significance? Why or why not?
______________________________________________________________
______________________________________________________________
What I Can Do
Based on what you’ve read about the story A Study in Emerald,
68
prepare a comic strip of the story. Use colorful drawings to portray what has happened
in the story. Also, use dialogue bubbles to express what the characters are saying or
feeling. Your comic should include at least 20 frames and address literary elements
such as plot, setting, theme, conflict, and characterization. Since the story uses
cliffhanger technique, make your own ending of the story. Your comic strip will be rated
based on the rubric below.
4
Creativity
The pictures
and captions
reflect an
exceptional
degree of
student
creativity. There
is great
attention to
detail.
Theme
All 20 panels
relate to the
theme.
Characters and The main
dialogue
characters are
clearly
identified, and
their actions
and dialogue
are wellmatched to
each other.
Landscape and Landscape and
props
props are
directly related
to the theme or
purpose of the
comic and
enhance
understanding
of the scene.
Spelling,
There are no
punctuation,
spelling,
and grammar
punctuation, or
grammar errors.
3
All but 1 of the
pictures and
captions reflect
an exceptional
degree of
student
creativity
2
All but 2 of the
pictures and
captions reflect
an exceptional
degree of
student
creativity.
1
More than 2 of
the pictures and
captions reflect
little degree of
student
creativity.
Only 15 panels
relate to the
theme.
The main
characters are
clearly
identified, and
their actions
and dialogue
match most of
the time.
Only 10 panels
relate to the
theme.
The main
characters are
identified but
not well
developed and
their actions
and dialogue
are too general.
Less than 10
panels relate to
the theme.
It is hard to tell
who the main
characters are.
Landscape and
props are
directly related
to the theme or
purpose of the
comic.
Landscape and
props are
generally
related to the
theme or
purpose of the
comic.
Landscape and
props seem
randomly
chosen or
distract the
reader.
There are 1-3
spelling,
punctuation, or
grammar errors.
There are 4-5
spelling,
punctuation,
and grammar
errors.
There are more
than 5 spelling,
punctuation,
and grammar
errors.
Score
Adopted: https://www.nrcs.net/Downloads/Rubric_for_Comic_Strip.pdf
69
Post assessment
Read carefully each item below. Choose the correct answer. Then, write
the correct answer in your LITERATURE ACTIVITY NOTEBOOK.
1. A character can best be defined as
A. Only the people in a story.
B. The people who talk in a book.
C. A real person who acts in a play.
D. Any person, animal, creature, being, or thing in a story.
2. The two main characters in a story are the
A. Proctor and antagonist.
B. Proctor and protagonist.
C. Protagonist and oppotagonist.
D. Protagonist and antagonist.
3. Some of the traits for characters include being
A. Static, dynamic, and even.
B. Strategy , dynamic, and flat.
C. Static, round, and flat.
D. Strategy, round, and flat.
4. Name the type of conflict used in this situation: two boys compete for the same
role in their school play.
A. character vs. nature
B. character vs. self
C. character vs. character
D. character vs. technology
5. A character suddenly decides to dress “goth” just for something different. She
dyes her hair black and wears all black clothing. This makes this character a __.
A. static character
B. foil character
C. round character
D. dynamic character
6. A character is too scared to try anything new. After he gets hurt and has to
spend two months in a wheelchair, he can’t wait to try rock climbing like his dad
has always begged him. The character is __________.
A. flat
B. round
C. dynamic
D. static
7. Anything or anyone that is part of the plot’s development in a literary work is
called _________.
A. character
B. static character
C. flat character
D. direct characterization
8. A plane crashed on an island in the middle of the ocean. Wilson had to
survive…all on his own. What conflict is shown here?
A. character vs. self
70
B. character vs. society
C. character vs. nature
D. character vs. character
9. He wants to ask someone to dance with him on the dance floor, but he’s afraid too
ask her. Identify the conflict.
A. character vs. self
B. character vs. nature
C. character vs. character
D. character vs. society
10. When the character goes up against the laws or beliefs of a group, it is called
character vs. __________.
A. self
B. society
C. character
D. technology
Lesson
15
North American Literature - I
Grade 12, First Semester, Q2 – Week 6
What I Need to Know
You are now in Lesson 4 of this module. In this lesson, your quest is to explore
the literature of North America where you will be introduced to one of the known works
of this region.
In this Lesson, you are going to:
a. Identify representative texts and authors from Asia, North America,
Europe, Latin America, and Africa; (EN12Lit-IIa-22)
b. Compare and contrast the various 21st century literary genres and
their elements, structures, and traditions from across the globe
(EN12Lit-IId-25)
c. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
71
What I Know
Answer each item below. Write the letter of the correct answer in your
LITERATURE ACTIVITY NOTEBOOK.
1. The part of the story that reveals the solution and takes care of the conflict.
A. the theme
B. the climax
C. the resolution
D. the introduction
2. The story’s time and place is _____.
A. voice
B. tone
C. plot
D. setting
3. The message that the author wants to get across is the ____.
A. plot
B. tone
C. theme
D. setting
4. Which part of the plot creates tension and suspense?
A. climax
B. rising action
C. falling action
D. resolution
5. Which part of the plot is the most intense?
A. climax
B. exposition
C. falling action
D. resolution
6. A struggle between two or more opposing forces is called ____.
A. climax
B. conflict
C. chapter
D. character
7. The sequence of events in a story is the _____.
A. plot
B. theme
C. character
D. genre
8. What is the theme of a story?
A. The author’s point of view.
B. The major life lesson or message.
C. The character’s personality traits.
D. The series of events in a story.
9. The most exciting moment of the story; turning point.
A. climax
B. conflict
C. rising action
D. exposition
10. Cassandra relates the events that happened in the beginning, middle, and end
of the book she just read. This means that she is relating the _____________.
A. setting
B. plot
C. theme
D. conflict
What’s In
You have just finished your quest in learning about European literature
where you were able to read and critique the summary of J.K. Rowling’s Harry Potter
and the Sorcerer’s Stone. You also analysed the selection A Story in Emerald. Now,
let’s have a new quest – exploring the North American literature. But, before going
there, let’s look back and review.
Tell which of the following is the beginning, middle, and end of A Study in Emerald.
72
___________1. The investigation takes the detective and the veteran to a music hall
show, starring a noted actor called Sherry Vernet. A "tall, languid" man, Vernet stars
in three productions, including a historical narrative depicting the war between
Humanity and the Great Old Ones. Posing as a theatrical agent offering to take the
show to the New World, the detective meets Vernet and quickly determines that he
and another, a man with a limp and skill with surgical equipment, were present in the
room where the German noble died. Agreeing to meet the detective in his rooms,
Vernet seemingly does not suspect a thing; the detective promptly summons Lestrade,
intending to have Vernet arrested. He reveals what he has deduced: that Vernet is a
seditionary "restorationist", an anarchist who believes that the Old Ones are not the
benevolent rulers they claim, but vicious, soul-destroying monsters from whom
Humanity must be freed. Vernet lured the German noble to the Whitechapel rooms
and turned the noble over to his accomplice, who committed the actual murder.
___________2. Vernet possesses considerable deductive skill, having deduced that
the detective was not who he claimed to be. Posing as "Sigerson", Vernet had briefly
corresponded with the detective, offering suggestions for future undercover work and
complimenting him on several papers the detective had written, including "The
Dynamics of an Asteroid". Vernet, who also uses the alias "Rache", leaves a letter
confirming the detective's suspicions, and details horrors committed by the Old Ones
as justification for the crime. As Lestrade rushes off to search for Vernet and the
limping accomplice (tentatively identified as a former military surgeon named John
Watson), the detective admits that it is unlikely that Vernet has left the city, having
probably elected (as the detective would) to hide in the lawless depths of the rookery
of St Giles. He requests that the veteran burn Vernet's letter, dismissing it as
seditionary nonsense. The veteran does not do so, instead adding a copy of the letter
and an account of the investigation to his bank deposit box, not to be opened until
everyone involved in the case is dead. He supposes that due to current events in
Russia
that
this
will
likely
be
an
imminent
occurrence.
___________3. The unnamed narrator, a veteran of a bloody war against the "gods
and men of Afghanistan", where he has been brutally tortured and his arm injured,
setting the scene for things to come. Seeking lodgings upon his return to England (or
"Albion", as it is referred to throughout the story), he meets and strikes up a friendship
with a man who possesses extraordinary insight and deductive skill, and who puts this
ability to use in the service of the police as a 'consulting detective'. Early on in their
acquaintance, Inspector Lestrade of Scotland Yard arrives at their lodgings in Baker
Street with a matter of extreme and delicate urgency regarding a brutal murder in a
Whitechapel slum, and the detective is to be hired to solve the case. After investigating
the murder scene (where the detective correctly deduces that the victim is an alien
noble from Germany, owing to his inhuman appearance and number of limbs), and
puzzling over the word Rache scrawled onto the wall in the victim's blood (echoing a
scene from A Study in Scarlet), they are taken to the Palace. The Queen, one of the
Great Old Ones who defeated Humanity 700 years ago and now rule the world,
consults with them about the affair. As payment for his service, the Queen heals the
veteran's withered shoulder with a touch.
73
What’s New
Recall the seven parts of Freytag’s Pyramid. Copy the pyramid in your LITERATURE
ACTIVITY NOTEBOOK. Then, label the pyramid.
What Is It
During its early history, America was a series of British colonies to what is now
known as the United States. Thus, the literary tradition of the country can be connected
to the British literary tradition. However, the modern day American writing is completely
separated from the earlier tradition because of its diverse nature and the breadth of its
production.
The earlier American writings will include, Captain John Smith’s A True Relation
of Virginia which discussed the advantages of colonial rule to both the colonies and
the colonist audiences. Political writings like the works of Samuel Adams, Benjamin
Franklin and Thomas Paine are hailed for its wit and its contribution to building the
nation
that
is
today.
Furthermore, the political writings of Alexander Hamilton, James Madison, John Jay,
and Thomas Jefferson influenced their very Constitution.
The list of influential American writers will go on and include Washington Irving,
with his works Salmagundi, A History of New York by Diedrich Knickerbocker, The
Legend of Sleepy Hollow, and Rip Van Winkle to name a few; James Fenimore Cooper
and
his
classic,
The
Last
of
the
Mohicans;
Edgar
Allan Poe, who is considered the father of short stories, wrote The Raven, The Cask
of Amontillado, The Falls of the House of Usher and a lot more of other seminal works;
Herman Melville’s Moby Dick and Nathaniel Hawthorne’s The Scarlet Letter comprise
the Dark Romanticism subgenre.
74
To continue the shortlist of celebrated American writers, you also have to take
not of the works of Walt Whitman and Emily Dickinson who are honoured as two of
the greatest 19th century poets; the proponents of realism, Mark Twain and Henry
James, should be remembered for their writing style changed the way American’s write
their language. The two writers created characters who speak like real people and
sound distinctly American with accents native to their region.
At the beginning of the 20th century, American novelists started experimenting
in style and in subject matter. Writers like Edward Bellamy, Upton Sinclair, and Henry
Adams discussed political and educational issues and the power of corporations in
their works. American writers also expressed their disillusionment following upon the
war. F. Scott Fitzgerald wrote, The Great Gatsby which shows how the dreams and
ambitions of the youth may quickly disappear and ultimately lead to disappointment.
There are still many other influential American writers that we were not
able to mention here. Therefore, we could say that the history of American literature
is very rich in content and tradition and definitely shaped the writing style of
contemporary writers. (https://www.scribd.com/document/412634387/21st-Century-Literature-ofthe-Philippines-and-of-the-World-1)
American literature at the turn of the 21st century has become democratic and
heterogeneous. Regionalism has flowered, and international, or “global,” writers
refract U.S. culture through foreign perspectives. Creative nonfiction and memoir have
flourished.The short story genre has gained luster, and the “short” short story has
taken root. A new generation of playwrights continues the American tradition of
exploring current social issues on stage.
American writer Suzanne Collins is the author of the bestselling The Hunger
Games series and The Underland Chronicles.
Collins recalled that The Hunger Games trilogy was born while she was
watching television late one night. Flipping through the channels, Collins was suddenly
struck by the lack of distinction between reality TV and coverage of the Iraq war.
For Collins, The Hunger Games and her other books touch on the very subjects
– necessary and unnecessary wars – that her own father often discussed with her.
(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-ofthe-World-1)
Now, it is time for you to watch the movie The Hunger Games, and then
complete the activities that follow. Use the link http://j.mp/18UG0Fx or
https://drive.google.com/drive/u/1/folders/1jakPnULT6_xmpH2BbusukwJI59Y7HAAM
75
source: https://commons.wikimedia.org/wiki/File:Thehungergames.jpg
Plot refers to the series of events that occur in the story. The plot is the
underlying pattern of the story that gives it unity and order. In traditional narrative, the
plot can be broken down into the following elements:
 exposition – the introduction of the characters and the situation
 inciting incident – the main conflict is introduced
 rising action – the chain of events that build from the conflict
 climax – the moment of crisis in which the outcome will be determined
 falling action – the problems are solved
 resolution – the main conflict is answered
 denouement – the outcome or the conclusion – the unravelling or the
untangling of the conflict
Theme refers to the general point that the story attempts to make. The theme
is not merely limited to the fictional reality of the character’s lives, but often comments
upon the reality of our own existence as well. The theme is described as the significant
truth about life and human nature reflected in actions, preoccupations, and decisions
of the characters.
Setting refers to the time and location in which the story takes place. These
two elements together create the entire social and environmental context of the story.
What’s More
76
Using the Freytag’s Pyramid, write the plot of the movie The Hunger Games.
What I Have Learned
Answer the following questions. Write your answers in your
LITERATURE ACTIVITY NOTEBOOK.
1. What did you like best about the movie? ___________________________
______________________________________________________________
2. What do you think is the message of the movie?
______________________________________________________________
______________________________________________________________
3. What is the theme of The Hunger Games? _________________________
______________________________________________________________
4. How do you relate it to the issues that are happening in the world today?
______________________________________________________________
______________________________________________________________
77
What I Can Do
Read the following descriptions about each district in The Hunger
Games and create a visual representation of a district of your choice. Use a blank
sheet for your illustration.
District 1: Members of District 1 were known to produce luxury items such as jewelry. Due to their
skill in craftsmanship, the goods that came out of District 1 were used to decorate the Capitol. Those
who lived in District 1 were some of the wealthiest citizens of Panem. Tributes from District 1 were
known as "Careers" because they trained for years before competing in the Hunger Games.
District 2: Located in the Rocky Mountains, District 2 was one of the largest communities in Panem.
It was also home to wealthy citizens, resulting in a positive relationship with the Capitol. District 2 was
known for its masonry and weapon manufacturing.
District 3:
The main industry in District 3 was technology as the people there produced
televisions, computers, and other electronics. During Katniss' Victory Tour, she noticed that District 3
was one of the more rebellious districts.
District 4:
This district specialized in the fishing industry. The citizens in District 4 were known to be
wealthy and very good-looking. Their tributes were also Careers, training from a very early age to
prepare for the Games.
District 5:
District 5 was responsible for power and electricity. The area produced the electricity
that powered all of Panem. They housed a hydroelectric dam which many of the citizens worked in.
The dam became a target by the rebels in Mockingjay as they tried to cut out the power in the Capitol.
District 6:
The core industry within District 6 was transportation. It served as the hub for the
transport network throughout all of Panem. Similar to District 3, District 6 supported Katniss and the
rebellion's efforts against the Capitol.
District 7:
District 7 supplied Panem with copious supplies of lumber. The area was said to be
surrounded mostly by trees.
District 8: District 8 was known for their work in the textiles industry. One of their factories was
dedicated to producing the uniforms used by the Peacekeepers. Along with a few other districts,
District 8 was instantly open to joining the rebellion.
District 9: The main industry at the focus of District 9 was grain production. The area was the least
referenced district in all of Panem. Not much is known about the victors or tributes from District 9.
District 10: District 10 focused on the livestock industry. Their main job was to raise animals and
supply the meat to the Capitol. Katniss never mentioned any of the specific tributes from District 10.
District 11: District 11 was said to be composed of a very large area, possibly the entire Southern
region of Panem. Agriculture was the main industry of District 11 as the land was covered in
orchards, crop fields, and cattle farms. District 11 was one of the poorest districts and its citizens lived
in small shacks in an area patrolled by Peacekeepers.
District 12: District 12 was the smallest and poorest district in Panem. The district was located in
Appalachia and their main industry was coal mining. After the Second Rebellion, the coal mine was
closed and the district began to produce medicines.
source: https://screenrant.com/hunger-games-districts-explained/
78
Criteria
Visual Appeal
Description
10 points
Outstanding use of
color, design and
space; overall
design is pleasing
and harmonious
Artistry
Aesthetically
pleasing
Interpretation
The illustration is
related to what has
been written and
allows the reader to
understand much
more about what
he/she has read
Neatness
Particularly neat in
design and layout
7 points
Adequate use of
color, design, and
space; overall
design is mostly
pleasing and
harmonious
Somewhat
aesthetically
pleasing
Most of the
illustration is
related to the
written work. The
illustration wanders
off at one point, but
the reader can still
identify elements
from the written
work.
Neat in design and
layout
Score
4 points
Inappropriate use of
color, design, and
space; lack of
harmonious design
in presentation
Fairly aesthetically
pleasing
Some parts of the
illustration are
related to the
written work, but a
reader does not see
much about the
written work.
May be messy at
times and/or show
lack of organization
Score
/40
Post assessment
Answer each item below. Write the letter of the correct answer in your
LITERATURE ACTIVITY NOTEBOOK.
1. The struggle or problem in a story is called _____.
A. exposition
B. conflict
C. resolution
D. rising action
2. The people, animals, or things that help to shape the plot.
A. characters
B. protagonist
C. antagonist
D. villain
3. The central idea or lesson to be learned in a story is called _____.
A. plot
B. tone
C. theme
D. setting
4. Which part of the plot creates tension and suspense?
A. climax
B. rising action
C. falling action
D. resolution
5. Which part of the plot is the most intense?
A. climax
B. exposition
C. falling action
D. resolution
6. The ending of a story where the outcome is revealed.
A. climax
B. rising action
C. resolution
D. falling action
7. All of the following are examples of themes EXCEPT
79
A. survival
B. friendship
c. your friend
D. acceptance
8. Which of these might be an example of a story’s theme?
A. Your friend is upset.
B. A boy finds a lost treasure.
C. You will play your football game.
D. Staying true to yourself is important.
9. The most exciting moment of the story; turning point.
A. climax
B. conflict
C. rising action
D. exposition
10. Cassandra relates the events that happened in the beginning, middle, and end
of the book she just read. This means that she is relating the _____________.
A. setting
B. plot
C. theme
D. conflict
Lesson
16
North American Literature - II
Grade 12, First Semester, Q2 – Week 7
What I Need to Know
Let’s continue our quest in understanding the literature of North America
by exploring one of its poems.
In this Lesson, you are going to:
a. Identify representative texts and authors from Asia, North America,
Europe, Latin America, and Africa; (EN12Lit-IIa-22)
b. Compare and contrast the various 21st century literary genres and
their elements, structures, and traditions from across the globe
(EN12Lit-IId-25)
c. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
What I Know
Recall your lesson about poetry. Then, match the statements in column
A with the words in column B. Write only the letter of your answer on the space
provided before each number
80
Column A
Column B
_____1. The bottle fizzed then popped.
This is an example of _____.
A. lyric
_____2. When the word at the end of a line rhymes
with another word at the end of another line,
it is called ___
B. onomatopoeia
_____3. When a word inside a line rhymes with another
word inside the same line, it is called ___
C. figurative language
D. simile
_____4. The author of a poem is called ____.
_____5. The beat created by the sounds and words
in the poem is called___
E. end rhyme
_____6. A group of lines placed together to create a poem
F. stanza
_____7. A poem with a songlike feel; it focuses on
adventure or romance and tells story
G. poet
_____8. A phrase or line repeated throughout the poem
_____9. Metaphors, similes, onomatopoeia, and
personification are all examples of ___
H. internal rhyme
_____10. The mouse beneath the stone is still as
death is an example of ___.
I. repetition
J. rhythm
K. metaphor
What’s In
81
In Lesson 4, you were introduced to North American literature where you
were able to make the plot of the story The Hunger Games using the Freytag’s
Pyramid. Let’s continue our journey in exploring the literature of North America by
looking into their poetry. Before we continue let’s go back first and review the movie
The Hunger Games.
1. What is Katniss’ sister’s full name?
a. Prim
b. Primly
c. Pamela
2. How did Katniss’ father die?
a. In a mine explosion
b. He became trapped in a collapsed mine.
c. He was murdered by the Capitol
d. In a hunting accident
3. At what skill is Gale better than Katniss?
a. swimming
b. bird calls
c. setting snares
d. using an axe
4. Who gives Katniss the mockingjay pin?
a. Prim
b. Cinna
c. Gale
d. Madge
d. Primrose
5. Why does the Capitol hold the Hunger Games?
a. To keep the districts happy
b. Because they are part of a religious festival
c. As a way to control the size of the population
d. To remind the districts that they are powerless against it
6. Under what circumstances did Katniss first meet Peeta?
a. They did a project at school together.
b. They were both in the woods hunting
c. Peeta was injured and Katniss’ mother helped him.
d. Katniss was looking for food and Peeta gave her bread.
7. What does Katniss think when she first sees the residents of the Capitol?
a. They are overweight and tall
b. They are ungroomed and slovenly
c. They are superficial and ridiculous
d. They are sophisticated and beautiful
8. When Katniss is severely dehydrated, how does Haymitch indicate to her that
she’s near water?
a. He sends her a map
c. He sends her a cup
b. He sends her iodine drops
d. He doesn’t send her anything
9. What item does Katniss manage to grab at the Cornucopia when the Games
begin?
a. bow
b. helmet
c. knife
d. backpack
10. How do Katniss and Peeta force the Capitol to declare them both winners?
a. They threaten to run away
b. They threaten to commit suicide.
c. They threaten to cause a rebellion against the Capitol.
d. They threaten that the winner will tell about everything.
What’s New
82
This activity is called “About Me”. Complete each line to make an
autobiographical poem. Write your poem in your LITERATURE ACTIVITY
NOTEBOOK.
Note: Each set of lines can be repeated any number of times.
About Me
I’m good at___________/ I’m not good at ___________
I used to be __________ But now I’m ______________
I am ________________ / I am not ________________
If you _______________ Then I’ll _________________
I like ________________ But I don’t like ___________
I know a lot about ______ I know nothing about ______
I admire ______________ I don’t respect ___________
I believe in ____________ I don’t believe in _________
What Is It
Poetry and poets have been described in various ways: Thomas Hardy, for
instance, says that poetry is emotion put into measure. The emotion must come by
nature, but the measure can be acquired by art. T.S. Eliot believes that immature poets
imitate; mature poets steal; Thomas Babington Macaulay, on the other hand, said
“Perhaps no person can be a poet, or can even enjoy poetry, without a certain
unsoundness of mind”; William Wordsworth expressed that poetry is the spontaneous
overflow of powerful words collected in moments of tranquillity.
Amidst the many beliefs and opinions about poetry, it is important to have a
common definition of it. Thus, let’s consider the idea that poetry is an imaginative
response to an experience reflecting a keen awareness of language. Speaking of
language in poetry, it uses two kinds of language: literal and figurative. The literal
means that the words were taken exactly as it is and figurative, when the language is
used figuratively to create a special effect.
Elements of poetry that must be remembered are the speaker, theme, diction,
imagery, rhyme and rhythm, meter, verse, stanza, and line breaks.
There are also different kinds of poetry: the lyric poem and the narrative
poetry. The lyric poem is a comparatively short, non-narrative poem in which a single
speaker presents a state of mind or an emotional state. Lyric poetry retains some of
the elements of song which is said to be its origin. For Greek writers, the lyric was a
song accompanied by the lyre. The narrative poetry gives a verbal representation, in
verse, of a sequence of connected events, it propels characters through a plot. It is
83
always told by a narrator. Narrative poems might tell of a love story, the story of a
father and a son, or the deeds of a hero or heroine.
In the 21st century world that is fast-moving and where the “faster, the better”
almost always applies. Many reading materials are stripped-down so they can be read
and digested swiftly. But poetry is a different kind of writing that demands a different
kind of reading, a more personal kind of reading. In poetry, sometimes a single
sentence is as rich and complex as an entire paragraph of prose and readers must
pay great attention to sound. For all these reasons, a reader must not apply the kind
of reading that he does for prose to poetry.
(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-ofthe-World-1)
The idea of the afterlife is truly one of the concepts that fascinate writers. As
weavers of dreams and ideas, writers would like to contribute to the picture of what is
going to happen after death, or to put it simply is there really life after death.
The poem below is a perfect poem, and one of Dickinson’s most compressed
and chilling attempts to come to terms with mortality. Read the poem below and
answer the questions that follow to identify how Dickinson see the afterlife.
Death
Emily Dickinson
Because I could not stop for Death,
He kindly stopped for me;
The carriage held but just ourselves
And Immortality.
We slowly drove, he knew no haste,
And I had put away
My labor, and my leisure too,
For his civility.
We passed the school, where children strove
At recess, in the ring;
We passed the fields of gazing grain,
We passed the setting sun.
Or rather, he passed us;
The dews grew quivering and chill,
For only gossamer my gown,
My tippet only tulle.
We paused before a house that seemed
A swelling of the ground;
The roof was scarcely visible,
The cornice but a mound.
Since then ‘tis centuries, and yet each
Feels shorter than the day
84
I first surmised the horses’ heads
Were toward eternity.
https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-of-theWorld-1)
What’s More
Answer the questions that follow. Write your answers in your
LITERATURE ACTIVITY NOTEBOOK.
1. What do you think the word “drive” symbolize and why do you think it is repeated
in the third and the fourth stanzas?
2. What have you observed in the final stanza? Do you think the language and the
description changed from concrete to abstract?
3. In line 2, stanza 6, the verb feels is in the present tense. Why do you think it is in
the present tense as compared to the other verbs in the poem? What does it show
about the poet’s perception of death?
What I Have Learned
1. How was death described in the poem? Identify the words used by the author to
describe death. ______________________________________________________
___________________________________________________________________
2. What is the role of immortality in the poem? ______________________________
___________________________________________________________________
3. How is death personified in the poem? __________________________________
___________________________________________________________________
What I Can Do
You have been in quite a journey at this point in your life. You have experienced
a lot to have a perspective that is uniquely yours. You have your own way of coping
85
with challenges and trials, your own unique way of handling success, your own way of
giving and loving. It will be very beautiful to be able to share your philosophy with
others. So, for this activity, you will be sharing your life’s philosophy to others by writing
your own poem.
Criteria
Title of Poem
The Writing
Process/ Effort
Style
Neatness
Vocabulary
Description
10 points
Title is creative, sparks
interest and is related to
the poem and topic. Is
related to the poem and
topic. Is present, but does
not appear to be related to
the poem and topic
Student devoted a lot of
time and effort to the
writing process and
worked hard to make the
poem a good read. The
poem has no errors
The poem is written with
a great sense of style. The
poem has been well
thought out and makes
sense to the reader.
The final draft of the
poem is readable, clean,
neat and attractive. It is
free of erasures and
crossed-out words. It
looks like the author took
great pride.
The poem is filled with
descriptive vocabulary
that appeals to the reader.
Score
7 points
Title is related to the
poem and topic
4 points
Title is present, but
does not appear to be
related to the poem and
topic
Student devoted
adequate time and
effort to the writing
process and worked
to get the job done.
The poem may have
one or two errors.
The poem is written
with a defined style.
Thoughts are clear to
read and
understandable.
The final draft of the
poem is readable,
neat and attractive. It
may have one or two
erasures, but they are
not distracting. It
looks like the author
took some pride in it.
The poem includes
many descriptive
elements and is
appealing.
Student devoted some
time and effort to the
writing process but was
not very thorough.
Does enough to get by.
There are several errors.
The poem is written
somewhat with style.
Thoughts are clear to a
degree.
The final draft of the
poem is readable and
some of the pages are
attractive. It looks like
parts of it might have
been done in a hurry.
The poem includes
some descriptive words
and phrases.
Score
/50
Adopted: https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippinesand-of-the-World-1)
Post assessment
Read carefully each item below. Choose the correct answer. Then, write
the correct answer in your LITERATURE ACTIVITY NOTEBOOK.
86
1. Which poetic device is demonstrated by these words: buzz, clang, zip, pow
A. simile
B. onomatopoeia
C. personification
D. alliteration
2. What is the simile in the passage?
The whiskey on your breath
Could make a small boy dizzy
But I hung on like death:
Such waltzing was not easy
A. on your breath
B. But I hung on like death
C. could make a small boy dizzy
D. such waltzing was not easy
3. What is alliteration?
A. The use of synonyms.
B. Words that sound alike.
C. An exaggeration
D. The repetition of a beginning letter sound.
4. What device is used in
Good as gold
Busy as bee
Loving, living, laughing
A. personification
B. hyperbole
C. alliteration
D. rhyme
5. In what structure is poetry written?
A. lines and stanzas
B. lines and paragraphs
C. sentences and stanzas
D. sentences and paragraphs
6. A word that imitates the natural sound of a thing is called _____.
A. onomatopoeia
B. alliteration
C. hyperbole
D. repetition
7. Buzzing bee is an example of what sound device?
A. alliteration
B. repetition
C. onomatopoeia
D. rhyme
8. The phrase “ she is a walking dictionary” is using
A. hyperbole
B. metaphor
C. simile
D. hyperbole
9. Any poem that tells a story is called __________.
A. elegy
B. acrostic
C. sonnet
D. narrative
10. It paints a picture with words using literary devices. It often has a musical quality
and expresses personal emotions or thoughts.
A. lyric
B. narrative
C. sonnet
D. elegy
87
Lesson
17
Latin American Literature - I
Grade 12, First Semester, Q2 – Week 8
What I Need to Know
Congratulations! You are now in Lesson 4 of this module. In this lesson, your
quest is to explore the literature of Europe.
In this Lesson, you are going to:
a. Identify representative texts and authors from Asia, North America,
Europe, Latin America, and Africa; (EN12Lit-IIa-22)
b. Compare and contrast the various 21st century literary genres and
their elements, structures, and traditions from across the globe
(EN12Lit-IId-25)
c. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
d. Produce a creative representation of a literary text by applying
multimedia and ICT skills; (EN12Lit-IIij-31.1)
What I Know
88
Answer each item below. Test yourself how much do you know about magic realism.
Write only the letter of the correct answer in your LITERATURE ACTIVITY
NOTEBOOK.
1. Magic realism happens when
A. Your dog answers you in Spanish
B. Your bestfriend turns into an ant
C. Wings sprout on your back
D. All of the above
2. Magic realist writers draw material from
A. Lies
B. Legends
C. Myths
D. Truth
3. Magic realists tell stories that are ________.
A. Ridiculous
B. Fantastic
C. Matter-of-fact
D. All of the above
4. Magic realism DOES NOT include _______.
A. Predictable and boring
B. Silly and crazy
C. Ordinary with the extraordinary
D. Mundane with the fantastic
5. Time in magic realism is __________.
A. Linear
B. Looping back
C. Skipping forward
D. All of the above
6. Magic realists
A. Create hybridity
B. Serve boring dishes
C. Organize data logically
D. Mix unrelated ingredients
7. Surrealism DOES NOT include
A. Rigid rules
B. Viewing reality in a novel way
C. Heads depicted as trees and vice versa
D. Blurring the lines between dream and reality
8. What two elements are combined in magic realism?
A. Wizards and realistic elements
B. Realistic elements and magic tricks.
C. Realistic elements and magical elements.
D. Fantastical creatures, such as unicorns, and realistic elements
9. All of the following statements are true about magical realism EXCEPT
A. Often about opposites
B. Emphasizes the common and every day in people’s lives.
C. Frame or surface of the story may be conventionally realistic
89
D. Elements of the dream, fairy story, or mythology combine with the
everyday.
10. Which of the following authors is considered the “father” of magic realism?
A. Pablo Neruda
B. Octavio Paz
C. Jorge Luis Borges
D. Gabriel Garcia Marquez
"Magic Realism Characteristics - Quiz". 2019. Quizizz.Com.
https://quizizz.com/admin/quiz/5cb7dcb133daca001a069574/magic-realism-characteristics.
What’s In
We’re almost finished with our exploration on the literature of the
different continents. We are now on the last stop, Latin America. Let’s have a quick
review first.
Answer each item below. Write only the letter of your answer.
1. Who said that immature poets imitate; mature poets steal?
A. Thomas Hardy
C. T.S. Eliot
B. Thomas Babington Macaulay
D. William Wordsworth
2. It is imaginative response to an experience reflecting a keen awareness of
language.
A. narrative
C. poetry
B. figurative language
D. words
3. “Poetry is emotion put into measure.” Who said this?
A. William Wordsworth
C. Thomas Hardy
B. T.S. Eliot
D. Thomas Babington Macaulay
4. Poetry uses two kinds of language. What are they?
A. long and short
C. lyric and narrative
B. literal and figurative
D. emotional and comparative
5. Poetry that is spontaneous overflow of powerful words collected in moments of
tranquillity. This refers to what kind of poetry?
A. lyric
C. narrative
B. literal
D. figurative
6. What kind of poetry gives a verbal representation, in verse, of a sequence of
connected events, it propels characters through a plot?
A. narrative
C. literal
B. lyric
D. figurative
7. In "Death" by Emily Dickinson, the three things that Death's carriage holds are...
A. hope, superstition, and truth
B. clarity, despair, and triumph
C. death, the speaker, and immortality
D. a way out, acceptance, and understanding
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8. What does ‘setting sun’ indicate in the poem?
A. death
C. life
B. sun
D. sunset
9. Why does this poem not name anyone and only use pronouns?
A. there is no reason
B. to emphasize death
C. the poet could not come up with any name
D. to show no matter who you are, death will come
10. Which of the following statements about Emily Dickinson’s poem “Death” is
TRUE?
A. It portrays death as something that should be feared.
B. It portrays death as something that should not be feared.
C. It highlights how everyone interprets death in the same way.
D. It highlights how everyone’s interpretation of death is unique.
What’s New
Which of the pictures tell about magic realism? Write your answers in
your LITERATURE ACTIVITY NOTEBOOK.
1.
A
B
2.
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A
B
A
B
A
B
3.
4.
5.
A
B
What Is It
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Tasting the sweet liberty at last, Latin American writers needed to express the
thoughts and feelings that they kept for a very long time and during this moment
Romanticism developed in their regions. However, the harsh reality in returned shortly
after and that is why magic realism emerged.
Since the 1960s, Latin American writing has been searching for the perfect
novel that can be introduced to the world as the epitome of what the region has to
offer. And then it came. One Hundred Years of Solitude by the Colombian writer
Gabriel Garcia Marquez set the example and is now read and studied all over the
world.
One Hundred Years of Solitude takes readers to Macondo, a fictional town,
which Marquez said to have been inspired by his very own hometown, founded by the
Buendia family. The novel was a perfect harmony between magic and reality as the
founding of Macondo is the founding of America: origins, colonization, struggles, and
history. This novel is so successful that it has become one of the most translated works
and also one of the most read in Spanish.
Another Latin American author who established himself in the world is Julio
Cortazar who wrote Rayuela, a novel that can be read in various ways. It consists of
155 chapter, divided into three parts: on the side there, this side, and both sides.
Cortazar allowed the readers to start from whichever part he wants to start and thus
creating his own meaning to the story.
Different writers emerged after the region finally found its distinct voice. Mario
Vargas Llosa even won the coveted Nobel Prize for Literature in 2010. Many of his
works influenced writers’ belief on what is distinctly Peruvian. Llosa is considered as
one of the most influential writer during the Latin American Boom.
(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-ofthe-World-1)
Magic realism engages belief systems that defy rational, empirical (scientific)
proof. So, too, do science fiction and fantasy and gothic romance. But the crucial
difference is that magic realism sets magical events in realistic contexts, thus,
requiring us to question what is “real,” and how we can tell. Read the following text
about Magical Realism.
Eva is Inside Her Cat
All of a sudden she noticed that her beauty had fallen all apart on her, that it
had begun to pain her physically like a tumor or a cancer. She still remembered the
weight of the privilege she had borne over her body during adolescence, which she
had dropped now – who knows where? – with the weariness of resignation, with the
final gesture of a declining creature. It was impossible to bear that burden any longer.
She had to drop that useless attribute of her personality somewhere; as she turned a
corner, somewhere in the outskirts. Or leave it behind on the coatrack of a secondrate restaurant like some old useless coat. She was tired of being the center of
attention, of being under siege from men’s long looks. At night, when insomnia stuck
its pins into her eyes, she would have liked to be an ordinary woman, without any
special attraction. Everything was hostile to her within the four walls of her room.
Desperate, she could feel her vigil spreading out under her skin, into her head, pushing
the fever upward toward the roots of her hair. It was as if her arteries had become
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peopled with hot, tiny insects who, with the approach of dawn, awoke each day and
ran about on their moving feet in a rending subcutaneous adventure in that place of
clay made fruit where her anatomical beauty had found its home. In vain she struggled
to chase those terrible creatures away. She couldn’t. They were part of her own
organism. They’d been there, alive, since much before her physical existence. They
came from the heart of her father, who had fed them painfully during his nights of
desperate solitude. Or maybe they had poured into her arteries through the cord that
linked her to her mother ever since the beginning of the world. There was no doubt
that those insects had not been born spontaneously inside her body. She knew that
they came from back there, that all who bore her surname had to bear them, had to
suffer them as she did when insomnia held unconquerable sway until dawn. It was
those very insects who painted that bitter expression, that unconsolable sadness on
the faces of her forebears. She had seen them looking out of their extinguished
existence, out of their ancient portraits, victims of that same anguish. She still
remembered the disquieting face of the great grandmother who, from her aged
canvas, begged for a minute of rest, a second of peace from those insects who there,
in the channels of her blood, kept on martyrizing her, pitilessly beautifying her. No.
Those insects didn’t belong to her. They came, transmitted from generation to
generation, sustaining with their tiny armor all the prestige of a select caste, a painfully
select group. Those insects had been born in the womb of the first woman who had
had a beautiful daughter. But it was necessary, urgent, to put a stop to that heritage.
Someone must renounce the eternal transmission of that artificial beauty. It was no
good for women of her breed to admire themselves as they came back from their
mirrors if during the night those creatures did their slow, effective, ceaseless work with
a constancy of centuries. It was no longer beauty, it was a sickness that had to be
halted, that had to be cut off in some bold and radical way.
She still remembered the endless hours spent on that bed sown with hot
needles. Those nights when she tried to speed time along so that with the arrival of
daylight the beasts would stop hurting her. What good was beauty like that? Night after
night, sunken in her desperation, she thought it would have been better for her to have
been an ordinary woman, or a man. But that useless virtue was denied her, fed by
insects of remote origin who were hastening the irrevocable arrival of her death.
Maybe she would have been happy if she had had the same lack of grace, that same
desolate ugliness, as her Czechoslovakian friend who had a dog’s name. She would
have been better off ugly, so that she could sleep peacefully like any other Christian.
She cursed her ancestors. They were to blame for her insomnia. They had
transmitted that exact, invariable beauty, as if after death mothers shook and renewed
their heads in order to graft them onto the trunks of their daughters. It was as if the
same head, a single head, had been continuously transmitted, with the same ears, the
same nose, the identical mouth, with its weighty intelligence, to all the women who
were to receive it irremediably like a painful inheritance of beauty. It was there, in the
transmission of the head, that the eternal microbe that came through across
generations had been accentuated, had taken on personality, strength, until it became
an invincible being, an incurable illness, which upon reaching her, after having passed
through a complicated process of judgment, could no longer be borne and was bitter
and painful… just like a tumor or a cancer.
It was during those hours of wakefulness that she remembered the things
disagreeable to her fine sensibility. She remembered the objects that made up the
sentimental universe where, as in a chemical stew, those microbes of despair had
been cultivated. During those nights, with her big round eyes open and frightened, she
bore the weight of darkness that fell upon her temples like molten lead. Everything
was asleep around her. And from her corner, in order to bring on sleep, she tried to go
back over her childhood memories.
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But that remembering always ended with a terror of the unknown. Always after
wandering through the dark corners of the house, her thoughts would find themselves
face to face with fear. Then the struggle would begin. The real struggle against three
unmovable enemies. She would never – no, she would never – be able to shake the
fear from her head. She would have to bear it as it clutched at her throat. And all just
to live in that ancient mansion, to sleep alone in that corner, away from the rest of the
world.
Her thoughts always went down along the damp, dark passageways, shaking
the dry cobweb-covered dust off the portraits. That disturbing and fearsome dust that
fell from above, from the place where the bones of her ancestors were falling apart.
Invariably she remembered the “boy.” She imagined him there, sleepwalking under
the grass in the courtyard beside the orange tree, a handful of wet earth in his mouth.
She seemed to see him in his clay depths, digging upward with his nails, his teeth,
fleeing the cold that bit into his back, looking for the exit into the courtyard through that
small tunnel where they had placed him along with the snails. In winter she would hear
him weeping with his tiny sob, mud-covered, drenched with rain. She imagined him
intact. Just as they had left him five years before in that water-filled hole. She couldn’t
think of him as having decomposed. On the contrary, he was probably most handsome
sailing along in that thick water as on a voyage with no escape. Or she saw him alive
but frightened, afraid of feeling himself alone, buried in such a somber courtyard. She
herself had been against their leaving him there, under the orange tree, so close to
the house. She was afraid of him. She knew that on nights when insomnia hounded
her he would sense it. He would come back along the wide corridors to ask her to stay
with him, ask her to defend him against those other insects, who were eating at the
roots of his violets. He would come back to have her let him sleep beside her as he
did when he was alive. She was afraid of feeling him beside her again after he had
leaped over the wall of death. She was afraid of stealing those hands that the “boy”
would always keep closed to warm up his little piece of ice. She wished, after she saw
him turned into cement, like the statue of fear fallen in the mud, she wished that they
would take him far away so that she wouldn’t remember him at night. And yet they had
left him there, where he was imperturbable now, wretched, feeding his blood with the
mud of earthworms. And she had to resign herself to seeing him return from the depths
of his shadows. Because always, invariably, when she lay awake she began to think
about the “boy,” who must be calling her from his piece of earth to help him flee that
absurd death.
But now, in her new life, temporal and spaceless, she was more tranquil. She
knew that outside her world there, everything would keep going on with the same
rhythm as before; that her room would still be sunken in early-morning darkness, and
her things, her furniture, her thirteen favourite books, all in place. And that on her
unoccupied bed, the body aroma that filled the void of what had been a whole woman
was only now beginning to evaporate. But how could “that” happen? How could she,
after being a beautiful woman, her blood peopled by insects, pursued by the fear of
the total night, have the immense, wakeful nightmare now of entering a strange,
unknown world where all dimensions had been eliminated? She remembered. That
night – the night of her passage – had been colder than usual and she was alone in
the house, martyrized by insomnia. No one disturbed the silence, and the smell that
came from the garden was a smell of fear. Sweat broke out on her body as if the blood
in her arteries were pouring out its cargo of insects. She wanted someone to pass by
on the street, someone who would shout, would shatter that halted atmosphere. For
something to move in nature, for the earth to move around the sun again. But it was
useless.
There was no waking up even for those imbecilic men who had fallen asleep
under her ear, inside the pillow. She, too, was motionless. The walls gave off a strong
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smell of fresh paint, that thick, grand smell that you don’t smell with your nose but with
your stomach. And on the table the single clock, pounding on the silence with its mortal
machinery. “Time…oh, time!” she sighed, remembering death. And there in the
courtyard, under the orange tree, the “boy” was still weeping with his tiny sob from the
other world.
She took refuge in all her beliefs. Why didn’t it dawn right then and there or why
didn’t she die once and for all? She had never thought that beauty would cost her so
many sacrifices. At that moment – as usual – it still pained her on top of her fear. And
underneath her fear those implacable insects were still martyrizing her. Death had
squeezed her into life like a spider, biting her in a rage, ready to make her succumb.
But the final moment was taking its time. Her hands, those hands that men squeezed
like imbeciles with manifest animal nervousness, were motionless, paralyzed by fear,
by that irrational terror that came from within, with no motive, just from knowing that
she was abandoned in that ancient house. She tried to react and couldn’t. Fear had
corporeal, as if it were some invisible person who had made up his mind not to leave
her room. And the most upsetting part was that the fear had no justification at all, that
it was a unique fear, without any reason, a fear just because.
The saliva had grown thick on her tongue. That hard gum that stuck to her
palate and flowed because she was unable to contain it was bothersome between her
teeth. It was a desire that was quite different from thirst. A superior desire that she was
feeling for the first time in her life. For a moment she forgot about her beauty, her
insomnia, and her irrational fear. She didn’t recognize herself. For an instant she
thought that the microbes had left her body. She felt that they’d come out stuck to her
saliva. Yes, that was all very fine. It was fine that the insects no longer occupied her
and that she could sleep now, but she had to find a way to dissolve that resin that
dulled her tongue. If she could only get to the pantry and … But what was she thinking
about? She gave a start of surprise. She’d never felt “that desire.” The urgency of the
acidity had debilitated her, rendering useless the discipline that she had faithfully
followed for so many years ever since the day they had buried the “boy.” It was foolish,
but she felt revulsion about eating an orange. She knew that the “boy” had climbed up
to the orange blossoms and that the fruit of next autumn would be swollen with his
flesh, cooled by the coolness of his death. No. She couldn’t eat them. She knew that
under every orange tree in the world there was a boy buried, sweetening the fruit with
the lime of his bones. Nevertheless, she had to eat an orange now. It was the only
thing for that gum that was smothering her. It was the foolishness to think that the
“boy” was inside a fruit. She would take advantage of that moment in which beauty
had stopped paining her to get to the pantry. But wasn’t that strange? It was the first
time in her life that she’d felt a real urge to eat an orange. She became happy, happy.
Oh, what pleasure! Eating an orange. She didn’t know why, but she’d never had such
a demanding desire. She would get up, happy to be a normal woman again, singing
merrily until she got to the pantry, singing merrily like a new woman, newborn. She
would, even get to the courtyard and…
Her memory was suddenly cut off. She remembered that she had tried to get
up and that she was no longer in her bed, that her body had disappeared, that her
thirteen favourite books were no longer there, that she was no longer she, now that
she was bodiless, floating, drifting over an absolute nothingness, changed into an
amorphous dot, tiny, lacking direction. She was unable to pinpoint what had happened.
She was confused. She just had the sensation that someone had pushed her into
space from the top of a precipice. She felt changed into an abstract, imaginary being.
She felt changed into an incorporeal woman, something like her suddenly having
entered that high and unknown world of pure spirits.
She was afraid again. But it was a different fear from what she had felt a
moment before. It was no longer the fear of the “boy” ’s weeping. It was a terror of the
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strange, of what was mysterious and unknown in her new world. And to think that all
of it had happened so innocently, with so much naivete on her part. What would she
tell her mother when she told her what had happened when she got home? She began
to think about how alarmed the neighbors would be when they opened the door to her
bedroom and discovered that the bed was empty, that the locks had not been touched,
that no one had been able to enter or to leave, and that, nonetheless, she wasn’t there.
She imagined her mother’s desperate movements as she searched through the room,
conjecturing, wondering “what could have become of that girl?” The scene was clear
to her. The neighbors would arrive and begin to weave comments together – some of
them malicious – concerning her disappearance. Each would think according to his
own and particular way of thinking. Each would try to offer the most logical explanation,
the most acceptable, at least, while her mother would run along all the corridors in the
big house, desperate, calling her by name.
And there she would be. She would contemplate the moment, detail by detail,
from a corner, from the ceiling, from the chinks in the wall, from anywhere; from the
best angle, shielded by her bodiless state, in her spacelessness. It bothered her,
thinking about it. Now she realized her mistake. She wouldn’t be able to give any
explanation, clear anything up, console anybody. No living being could be informed of
her transformation. Now – perhaps the only time that she needed them – she wouldn’t
have a mouth, arms, so that everybody could know that she was there, in her corner,
separated from the three-dimensional world by an unbridgeable distance. In her new
life she was isolated, completely prevented from grasping emotions. But at every
moment something was vibrating in her, a shudder that ran through her, overwhelming
her, making her aware of that other physical universe that moved outside her world.
She couldn’t hear, she couldn’t see, but she knew about that sound and that sight.
And there, in the heights of her superior world, she began to know that an environment
of anguish surrounded her.
Just a moment before – according to our temporal world – she had made the
passage, so that only now was she beginning to know the peculiarities, the
characteristics, of her new world. Around her an absolute, radical darkness spun. How
long would that darkness last? Would she have to get used to it for eternity? Her
anguish grew from her concentration as she saw herself sunken in that thick
impenetrable fog: could she be in limbo? She shuddered. She remembered everything
she had heard about limbo. If she really was there, floating beside her were other pure
spirits, those of children who had died without baptism, who had been dying for a
thousand years. In the darkness she tried to find next to her those beings who must
have been much purer, ever so much simpler, than she. Completely isolated from the
physical world, condemned to a sleepwalking and eternal life. Maybe the “boy” was
there looking for an exit that would lead him to his body. But no. Why should she be in
limbo? Had she died, perhaps? No. It was simply a change in state, a normal passage
from the physical world to an easier, uncomplicated world, where all dimensions had
been eliminated.
Now she would not have to bear those subterranean insects. Her beauty had
collapsed on her. Now, in that elemental situation, she could be happy. Although – oh!
– not completely happy, because now her greatest desire, the desire to eat an orange,
had become impossible. It was the only thing that might have caused her still to want
to be in her first life. To be able to satisfy the urgency of the acidity that still persisted
after the passage. She tried to orient herself so as to reach the pantry and feel, if
nothing else, the cool and sour company of the oranges. It was then that she
discovered a new characteristic of her world: she was everywhere in the house, in the
courtyard, on the roof, even in the “boy” ‘s orange tree. She was in the whole physical
world there beyond. And yet she was nowhere. She became upset again. She had lost
control over herself. Now she was under a superior will, she was a useless being,
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absurd, good for nothing. Without knowing why, she began to feel sad. She almost
began to feel nostalgia for her beauty: for the beauty that had foolishly ruined her.
But one supreme idea reanimated her. Hadn’t she heard, perhaps, that pure
spirits can penetrate any body at will? After all, what harm was there in trying? She
attempted to remember what inhabitant of the house could be put to the proof. If she
could fulfil her aim she would be satisfied: she could eat the orange. She remembered.
At that time the servants were usually not there. Her mother still hadn’t arrived. But the
need to eat an orange, joined now to the curiosity of seeing herself incarnate in a body
different from her own, obliged her to act at once. And yet there was no one there in
whom she could incarnate herself. It was a desolating bit of reason: there was nobody
in the house. She would have to live eternally isolated from the outside world, in her
undimensional world, unable to eat the first orange. And all because of a foolish thing.
It would have been better to go on bearing up for a few more years that hostile beauty
and not wipe herself out forever, making herself useless, like a conquered beast. But
it was too late.
She was going to withdraw, disappointed, into a distant region of the universe,
to a place where she could forget all her earthly desires. But something made her
suddenly hold back. The promise of a better future had opened up in her unknown
region. Yes, there was someone in the house in whom she could reincarnate herself:
the cat! Then she hesitated. It was difficult to resign herself to live inside an animal.
She would have soft, white fur, and a great energy for a leap would probably be
concentrated in her muscles. And she would feel her eyes glow in the dark like two
green coals. And she would have white, sharp teeth to smile at her mother from her
feline heart with a broad and good animal smile. But no! It couldn’t be. She imagined
herself quickly inside the body of the cat, running through the corridors of the house
once more, managing four uncomfortable legs, and that tail would move on its own,
without rhythm, alien to her will. What would life look like through those green and
luminous eyes? At night she would go to mew at the sky so that it would not pour its
moonlit cement down on the face of the “boy,” who would be on his back drinking in
the dew. Maybe in her status as a cat she would also feel fear. And maybe in the end,
she would be unable to eat the orange with that carnivorous mouth. A coldness that
came from right then and there, born of the very roots of her spirit quivered in her
memory. No. It was impossible to incarnate herself in the cat. She was afraid of one
day feeling in her palate in her throat in all her quadruped organism, the irrevocable
desire to eat a mouse. Probably when her spirit began to inhabit the cat’s body she
would no longer feel any desire to eat an orange but the repugnant and urgent desire
to eat a mouse. She shuddered on thinking about it, caught between her teeth after
the chase. She felt it struggling in its last attempts at escape, trying to free itself to get
back to tis hole again. No. Anything but that. It was preferable to stay there for eternity
in that distant and mysterious world of pure spirits.
But it was difficult to resign herself to live forgotten forever. Why did she have
to feel the desire to eat a mouse? Who would rule in that synthesis of woman and cat?
Would the primitive animal instinct of the body rule, or the pure will of the woman? The
answer was crystal clear. There was no reason to be afraid. She would incarnate
herself in the cat and would eat her desired orange. Besides, she would be a strange
being, a cat with the intelligence of a beautiful woman. She would be the center of all
attention… It was then, for the first time, that she understood that above all her virtues
what was in command was the vanity of a metaphysical woman.
Like an insect on the alert which raises its antennae, she put her energy to work
throughout the house in search of the cat. It must still be on top of the stove at that
time, dreaming that it would wake up with a sprig of heliotrope between its teeth. But
it wasn’t there. She looked for it again, but she could no longer find the stove. The
kitchen wasn’t the same. The corners of the house were strange to her; they
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were no longer those dark corners full of cobwebs. The cat was nowhere to be found.
She looked on the roof, in the trees, in the drains, under the bed, in the pantry. She
found everything confused. Where she expected to find the portraits of her ancestors
again, she found only a bottle of arsenic. From there on she found arsenic all through
the house, but the cat had disappeared. The house was no longer the same as before.
What had happened to her things? Why were her thirteen favourite books now covered
with a thick coat of arsenic? She remembered the orange tree in the courtyard. She
looked for it, and tried to find the “boy” again in his pit of water. But the orange tree
wasn’t in its place and the “boy” was nothing now but a handful of arsenic mixed with
ashes underneath a heavy concrete platform. Now she really was going to sleep.
Everything was different. And the house had a strong smell of arsenic that beat on her
nostrils as if from the depts. of a pharmacy.
Only then did she understand that three thousand years had passed since the
day she had had a desire to eat the first orange.
(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-ofthe-World-1)
What’s More
Answer the questions that follow. Write your answers in your
LITERATURE ACTIVITY NOTEBOOK.
1. Who is the main character in the story?
2. What is the most important part of the story?
3. What are the symbolic words in the story and what do they stand for?
What I Have Learned
Answer the following questions. Write your answers in your
LITERATURE ACTIVITY NOTEBOOK.
1. From what you’ve read in the story, do you think beauty is a blessing or
a burden? Support your answer. ____________________________________
______________________________________________________________
2. What is the main idea that the story would like to share with
readers?______________________________________________________
What I Can Do
Create a 5-8 minute film adaptation of the story Eva is Inside Her Cat.
You will be rated using the rubric below.
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Evaluation Category
Extremely
well
5
Well
Average
Not
well
2
Not at
all
1
4
3
Adaptation - Clear connection to the
original work’s central theme and
characters. Changes are thoughtful and
deliberate, while the work’s essential
message is maintained.
Creativity - The adaptation is original,
interesting and new.
Professionalism - The project is complete
and polished, showing evidence of time and
hard work. Written works are well written
and free of grammar, spelling or
punctuation errors; video transition and
effects are polished. Project meets length
requirements.
Extras - Student(s) went beyond the
expectations of the project, investing time
and energy into creating a trailer, poster,
cover art or additional scenes.
Score
Adopted: https://www.bisd303.org/cms/lib3/WA01001636/Centricity/Domain/616/adaptation%20rubric.pdf
Post assessment
Read carefully each item below. Choose the correct answer. Then, write
the correct answer in your LITERATURE ACTIVITY NOTEBOOK.
1. Who is the main character in the story Eva Is Inside Her Cat?
A. Lucy
B. Liza
C. Eva
D. Evalyn
2. “Only someone in the house whom she could incarnate herself. The word
someone here refers to_______.
A. Dog
B. lizard
C. cat
D. cockroach
3. Where do magic realist writers draw their material?
A. Lies
B. Legends
C. Myths
D. Truth
4. What kind of stories do magic realists tell?
A. Ridiculous
B. Fantastic
C. Matter-of-fact
D. All of the above
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5. Which of the following is NOT included in magic realism?
A. Predictable and boring
B. Silly and crazy
C. Ordinary with the extraordinary
D. Mundane with the fantastic
6. How would you describe the use of Time in magic realism?
A. Linear
B. Looping back
C. Skipping forward
D. All of the above
7. How would you describe magic realists? They ____________.
A. Create hybridity
B. Serve boring dishes
C. Organize data logically
D. Mix unrelated ingredients
8. Which of the following is NOT included in Surrealism?
A. Rigid rules
B. Viewing reality in a novel way
C. Heads depicted as trees and vice versa
D. Blurring the lines between dream and reality
9. The two elements that are combined in magic realism are ___________.
A. Wizards and realistic elements
B. Realistic elements and magic tricks.
C. Realistic elements and magical elements.
D. Fantastical creatures, such as unicorns, and realistic elements
10. Which of the following statements is NOT true about magic realism?
A. Often about opposites
B. Emphasizes the common and every day in people’s lives.
C. Frame or surface of the story may be conventionally realistic
D. Elements of the dream, fairy story, or mythology combine with the
everyday.
Lesson
18
Latin American Literature - II
101
Grade 12, First Semester, Q2 – Week 9
What I Need to Know
Congratulations! You are now in Lesson 6 of this module. In this lesson, you’re
going to continue your exploration in the continent of Europe.
In this Lesson, you are going to:
a. Identify representative texts and authors from Asia, North America,
Europe, Latin America, and Africa; (EN12Lit-IIa-22)
b. Compare and contrast the various 21st century literary genres and
their elements, structures, and traditions from across the globe
(EN12Lit-IId-25)
c. Do self- and/or peer-assessment of the creative adaptation of a
literary text, based on rationalized criteria, prior to presentation.
(EN12Lit-IIij-31.3)
What I Know
Answer the following questions based on what you know about
poetry, its devices, and characteristics. Write only the letter of your
answer in your LITERATURE ACTIVITY NOTEBOOK.
1. In poetry, a group of lines placed together is called a what?
A. Line
B. Stanza
C. Row
D. Paragraph
2. As a literary device, persona refers to what three things:
A. character, voice, and role
B. drama, poetry and prose
C. music, movies, and audiobooks
D. fiction, non-fiction and historical fiction
3. What is a thing that represents something else?
A. symptom
B. theme
C. symbol
D. thesis
4. What is symbolism?
A. Any story that attempts to explain how the world was created
B. A pattern of sound that includes the repetition of consonant sounds
C. An actor’s speech, directed to the audience, that is not supposed to be heard
by other actors.
D. The use of an object, person, situation, or word to represent something else (an
idea) in literature
5. Which of the following is an example of symbolism in literature?
A. Fall representing growing old
B. water symbolizing rebirth
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C. The color black to symbolize evil
D. All of these are correct
6. Identify what stage symbolizes.
“All the world’s a stage.
And all the men and women merely players;
they have their exits and their entrances;
And one man in his time plays many parts,”
A. world
B. participants
c. play
D. theatre
7. What is central idea?
A. tone of the passage
B. theme of the passage
C. a summarized sentence
D. central point that ties everything together.
8. Where could you find central idea?
A. first sentence
B. last sentence
C. not stated by implied
D. all of the above
9. Why would you need to know what the central idea of a paragraph/poem is?
A. I don’t know.
B. So you can find the theme.
C. So you could find the main idea.
D. so you can understand what the article/poem is about
10. Which of the following is the best description of a selection's theme?
A. Main idea
B. Central idea
C. Central point
D. Message about life
What’s In
You’ve learned in Lesson 17 about the characteristics of magic realism
in literature. Let’s have a short review before we proceed to the last lesson of this
module. Write your answers in your LITERATURE ACTIVITY NOTEBOOK.
True or False. Write True on the space before each number if the statement is true
about magic realism; write False if it is not.
________1. In Magic Realist literature, the most fantastic, crazy things are told in a
very matter-of-fact way.
________2. Magic Realism is all about mixing things up: the fantastic with the
mundane, the ordinary with the extraordinary, dream life with waking
life, reality and unreality.
________3. Constructs of time follow typical Western conventions. For instance,
stories may be told in spiraling shapes rather than in straight lines.
________4. Objects and settings within the story may take on lives of their own in a
way that is ordinary to the characters in the story.
________5. Contradictions, inconsistencies and ambiguities color the point of view,
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making you question what you understand about the world at large, as
well as what happens inside the story.
________6. A metamorphosis takes place in the story. It's treated not as a miracle,
but as an everyday event.
________7. The story does not bear the influences of oral tradition: fables, myths,
tall tales, urban legends, a charmed storytelling narrator (who may or
may not be reliable).
________8. The story, as it unfolds, gives the reader a sense of being inside a
puzzle or maze.
________9. The story is set in an otherwise ordinary world, with familiar historical
and/or cultural realities. Story events are not always explained by
universal laws or familiar logic.
_______10. The magical elements in the story may enhance a subversive message
or personalized point of view. Often the point of view is revealed through
voices, ideas, and places which exist outside the mainstream or majority
perspective.
What’s New
Do you have a favorite love song? Write it in your LITERATURE
ACTIVITY NOTEBOOK. Then, tell us what made that song your favorite and to whom
do you dedicate it.
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
What Is It
One of the most popular poetic forms is the fourteen line, iambic pentameter
poem with a traditional rhyme scheme: the sonnet. There are two kinds of sonnet: the
Italian/Petrarchan and the English/Shakespearean. Although both consist of 14 lines,
the Italian sonnet is divided into two parts: the octave “eight” and the sestet “six”. The
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octave which raises the idea or argument of the sonnet has rhyme scheme abbaabba
while the sestet which extends the idea usually has the rhyme scheme cdecde.
The English sonnet on the other hand is divided into three quatrains, four-line
stanzas, and a couplet. The rhyme scheme is abab cdcd efef gg. The quatrains of the
English sonnet opens and develops the idea and the couplet concludes it.
Read Sonnet XVII by Pablo Neruda and answer the questions that follow.
From Cien Sonetos de amor
From 100 Love Sonnets
XVII
XVII
No te amo como si fueras rosa de sal, topacio
o fleche de claveles que propagan el fuego:
te amo como se aman ciertas cosas oscuras,
secretamente, entre la sombre y el alma.
Te amo como la planta que no florece y lleva
dentro de si, escondida, la luz de aquellas
flores,
y gracias a tu amor vive oscuro en mi cuerpo
el apretado aromo que ascendio de la tierra.
Te amo sin saber como, ni cuando, ni de
donde,
Te amo directamente sin problemas ni
orgullo:
Asi te amo porque no se amar de otra manera,
Sino asi de este modo en que no soy ni eres,
Tan cerca que tu mano sobre mi pecho es
mia,
Tan cerca que se cierran tus ojos con mi
sueño.
I don’t love you as if you were a rose of salt,
topaz,
or arrow of carnations that propagate fire:
I love you as one loves certain obscure
things,
secretly, between the shadow and the soul.
I love you as the plant that doesn’t bloom but
carries
the light of those flowers, hidden, within
itself,
and thanks to your love the tight aroma that
arose
from the earth lives dimly in my body.
I love you without knowing how, or when, or
from where
I love you directly without problems or pride:
I love you like this because I don’t know any
other way to love,
except in this form in which I am not nor are
you,
so close that your hand upon my chest is
mine,
so close that your eyes close with my
dreams.
- translated and ©Mark Eisner 2004, from City
Lights’ The Essential Neruda
(https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippines-and-ofthe-World-1)
What’s More
Questions
Answer/Explanation
105
1. Who is the persona talking to in the
poem?
2. What do rose of salt, topaz, and
carnation symbolize?
3. What do you think is the meaning of
the 3rd stanza?
4. To what sense does the second
stanza appeal to?
5. What is the central idea of the poem?
What I Have Learned
Answer the questions below. Write your answers in your LITERATURE
ACTIVITY NOTEBOOK.
1. What is the most striking part of Sonnet XVII? Why? __________________
______________________________________________________________
2. Which line appeals to you? Why
_____________________________
______________________________________________________________
What I Can Do
The best way to appreciate sonnets is really for you to write your own. It
can be very challenging but it is worth the while. Your task is for you to choose
someone you love or someone you deeply care for that you are going to write your
sonnet for. In this activity, take note of the following requirements: iambic pentameter,
rhyme scheme, content, stanza, and artistic presentation.
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Rubric:
Iambic
pentamenter
Rhyme
scheme
Quatrains &
couplets
Artistic
presentation
5 points
Flawless use
of iambic
pentamenter
abab cdcd
efef gg
3 quatrains
1 couplet
Very original,
Very
attractive,
Neat
3 points
3 errors
2 points
4 errors
1 point
More than 4
errors
1 error in
rhyme
1 error
2 errors
3 errors
2 errors
3 errors
4 or more
errors
4 or more
errors
On plain
white paper,
sloppy
Original,
attractive,
neat
Somewhat
original and
attractive,
lacking in
neatness
15 points
10 points
Demonstrates Contains a
use of
subject, and
speaker and
message.
tone
speaker
and tone
may be
unclear.
Not original,
lacking in
neatness
5 points
1 point
May not
Does not
contain a
contain a
subject or
subject or
message.
message.
does not
does not
demonstrate demonstrate
use of
use of a
speaker.
speaker.
tone is
tone lacks
unclear
control
source:
https://www.scribd.com/document/412634387/21st-Century-Literature-of-the-Philippinesand-of-the-World-1
content
20 points
Clear
subject,
Speaker,
tone, and
message
4 points
1-2 errors
Post assessment
Read carefully each item below. Choose the correct answer. Write the letter of the
correct answer in your LITERATURE ACTIVITY NOTEBOOK.
1. What do you call the group of lines placed together in poetry?
A. Line
B. Stanza
C. Row
D. Paragraph
2. To what three things does the persona in poetry refer?
A. character, voice, and role
B. drama, poetry and prose
C. music, movies, and audiobooks
D. fiction, non-fiction and historical fiction
3. The thing that represents something else is called _____________.
A. symptom
B. theme
C. symbol
D. thesis
4. Symbolism refers to _________________.
A. Any story that attempts to explain how the world was created
107
B. A pattern of sound that includes the repetition of consonant sounds
C. An actor’s speech, directed to the audience, that is not supposed to be heard
by other actors.
D. The use of an object, person, situation, or word to represent something else (an
idea) in literature
5. Choose below the example of symbolism in literature.
A. Fall representing growing old
B. water symbolizing rebirth
C. The color black to symbolize evil
D. All of these are correct
6. Identify what stage symbolizes.
“All the world’s a stage.
And all the men and women merely players;
they have their exits and their entrances;
And one man in his time plays many parts,”
A. world
B. participants
c. play
D. theatre
7. In poetry, central idea refers to _____________.
A. tone of the passage
B. theme of the passage
C. a summarized sentence
D. central point that ties everything together.
8. Which of the following is the best description of a selection's theme?
A. Main idea
B. Central idea
C. Central point
D. Message about life
9. Who is the persona talking to in From 100 Love Sonnets XVII?
A. To his mother
B. To his sister
C. To someone he dearly loved
D. To all the ladies in the world
10. What is the central idea of the poem Sonnets XVII?
A. To love completely is the most beautiful thing of all
B. the growth and decay evident in the battle against time
C. admiration and love for the beauty of youth
D. immortality can be reached through the poet's "engrafting”
Summary

Literature in the Eastern hemisphere chronicles the history of civilizations
spanning thousands of years. As religion, war, and politics shaped Asian
societies, literature prospered to mirror these developments. As children of
this continent, we need to appreciate the literary outputs of our Asian
neighbors.
108
109
Assessment: (Post-Test)
Multiple Choice. Answer the questions that follow. Choose the best answer from
among the given choices.
1. The literature of Singapore comprises a collection of literary works by Singaporeans in
any of the country’s _______ languages.
A. two
B. three
C. four
D. five
2. A figure of speech whereby the author refers to a subject matter such as a place, event, or
literary work by way of a passing reference.
A. allegory
B. analogy
C. allusion
D. metaphor
3. The sequence of series of events in a story
A. setting
B. plot
C. theme
D. conflict
4. The underlying message that the writer would like to get across.
A. plot
B. theme
C. conflict
D. setting
5. The locale or period in which the action of a story takes place
A. conflict
B. setting
C. plot
D. mood
6. It consists of one or two pages of written critique that will succinctly discuss your idea,
realization, or concept regarding a literary selection.
A. essay
B. short paper
C. narrative
D. analysis
7. It is something that shows how two things are alike, but with the ultimate goal of making a
point about this comparison.
A. simile
B. metaphor
C. analogy
D. allegory
8. A figure of speech that makes an implicit, implied, or hidden comparison between two
things that are unrelated but which share some common characteristics.
A. analogy
B. allegory
C. allusion
D. metaphor
9. The country which has much influence on Japanese literature was ___________.
A. Singaporean
B. Chinese
C. Mongolian
D. Vietnamese
10. ___________ is considered the world’s first novel.
A. Tale of Genji
B. Book of Songs
C. Tale of Yasunari
D.Book of Poetry
11. In the movie The Hunger Games why does the Capitol hold the Hunger Games?
A. To keep the districts happy
B. because they are part of a religious festival
C. as a way to control the size of the population
D. To remind the districts that they are powerless against it
12. How do Katniss and Peeta force the Capitol to declare them both winners?
A. They threatened to run away
B. They threaten to commit suicide.
C. They threaten to cause a rebellion against the Capitol.
D. They threaten that the winner will tell about everything.
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13. Under what circumstances did Katniss first meet Peeta in Hunger Games?
A. They did a project at school together
B. They were both in the woods hunting
C. Peeta was injured and Katniss’ mother helped him.
D. Katniss was looking for food and Peeta gave her bread.
14. The mouse beneath the stone is still as death is an example of _____________.
A. simile
B. metaphor
C. onomatopoeia
D. personification
15. A poem with songlike feel; it focuses on adventure or romance and tells a story it is
called
A. figurative language B. lyric
C. narrative
D. rhythm
16. When the word at the end of a line rhymes with another word at the end of another line, it
is called
A. internal rhyme
B. end rhyme
C. rhythm
D. repetition
17. The author of a poem is called ___________.
A. narrator
B. poet
C. author
D. writer
18. The bottle fizzed then popped is an example of _________.
A. onomatopoeia
B. simile
C. repetition
D. metaphor
19. Poetry uses two kinds of language. What are they?
A. long and short
C. lyric and narrative
B. literal and figurative
D. emotional and comparative
20. It is the spontaneous overflow of powerful words collected in moments of
tranquillity. This refers to what kind of poetry?
A. lyric
C. narrative
B. poetry
D. figurative
21. What kind of poetry gives a verbal representation, in verse, of a sequence of
connected events, it propels characters through a plot?
A. narrative
C. literal
B. lyric
D. figurative
22. As a literary device, persona refers to what three things:
A. character, voice, and role
B. drama, poetry and prose
C. music, movies, and audiobooks
D. fiction, non-fiction and historical fiction
23. What is a thing that represents something else?
A. symptom
B. theme
C. symbol
D. thesis
24. What is symbolism?
A. Any story that attempts to explain how the world was created
B. A pattern of sound that includes the repetition of consonant sounds
C. An actor’s speech, directed to the audience, that is not supposed to be heard by other
actors.
D. The use of an object, person, situation, or word to represent something else (an
idea) in literature
111
25. Which of the following is an example of symbolism in literature?
A. Fall representing growing old
B. water symbolizing rebirth
C. The color black to symbolize evil
D. All of these are correct
26. Identify what stage symbolizes.
“All the world’s a stage.
And all the men and women merely players;
they have their exits and their entrances;
And one man in his time plays many parts,”
A. world
B. participants
C. play
D. theatre
27. Though African writers wrote in European language, they nevertheless embodied the
spirit of __________.
A. patriotism
B. nationalism
C. truth
D. bayanihan
28. The movement that opened the avenue for writers to celebrate what is truly African
A. nationalistic
B. Negritude
C. Africanism
D. patriotism
29.Which of the following is TRUE about magical realism?
A. It follows the traditional time structure.
B. It occurs because of the use of devices similar to poetry.
C. The elements of the magical and the ordinary are interwoven seamlessly.
D. Magic realism is like science fiction.
30. He took credit for developing magical realism
A. Mario Vargas Llosa
B. Gabriel Garcia Marquez
C. Julio Cortazar
D. Jose Garcia Villa
31. It is imaginative response to an experience reflecting a keen awareness of
language.
A. narrative
C. poetry
B. figurative language
D. words
32. Who said that immature poets imitate; mature poets steal?
A. Thomas Hardy
C. T.S. Eliot
B. Thomas Babington Macaulay
D. William Wordsworth
33. Which of the following statements about Emily Dickinson’s poem “Death” is
TRUE?
A. It portrays death as something that should be feared.
B. It portrays death as something that should not be feared.
C. It highlights how everyone interprets death in the same way.
D. It highlights how everyone’s interpretation of death is unique.
34. In "Death" by Emily Dickinson, the three things that Death's carriage holds are...
A. hope, superstition, and truth
B. clarity, despair, and triumph
C. death, the speaker, and immortality
D. a way out, acceptance, and understanding
112
35. What does ‘setting sun’ indicate in the poem “Death” by Emily Dickinson?
A. death
C. life
B. sun
D. sunset
36. Confucius is a famous ______________ in ancient Chinese history.
A. writer
B. narrator
C. philosopher
D. poet
37. The oldest collection of Chinese poetry is called ___________.
A. Book of Poetry
B. Book of Songs
C. Book of Changes D. Book of Olds
38. Who was the first writer in Chinese to win Nobel Prize for literature?
A. Kung Fu Tzu
B. Mo Yan
C. Lu Xun
D. Lao Tzu
39. Who is commonly considered the greatest Chinese writer of the 20th century?
A. Lu Xun
B. Lao Tzu
C. Confucius
D. Mo Yan
40. What is central idea?
A. tone of the passage
B. theme of the passage
C. a summarized sentence
D. central point that ties everything together.
41. Where could you find central idea?
A. first sentence
B. last sentence
C. not stated by implied
D. all of the above
42. Why would you need to know what the central idea of a paragraph/poem is?
A. I don’t know.
B. So you can find the theme.
C. So you could find the main idea.
D. so you can understand what the article/poem is about
43. In Sonnet XVII by Pablo Neruda, who is the persona talking to?
A. his mother
B. his sister
C. his other woman
D. a woman that he loves
44. What does rose of salt symbolize in Sonnet XVII?
A. something near the ocean
B. a rose made of salt
C. sand in the ocean
D. flower that grows near the ocean
45. What is the meaning of the 3rd stanza of Sonnet SVII?
A. he simply loves her no matter what happens
B. he is telling his lover about a few things that don’t represent his love
C. he is telling how it is that he does love his partner.
D. he re-emphasizes the fact that his love is not based on beauty
46. To what sense does the second stanza appeal to?
A. smell
B. taste
C. sight
113
D. touch
47. What is the central idea of the sonnet?
A. one should not fear death
B. growth and decay evident in the battle against time
C. immortality can be reached through the poet's "engrafting
D. to love completely and honestly is the most beautiful thing of all
48. What is literature?
A. It refers to writing considered to be an art form or any single writing deemed to have artistic
or intellectual value.
B. It is a survey of scholarly sources (such as books, journal articles, and theses) related to a
specific topic.
C. It is the comparison, analysis, interpretation, and/or evaluation of works of literature.
D. It is subjective writing because it expresses the writer's opinion or evaluation of a text
49. The theme of the The Taximan’s Story is
A. how hardworker the taximan is
B. how the passenger appreciates the taximan
C. how the taximan’s daughter is different compared to other girls.
D. how teenagers nowadays are different compared to older generations
50. The Taximan’s Story is written in ___________ point of view
A. first person point of view
C. Second person point of view
B. third person point of view
D. Omniscient point of view
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Key to Answers
Module 2 Lesson 1
What I Know
Module 2 Lesson 2
What Is It
Answers may vary
What’s More
1. taximan – generous and hardworking father of
eight
passenger who is a teacher going to a meeting
2.The irony is the fact that the taximan criticizes
young people of our generation for being too
immature by hanging out at places like Hotel
McElroy; while he still goes there to make an easy
living as Hotel McElroy is a popular spot to earn
more money.
3. * how the Singaporean youth in the present times
have grown impulsive and careless compared to the
earlier generations.
* Differences of the 'old' (taximan's generation) and
current (Lay Choo's generation) Singapore
* How making a living in Singapore has overcome
the need to stand up for our own beliefs and make a
stand to whatever opposes us
What Is It
Answers may vary
What’s More
What I Have Learned
Answers may vary
Module 2 Lesson 3
What’s In
1. Chinese
2. transnational
3. Poetry
4. Fiction
5. Goh Poh Seng
6. first person
7. teacher
8. Lay Choo
9. National University of Singapore
10. Singapore
What I Have Learned
Answers may vary
Module 2 Lesson 2
What’s In
1. cultural
2. colonization
3. West
4. South Asia
5. Southeast Asia
6. Chu’ü Yüan
7. Yu Xiuhua
8. patriosm
9. Arthur Waley
10. Ming Di
What I Know
1. analogy
2. metaphor
3. allegory
4. simile
5. allusion
What Is It
What I Know
Answers may vary
115
What’s More
What’s More
What I Have Learned
Answers may vary
Module 2 Lesson 4
What’s In
1.
2-5.
6-7.
8.
9.
10-11.
12-15.
What I Have Learned
Acceptable answers
1. It’s about how to grow up well and be a good
person.
2. Conflict is rarely or never needed
What I Know
1. rising action
2. falling action
3. setting
4. plot
5. theme
6. exposition
7. climax
8. denouement
9. conflict
10. mood
Module 2 Lesson 6
What’s In
What’s More
Answers may vary
What I Have Learned
Answers may vary
Module 2 Lesson 5
What’s In
1. E
2. J
3. D
4. H
5. C
6. F
7. A
8. I
9. G
10. B
What I Know
1. d
2. c
3. c
4. d
5. d
6. a
7. d
8. a
9. b
10. d
What I Know
Answers may vary
What’s More
Eight Male Archetypes
Chief
Bad boy
The best friend
Charmer
The lost soul
The professor
The swashbuckler
The warrior
116
Albus Dumbledore
Voldemort/Quirrell
Ron
Mr. Dusley
Snape
McGonagall
Harry Potter
Gryffindor
Eight Female Archetypes
Hermione
Boss
The Survivor
The spunky kid
The Free Spirit
The waif
The librarian
The crusader
The nurturer
Module 2 Lesson 8
What’s In
1. middle
2. end
3. beginning
What I Know
What I have learned
1. The importance of family.
2. possible answers - Love is the most powerful
weapon you can have.
Never judge a book by its cover.
You don't have to be blood-related to be family.
Module 2 Lesson 7
What’s In
What I have Learned
Answers may vary
Module 2 Lesson 9
What’s In
1. d
2. a
3. c
4. d
5. d
6. d
7. c
8. d
9. d
10. b
What I Know
1. protagonist
2. antagonist
3. static or flat
4.dynamic
5.round
What’s More
What I have learned
Answers may vary
What I Know
1. b
2. e
3. h
4. g
5. j
6. f
7. a.
8. i
9. c
10. d
Module 2 Lesson 10
What’s in
1. C.
2. C.
3. C.
4. B.
5. A.
6. A.
7. C
8. A
9. D
117 10. B
What I Know
√
X
√
√
√
√
√
Pre Test
1. C
2. D
3. B
4. A
5. D
6. A
7. C
8. C
9.D
10. C
11. B
12. B
13. B
14. A
15. B
16. B
17. D
18. D
19. B
20. A
21. A
22. B
23. B
24. B
25. B
26. B
27. B
28. C
29. C
30. C
31. B
32. B
33. A
34. C
35. A
36. B
37. A
38. C
39. D
40. D
41. A
42. D
43. D
44. D
45. D
46. D
47. D
48. D
49. D
50. A
Module 2 Lesson 11
What’s In
1. True
2.True
3. False
4.True
5.True
6.True
7. False
8.True
9.True
10.True
What I Know
1. B
2. A
3. C
4. D.
5. D
6. A
7. D
8. D
9. D
10. C
Einstein’s Riddle Answers
1. Norwegian, Yellow, Cat, Water, Piano
2. Danish, Blue, Horse, Tea, Basketball
3. British, Red, Birds, Milk, Baseball
4. German, Green, Fish, Coffee, Soccer
5. Swedish, White, Dogs, Beer, Violin
118
References
"21St Century Literature Of The Philippines And Of The World (1) Scribd".
2020. Scribd. https://www.scribd.com/document/412634387/21st-CenturyLiterature-of-the-Philippines-and-of-the-World-1.
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