12
Creative Nonfiction
Quarter 1 – Module 1:
Identifying the Elements of the
Literary Genres
English – Grade 12
Alternative Delivery Mode
Quarter 1 – Module 1: Identifying the Elements of Literary Genres
First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall subsist in any
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Published by the Department of Education
Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio
Development Team of the Module
Writers: Shenna Marie E. Rubia, Cris Dyan R. Abarca and Jay E. Villareal
Editor: Jessie Lou L. Ecleo
Reviewer: Jessie Lou L. Ecleo
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Adolf P. Aguilar
Anna Lee A. Amores, EdD
Printed in the Philippines by ________________________
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12
Creative Nonfiction
Quarter 1 – Module 1:
Identifying the Elements of the
Literary Genres
Introductory Message
For the Facilitator:
Welcome to the Creative Nonfiction 11/12 Alternative Delivery Mode (ADM)
Module 1 on Identifying the Elements of Literary Genres!
This module was collaboratively designed, developed and reviewed by educators
both from public and private institutions to assist you, the teacher or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
overcoming their personal, social, and economic constraints in schooling.
This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration their
needs and circumstances.
In addition to the material in the main text, you will also see this box in the body of
the module:
The beautiful thing about learning is
that nobody can take it away fr om you.” “
B.B.King
As a facilitator, you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to manage
their own learning. Furthermore, you are expected to encourage and assist the
learners as they do the tasks included in the module.
For the learner:
Welcome to the Creative Nonfiction Alternative Delivery Mode (ADM) Module 1 on
Identifying the Elements of the Literary Genres!
This module was designed to provide you with fun and meaningful opportunities for
guided and independent learning at your own pace and time. You will be enabled to
process the contents of the learning resource while being an active learner.
This module has the following parts and corresponding icons:
What I Need to Know
This will give you an idea of the skills or
competencies you are expected to learn in the
module.
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What I Know
This part includes an activity that aims to check
what you already know about the lesson to take.
If you get all the answers correct (100%), you
may decide to skip this module.
What’s In
This is a brief drill or review to help you link the
current lesson with the previous one.
What’s New
In this portion, the new lesson will be introduced
to you in various ways; a story, a song, a poem, a
problem opener, an activity or a situation.
What is It
This section provides a brief discussion of the
lesson. This aims to help you discover and
understand new concepts and skills.
What’s More
This comprises activities for independent practice
to solidify your understanding and skills of the
topic. You may check the answers to the
exercises using the Answer Key at the end of the
module.
What I Have Learned
This
includes
questions
or
blank
sentence/paragraph to be filled into process what
you learned from the lesson.
What I Can Do
This section provides an activity which will help
you transfer your new knowledge or skill into real
life situations or concerns.
Assessment
This is a task which aims to evaluate your level of
mastery in achieving the learning competency.
Additional Activities
In this portion, another activity will be given to
you to enrich your knowledge or skill of the
lesson learned.
Answer Key
This contains answers to all activities in the
module.
At the end of this module you will also find:
References
This is a list of all sources used in developing
this module.
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The following are some reminders in using this module:
1. Use the module with care. Do not put unnecessary mark/s on any part of the
module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher or facilitator. Always bear in mind that you are not
alone.
We hope that through this material, you will experience meaningful learning and
gain deep understanding of the relevant competencies. You can do it.
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TABLE OF CONTENTS
NTENT
CO
PAGES
TITLE PAGE ------------------------------------------------
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INTRODUCTORY MESSAGE
-----------------------------For the Facilitator
--------------------------------For the learner
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ii
ii
WHAT I NEED TO KNOW --------------------------------Learning Competency
--------------------------------Learning Objectives ---------------------------------
1
1
2
WHAT I KNOW
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2
WHAT’S IN
------------------------------------------------
3
WHAT’S NEW
Task 1
-----------------------------------------------------------------------------------------------
4
4
WHAT IS IT
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4
WHAT’S MORE
Task 2
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7
7
WHAT I HAVE LEARNED ---------------------------------
8
WHAT I CAN DO
Task 3
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9
9
ASSESSMENT
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10
GLOSSARY
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11
ANSWER KEYS
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12
--------------------------------------------
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REFERENCE LIST
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WHAT I NEED TO KNOW
What I Need to Know
At the end of the module, you should be able to:
Knowledge: Distinguish the literary elements
Skills:
Identify the elements in the short story, Karma
Attitude: Value the importance of the literary elements by
telling and analyzing the theme in the text
What I Know
Below are questions that you need to recall and reflect upon your
previous learning.
1. Have you read short stories?
2. What is your favorite short story?
3. Can relate briefly on is it all about?
4. Are you familiar with the elements of it?
5. What are the elements of a short story? Can you name them?
Okay! You got it! Now are you ready to proceed to our next activity?
What’s In
Activity 1
Below are words that can be found in the story. Identify the
meaning of the italicized words by writing the letter on your answer
sheet/notebook.
1. The red oxide at its back had come off at several places and long lines of
translucent glass cut across its surface.
a. reflect
b. glowing
c. dirty
d. indifferent
2. Sir Mohan sank into a large cane chair to drink and ruminate.
a. reflect
b. talk
c. think
d. sleep
3. He is a vizier and a barrister and meets so many officers and Englishmen
in the trains—and I am only a native woman.
a. teacher
b. tutor
c. lawyer
d. politician
4. The arrival of the train did not disturb Sir Mohan Lal’s sangfroid.
a. personality
b. attitude
c. charisma
d. self-confidence
5. Lady Lal rested her chin on her hands and sat gazing idly at the jostling
crowd on the platform.
a. pushing
b. shouting
c. talking
d. laughing
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6. Lady Lal stopped by a hawker’s stall to replenish her silver betel leaf case,
and then joined the coolie.
a. refill
b. fill
c. cut
d. crumple
Okay, good job!
What’s new
At this point, I want you to read the story below. Are you ready?
Begin.
Karma
By: Khushwant Singh
Sir Mohan Lal looked at himself in the mirror of a first-class waiting
room at the railway station. The mirror was obviously made in India. The
red oxide at its back had come off at several places and long lines of
translucent glass cut across its surface. Sir Mohan smiled at the mirror with
an air of pity and patronage.
―You are so very much like everything else in this country, inefficient,
dirty, indifferent,‖ he murmured.
The mirror smiled back at Sir Mohan.
―You are a bit all right, old chap,‖ it said. ―Distinguished, the
efficient—even handsome. That neatly-trimmed moustache—the suit from
Saville Row with the carnation in the buttonhole—the aroma of eau de
cologne, talcum powder and scented soap all about you! Yes, old fellow, you
are a bit all right.‖
Sir Mohan threw out his chest, smoothed his Balliol tie for the
umpteenth time and waved a goodbye to the mirror.
He glanced at his watch. There was still time for a quick one. ―Koi
Hai!‖
A bearer in white livery appeared through a wire gauze door.
―Ek Chota,‖ ordered Sir Mohan, and he sank into a large cane chair to
drink and ruminate.
Outside the waiting room, Sir Mohan Lal’s luggage lay piled along the
wall. On a small grey steel trunk, Lachmi, Lady Mohan Lal, sat chewing a
betel leaf and fanning herself with a newspaper. She was short and fat in
her middle forties.
She wore a dirty white sari with a red border. On one side of her nose
glistened a diamond nose-ring, and she had several gold bangles on her
arms. She had been talking to the bearer until Sir Mohan had summoned
him inside. As soon as he had gone, she hailed a passing railway coolie.
―Where does the zenana stop?‖
―Right at the end of the platform.‖
The coolie flattened his turban to make a cushion, hoisted the steel
trunk on his head, and moved down the platform. Lady Lal picked up her
brass tiffin carrier and ambled along behind him. On the way she stopped
by a hawker’s stall to replenish her silver betel leaf case, and the joined the
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coolie. She sat down on her steel trunk (which the coolie had put down) and
started talking to him.
―Are the trains very crowded on these lines?‖
―These days all trains are crowded, but you’ll find room in the
zenana.‖
―Then I might as well get over the bother of eating.‖
Lady Lal opened the brass carrier and took out a bundle of cramped
chapatties and some mango pickle. While she ate, the coolie sat opposite her
on his haunches, drawing lines in the gravel with his finger.
―Are you traveling alone sister?‖
―No, I am with my master, brother. He is in the waiting room. He
travels first class. He is vizier and a barrister, and meets so many officers
and Englishmen in the trains—and I am only native woman. I can’t
understand Englishmen in the trains—and I am only a native woman. I can’t
understand English and know their ways, so I keep to my zenana interclass.‖
Lachmi chatted away merrily. She was fond of a little gossip and had
no one to talk to at home. Her husband never had any time to spare for her.
She lived in the upper storey of the house and he on the ground floor. He
did not like her poor illiterate relatives hanging around his bungalow, so
they never came. He came up to her once in a while at night and stayed for a
few minutes. He just ordered her about in anglicized Hindustani, and she
obeyed passively. These nocturnal visits had, however, borne no fruit.
The signal came down and the clanging of the bell announced the
approaching train. Lady Lal hurriedly finished off her meal. She got up, still
licking the stone of the pickled mango. She emitted a long, loud belch as she
went to the public tap to rinse her mouth and wash her hands. After
washing she dried her mouth and hands with the loose end of her sari, and
walked back to her steel trunk, belching and thanking the Gods for the
favour of a filling meal.
The train steamed in. Lachmi found herself facing an almost empty
inter-class zenana compartment next to the guard’s van, at the tail end of
the train. The rest of the train was packed. She heaved her squat, bulky
frame through the door and found a seat by the window. She produced a
two-anna bit from a knot in her sari and dismissed the coolie. She then
opened her betel case and made herself two betel leaves charged with a red
and white paste, minced betelnuts and cardamoms. These she thrust into
her mouth till her cheeks bulged on both sides. Then she rested her chin on
her hands and sat gazing idly at the jostling crowd on the platform.
The arrival of the train did not disturb Sir Mohan Lal’s sangfroid. He
continued to sip his scotch and ordered the bearer to tell him when he had
moved the luggage to a first-class compartment.
Excitement, bustle and hurry were exhibitions of bad breeding, and
sir Mohan was eminently well-bred. He wanted everything ―tickety-boo‖ and
orderly. In his five years abroad, Sir Mohan had acquired the manners and
attitude of the upper classes. He rarely spoke Hindustani. When he did, it
was like an Englishman’s – only the very necessary words and properly
Anglicized. But he fancied his English finished and refined at no less a place
than the University of Oxford. He was fond of conversation, and like a
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cultured Englishman, he could talk on almost any subject—books, politics,
people. How frequently had he heard English people say that he spoke like
an Englishman!
Sir Mohan wondered if he would be traveling alone. It was a
Cantonment, and some English officers might be on the train. His heart
warmed at the prospect of an impressive conversation. He never showed any
sign of eagerness to talk to the English as most Indian did. Nor was he loud,
aggressive and opinionated like them. He went about his business with an
expressionless matter-of-factness. He would retire to his corner by the
window and get out a copy of The Times. He would fold it in a way in which
the name of the paper was visible to others while he did the crossword
puzzle.
The Times always attracted attention. Someone would like to borrow it
when he put it aside with a gesture signifying ―I’ve finished with it.‖ Perhaps
someone would recognize his Balliol tie which he always wore while
traveling. That would open a vista leading to a fairy-land of Oxford colleges,
masters, dons, tutors, boat-races and rugger matches. If both The Times and
the tie failed, Sir Mohan would ―Koi Hai‖ his bearer to get the Scotch out.
Whiskey never failed with Englishmen. Then followed Sir Mohan’s handsome
gold cigarette case filled with English cigarettes. English cigarettes in India?
How on earth did he get them? Sure, he didn’t mind? And Sir Mohan’s
understanding smile—of course he didn’t. But could he use the Englishman
as a medium to commune with his dear old England? Those five years of
grey bags and gowns, of sports blazers and mixed doubles, of dinners at the
inns of court and nights with Piccadilly prostitutes. Five years of a crowded
glorious life. Worth far more than the forty-five in India with his dirty, vulgar
countrymen, with sordid details of the road to success, of nocturnal visits to
the upper storey and all-too-brief sexual acts with obese old Lachmi,
smelling of sweat and raw onions.
Sir Mohan’s thoughts were disturbed by the bearer announcing the
installation of the Sahib’s luggage in a first-class coupe next to the engine.
Sir Mohan walked to his coupe with a studied gait. He was dismayed. The
compartment was empty. With a sigh he sat down in corner and opened the
copy of The Times he had read several times before.
Sir Mohan looked out of the window down the crowded platform. His
face lit up as he saw two English soldiers trudging along, looking in all the
compartments for room. They had their haversacks slung behind their
backs and walked unsteadily. Sir Mohan decided to welcome them, even
though they were entitled to travel only second class. He would speak to the
guard.
One of the soldiers came up to the last compartment and stuck his
face through the window. He surveyed the compartment and noticed the
unoccupied berth.
―Ere, Bill,‖ he shouted, ―one ere.‖
His companion came up, also looked in, and looked at Sir Mohan.
―Get the nigger out,‖ he muttered to his companion.
They opened the door, and turned to the half- smiling, half-protesting
Sir Mohan.
―Reserved!‖ yelled Bill.
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―Janta—Reserved. Army—Fauj,‖ exclaimed Jim, pointing to his khaki
shirt.
―Ek Dum jao—get out!‖
―I say, I say, surely,‖ protested Sir Mohan in his Oxford accent. The
soldiers paused. It almost sounded like English, but they knew better than
to trust their inebriated ears. The engine whistled and the guard waved his
green flag.
They picked up Sir Mohan’s suitcase and flung it on the platform.
Then followed his thermos flask, briefcase, bedding and The Times. Sir
Mohan was livid with rage.
―Preposterous, preposterous,‖ he shouted, hoarse with anger.
―I’ll have you arrested—guard, guard!‖
Bill and Jim paused again. It did sound like English, but it was too
much of the King’s for them. ―Keep yer ruddy mouth shut!‖ And Jim struck
Sir Mohan flat on the face.
The engine gave another short whistle and the train began to move.
The soldiers caught Sir Mohan by the arms and flung him out of the train.
He reeled backwards, tripped on his bedding, and landed on the suitcase.
―Toodle-oo!‖
Sir Mohan’s feet were glued to the earth and he lost his speech. He
stared at the lighted windows of the train going past him in quickening
tempo. The tail-end of the train appeared with a red light and the guard
standing in the open doorway with the flags in his hands.
In the inter-class zenana compartment was Lachmi, fair and flat, on
whose nose the diamond nose-ring glistened against the station lights. Her
mouth was bloated with betel saliva which she had been storing up to spit
as soon as had cleared the station. As the train sped past the lighted part of
the platform, Lady Lal spat and sent a jet of red dribble flying across like a
dart.
-Singh, Khushwant (1989). The Collected Short
Stories of Khushwant Singh Ravi Dayal Publisher,
New Delhi, pp. 8-12.
Check your understanding:
Below are questions that you need to answer. Write your answer in
your notebook
1. Who are the characters of the story?
___________________________________________________________________________
2. Where was Mohan Lal found for the first time in the story?
___________________________________________________________________________
3. How was the mirror in the waiting room?
___________________________________________________________________________
4. ―I have finished with it.‖ What does ―it‖ refer?
___________________________________________________________________________
5. Why did Lachmi’s relative not come to her husband’s house?
___________________________________________________________________________
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6. Based on the story, how would you define Karma?
___________________________________________________________________________
You got it!
Before we start with the discussion, let me ask you these questions:
1. What disposition/mood is evoked in the opening paragraphs of the story?
2. How did the author present the unexpected turn of the main character’s
fate and the inevitable outcome of his actions and thoughts?
3. As such that Singh is called a ―brilliant incisive/insightful writer,‖ how
did he depict unhappy married life and gender discrimination? Pick
lines from the story to support your answer.
What’s Is It
These questions will lead us to our discussion. We will unlock the
answers of these questions as we move on.
The literary model under consideration is an example of a short story
under fiction. It was published by Kushwant Singh in 1989 under his work
The Collected Stories. It tells the story of an Indian man educated in Europe
who tried to adopt an upper English culture. He was introduced as someone
who is ashamed of his Indian heritage as he tries to speak British official.
The most important event happened when he and his wife travelled by train
and he tried to impress British soldiers through his Englishman sangfroid
but ended up being thrown out of the train.
The story contains the literary elements or the necessary constituents
or smaller parts of a literary piece. They are the features of any spoken or
written literature distinguished by literary techniques. These elements help
in the discussion, understanding, and appreciation of a work of literature.
They are embedded in the author’s craft and understood and appreciated by
the readers through critical analysis. In essence, literary elements deal with
the W’s and H of literature.
The plot tells what happens in the story. It relates the chain of events
through different stages revealed in the story arc: exposition or the
beginning where the conflict is introduced; rising action or the actions
leading to the climax, pivotal or turning point of the story; denouement or
falling action and ending or resolution.
In our discussion, let us use Karma, by Khushwant Singh as our
literary model.
Going back to the literary model, Karma, what is the plot of the story?
Can you give the plot of the story?
Plot: __________________________________________________________
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Character refers to the person in a work of fiction and his
characteristics. He/she could be a protagonist or the opposing character to
the main character. Characterization gives the reader details about the
characters involved, which include physical appearance, way of thinking,
feeling, actions, and reactions to events. Moreover, characters, to be
effective, should resemble real-life persona who can be complex, dynamic, or
stereo typical. Furthermore, a foil is written in contrast to the main
character.
How will you describe the characters in the story? Can you tell the
appearance, way of thinking, feeling, etc. of the characters in our story?
Characters:
Sir Mohan Lal
___________________________________________________________________________
Lachmi/Lady Mohan
________________________________________________________________________
Soldiers
__________________________________________________________________________
Theme is the central idea of a literary work that can be termed as
implied morals, insights, or values. It is not intended to preach or teach but
it is something extracted from other literary elements and techniques like
the structure, plot, characters, style of narration, patterns, and symbols. In
short, theme is the underlying truths and realities of life consciously and
unconsciously created by the author and realized by the readers.
What is the theme of the story? Can you tell it?
Theme:
___________________________________________________________________________
Setting pertains to the place, time, mood, atmosphere, weather, and
social conditions of a story. Authors use sounds and visual images to
describe the setting. The setting helps bring out the mood or backdrop or
sets forth the conflict in the story. Setting could be dynamic or static.
A dynamic setting refers to a varied story ―world‖ or milieu which
includes varied cultural, historical, geographical surrounding or society.
Static setting is the opposite, because it presents a stationary, still or
solitary backdrop of the story. The literary model is an example of a static
setting since the backdrop is only in a train.
Can you tell the setting of the story?
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Setting:
___________________________________________________________________________
Conflict means the complication in a story. The plot is created
through the conflict. As such, the bloodline of an effective plot is an
outstanding conflict. The complications could be in a form of struggle,
disagreement, war, verbal tussles, etc. However, conflict can be (a) man vs.
man, (b) man vs. nature, where a character involves man against the forces
of nature and the universe; (c) man vs. society, where conventions or culture
challenges man and (d) man vs. himself, or an internal happening within a
character.
What is the conflict in the story?
Conflict:
___________________________________________________________________________
Point of view takes the angle from where the story is narrated. It is
the angle from which the readers view people, events, and details of the
story. An objected point of view is an angle where the writer narrates what
happens without detailing too much about the character’s feelings and
thinking. Point of view can be in first person such as I, me, mine, we, us,
ours. Second person point of view rarely happens in a story because it treats
the reader as the protagonist/main character of the story and uses the
pronoun you for participants. On the other hand, the narrator in the third
person point of view is not a participant of the story but reveals the feelings
and line of thinking of the characters. It typically uses the pronouns he, she,
it, they, the, his, her, its, etc. The third person point of view is the outside
voice of the story. The omniscient point of view narrates everything about
the characters but a limited point of view gives the angle of a story on a
limited character.
What is the point of view in the story? How is it told?
Point of view:
________________________________________________________________
Tone is an element of the story that evokes varied feelings derived
from the voice or inflections of a character. Tone can include word choice,
grammatical structure, diction, or imagery. It can also be determined
through the author’s attitude toward the subject, literary devices used, and
musicality of language.
What is the tone of the story?
Tone:
___________________________________________________________________________
Very Good! You made it
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What’s More
At this time, I want you create your own story based on your own
experience. Cite examples on the elements on your story. Write your
example in your notebook.
Characters
Settings
Plot
Conflict
Point of View
Theme
1. From the examples of what you have written above based on your own
experience, develop that into a short story.
2. Going back to the story, Karma, what is the theme of the story? How does
the writer present the theme of the story?
3. Compare and contrast the two persons in the story. Write your answer in
the space provided.
What I Have Learned
Answer briefly the questions below. Write your answer in your notebook.
I have realized that ________________________________________.
I will apply _______________________________________________.
What I Can Do
Answer briefly the questions below.
1. Going back to the story, Karma, what is the theme of the story? How does
the writer present the theme of the story?
2. Compare and contrast the two persons (Mohan Lal and Lachmi) in the
story. Write your answer in your notebook.
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Assessment
Identify the statement in each number. Write your answer on your activity
notebook.
1. They are the features of any spoken or written literature distinguished by
literary techniques.
2. Refers to the central idea of a literary work that can be termed as implied
morals, insights, or values.
3. Pertains to the place, time, mood, atmosphere, weather and social
conditions of the story.
4. Tells what happens in the story.
5. Refers to the person in a work of fiction and his characteristics.
6. Refers to the complication in the story.
7. Takes the angle from where the story is narrated.
8. Refers to a varied story ―world‖ or milieu which includes varied cultural,
historical, geographical surrounding or society.
9. Refers to the stationary, still or solitary backdrop of the story.
10. Is an element of the story that evokes varied feelings derived from the
Additional Activity
Make short but catchy hashtag about the lesson. Consider your personal
reflections, reactions, and learning.
#
11
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Answer Key:
Activity 1. Check Your Answer
1. B
2. A
3. C
4. D
5. A
6. A
Check Your Understanding:
1. The characters are Sir Mohan Lal and Lachmi.
2. Mohan Lal was found for the first time in the first class waiting of railway compartment.
3. The mirror in the waiting room was partly broken and the red oxide at its back had come off at
several places.
4. The word it refers to ―The Times.‖
5. Lachmi’s relative did come to her husband’s house because her husband Mohan Lal did not
like the poor, illiterate relatives hanging around the bungalow.
Karma means an action seen as bringing upon inevitable results, good or bad, either in this life
or in a reincarnation.
6.
Possible Answer under Discussion:
Plot: Mohan Lal was a middle-aged man who worked in the British Raj. He was ashamed to be an
Indian and hence he tried to speak in English or in Anglicized Hindustani and to dress as if a highranked British official. He used to fill the crossword puzzles of newspapers, which he did to show
his immense knowledge in English. His wife Lachmi was a traditional Indian woman and due to
this difference, they were not having a sweet married life.
Characters:
Sir Mohan Lal: _ an Indian who stayed in abroad and has aquired the manners of the Englishmen. He
has a high regard in the English influence.
Lachmi/Lady Mohan: a fat an old Indian urban lady and a traditional Indian wife.
Soldiers: two British soldiers whose names Jim and Bill who abused Mohan Lal.
Theme: The story Karma illustrates the famous proverb ―Pride Comes Before a Fall.‖ It is the story of
an arrogant person who feels bad about his country’s culture, lifestyle, etc. He is condescending to his
wife because she is an ordinary woman unable to appreciate his aristocratic English culture.
Assessment:
1. Literary Elements
2. Theme
3. Setting
4. Plot
5. Character
6. Conflict
7. Point of View
8. Dynamic Setting
9. Static Setting
10. Tone
References:
Gallo, Harold V. and Oliveros, Aries N. Grammar Essentials Creative
Nonfiction Senior High School.
Published and distributed by Sibs
Publishing House, Inc., 927 Quezon Avenue, 1104 Quezon
City,
copyright 2017.
www.google.com/story of Karma
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