Grade Level Sy / Semester Subject Category Subject Code Subject Title Week: 1-2 Melcs

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LEARNING ACTIVITY SHEET
Grade Level 11 SY / Semester 2020-21 / 2nd

Subject Category Core Subject Subject Code
Subject Title 21st Century Literature
Week: 1-2
MELCs:
1. Identify the geographic, linguistic, and ethnic dimensions of Philippine literary history from
pre-colonial to the contemporary
Content Standard: Performance Standard:
The learners will be able to understand The learner will be able to demonstrate
and appreciate the elements and contexts understanding and appreciation of 21st century
of 21st century Philippine literature from Philippine literature from the region through:
the regions. A written close analysis and critical interpretation of
a literary text in term of form and theme , with a
description of its context derived from research
Topic Title: Resources:
Philippines Literary History Book of the 21st – Century Literature of the Philippines
and the World – Jesus Z. Menoy, Ph.D.
Lesson Proper:
Periods of Philippine Literature
In most studies of Philippine Literature, its history is divided in periods such as those of
Philippine history. Therefore, the divisions of the Philippine Literature History are as follows:
Prehistoric Period, Spanish Period, American Period, Japanese Period, Philippine Republic, Martial
Law Period, Post-Martial Law Period, and the Contemporary Period.
During the prehistoric period, literature was principally oral inasmuch as writing was not yet
invented. Most of the works were concise poetic forms such as riddles (bugtong), proverbs
(salawikain), sayings or maxims (kasabihan), and folk songs (kantahing bayan) in the form of
oyayi (lullaby), soliranin (boat song), kumintang (war song), diona (wedding song), dalit
(religious song), kundiman (love song), dapayanin (drinking song), hibais (travel song), bung-
aw (funeral song), bansal (courting song), other songs involving other activities. It was easier for
the ancient Filipinos to master these short pieces and consequently hand these to the succeeding
generations. With the passage of time, oral literature became lengthy, and one of these long forms
was the epic. Almost every ethnolinguistic group boasts of its own epic. Famous among them are
the "Biag ni Lam-ang" of the Ilocanos, "Alim and Hudhud" of the Ifugaos, “Kumintang" of the
Tagalogs, "Ibalon" of the Bicolanos, "Maragtas" and "Hinilawod" of the Visayans, "Hari sa Bukid" of
the Hiligaynons, "Dagoy" and "Sudsud” of the Tagbanuas, "Bantugan" of the Muslims, "Indarapatra
and Sulayman" of the Maguindanaos, "Tatuaang” of the Bagobos, "Ulagingen and Saleb" of the
Manobos. Prose works also flourished even before the colonizers came. These prosaic pieces
included legends (alamat), myths (mito), folk tales (kuwentong-bayan), fables (pabula), parables
(parabola), and other narratives. Even if they were long, the Filipino ancestors were able to hand
these down for posterity through sharing of stories during their free time. The youngsters who
were consistent and attentive listeners successfully recalled these such that when "writing" came
into being, they were able to translate the oral works into written forms. Some of these groups
made use of the syllabary called alibata. It was through these writings that prehistoric Philippine
literature was preserved.
However, when the first group of colonizers came with the discovery of the Philippines by
Ferdinand Magellan (who was later repulsed and killed by Lapu-Lapu and his men) and the first
settlement of the Spaniards in Cebu was made by the group of the Adelantado Miguel Lopez de
Legazpi, many of the writings were lost because the Spaniards burned them so as not to leave
traces of Philippine literary ingenuity. The Spanish colonizers, particularly the Spanish friars,
whose mission was to spread Christianity exerted all efforts in converting the natives (whom they
considered "indios" or illiterate) into Christians and to destroy all things indigenous as part of
their agenda. They started their conversion efforts by printing religious materials, the first being
the Catholic book of prayers and doctrines titled Doctrina Cristiana. Other books printed were
mostly religious and linguistic. Famous of these religious books were the books of “pasyon"
written by authors Gaspar Aquino de Belen and Mariano Pilapil and depicting the sufferings and
death of Jesus Christ, celebrated during the Holy Week of the Lenten Season by way of the
pabasa (cantada or sung and hablada or recited). In this period, the poet Francisco Baltazar
made a name for himself by writing the immortal allegorical work, Florante at Laura, an awit
composed of dodecasyllabic monoriming quatrains as opposed to a korido which is composed of
octosyllabic monoriming quatrains. Popularly called Balagtas, he was immortalized by the poetic
joust named after him, the Balagtasan, similar to the Crisotan of the Pampangos (named after
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Crisostomo Sotto, Father of Pampango Literature) and the Bukanegan of the Ilocanos (named
after Pedro Bukaneg, Father of Ilocano Literature). Another important name during this period
was Fr. Modesto de Castro, who authored the book of etiquette consisting of letters exchanged
between two sisters, Urbana and Felisa.
The latter part of the Spanish colonization was the more productive part of the period. This part
saw the rise of the propagandists led by Dr. Jose P. Rizal and of the revolutionists headed by the
Katipunan Supremo, Gat Andres Bonifacio. The propagandists who batted for reforms and for
assimilation (that the Philippines be a province of Spain) wrote in Spanish and published their
articles in the newspaper called La Solidaridad. They used pseudonyms to hide their identity
because the Spaniards ran after them inasmuch as their writings were considered seditious and
satirical,among which were Rizal's Noli Me Tangere and El Filibusterismo, Marcelo del Pilar's
Dasalan at Tocsohan, and Graciano Lopez Jaena's Fray Botod. Rizal used Dimas Alang and
Laong Laan; Del Pilar used Plaridel; Jaena used Diego Laura; Jose Ma. Panganiban used Jomapa;
and so on. The revolutionists (Bonifacio, Emilio Jacinto, Apolinario Mabini, Mariano Ponce, etc.)
who fought for independence and separation from Spain wrote in Tagalog. They wanted an armed
conflict and, with the help of the Katipuneros, staged a revolt against the Spaniards after the
secret society named Kataas-taasang Kagalang galangang Katipunan ng mga Anak ng Bayan
(KKK), of which they belonged, was discovered. Their concise writings had patriotic themes, The
Americans entered the history of Philippine literature after they defeated the Spaniards in the
Spanish-American War, which resulted in the Treaty of Paris, in which Spain ceded the
Philippines to the US. The Americans, the next colonizers, introduced the public school system
and the English language. It established the Philippine Normal School in 1901 and the University
of the Philippines in 1908, both of which were run by the American government. With the coming
of the Thomasites, the first English teachers, the Filipinos learned the language and used it in
their writings. Thus, during the earliest part of the Americans' stay in the Philippines, the writers
made use of Tagalog, Spanish, and English, Consequently, Philippine literature in English was
born. Below is the list of periods of Philippine literature in English:
1. Period of Orientation 1900-1910

2. Period of Apprenticeship 1910-1920
3. Period of Experimentation 1920-1940
4. Period of Discontent 1941-1944
5. Post-War Period 1945-1950
6. Modern Period 1951-1971
7. Martial Law Era 1972-1986
8. Post-Martial Law Era or Contemporary 1986- the present
Period
Comparatively, the list shows some similarities and some differences with the list of periods of
Philippine literature in general:
1. Period of Re-orientation 1898-1910

2. Period of Imitation 1910-1925
3. Period of Self Discovery 1925-1941
4. Postwar Re-orientation 1945
5. The Rebirth of Freedom 1946-1970
6. Period of Activism 1970-1972
7. Period of the New Society 1972-1981
8. Period of the Third Republic 1981-1985
9. Contemporary Period 1986-the present
Activity 1:
Vocabulary Enrichment. Define in less than five words the following literary terms.
Fable - ____________ Kumintang - ____________

Parable - __________ Kundiman - ____________
Myth - ____________ Soliranin – ______________
Legend - ___________ Oyayi - ________________
Maxim - ___________ Haiku - ________________
Activity 2:
Writing Activities. Classify the following literary forms according to periods in Philippine literary
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history.
1. Awit 6. Fable
2. Korido 7. Myth
3. Tanaga 8. Pasyon
4. Haiku 9. Protest song
5. Ambahan 10. Textula
Week: 3-4
MELCs:
2. Representative texts and authors from each region (e.g. engage in oral history research
with focus on key personalities from the students’ region/province/town)

Author’s Philippines Literary History Book of the 21st – Century Literature of the Philippines
and the World – Jesus Z. Menoy, Ph.D.
Lesson Proper:
Authors of Philippine Literature
Notwithstanding the differences, the writers increased in number during the middle part of the
American Occupation of the Philippines, This increase can be attributed to the following factors:
the freedom of expression and freedom of the press, which were absent during the Spanish
Occupation and the initial part of American Occupation; the establishment of the writers' guilds
or organizations, one of which was the PEN (Poets, Essayists, and Novelists), the giving of
incentives in the form of awards to outstanding writers in the different genres; and the non-
material rewards brought about by the published materials, for example, the honor and praises
they received for their well-written works, which critics and other interested parties would
consider as masterpieces. The Period of American Occupation was the most productive period in
Philippine literature in English not only due to the number of writers engaged in the creative
endeavors, but also due to the number of publishing companies involved in this field of human
interest and of the quality products (literary works in the various genres considered to be "world-
class”). Interestingly, two clashing schools of thought emerged: the art for art's sake dictum,
which treats literary pieces as art objects subject to aesthetic appreciation, and the art for
society's sake dictum, which treats literary pieces as instruments to effect social change and
thereby having social functions. Jose Garcia Villa was the leading proponent of the former, while
Salvador Lopez was the leading proponent of the latter. The controversy between the two schools
of thought had continued over the years until the World War II broke out.
The writing activities of the Filipino artists came to a halt with the coming of the Japanese. The
invaders saw to it that Filipinos' movements be limited. They attacked not only the soldiers but
also the civilians. For this reason, the writers stopped wielding pens and started wielding guns.
The Japanese introduced Nippongo or Nihongo (Japanese language), as well as their arts and
literary forms. Thus, the Filipinos got acquainted with ikebana (the art of arranging flowers),
origami (the art of folding papers), tempura and sushi (their cuisine), and haiku, tanka, and
senryu (their poetic forms). A haiku is a short descriptive poem about nature consisting of 17
syllables distributed as follows: 5 syllables in the first line, 7 syllables in the second line, and 5
syllables in the third line. A 3-line senryu is similar to a haiku in structure (5-7-5), but differs
from the latter in rhyme (unrhymed), subject (human nature) and tone (usually satirical or
ironical). The longer tanka has 5 lines and 31 syllables (5-7-5-7-7).
The end of war spelled hope to the dormant writers who woke up from their long lethargy and
began creating writing outputs. The publishing companies, together with the writers' unions, gave
the men-of-letters the impetus to write again. New award-giving bodies came out, and one of
these was the Don Carlos Palanca Memorial Awards for Literature, known to be the most
prestigious and the longest-running award-giving body in the field of literature, equivalent to the
world-renowned Pulitzer Prize. These, together with the intrinsic motivation of the writers
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themselves, were responsible in producing a bountiful harvest of meaningful and memorable
works comparable to the works of foreign nationals. By this time the Philippine writers were
producing works in English, the vernacular, and Filipino (one of the official languages of the
country and the Tagalog-based national language as promulgated by Pres. Manuel L. Quezon
during the Commonwealth Period, opposed to the Tagalog, the language spoken by the majority of
dwellers in southern Luzon). The names of Lazaro Francisco, Amado V. Hernandez, Jose Garcia
Villa, Alejandro G. Abadilla, Genoveva Edroza-Matute, Claro M. Recto, Paul A. Dumol, Tony Perez,
Emmanuel Torres, Nick Joaquin (aka Quijano de Manila), N. V.M. Gonzalez, Wilfrido D. Nolledo,
Wilfrido P. Virtusio, Ricaredo Demetillo, Virgilio Almario (aka Rio Alma), Efren Abueg, Rogelio R.
Sikat, Edgardo M. Reyes, Bienvenido A. Ramos, Bienvenido N. Santos, Kerima Polotan Tuvera,
and Lamberto E. Antonio became bywords in the Philippine literary scene because of their
outstanding contributions. Under the administration of the presidents prior to Pres. Ferdinand E.
Marcos (Manuel A. Roxas, Elpidio Quirino, Ramon Magsaysay, Carlos P. Garcia, and Diosdado
Macapagal), the writers enjoyed greater liberty in terms of content, style, and genre. However,
after the declaration of Martial Law by Marcos on September 21, 1972, the writer’s freedoms
(freedom of the press and freedom of expression) were curtailed in much the same way as the
other freedoms (freedom of speech, freedom of assembly, and so forth) were suppressed. During
the Martial Law years, only the government publications continued to see print; the rest were
discontinued.
Anti-government and anti-Marcos writings proliferated in the form of underground publications

led by Malaya. The lives of oppositionist writers were controlled by the state. Some of them whose
works were found subversive or seditious were silenced by means of summary execution; others
were illegally detained and tortured. Even after the lifting of Martial Law on January 1, 1981, the
censorship of publications continued.
Publishing companies that were closed did not reopen. The literary works were much the same as
those composed during the first year of the Period of the New Society (after which was named the
Marcoses political party, Kilusang Bagong Lipunan or KBL). Pro-government propaganda
materials in the form of songs and short write-ups were circulated. However, these items did not
prevent anti-Marcos writers to voice out their sentiments in the form of poems, short stories,
essays, and plays. Francisco Sionil Jose, Ricardo Lee, Rolando Tinio, and many more produced
satires against the government
The assassination of the leading Marcos oppositionist Sen. Benigno Aquino on August 21, 1983,
alleged to be the machination of Pres. Marcos, then First Lady Imelda Romualdez-Marcos, and
Gen. Fabian Ver, revived the nationalistic spirit in the Filipino writers who, risking their lives,
joined protest rallies, openly demonstrated their disgust over the government's handling of
national affairs, and veritably and fearlessly displayed their collective desire to win back not only
their lost freedom of the press but also all their other liberties. This desire was most intense as
the protest reached its climax during the EDSA revolution, the much-celebrated bloodless
struggle between the Reform the Army Movement (RAM) soldiers led by then Col. Gregorio
Honasar (aka Gringo) and the Marcos-loyalist soldiers as a result of the February 1986 snap
presidential polls. The uproar was an inevitable effect of the declaration of the re-electionist
Ferdinand Marcos as president by the Commission on Election (COMELEC) simultaneous with
the declaration of Corazon Aquino as the first woman president by the National Movement for
Free Election (NAMFREL). The Filipinos could not accept that there were two presidents at one
time in Philippine history. Consequently, then Armed Forces of the Philippines (AFP) Chief of Staff
Fidel V. Ramos and Secretary of the Department of National Defense (DND) Juan Ponce Enrile,
together with the Marcos-loyalist soldiers, sided with Honasan's group that Pres. Marcos decided
to leave the Philippines with members of his family and several supporters. The ouster of the
Marcoses spelled good news to the writers who without prohibitions wrote exposes about the first
family's ill-gotten wealth, Imelda's jewelry and shoe collections, Swiss accounts, and innumerable
cases of human rights violations. The festive mood resulting from the downfall of the most
powerful man who reigned in greed was experienced by the general public, and the greatest
elation was felt by the political prisoners, among them journalists, who were freed after years of
seclusion from the society.
The EDSA Revolution of 1986 (which was followed by two other EDSA Revolutions) was
responsible for the restoration of the lost freedoms, among which was the freedom to express
one's ideas and emotions in writing. It was this unlimited freedom that prompted feminist writers
and their supporters (members of GABRIELA) to speak out their views about male chauvinism,
equality of rights between men and women, women's liberation, violation of women's rights, and
the like. Similarly, lesbian, gay, bisexual, and trans-gender (LGBT) writers enjoyed as much
freedom and made their voices heard through their revealing writings about discrimination,
same-sex marriages, homosexual and bisexual relationships, and violation of their rights. the
administration of the presidents after Marcos' dictatorial rule (Corazon Cojuangco-Aquino, Fidel
Valdez Ramos, Joseph Ejercito Estrada, Gloria Macapagal-Arroyo, and "Noynoy" Aquino), the
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Filipino writers enjoyed the benefits of press freedom. Inasmuch as they were free to write about
any subject, they became prolific writers producing a number of unforgettable works. The
impetus coming from the awards they received for their achievements and the rewards (monetary
and otherwise) they got out of their writings kept them producing.
To inspire the Filipino artists in the different genres of art to excel in their respective fields, the
National Artist Awards were given to deserving individuals. In the field of literature, the recipients
of the National Artist Awards are as follows:
 Jose Garcia Villa (1973),

 Amado V. Hernandez(1973),
 Nick Joaquin (1976),
 Carlos P. Romulo (1982),
 Francisco Arcellana (1990),
 N. V. M. Gonzalez (1990),
 Rolando Tinio (1992),
 Edith Tiempo (1999),
 Francisco Sionil Jose (2001),
 Alejandro Roces (2003),
 Virgilio S. Almario (2003),
 Bienvenido Lumbera (2006),
 and Lazaro Francisco (2009).
Nowadays, with the increase in the number of school publications containing literary pieces, the
rise of literary groups or associations, the patronage of locally-produced works written in the
vernacular, the use of English and Filipino, as well as the vernacular, in writing various forms of
literature, and the encouragement provided by the recognition from award-giving bodies of
outstanding works of literature and the monetary reward from the sale of commercially-produced
works, more and more writers have come up with traditional forms (poems, essays, plays, short
stories, and novels) and have created novel ones such as prose poetry.
Moreover, the influx of technological advances in the form of computers, cellular telephones
(cellphones), and other gadgets has given birth to new literary forms, which include and are not
limited to, blogs, text tula, and various forms of flash fiction. Under any circumstances, during
peacetime or wartime, nobody can prevent an individual who has the passion to write. Write he
will, given a subject of his liking. And a good future for an outstanding writer is in the offing
Activity 1:
Writing Activities:
Complete the table by filling in the blanks with the required item. The First one is done for you
Writer Literary Period Outstanding Work Genre
Ex. Jose Rizal Spanish Period “Mi Ultimo Adios” Poem
1. Francisco Baltazar
2. Andres Bonifacio
3. Apolinario Mabini
4. Nick Joaquin
5. Jose Garcia Villa
6. Danton Remoto
7. Salvador Lopez
8. Alejandro Abadadilla
9. Carlos Romulo
10.Nvm Gonzales
Activity 2:
- Give 10 Authors in the Philippines and what they did and where they live.
Name of author Work/s Place
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
5
Week: 5-6
MELCs:
Compare and contrast the various 21st century literary genres and the ones from the earlier
genres/periods citing their elements, structures and traditions
a literary text in term of form and theme, with a
21st Literatures Literary Genres Retrieved from:
https://www.slideshare.net/darinjohn2/21st-
century-literary-genres-by-calle-friesen
https://www.studocu.com/ph/document/university-
of-luzon/education/lecture-notes/learning-activity-
sheet-in-21st-lit-week/8752773/view
Lesson Proper:
GENRES OF LITERATURE
According to Form
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According to Form
1. Prose – is a form of language that exhibits a natural flow of speech and grammatical
structure, rather than a rhythmic structure as in traditional poetry.
2. Prose comes from the Latin “prosa” which means “straightforward”.
 Narrative Prose
 Nonfiction Prose – Speech
Poetry – (the term derives from a variant of the Greek term, poesies, “making”) is a
form of literature that uses aesthetic and rhythmic qualities of language – such as phonesthetics,
sound symbolism, and metre – to evoke meanings in addition to, or in place of, the prosaic
ostensible meaning.
3. Drama – is a composition in verse or prose presenting a story in pantomime or dialogue,
containing conflict of characters, particularly the ones who perform in front of audience
on the stage. The person who writes drama for stage directions is known as a dramatist or
playwright.
According to content
1. Fiction – literature in the form of prose, especially short stories and novels, that describes
imaginary events and people.
2. Non-fiction – the branch of literature comprising works of narrative prose dealing with or
offering opinions or conjectures upon facts and reality, including biography, history
and the essay (opposed to fiction and distinguished from poetry and drama).
C. According to Presentation
 Print
 Oral
 Digital
were surely the wonderments which captivated his mind and attention when outdoors
at night. They must have been truly marvelous sights to look at in those times. Things have
changed since then, and yet if we just take time when we are away from the city or maybe even
when we are in our back yard, if we just look above us in total darkness, we will still be able to
admire the depth of the starry skies which we look at.
How much more marvelous must it have been for ancient and primitive man! It is the sensations
that were captivated by the formative human mind that were stored genetically in the remotest
depth of the unconscious, that were evolutionarily reserved in the unconscious and instinctive
part of the brain and mind. These sensations of admiration and awe for the stars and the
wondrous things in nature were the ones responsible for the communion and romance between
the very individual and nature; between a man and the world; between a person and the
universe; yes, even between a person and God himself. It was the admiration itself which was
also responsible for creating the feeling and knowledge of someone or something much, much
greater than ourselves. And it was all these things combined, perhaps, which led some person to
express these admirations and marvels through a special and very personal manner, the one
which we now translate as poetry. He created a kind of expression which turned out to be
externally a product or a form called "poetry. “This kind of expression was different from all the
other kinds of expression which he had already accumulated. Even if it were in the form of
pictographs or something of the like, this kind of expression was different from the rest. And
thus, poetry was born. Thus, poetry came to be part of man's evolutionary heritage.
THE ELEMENTS of POETRY
Poetry, as man's inherited possession, is the expression of strong feeling and thought which leads
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to a communion between the individual and his surroundings, but most usually between a
person and nature, the world, or the universe. Poetry is the means of universalizing and
perpetuating a thought, an idea, a feeling, sensation, or internal experience.
FORM
Whenever we look at a poem, the first thing we will probably notice is its form. In other words,
poems have a given form. One poem will look very different from another, and still another poem
will look very distinct from the second one, and so on. Each poet uses the "form" which will most
effectively express what he wants to convey to other human beings.
LINES
After looking at a poem and seeing that it has some sort of form, we often notice that it also
consists of lines. These are the vehicle of the authors thoughts and ideas. These are the building
blocks with which to create a poem. The words of each line proceed as usual from left to right,
but they curiously end where the poet wants them to stop. Therefore, you may have some lines
that are of equal length and others which are not. Besides the length and margining of the first
word in each line, the punctuation at the end of each is also a major tool for the poet. At times he
will want us to make a full stop, other times a gentle or slight pause, and even others perhaps a
sudden break, and so on. Ultimately, then, poetry creates sensations, moods, and images in the
reader's mind.
STANZAS
The lines in a poem are most often divided into sections looking as some sort of paragraphing.
These we call stanzas. A stanza, therefore, is the grouping of the lines, sort of like a paragraph.
RHYME
Rhyme is the sonic imitation usually of end syllables of words. There are basically two kinds of
rhyme used in poetry. The first is the most typical and best known by young people, end rhyme,
in which the words at the end of a given line rhyme. The second kind of rhyme is called internal
rhyme. This kind of rhyming is different from end rhyme in that the rhyming takes place
somewhere within the line and not at the end. But most of us find it more natural to use rhyming
at the end and not in the middle of our poem's lines. Still, the most widely read and enjoyed
poetry artfully combines these and other patterns and techniques for the creation of the poems.
el along the lines of the poem with a certain enjoyable tempo created by the components of
rhythm. Never in my lonely life, could you make it -- be my wife. Or, if only then she had seen,
that crime and anger were to have been. The length of the lines is different, but it is the
combination that creates a certain rhythm. Now, if the poet just repeats the same pattern with
every set of lines in a stanza, and from stanza to stanza, then he will be effectively creating a
rhythm. It is the regularity of the repetition that tends to create the rhythmical pattern. A beat is
created when we analyze the stressed and unstressed syllables within the lines of a poem.
EUPHONY
Euphony is simply the combination of agreeable and melodious sounds which make a poem
pleasant to listen to. It is the nice- sounding tone of a poem when read. This is the reason why a
poem is never as effective as when read aloud -- simply because poetry in general deals a lot
with the euphonic sounds contained within it.
EUPHONY is perhaps one ultimate aim of poetry. The esthete -- the beautiful. It is poetry which
allows mankind to express such beauty from within. Poetry itself is beauty created.
POETIC DEVICES
Poetry, like every other art, has its techniques and devices. Becoming a poet liked by others is not
always an easy thing to do, and it so happens that the cause of this is the way the author of a
poem uses the available devices to his advantage or purposes. Below are some of the major
devices used in many of the poems we encounter as students of poetry.
1. ALLITERATION – The purposeful repetition of a consonant sound in two or more consecutive
words, usually at the beginning of such words.
2. REPETITION
a) of words/ ideas/ or, images;
b) anaphora – The repetition of a word or phrase at the beginning of successive lines or stanzas.
c) anadiplosis – The repetition of a word or phrase at the end of one line and at the beginning of
the next; or, at the end of the last line in a stanza or verse, and at the beginning of the next
stanza.
3. ONOMATOPOEIA – The use of words which imitate the sounds they stand for.
4. INVERSION
a) ANASTROPHE:
b) HYSTERON-PROTERON (the last first):
5. FIGURES OF SPEECH
A) Simile
B) Metaphor
C) Personification
D) Hyperbole
E) Understatement
6. IMAGERY
The use of language, sensory language, language which stimulates the reader's imagination. The
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use of the sensory language which serves to transmit or invoke the same or similar images in the
reader's mind.
7.VARIETY
The use of variety in length of lines, rhythm, rhyme, distribution of lines and words, and anything
else which adds to the effectiveness of the poem. Variety may be used to create humor,
depression, or many other moods or sensations. The effective poet learns to use variety whenever
and wherever it serves his purposes of expression and externalization of internal experiences.
TYPES of POETRY
I. NARRATIVE
There are many kinds or types of poems. Some describe what poets see; somewhat they
remember; and others what they perceive through other senses. But other poems are intended to
tell a story. These are called narrative poems. Just like the regular stories which you read in your
literature courses a narrative poem also has the same basic elements. It has a setting, one or
more characters in it, usually a conflict, a plot which builds up to a climax, and even a
conclusion, oftentimes. The story which the narrative poem tells can also be about almost
anything.
II. LYRIC/DESCRIPTIVE Lyric poetry, also called descriptive poetry, is a very personal kind of
poetry. It is usually brief, melodic, and very expressive. It is descriptive in essence, and conveys
impressions, feelings, emotions, sensations, and very personal and intimate views concerning an
experience. Lyric or Descriptive poetry may touch such themes as: nature, beauty, love and
friendship, the joy of life, death, patriotism, and the like.
III. HUMOROUS
It is probable that you, as student of literature, have never really stopped to think how versatile
poetry is. But it is because poetry is so flexible, so plastic, that there are so many varieties of
poetry in the world or nation. The plasticity of poetry makes it possible therefore for authors to
bend and shape this kind of written expression to suit their needs or purposes FORMS of
POETRYAs seen from the introduction of this document, poems possess form. And we also now
understand that poems have different forms. Four of these forms will be studied in the course,
and they are briefly presented and described in the following and last section.
I. LIMERICKA
limerick is a special type of poem intended to be humorous. It consists of five lines only. It is
usually a nonsense verse which often concerns something ridiculous. But even so, it follows a
regular and distinctive pattern.
II. HAIKU
This is a traditional form of poetry which originated in Japan. In form, it is
apparently a very simplistic sort of poetry, but the truth is that it is an art trying to create Haiku
poetry with the beauty and effectiveness it requires. Haiku poetry consists of only three lines in
all. Incredible! But, the "trick" here is trying to create as much beauty in such few words as
possible. The first line of the Haiku poem must have five syllables; the second line must have
seven syllables; and finally, the third must consist of another five, just like the first.(5/7/5).
Thus, the Haiku poet is obliged to describe as vividly as possible, in only seventeen
syllables, a picture or image or scene which beautifully forms sharply in the reader's mind. To do
this well is a true challenge! you will need to read and learn about the Masters, especially the
original creator of the genuine haiku, Basho, along with a couple of others who aided furthering
Basho's Art into a Traditional form of Japanese and worldly poetry. These you will find in another
Section of this Site. You may wish to continue this document on the theory of poetry – or you may
wish now to go on to more learning and information on this poetic-art form called Haiku.
HAIKU SAMPLE: |No mo yama mo | Mountains and plains,| Japanes Haiku: |yuki ni torareta
| all are taken by the snow, | by Naito Joso | nani mo nashi | nothing remains. |
(1661-1704)
III. BALLAD
One of the oldest types of poetry is a special kind of Narrative poem known as the ballad. The
Ballad tells a story and happens to be quite lengthy. As a rule, a Ballad is concerned with a sharp
conflict and with deep human emotion. Once in a great while, though, a ballad here and there will
deal with the funnier side of life. But, as a rule ballad dealt with love, honor, courage, and
death. Characteristics of a Ballad include the following.
1) They usually involve the common people (although there are some about nobles, too).
2) They usually deal with physical courage and tragic love.
3) They contain little characterization or description.
4) The action in ballads usually moves forward through dialogue.
5) Much of the story is IMPLIED or suggested, forcing the listener to fill in the details.
6) They tell the story in ballad stanzas. The ballad stanza contains four lines. the fourth line
rhymes with the second. The first and third lines usually have four accented syllables
while the second and fourth have three each.
IV. FREE VERSE
The poet uses free form to make the poem fit the contents and to express the mood or feeling of
his intentions or purposes. The length of the lines is irregular, the indentation of the lines may
also vary from one to the next, it does use rhythm, but it seldom uses end rhyme nor regular
8
stanzas. Capitalization of the first letter in each line and proper nouns is unorthodox or
conveniently changed. Punctuation is equally affected, and the distribution of the lines and
words is entirely in the hands of the writer. Most poetry we read today, therefore, is Free Verse.
Significance of Prose in Literature Much of the world’s literature is written in a prose style.
However, this was notal ways the case. Ancient Greek dramas, religious texts, and old epic poetry
were all usually written in verse. Verse is much more highly stylized than prose. In literature,
prose became popular as a way to express more realistic dialogues and present
narration in a more straightforward style. With very few exceptions, all novels and short stories
are written in prose.
Who is the 21st Century Reader?

The 21st Century Reader
• grew up using technology as a primary learning tool
• is capable of navigating and interpreting digital formats and media messages
• possesses literacy skills which include technological abilities such as keyboarding, internet
navigation, interpretation of technological speak, ability to communicate and interpret coded
language and decipher graphics
What is 21st Century Literature?
21st Century Literature
• New literary work created within the last decade
• Written by contemporary authors
• Deals with current themes/issues and reflects a technological culture
• Often breaks traditional writing rules• Emerging genres like IM and blog format books, digital-
fiction, doodle
Illustrated Novels Story through text and illustrated images
Illustrated Novel
• Generally, 50% of the narrative is presented without words. The reader must interpret the
images in order to comprehend the complete story.
• Textual portions are presented in traditional form.
• Some illustrated novels may contain no text at all.
• illustrated novels span all genres
Illustrated novels
Digi- Fiction Triple Media Literature
Digi- Fiction is a literary experience that combines three media: book, movie/video, and Internet
website
• In order to get the full story, students must engage in navigation, reading, viewing, in all three
formats.
• Popular series include:
• 39 Clues: Grades 3-8
• Skeleton Creek: Grades 5-12
• Level 26: Grades 8-12
Graphic Novels Narratives in Comic Book Formats
Graphic Novels
• A graphic novel is a narrative work in which the story is conveyed to the reader using comic
form.
• The term is employed in a broad manner, encompassing non-fiction works and thematically
linked short stories as well as fictional stories across a number of genres.
Graphic Novels: Middle School
Graphic Genres – Philosophy
Classic Graphics
American Lit Graphics
Non-Fiction Graphics
Manga
• Manga is the Japanese word for comics.
• It is used in the English-speaking world as a generic term for all comic books and graphic
novels originally published in Japan.
• Manga is considered an artistic and storytelling style
• The term "Ameri-Manga" is sometimes used to refer to comics created by American artists in a
9
manga style.
Manga Tips
• Classroom teachers should be aware of different kinds of Manga identified by the intended
reader:
• Shônen – Boy’s Manga (Pronounced Show-Nen)
• Shôjo – Girl’s Manga (Pronounced Show-Joe)
• Seinen – Men’s Manga (Pronounced Say-Nen)
• Josei – Women’s Manga (Pronounced Joe-Say)
• Kodomo – Children’s Manga (Kow-Dow-Mow)
Reading Manga
• Manga usually follows the traditional style as found in Japan. Japanese Manga is to be read
from the right side to the left, opposite of traditional American books.
• Not only do you read the pages from right to left, but you also read the panels and text from
right to left.
• In America, this traditional Japanese style distinguishes Magna from other Graphic and
illustrated texts.
Manga Panels
Manga
Shakespeare Manga
Shakespeare Manga
American Lit. Manga
Doodle Fiction
Doodle-Fiction
 A literary presentation where the author incorporates doodle drawings and hand written
graphics in place of traditional font.
 Drawings enhance the story, often adding humorous elements that would be missing if the
illustrations were omitted
Doodle-Fiction
Text-Talk Novels Blog, e-mail, & IM format narratives Stories told almost completely in dialogue
simulating social network exchanges
Blogs, Letters, & E-mails Letters & Text Messages
Emails and Instant Messages Blogging
Instant Messages (Spiritual) Chat
Email, blogs, and Tweets Instant Messaging
21st Century Texts in Your Classroom
• Build a 21st Century classroom library
• Consider struggling readers
• Enhance classic collections
• Utilize district media tools
• Think out of the box
Activity 1:
DIRECTIONS: Answer the

following questions. Write your
10
answer on the space

provided.
1. How did you find the earlier
literature traditions?
Answer the following questions.
1. How did you find the earlier literature traditions?
2. What is the importance in studying earlier literature traditions
Activity 2:
- Create a letter to someone – (3-5sentences)
Activity 3:
SET A. Design a diagram that compare the 21st century literary genres from earlier genres. Use the
box provided.
Week: 7-8
MELCs:
Discuss how different contexts enhance the text’s meaning and enrich the reader’s
understanding

The Importance of Texts and Context Retrieve from:
in Literature https://www.vcestudyguides.com/blog/the-
importance-of-context-in-literature
21st- Century Literature from the Philippines and the
World
Lesson Proper:
The Importance of Context in Literature
What Is Context?
The definition of context is the setting within which a work of writing is situated. Context
provides meaning and clarity to the intended message. Context clues in a literary work create a
relationship between the writer and reader, giving a deeper understanding of the intent and
direction of the writing. Literary context is background information or circumstances you
11
provide to inform why something is taking place; context can also be the backstory of a
character, provided to inform their behavior and personality.
Types of Context in Writing
There are multiple types of context in writing that can deepen a reader’s understanding of the
material. Here are a few examples:
1. Historical context: Providing the time period and its current events can inform the
general mood of the era, setting the stage for the tone of your piece of writing and
creating an understanding of the society at the time. Historical context can inform the
atmosphere for your audience, giving them context for how people felt and behaved
during that period in history, the clothing styles of the time, or even the specific word
choice (like slang) that was used in that era.
2. Physical context: The attributes of a place can also inform how a plot unfolds or how
characters develop. The physical environment you establish for your writing will
influence how certain characters act and how the audience understands them. A couple
breaking up at a football game will be a much different scene than them breaking up
during a movie. A story about characters escaping a natural disaster in New York City
will have a different setup than if they were escaping one in Wisconsin. Your
environment can dictate how a plot unfolds, but it’s important to provide readers with
enough detail for them to understand why.
3. Cultural context: Beliefs, religion, marriage, food, and clothing, are all elements of
cultural context that sometimes need to be provided in order to fully understand an
author’s story. For example, Amy Tan’s The Joy Luck Club includes social context with
the writer’s experience, providing background information to those who are unfamiliar
with the traditions of Chinese-American culture, which is integral in the reader's
understanding of this family’s traditions and beliefs. Without expressing the fears or
expectations embedded in the culture you’re writing about, a divide is created with those
unfamiliar, forming a gap between the reader and writer and potentially losing your
audience.
4. Situational context: Situational context is why something is happening based on the
event itself. For instance, someone on a first date might be more nervous than they
would be when out with a friend—or a family may act more aggressively towards one
another when they’re playing a board game than when they’re having a legitimate
disagreement. With situational context, the audience is able to understand how the
circumstances of the event occurring affect those involved.
Why Is Context Important in Writing?
The role of context is to bridge the gap between authors and their audiences, strengthening
readers’ comprehension and preventing miscommunication of the writer’s intent. It’s not
enough to know that a particular event is occurring—readers also need context to know why.
For example, the themes of William Golding's Lord of the Flies—in which a group of boys is
stranded on a deserted island, becoming increasingly violent as they grow fearful of a dangerous
creature—makes more sense within the context of the author's experiences in World War II.
3 Tips for Providing Context in Your Writing
All writing needs context in order to cement a reader’s understanding of the text and strengthen
communication. Here are a few tips when including your own context:
1. Get creative. When you include context, you want readers to understand where you (or
your characters) are coming from. This information doesn’t have to be a straight
summary—context can take the form of anecdotes, memories, life experiences, or
relationships. Find creative ways to weave context into your writing in order to increase
comprehension of your text.
2. Remember your audience. Context is important when considering who your story is for.
If your target audience is first-grade students, your contextual references should be ones
that make sense and are relatable to that age group. Think about who your story is
aimed towards, and consider how your language can increase the relevance of your
writing and strengthen your audience’s understanding.
3. Be mindful of overloading. Exposition in the beginning part of the story is how many
writers provide context, but too much can slow down the pacing, muddy the overall
message, or distract from the intended meaning. Heavy exposition (both in fiction and
non-fiction) can lose your readers in extraneous details, many of which will not be
remembered when it comes time to the main story. Include only what is necessary to
understand the setting, premise, and characters, and trust your audience to put together
the rest.
Read:
12
The short story One day on the road
by: Temistokles M. Adlawan
The title "One Day on the Road already signals the direction this story takes-it followed an
unfolding, a dramatic present, so to speak through the perspective of Miguel, the veteran tricycle
driver. Miguel gives his impressions of the place, of people around him, of Sherwin, and of that
comic race that may have ended tragically. Miguel's point of view, or the perspective from which
we are being told the story, is what we refer to as limited, since it only sees things based on its
own perceptions. As a first-person point of view, Miguel limits our sensing of the story to the
possibilities of what he can see and narrate.
Below are the points of view and the extent of their perspectives.
First person - the "l' narrator, necessarily limited and subjective, especially if the speaker is part
of or is recollecting the events of the story; unreliable when he or she is clearly only sensing
experience
through his or her perspective
Second person - a perspective not often used, where the viewpoint character (and in effect, the
leader) is referred to as "you"; may also be the narrator, addressing himself or herself
Third person - a comparatively objective point of view; if omniscient, is all-knowing and able to
get into the minds of all the characters; may also come in the form of an objective or reportorial
narrator (as in news articles), fly-on-the-wall.
Also, this story follows a conventional plot pattern that recalls the classical narrative structure
formulated by Aristotle, and consequently, Horace. Plot is basically the movement of a narrative,
known
nowadays as the narrative arc devised by Gustav Freytag. "One Day on the Road" certainly follows
this order of narration illustrated on the next page
climax
Rising Action
conflict
Falling Action/Denouement
Exposition/Introduction
Resolution/Conclusion
Activity 1:
Answer the following question:
1. What is the difference between text and context, especially in literature?
2. Why is the context important in writing?
Activity 2:
Put in the Box
Give the Characters, Exposition/Introduction, conflict, climax, Falling
Action/Denouement, Resolution/Conclusion in the story in One day on the road
by: Temistokles M. Adlawan
Characters:
Rising Action
Student’s Reflection:
Parent’s Feedback:
13
Teacher’s Reminders:
Keep it up and Do your best
Keep safe and Godless Always
Prepared by:
Romela A. Culala
Riza Penaverde
14

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SUBIC BAY COLLEGES (SBCI), INC.

#2&3 – 18th Street, West Bajac-Bajac, Olongapo City

Grade Level 11 SY / Semester 2020-21 / 2nd

1. Period of Orientation 1900-1910

1. Period of Re-orientation 1898-1910

Fable - Kumintang -

Content Standard: Performance Standard:

Authors of Philippine Literature

Anti-government and anti-Marcos writings proliferated in the form of underground publications

 Jose Garcia Villa (1973),

Who is the 21st Century Reader?

DIRECTIONS: Answer the

answer on the space

- Create a letter to someone – (3-5sentences)

Content Standard: Performance Standard:

Types of Context in Writing

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