Self-instructed

Module
in
English 10

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Learning Module in English 10

LESSON 1: WELCOME TO THE SHOW!

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INTRODUCTION

This lesson will teach you about English poetry and pathos in literature. This lesson
will also shed light on structuralism and formalism. Expanding definitions through analogy
will be tackled as well. At the same time, this lesson will teach you about pronoun cases.
Moreover, this lesson will discuss the different cohesive devices. English sounds and
prosodic features of speech will also be dealt with. Lastly, this lesson will educate you on
how to outline ideas listened to and how to evaluate the accuracy and effectiveness of
information in the material viewed.

How to join the VSMART?

 Install VSMART application or visit the website:

school.vsmart.ph
 Log in your given username and password
 Go to your scheduled lesson

OBJECTIVES:
By the end of the lesson, you are expected to:

Literature:
 Explain how the elements specific to a genre contribute to the theme of a particular
literary selection. (EN10LT-IIIa-2.2; EN10LT-IIIb-2.2)
 Express appreciation for sensory images used. (EN10LT-IIIa-2.2.1)
 Explain the literary devices used. (EN10LT-IIIb-2.2.2)
Read:
 Overall artistic value of the structure and elements of the selection
(structuralist/formalist). (EN10RC-IIIa-22.1)
Write:
 Give expanded definitions of words. (EN10V-IIIa-13.9; EN10V-IIIb-13.9)
 Use pronouns effectively. (EN10G-IIIa-31; EN10G-IIIb-31)
 Expand ideas using principles of cohesion and coherence. (EN10WC-IIIa-14.1.1)
Listen:
 Listen to simplify, reorganize, synthesize, and evaluate information to expand, review,
or update knowledge. (EN10LC-IIIa-16)
Speak:
 Produce the sounds of English correctly and effectively. (EN10OL-IIIh-3.11)
 Employ the appropriate prosodic features of speech. (EN10OL-IIIc-5)
View:
 Evaluate the information contained in the material viewed in terms of accuracy and
effectiveness. (EN10VC-IIIc-10)
MODULE 1: DETERMINING PATHOS

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What is English poetry?

 Literary genres have specific elements that contribute to the theme of a particular
reading selection under it. For this lecture, we will explore the first genre featured in
this quarter

English poetry.
 English poetry has traditionally shaped the literary canon through a variety of
factors, with some iconic names being particularly resonant in any examination.
Familiar from the 17th century, of course, is William Shakespeare, whose prolific
writing of sonnets and plays gave him plenty of occasion to create and innovate—and
earned him Jonson’s description of being “not for an age, but for all time.” John
Donne and John Dryden are memorable names in their own right, flanking the
century in its early and waning years with notable and striking poetry, which
included Donne’s religious sonnets and playing with cavalier poetry. The diversity of
English poetry in the 17th century is simultaneously one of its most significant
features as well as the one that makes it difficult to simply describe the works of the
era.
Lyric poetry of the era saw richness of verse and a variety of topics, including the
works of Sir Thomas Wyatt, Sir Edmund Spenser, Katherine Philips, and John
Skelton. Writers such as Anne Bradstreet, Christopher Marlowe, Margaret
Cavendish, and John Milton brought rhetorical brilliance, emotional complexity, and
vivid imagery to the poetry that would come to define the era.

Activity: The Nymph Complaining for the Death of Her Fawn

Read the selection below. Then, answer the questions that follow.

Nymph Complaining for the Death of Her Fawn

by Andrew Marvell

The wanton troopers riding by        Thenceforth I set myself to play

Have shot my fawn, and it will die.
Ungentle men! they cannot thrive
To kill thee. Thou ne’er didst alive
Them any harm, alas, nor could
Thy death yet do them any good.
I’m sure I never wish’d them ill,
Nor do I for all this, nor will;
But if my simple pray’rs may yet
Prevail with Heaven to forget
Thy murder, I will join my tears
Rather than fail. But oh, my fears!
It cannot die so. Heaven’s King
Keeps register of everything,
And nothing may we use in vain.
Ev’n beasts must be with justice slain,
Else men are made their deodands;
Though they should wash their guilty hands
In this warm life-blood, which doth part
From thine, and wound me to the heart,
Yet could they not be clean, their stain
Is dyed in such a purple grain.
There is not such another in
The world to offer for their sin.
 
       Unconstant Sylvio, when yet
I had not found him counterfeit
One morning (I remember well)
Tied in this silver chain and bell,
Gave it to me; nay, and I know
What he said then; I’m sure I do.
Said he, “Look how your huntsman here
Hath taught a fawn to hunt his dear.”
But Sylvio soon had me beguil’d,
This waxed tame, while he grew wild;
And quite regardless of my smart,
Left me his fawn, but took his heart.
My solitary time away,
With this, and very well content
Could so mine idle life have spent;
For it was full of sport, and light
Of foot and heart, and did invite
Me to its game; it seem’d to bless
Itself in me. How could I less
Than love it? Oh, I cannot be
Unkind t’ a beast that loveth me.
 
       Had it liv’d long, I do not know
Whether it too might have done so
As Sylvio did; his gifts might be
Perhaps as false or more than he.
But I am sure, for aught that I
Could in so short a time espy,
Thy love was far more better then
The love of false and cruel men.
 
       With sweetest milk and sugar first
I it at mine own fingers nurst;
And as it grew, so every day
It wax’d more white and sweet than they.
It had so sweet a breath! And oft
I blush’d to see its foot more soft
And white, shall I say than my hand?
Nay, any lady’s of the land.
 
       It is a wond’rous thing how fleet
’Twas on those little silver feet;
With what a pretty skipping grace
It oft would challenge me the race;
And when ’t had left me far away,
’Twould stay, and run again, and stay,
For it was nimbler much than hinds,
And trod, as on the four winds.

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       I have a garden of my own,
But so with roses overgrown
And lilies, that you would it guess
To be a little wilderness;
And all the spring time of the year
It only loved to be there.
Among the beds of lilies I
Have sought it oft, where it should lie;
Yet could not, till itself would rise,
Find it, although before mine eyes;
For, in the flaxen lilies’ shade,
It like a bank of lilies laid.
Upon the roses it would feed
Until its lips ev’n seemed to bleed,
And then to me ’twould boldly trip
And print those roses on my lip.
But all its chief delight was still
On roses thus itself to fill,
And its pure virgin limbs to fold
In whitest sheets of lilies cold.
Had it liv’d long it would have been
Lilies without, roses within.
 
       O help, O help! I see it faint,
And die as calmly as a saint.
See how it weeps! The tears do come,
Sad, slowly dropping like a gum.
So weeps the wounded balsam, so
The holy frankincense doth flow;
Sources: <https://www.poetryfoundation.org/poems/44687/the-nymph-complaining-for-the-death-of-her-fawn>
The brotherless Heliades
Melt in such amber tears as these.
 
       I in a golden vial will
Keep these two crystal tears, and fill
It till it do o’erflow with mine,
Then place it in Diana’s shrine.
 
       Now my sweet fawn is vanish’d to
Whither the swans and turtles go,
In fair Elysium to endure
With milk-white lambs and ermines pure.
O do not run too fast, for I
Will but bespeak thy grave, and die.
 
       First my unhappy statue shall
Be cut in marble, and withal
Let it be weeping too; but there
Th’ engraver sure his art may spare,
For I so truly thee bemoan
That I shall weep though I be stone;
Until my tears, still dropping, wear
My breast, themselves engraving there.
There at my feet shalt thou be laid,
Of purest alabaster made;
For I would have thine image be
White as I can, though not as thee.
 

1) What is the dramatic situation, the scene unfolding in the poem?

2) Is it more likely that the troopers have killed the deer for food, or for another
reason? What reason might that be?

3) Why is the nymph initially concerned about caring for the fawn after Sylvio’s departure?

4) What preparations is the nymph making for after the fawn passes away? What purpose
do these serve?

5) Why is Sylvio called “unconstant” and “counterfeit”?

6) Why does the nymph grow so attached to the fawn?

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7) Why does the nymph wish to offer the vial of her and the fawn’s tears to Diana?

8) Do you agree with the persona’s decision to pray for God to forgive the troopers who
killed the fawn?

9) Is the nymph overreacting to the death of the fawn? Why?

10) How can humans coexist more equitably with animals in the contemporary world?

What is pathos?
 The stirring emotional aspect of a story is called “pathos,” from the ancient Greek
paschein, which interestingly means “to experience” or “to suffer.” This word is the
root of words “pathetic” (sad or pitiful), “apathetic” (lacking in sympathy), and
“sympathy” (sharing an emotion).
 Pathos in a story typically evokes sympathy and sadness in the reader through a
variety of means.
 Pathos is generally raised by building up a reader’s investment in a character,
usually by getting them to relate to the character’s background and struggles. A
sympathetic character that engages the reader’s emotions can be the focus of much
pathos when he or she is put through the challenges that are part of the story,
especially when the character faces serious emotional stakes as well.

Activity: Appealing to Pathos

Read “Nymph Complaining for the Death of Her Fawn” again. Then, do what is asked.
1) Identify examples of events, lines, and so on that appeal to pathos.

MODULE 2: Discussing Overall Artistic Value of the Structure and Elements of the

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 Selection - Structuralist and Formalist (Read)

What are structuralism and formalism?

 Being a critical reader or consumer of literature and other art means being able to
apply certain standards in evaluating a work. Different schools of thought have
different standards, as they hold different perspectives about what carries meaning
and value in a work.
 The structuralist school of thought stems from linguistic theories of structure, which
posit that there is an underlying structure that organizes language and the way
language expresses our thoughts. This belief extends into a philosophy that holds
that there is a structure to everything, seeing an organizing code in music, economy,
and even social life. Thus, a structuralist reading of a story will pay attention to the
underlying elements that the text has in common with similar texts.
 Structuralists believe that there is a deep structure that is universal to all members
of a particular genre: structural elements that are seen in all poems, all short stories,
and so on. For example, a structuralist may hold that all novels are expected to have
a plot, characters, a setting, a core conflict, and so on. There are different
structuralist approaches in literary analysis. For example, Northrop Frye contributed
the use of four mythoi to identify and categorize structures used in Western
 Literature. Among these structures are the archetypal mythic or narrative structures:
comedy, tragedy, romance, and satire; and the genres, such as prose, lyric poetry,
drama, and so on. As one might expect, these look not just at the features of the
work itself (for example, a five-act Shakespearean comedy) but at the way that work
fits its genre by virtue of the patterns and structures the work is organized by. These
are common questions asked in a structuralist analysis:
o What patterns exist within the work that makes it belong in the same class as
other works like it? (Consider Frye’s mythoi framework.)
o What patterns within the text exist that may reflect patterns in the culture
from which the text emerged? (This analyzes both the text and the culture
structurally.)
o What rules or codes of interpretation must be internalized in order to decide
what the text “means”?
 Formalism, for its part, is another classical school of criticism that examines a work’s
intrinsic features. Unlike approaches that would follow, Formalism, as its name
suggests, focuses on the form of the work, assuming that the text itself contains the
keys to understanding the text.
 Formalism appears to follow from classical principles of literary design, including
Plato and Aristotle’s notion of organic unity. This principle refers to the internal
consistency with which a text’s theme is developed alongside its dramatic structure.
A narrative or drama and plot arc that has proper organic unity would have its
scenes closely connected and commonly developing from the core theme. All of the
interdependent parts of the text would also work in harmony with the theme,
meaning each character, each line of dialogue, each setting detail, flows from that
central hub.
 Formalist analysis tends to be sparked by these questions.
o How do the parts of the text work together to make an inseparable whole
(organic unity)?
o How are the various elements of the work interconnected?
o Is there a central passage in the text that can be pointed to as summing up the
work?
o In poetry, how do the rhyme scheme and/or metric patterns contribute to the
meaning or overall effect of the text?
o How do devices like ambiguity, tension, irony, and paradox work in the text?

Activity: In an Essay

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Write a short essay about Marvell’s “The Nymph Complaining for the Death of Her Fawn”
that answers one of these given questions. Provide a clear central idea, and cite evidence
from the text as supports.
1) How does the poem fit the structural definition of a lyric poem?
2) What is the central statement of the poem, and how do the elements of the poem work
together to establish it?

MODULE 3: Expanding Ideas Using Principles of Cohesion (Write)

How do you expand a definition through analogy?

 Defining a word can be done in many ways, as the various approaches contribute
different pieces of information that contribute to a word’s meaning. One way to
extend a definition would be to use an analogy, which compares the word (and its
usually less familiar idea) to a more familiar concept.
 This operates on the same relationship of meaning used by similes and metaphors.
Consider this extreme example: how would you define an “airplane” for a tribe of
people who have never encountered modern combustion engine technology or the
modern understanding of air pressure and aerodynamics? It may be somewhat
simplistic, but comparing it to a metal bird (because they both have wings and fly)
would get the basic idea across. The comparison is not meant to be literal, but it
should clarify the original idea. On a more familiar note, you may occasionally need
to define specialized jargon, or technical terms, to non-specialists. Like the previous
example, this can be done by relating the complex, unfamiliar term to a more familiar
image or situation?

Activity: Defining Moment

Define the following terms using an analogy.
1) “Comfort zone” refers to a place or set of circumstances where a person can operate
without feeling stress or pressure.

2) “Sustainability” refers to the ability to maintain the level of resources needed for a
particular set of circumstances.

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3) “Restitution” refers to the restoration of something taken, lost, or stolen by returning it
to its rightful owner.

4) “Justice” is defined as be equitable behavior and treatment, which brings people of

unequal stature to a state of equality.

5) “Alabaster” is a form of gypsum that is typically white and carved into ornaments.

6) “Stewardship” refers to the task of being in charge of an organization or of property.

How do you use pronoun case effectively?

 Pronouns are parts of speech that stand in for nouns to avoid repetitiveness. They
are also used to link sentences to other sentences, with the connection being between
the pronouns and the antecedents being referred to.
 Pronouns can be tricky—”Should it be ‘Dad and I’ or ‘Dad and me’?” is a common
question—but can be easier to choose if one remembers the cases.
1) Subjective case - pronouns that are used as subjects or subject complements. This
includes I, he, she, they, we, who, and it.
 I helped them come to terms.
 It was a needless argument.
 The only person who wanted to apologize was he.
2) Objective case - pronouns that are objects of prepositions, direct objects or indirect
objects, fall under this case. This includes him, her, me, them, us, whom, and it.
 I read the letter for him.
 I gave her the benefit of the doubt.
 The ordeal had made her a stronger person.
3) Possessive case - this case shows ownership. Unlike nouns, which typically take on an
apostrophe and s, pronouns have a specific possessive case spelling with no apostrophe
involved: his, her, my, its, their.
 One story that must be heard is hers.
 The opportunity is yours for the taking.
 My philosophy might clash with hers, but we can reach a compromise
 One common point of confusion is choosing between subjective and objective
pronouns, usually when they are part of a compound subject or object. One way to
make the decision easier is by removing the other part of the compound and choosing
the right pronoun for the case.

For example:
My mentor and (I, me) agreed on the solution to use.

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  (I/me) agreed on the solution to use.
 My mentor and I agreed on the solution to use.
His father and (he, him) were initially at odds.
 (He/him) were initially at odds.
 His father and he were initially at odds.
The situation was tense for both (I, me) and (she, her).
 The situation was tense for (I/me) and (she/her).
 The situation was tense for both me and her.
Note that reflexive pronouns (myself, himself, herself, etc.) are not appropriate for either
subjective or objective case use.

 Another point of confusion is whether to use who or whom. The rule, of course, is
still to determine whether the pronoun needed is a subjective or objective one. To
make this easier, try substituting ‘he’ or ‘him’ for the pronoun. If ‘he’ works better,
use who. If ‘him’ works better, use whom.
He was the one (who, whom) I wanted to win.
 I wanted (he/him) to win.
 He was the one whom I wanted to win.
She was the person (who, whom) called.
 (She/her) called.
 She was the person who called.
Mr. Cosima, (who/whom) I met in 2012, became my menwr.
 I met (he/him) in 2012.
 Mr. Cosima, whom I met in 2012, became my mentor.

Activity: The Replacement

Replace the indicated nouns with pronouns in the appropriate case.
Duchess Margaret Cavendish left some big shoes to fill, but many modern female writers
are up to the challenge, working tirelessly on great literature. One other Margaret who has
made a career out of writing thought-provoking literature featuring engaging female
characters is Margaret Atwood.

[1] Atwood’s writing includes open-ended stories, [2] The stories demonstrate [3] Atwood’s
expertise at examining contemporary living and gender politics. Atwood’s work, [4] work
includes stories like “The Edible Woman” and “The Handmaid’s Tale,” has been adapted to
different platforms, [5] platforms include the stage and the television screen. Atwood has
also written plenty of poetry, [6] poetry capably examines the flaws of society. The stance
Atwood tends to take in Atwood’s writing is a feminist one [7] the stance seeks to give a
voice to women, [8] women are commonly underrepresented in literature as characters, and
in real life as members of society. Literary scholars [9] scholars read and critique Atwood’s
work note that Atwood is quite skilled at deconstructing classic and traditional myths and
stories to show the issues underpinning [10] myths and stories.

1) Atwood’s

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2) The stories

3) Atwood’s

4) Work

5) Platforms

6) Poetry

7) the stance

8) women

9) Scholars

10) myths and stories

How do you expand ideas using principles of cohesion?

 Cohesive writing can be seen in a composition that “holds together,” usually due to
effective verbal connections between the sentences that comprise it.
 Sentences in a text such as a paragraph are said to be cohesive if there are lexical
devices —linking or connective expressions—that connect them to each other. These
connections may be made on a larger scale as well, from paragraph to paragraph. A
well-connected cohesive text tends to be easier to read through because of the
smooth flow created by these connections. Not every sentence will need to be linked
to another, but a good balance between flowing, linked ideas and occasional pauses
will help create a text that is easy to read while being able to build to moments of
interest or effect. There are many kinds of cohesive devices. Notice that each kind
relies on and explicitly states a relationship between sentences being connected.

Activity: Looking for Cohesive Devices

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Read this informational text, an excerpt from the homily given by Jahawarlal Nehru for
Mahatma Mohandas Gandhi. Identify the cohesive devices used.

If, as I believe, his spirit looks upon us and sees us, nothing would displease his soul so much
as to see that we have indulged in any small behavior or any violence. Friends and comrades, the
light has gone out of our lives and there is darkness everywhere. I do not know what to tell you and
how to say it. Our beloved leader, Bapu as we called him, the father of the nation, is no more.
Perhaps I am wrong to say that. Nevertheless, we will not see him again as we have seen him for
these many years. We will not run to him for advice and seek solace from him, and that is a terrible
blow, not to me only, but to millions and millions in this country, and it is a little difficult to soften the
blow by any other advise that I or anyone else can give you.
The light has gone out, I said, and yet I was wrong. For the light that shone in this country was
no ordinary light. The light that has illumined this country for these many years will illumine this
country for many more years, and a thousand years later that light will still be seen in this country,
and the world will see it and it will give solace to innumerable hearts. For that light represented the
living truth … the eternal truths, reminding us of the right path, drawing us from error, taking this
ancient country to freedom. All this has happened when there was so much more for him to do. We
could never think that he was unnecessary or that he had done his task. But now, particularly, when
we are faced with so many difficulties, his not being with us is a blow most terrible to bear.
A madman has put an end to his life, for I can only call him mad who did it, and yet there has
been enough of poison spread in this country during the past years and months, and this poison has
effect on people’s minds. We must face this ‘ poison, we must root out this poison, and we must face
all the perils that encompass and face them not madly or badly but rather in the way that our beloved
teacher taught us to face them. The first thing to remember no wish that no one of us dare misbehave
because we’re angry. We have to behave like strong and determined people, determined to face all
the perils that surround us, determined to carry out the mandate that our great teacher and our great
leader had given us, remembering always that if, as I believe, his spirit looks upon us and sees you,
nothing would displease his soul so much as to see that we have indulged in any small behavior or
any violence. So we must not do that. But that does not mean that we should be weak, but rather that
we should in strength and in unity face all the troubles and difficulties and conflicts must be ended in
the face of this great disaster. A great disaster is a symbol to us to remember all the big things of life
and forget the small things, of which we have thought too much.”

Source: Nehru Jawaharlal. “For Mahatma Gandhi: ‘The Light Has Gone Out, I Said, and Yet I Was Wrong.”
Speakola. February 10, 1948. Accessed April 19, 2019. https ://speakola.com/eulogy/for-mahatma-gandhi-
jawaharlal-nehru- 1948.

1) What cohesive devices are used in the informational text you have read?

MODULE 4: Listening to Simplify, Synthesize, and Reorganize Information (Listen)

How do you outline ideas listened to?

We listen to a lot of information daily; these pieces of information are used in processing
certain actions and decisions that we encounter. we take part in conversations that require
us to respond and give feedback; we listen to various viewpoints from various media that
affect our understanding of current social issues. But how do we ensure that we
understand these pieces of information? In ensuring that we have understood the ideas
that we have heard, one technique we can use is outlining.

A student who can use outlining properly finds it easier to see and discuss the relationship
between the ideas used in the discussion.

An outline shows the relationship between the main ideas and the subordinate ideas.
How do you outline the ideas presented in a discussion? Follow these steps:

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1. List all the information that is used in the presentation.
2. Check your list for duplicate information.
3. Merge pieces of information that are related with each other.
4. Highlight the main ideas of the discussion.
5. Organize the remaining subordinate ideas under the main idea that they support.
6. Check your outline.

Study the sample outline below:

I. Living Arrangements
A. Definition of living arrangements
B. Types of living arrangements
C. Reasons for such living arrangements
II. Difficulties experienced by international students
A. Financial Difficulties
B. Cultural Difficulties
C. Language Difficulties
III. Coping Mechanism employed by international students
A. Join Culture Clubs
B. Attend Language Class
C. Befriend Local Students
There are a number of things that you must remember in writing your outline:
1. Observe parallel construction. Use the same part of speech in all entries.
2. Assign the same number/letter to ideas of equal importance or value.
3. Observe subordination. Give your ideas from general to specific.
4. Start each entry with a capital letter.

Activity: Let’s Make an Outline

Listen as your teacher reads a short paragraph on social institutions. While listening, take
key notes presented in the excerpt. Use these notes to create an outline of the paragraph.

MODULE 5: Producing English Sounds Correctly and Employing Prosodic Features of

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 Speech (Speak)

What are consonant blends and digraphs?

 As in any language, good pronunciation is essential to oral communication. When
speaking in English, one must be able to correctly produce its sounds which are
made up of segmentais, or combinations of consonant and vowel sounds.

CONSONANT BLENDS
 Two or three consonants joined together are called consonant blends or clusters.
When pronounced as a unit, the sound that each consonant in the blend makes is
heard. Some examples of consonant blends are enumerated below.
o Initial consonant blends:
bI-, br-, cl-, cr-, dr-, fi-, fr-, gI-, gr-, pl-, pr-,
sk-, sI-, sn-, sw-, tr-, tw-, scr-, spI-, spr-, str
breathe, climate, from, plum, swell, scrape

o Final consonant blends:

ct, -ft, -Id, -If, -1k, -1m, -Ip, -mp, -nd,
nt,-pt, -rd,-rk, -sc, -sk, -Sm, -5p, -st
fact, realm, damp, except, bark

DIGRAPHS
 Digraphs consist of two consonants and three consonants which make a single
sound when pronounced.
Some digraphs make distinct sounds, such as the following:
• gn and kn make the /n/ sound as in gnaw and knit
• mb makes the /m/ sound as in climb and comb
• ph makes the /f/ sound as in philosophy and nymph
• ps makes the /s/ sound as in psalm and psychology
• sc makes the /s/ sound as in scenery and science
Some digraphs produce more than one sound.
• ng as in gang and lung; as in hangar and singer
• gh as in ghetto and ghoul; as in enough and tough
• th as in thunder, tooth and mathematics; as in smooth and those
• wh as in which and what; as in who and whole
• ch as in church; as in machine; as in character

Activity: Digraphs or Blends?

Read the following words. Determine if the sound units in boldface are digraphs or blends.

1. blast, skate - __________________ 5. phone, thorn - __________________

2. traffic, scar - __________________ 6. sleep, clasp - __________________
3. choir, lung - __________________ 7. ghoul, known - __________________
4. bloom, mould - __________________ 8. scene, wheat - __________________

How do you employ appropriate prosodic features of speech in giving welcome and
closing remarks?
 While it may be tempting to think of speeches as simply conversations with more
people, the truth is they are actually quite different. You may be using the same
language, with largely the same intonation patterns, but in a speech you are tailoring
your delivery for a much larger audience. More precise control of your use of the
prosodic features is particularly helpful for special speeches like welcome remarks or
closing remarks.

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 o Intonation
The appropriate intonation patterns for statements, questions, and the like still
apply, but it is best to vary your intonation occasionally in order to keep the
audience engaged. This will need to be slightly exaggerated, even, compared to
the intonation you would use in an ordinary conversation. Even well-written
welcome remarks or closing remarks can come across fiat when read with a
monotonous tone of voice.
o Volume
When delivering welcome or closing remarks, you will typically have sound
system helping you to be heard, but controlling your own voice’s volume is
important nonetheless. As with pitch and intonation, varying your voice’s
volume—going louder and softer where appropriate in the content of the speech
—will keep the audience interested. This comes in handy when there is an
anecdote or aside as part of the speech, where shifting from loud to soft and
back is justified.
o Pace
This is perhaps the most evident difference between speaking conversationally
and delivering special speeches. Because you are speaking to a much larger
group of people, usually over a sound system, you will need to speak a little
more slowly. Since this is not a one-on-one conversation, the listeners do not
have the benefit of facial expressions, situational cues, and other ways to fill in
blanks if they fail to hear every word. Thus, pacing the speech so that every
statement may be picked up and has time to sink in—while keeping it brisk
enough to not be dragging and boring—is important. Occasional pauses are
also welcome, as they are at times in regular speech —between sentences, after
a particularly heavy statement, and so on.
o Stress
As with one-on-one conversation, this goes hand in hand with pace to highlight
important parts of the speech. Key statements may be said with slightly louder
volume or raised pitch. This also has the benefit of varying the overall delivery
of the speech.

Activity: Try This!

Read the text below. Note that important words, names, and terms have been highlighted to
indicate which should receive the stress. Take a video recording of yourself as you deliver
the welcome remarks. Then, send it to your teacher for evaluation.

Good day, ladies and gentlemen.

My name is ______________________ , and I am here to welcome you to this great event.
Thank you for making time to be with us today. I am grateful for the opportunity to speak to
you as we begin.
Before anything else, it is only appropriate that we acknowledge our sponsors who
have made this event possible. We would like to thank Dr. Reyes and her team, the people
at Endframe Solutions, and the Department of Education for their tireless support.

14
 Now we can turn our attention to today’s event. You are all here, alongside the driven
and dedicated members of our team, to learn more about the progress that has been made
so far in accomplishing the goals we set at the start of the year. We are glad to have your
input, and you will have plenty of opportunities to raise your concerns about the plans
going forward.
Organizational breakout sessions and team roundtables have been prepared to
allow us to update each other on a range of concerns, and to complete a new set of plans for
the remainder of the year.
Thank you once again for coming, and I am sure we will have a productive day.

MODULE 6: Evaluating the Accuracy and Effectiveness of Information Contained

in Material Viewed (View)

How do you evaluate the accuracy and effectiveness of information in a material

viewed?
 One effect of the freedom made possible by digital media is the wide spread of
information resources. However, a viewer must approach all these with the mindset
that not everything that is available is credible. A critical mindset when viewing is
always preferable to a credulous one that may easily be misled. When evaluating
viewing material for accuracy and effectiveness, the following questions may be
asked:
1. Is the information specific?
2. Are basic facts like dates, names, attributions, etc. accurately reported?
3. Are the claims in the material made based on observations, interpretations,
analyses, measurements, and facts?
4. Are the claims and conclusions based on research that can be checked using
other sources?
5. Are sources of information cited? Are they credible and reliable?

Activity: Think Critical

Watch the video, How Risk-taking Changes a Teenager’s Brainy by Kashfia Rahman
(https://www.youtube.com/watch?v=VLDwh4ivNf4) and answer the following questions.

1. How does Rahman answer the central question of her talk?

2. What evidence does she provide to support this main idea?

3. How can her claims (about the consequences for students who lacked the feeling of
fear and caution instincts) be said to be accurate?

15
 4. Does Rahman’s choice of evidence to use positively or negatively affect the way she
makes her point? Justify your answer.

5. Would you describe Rahman’s talk as effective in making the case for risk-taking?
Defend your answer.

OUTPUT: WELCOME, WELCOME

Your class has organized a youth talk, where three members of the class will share
their reflections on the topic, “Why Should Gen Z Learners Still Read English Poetry?” This
talk is being produced and sponsored by your school’s student council in cooperation with
the English department. Your task is to give three-to-four-minute welcome remarks, which
will greet the audience and thank them for coming, acknowledge the sponsors, and briefly
outline the program of the seminar by naming the speakers and their topics and noting
that there will be an open forum after the talks.

Output: A three-to-four-minute welcome remarks to be placed in a letter-sized document

and a video recording of the remarks. Send your written output in PDF format together with
the video recording of your welcome remarks to your teacher for evaluation.

You will be graded on the basis of the following:

CRITERIA ACTION
Time-bound The welcome remarks are between 3—4 minutes in length.
Intonation and Volume Performance makes appropriate use of intonation and volume
to create emphasis and emotional impact, resulting in an
engaged and invested audience.
Pacing and Stress Delivery is characterized by proper pacing and stress all the
time.

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LESSON 2: A SAYING AS OLD AS TIME

This lesson will teach you about aphorism and ellipsis in literature. This lesson will
also shed light on new historicism and moralism. Expanding definitions through
comparison and contrast will be tackled as well. At the same time, this lesson will teach
you about pronoun reference. Moreover, this lesson will discuss different informative
writing techniques. Using polite expressions when delivering a roast will also be dealt with.
Lastly, this lesson will educate you on how you can identify and summarize important
points in a material listened to and how you can evaluate the accuracy and effectiveness of
information in the material viewed.

How to join the VSMART?

 Install VSMART application or visit the website :

school.vsmart.ph
 Log in your given username and password
 Go to your scheduled lesson

OBJECTIVES:
By the end of the lesson, you are expected to:

Literature:
 Explain how the elements specific to a genre contribute to the theme of a particular
literary selection. (EN10LT-IIIa-2.2)
 Express appreciation for sensory images used. (EN10LT-IIIa-2.2.1)
 Determine tone, mood, technique, and purpose of the author. (EN10LT-IIIc-2.2.3)
Read:
 Relevance of the selection to the historical context during which it was produced
(historical). (EN10RC-IIIe-22.5)
 Treatment of underlying or overarching issue concerning human experience
(moralist). (EN10RC-IIIb-22.2)
Write:
 Give expanded definitions of words. (EN10V-IIIc-13.9; EN10V-IIId-13.9)
 Use pronouns effectively. (EN10G-IIIc-31; EN10G-IIId-31)
 Use a variety of informative, persuasive, and argumentative writing techniques.
(EN10WC-IIIb-14.1.2)
Listen:
 Distinguish the important points from less important ones in a text listened to.
(EN10LC-IIIb-16.1)
 Summarize important points discussed in the text listened to. (EN10LC-IIIc-3.14)
Speak:
 Use polite expressions when giving a roast. (EN10OL-IIId-1.4)
View:
 Evaluate the information contained in the material viewed in terms of accuracy and
effectiveness. (EN10VC-IIIg-10)

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MODULE 1: RECOGNIZING ELLIPSIS (LITERATURE)
What is aphorism?
 Literary genres have specific elements that contribute to the theme of a particular
reading selection under it. For this lecture, we will explore the second genre featured
in this quarter—aphorism.

APHORISM
Fittingly for the Age of Reason, the aphorism is a compact literary form that stands as a
concise statement of a general truth. The aphorism traces its history back past the 18th
century, as one might imagine, with the ancient Indians, Hebrews, Greeks, and more
having aphorisms and proverbs of their own. Likewise, philosophical writing has been a
genre explored for centuries, with the ancient Greeks and other societies reflecting on what
it means to be human on a number of levels. In the Age of Enlightenment the quest for self-
discovery and at times critical self-analysis continued to animate and inspire writers, who
would follow the age’s rational bent to morally and sometimes satirically comment on
human existence. Philosophical writers like Rousseau, Voltaire, Diderot, and more
produced many works that would stand out in the High Enlightenment—Voltaire’s
Philosophical Dictionary and Diderot’s Encyclopédie were particularly notable moves toward
advancing human knowledge.

Activity: Aphorisms on Nature

Read the selection below. Then, answer the questions that follow.

Aphorisms on Nature
by Johann Wolfgang von Goethe

Nature! We are surrounded by her and locked in her clasp: powerless to leave her, and
powerless to come closer to her. Unasked and unwarned she takes us up into the whirl of her
dance, and hurries on with us till we are weary and fall from her arms.
She creates new forms without end: what exists now, never was before; what was, comes not
again; all is new and yet always the old. We live in the midst of her and are strangers. She speaks to
us unceasingly and betrays not her secret. We are always influencing her and yet can do her no
violence. Individuality seems to be all her aim, and she cares nought for individuals. She is always
building and always destroying, and her workshop is not to be approached.
Nature lives in her children only, and the mother, where is she? She is the sole artist,—out of
the simplest materials the greatest diversity; attaining, with no trace of effort, the finest perfection,
the closest precision, always softly veiled. Each of her works has an essence of its own; every shape
that she takes is in idea utterly isolated; and yet all forms one. She plays a drama; whether she sees
it herself, we know not; and yet she plays it for us, who stand but a little way off.
There is constant life in her, motion and development; and yet she remains where she was.
She is eternally changing, nor for a moment does she stand still. Of rest she knows nothing, and to
all stagnation she has affixed her curse. She is steadfast; her step is measured, her exceptions rare,
her laws immutable.
She has thought, and she ponders unceasingly; not as a man, but as Nature. The meaning of
the whole she keeps to herself, and no one can learn it of her. Men are all in her, and she in all
men. With all she plays a friendly game, and rejoices the more a man wins from her. With many her
game is so secret, that she brings it to an end before they are aware of it.
Even what is most unnatural is Nature; even the coarsest Philistinism has something of her
genius. Who does not see her everywhere, sees her nowhere aright. She loves herself, and clings
eternally to herself with eyes and hearts innumerable. She has divided herself that she may be her
own delight. She is ever making new creatures spring up to delight in her, and imparts herself
insatiably.
She rejoices in illusion. If a man destroys this in himself and others, she punishes him like
the hardest tyrant. If he follows her in confidence, she presses him to her heart as it were her child.
Her children are numberless. To no one of them is she altogether niggardly; but she has her
favourites, on whom she lavishes much, and for whom she makes many a sacrifice. Over the great
she has spread the shield of her protection.
She spurts forth her creatures out of nothing, and tells them not whence they come and
whither they go. They have only to go their way: she knows the path.
Her springs of action are few, but they never wear out: they are always working, always manifold.

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 The drama she plays is always new, because she is always bringing new spectators. Life is
her fairest invention, and Death is her device for having life in abundance. She envelops man in
darkness, and urges him constantly to the light. She makes him dependent on the earth, heavy and
sluggish, and always rouses him up afresh. She creates wants, because she loves movement. How
marvellous that she gains it all so easily! Every want is a benefit, soon satisfied, soon growing again.
If she gives more, it is a new source of desire; but the balance quickly rights itself.
Every moment she starts on the longest journeys, and every moment reaches her goal. She
amuses herself with a vain show; but to us her play is all-important. She lets every child work at
her, every fool judge of her, and thousands pass her by and see nothing; and she has her joy in
them all, and in them all finds her account. Man obeys her laws even in opposing them: he works
with her even when he wants to work against her.
Everything she gives is found to be good, for first of all she makes it indispensable. She
lingers, that we may long for presence; she hurries by, that we may not grow weary of her.
Speech or language she has none; but she creates tongues and hearts through which she
feels and speaks. Her crown is Love. Only through Love can we come near her. She puts gulfs
between all things, and all things strive to be interfused. She isolates everything, that she may draw
everything together. With a few draughts from the cup of Love she repays for a life full of trouble.
She is all things. She rewards herself and punishes herself; and in herself rejoices and is
distressed. She is rough and gentle, loving and terrible, powerless and almighty. In her everything is
always present. Past or Future she knows not. The Present is her Eternity. She is kind. I praise her
with all her works. She is wise and still. No one can force her to explain herself, or frighten her into
a gift that she does not give willingly. She is crafty, but for a good end; and it is best not to notice
her cunning.
She is whole and yet never finished. As she works now, so can she work for ever.
To every one she appears in a form of his own. She hides herself in a thousand names and terms,
and is always the same. She has placed me in this world; she will also lead me out of it. I trust
myself to her. She may do with me as she pleases. She will not hate her work. I did not speak of
her. No! what is true and what is false, she has spoken it all. Everything is her fault, everything is
her merit.
Source: http://www.online-literature.com/goethe/4440/

1) How are we taken up pinto the whirl of [nature’s] dance,” and how do we wearily “fall
from [nature’s] arms”?

2) Think of examples where “we live in the midst of [nature] and are strangers.”

3) Think of examples of nature’s “curse” being applied to “all stagnation. “

4) What does it mean to say that nature “rejoices the more a man wins from her”?

5) What drama” is Goethe referring to that nature plays?

6) How does Death serve the purpose of being nature’s device for having Life in
abundance”?

7) Do you agree that nature “has her favorites” among her children? Justify your answer.
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8) Do you agree that “[nature’s] crown is love,” or does that feel like a projected assumption
from a human philosopher? Defend your answer.

9) How much of Goethe’s views on nature and its power still resonates in our present-day
views of it?

What are the functions of an ellipsis?

 Language works when communicators both share a common understanding of the
words and expressions they use. This is even more useful when speaking in person,
where other cues in the context of speaking can allow communicators to need fewer
words to get their point across. Sometimes a communicator can even pause, and the
context of the conversation can still make the intended meaning and effect clear.
 In writing such encounters, authors employ a literary device called ellipsis, which in
Greek means omission.
 The ellipsis has two basic functions. The first is to create a pause within a statement.
This may be done to create an air of mystery or drama around the statement, or to let
a speaker trail off into silence, or to show that there is more to follow. Ellipsis may be
rendered using three periods in sequence, with a fourth if the ellipsis ends a
sentence.
o The door opened, and everyone’s heads turned at the sound . . . but no one
was there.
o Dr. Reyes greeted the family in the waiting room with a level voice, and because
of his surgical mask, Alice could not read his expression.
“My son … Brian,n she said, her voice as shaky and weak as she felt. “Is he…?
The surgeon nodded slowly, “It was a … challenging operation, but he’ll be
fine,”
 This form of punctuation is also called a “suspension point” or “points of ellipsis.”
You may recognize the three-period punctuation marks from modern messaging
apps, which flash the ellipsis when the other person is still typing. This may also be
seen in prose works where journalists or academics omit less relevant words to
shorten a quoted statement without changing the meaning of the original.
The research report claimed, “multilingual learners have a variety of . . .
strategies at their disposal.”
 The second function of literary ellipsis is to allow a communicator to omit certain
words that are understood to have been said given the context. This omission is
sometimes done to avoid redundancy. Importantly, such an omission should not
change the meaning of the statement. Ellipsis as omission takes a number of forms:

20
  In literature, authors may use ellipsis to avoid redundancy and keep dialogue flowing
in a natural-sounding manner. They may also use ellipsis to create a sense of
suspense, such as by holding back a response in dialogue, or by making the reader
pause before more information is revealed.

Activity: Don’t Leave Me Out

Identify the omitted words in these statements from Goethe’s Aphorisms on Nature.”

1) We are surrounded by her and locked in her clasp: powerless to leave her, and
powerless to come closer to her.

2) We live in the midst of her and are strangers.

3) We are always influencing her and yet can do her no violence.

4) There is constant life in her, motion and development.

5) Men are all in her, and she in all men.

6) She is steadfast; her step is measured, her exceptions rare, her laws immutable.

7) Who does not see her everywhere, sees her nowhere aright.

8) She lets every child work at her, every fool judge of her, and thousands pass her by
and see nothing.

MODULE 2: ANALYZING A TEXT THROUGH NEW HISTORICISM AND MORALISM

(READ)
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What is new historicism?
 New Historicism is a school of criticism influenced by structuralist and
poststructuralist theories (recall the aforementioned structuralist question about
cultural structures from the previous Read lesson) that assumes that a work is
influenced by the culture and era that created it. Each text is thus viewed as a sort of
‘time capsule’ that captures some aspect of the text’s historical roots.
 While structuralism focuses inwardly on the text itself, historical criticism leverages
on external bases for interpretation or critical reading: the text’s historical context.
Along with the historical time frame, historical criticism also considers the social,
cultural, and intellectual environment that produced the author and the text, as well
as the text’s audience.
 Historical criticism uses these factors to inform a reading of the text. For example,
Sara Teasdale’s sonnet, There Will Come Soft Rains,” can be read with historical
criticism, which will connect its dramatic situation of nature reclaiming the earth
after humanity’s disappearance with its publication date of 1918, during the time of
the world’s recovery from World War [. The persona’s fascination with what happens
in the wake of humanity’s annihilation can be linked to the immense and senseless
wartime death, destruction, and environmental damage that the poem could be
responding to.
 New Historicism asks the following questions:
o What language or elements in the work reflect the “current events” of the author’s
day?
o How have these events been interpreted and presented by the author?
o How are these interpretations reflective of the author’s culture?
o Does the presentation in the work support or condemn a particular event, or
leading political figures of its time? Can the work be seen to do both?
o Have any of the words in the text changed meanings since the text was written?

Activity: In an Essay
Write a short essay about Goethe’s “Aphorisms on Nature” that answers the question
below. Provide a clear central idea, and cite evidence from the text as supports.

1) How does the text function as a product of the time in which it was written?

What is moralism?

Not all ways of reading a text measure its substance against historical factors or the traits
of its literary form. One way of analyzing a text and determining its worth is moralist
criticism, which involves examining how a text deals with the issue at its center.
Under moralist criticism, a literary text is expected to reinforce traditionally held moral
values. Courage, maturity, sensitivity, honesty, and so on are all expected to be upheld by
the text, and literature that challenges or erodes these values is less valued.
Moralist criticism weighs the text by these considerations:
1. Is a practical, moral, or ethical idea being presented?
2. How does the text play out given ethical principles?
3. Does the work seem to build a positive or negative influence on its readers?

When reading a text from the moralist lens, it helps to focus on the text’s core conflict and
its climax. The conflict usually puts a particular value to the test, and the climax—and its
impact on the characters—will either end up supporting the value or the idea it is in
conflict with.
Activity: The Moralist Lens

22
Read the given informational text, “The Beauty in Nature” by Michael Popejoy, and write an
essay analyzing it using the moralist lens.
 Open with a thesis statement that identifies your overall evaluation of the text, in
terms of its ability to convey or affirm a moral belief.
 Provide a summary of the text that identifies its central idea and key supports,
especially ones that are relevant to your reading.
 Follow up with evidence that supports your thesis statement, including your answers
to relevant guide questions used in your chosen lens.
 Finish with a conclusion that revisits your thesis statement.

Beauty in Nature
by Michael Popejoy
I declare this world is so beautiful that I can hardly believe it exists.” The beauty of nature can
have a profound effect upon our senses, those gateways from the outer world to the inner, whether ¡t
results in disbelief in its very existence as Emerson notes, or feelings such as awe, wonder, or
amazement. But what is it about nature and the entities that make it up that cause us, oftentimes
unwillingly, to feel or declare that they are beautiful?
One answer that Emerson offers is that “the simple perception of natural forms is a delight.”
When we think of beauty in nature, we might most immediately think of things that dazzle the senses—
the prominence of a mountain, the expanse of the sea, the unfolding of the life of a flower. Often it is
merely the perception of these things itself which gives us pleasure, and this emotional or affective
response on our part seems to be crucial to our experience of beauty. So in a way there is a correlate
here to the intrinsic value of nature; Emerson says: “the sky, the mountain, the tree, the animal, give us
a delight in and for themselves.”
Most often, it seems to me, we find these things to be beautiful not because of something else
they might bring us—a piece of furniture, say, or a ‘delicacy’ to be consumed—but because of the way
that the forms of these things immediately strike us upon observation. In fact, one might even think that
this experience of beauty is one of the bases for valuing nature—nature is valuable because it is
beautiful.
Emerson seems to think that beauty in the natural world is not limited to certain parts of nature
to the exclusion of others. He writes that every landscape lies under “the necessity of being beautiful,”
and that “beauty breaks in everywhere.” As we slowly creep out of a long winter in the Northeast, I think
Emerson would find the lamentations about what we have ‘endured’ to be misguided: “The inhabitants of
the cities suppose that the country landscape is pleasant only half the year . . . To the attentive eye,
each moment of the year has its own beauty, and in the same field it beholds, every hour, a picture
which was never seen before, and which shall never be seen again.”
The close observer of nature sees a river in constant flux, even when the river’s water is frozen
and everything appears to be static and unchanging for a time. Nature can reveal its beauty in all places
and at all times to the eye that knows how to look for it. We can hear Emerson wrangle with himself on
this very point in the words of this journal entry: At night I went out into the dark and saw a glimmering
star and heard a frog, and Nature seemed to say, Well do not these suffice? Here ¡s a new scene, a new
experience. Ponder it, Emerson, and not like the foolish world, hanker after thunders and multitudes
and vast landscapes, the sea or Niagara.” So if we’re sympathetic to the idea that nature, or aspects of it,
are beautiful, we might ask ourselves why we experience nature in this way. Emerson says that nature
is beautiful because it is alive, moving, reproductive. In nature we observe growth and development in
living things, contrasted with the static or deteriorating state of the vast majority of that which is man-
made. More generally, he writes: We ascribe beauty to that which . . . has no superfluous parts; which
exactly answers its end; which stands related to all things.” He cites natural structures as lacking
superfluities, an observation that in general has been confirmed by the advancement of biology.
Furthermore, he says that whether talking about a human artifact or a natural organism, any increase
of ability to achieve its end or goal is an increase in beauty. So in Emerson we might find the resources
for seeing evolution and the drive to survive as a beautiful rather than an ugly process, governed by laws
that tend to increase reproductive fitness and that we can understand through observation and inquiry.
And lastly, Emerson points to the relation between what we take to be an individual and the rest
of nature as a quality of the beautiful. This consists in the “power to suggest relation to the whole world,
and so lift the object out of a pitiful individuality.” In nature one doesn’t come across individuals that are
robustly independent from their environment; rather things are intimately interconnected with their
surroundings in ways that we don’t fully understand.
“Nothing is quite beautiful alone: nothing but is beautiful in the whole.” All of these qualities of beauty
seem to go beyond the mere impression of sensible forms that we started with, and what they require is
what also served as the basis of truth and goodness in nature. In addition to the immediate experience
of beauty based in perception, Emerson suggests that the beauty of the world may also be viewed as an
object of the intellect. He writes that “the question of Beauty takes us out of surfaces, to thinking of the
foundations of things.” In other words, we can also experience the world as beautiful because of its

23
rational structure and our ability to grasp that structure through thought. Think for instance of the
geometric structure of a crystal, or snowflake, or nautilus shell. Or consider the complexity of the fact
that the reintroduction of the wolf in Yellowstone National Park changed the course of the rivers due to a
chain reaction of cause and effect through the food web, a process called a trophic cascade. This
reinforces Emerson’s emphasis on the interconnection between all members of the natural world; as
observers of nature we are confronted with one giant, complex process that isn’t of our own making, but
that we can also understand, and get a mental grasp on, even if only partially, and be awestruck in that
process of understanding.
There is thus an emotional or affective component in the beauty of the intellect just as there is in
the immediate beauty of perception. If we destroy the natural world, we take away the things that we can
marvel at and experience awe towards in these two ways. And this experience of the beautiful through
the intellect may reinforce our attributing value to nature here as well, but a deeper kind of value, the
intrinsic value I talked about in the last essay. Here it is not only that nature is valuable because it is
beautiful, but nature is beautiful because it possesses intrinsic value, grounded in its intelligible
structure. Thus we see a close parallel between goodness and beauty in nature. We can find an objective
basis for goodness and beauty in nature, namely its intelligible structure, but also see that nature is
valuable and beautiful for us, with the particular apparatus that nature has given us for navigating our
way through the world. So that which is the basis of truth in nature and provides it with intrinsic value
is also that which makes it beautiful. Emerson himself ties these three aspects of nature into one
package himself:
“He should know that the landscape has beauty for his eye, because it expresses a thought which
is to him good: and this, because of the same power which sees through his eyes, is seen in that
spectacle.” This is the unified philosophy of nature that I set out to explicate in the first essay—nature is
the source of truth, goodness, and beauty, because of its intelligible structure, and because of its
production of organisms that can recognize that structure, us. And this view of nature includes an
inherent call to protect that which is true, good, and beautiful. These are the things that we as human
beings are searching for, are striving after, and yet they’re right in front of us if only we would listen with
our ear to the earth. Although I’ve been advocating an approach to nature based on its intelligibility, we
are far from tying down the giant that is nature with our minds. Emerson writes that “the perception of
the inexhaustibleness of nature is an immortal youth.” Although we shall continue to try to uncover
nature’s secrets, let us also continue to take pleasure in our immediate encounter with her. Let us
continue to be awestruck, like the child on the seashore, or clambering up a tree. Let us hold onto that
experience, and fight for the environment that makes it possible, both for the child in each of us, and for
those that come after us.
Source: Michael Popejoy. ‘Beauty ¡n Nature.” Harvard Sustainability. April 23, 2014. Accessed
November 15, 2019. https://green.harvard.edu/news/beauty-nature

Write your essay here.

MODULE 3: USING INFORMATIVE WRITING TECHNIQUES (WRITE)

24
How do you expand a definition through comparison and contrast?
 Defining a term starts with identifying its general class and then specifying traits that
make that idea unique. A definition may be expanded and made clearer and more vivid
through the use of numerous devices, one of which is comparison and contrast.
 We tend to understand ideas in relation to other ideas, and we organize information in
our brain by negotiating new ideas against what we already know. This is why
expanding a definition using comparison and contrast can be effective in making the
defined term clearer and easier to understand.
 Comparison shows what the subject in question has in common with others, while
contrast highlights the differences, usually arriving at what sets the subject apart or
makes it unique.
Study the following examples:
 Dairy is a food group that includes milk-based items like milk, yogurt, cheese, butter,
and ice cream. Similar to the protein food group, the dairy food group supplies
nutrients that are essentially to building up and maintaining the body. Unlike the
protein food group, however, the dairy food group generally serves as a better source
of calcium and potassium.
 A persuasive essay is a long-form prose composition that works to convince the
reader to take a certain course of action or subscribe to a particular belief. Like an
expository essay, a persuasive essay spends some time explaining an issue or topic to
its reader. Unlike the expository essay, the persuasive essay needs to take the extra
step of providing reasons for the reader to take a specific side on that issue.

Activity: Defining Moment

Read the given definitions for the following biology terms and extend each definition using
comparison and contrast.

1) A scavenger is a type of organism that eats dead plants and animals.

2) A controlled experiment is a scientific test performed under specific conditions to test

one variable at a time.

3) Phototropism is the ability of a plant or organism to grow in the direction of a light

source.

4) A vulnerable species is one that has had its habitat removed and/or reproduction
impaired to the point where it is at risk of becoming endangered.

5) A deciduous plant is one that sheds its leaves annually.

How do you use pronoun reference effectively?

 Pronouns serve as substitutes for nouns in a sentence. Hence, it must be clear which
noun a pronoun is referring to for the meaning of the sentence to be clear. Pronouns
should also match their antecedents in terms of gender and number.
Here are guidelines to remember to ensure clarity of pronoun reference:

25
Guideline Example

26
27
1) Place pronouns as close to their a) Unclear: CEO Alfredo Quintana's working
antecedents as possible. relationship with company spokesperson
Robert Fox was tense, which he spoke about
in interviews.
Better: As he said in interviews, CEO
Alfredo Quintana's working relationship with
company spokesperson Robert Fox was
tense.
b) Unclear: After Fox had criticized Quintana's
financial policies, he apologized for his
comments.
Better: After criticizing Quintana's financial
policies, Fox apologized for his comments.
2) Make a pronoun refer to a specific a) Unclear: When Quintana met with Fox to
antecedent. Sometimes, rewriting with sign a new contract, he felt that a new era
changed word order to avoid for the company had begun.
ambiguity is the best option. Better: When he met with Fox to sign a new
contract, Quintana felt that a new era for the
company had begun.
b) Unclear: The announcement said that the
contest had been postponed; was saddened
to hear it.
Better: I was saddened to hear the
announcement that the contest had been
postponed.
3) Use that, which, and whom correctly. a) I told her that the project was a success,
These may stand in for individual which made her applaud. (It is unclear
nouns or entire noun clauses, and the whether it is the act of telling, or the fact
verbs used must agree with the that the project was a success, that made
antecedents. her applaud.)
b) The indigenous people had filed a formal
complaint, which drew people's attention to
the issue. (It is not the complaint, but the
act of filing it, that accomplished the
drawing of attention to the issue.)
c) They reached an agreement that was
mutually beneficial. (The verb for "that" is
"was," which agrees with the antecedent
"agreement.")
4) Who is used to introduce noun a) The man who almost won the Nobel Peace
clauses about people or animals called Prize credited Lao Tzu for inspiring him.
by name. b) The benefactor who spoke at our graduation
told us that forgiveness is liberating.
5) That is usually used for information a) Conflict, which is the heart of every story, is
that is essential to the meaning of the navigated by characters.
sentence. A clause that functions this b) The part of the story that sees the conflict's
way is called a restrictive clause, and ultimate test is the climax.
is not set off by commas. On the other c) A good resolution, which can be somewhat
hand, which may add a non-restrictive elusive, is always fulfilling.
clause, which adds detail but is
optional to the meaning of the
sentence. The optional nature of the
nonrestrictive clause is made clearer
by setting it off with commas.

6) Avoid simply saying "they say," a) Incorrect: On the news, they said that the
especially if this is used to introduce a peace treaty was a historic event.
key fact or idea. Correct: On the news, reporters said that

28
 the peace treaty was a historic event.
b) Incorrect: You know what they say: never go
to bed angry.
Correct: As the old saying goes: never go to
bed angry.

Activity: Error 101

Replace the pronoun to make its reference clear or to fix an error. If there is no error in
reference, write No Error.

Many writers try to confront difficult issues, but (1) they have problems doing so. One
writer (2) which tried to compose stories that struck at traditional ideas with modernist
values was Edna St. Vincent Millay. Many other writers and (3) her have been considered
influential to modern literary scholars and writers, because of (4) her progressive political
stance and daring portrayal of feminine experience and expression.
To those (5) which knew Edna St. Vincent Millay, (6) she grew up a well-read writer.
(7) She wrote of being "well acquainted" with the works of Milton, Wordsworth, Dickens,
Ibsen, and Eliot, (8) that were iconic writers who proved very influential. Millay's first book
was Renascence, and other Poems, which was published after she turned down the job of
secretary. (9) It was the start of later work (10) who would reflect an intriguing
understanding of the separation between the body's desires and the soul's higher nature.

1) they ____________________________ 6) she ___________________________

2) which ____________________________ 7) She ___________________________

3) her ____________________________ 8) that ___________________________

4) her ____________________________ 9) It ___________________________

5) which _____________________________ 10) who ___________________________

What are some informative writing techniques?

 One of the main types of writing is informative or expository writing. This is writing
that merely breaks down a complex topic so that it may be understood by a reader,
delivering only the facts without any personal bias. Informative writing can cover the
following topics, as long as it seeks to simply deliver information and not persuade:
o Cause and effect
o Process analysis (how something works/is made/is done)
o Definition
o Description
o Comparison and Contrast
 Writing to inform is best done with certain techniques in mind.
1. Make your writing as factual as possible, with any interpretations on your part
being based on factual information as well. Allow the reader to draw their own
conclusions based on the information you have provided. To that end, use and
properly cite credible and fact-checked references to provide the needed
information.
2. When talking about an issue, try to represent the main sides of the issue
equally and fairly.
3. Be as specific as possible in providing the reader with the who, what, where,
when, why, and how of the topic being explained.
4. Remember that the reader is not a specialist in the relevant field, and has not
done the research that you have done. As such, introduce information properly
and make it simple enough for a person with limited familiarity with the subject
to understand.
5. In presenting the information, start with that which your reader must know first
to understand what will follow. There will be facts that are nice to know but not
as necessary for understanding as others; these may be saved for later once the
groundwork for understanding the material has been done.
6. Cite your sources properly within the text. A bibliography will also be needed as
a comprehensive gathering of sources, but within the text you should remember
29
 to name your sources where relevant. In-text citations will serve as a shorthand
for the reader to find the full entry in the bibliography at the end.

Activity: Care to Share?

Answer the given questions.
1) What other writing techniques do you know? What are the writing techniques you
personally use when writing argumentative and persuasive essays in particular?

MODULE 4: Identifying Important Points in a Listening Text and Summarizing Them

(Listen)

How can you identify important points in a listening text and summarize them?
 In distinguishing important points from less important points in a listening text, keep
the following ideas in mind:
1. Listen for word chains. These cases of using similar or related words throughout
the text will point to a topic that is important.
"What writing style did Guy de Maupassant have? He was known for employing a
style that was vivid and descriptive. His writing never shied away from the darker,
baser sides of humanity, and the way he portrayed characters was often with
recognition that they were not pure personalities."
2. Listen for explicit cues and "signposts. " Sometimes a speaker will specifically and
explicitly tell the listeners what the main point is. Signposts will be expressions
that signal supporting points, and direct listeners' attention thusly.

Cues
 The main point is . .
 I'm here to tell you that . .
 The purpose of this talk is . .
 The point I want to make .
 What I'm going to try to show you is
Signposts
 The first/second/third reason
 Another important part of is .
 One way we can is . .

3. The structure of the listening text may be helpful as well. Just like most written
material, the main idea will typically be mentioned (or explicitly pointed out) at the
start of the text and once more at the end.
4. Prosody will be helpful here as well. Just as you need to use intonation and stress
to highlight important ideas when you speak, you can listen for intonation and
stress that will highlight a speaker's important ideas. These may also be repeated
(perhaps with word chains), underscoring their importance even more. Less
important points will accordingly receive less stress.
5. The main idea may be expressed in, or hinted at, a question. The main answer to
the question will be the main idea, and the reasons, ways, or other supports will
be the supporting ideas.

Summary
A summary is a short statement that highlights the important points of what you
have listened to. It compresses the ideas into sentences presented in your own words.
It covers only the essence of the original material. Writing a summary is not merely
repeating the ideas of the original form; it is compressing and categorizing them.

Here are some techniques in writing a summary:

1. Write brief key points on the material.
2. Write one sentence that covers the author's most important idea.
3. Use your own words to restate the ideas of the author.
30
 4. Present your summary in the same sequence in which they are presented in the
source material.

Module 5: Using Polite Expression in Delivering a Roast (Speak)

What polite expressions can you use when delivering a roast?

 One popular type of text written for a specific occasion is the roast. A roast is a type of
speech given to poke fun at a specific person, usually the guest of honor at a particular
gathering. Celebrities and honorees at certain gatherings are occasionally roasted, but
birthday celebrants may agree to be the subject of a roast as well. Watching a roast can
be great fun, as the speech takes the time to look at the guest of honor in an unusually
deprecating manner. However, delivering one can be surprisingly challenging, as the
tricky part is making the honoree the subject of jokes while not hurting his or her
feelings.
 How does one deliver a roast that entertainingly, but politely, pokes fun at the guest?
First and foremost, make sure to clear your material with the guest. The guest is usually
aware that they will be roasted, and may want to specify some topics that they are
comfortable being roasted over while specifically making others off-limits. Along with
such guidelines, avoid topics that may generally be sensitive on their own such as
illnesses, disabilities, deaths in the family and other sad or dark moments, and the like.
It's better to be safe than sorry—while it may be tempting to shock the audience and get
a big reaction, remember that your relationship with the guest should survive the
experience.
Formulating the roast is also best done with some language choices in mind.
1. Choose words carefully. While you will be using certain things about the guest—their
age, personality, embarrassing moments, quirks, and so on—these are often funny
enough without using harsh language that heightens how embarrassing or
problematic they are.
2. You can get a point across memorably using a story, and it won't be as pointed as
simply stating the point flatly in a sentence. Rather than say "Ben is lazy," share an
anecdote instead of one case where Ben's laziness got him in trouble.
3. Avoid "punching down" humor. This type of humor gets laughs at the expense of a
person of inferior or marginal social status or position. Roasts that use this type of
humor can come across as cruel, alienating the audience as well as the person being
roasted.
4. End on a positive note. A roast is all in good fun, but remember, the goal is not to
"push the boundaries" or to hurt any feelings. Being funny and being mean are very
different things. Striking a balance between gentle humor and praise can successfully
celebrate the guest while showing that the guest can laugh at themselves.

Activity: Politeness is a Virtue

Watch a sample roast online. Identify the polite expressions used by the speaker.
Enumerate the polite expressions here.

Module 6: Evaluating the Accuracy and Effectiveness of Information Contained in

Material Viewed (View)

31
How do you evaluate the accuracy and effectiveness of information in a material
viewed?
You watch videos all the time. However, you should make it a point to check if the
information presented in the video is accurate and effective.
In addition to the guidelines discussed in the previous lesson, when evaluating a
viewing material for accuracy and effectiveness, you should also do the following:
1. Always countercheck the information shown in the video.
2. See if the video has a clear purpose in presenting information.
3. Check if it uses an engaging format that is not distracting to the viewers.
4. Examine if it has a clear structure and message from beginning to end.

Activity: Accurate and Effective

Watch a video of your choice. Then, evaluate it based on accuracy and effectiveness.
Write your evaluation here.

OUTPUT: "Student of the Month"

Your class will be having "Student of the Month" next week. You were tapped to deliver a
quick four-minute roast celebrating this classmate as the "Student of the Month." Make
sure to use polite expressions in your roast speech.
Output: A four-minute roast speech to be placed in a letter-sized document and a video
recording of the roast
You will be graded on the basis of the following:
Send your written output in PDF format together with the video recording of your roast to
your teacher for evaluation.

CRITERIA ACTION
Content Material was original, personally relevant, and funny without
being spiteful.
Facial expression Speaker showed comfort and good humor all the time. The
intended emotions are visibly shown on the speaker’s face.
Pacing Delivery is characterized by proper pacing all the time.

LESSON 3: HAPPILY EVER AFTER

Introduction:

32
 This lesson will help you learn about fairy tale and juxtaposition in literature.
This lesson will also show how a text is analyzed according to personal significance.
Using informative writing techniques, including acknowledging references via in-text
citations will be tackled as well. At the same time, this lesson will teach you to raise
questions on issues discussed in a listening text. Appropriate language when giving a
toast or tribute in a eulogy will also be dealt with. Lastly, this lesson will educate you
on how you can raise questions to clarify issues in a material viewed.

How to join the VSMART?

 Install VSMART application or visit the website:

school.vsmart.ph
 Log in your given username and password
 Go to your scheduled lesson

OBJECTIVES:
By the end of the lesson, you are expected to:

Literature
 Explain how the elements specific to a genre contribute to the theme of a particular
literary selection. (EN10LT-IIIa-2.2);
 Express appreciation for sensory images used. (EN10LT-IIIa-2.2.1);
 Explain the literary devices used. (EN10LT-IIIb-2.2.2)
Read
 Personal significance of the selection to the reader (reader-response). (EN10RC-IIIg-
2.18; EN10RC-IIIf-2.18)
Write
 Give expanded definitions of words. (EN10V-IIIe-13.9; EN10V-IIIf-13.9)
 Use structures of modification. (EN10G-IIIe-30; EN10G-IIIf-30);
 Show respect for intellectual property rights by acknowledging citations made in the
critique. (EN10SS-IIIc-1.6; EN10SS-IIId-1.6; EN10SS-IIIe-1.6);
 Use in-text citations. (EN10SS-IIIe-1.6.5);
 Use writing conventions to acknowledge sources. (EN10SS-IIIc-1.6.4);
 Use quotation marks or hanging indentations for direct quotes. (EN10SS-IIId-1.6.6)
Listen
 Raise questions and seek clarifications on issues discussed in the text listened to.
(EN10LC-IIId-3.2)
Speak
 Use the correct and appropriate language when giving a toast or a tribute to someone
and when delivering welcome and closing remarks. (EN10OL-IIIe-3.9; EN10OL-IIIf-3.9)
View
 Raise questions to clarify issues covered in the material viewed. (EN10VC-IIIa-12;
EN10VC-IIIe-12)

Module 1: Recognizing Juxtaposition

What is a fairy tale?

33
 Literary genres have specific elements that contribute to the theme of a particular
reading selection under it. For this lecture, we will explore the third genre featured in
this quarter—fairy tale.

Fairy Tale
 The fairy tale is likely to be one of the earliest literary forms even modern people
remember encountering. This simple, seemingly straightforward narrative form is
known for its reliance on magic as a wholly normal element woven into the fabric of its
setting, with fairy godmothers and poisoned spinning-wheels and cursed beast-men
being commonplace. However, also notable is its flatness, as described by Kate
Bernheimer in "Form Is Fairy Tale": the fairy tale presents flat characters without much
psychological analysis or depth, using the characters instead as stock representatives
demonstrating human traits.
 Snow White's innocence, Hansel and Gretel's resourcefulness, Little Red Riding Hood's
inquisitiveness, and more have been fairly self-evident in these stories, as normal and
uncomplicated as the magic that is commonplace in these tales. These elements
combine to give the fairy tale a surprisingly flexible quality, able to serve as a
cautionary tale or inspiring story.

Activity: The Last Dream of the Old Oak

Of what significance is one's legacy? Read the essay, "The Last Dream of the Old Oak" by
Hans Christian Andersen. Then, answer the questions that follow. To know more about oak
trees, you may scan the image using a smartphone or a tablet.

Word Chest
Look for the meaning of the following:
• obliged - ______________________________________________________________________________
• halberd - ______________________________________________________________________________
• ascended - _____________________________________________________________________________
• Ephemera - ____________________________________________________________________________
• melancholy - ___________________________________________________________________________

The Last Dream of the Old Oak

By Hans Christian Andersen (1858)

In the forest, high up on the steep shore, and not far from the open seacoast, stood a very old
oak-tree. It was just three hundred and sixty-five years old, but that long time was to the tree as the
same number of days might be to us; we wake by day and sleep by night, and then we have our
dreams. It is different with the tree; it is obliged to keep awake through three seasons of the year, and
does not get any sleep till winter comes. Winter is its time for rest; its night after the long day of
spring, summer, and autumn. On many a warm summer, the Ephemera, the flies that exist for only a
day, had fluttered about the old oak, enjoyed life and felt happy and if, for a moment, one of the tiny
creatures rested on one of his large fresh leaves, the tree would always say, “Poor little creature! your
whole life consists only of a single day. How very short. It must be quite melancholy.”
“Melancholy! what do you mean?” the little creature would always reply. “Everything around me is so
wonderfully bright and warm, and beautiful, that it makes me joyous.”
“But only for one day, and then it is all over.”
“Over!” repeated the fly; “what is the meaning of all over? Are you all over too?”
“No; I shall very likely live for thousands of your days, and my day is whole seasons long; indeed it is so long
that you could never reckon it out.”
“No? then I don’t understand you. You may have thousands of my days, but I have thousands of moments in
which I can be merry and happy. Does all the beauty of the world cease when you die?”
“No,” replied the tree; “it will certainly last much longer,— infinitely longer than I can even think of.” “Well,
then,” said the little fly, “we have the same time to live; only we reckon differently.” And the little creature
danced and floated in the air, rejoicing in her delicate wings of gauze and velvet, rejoicing in the balmy
breezes, laden with the fragrance of clover-fields and wild roses, elder-blossoms and honeysuckle, from the
garden hedges, wild thyme, primroses, and mint, and the scent of all these was so strong that the perfume
almost intoxicated the little fly. The long and beautiful day had been so full of joy and sweet delights, that
when the sun sank low it felt tired of all its happiness and enjoyment. Its wings could sustain it no longer,
and gently and slowly it glided down upon the soft waving blades of grass, nodded its little head as well as it
could nod, and slept peacefully and sweetly. The fly was dead. “Poor little Ephemera!” said the oak; “what a
terribly short life!” And so, on every summer day the dance was repeated, the same questions asked, and the
same answers given. The same thing was continued through many generations of Ephemera; all of them felt
equally merry and equally happy.

The oak remained awake through the morning of spring, the noon of summer, and the evening
of autumn; its time of rest, its night drew nigh—winter was coming. Already the storms were singing,

34
 “Good-night, good-night.” Here fell a leaf and there fell a leaf. “We will rock you and lull you. Go to
sleep, go to sleep. We will sing you to sleep, and shake you to sleep, and it will do your old twigs good;
they will even crackle with pleasure. Sleep sweetly, sleep sweetly, it is your three-hundred-and-sixty-
fifth night. Correctly speaking, you are but a youngster in the world. Sleep sweetly, the clouds will
drop snow upon you, which will be quite a cover-lid, warm and sheltering to your feet. Sweet sleep to
you, and pleasant dreams.” And there stood the oak, stripped of all its leaves, left to rest during the
whole of a long winter, and to dream many dreams of events that had happened in its life, as in the
dreams of men. The great tree had once been small; indeed, in its cradle it had been an acorn.
According to human computation, it was now in the fourth century of its existence. It was the largest
and best tree in the forest. Its summit towered above all the other trees, and could be seen far out at
sea, so that it served as a landmark to the sailors. It had no idea how many eyes looked eagerly for it.
In its topmost branches the wood-pigeon built her nest, and the cuckoo carried out his usual vocal
performances, and his well-known notes echoed amid the boughs; and in autumn, when the leaves
looked like beaten copper plates, the birds of passage would come and rest upon the branches before
taking their flight across the sea. But now it was winter, the tree stood leafless, so that every one could
see how crooked and bent were the branches that sprang forth from the trunk. Crows and rooks came
by turns and sat on them, and talked of the hard times which were beginning, and how difficult it was
in winter to obtain food.

It was just about holy Christmas time that the tree dreamed a dream. The tree had, doubtless,
a kind of feeling that the festive time had arrived, and in his dream fancied he heard the bells ringing
from all the churches round, and yet it seemed to him to be a beautiful summer’s day, mild and warm.
His mighty summits was crowned with spreading fresh green foliage; the sunbeams played among the
leaves and branches, and the air was full of fragrance from herb and blossom; painted butterflies
chased each other; the summer flies danced around him, as if the world had been created merely for
them to dance and be merry in. All that had happened to the tree during every year of his life seemed
to pass before him, as in a festive procession. He saw the knights of olden times and noble ladies ride
by through the wood on their gallant steeds, with plumes waving in their hats, and falcons on their
wrists. The hunting horn sounded, and the dogs barked. He saw hostile warriors, in colored dresses
and glittering armor, with spear and halberd, pitching their tents, and anon striking them. The
watchfires again blazed, and men sang and slept under the hospitable shelter of the tree. He saw
lovers meet in quiet happiness near him in the moonshine, and carve the initials of their names in the
grayish-green bark on his trunk. Once, but long years had intervened since then, guitars and Eolian
harps had been hung on his boughs by merry travelers; now they seemed to hang there again, and he
could hear their marvelous tones. The wood-pigeons cooed as if to explain the feelings of the tree, and
the cuckoo called out to tell him how many summer days he had yet to live. Then it seemed as if new
life was thrilling through every fiber of root and stem and leaf, rising even to the highest branches. The
tree felt itself stretching and spreading out, while through the root beneath the earth ran the warm
vigor of life. As he grew higher and still higher, with increased strength, his topmost boughs became
broader and fuller; and in proportion to his growth, so was his self-satisfaction increased, and with it
arose a joyous longing to grow higher and higher, to reach even to the warm, bright sun itself. Already
had his topmost branches pierced the clouds, which floated beneath them like troops of birds of
passage, or large white swans; every leaf seemed gifted with sight, as if it possessed eyes to see. The
stars became visible in broad daylight, large and sparkling, like clear and gentle eyes. They recalled to
the memory the well-known look in the eyes of a child, or in the eyes of lovers who had once met
beneath the branches of the old oak. These were wonderful and happy moments for the old tree, full of
peace and joy; and yet, amidst all this happiness, the tree felt a yearning, longing desire that all the
other trees, bushes, herbs, and flowers beneath him, might be able also to rise higher, as he had done,
and to see all this splendor, and experience the same happiness. The grand, majestic oak could not be
quite happy in the midst of his enjoyment, while all the rest, both great and small, were not with him.
And this feeling of yearning trembled through every branch, through every leaf, as warmly and
fervently as if they had been the fibers of a human heart. The summit of the tree waved to and fro, and
bent downwards as if in his silent longing he sought for something. Then there came to him the
fragrance of thyme, followed by the more powerful scent of honeysuckle and violets; and he fancied he
heard the note of the cuckoo. At length his longing was satisfied. Up through the clouds came the
green summits of the forest trees, and beneath him, the oak saw them rising, and growing higher and
higher. Bush and herb shot upward, and some even tore themselves up by the roots to rise more
quickly. The birch-tree was the quickest of all. Like a lightning flash the slender stem shot upwards in
a zigzag line, the branches spreading around it like green gauze and banners. Every native of the
wood, even to the brown and feathery rushes, grew with the rest, while the birds ascended with the
melody of song. On a blade of grass, that fluttered in the air like a long, green ribbon, sat a
grasshopper, cleaning his wings with his legs. May beetles hummed, the bees murmured, the birds
sang, each in his own way; the air was filled with the sounds of song and gladness.
“But where is the little blue flower that grows by the water?” asked the oak, “and the purple bell-flower, and
the daisy?” You see the oak wanted to have them all with him. “Here we are, we are here,” sounded in voice
and song. “But the beautiful thyme of last summer, where is that? and the lilies-of-the-valley, which last year
covered the earth with their bloom? and the wild apple-tree with its lovely blossoms, and all the glory of the
wood, which has flourished year after year? even what may have but now sprouted forth could be with us
here.” “We are here, we are here,” sounded voices higher in the air, as if they had flown there beforehand.
“Why this is beautiful, too beautiful to be believed,” said the oak in a joyful tone. “I have them all here, both
great and small; not one has been forgotten. Can such happiness be imagined?” It seemed almost impossible.
“In heaven with the Eternal God, it can be imagined, and it is possible,” sounded the reply through the air.

And the old tree, as it still grew upwards and onwards, felt that his roots were loosening themselves from the
earth. “It is right so, it is best,” said the tree, “no fetters hold me now. I can fly up to the very highest point in
light and glory. And all I love are with me, both small and great. All—all are here.” Such was the dream of the
old oak: and while he dreamed, a mighty storm came rushing over land and sea, at the holy Christmas time.
The sea rolled in great billows towards the shore. There was a cracking and crushing heard in the tree. The
root was torn from the ground just at the moment when in his dream he fancied it was being loosened from

35
the earth. He fell—his three hundred and sixty-five years were passed as the single day of the Ephemera. On
the morning of Christmas-day, when the sun rose, the storm had ceased. From all the churches sounded the
festive bells, and from every hearth, even of the smallest hut, rose the smoke into the blue sky, like the smoke
from the festive thank-offerings on the Druids’ altars. The sea gradually became calm, and on board a great
ship that had withstood the tempest during the night, all the flags were displayed, as a token of joy and
festivity. “The tree is down! The old oak,—our landmark on the coast!” exclaimed the sailors. “It must have
fallen in the storm of last night. Who can replace it? Alas! no one.” This was a funeral oration over the old
tree; short, but well-meant. There it lay stretched on the snow-covered shore, and over it sounded the notes of
a song from the ship—a song of Christmas joy, and of the redemption of the soul of man, and of eternal life
through Christ’s atoning blood.

“Sing aloud on the happy morn,

All is fulfilled, for Christ is born;
With songs of joy let us loudly sing,
‘Hallelujahs to Christ our King.’”

Thus sounded the old Christmas carol, and everyone on board the ship felt his thoughts elevated, through the
song and the prayer, even as the old tree had felt lifted up in its last, its beautiful dream on that Christmas
morn.
Source: http://hca.gilead.org.il/last_dre.html

1) What is the last dream of the old oak?

2) How do humans respond to the old oak's passing?

3) Why does the old oak dream at Christmas time?

4) What does the old oak yearn for in his last dream?

5) What is the significance of the old oak's passing on Christmas day?

6) Do you feel you will be similar to the old oak in your last moments, seeking the same
thing?

7) When can one say he has lived a life of fulfillment and gratitude?

How do you recognize juxtaposition?

Literally speaking, the term juxtaposition refers to placing two items side by side. In
literature, two ideas or images may be juxtaposed in order to draw attention to their
similarities or differences, evoking comparison and contrast. They may be two independent
and distinct images (for example, a chiaroscuro painting that juxtaposes brightly lit
characters in a dark setting, or a film frame that sees a regal character in pristine white
robes standing before a pauper covered in mud and grime), or the same character seen in
two different ways (an old man looking at a photograph of himself as a young lad).

The comparison and contrast evoked by a juxtaposition works to heighten the traits of each
element being juxtaposed—a good character will seem even more virtuous when next to an
evil character, and the reverse is also true. This can be seen in works like "A Clean, Well-
36
lighted Place," where Hemingway juxtaposes a young waiter with an older waiter to show
the difference in how each thinks of life, growing old, and death: the older waiter is more
sympathetic to an elderly customer who has lost his wife, while the young waiter is instead
eager to return home to his own wife.

Charles Dickens' famous opening to A Tale of Two Cities uses juxtaposition in its pairing of
opposing concepts that, taken as conflicting forces, spell out the factors underlying the
French revolution:

"It was the best of times, it was the worst of times, it was the age of wisdom, it was the age
of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of
Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair,
we had everything before us, we had nothing before us, we were all going direct to Heaven,
we were all going direct the other way … “

Dylan Thomas' poem "Do Not Go Gentle into That Good Night" constantly pairs the ideas of
life and death, showing through this repeated juxtaposition that the struggle to remain
alive—instead of meekly waiting for death—is itself being alive.

Do not go gentle into that good night,

Old age should burn and rave at close of day;
Rage, rage against the dying of the light.

One final example of juxtaposition can be seen in Robert Frost's "Fire and Ice," where the
persona examines two contrasting pairs: the titular fire and ice, and humanity's passion
and hatred. The pairings (fire : passion and ice : hatred) are each briefly discussed in terms
of their potential to destroy the world if left unchecked.

Some say the world will end in fire,

Some say in ice.
From what I've tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice.
Interestingly, juxtaposition may also be a way to change readers' perceptions of a familiar
character. For instance, a hero's less-experienced sidekick may be seen as more mature
and capable when juxtaposed with an even more inexperienced new recruit or civilian, and
a villain may seem redeemable or at least less evil when juxtaposed with a larger, more
merciless threat.

Activity: Just a Dream

Review "The Last Dream of the Old Oak." What cases of juxtaposition are used in the story?
What effect is created by doing so?

MODULE 2: Analyzing a Text According to Personal Significance (Read)

37
How do you analyze a text according to personal significance?

 A reading text may also be understood in terms of its personal significance to you,
the reader, rather than through any external principles or ways of interpretation.
This is called reader-response criticism, which leverages your own experiences,
principles, and beliefs in deciding what a text is saying.

 Lois Tyson notes that reader-response critics believe that a reader (and thus the
reader's background, which informs his or her beliefs and principles) cannot be
separated from the experience of reading the text. Thus, a reader does not passively
consume the text but instead actively engages in reading it, negotiating its content
against the reader's existing schema to make meaning. All this is in contrast to how
other frameworks tend to view the reader as using tools external to themselves, like
the text's historical roots or its structural basis, to make sense of the text.

 Of course, simply because reader-response criticism puts you in charge of deciding

what a text means doesn't mean you can be vague about your reading. In fact,
reader-response criticism analyzes the reader as much as the text. In doing reader-
response criticism, you may ask:

1. What does the text have to do with you, personally, including your past, present,
and future?
2. Does the text reinforce or clash with your view of the world, and do you believe it
is right or wrong about that?
3. How were your views and opinions challenged by this text, if at all? Did you
change any of them, or learn anything?
4. How does it portray, handle, and address things you consider to be important
about the world?
5. What did the text do well and what did it do poorly? Was it an enjoyable text as a
piece of entertainment or work of art?

Activity: Discovering Nature

Reread the informational text, "Beauty in Nature" by Michael Popejoy, and write an essay
analyzing it using the reader-response lens.
 Open with a thesis statement that identifies your overall evaluation of the text, in
terms of its ability to have personal significance to you as a reader (reader-response).
 Provide a summary of the text that identifies its central idea and key supports,
especially ones that are relevant to your reading.
 Follow up with evidence that supports your thesis statement, including your answers
to relevant guide questions used in your chosen lens.
 Finish with a conclusion that revisits your thesis statement.

Beauty in Nature
by Michael Popejoy

"I declare this world is so beautiful that I can hardly believe it exists." The beauty of nature can have a
profound effect upon our senses, those gateways from the outer world to the inner, whether it results in
disbelief in its very existence as Emerson notes, or feelings such as awe, wonder, or amazement. But what is
it about nature and the entities that make it up that cause us, oftentimes unwillingly, to feel or declare that
they are beautiful?
One answer that Emerson offers is that "the simple perception of natural forms is a delight." When we think of
beauty in nature, we might most immediately think of things that dazzle the senses—the prominence of a
mountain, the expanse of the sea, the unfolding of the life of a flower. Often it is merely the perception of
these things itself which gives us pleasure, and this emotional or affective response on our part seems to be
crucial to our experience of beauty. So in a way there is a correlate here to the intrinsic value of nature;
Emerson says: "the so', the mountain, the tree, the animal, give us a delight in and for themselves."
Most often, it seems to me, we find these things to be beautiful not because of something else they might
bring us—a piece of furniture, say, or a 'delicacy' to be consumed—but because of the way that the forms of

38
these things immediately strike us upon observation. In fact, one might even think that this experience of
beauty is one of the bases for valuing nature—nature is valuable because it is beautiful.

Emerson seems to think that beauty in the natural world is not limited to certain parts of nature to the
exclusion of others. He writes that every landscape lies under "the necessity of being beautiful," and that
"beauty breaks in everywhere." As we slowly creep out of a long winter in the Northeast, I think Emerson
would find the lamentations about what we have 'endured' to be misguided: "The inhabitants of the cities
suppose that the country landscape is pleasant only half the year . . . To the attentive eye, each moment of
the year has its own beauty, and in the same field it beholds, every hour, a picture which was never seen
before, and which shall never be seen again."

The close observer of nature sees a river in constant flux, even when the river's water is frozen and everything
appears to be static and unchanging for a time. Nature can reveal its beauty in all places and at all times to
the eye that knows how to look for it. We can hear Emerson wrangle with himself on this very point in the
words of this journal entry:
"At night I went out into the dark and saw a glimmering star and heard a frog, and Nature seemed to say, well
do not these suffice? Here is a new scene, a new experience.

Ponder it, Emerson, and not like the foolish world, hanker after thunders and multitudes and vast
landscapes, the sea or Niagara." so if we're sympathetic to the idea that nature, or aspects of it, are beautiful,
we might ask ourselves why we experience nature in this way.

Emerson says that nature is beautiful because it is alive, moving, reproductive. In nature we observe growth
and development in living things, contrasted with the static or deteriorating state of the vast majority of that
which is man-made. More generally, he writes: "We ascribe beauty to that which . . . has no superfluous
parts; which exactly answers its end; which stands related to all things." He cites natural structures as
lacking superfluities, an observation that in general has been confirmed by the advancement of biology.
Furthermore, he says that whether talking about a human artifact or a natural organism, any increase of
ability to achieve its and or goal is an increase in beauty. So in Emerson we might find the resources for
seeing evolution and the drive to survive as a beautiful rather than an ugly process, governed by laws that
tend to increase reproductive fitness and that we can understand through observation and inquiry. And
lastly, Emerson points to the relation between what we take to be an individual and the rest of nature as a
quality of the beautiful. This consists in the "power to suggest relation to the whole world, and so lift the
object out of a pitiful individuality." In nature one doesn't come across individuals that are robustly
independent from their environment; rather things are intimately interconnected with their surroundings in
ways that we don't fully understand.

"Nothing is quite beautiful alone: nothing but is beautiful in the whole." All of these qualities of beauty seem
to go beyond the mere impression of sensible forms that we started with, and what they require is what also
served as the basis of truth and goodness in nature.

In addition to the immediate experience of beauty based in perception, Emerson suggests

that the beauty of the world may also be viewed as an object of the intellect. He writes that "the question of
Beauty takes us out of surfaces, to thinking of the foundations of things."

In other words, we can also experience the world as beautiful because of its rational structure and our ability
to grasp that structure through thought. Think for instance of the
geometric structure of a crystal, or snowflake, or nautilus shell. Or consider the complexity of the fact that the
reintroduction of the wolf in Yellowstone National Park changed the course of the rivers due to a chain
reaction of cause and effect through the food web, a process called a trophic cascade. This reinforces
Emerson's emphasis on the interconnection between all members of the natural world; as observers of nature
we are confronted with one giant, complex process that isn't of our own making, but that we
can also understand, and get a mental grasp on, even if only partially, and be awestruck in that process of
understanding.

There is thus an emotional or affective component in the beauty of the intellect just as there is in the
immediate beauty of perception. If we destroy the natural world, we take away the things that we can marvel
at and experience awe towards in these two ways. And this experience of the beautiful through the intellect
may reinforce our attributing value to nature here as well, but a deeper kind of value, the intrinsic value I
talked about in the last essay. Here it is not only that nature is valuable because it is beautiful, but nature is
beautiful because it possesses intrinsic value, grounded in its intelligible structure. Thus, we see a close
parallel between goodness and beauty in nature. We can find an objective basis for goodness and beauty in
nature, namely its intelligible structure, but also see that nature is valuable and beautiful for us, with the
particular apparatus that nature has given us for navigating our way through the world.

So that which is the basis of truth in nature and provides it with intrinsic value is also that which makes it
beautiful. Emerson himself ties these three aspects of nature into one package himself: "He should know that
the landscape has beauty for his eye, because it expresses a thought which is to him good: and this, because
of the same power which sees through his eyes, is seen in that spectacle." This is the unified philosophy of

39
nature that I set out to explicate in the first essay—nature is the source of truth, goodness, and beauty,
because of its intelligible structure, and because of its production of organisms that can recognize that
structure, us. And this view of nature includes an inherent call to protect that which is true, good, and
beautiful. These are the things that we as human beings are searching for, are striving after, and yet they're
right in front of us if only we would listen with our ear to the earth. Although I've been advocating an
approach to nature based on its intelligibility, we are far from tying down the giant that is nature with our
minds. Emerson writes that "the perception of the inexhaustibleness of nature is an immortal youth."
Although we shall continue to try to uncover nature's secrets, let us also continue to take pleasure in our
immediate encounter with her. Let us continue to be awestruck, like the child on the seashore, or clambering
up a tree. Let us hold onto that experience, and fight for the environment that makes it possible, both for the
child in each of us, and for those that come after us.

Source: Michael Popejoy. “Beauty in Nature.” Harvard Sustainability April 23 2014. Accessed November 15, 2019.
http://green.harvard.edu/news/beauty – nature

Write your essay below.

MODULE 3: Using Informative Writing Techniques: Acknowledging Citations (Write)

How can you formulate expanded definition by classification?

 Definitions typically pinpoint unique, identifiable traits of an idea or item being
defined. These may be extended through the use of classification, which connects the
specific item to the class or group that it belongs to. This information may be useful
in giving a reader a greater understanding of the nature of the item being defined, as
it may be connected to other, possibly more familiar items.
 Defining by classification involves identifying the general class that an item or term
belongs to, and may be extended further by identifying other members of that class.
Such an expanded definition may also help the reader understand the term more if
the definition cites features of that class that apply to that term. This is similar to an
expanded definition using comparison and contrast, except for the choice of items for
the term to be compared to is restricted to fellow members of a particular class.

Read the following examples:

 Fructose is a type of sugar found in many plants like root vegetables, berries, and tree
and vine fruits. Like other sugars, it can appear in crystalline form and tends to be
water- soluble; also similar to other sugars, excessive consumption of fructose can
lead to obesity and insulin resistance.
 Parliamentary democracy is a type of democracy that gives greater power to its
legislature. Like other democracies, a parliamentary democracy is built on the
participation of the people (including by representation). Also like other democracies,
a parliamentary democracy has a presidential figure; unlike them, however, in a
parliamentary democracy, the presidential figure does not carry as much authority.
 A blog is a type of new media that tends to take the form of short- or long-form
compositions in prose form. Like other types of new media, blogs are digitally
produced, organized, and shared, and are typically hosted online. They are also
similar to other new media in that there is potential for interactivity, whether in user
comments or in social- media linked applications called widgets.

Activity: Better than That

Provide an expanded definition via classification for the following terms.
40
1) Elegy - ______________________________________________________________________________
2) Lysine - _____________________________________________________________________________
3) Stoichiometry - ______________________________________________________________________
4) LED - _______________________________________________________________________________
5) Pneumonia - _________________________________________________________________________

How can you expand sentences through noun modification?

 One way to maximize the opportunity to communicate is by packing a good amount
of detail in each statement. Sentences can be expanded by modifying the nouns it
contains, thus adding more information about them.
Nouns may be modified in a number of ways:
USE EXAMPLES
Adjectives can add descriptive information complex Ideas natural law
about number, nature, and the like. generous demeanor
A noun may also be modified by another noun; star system world view
the original noun thus becomes a head noun. Science professor silver medal
Verbals that act as adjectives, such as daunting distance combined forces
infinitives and participles, may modify nouns. The person to talk to
Prepositional phrases may act as adjectives. The number of planets
The distance between the stars
The Age of Enlightenment
Subordinate clauses may also act as adjectives, The force that brings us here is Nature.
modifying a noun in the main clause. Goethe notes that "the drama that Nature
plays is always new."
I interviewed my science teacher, who
had sparked my interest in biology, for
my paper.

Activity: Go Further
Expand these sentences by modifying the indicated noun.

1. I attended a seminar whose keynote speaker was a Filipino scientist.

2. The speaker, Dr. Francisco, spoke on the traits that make a scientist.

3. He noted that expertise was essential.

4. However, he also said that his colleagues were not merely experts.

5. These men and women were also inquisitive and imaginative people.

How can you use informative writing techniques such as in-text citations?

You have learned in Quarter 2 the citing conventions Modern Language Association (MLA)
format and American Psychological Association (APA) format.

For a review, here are two ways of in-text citations:

1. Name the author or source in a signal phrase ("name asserts/suggests/claims/etc."),
then integrate the reference material (quote or paraphrase) into your own prose. Then,
include the parenthetical citation at the end of the sentence.
 In an essay on the matter of fairy tales, Lumanog suggests that these fantastic
stories were meant as "cautionary tales" (122).
 In an essay on the matter of fairy tales, Lumanog suggests that these fantastic
stories were meant as "cautionary tales" (1998, p. 122).
41
2. Integrate the reference material (quote or paraphrase) into your own prose, then include
a parenthetical citation.
 These fantastic stories have been seen as "cautionary tales" (Lumanog, 122) and
"cultural touchpoints" (Lloren, 147).
 These fantastic stories have been seen as "cautionary tales" (Lumanog, 1998, p.
122) and "cultural touchpoints" (Lloren, 2009, p. 147).

Activity: Keep Sight of Citations

Write an informative paragraph that answers one of the prompts or questions below.
Remember to cite your sources (at least two).

1. Does the Filipino culture have fairy tales?

2. What are the negative effects of taking too much caffeine?
3. What is the party-list system?
4. What are the psychological effects of cramming?
5. What legislation has been passed in the last five years to protect women?

Write your paragraph below.

MODULE 4: Raising Questions on Issues Discussed in Listening Text (Listen)

How can you raise questions on issues discussed in listening text?

 Active listening sometimes involves being open to raising questions about the
material listened to. This is particularly useful when the material is of a philosophical
or similarly complex nature. In such cases, asking questions does not necessarily
suggest a lack of understanding, but may reflect a desire to know more about a
complicated matter.
 Critical thinking can also be demonstrated by raising meaningful questions about the
material listened to, because this type of thinking entails examining the truth or
validity of information.
Keep the following in mind when asking questions to clarify issues:
1. Be as specific as possible about the issue or topic you are asking about. If
possible, quote actual statements or elements of the material that needs
clarification.
2. Make the question itself clear and purposeful. Are you asking about what a
particular statement meant? Do you need another example to illustrate how a
principle or idea applies?
3. Be open-minded and avoid being confrontational, even if the issue is one you
disagree with. Asking a question on an issue serves the purpose of obtaining
information for better understanding, not getting into a debate or looking
superior.

Activity: Enlighten Me
Using available resources, search for a podcast on the Age of Enlightenment. Listen to it
carefully, then come up with three to five questions about the discussion, which arises from
Immanuel Kant's answer to the question "What is Enlightenment?

Write your questions below.

42
MODULE 5: Using Correct and Appropriate Language When Giving a Toast or a Tribute
in a Eulogy (Speak)

 How can you use appropriate language when giving a toast or a tribute in a eulogy?
Tailoring spoken language is something we do on a daily basis, choosing our words
carefully depending on who we are speaking to and why. This care is of particular
importance when making a toast in a eulogy.
 A eulogy is a speech meant as a tribute or toast to a deceased person, typically at the
occasion of a wake or a funeral. Obviously, a eulogy must be both respectful and
meaningful.
 Here is one of some ways to prepare an effective eulogy: design the eulogy itself to
have appropriate language.

Language
1. Start with a clear idea of what the speech is specifically about. Are you telling the
audience about your own relationship with the deceased? Are you the principal
speaker or one of many?
2. The old adage "do not speak ill of the dead" holds especially true for a eulogy.
Honesty is a crucial part of a eulogy—even a tribute speech will lose effectiveness if it
rings false—but this is no place for dredging up old disagreements, grudges, secrets,
and the like. Try to choose words with positive connotations, and if you MUST speak
about challenges or difficulties the deceased encountered in life, be compassionate in
how you frame them. Review your knowledge of euphemisms and use them if the
topic cannot be avoided—of course, if it can be avoided, then do so and focus on
more positive material instead.
3. You may use inspirational or literary quotes to punctuate your eulogy—once at the
start or end will do, as using too many will take the focus away from the deceased
and will start to feel like a performance. Note, however, that the deceased person may
also have a particularly favorite saying, expression, piece of advice, or other quotable
material that may be effective.
4. Time your speech to run up to four minutes at most. Have an outline to follow,
because an aimless ramble may be disappointing or even distressing to listen to.

Activity: Memories Last

Choose a favorite historical or literary figure or a family member who has passed on. Write
a brief 4-minute eulogy for them following the guidelines discussed. Record yourself as you
deliver the eulogy, then submit your recording to your teacher.

MODULE 6: Raising Questions to Clarify Issues in Material Viewed (View)

 How do you raise questions to clarify issues in material viewed? When you are
watching a video or simply looking at photography or painting, curiosity may
sometimes arise. What is a good way to voice a need for clarification or further
discussion about a viewing material?
 Before raising a question, make sure that you also pay attention to the details
presented. These details may fill a missing puzzle piece. Only then, with an open
mind, you can ask specific, concrete questions that can be useful in seeking further
clarification or discussion.

Activity: Talk about It

Search for Elizabeth Cox's TED Talk, "What Is Impostor Syndrome and How Can You
Combat It?" Watch the video, then come up with at least five questions you would like to
ask about the issue covered in the talk.

Write your questions below.

43
OUTPUT: Producing a Research-reinforced Reader-response Audio
Essay
Your school library is considering subscribing to a particular podcast for its junior high
school students. As such, the library and your school English faculty have teamed up to
sponsor Reaction Radio, an event where a student from each junior high school level is
tapped to record an audio essay that uses the Reader-response framework to respond to a
particular podcast episode. This audio essay and script will be made available for your
batchmates, in order for them to voice their vote for the podcast to be included or not.

You are the student who has been chosen to record a reader-response audio essay that
critiques a particular podcast episode. Your audio essay must establish Vour overall
evaluation of the episode with at least three supports/bases following the reader-response
framework. This audio essay must provide an adequate explanation of the topic in the
podcast episode, supported by at least three references. It must be of good recording
quality, and your delivery must include the appropriate volume, stress, and intonation.

Output: three- to five-minute audio recording of an overall evaluation of a podcast episode,

and a script of the audio essay. You will be graded on the basis of the following criteria:

You will be graded on the basis of the following criteria:

 Audio essay: It establishes a clear central idea and includes three supports. The
content of the podcast episode is properly summarized.
 Use of Reader-Response Lens: The audio essay examines the podcast using all the
Reader-Response framework questions, which are applied properly. Appropriate
background on the student/reader is also given to flesh out his or her Reader
Response.
 Conventions (script): There are no grammar and mechanics errors.
 Use of reference: References are well-chosen, relevant, and credible. The audio essay
uses in-text citations that have no format errors.

LESSON 4: There Once Was . . .

44
 This lesson will help you learn about a short story and irony in literature. This
lesson will also show how a text is analyzed through its representation of power
struggles of characters and of gender roles. Acknowledging sources by writing a
bibliography will be tackled as well. At the same time, this lesson will teach you to
appreciate a listening text. Appropriate delivery when giving a roast and a toast or
tribute in a eulogy will also be dealt with. Lastly, this lesson will educate you on how
you can describe the emotional appeal of a material viewed.

Literature
 Explain how the elements specific to a genre contribute to the theme of a particular
literary selection. (EN10LT-IIIa-2.2);
 Express appreciation for sensory images used. (EN10LT-IIIa-2.2.1);
 Explain the literary devices used. (EN10LT-IIIb-2.2.2)

Read
• Power struggles of characters (Marxist). (EN10RC-IIIc-22.3);
• Gender relationships of characters (feminist). (EN10RC-IIId-22.4)
 
Write
• Give expanded definitions of words. (EN10V-IIIg-13.9; EN10V-IIIh-13.9);
• Use structures of modification. (EN10G-IIIg-30; EN10G-IIIh-30);
• Acknowledge sources by preparing a bibliography. (EN10SS-IIIf-1.6.3)
 
Listen
• Show appreciation for songs, poems, plays, etc. (EN10LC-IIIg-14.3);
• Describe the emotional appeal of a listening text. (EN10LC-IIIh-6.5)
 
Speak
• Deliver special speeches like toast and roast speeches, tributes, welcome and closing
remarks, speeches to introduce guest speakers/resource persons etc. effectively in
varied speech situations. (EN10OL-IIIg-1.10);
• Use the correct stage stance and behavior when giving a roast and a toast and when
paying tribute to someone in a eulogy. (EN10OL-IIIa-3.8)
 
View
• Disclose the personal significance of a material viewed. (EN10VC-IIId-28; EN10VC-
IIIh-28; EN10VC-IIIi-28)

MODULE 1: INTERPRETING IRONY (LITERATURE)

45
What is a short story?
Literary genres have specific elements that contribute to the theme of a particular reading
selection under it. For this lecture, we will explore the fourth genre featured in this quarter
—short story.

Short Story
The novel, a mainstay of the Victorian era, continues to do well in our present day thanks
to writers like J. D. Salinger, Haruki Murakami, Amy Tan, Salman Rushdie, and more.
However, one cannot ignore the rise of the short story, a compact narrative typically with a
full dose of the elements one would expect from a novel. The short story, as demonstrated
by the likes of Paz Marquez-Benitez, Shirley Jackson, Edgar Allan Poe, Nick Joaquin, and
more, uses a minimal cast of characters, a core conflict explored through a plot arc, and
various images conveyed by thoughtful narration to make is point. Interestingly, the
compact nature of the short story allows it to become memorable for the opposite reason
that a sprawling, layered novel is.
Activity: The Mountain Pool
Word Chest
Look for the meaning of the following:
• acquaintance
• enervate
• plunge
• torpor
• lassitude
• ravines
Read the essay, "The Mountain Pool" by Guy de Maupassant: http://www.online-
literature.com/maupassant/4277/ ) Then, answer the questions that follow.
1. What is the narrator doing in Monaco at the start of the story?

2. What was the accident that occurred in the cistern?

3. What bothers the narrator the most about the idea of the watch, as a "relic"?

4. How culpable is the owner of the cistern for the tragic deaths that occurred there?

5. Do you agree that this story gives "the true characteristics of a country"? Defend your
answer.

6. Is the narrator's change in perspective and appreciation due to the story a fair or normal
reaction?

How can you interpret irony?

46
At its most basic, irony is an incongruity between expectation and reality. It may be better
understood in terms of the three types of irony: verbal, situational, and dramatic.
Verbal irony
This is evident when a speaker's statement contrasts with his or her actual meaning.
Verbal irony is thus always intentional, at least on the speaker's part. Sarcastic humor, for
instance, makes use of this incongruity. Another way verbal irony may be used is in "ironic
similes" like "her smile was as warm as a hyena's" or "he is as funny as a cry for help"
which may be used by writers to make unusual comparisons with dry humor.
Situational irony
This can be seen in cases where an expected outcome is subverted and replaced with an
unexpected one, usually one contrasting meaningfully with the expected outcome.

For example, in The Wizard of Oz, the titular wizard is built up as this omnipotent and wise
force who is integral to the workings of Oz, but is revealed to ironically be just as lost as
Dorothy (and, in fact, of far less substance than the protagonists who have learned much
over their journey). That contrast is important for all the characters, because while it
deprives them of a savior to look up to, it nevertheless proves to them that they only need
to believe in themselves and each other.
The Shakespearean tragedy, Romeo and Juliet, is also rich with irony, as Romeo's attempts
to make peace between Tybalt and Mercutio (and later the Capulets and Montagues,
allowing him and Juliet to be together with their families at peace) are followed by
Mercutio's accidental death and Romeo's own vow to kill Tybalt—which end up leading to
Romeo's banishment. In this case, the very same efforts put in to fix a problem make the
problem irreversibly worse.
Dramatic irony
This can be seen in cases where information has been revealed to the audience but not to a
character, causing an incongruity between the character's reality and the audience's
expectations. The audience may witness a revelation in a scene that the character is
unaware of, resulting in the character's subsequent appearances and interactions affecting
the audience differently because of this different knowledge. This originated in Greek
tragedy and became a staple of the form.
The classic example is Oedipus from Oedipus The King, where the audience (but not
Oedipus himself) knows of his origins—making his hubris more apparent when he
pridefully insists on tracking down the cause of the plague. He realizes too late that he was
the cause of the plague all along; this is information the audience has had but which
Oedipus was ironically wholly ignorant of, despite his vaunted intellect.
Romeo and Juliet also feature many uses of dramatic irony. In an early scene, Juliet stands
on her balcony, musing on her feelings about Romeo and his unfortunate family affiliation
("Wherefore art thou Romeo?"). Although the audience sees Romeo listening below her
balcony and hearing every word, Juliet speaks her heart not knowing he can hear her. The
ending of the play also takes a tragic twist, as Romeo—thinking a drugged, sleeping Juliet
is dead, although he even obliviously remarks on how "alive" she looks in death—grievingly
drinks poison to take his own life.
Activity: How Ironic
Read "The Ambitious Guest" by Nathaniel Hawthorne and answer the following questions:
http://www.eastoftheweb.com/short-stories/UBooks/AmbGue.shtml
1. What happens to the family and their guest at the end of the story?

2. Where is the situational irony in the way the family died in the avalanche?

47
 3. What is ironic about the guest's death, given the height of his ambition to be well-
known?

4. Cite examples of verbal or dramatic irony found in the text.

How can you analyze a text through Marxist and Feminist literary criticism? By now, you
have seen a number of critical approaches to analyzing texts. These may be considered
"lenses" through which one views and makes sense of a text. Some use the text's adherence
to its genre's typical structure, or its handling of morals, or its relevance to the reader, as
bases for determining a text's substance and meaning.
Power struggles of characters (Marxist)
Marxist literary criticism, for its part, examines how the text represents and treats the
power dynamics between social classes. This is because it operates based on the
perspective and principles of its namesake, itself a movement based on the theories and
social examinations of Karl Marx. Marxist literary criticism examines economic and other
class differences in a text, as well as the way that the economic and power hierarchy in the
world of the text is structured. Interestingly, this focus for literature and art was already
built into Marx's theory about society in general, as he believed that conflict among classes
—the elite, the middle class, the working class—would always be present, leading to a cycle
of revolution. This conflict, he contended, would be mirrored in art and literature (novels,
short stories, poetry, films, etc.) produced by such a society. As such, Marxist literary
criticism examines a work by asking the following questions:
1. Who benefits from the production and acceptance of the literary work?
2. What social class is the author part of?
3. What social class does the work supposedly represent?
4. What values (diligence, equality, self-sacrifice, etc) does it reinforce, and what values
does it subvert?
5. How do characters of different social classes interact or conflict?
Gender Relationships of Characters (Feminist)
Another critical approach to reading literature that focuses on the dynamics of different
social groups is feminist literary criticism. Unlike Marxist literary criticism, the focus of
feminist literary criticism is the dynamics between genders in a text. Feminist literary
criticism follows the broader perspective of feminism, which identifies and challenges the
ways in which women are marginalized in a patriarchal (male-dominated) society, as well as
how this marginalization and dominance are resisted.
Contrary to misconceptions that have surfaced due to people misunderstanding its name,
feminism (and thus feminist literary criticism) is not about believing that women are
superior to men, or desiring to tear down men, or wanting women to dominate society
instead of men. It does, however, involve identifying ways in which equality between the
sexes is not realized, and how this is sometimes treated as part of the "default" way that
things work.
With this focus in mind, feminist literary criticism asks the following questions about a
literary work:
1. How is the relationship between men and women portrayed in the text?
2. What are the power relationships present between men and women (or characters
assuming such roles) in the text?
3. How are the roles for males and females defined?
4. What constitutes masculinity and femininity?
5. What does the text reveal about the economic, social, psychological, and political
workings of patriarchy?
6. What does the text's reception by the public and by literary critics reveal about
patriarchy?

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Activity: Women's Voice
Read an informational text that tackles the role of women in short stories. Which feminist
literary criticism questions mentioned in the discussion does the text ask in order to
examine the literary text?
Write your answer below.

How can you formulate expanded definition by illustration or example?

A definition grounds a potentially complex term by laying out what it means, making it
immediately accessible to the reader. However, some terms are better understood with
expanded definition that show them in action. These terms tend to have complex definitions
or ones that are abstract and hard to picture, which is why it may be helpful to use
illustrative examples.
When using this technique for expanded definition, it helps to think of a scenario where the
term would apply. Lay out the scenario, telling it as a narrative or process if necessary, and
then point out where the term being defined is present or in action in the scenario. If there
are real-world examples that a reader might be familiar with, those may be useful as well.
Here is an example of expanded definition:

Activity: Expound It
Define each term and provide an illustrative example for each.
1. laissez-faire leadership

2. Macroeconomic

3. hypoallergenic

4. novella

5. convection

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How can you expand sentences through verb modification?
Sometimes, a straightforward, terse statement conveys everything you need it to say. Other
times, however, it may be more useful to expand a sentence in order to add more precision
and detail. One way to accomplish this is to modify one or more verbs in the sentence. As
verbs convey information about state or action, such a modification may contribute a great
deal of information.
Note that direct objects, which receive the action of the verb, are not modifiers.
Here are ways to modify verbs and expand a sentence.
1. Adverbs. These typically single-word modifiers add information about how, where, or
when the action of the verb takes place.
 The humble child returned the gift sadly.
 The princess forgave her brother wholeheartedly.
 After I had read her the story, my sister thanked me sincerely.
2. Prepositional phrases as adverbs. A phrase starting with a preposition (of, for, under,
after, etc.) and ending with a noun (the object of the preposition) may also offer
information about how, where, or when the action of a verb takes place. More than one
prepositional phrase may be used to modify the same verb.
 Motives in fairy tales tend to be quite straightforward.
 Fairy tales often present characters with very little detail.
 Writers like Bernheimer and Nabokov have helped to develop the definition of
"fairy tale."
3. Infinitives or infinitival phrases as adverbs. The verbal form "to + verb" may act as an
adverb either by itself or in a phrase. This is usually used to say why an action is done.
 She writes new fantasy stories to change how society views them.
 She attended the seminar to find out why princesses are common characters in
this type of story.
 To serve an educational as well as entertaining purpose, fairy tales developed
lessons called "morals of the story."

Activity: More Details Please

Expand these sentences by modifying the indicated verb.
1. Children consume fairy tales because of the exciting, rich imaginative landscape they
provide.

2. Adults lose their interest in fairy tales when the struggles of the real world become
more relatable.

3. One criticism of fairy tales is that they view the world in black and white.

4. We come to realize that this perspective is not very accurate.

5. As we mature, we shift to "realistic" stories.

6. Fairy tales and fantasy elements find their way into our television and movies

50
How do you acknowledge sources through bibliography?
As you write, you are writing benefits from the work of writers who have gone before. This is
particularly true in research writing, where the very term "research" involves searching
anew for what was once already sought, found, and written about. When your original ideas
benefit from those of others, it is only right that you credit them accordingly—both out of
respect for their intellectual property and the work they put into getting it out there, and to
allow other readers to find the original works if they need them.

You have learned in the previous quarter about preparing a bibliography. As a review,
bibliography is a reference list that appears in alphabetical order at the end of your work
and gathers all the references that have also been cited within the text. There are rules and
conventions established to cite your sources: the Modern Language Association (MLA)
covers material written for arts and humanities, while the American Psychological
Association (APA) format is used for technical works found in social sciences.

Remember to gather the important information for both format such as the title of piece,
author, editor (if published as part of an anthology or compilation), publisher, publisher
address, publication date, publication format (print or digital), and additional information
such as a DOI (digital object identifier, usually for journal articles and the like) or URL.

As discussed in Quarter 2, bibliography entries in both APA and MLA formats differ for
certain print and online sources. Print sources include books, encyclopedia, magazines,
and newspapers while online sources include web page articles, magazines or newspaper
articles, and online encyclopedia articles.

Activity: My Favorite
Ask two of your classmates or friends what their favorite books are. Prepare an MLA
bibliography for their favorite books as well as yours. Remember to arrange the finished list
alphabetically. Use a hanging indent after the first line of every entry.

Write your bibliography below.

MODULE 2: DESCRIBING EMOTIONAL APEAL TO LISTENING TEXT

How can you describe the emotional appeal of listening text?

Listening to inspirational or thought-provoking speeches, and eulogies in particular, can
evoke an emotional reaction that you would like to share with others. Even when you are
not yourself moved to share your reactions, others might be curious to find out what you
thought of a speech or eulogy.
How can you describe how a speech made you feel?
1. After taking some time to reflect, clearly and correctly identify the emotion that the
speech evoked in you. Try to be as vivid and specific as possible in capturing this
effect. While simply saying "it made me sad" or "I was amused by it" technically does
answer such a question, you may be oversimplifying or understating the reaction. To
what degree was that emotion felt? Were there any mixed emotions? What were they?
2. Identify specific parts of the speech that created that effect. What was it that made
you feel or react the way you did? Was it part of the story, or a particular quote, or
the way the speaker delivered the eulogy?
3. Find personal significance in an element of the speech. Did the speech make you
reflect on something? Did it draw your attention to a question or idea that you had
taken for granted? Did it remind you of a positive or negative experience of your own?

51
Activity: Let It Show
Search for an audio or video of a eulogy using available resources. Listen to it, then answer
the following questions.

1. What emotion did the speech evoke in you? How intense was the emotion? Were there
varied, conflicting ones?

2. What part or parts of the speech evoked that particular emotion?

3. Did the speech elicit varied or conflicting emotions?

4. Was there anything in the speech you could relate to or that reminded you of your own
experiences?

5. What can you take away from the eulogy and its delivery that you can apply to enhance
your own delivery of a eulogy?

MODULE 3: Use Correct and Appropriate Delivery When Giving a Toast and a Roast
(Speak)

How can you properly deliver a toast and a roast?

You have learned in the previous lesson about using correct and proper language when
giving a toast in a eulogy. In this lecture, you will also learn to prepare a eulogy by striking
the appropriate stance and behavior.

1. It is okay to show emotion, but try to avoid being overwhelmed by it. You may smile,
or your voice may waver, or you may pause to let a moment sink in. Feel free to
occasionally take a breath to center yourself, but avoid pausing so much that it
makes the speech hard to follow.
2. The moment may be an emotionally heavy one, but it is okay to relax. A eulogy
delivered stiffly may come across as insincere. Plant your feet to avoid swaying or
pacing, but keep your shoulders loose. You may use gestures to punctuate your
words, but this is typically not needed for a eulogy.
3. You can show emotion, but try to avoid being overwhelmed by it. You may smile, or
your voice may waver, or you may pause to let a moment sink in. Feel free to
occasionally take a breath to center yourself, but avoid pausing so much that it
makes the speech hard to follow.
4. Eye contact with the audience is very helpful for a eulogy, as this way of connecting
allows you and the audience to share the emotional toll of the moment. It also allows
them to appreciate the sincerity of your eulogy.

On the contrary, roasts are meant to be entertaining at a person's expense. But like eulogy,
it also needs proper delivery to convey a message. In delivering a
roast, it is useful to remember the following:
1. Use body language and intonation that signals comfort. Overly stiff and formal
delivery might strip the roast of its comedic tone and make it seem like a harsh
performance evaluation, or indeed an aggressive rant.
2. Choose the right facial expressions to punctuate your roast. There is a big difference,
for example, between a smile and a sneer. The former is a broad grin across the face,
signaling a pleasant and light nature, while the latter is typically a scornful raising of
one corner of the upper lip, signaling disdain and contempt. The wrong facial
expression can change the vibe of the roast entirely.

52
 3. Pace your delivery appropriately. Do not rush through an anecdote, because the
audience needs to hear the parts of the story in order to be prepared for a punchline
or twist at the end. Likewise, give them a few seconds to react to your big lines; do
not cut off laughter or similar responses just to keep talking. However, do not pause
for too long, because this causes you to lose your momentum and makes you.

Activity: A Toast and a Roast

Search for a toast and a roast using available resources. First, read each text silently, then
deliver each of them, applying all the proper stance and behavior you have learned in the
discussion. Take a video of yourself or ask someone to do so. Then, submit your video to
your teacher.

MODULE 4: Disclosing the Personal Significance of a Material Viewed (View)

How can you disclose the personal significance of a material viewed?

Prior knowledge is the sum of experiences, culture, and knowledge that a viewer brings in
to a viewing material. That is why one can relate to something by watching a drama series,
speech, talk show, etc. as it brings emotional appeal to viewers, similar to reading and
listening.
In order for you to understand a material viewed, you connect with it. This does not only
aid in comprehension, but it also makes viewing significant. When one connects with a
video or an image, he or she is said to be tapping his or her prior knowledge.

Activity: To a Friend
Watch Barack Obama's eulogy for Senator John McCain, and answer the following
questions:

1. What did you notice about Obama's stance and body language throughout his delivery
of the eulogy? As a viewer, what effect do you feel these had on the eulogy?
2. What did you notice about Obama's pacing and use of stress for certain words in his
delivery of the eulogy?
3. What emotion did the speech evoke in you? How intense was the emotion? Were there
varied, conflicting ones?
4. What part or parts of the speech evoked that particular emotion?
5. Was there anything in the speech you could relate to or that reminded you of your own
experiences? What are those?

Output: Writing a Movie Comparison

It is "Critical Media Consumption" month, and as such the school newspaper is preparing a
set of articles online exploring and exemplifying that topic. As a contributor to the school
newspaper's Features section, you will write an article for your audience of high school
peers.

In keeping with the theme of the month, your article will use the Marxist or Feminist
critical lens to analyze two movies that are popular with your audience. Your analysis will
explain how these two movies show power dynamics between sectors of society. The article
must reinforce its claims using three references, which must be acknowledged with in-text
citations and in a bibliography.

Output: a feature article of 700-800 words.

You will be graded on the basis of the following criteria:
 Task Fulfillment: All the informative writing techniques are seen to make the article
clear.
 Use of Marxist or Feminist Lens: The writer correctly uses the guide questions to
identify
 differences in power dynamics within each movie. The writer explains the application
of the lens clearly.
 Use of reference: References are well-chosen, relevant, and credible. The article uses
in- text citations and a complete bibliography, which has no format errors.
 Conventions: There are no grammar and mechanics errors.

53
LESSON 5: VARIED VIEWPOINTS

This lesson will teach you about evaluating literature. This lesson will also shed
light on how you can identify textual details that affirm or refute a claim. To add, there will
be a review on expanding definitions. At the same time, this lesson will teach you how to
expand sentences through verb modification using clauses. You will also be taught how to
write a critique. Moreover, this lesson will discuss how to react to a text listened to.
Introducing a speaker or a resource person will also be dealt with. Lastly, this lesson will
educate you on how you can share viewpoints based on ideas presented in a viewing
material.

Literature:
• Evaluate literature as a source of wisdom in expressing and resolving conflicts
between individuals or groups and nature. (EN10LT-IIIg-20; EN10LT-IIIi-20)
• Explain how the elements specific to a selection build its theme. (EN10LT-IIId-14.2)
• Explain how a selection may be influenced by culture, history, environment, or other
factors. (EN10LT-IIIe-3; EN10LT-IIIf-3)
• Draw similarities and differences of the featured selections in relation to the theme.
(EN10LT-IIIh-2.3)
Read:
• Examining biases. (EN10RC-IIIi-3.1.12)
• Identifying textual details that affirm or refute a claim. (EN10RC-IIIh-23.1)
Write:
• Give expanded definitions of words. (EN10V-IIIi-13.9)
• Use structures of modification. (EN10G-IIIi-30)
• Compose an independent critique of a chosen selection. (EN10WC-IIIg-14; EN10WC-
IIIh-14; EN10WC-IIIi-14)
Listen:
• React intelligently and creatively to the text listened to. (EN10LC-IIIe-2.9; EN10LC-
IIIi-2.9)
• React to the falsity or soundness of an argument. (EN10LC-IIIf-3.13)
• Get different viewpoints on various local or global issues. (EN10LC-IIId-3.18)
Speak:
• Deliver special speeches like toast and roast speeches, tributes, welcome and closing
remarks, speeches to introduce guest speakers/resource persons etc. effectively in
varied speech situations. (EN10OL-IIIi-1.10)
• Use the correct stage stance and behavior when giving a roast and a toast and when
paying tribute to someone in a eulogy. (EN10OL-IIIb-3.8)
View:
• Share viewpoints based on the ideas presented in the materials viewed. (EN10VC-
IIIb-23; EN10VC-IIIf-23)

54
MODULE 1: Evaluating Literature (Literature)

How can you evaluate literature?

Unit Big Question: How does literature enable us to express and resolve conflicts with
others and with nature?
Throughout history, literature has been a body of diverse genres mirroring the development
of society. As social attitudes grow and shift with each historical era, conflicts and crises
witnessed by people become recorded and reflected in the poetry, philosophical writing,
tales, and short stories of that age, eventually getting passed on to later generations who
can learn from their example in more ways than one. We readers of the modern day have
the benefit of literal centuries of literary wisdom that can give us another way of looking at
conflicts that we encounter, as well as ways to critically understand and hopefully resolve
them. As you evaluate the reading selections in this unit, reflect on how literature
enables you to express and resolve conflicts with others and with nature.

Compare and Contrast

A method that can help you in evaluating literature is compare and contrast. In drawing
the similarities and differences of the featured reading selections, you may consider a
variety of factors that influenced each selection—culture, history, environment, etc. You
may also explore the literary genres and identify how elements specific to each genre
contributed to the theme of the selection as well as how elements specific to the selection
itself contributed to the theme of the entire piece.

Activity: Compare Texts

Answer the questions below.

1. Choose two texts from the quarter. What topics or issues did these two texts explore,
and how did the features of their literary genres enable you to explore and understand
those topics or issues?

2. How have these text empowered you to respond to such issues or conflicts in your own
context?

Activity: Reflect on the Big Question

Answer the questions below.

1. How are conflicts between people and nature raised and resolved in the selections
and activities? Cite examples that stood out to you.

2. How did literature empower you to overcome the conflicts and complications of life?
Why do you say so?

MODULE 2: Identifying Textual Details that Affirm or Refuge a Claim (Read)

How can you identify textual details that affirm or refute a claim?

When doing research, one important skill is identifying information that supports or
counters a claim, especially if the research is for writing a persuasive text. You used this
skill in the previous lessons, making claims based on the critical approach you used to
read a text, and supporting those claims using details from the text.

Research is much the same way—the authors writing the articles will make claims, which
they will support with information like facts and other details throughout the articles.

55
Supporting information may include explicit statements from credible sources who agree
with the claim, or facts that help prove it to be true. These facts may include examples of
the claim in action, or related factual claims that corroborate the original claim.
Sometimes, these texts will have expressions that explicitly connect the supporting
information to the claims.

Claim: The latest Sumdac smartphone release is poor value for money.

Supporting information:
• The first reason that the latest release is not a good value is that three independent
product reviews from reputable reviewers point out the product's poor battery life.
• Also, the product specifications show less storage capacity than similarly priced
phones.
• Finally, the company's last two phones at this price point also offered poor value for
money.
Conversely, information that refutes a claim would include explicit denials of the claim by
reputable sources, as well as facts that speak to the opposite of the claim being true.
Additionally, facts that challenge the relevance or applicability of the claim will help refute
it as well. Signposts and similar expressions may also serve to indicate the introduction of
contradictory or refuting information.

Claim: The proposed traffic rerouting scheme for this gated community will make
traffic flow more efficient and reduce congestion.

Information refuting claim:

 However, there is no data measuring effectiveness for this particular community.
 This rerouting scheme has been seen to work in another gated community, but that
community was much larger and had more alternate routes for vehicles, which this
community does not.
 A gated community with similar road density and driving population to ours tried
this rerouting scheme last year, and traffic congestion was not significantly different
from before.

Examining Biases
Credible references and the like are typically expected to be impartial and grounded in
facts, but sometimes a reference may appear to be leaning toward a particular side. Some
may represent only one side of an issue clearly or fairly, while downplaying the other.

These are some ways to watch out for possible biases:

1. Consider the source. Find out what you can about the writer, and about the people
or entity that paid to produce the material. Do they have any vested interests in
presenting the material in a particular way?
2. Look for what isn’t there. What is omitted often makes a statement just as much as
what is included. Is any information missing that seems relevant or even important?
3. Check the tone of the work. Is it merely informing, or does it appear to be geared
toward selling something, or persuading the reader of a particular belief or idea?
4. Can the claims made be verified independently of this source? If possible, fact-check
the material by reading similar texts produced independently of this one.

MODULE 3: Writing a Critique of a Selection (Write)

How can you expand a definition?

All throughout the quarter, you were taught different ways on how you can expand
definitions. Let us review them below.

 An analogy uses word relationships, including similarities, and can be a basis for an
additional, expanded definition for a term.
 Comparison and contrast can be used to expand a definition by highlighting common
features as well as differences that help separate one idea from others.
 Classification can add information to a basic definition by allowing us to see what
traits an idea has in common with related ideas in that class, as well as what sets it
apart.
 An illustrative example can take an often-abstract idea or its definition and ground it
in the reader's experience, which is more concrete and familiar.

56
 Activity: Let's Define
Think of a word and define it using analogy, comparison and contrast, classification,
and illustrative example.

1. (analogy)

2. (comparison
and contrast)

3. (classification)

4. (illustrative
example)

How do you expand sentences through verb modification using clauses?

Additional information may be attached to a verb in a sentence through the use of

adverbs and adverbial phrases, but subordinate clauses may serve that purpose as
well. A clause is a group of words with a subject and verb, and (among other uses)
subordinate clauses may be used to modify individual words in the main clause.

Adverb clauses may offer information about how, why, where, when, and to what extent
an action expressed in a verb is done.

 The committee declined the proposal because it was too costly.

 The researchers completed their analysis before the deadline passed.
 She reviewed the data until she was satisfied that every respondent had been
counted.
 She had lived in the city since she had gotten the job at the paper company.
 He started writing on his computer once the power had been restored.
 Different clause markers can introduce adverb clauses that provide specific
information.

Indicated Information Clause Markers

Time when, while, whenever, as soon as
Place where, wherever, everywhere
Concession despite, in spite of, although, even though
Condition unless, even if, if, only if
Reason as, in case, because, so
Purpose so, in order that, so that
Manner like, as, as if/as though

Activity: You Complete Me

Expand these sentences by supplying the rest of the adverb clause.

1. Some have a hard time defining irony because

2. It confuses some readers so much that

3. In truth, however, irony can heighten your enjoyment of a story if

4. A reader should learn to recognize irony because

5. Literary situations manifest irony when

57
How do you write a critique of a selection?

One way to respond to a selection read is by writing a critique. This demonstrates a

thorough understanding of the material as well as critical thinking that allows you to weigh
the substance and quality of the text.
An important thing to remember is that a critique is not an exercise in finding fault with
the text, or simply reviewing it according to preference or taste. A critique is more in line
with an evaluative analysis, where the text is examined closely and its strengths and
weaknesses are appraised.

In writing a critique, follow these steps:

1. Read and understand the text thoroughly. Choose a particular lens for reading the
text—you have encountered a few options in this quarter—and use that lens' focal
points and questions to make sense of the text. Make notes and annotate the text as
you go along, so that you have plenty of material for the next step.
2. Structure your critique. The framework for writing a critique is as follows:
a. Introduction. This is a short (about 10% of the whole composition) section
where you must identify the title and author of the work, briefly describe the
context that informs the creation of the work, and state your thesis, or the
overall evaluation of the work—what you feel its goal is and whether or not it
succeeded at that. The evaluation may be positive, negative, or mixed, but
there must be an evaluative stand. A neutral or opinion less evaluation is not
much of a critique.
b. A summary of the work. The reader will need this information in order to
understand your analysis and evaluation afterwards, so include relevant plot
elements, character details, and information about the context of the work.
Point out as well how the author accomplishes the goals of the text, by naming
techniques, styles, symbols, and so on where relevant. The rule of thumb for
this section is: if you will examine it in depth in the evaluation, or if the
information helps the evaluation section become clearer, it should be included
here.
c. Critical Evaluation. This section should include an organized, detailed
analysis of the work using your chosen lens, bearing out your thesis
statement and providing supports for why you feel the work succeeded at its
goal or not. You must break down the strengths and weaknesses of the work,
using specific examples and evidence from the text. You may organize this
section by starting with the broader, larger scale impressions, and then
moving on to the more specific, technical points.
d. Conclusion. This is where you briefly summarize the points you have just
made, leading to a restatement of your verdict about the text.

Activity: "A Piece of String"

Write a three-paragraph critique of "A Piece of String" by Guy de Maupassant. Your critique
must properly analyze and interpret the story using one of the following critical lenses:
structuralist, formalist, moralist, feminist, or Marxist, demonstrating a good grasp of the
relevant points for analysis and correct usage of the relevant terminology. Within your
critique, you must stipulate three bases with which you are analyzing the story. Ultimately,
your critique must judge the text as successful or not according to the metrics set up by
your chosen critical lens. Place your output in a letter-sized document. Then, send it to
your teacher.

MODULE 4: Reacting to Text Listened to (Listen)

How do you react to a text listened to?

Reacting Intelligently and Creatively Part of demonstrating that we have learned or acquired
something from a material listened to is responding to it. This may be done in a formal
manner, such as when one is a designated reactor or respondent, or less formally in
conversation about the material. In either case, there are some guidelines to keep in mind
to keep reactions intelligent and creative.
1. Remember that your opinion has value. Many people miss out on the opportunity to
share their opinions because of doubts about this. However, its value is only clear to
others when it is presented well.
2. Ground your response in something specific from the material, and point out what that
is, quoting or paraphrasing as needed. Identify the statement being responded to, and

58
 then give your reaction. The value of a reaction is diminished when it is not clear what
you are responding to.
3. You may respond to the material on multiple levels: emotional, as well as conceptual.
Where possible, try to provide both; do not just say whether you liked the material or
not, but respond to the points that it makes as well. This is a good opportunity to
demonstrate the ability to listen and view critically.

Reacting to Falsity or Soundness of an Argument

An argument is considered to be valid if the premise appears to be true, which leads to a
true conclusion as well. Arguments can either be true or false and never either. To test the
validity of the argument, we must assume that the premises are true, and then ask if it is
possible that the conclusion is untrue. If it appears to be untrue, then the argument is
invalid.

Read the following examples:

All dogs are four-legged. (TRUE)
Poodles are four-legged. (TRUE)
Therefore, poodles are dogs. (TRUE)
Education is a basic human right. (TRUE)
Language subjects are important in education. (TRUE)
Therefore, Language subjects are a basic human right. (FALSE)

The validity of an argument is based on the truthfulness of the conclusion based on the
premises of the argument. A sound argument is a valid argument with true premises.

Activity: Listen Well

Listen to your teacher read the listening text and answer the following questions.

1. What is the main idea of the text?

2. What, for you, was the most striking detail in the text?
3. How do you feel about the issue? Ground your reaction in a concrete detail from the
text.
4. Come up with a headline or slogan based on the listening text's main idea and
including its most striking detail.

Activity: Valid or Invalid?

Explain the validity and soundness of the set of arguments your teacher will present.
Place your output here.

MODULE 5: Introducing Guest Speakers or Resource Persons for a Special Speech

(Speak)

How do you introduce guest speakers or resource persons for a special speech?

Sometimes, when giving a special speech for a particular occasion, we may not be the only
intended speaker. In such cases, we must know how to prepare the audience for another
speaker, who is typically a guest uniquely qualified to give that talk. In personal or family
events like a birthday gathering or a wedding reception, this may be a relative or the best
man. In special symposia, this may be a keynote speaker.

In any event, there are a few guidelines that will help when it comes to introducing the
guest speaker. They are as follows:
1. Keep the introduction brief. The guest speaker will likely have something important
to say, so it is best to leave them with as much time as possible for their speech.
2. If possible, find out from the guest speaker how they would like to be introduced. If
the guest speaker is not available or has no particular preference, verify with the
organizers of the event. Typically, some background on the speaker is useful, as not
everyone present may know much about them or their qualification to give the talk.

Some basic rules of thumb:

 When introducing a relative or friend for a personal speech, establish their
relationship to the celebrant of the event (this may be the groom's best man or
the roastee’s college roommate).
 When introducing a keynote speaker, establish their credentials (recent
relevant educational background, recent and/or relevant scholarly work and

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 publications, and so on). Likewise, if necessary, verify how to pronounce the
guest's name as well as any unfamiliar names or terms relevant to the
background.
3. Save the guest's name for last. You may begin the introduction with "our next guest"
or "today's keynote speaker" and the like, and then briefly cover the speaker's
credentials and suitedness for the talk. The introduction may then end with asking
the audience to welcome the guest, and then giving the guest's name, which will also
be the audience's cue to applaud.

Activity: Let Me Introduce...

Imagine this scenario:
It is your best friend's birthday. You were asked to give a short birthday speech for him or
her. Next to give a speech is your friend. Introduce him or her. Take a video recording of
your introduction. Send it to your teacher for evaluation.

MODULE 6: Sharing Viewpoints Based on Ideas Presented (View)

How do you share viewpoints based on ideas presented in a material viewed?

In sharing viewpoints based on the ideas presented in a material viewed, you may
do the following:
a. Watch the video well. Pay close attention to the points being raised.
b. Take notes when you can to help you remember important information.
c. Process your thoughts. Make sure that your opinion is supported by evidence
from the video itself or from your experience.

Activity: "Is Metro Manila air getting cleaner?"

Watch the video, "Is Metro Manila air getting cleaner?" by CNN Philippines:
https://www.youtube.com/watch?v=2y3omK9C7ro Then, answer the questions below.

1. What is the main idea of the video? Name one to two specific supports the video uses
to make its point?

2. What is your opinion about the issue presented in the video? Identify one key point
from the video that resonated with you. Why does this point resonate with you? What
are your thoughts on it?

Output: Emcee for a Day

Your school will be celebrating its annual Faculty Day. This year, it will be done online and
will be live-streamed on your school's page. You are emceeing the event of your school and
your adviser is the keynote speaker. Your task is to prepare a brief introduction for your
adviser, following the guidelines discussed on this lesson. Note that you may need to
interview your adviser to have some details to use for
the introduction.

Output: A six to eight sentence introduction for your adviser to be placed in a letter-sized
document and a video recording of the introduction
You will be graded on the basis of the following:

Brevity: The introduction fits within the allotted sentence count.

Substance: Emcee provides brief, relevant background (credentials) on the guest being
introduced. Guest's name is saved at the end of the introduction.
Delivery: Emcee was clearly audible and intelligible. He or She puts appropriate emphasis
on facts about the guest and the guest's name.

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