9

English
Quarter 1, Wk.1 - Module 3
Compose Forms of Literary Writing

Department of Education ● Republic of the Philippines

I
English- Grade 9
Alternative Delivery Mode
Quarter 1, Wk 1 - Module 3: Compose Forms of Literary Writing
First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any
work of the Government of the Philippines. However, prior approval of the government
agency or office wherein the work is created shall be necessary for exploitation of such
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the payment of royalty.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
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Every effort has been exerted to locate and seek permission to use these materials
from their respective copyright owners. The publisher and authors do not represent
nor claim ownership over them.

Published by the Department of Education – Division of Iligan City

Schools Division Superintendent: Roy Angelo L. Gazo, PhD.,CESO V

DEVELOPMENT TEAM OF THE MODULE

Writer: PATRICIA V. ABITONA-VILLANUEVA

Reviewer: FROILAN D. ESCALANTE
Content and Language Evaluators: CARLITO A. ABARQUEZ
JEAN T. WALID
Design and Lay-out Evaluator: JOAN A. ENAD
Illustrator/Layout Artist: REZZEL MAE A. MONTECILLO

Management Team
Chairperson: Roy Angelo E. Gazo, PhD, CESO V
Schools Division Superintendent

Co-Chairpersons: Nimfa R. Lago, MSPh, PhD, CESE

Assistant Schools Division Superintendent

Members: Henry B. Abueva, EPS, OIC-CID Chief

Sherlita L. Daguisonan, LRMS Manager
John Ryan Dela Cruz – Division English Coordinator
Meriam S. Otarra, PDO II
Charlotte D. Quidlat, Librarian II

Printed in the Philippines by

Department of Education – Division of Iligan City
Office Address: General Aguinaldo, St., Iligan City
Telefax: (063)221-6069
E-mail Address: iligan.city@deped.gov.ph

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 English9
Quarter 1, Wk.1 - Module 3
Compose Forms of Literary Writing

This instructional material was collaboratively developed and reviewed

by select teachers, school heads, Division English Coordinator of the
Department of Education - Division of Iligan City. We encourage teachers and
other education stakeholders to email their feedback, comments, and
recommendations to the Department of Education-Iligan City Division at
iligan.city@deped.gov.ph or Telefax: (063)221-6069.

We value your feedback and recommendations.

Department of Education ● Republic of the Philippines

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 Table of Contents

What This Module is About ........................................................................................................ v

What I Need to Know ................................................................................................................. v

How to Learn from this Module................................................................................................. vi

Icons of this Module................................................................................................................... vi

What I Know…………………………………………………………………………………………......…vii

Lesson 1:

Compose Forms of Literary Writing .................................................................... 1

What I Need to Know ........................................................................................ 1

What’s New ...................................................................................................... 2

What Is It ........................................................................................................... 3

What’s More ….................................................................................................. 11

What I Have Learned ........................................................................................ 12

What I Can Do ................................................................................................... 12

Summary .........................................................................................................................13

Assessment: (Post-Test) ..................................................................................................14

Key to Answers…………………………………………………………………………………………….18
References ............................................................................................................................... ..19

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What This Module is About

Welcome aboard mate! This is the New Normal in education. As a student, you may
miss going to school, eating lunch with your fellow classmates, and learning inside the four
walls of the classroom. With the current situation, you are no longer required to physically go
to school for health reasons. However, do not worry because learning can still be done
anywhere you go by using this module!

This module is a continuation of the previous module on examining sample texts

representative of each type under writing and composition competency. This module focuses
on composing forms of literary writing that will help you understand different text types as
means of enhancing your writing skills. As you go through the module, you will find varied
tasks and writing activities.

What I Need to Know

Below are the learning objectives that are set for you to learn as you go along the module.
You will be able to:
1. identify and differentiate different literary forms;
2. draw inference about the poems analyzed;
3. create/write a piece of literature using the elements of a certain literary
form

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How to Learn from this Module
To achieve the objectives cited above, you are to do the following:
• Take your time reading the lessons carefully.
• Follow the directions and/or instructions in the activities and exercises diligently.
• Answer all the given tests and exercises.

Icons of this Module

What I Need to This part contains learning objectives that
Know are set for you to learn as you go along the
module.

What I know This is an assessment as to your level of

knowledge to the subject matter at hand,
meant specifically to gauge prior related
knowledge
What’s In This part connects previous lesson with that
of the current one.

What’s New An introduction of the new lesson through

various activities, before it will be presented
to you

What is It These are discussions of the activities as a

way to deepen your discovery and under-
standing of the concept.

What’s More These are follow-up activities that are in-

tended for you to practice further in order to
master the competencies.

What I Have Activities designed to process what you

Learned have learned from the lesson

What I can do These are tasks that are designed to show-

case your skills and knowledge gained, and
applied into real-life concerns and situations.

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 What I Know

Today, you will answer a pre-test to measure your prior knowledge.

1. Which of the following express a strong or sudden feeling?

A. Are you coming with us? B. Put the clothes in the dryer.
C. What a party we had! D. Put everything away neatly.

2. A type of lyric poem that is usually written to praise and express sorrow for
someone who is dead.
A. Ode B. Elegy C. Sonnet D. Ballad

3. It is a group of lines within a poem.

A. paragraph B. stanza C. quatrain D. verse

4. This type of writing creates an emotional appeal among readers.

A. literary writing B. journal C. newspaper writing D. line break

5. This refers to a pattern of words that contain similar sounds.

A. caesura B. rhyme C. end-stop D. punctuation

6. This refers to where a line of poetry ends.

A. stanza B. rhyme C. meter D. line break

Read the excerpt of the poem “Loneliness” by Katherine Mansfield and answer the
following. (for numbers 7-8)

“Through the sad dark the slowly ebbing tide

Breaks on a barren shore, unsatisfied.
A strange wind flows... then silence. I am fain
To turn to Loneliness, to take her hand,
Cling to her, waiting, till the barren land
Fills with the dreadful monotone of rain.”

7. Which word best describes the tone of the poem above?

A. inspired B. mournful C. optimistic D. frustrated

8. Which word best describes the mood of the poem above?

A. excited B. playful C. angry D. gloomy

9. These lines are from Longfellow’s “A Psalm of Life”. How will “tell me not” and
“trust no Future” be written in normal word order?
A. I will tell; I will trust
B. You are to tell; you are to trust
C. You will tell me.; You will trust me.
D. Do not tell me.; Do not trust the future.

10. Which of the following lines is an example of assonance?

A. “Each beach beast thinks he’s the best beast”

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B. “Sally sells seashells by the seashore”
C. “Warm, beating, frantic, winged; music and blood”
D. “On the fifteenth of May, in the jungle of Nool”
11. It is the repetition of the same first consonant sound within a line or lines of a
poem.
A. Consonance B. Assonance C. Alliteration D. Onomatopoeia

12. What figure of speech is found in the excerpt from Sharon Hendricks’ “My
Town?”
The fence posts gossiped and watched cars go by
which winked at each other just to say hi.
The traffic lights yelled, "Stop, slow, go!"
The tires gripped the road as if clinging to life.

A. hyperbole B. alliteration C. personification D. consonance

13. “Friends, Romans, countrymen, lend me your ears.”

The word “ear” connotes the idea of
A. people giving their ears
B. people listening to him attentively
C. people going to other country
D. people talking about ears

14. It is a lyric poem that is written to praise a person, event, or object.

A. ode B. elegy C. sonnet D. ballad

15. What is being expressed in the line?

“Now that I am without you, all is desolate;
All that was once so beautiful is dead.”
A. his mourning
B. his happiness
C. his accomplishments
D. his rewards

16. Which one of the five senses is used in this sentence?

“The wolf howled painfully over the loss of his mate.”
A. sight B. sound C. touch D. taste

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 Read the following text and answer the following items. Rubrics is provided.

The Road not taken

by Robert Frost

Two roads diverged in a yellow wood,

And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;

Then took the other, as just as fair,

And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,

And both that morning equally lay

In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.

I shall be telling this with a sigh

Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.

17. Which road did the speaker take? Do you think he made the right choice? Why?
Support your answer with the lines from the poem.

18. What can be considered as crossroads in life? Do you think that the choices you
made in life has made you a better person today? Support your answer with a personal
experience.

“A Psalm of Life”
by Henry Wadsworth Longfellow

Life is real! Life is earnest!

And the grave is not its goal;
Dust thou art to dust returnest,
Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;
But to act, that each tomorrow
Finds us farther than today

Lives of great men all remind us

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 We can make our lives sublime,
And, departing, leave behind us
Footprints on the sand of time;

Let us, then, be up and doing,

With a heart for any fate;
Still achieving, still pursuing,
Learn to labor and to wait.

19. Above are some lines from Longfellow’s “A Psalm of Life”. In the three boxes of the chart
below are terms that describe how the speaker regard life. Do you agree with the author?
Justify your answer for each of the key term.

LIFE

REAL LABOR
20. A poet’s business is to instruct and guide; to stir and to endow with life, to inspire,
energize and delight. How does the poet fulfill this objective in the poem “A Psalm of Life”?
Justify your answer.

Rubrics
3 Presented content clearly and concisely with a logical progression of
points ideas and effective supporting evidence.
2 Presented most of the content with a logical progression of ideas and
points supporting evidence.
Presented content which was unfocused, poorly organized, showed
1 point little thought or effort and lacked supporting evidence.

Process Questions:
1. How did you find the pre-test?

2. What were the terms in the test that were familiar to you? Cite some.

x
 Compose Forms of Literary
Lesson Writing
1
What I Need to Know

Below are the learning objectives that are set for you to learn as you go along
the module.
You will be able to
1. identify and differentiate different literary forms;
2. draw inference about the poems analyzed;
3. create / write a piece of literature using the elements of a certain literary
form

What’s In

This time, let us connect the previous lesson with that of the current one. For review,
let's fill in the triple Venn diagram we have below. In each circle, enumerate the
individual and unique features of informative, journalistic and literary writing. However,
on the overlapping parts of the circles, identify common features shared between these
types of discourse.

Poem

Composition
News Article

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 What’s New
Now, you are going to brainstorm and analyze the poem. Write your answers in the
table from the questions designated to each poem.

THE RAINY DAY

Henry Wadsworth Longfellow

The day is cold, and dark, and dreary;

It rains, and the wind is never weary;
The vine still clings to the moldering wall,
But at every gust the dead leaves fall,
And the day is dark and dreary.

My life is cold, and dark, and dreary;

It rains, and the wind is never weary;
My thoughts still cling to the moldering Past,
But the hopes of youth fall thick in the blast,
And the days are dark and dreary.

Be still, sad heart! and cease repining;

Behind the clouds is the sun still shining;
Thy fate is the common fate of all,
Into each life some rain must fall,
Some days must be dark and dreary

A TIME TO TALK
Robert Frost

When a friend calls to me from the road

And slows his horse to a meaning walk,
I don't stand still and look around
On all the hills I haven't hoed,
And shout from where I am, What is it?
No, not as there is a time to talk.
I thrust my hoe in the mellow ground,
Blade-end up and five feet tall,
And plod: I go up to the stone wall
For a friendly visit.

Poem 1
1. What kind of day was described by Longfellow in his poem? Cite words that describe
the day.
2. Are feelings conveyed in the poem?
3. What lessons in life does Longfellow share with us in the poem?
Poem 2
1. Was the speaker in Poem 2 the person who received a visit, or was he the visitor?
2. What did the speaker in Poem 2 feel that day?
3. Is it right to leave your work to spend time with a friend? Why?

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 Poem 1 Poem 2

Process Questions:
1. How do you find the activity?
2. For Poem 1, are sad or happy feelings and memories associated with rain or rainy
days? How?
3. Do you recall any worthy experience in the past similar to the idea presented in poem
2? What kind of feeling did you experience?
4. Can you see the actions and the characters? How?
5. Do the poets’ lines reveal any ideas about their nature and way of thinking?
6. How do poets influence our lives and our ways of thinking and doing things?

What Is It
Before writing a short story, you should remember that all the elements of a short
story should be present. Read the short story below and do the task that follows:

The Cask of Amontillado

By Edgar Allan Poe

THE thousand injuries of Fortunato I had borne as I best could, but when he ventured
upon insult I vowed revenge. You, who so well know the nature of my soul, will not suppose,
however, that gave utterance to a threat. At length I would be avenged; this was a point
definitely, settled --but the very definitiveness with which it was resolved precluded the idea of
risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution
overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt
as such to him who has done the wrong.

It must be understood that neither by word nor deed had I given Fortunato cause to
doubt my good will. I continued, as was my wont, to smile in his face, and he did not perceive
that my smile now was at the thought of his immolation.

He had a weak point -- this Fortunato -- although in other regards he was a man to be
respected and even feared. He prided himself on his connoisseurship in wine. Few Italians
have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and
opportunity, to practise imposture upon the British and Austrian millionaires. In painting and
gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was
sincere. In this respect I did not differ from him materially; --I was skillful in the Italian vintages
myself, and bought largely whenever I could.

It was about dusk, one evening during the supreme madness of the carnival season,
that I encountered my friend. He accosted me with excessive warmth, for he had been drinking
much. The man wore motley. He had on a tight-fitting parti-striped dress, and his head was
surmounted by the conical cap and bells. I was so pleased to see him that I thought I should
never have done wringing his hand.

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 I said to him --"My dear Fortunato, you are luckily met. How remarkably well you are
looking to-day. But I have received a pipe of what passes for Amontillado, and I have my
doubts."

"How?" said he. "Amontillado, A pipe? Impossible! And in the middle of the carnival!"

"I have my doubts," I replied; "and I was silly enough to pay the full Amontillado price
without consulting you in the matter. You were not to be found, and I was fearful of losing a
bargain."

"Amontillado!"

"I have my doubts."

"Amontillado!"

"And I must satisfy them."

"Amontillado!"

"As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he.
He will tell me --"

"Luchresi cannot tell Amontillado from Sherry."

"And yet some fools will have it that his taste is a match for your own.

"Come, let us go."

"Whither?"

"To your vaults."

"My friend, no; I will not impose upon your good nature. I perceive you have an
engagement. Luchresi--"

"I have no engagement; --come."

"My friend, no. It is not the engagement, but the severe cold with which I perceive you
are afflicted. The vaults are insufferably damp. They are encrusted with nitre."

"Let us go, nevertheless. The cold is merely nothing. Amontillado! You have been
imposed upon. And as for Luchresi, he cannot distinguish Sherry from Amontillado."

Thus speaking, Fortunato possessed himself of my arm; and putting on a mask of

black silk and drawing a roquelaire closely about my person, I suffered him to hurry me to my
palazzo.

There were no attendants at home; they had absconded to make merry in honour of
the time. I had told them that I should not return until the morning, and had given them explicit
orders not to stir from the house. These orders were sufficient, I well knew, to insure their
immediate disappearance, one and all, as soon as my back was turned.

I took from their sconces two flambeaux, and giving one to Fortunato, bowed him
through several suites of rooms to the archway that led into the vaults. I passed down a long
and winding staircase, requesting him to be cautious as he followed. We came at length to the

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foot of the descent, and stood together upon the damp ground of the catacombs of the
Montresors.

The gait of my friend was unsteady, and the bells upon his cap jingled as he strode.

"The pipe," he said.

"It is farther on," said I; "but observe the white web-work which gleams from these
cavern walls."

He turned towards me, and looked into my eyes with two filmy orbs that distilled the
rheum of intoxication.

"Nitre?" he asked, at length.

"Nitre," I replied. "How long have you had that cough?"

"Ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh! --ugh! ugh! ugh!"

My poor friend found it impossible to reply for many minutes.

"It is nothing," he said, at last.

"Come," I said, with decision, "we will go back; your health is precious. You are rich,
respected, admired, beloved; you are happy, as once I was. You are a man to be missed. For
me it is no matter. We will go back; you will be ill, and I cannot be responsible. Besides, there
is Luchresi --"

"Enough," he said; "the cough's a mere nothing; it will not kill me. I shall not die of a
cough."

"True --true," I replied; "and, indeed, I had no intention of alarming you unnecessarily
--but you should use all proper caution. A draught of this Medoc will defend us from the damps.

Here I knocked off the neck of a bottle which I drew from a long row of its fellows that
lay upon the mould.

"Drink," I said, presenting him the wine.

He raised it to his lips with a leer. He paused and nodded to me familiarly, while his
bells jingled.

"I drink," he said, "to the buried that repose around us."

"And I to your long life."

He again took my arm, and we proceeded.

"These vaults," he said, "are extensive."

"The Montresors," I replied, "were a great and numerous family."

"I forget your arms."

"A huge human foot d'or, in a field azure; the foot crushes a serpent rampant whose
fangs are imbedded in the heel."

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 "And the motto?"

"Nemo me impune lacessit."

"Good!" he said.

The wine sparkled in his eyes and the bells jingled. My own fancy grew warm with the
Medoc. We had passed through long walls of piled skeletons, with casks and puncheons
intermingling, into the inmost recesses of the catacombs. I paused again, and this time I made
bold to seize Fortunato by an arm above the elbow.

"The nitre!" I said; "see, it increases. It hangs like moss upon the vaults. We are below
the river's bed. The drops of moisture trickle among the bones. Come, we will go back ere it
is too late. Your cough --"

"It is nothing," he said; "let us go on. But first, another draught of the Medoc."

I broke and reached him a flagon of De Grave. He emptied it at a breath. His eyes
flashed with a fierce light. He laughed and threw the bottle upwards with a gesticulation I did
not understand.

I looked at him in surprise. He repeated the movement --a grotesque one.

"You do not comprehend?" he said.

"Not I," I replied.

"Then you are not of the brotherhood."

"How?"

"You are not of the masons."

6
"Yes, yes," I said; "yes, yes."

"You? Impossible! A mason?"

"A mason," I replied.

"A sign," he said, "a sign."

"It is this," I answered, producing from beneath the folds of my roquelaire a trowel.

"You jest," he exclaimed, recoiling a few paces. "But let us proceed to the Amontillado."

"Be it so," I said, replacing the tool beneath the cloak and again offering him my arm.
He leaned upon it heavily. We continued our route in search of the Amontillado. We passed
through a range of low arches, descended, passed on, and descending again, arrived at a
deep crypt, in which the foulness of the air caused our flambeaux rather to glow than flame.

At the most remote end of the crypt there appeared another less spacious. Its walls
had been lined with human remains, piled to the vault overhead, in the fashion of the great
catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner.
From the fourth side the bones had been thrown down, and lay promiscuously upon the earth,

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forming at one point a mound of some size. Within the wall thus exposed by the displacing of
the bones, we perceived a still interior crypt or recess, in depth about four feet, in width three,
in height six or seven. It seemed to have been constructed for no especial use within itself,
but formed merely the interval between two of the colossal supports of the roof of the
catacombs, and was backed by one of their circumscribing walls of solid granite.

It was in vain that Fortunato, uplifting his dull torch, endeavoured to pry into the depth
of the recess. Its termination the feeble light did not enable us to see.

"Proceed," I said; "herein is the Amontillado. As for Luchresi --"

"He is an ignoramus," interrupted my friend, as he stepped unsteadily forward, while I

followed immediately at his heels. In an instant he had reached the extremity of the niche, and
finding his progress arrested by the rock, stood stupidly bewildered. A moment more and I
had fettered him to the granite. In its surface were two iron staples, distant from each other
about two feet, horizontally. From one of these depended a short chain, from the other a
padlock. Throwing the links about his waist, it was but the work of a few seconds to secure it.
He was too much astounded to resist. Withdrawing the key I stepped back from the recess.

"Pass your hand," I said, "over the wall; you cannot help feeling the nitre. Indeed, it is
very damp. Once more let me implore you to return. No? Then I must positively leave you. But
I must first render you all the little attentions in my power."

"The Amontillado!" ejaculated my friend, not yet recovered from his astonishment.

"True," I replied; "the Amontillado."

As I said these words I busied myself among the pile of bones of which I have before
spoken. Throwing them aside, I soon uncovered a quantity of building stone and mortar. With
these materials and with the aid of my trowel, I began vigorously to wall up the entrance of the
niche.

I had scarcely laid the first tier of the masonry when I discovered that the intoxication
of Fortunato had in a great measure worn off. The earliest indication I had of this was a low
moaning cry from the depth of the recess. It was not the cry of a drunken man. There was
then a long and obstinate silence. I laid the second tier, and the third, and the fourth; and then
I heard the furious vibrations of the chain. The noise lasted for several minutes, during which,
that I might hearken to it with the more satisfaction, I ceased my labours and sat down upon
the bones. When at last the clanking subsided, I resumed the trowel, and finished without
interruption the fifth, the sixth, and the seventh tier. The wall was now nearly upon a level with
my breast. I again paused, and holding the flambeaux over the mason-work, threw a few
feeble rays upon the figure within.

A succession of loud and shrill screams, bursting suddenly from the throat of the
chained form, seemed to thrust me violently back. For a brief moment I hesitated, I trembled.
Unsheathing my rapier, I began to grope with it about the recess; but the thought of an instant
reassured me. I placed my hand upon the solid fabric of the catacombs, and felt satisfied. I
reapproached the wall; I replied to the yells of him who clamoured. I re-echoed, I aided, I
surpassed them in volume and in strength. I did this, and the clamourer grew still.

It was now midnight, and my task was drawing to a close. I had completed the eighth,
the ninth and the tenth tier. I had finished a portion of the last and the eleventh; there remained
but a single stone to be fitted and plastered in. I struggled with its weight; I placed it partially
in its destined position. But now there came from out the niche a low laugh that erected the
hairs upon my head. It was succeeded by a sad voice, which I had difficulty in recognizing as
that of the noble Fortunato. The voice said-"Ha! ha! ha! --he! he! he! --a very good joke, indeed

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--an excellent jest. We will have many a rich laugh about it at the palazzo --he! he! he! --over
our wine --he! he! he!"

"The Amontillado!" I said.

"He! he! he! --he! he! he! --yes, the Amontillado. But is it not getting late? Will not they
be awaiting us at the palazzo, the Lady Fortunato and the rest? Let us be gone."

"Yes," I said, "let us be gone."

"For the love of God, Montresor!"

"Yes," I said, "for the love of God!"

But to these words I hearkened in vain for a reply. I grew impatient. I called aloud --

"Fortunato!"

No answer. I called again --

"Fortunato!"

No answer still. I thrust a torch through the remaining aperture and let it fall within.
There came forth in return only a jingling of the bells. My heart grew sick; it was the dampness
of the catacombs that made it so. I hastened to make an end of my labour. I forced the last
stone into its position; I plastered it up. Against the new masonry I re-erected the old rampart
of bones. For the half of a century no mortal has disturbed them. In pace requiescat!

Process Questions:
1. What is the story all about?
2. What is the tone of the story?
3. What is ironic in the story?

Activity 1: Freytag Pyramid

Using a plot diagram, discuss the parts of the story and at the same time, fill out the plot
diagram.

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 Climax

Rising action Falling action

Exposition Resolution

Activity 2: Writing Prompt

Below is a writing prompt that you could use to spark your imagination. Just like the story,
this also has a suspense air to it. All you need to do is continue the statement until you have
written a complete short story.
“You wake up in a jail cell, your hands covered in blood. You have no idea how you
got there. The cell door clangs open, and a police officer walks you to an
interrogation room where two detectives wait to question you.”

__________________________________________________
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 __________________________________________________
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Activity3: Name It!

Before we identify the different elements of a poem, do remember the following:
 Alliteration - the occurrence of the same letter or sound at the beginning of adjacent
or closely connected words “Peter Piper picked a peck of pickled peppers”
 Assonance - the repetition of the sound of a vowel or diphthong in nonrhyming
stressed syllables near enough to each other “penitence, reticence”
 Consonance - refers to repetitive sounds produced by consonants within a sentence
or phrase “It will creep and beep while you sleep”
 Onomatopoeia - a word that actually looks like the sound it makes, and we can
almost hear those sounds as we read “meow, hiss, boom, crash”
 Rhyme - is a repetition of similar sounding words, occurring at the end of lines
in poems “Once upon a midnight dreary,
while I pondered, weak and weary”

Identify the lines if they use Alliteration, Assonance, Consonance, Onomatopoeia, Rhyme
(Internal, Terminal, Feminine, Masculine). Write the pattern of each item in order for you to
prove your answers.
Lines Rhyme Literary Sound Device
On the fifteenth of May, in the jungle
of Nool,
In the heat of the day, in the cool of
the pool,
He was splashing... enjoying the
jungle's great joys...
When Horton the elephant heard a
small noise.
Deep into that darkness peering,
Long I stood there wondering,
fearing,
Doubting, dreaming dreams no
mortal ever dared to dream before
“Hark, hark!
Bow-wow.
The watch-dogs bark!
Bow-wow.
Hark, hark! I hear
The strain of strutting chanticleer
Cry, ‘cock-a-diddle-dow!'”
Ah, distinctly I remember it was in
the bleak December,

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 And each separate dying ember
wrought its ghost upon the floor.
Hear the mellow wedding bells,
Golden bells!
The Soul selects her own Society-
Then - shuts the Door –
For all the useless things they
demand,
First, they have to obey my
command.
When I find myself in times of
trouble, Mother Mary comes to me.
Ride a skateboard up the wall,
Chomp your food with a smack and
a slurp,
Chew—chomp—hiccup—burp.
The fair breeze blew, the white foam
flew,
The furrow follow’d free;
We were the first that ever burst
Into that silent sea.
A moist young moon hung above
the mist of a neighboring meadow.
Her elegance and grace made it in
the limelight
But her soul is the most appreciated
highlight.
Fire at the private eye hired to pry in
my business.

Process Questions:
1. How do you find the activity?
2. How did you know what Sound of the Poem is being used?
3. What are the patterns you observed?
Why do poets use Alliteration, Assonance, Consonance, and Rhyme?

What’s More

Below is a biographical essay of William Shakespeare. Read it carefully.

William Shakespeare was an English poet, playwright, and actor. He

was born on 26 April 1564 in Stratford-upon-Avon. His father was a
successful local businessman and his mother was the daughter of a
landowner. Shakespeare is widely regarded as the greatest writer in
the English language and the world's pre-eminent dramatist. He is
often called England's national poet and nicknamed the Bard of Avon.
He wrote about 38 plays, 154 sonnets, two long narrative poems, and
a few other verses, of which the authorship of some is uncertain. His
plays have been translated into every major living language and are
performed more often than those of any other playwright.

Marriage and career

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Shakespeare married Anne Hathaway at the age of 18. She was eight years older than him.
They had three children: Susanna, and twins Hamnet and Judith. After his marriage
information about his life became very rare. But he is thought to have spent most of his time
in London writing and performing in his plays. Between 1585 and 1592, he began a successful
career in London as an actor, writer, and part-owner of a playing company called the Lord
Chamberlain's Men, later known as the King's Men.

Retirement and death

Around 1613, at the age of 49, he retired to Stratford , where he died three years later. Few
records of Shakespeare's private life survive. He died on 23 April 1616, at the age of 52. He
died within a month of signing his will, a document which he begins by describing himself as
being in "perfect health". In his will, Shakespeare left the bulk of his large estate to his elder
daughter Susanna.

His work
Shakespeare produced most of his known work between 1589 and 1613. His early plays were
mainly comedies and histories and these works remain regarded as some of the best work
produced in these genres. He then wrote mainly tragedies until about 1608, including Hamlet,
Othello, King Lear, and Macbeth, considered some of the finest works in the English language.
In his last phase, he wrote tragicomedies, also known as romances, and collaborated with
other playwrights.
Shakespeare's plays remain highly popular today and are constantly studied, performed, and
reinterpreted in diverse cultural and political contexts throughout the world.

Process Analysis:
1. What type of text is presented?
2. What information is presented in the text?
3. How is the text written? Or what is the author's way of presenting the text?

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 What I Have Learned
From the examples given, fill out the graph below:

LITERARY FORMS Elements Structure Form

1. Poems

2. Short Story

3. Prose

What I Can Do

Goal: The student will produce a collection of poems

Role: You are creative writers of a famous book company “Golden Publishing”.
Situation: Not much of the people in today’s generation have given poems attention especially
how they make lyrics of the songs they produce.
Audience: Golden Publishing
Product: The company wants a collection of early and modern poems to be published. In
addition, it also wants to initiate an exhibit for the said collection. You are tasked by the CEO of
Golden Publishing to collect poems from people of modern times as well as the early generations
and to present the differences according to content and form.
Standard: Delivery, Composition, Effectiveness

How to submit: Post the poems in the wall like an art exhibit. Next, take pictures of them and
send the pictures to your teacher through email.
Criteria Excellent Satisfactory Developing Beginning
(4) (3) (2) (1)

Delivery Completely and highly
(40%) accurate in producing English
sounds and highly effective in
the use of the prosodic
features of speech.
Composition Thoughts are clearly
(30%) organized, developed, and
supported to achieve the
purpose. Transitions are
effectively utilized to create a
smooth transition from point to
point.
Effectiveness Completely and highly
(30%) accurate in the use of
expressions, conventions, or
strategies that are appropriate
to the theme, topic, or
situation.
Accurate in producing
English sounds and
effective in the use of the
prosodic features of
speech.
Thoughts are clearly
organized, developed, and
supported to achieve the
purpose. Transitions are
effectively utilized to create
a smooth transition from
point to point.
Accurate in the use of
expressions, conventions,
or strategies that are
appropriate to the theme,
topic, or situation.
Inaccurate in producing
English sounds and
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somewhat effective in the
use of the prosodic features
of speech.
Thoughts are clearly
organized, developed, and
supported to achieve the
purpose. Transitions are
effectively utilized to create
a smooth transition from
point to point.
Inaccurate in the use of
expressions, conventions,
or strategies that are
appropriate to the theme,
topic, or situation.
Significantly inaccurate in
producing English sounds
and ineffective in the use of
the prosodic features of
speech.
Thoughts are clearly
organized, developed, and
supported to achieve the
purpose. Transitions are
effectively utilized to create a
smooth transition from point
to point.
Significantly inaccurate in the
use of expressions,
conventions, or incorrect
strategies that are
appropriate to the theme,
topic, or situation.

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Summary
This part of the module will enable you to make a recap of the contents of the module on
composing different literary forms. To do this, you only need to showcase the meat of the lesson.
In composing a poem, a short story, or narrative, always remember the elements of each literary
form as discussed in the previous module. Each literary form has a different structure, has its
own pattern and unique elements. In writing a poem, make sure your readers will feel the
emotion. In writing a fictional story, remember that all elements are present and everything should
make a sense. One cannot become a writer overnight but getting used to writing your thoughts
and emotions down is a great practice that will develop your communication skills.

Below is a checklist for this module. Put a if you have successfully done the objectives.
Checklist
identify and differentiate different literary forms
draw inference about the poems analyzed
create / write a piece of literature using the elements of a certain literary
form

Congratulations! Now you are ready for the Assessment.

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 Assessment: (Post-Test)

1. Which of the following express a strong or sudden feeling?

A. Are you coming with us? B. Put the clothes in the dryer.
C. What a party we had! D. Put everything away neatly.

2. A type of lyric poem that is usually written to praise and express sorrow for someone
who is dead.
A. Ode B. Elegy C. Sonnet D. Ballad

3. It is a group of lines within a poem.

A. paragraph B. stanza C. quatrain D. verse

4. This type of writing creates an emotional appeal among readers

A. literary writing B. journal C. newspaper writing D. line break

5. This refers to a pattern of words that contain similar sounds

A. caesura B. rhyme C. end-stop D. punctuation

6. This refers to where a line of poetry ends

A. stanza B. rhyme C. meter D. line break

Read the excerpt of the poem “Loneliness” by Katherine Mansfield and answer the
following. (for numbers 7-8)

“Through the sad dark the slowly ebbing tide

Breaks on a barren shore, unsatisfied.
A strange wind flows... then silence. I am fain
To turn to Loneliness, to take her hand,
Cling to her, waiting, till the barren land
Fills with the dreadful monotone of rain.”

7. Which word best describes the tone of the poem above?

A. inspired B. mournful C. optimistic D. frustrated

8. Which word best describes the mood of the poem above?

A. excited B. playful C. angry D. gloomy

9. These lines are from Longfellow’s “A Psalm of Life”. How will “tell me not” and “trust
no Future” be written in normal word order?
A. I will tell; I will trust
B. You are to tell; you are to trust
C. You will tell me.; You will trust me.
D. Do not tell me.; Do not trust the future.

10. Which of the following lines is an example of assonance?

A. “Each beach beast thinks he’s the best beast”
B. “Sally sells seashells by the seashore”

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C. “Warm, beating, frantic, winged; music and blood”
D. “On the fifteenth of May, in the jungle of Nool”

11. It is the repetition of the same first consonant sound within a line or lines of a poem.
A. Consonance B. Assonance C. Alliteration D. Onomatopoeia

12. What figure of speech is found in the excerpt from Sharon Hendricks’ “My Town”?
The fence posts gossiped and watched cars go by
which winked at each other just to say hi.
The traffic lights yelled, "Stop, slow, go!"
The tires gripped the road as if clinging to life.

A. hyperbole B. alliteration C. personification D. consonance

13. “Friends, Romans, countrymen, lend me your ears.”

The word “ear” connotes the idea of
A. people giving their ears
B. people listening to him attentively
C. people going to other country
D. people talking about ears

14. It is a lyric poem that is written to praise a person, event, or object.

A. ode B. elegy C. sonnet D. ballad

15. What is being expressed in the line?

“Now that I am without you, all is desolate;
All that was once so beautiful is dead.”
A. his mourning
B. his happiness
C. his accomplishments
D. his rewards

16. Which one of the five senses is used in this sentence?

“The wolf howled painfully over the loss of his mate.”
A. sight B. sound C. touch D. taste

Read the following text and answer the following items. Rubrics is provided.

The Road not taken

by Robert Frost

Two roads diverged in a yellow wood,

And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;

Then took the other, as just as fair,

And having perhaps the better claim,
Because it was grassy and wanted wear;

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 Though as for that the passing there
Had worn them really about the same,

And both that morning equally lay

In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.

I shall be telling this with a sigh

Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.

17. Which road did the speaker take? Do you think he made the right choice? Why? Support
your answer with the lines from the poem.

18. What can be considered as crossroads in life? Do you think that the choices you made in
life has made you a better person today? Support your answer with a personal experience.

“A Psalm of Life”
by Henry Wadsworth Longfellow

Life is real! Life is earnest!

And the grave is not its goal;
Dust thou art to dust returnest,
Was not spoken of the soul.

Not enjoyment, and not sorrow,

Is our destined end or way;
But to act, that each tomorrow
Finds us farther than today

Lives of great men all remind us

We can make our lives sublime,
And, departing, leave behind us
Footprints on the sand of time;

Let us, then, be up and doing,

With a heart for any fate;
Still achieving, still pursuing,
Learn to labor and to wait.

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19. Above are some lines from Longfellow’s “A Psalm of Life”. In the three boxes of the chart
below are terms that describe how the speaker regard life. Do you agree with the author?
Justify your answer for each of the key term.

LIFE

REAL LABOR
20. A poet’s business is to instruct and guide; to stir and to endow with life, to inspire, energize
and delight. How does the poet fulfill this objective in the poem “A Psalm of Life”? Justify your
answer.

Rubrics
3 Presented content clearly and concisely with a logical progression of
points ideas and effective supporting evidence.
2 Presented most of the content with a logical progression of ideas and
points supporting evidence.
Presented content which was unfocused, poorly organized, showed
1 point little thought or effort and lacked supporting evidence.

Process:
1. What have you noticed with your score?
2. Are you satisfied with what you’ve got? Why?
3. What are the improvements or things you’ve done to for your posttest?

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Key to Answers
Pretest & Post Test

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References

Book

Almonte, Liza R. et al. A Journey Through Anglo-American Literature –

Grade 9 English- Learner’s Manual. Pasig City: Vibal Group, Inc.
2014.

Website

Harmony of Man and Environment H O M E Launching 2009 – Conviction of the

Heart (November 23, 2016) Retrieved from
https://www.youtube.com/watch?v=v20XCLu-0HU

https://www.excellup.com/kidsImage/panchtantra/deadlion.aspx
ABS-CBN News. “Daily water interruptions to affect 1.2-M households - Manila
Water”. Posted March 14, 2019. https://news.abs-
cbn.com/news/03/14/19/daily-water-interruptions-to-affect-12-m-households-
manila-water

Julie Celestial. “Severe weather affects 60 000, nearly 14 000 homes damaged or
destroyed in West Java, Indonesia.” Posted January 28, 2020.
https://watchers.news/2020/01/28/severe-weather-affects-60-000-nearly-14-
000-homes-damaged-or-destroyed-in-west-java-indonesia/

Willyam Bradberry. “Huge ocean wave during storm. Sea water background in rough
conditions” Posted May 15, 2020.
https://www.shutterstock.com/search/giant+wave

Natalie Wolchover . “What Is a Drought?” Posted September 28, 2018.

https://www.livescience.com/21469-drought-definition.html

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 For inquiries and feedback, please write or call:

Department of Education – Division of Iligan City

Office Address: General Aguinaldo, St., Iligan City
Telefax: (063)221-6069
E-mail Address: iligan.city@deped.gov.ph

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