And Culture of Special
How Do You Use This Module?
Professional Academy of the Philippines
COLLEGE OF TEACHER EDUCATION
Learning Module
ENG. 106
LANGUAGE & LITERATURE ASSESMENT
Module4. Testing Literature
Prepared for:
___________________________
Student
Prepared by:
MRS. ESTRELLA B. LLANES
Instructor
This module is written in a very user-friendly manner. Definitions, processes
and samples are included as an input knowledge or as a guide. Instructions are made
clear and straight to the point. Your resourcefulness and creativity are needed to be
able to answer or do the task well. Just follow the directions and you will be guided
as you move on page after page.
In this module, you are required to go through a series of activities in order
to complete each learning outcome. Each chapter has lessons with Specific Learning
Outcomes, Discussions, Self-Assessments, and Activities. Follow and perform the
activities on your own. If you have questions, do not hesitate to ask for assistance
from your instructor.
Remember to:
 Read and understand the Specific Learning Outcome(s). These tell you what
you should know and be able to do at the end of this module.
 Work through all the information and complete the activities in each
section.
 Read the discussions very well. Suggested references are included to
supplement the materials provided in this module.
 After reading every discussion, test yourself on how much you learned by
means of the Self-Assessments. Use the White Book to write your answers.
 Demonstrate what you learned by doing the Activities. You must be able to
apply what you have learned in another activity or in real life situation.
 Keep all the outputs in your portfolio as a record of your accomplishments
and submit on the designated period.
Note: You need to complete this module before you can perform the next module.
Chapter 4 |Module 4 Testing Literature 1
 Module Contents Assessmen Time
Course Learning Outcomes Number t Period Frame
b. Test Construction
By the end of this course students are expected to: c. Phases of Evaluation

1. understand word meanings within the context of a selection;

locate information in common resources; Chapter 3 Testing Grammar
2. understand information that is directly stated (literal Module 3 Semi-Final
comprehension);
3. understand ideas which are not directly stated but are
implied (inferential comprehension); Chapter 4 Testing Literature
4. analyze reading selections and form conclusions about the Rationale of Literature Testing
information (evaluative comprehension); Lesson 1 Types of Literature
5. recognize common literary forms such as novels, short stories, poetry Tests
Module 4 Final
and folk tales; and analyze the use of literary elements and devices such a. Formats of Literature Tests
as plot, setting, personification and metaphor. b. Examples of Literature Tests
1. Course Outline

Module Contents Assessment Time

Number Period Frame
Chapter 1Principles & Purpose of
Language Assessment

Lesson 1. Assessment and

Evaluation Principles
a.. Purpose of Assessment
Module 1 b.Kinds of Assessment and
Evaluation
c.Functions of Language Tests
Lesson 2. Types of Language Prelim
Assessments
Grading System
b. Types of Assessment Tools The grading system is as follows:
c. Kinds of Language Tests Self-Assessment and Activities 60%
Chapter 2. Approaches and Major Exam 40%
Techniques of Language Testing Total 100%

MIDTERM + FINAL = -----------/2 = FINAL GRADE

Module 2 Lesson 1 . Approaches of Language Midterm
Testing
a. Test Techniques

Chapter 4 |Module 4 Testing Literature 2

 Parts
Title
How do You Use This Module?
Chapter 4 Testing Literature
Rationale of Literature Testing
a. Formats of Literature Tests
b. Examples of Literature Tests
Self Assessment
Performance Tasks
REFERENCE
TABLE OF CONTENTS CHAPTER 4
Page INTRODUCTION
No.
1
Literature is the foundation of humanity's cultures, beliefs, and traditions. It
serves as a reflection of reality, a product of art, and a window to an
4
ideology. Everything that happens within a society can be written, recorded
4 in, and learned from a piece of literature.
9 The literary purpose is used to entertain and to give aesthetic pleasure.
The focus of the literary purpose is on the words themselves and on a
11 conscious and deliberate arrangement of the words to produce a pleasing
or enriching effect. A writer often expresses a worldview when using the
20
literary purpose.
20
In the past, people studied a language to be able to read literature written
20 in its source language. However, texts can be approached in different
ways depending on the linguistic paradigm we choose: texts can be used
to isolate metaphors, similes and so on, as was the case in the nineteenth
century, or as a springboard for any type of language activity. Today,
languages are primarily learnt for communication purposes. In this sense,
literary texts seem to be the ideal vehicle for developing communicative
skills since they provide examples of authentic language, numerous
opportunities for the expression of ideas, opinions and beliefs, as well as
facilitating any writing activity. As suggested by Brumfit and Carter (1986:
30), «A good language course may include literary texts». The most
common emphases when using literary texts are the focus on teaching
language or teaching literature. However, to make the most of a text,
both approaches should be integrated by offering activities which aim to
strike a balance between those tasks devoted to encouraging linguistic
awareness and those directed at promoting literary activities.
Chapter 4 |Module 4 Testing Literature 3
Lesson 1. Testing Literature
Rationale of Literature Testing
Literature had a very notable presence in the language classroom under
the classical paradigm and is still today an important component of
language teaching in many countries. However, the analysis of language
within a text is only one aspect which needs to be taken into account.
The other is the exploitation of a text from a literary point of view, since
the use of literary texts in the language classroom does not suppose
any enrichment to the student if the «message» of the text is not
considered (Long, 1986: 43). Maley (2001: 181) states that one of the
most common emphases when using and studying literature is the
focus on language as opposed to the focus on literature, thus
highlighting a difference of objective. In this paper, I present the design
of a course for teaching English language and literature by offering a
rationale for the activities proposed and finding a balance between
language and literature, thus showing that both approaches can be
integrated within the same scheme.
General literature tests assess students' knowledge on particular
pieces of literature which they are assigned for class. Such textual
materials may include prose and/or poetry, and teachers may ask
students to focus on an individual work or multiple pieces.
Simultaneously. The four main literary genres are poetry, fiction,
nonfiction, and drama, with each varying in style, structure, subject
matter, and the use of figurative language. The genre raises certain
expectations in what the reader anticipates will happen within that work
Different models have been put forward for teaching literature to students
(Carter & Long, 1991): the cultural model, the language model and the
personal growth model. The cultural model is the most traditional
approach used to teach literature. Within this model, the literary text is
used to study the literary movements and genres as well as their historical
and social contexts. This model is nowadays rejected for teaching
language since it is teacher centred and does not offer much opportunity
for language work. The language model, or «language-based approach»
as Carter and Long (1991) refer to it, is more learner centred. The text can
be used to focus on grammar or vocabulary in the way these activities are
presented in stylistic analysis. Carter and McRae (1996) state that this
model follows a «reductive» approach to literature, since the linguistic
activities, completely disconnected from the literary aspect of the passage,
can be used with any text. Finally, the personal growth model marks an
intermediate point between the cultural model and the language model
since the text is used both to study the language and also to explore the
cultural context. Students are encouraged to express their own opinions,
feelings and personal experiences so that an interaction between the text
and the reader takes place (Goodman, 1970). This model relies on the
influence that literature can have to move people and sets out to make the
most of that potential in the classroom. The model I put forward mainly
draws on a combination of the language model and the personal growth
model approaches whilst also trying to make literature accessible to the
students and as a means of improving their linguistic skills.
Stages to be followed when exploring the texts It is generally accepted
that, as in listening comprehension practice, three stages are usually
recommended to make reading more realistic and interesting: pre-
reading, while-reading and post-reading. Other authors (Long, 1986)
speak about preparation, linguistic investigation and background. The pre-
reading activities help prepare the learners for what they are going to
read. It can be presented in the form of a lecture. The while-reading
activities help the learners understand the text in an environment where
more teaching than lecturing is involved.
Chapter 4 |Module 4 Testing Literature 4
 s Stages
.2. While-Reading Activities are
to be followed defined
when exploring theas activities that help
texts It is generally accepted
students
that, asfocus on aspects
in listening of the text and
comprehension to understand
practice, three stagesit better.
are usually
The goal of these activities is
recommended to make reading to help
morelearners
realistictoand
dealinteresting:
as they would 1. pre-
deal with it, as
reading 2. ifwhile-reading
the text was written
and 3. in their first language.
post-reading . Other authors (Long,
1986) speak about preparation, linguistic investigation and background.
FiveThewhile-reading
pre-reading activities:
activities help prepare the learners for what they are
going to read. It can be presented in the form of a lecture. The while-
1. suggestopedic reading-aloud
reading activities help the learners understand the text in an
2. environment
vocabulary notebookwhere more teaching
and word wall than lecturing is involved. They might
first do an easy scanning or skimming task followed by a task requiring
3.think-pair-share
more thoroughcomprehension
comprehension.questions
The post-reading activities are to enable
the learners to connect what they have read with their own ideas and
4. experiences, just as we .do in real life, and to perhaps move more
thought-unit paraphrasing
smoothly from reading to another classroom activity. It is at this stage
Forwhere
the purpose of elaborating
the «creative responseeach activity,
to the text»Thecanpoem “The Seven Ages
be found.
of Man” or
1. Pre-reading activities This section is designed tobystimulate
more commonly known as All the World’s a Stage William the
Shakespeare as the target text is used in this activity..
students’ interest and generate vocabulary relevant to the passage. My
main purpose in this set of activities is to create interest in the story and
to make students
Suggestopedic Readingfamiliar
Aloud with the environment, characters and
vocabulary they are likely to find in the text under study (Long, 1986).
According to Harmer (1998: 70), the most interesting text can be
Suggestopedia  is suggesting
a teaching
undermined by thatapproach developed«hints»
by giving students by Bulgarian
so they can
psychotherapist Georgi Lozanov used mostly in teaching foreign
predict what is coming next, they will become better
languages. Lozanov holds that students are most receptive when they and more engaged
are
readers. The
comfortable and moment
relaxed inwetheir
are environment.
given this hintThus,–thethefirstuse
sentence in the
of art and
book– the cognitive process is activated. Consequently, expectations are
music.
set in place and the active process of reading is ready to begin. The
responses we receive may be more original than those elicited by formal
Suggestopedic Reading Aloud activity is a reading session where you
questioning. The presentation of a video recording increases learners’
and your students read aloud each line or text, observing appropriate
motivation.
stress and rhythm, The and use employing
of a professional
evocativestandard
background can soundtrack
be an important
that
stimulus
matches the as well theme.
poem’s as an aid to improve comprehension. The activities I
suggest for this stage can be used to develop linguistic or literary skills
depending on how the teacher deals with them. For example, if we are
studying the text of Pride and Prejudice, the first activity is to guess the
topic of the book after reading the first sentence of the novel: «It is a truth
universally acknowledged, that a single man in possession of a good
fortune, must be in want of a wife». I can solely focus on students’
linguistic ability to present their opinions or direct the discussion for them.
Chapter 4 |Module 4 Testing Literature 5
For example, the soundtrack that I found suitable for The Seven Ages of
Man is 100 Years by Five for Fighting .
1. In the first reading-aloud, the teacher reads each poetic line and the
students repeat after him/her.
2. In the second reading-aloud, each pair reads a stanza or two
(depending on the poem’s structure and length) until the last stanza.
Reading aloud while playing music in the background will surely evoke
the right emotions and enhance students understanding of the overall
theme of the text.
3. Vocabulary Notebook and Word Wall
Keeping a vocabulary notebook is a reading strategy to broaden your
student’s mental lexicon. It is done by listing problem words which a
reader comes across in a text, guessing their meaning using context
clues, checking their conjectures against a reliable dictionary, and finally,
using them in their own sentences.
1. With their vocabulary notebooks on their desks, each pair scans
through each poetic line for problem words.
2. Still working in pairs, they copy and fill out the following table:
Problem Word Context Clue/s Meaning/s
mewling puking in the nurse’s arms crying Crying weakly
3. With you acting as a facilitator, the students check on the accuracy of
their responses.
4. The students at the end of the session mount the problem words onto
the Word Wall.
Think-Pair-Share (TPS) Comprehension Questions
Think-pair-share (TPS) is a collaborative learning strategy where students
work together to solve a problem or answer a question about an assigned
reading. This strategy requires students to (1) think individually about a
topic or answer to a question; and (2) share ideas with classmates.In this
activity, the teacher asks questions to elicit meaningful responses from the
students that would lead to optimum understanding of the poem.
In pairs, they collaborate in answering the questions which may include:
 What comprises the seven ages of man according to the poem?
 Describe the school boy’s attitude towards school. How do you
feel about this picture of childhood?
 What is compared to the “stage” in the first two lines? How are the
two related?
 In lines 13 and 14, what is compared to “reputation”?
 What other comparisons are used in the poem. Which are
examples of metaphor? Which are examples of simile?
 According to the speaker or “persona” in the poem, what physical
and mental changes take place as a man reaches the sixth and
seven ages?
 Do you agree with the persona’s description of old age? Why?
 What other acceptable descriptions of old age can you think of?
 In the last line of the poem, the word “sans” is repeated. What do
you think is the purpose of repeating it four times?
Thought-Unit Paraphrasing
This is restating each stanza or thought unit in prose form. The dyad
paraphrasers should work together to arrive at a simple yet meaningful
paraphrased version of the poem. This activity seeks to assess whether
the students grasp well the meaning of each poetic stanza or thought unit.
1. Working in pairs, the students study and analyze each stanza .
Chapter 4 |Module 4 Testing Literature 6
an2. They write their paraphrases on sheets of paper. The following is a sample 3. Write an essay without looking at your notes.
paraphrased version of the poem:
4. Discuss difficult concepts with other people.

Line 5. Loan the book to a friend to read after you.

Thought-Unit Paraphrases
s
Shakespeare considers the world a stage and men and women actors on A great way to build student comprehension of a text is to provide students
1-5 with pre-, during, and post-reading strategies. In order to actively engage
the stage of life. They play seven roles according to their age.
The first stage, as described by the poet, is the infant who is being students in their text, you will need to provide students with an array
5-6 of teaching strategies, as well as remind them that reading requires them
carried by a nurse. The infant cries and vomits all the time.
to think with their minds before, during, and after reading.
Later, on the second stage, that infant grows into a schoolboy, not
7-9
willing to attend school. Which is the fourth stage of a man’s life.
Post-reading strategies provide students a way to summarize, reflect, and
The third stage is that of a lover who is lost in his thoughts of love. The
9-11 question what they have just read. Here are three post-reading teaching
lover writes poetry to his lady’s beauty.
strategies to try in your classroom today.
In the fourth stage, as he grows older, he joins the army and becomes a
11-15 soldier. He is physically fit and is aggressive, short-tempered and
ambitious in nature. Exit Slips
The fifth stage shows that with maturity and wisdom, the family man The exit slip post-reading strategy is used to help students reflect on what
15-19 becomes a judge. He is a fair, healthy man full of wisdom. His look they have just learned. It helps them process concepts and express how or
is authoritative and he advises people. what they feel about the content learned. This strategy requires students
to think critically, a skill that is essential in today’s world.
The sixth stage is about the man who has grown old and is seen in
19-25 a pantaloon And spectacles. His authoritative voice has grown weak
and his voice trembles as he talks. Exit slips are great because they only take students a few minutes to do,
and educators get a quick informal assessment of how well the students
The last stage is about the senile man who loses his teeth, his vision and his
understood what they have just learned.
hearing. After this, the man part in the play ends and he exits from
25-28
the stages of his life forever.
How to Use the Strategy
3. Post-reading activities
1. Think about the key concept you want students to get out of the
Why are post reading activities important? reading or lesson.
A great way to build student comprehension of a text is to provide students
with pre-, during, and post-reading strategies. ... Post-reading 2. Right after the lesson, distribute the exit slips to students.
strategies provide students a way to summarize, reflect, and question what
they have just read.  3. You can choose to differentiate the exit slips according to your
These are the strong post reading strategies: students’ needs and abilities.
1. Group of answer choices
4. Once students write down their responses, be sure to collect the
2. Paraphrase each line of the entire story by hand. Write an essay
slips.
without looking at your notes. Discuss difficult concepts with other people.
Loan the book to a friend to read after you. 5. Review the slips to determine how to meet the needs of all

Chapter 4 |Module 4 Testing Literature 7

Examples:
 Write one thing that you have learned today.
 Discuss one that you learned today that could be used in the real
world
 Discuss one thing that you learned today that you
o would like to learn more about.
 One thing that surprised me the most today is …………………..
 Rate your understanding of today’s topic from 1-10.
Frame Routine is a classroom strategy that employs using a graphic
organizer to assist students in organizing topics, main ideas, and key
details of what they have just read. This technique helps students
summarize what they have learned.
How to Use the Strategy
1. Select the topic. The topic is usually the title of what you just read.
2. Determine the main idea. Students then record the key ideas of the
topic.
3. Discuss the details. Students write essential details in the
appropriate boxes.
4. Develop the main or big idea of the text. Students write a brief
summary of the conclusion that they have drawn.
5. Review the information on the frame. Once the information is
clearly stated and organized on the frame, the teacher evaluates it
and plans follow-up activities to extend student learning.
Question the Author
Questioning the author is a strategy that requires students to pose
questions and engages them actively within a text. This comprehension
strategy challenges students’ understanding of the text and encourages
students to ask questions of the author.
How to Use the Strategy
1. Select an interesting passage that would make for a good
discussion.
2. Mark specific spots that you want to stop at during the text so
students will gain a greater understanding.
3. Create specific questions for each spot to ask students. What is the
author trying to say here? Why do you think the author used this
particular phrase?
4. Present a brief passage to students along with a few questions,
and model how you think through your answers to the questions.
5. Challenge students to read and answer the questions that you have
prepared.
 
Teacher demonstration and modeling of each post-reading strategy is
absolutely crucial in order for the strategy to be a success. Post-reading
comprehension strategies such as the ones mentioned above really drive
home the fact that once you have completed your reading, you still have to
understand what you have just read. Students need to summarize key
points after reading to help them comprehend the information that was
learned and retain it longer.
General literature tests assess students' knowledge on particular pieces
of literature which they are assigned for class. Such textual materials may
include prose and/or poetry, and teachers may ask students to focus on an
individual work or multiple pieces.
Simultaneously. The four main literary genres are poetry, fiction,
nonfiction, and drama, with each varying in style, structure, subject
matter, and the use of figurative language. The genre raises certain
expectations in what the reader anticipates will happen within that work
Chapter 4 |Module 4 Testing Literature 8

Literature Test Guide
Literature Test Summary
What: General literature tests are taken by students as a way of evaluating
their knowledge about a particular book, literary period or type of literary
analysis.
Who: Tests are given to students attending literature classes.
Where: Literature tests are administered at the school where the students
are attending and learning class material.
When: Tests are offered multiple times a year and testing times vary
depending on the institution.
How: Students will answer questions on the exam relating to material they
have been studying. The teacher will score the test to see how well the
students perform.
Type: Tests are generally given in paper-and-pencil format, but some
schools may use computer tests.
Why: Tests are given to measure the progress and aptitude of students
taking literature classes.
Time: The duration of the tests varies depending on the institution.
Language: English
Preparation: Students must perform close readings of the texts they are
asked to study in the class. Highlighting essential passages and themes
while reading may also be helpful.
LESSON 1. Types of Literature Test
A. Test Format
Literature test questions may take a variety of forms which may include but
are not limited to short answer, fill in the blank and multiple choice styles.
Most literature tests, especially at the collegiate level, require students to
answer questions in the form of either multiple short essays, or one or two
longer essays.
The following are a few types of questions that may appear on a literature
test:
 Literary analysis questions may call on a student’s ability to
interpret a particular passage or segment of a piece. Such
questions may involve recognizing references and allusions, tone
and meaning, identifying genres and conventions, grammatical
structures and rhetorical strategies.
 Identification questions may require a student’s recognition of
author and publishing date, as well as recalling content material
such as particular elements of plot.
 Cultural and historical context questions may ask a student to
identify and further explicate the specific literary, cultural, and
intellectual history of a work. Such questions may also require a
student to provide biographical information about the author or give
important background details regarding the piece’s setting. For
instance, a student may have to classify what features define a
piece that belongs to the Victorian Era or Medieval Period, or
establish whether a piece is of British or American origin.
 History and theory of literary criticism questions may include
identification and analysis of the methods and characteristics of
different theoretical and critical approaches.
 Compare and contrast questions will ask students to examine
two or more texts simultaneously, pointing to the similarities and
differences of such elements as style, language, theme, or content.
Chapter 4 |Module 4 Testing Literature 9
Test Preparation
Preparing for a literature test is often somewhat challenging. The most
important step students can take is to make sure they read all assigned
texts carefully and thoroughly. Students should take plentiful notes and
highlight significant or challenging passages when reading to ensure that
they gain a deeper understanding of the piece they are reading. Including
page numbers with these notes is advisable, for key passages and scenes
will be easier to return to when it comes time to study or write an essay.
Students should also be wary of utilizing websites that offer brief
summaries and analyses of literary works, for such sites tend to glaze over
key concepts and can even contain misinformation.
English Literature is a complex subject, and many students end up having
to study it at some point. With so many things to keep track of, it can feel
overwhelming to even decide where to start. Whether you’re studying for
a test, or a college course, you can take some steps to help you achieve
your goals.
Laying the Groundwork
1. Start early. Don’t wait to study until the night before a big exam!
Particularly with a subject such as English literature, where you will
probably be asked analytical questions as well as content questions, you
must have time to familiarize yourself with some of the complexities of your
material. Being able to summarize the plot or name some characters is
unlikely to be all you’ll need to do.
2. Examine what you already know. Write out all the details you can
remember from your first reading of the text, as well as anything you
remember from your course lectures. Don’t “cheat” by looking at your
notes or your text -- just write down what you are confident you
remember. This will be your starting base and will reveal any gaps in
your knowledge.
3. Consider whether there are literary terms you’re unfamiliar
with. Many tests and exams in English literature want you to be familiar
with some key terms, such as stanza, irony, alliteration,
speaker, and figurative language. While you’re not likely to be expected to
have comprehensive knowledge of literary terminology, understanding
some of these key concepts will be important to your success. There are
many guides available that can help you find definitions for important
literary concepts, but here are a few crucial terms:
A stanza is a poetic division of lines and is equivalent to the paragraph in
prose writing. Usually, stanzas are at least three lines long; groups of two
lines are usually called “couplets.”
Irony at its basic level says one thing but means another, which is almost
always the opposite of what is actually said. For example, a character who
meets someone in a raging blizzard might say “Lovely weather we’re
having, isn’t it?” This is ironic because the reader can see that it is
clearly not lovely weather. William Shakespeare, Jane Austen, and Charles
Dickens are famous for their use of irony.
Do not confuse irony with misfortune, which Alanis Morissette’s song
“Ironic” is culpable of: “a black fly in your chardonnay” is definitely
unfortunate, but it’s not ironic.
Dramatic irony occurs when the reader or audience knows important
information that a character does not, such as the fact that Oedipus killed
his father and will marry his mother.
 Alliteration is a technique used most often in poetry and
plays; it is the repetition of the same initial consonants in multiple
words within a short space. “Peter Piper picked a peck of pickled
peppers” is an example of alliteration.
Chapter 4 |Module 4 Testing Literature 10
 A speaker usually refers to the person from whose point of view a but not that he literally almost drowned in his tears. That’d be more
poem is given, although it may also be used to refer to a novel’s narrator. tears than anyone’s capable of crying! 
Keeping the speaker separate from the author is important, especially in
poetic dramatic monologues such as Robert Browning’s "My Last “Valuska was as tall as redwood, so he barely fit in my car.”
Duchess," in which a maniacal duke admits to having murdered his first
wife. Obviously, it is the speaker, not Browning, who is saying these things. Not quite! This sentence isn’t saying that Valuska is literally as tall
Figurative language is discussed in more length, but it is the opposite of as a huge tree. It’s expressing with hyperbole that Valuska is very
“literal” language. Figurative language uses techniques such as tall, but within realistic parameters. Otherwise, he wouldn’t fit
metaphor,
inside a car at all! 
“Jonah is a bear of a man.”
 simile, personification, and hyperbole to make a point
more vividly. For example, in Shakespeare’s play Antony and
Not exactly! This is metaphor, a form of figurative language. It
Cleopatra, Cleopatra describes Mark Antony this way: “His legs bestride
compares Jonah to a bear in order to communicate how large and
the ocean. His reared arm / Crested the world.” This is hyperbolic
imposing he is. If it was literal language, that would imply Jonah is
language: obviously Antony’s legs didn’t literally straddle the ocean, but it
very much a half-man, half-bear monstrosity! 
powerfully conveys Cleopatra’s high opinion of him and his power.
“Korin ate to her heart’s content.”

 B. Examples of Literature Tests

Look at sample questions, if you can. If you were given a study guide or
sample questions, see how much of this material you are already familiar
with. This will help you zone in on what needs more work and make a
study plan.
Method 1 Quiz (EXAMPLE)
Which sentence is an example of literal language?
Right! This might be a somewhat flowery way of expressing that
Korin had a lot to eat, but it’s still literal language. It doesn’t resort
to figurative devices like hyperbole or metaphor to get its point
across. The sentence simply states what it means. Read on for
another quiz question.
1. Re-read your text. You should have already read the text for class,
but if you’re studying for an exam, make sure you go back and re-read it
to catch things you missed out on the first time.

“Gyorgy nearly drowned in his tears that night.”

Chapter 4 |Module 4 Testing Literature 11
 Look for figurative language. Many authors use techniques such as
metaphors, similes, and personification to emphasize their points. These may
be crucial to understanding the literary work you’re reading: for example,
knowing that the white whale in Moby-Dick represents (among other things)
Captain Ahab’s hubris is essential to being able to understand Melville’s
novel.
 Metaphors make direct comparisons between two seemingly
dissimilar things. They are stronger than similes. For example, the
last line of F. Scott Fitzgerald’s novel The Great Gatsby is a famous
metaphor comparing human lives to boats trying to make progress
against a strong current: “So we beat on, boats against the current,
borne back ceaselessly into the past.
 ” Similes also make comparisons, but
they don’t directly state that “x” is “y”. For example, Margaret
Mitchell uses a simile to describe Scarlett O’Hara’s interest in
Ashley Wilkes with a simile in her novel Gone With the Wind: “The
very mystery of him excited her curiosity like a door that had neither
lock nor key.
Personification occurs when a non-human animal or object is
given human characteristics in order to express an idea more
powerfully. For example, Emily Dickinson frequently uses
personification in her poems, as in this poem about a snake: “A
narrow fellow in the grass / occasionally rides; / You may have met
him, -- did you not, / His notice sudden is.” Here, the snake is a
“narrow fellow” who “rides” in the grass, which makes it seem
  is a “narrow fellow” who “rides” in the grass, which makes it
seem almost like a dashing Victorian gentleman, rather than a
reptile.
3. Consider the structure of your text. The way that an author
expresses her or his ideas is often as important as the ideas themselves.
In many cases, the form and structure of the text will have some kind of
influence on its subject matter.
 If you’re reading fiction, think about the order in which the events
are recounted. Are there flashbacks or places in the narrative
that cycle back in time? Sandra Cisneros’s
novel Caramelo begins close to the end of the actual “story” and
switches between various times and places in order to
emphasize how complicated family histories are.
 If you’re reading poetry, think about the form of the poetry. What
type of poem is it? Is it something formally structured, like
a sonnet or sestina? Is it free verse, which makes use of
elements such as rhythm and alliteration but doesn’t have a set
rhyme scheme? The way the poem is written will often offer
clues as to the mood the poet wanted to convey.
           4. Think about character archetypes. An archetype is
usually a character -- although it may also be an action or situation --
that is believed to represent something universally recognized as part
of human nature. The influential psychologist Carl Jung argued that
archetypes tap into the “collective unconscious” of humanity, and thus
we recognize experiences we’ve shared with others in
Chapter 4 |Module 4 Testing Literature 12

archetypes. Several types of literature analysis have been influenced by
Jung, so being familiar with some archetypes that may appear in your text
will probably be useful
 The Hero is a character who embodies good and often fights
against evil in a struggle to bring justice or restore order. Beowulf
and Captain America are perfect examples of the Hero archetype.
 The Innocent Youth is a character who is usually inexperienced,
but whom others like because of the faith s/he has in other people.
For example, Pip in Charles Dickens’s novel Great Expectations is
an Innocent Youth, as is Luke Skywalker from Star Wars. Often,
these archetypes will experience some sort of “coming of age” in
later parts of the story
 The Mentor is tasked with caring for or protecting the main character
through wise advice and assistance. Gandalf in J.R.R.
Tolkien’s Lord of the Rings and The Hobbit is an excellent example
of a Mentor archetype, as is Obi-Wan Kenobi from the Star Wars movies.
The Doppelganger is a character who doubles for the main character in
order to represent the “dark side” of the hero or heroine. Common examples
of doppelgangers include Frankenstein and his Creature in Mary
Shelley’s Frankenstein and Dr. Jekyll and Mr. Hyde in Robert Louis
Stevenson's' novel of the same name.The Villain is a character with evil
plans whom the hero must oppose. The villain will usually do anything to
defeat the hero and is often, though not always, clever. Good examples
include Shere Khan from Rudyard Kipling’s The Jungle Book, Smaug the
Dragon from The Hobbit, and the Joker from the Batman comics and films.
5. Think about situational archetypes. The other main type of archetype
you’ll probably encounter is situational, i.e., a very familiar and expected type
of plot and progression. Some common situational archetypes include:
The Journey. This is an incredibly common archetype and is referenced in
everything from stories of King Arthur to Jonathan Swift's Gulliver’s
Travels to Tolkien's Lord of the Rings. In this archetype, the main character
undertakes a journey -- physical or emotional, literal or figurative -- to
understand something about herself/himself or the world around her/him, or
to achieve an important goal. Often, the journey is very important to the
plot, as with the Fellowship’s quest to destroy Sauron’s One Ring in
the Lord of the Rings.
 The Initiation. This archetype has similarities with the Journey,
but the focus is more on the hero/heroine’s developing maturity
through their experiences. This type of story may also be called a
‘’bildungsroman.’’ Henry Fielding's Tom Jones is an excellent
example of this, as are the origins of most comic book heroes (for
example, Peter Parkers lessons about how to handle “great power
and great responsibility” as he becomes Spiderman).
 The Fall. This is another very common archetype. In this
archetype, the main character experiences a fall from grace as the
consequence of her/his own action. Examples of this archetype are
all over classic literature, including King Lear from Shakespeare’s
play King Lear, Ahab from Melville's novel Moby-Dick, and Satan
from John Milton’s epic poem Paradise Lost.
3.
6. Consider how action develops from conflict. For many texts,
particularly plays and fiction, there is an “inciting incident” that sets the
main action of the story in motion. This moment disturbs the equilibrium
of the situation, poses a problem, and sets off a series of events that will
form the rest of the story.
For example, in Shakespeare’s Macbeth, Macbeth hears a
prophecy from a trio of witches that says he will become King of
Scotland. While he has never wanted to be king until this moment,
Chapter 4 |Module 4 Testing Literature 13
Method 2 Quiz
As (EXAMPLE)
another example, in Arthur Miller’s play The Crucible, a group
of young girls face a conflict: they’ve been caught doing naughty
What is a doppelganger in a story?
things in the woods and face punishment. To try to cover up their
The heroactions,
of a story.
they accuse their fellow villagers of witchcraft. This action
incites the rest of the play’s story, which follows these accusations
Not exactly! The doppelganger and the hero are indeed closely related
as they spin out of control.
archetypes, but they’re not synonymous. Many stories have no
4. Method 2 Quiz (EXAMPLE)
doppelganger, but every story needs a hero. Try another answer...
5. What is a doppelganger in a story?
The character tasked with advising and protecting the hero.
7. The hero of a story.

Definitely
8. not!
NotThat wouldThe
exactly! instead be the mentor.
doppelganger and theThe doppelganger
hero are indeed role
closely
and the mentor role archetypes,
related usually do not
butoverlap. Try again...
they’re not synonymous. Many stories have
The main
nocharacter’s doublebut
doppelganger, or thematic twin. needs a hero. Try another
every story
answer...
Yup! A doppelganger is indeed a double for the main character, usually just
9. The character tasked with advising and protecting the hero.
thematically, but sometimes quite literally. One example of the latter is Mr.
Hyde in10.
Dr.Definitely
Jekyll andnot!Mr.
ThatHyde.
wouldThe
instead be the mentor.
doppelganger The serves
usually doppelganger
to
embody therole
darkand
orthe mentor role
repressed sideusually
of thedomain
not overlap. Try again...
character. Read on for
another 11.
quiz question.
The main character’s double or thematic twin.
The main character’s antagonist.
12. Yup! A doppelganger is indeed a double for the main character,
usually
Not necessarily! just thematically,
While a doppelgangerbut sometimes quite character’s
may be a main literally. Onea example
Not
necessarily! of the alatter
While is Mr. Hyde
doppelganger may bein aDr. Jekyll
main and Mr.
character’s Hyde. The
antagonist,
doppelganger
that’s not always usually
the case. serves to embody
Sometimes the mainthecharacter
dark or repressed
and theside
of the
doppelganger endmain character. Read
up on on for anotherthat’s
the same side! Antagonist, quiz question.
not always the
case. Sometimes the main character and the doppelganger end up on the
same side! 

Chapter 4 |Module 4 Testing Literature 14

   Method3 Quiz
Making Useful
4. Remember someNotes for Fiction
important and Drama
statements made. While you don’t
necessarily need to memorize important statements or speeches,
remembering what they’re generally about can be very helpful when you go
1.Summarize each chapter or act in bullet points after you read
to make an argument
through the text about a text.
for the second time.  This will make future review easier,
as you will have a rough summary to work from.
 For example, if you’re studying Jane Austen’s Pride and
 Don’t get too bogged down in summary. You don’t have to
Prejudice, remembering that Mr. Darcy admits to meddling in
summarize every little thing that happens in a chapter or act. Aim
Elizabeth’s family affairs will be useful in explaining why they
to note the main action of each one, as well as any important
are so angry with each other early in the book (i.e., he is too proud
character or thematic moments.
to admit that meddling really was wrong, and she is too prejudiced
to admit he might have had motivations that made sense).
2.Make out character profiles
2. for each main character.  Include anything
important that the character says or does, along with links to other
characters in the text.
6. Make more detailed notes, including main themes in the text and
how each characterFor is plays,
important
you in
maythewant  Don’t
text.to note skimp on detailthat
any speeches here!
seem
Noting that “the tone of Mary Shelley’s Frankenstein is very sinister”
particularly important, such as Hamlet’s “To be or not to be”
won’t be much use in the exam if you don’t have a way to describe what’s
making it feel sinister.
speech or the “attention must be paid” speech from Arthur
Miller’s Death of a Salesman.
 Write down particularly vivid moments from the text. Not
3.
only can these help you remember what happened in a chapter,
they will give you evidence to use when you make claims about
the text in your exam.
For 3.example,
Outline any problems
consider thisthe characters
quotation fromface . This can41often
Chapter of be even
Herman
Melville’s Moby-Dick, when
more helpful than chapterAhab has finally
summaries. Whatcaught up and
challenges withconflicts
the White
do the
Whale: “He [Ahab] piled upon the whale’s white hump the sum of all the
general
mainrage and hate
characters felt What
face? by hisare
whole
theirrace from Adam down; and then, as
goals?
if his chest had been a mortar, he burst his hot heart’s shell upon it.”  
This is far more evocative than simply saying “Ahab attacked the whale.”
ThisFor example,
passage Shakespeare’s
emphasizes that AhabHamlet
is afterhas
the several
whale notproblems he needs
just for taking his to
leg, solve:
but because he’s
1) Is the come
ghost to embody
of his everyhim
father urging single horrible
to seek thing trustworthy?
revenge that has
happened to humans since time began in this whale, and he is willing to
2) How
destroy can he take revenge on his uncle in a court full of people who are
himself

Chapter 4 |Module 4 Testing Literature 15

in a chapter if it doesn’t seem significant. Just stick to the important details
it’s as
and main events. if his
Focus more chest is a cannon,
on analyzing remember,
the text with rather
in your notes, a cannonball
than trying toexploding
write down anditmemorize
from -- to take everything. Read
the whale down. on for another
quiz question.
4. where they appear. Symbolism is a favorite tool of authors. If
Methodsome4 element, such as a color or specific item, shows up more than once or
twice, it’s likely to be a symbol that represents something important
Making Useful Notes for Poetry
7. Write down any symbols in the text
1.

1
5. ical editions of the text and reliable resources such as those found
through a library database to do a bit of research. Do not rely on websites
such as wikipedia or your own knowledge of a period, as both of these may
be incomplete or inaccurate.
1. Note what type of poem you’re dealing with. Sometimes, knowing the

type of poem you’reFor example,
studying, if you
such as are studying
whether it’s Charlotte Perkins
a sonnet or sestina or
haiku, can beGilman’s short story
very important "Theable
to being Yellow Wallpaper,"
to discuss it’s important
its meaning. You canto be
ablewhat
often determine to speak
type about the condition
of poetry of women
you’re dealing with inbythe late 19th the
examining
rhyme schemecentury. Gilman
(the pattern of was a very
rhymes important
at the feminist
end of each line)writer who
and the wrote
meter
against
(the number of poeticthe traditional
“feet” social
each line has).structure of her time, which insisted
that a woman’s only place was as a wife and mother. Importantly,
 For her
example, Ednausually
St. Vincent Millay
arguments insisted that tackles how difficult
this structure harmeditmen
is toas
writewell
poetry in her --
as women poem “I Willthat
something PutisChaos into Fourteen
very useful to bring Lines.”
up in a
Knowing that this poem is a sonnet about writing sonnets
discussion of her fiction, and something you might not know helpsif
explain
you part
wereof what
only the on
acting poem’s goal knowledge”
“common is: putting aoflittle modern
the era.
“chaos” into a very old and established poetic form. Recognizing
Method 3 Quiz (EXAMPLE)
that Millay uses a classic Petrarchan rhyme scheme and that many
True ofor the
false:
linesYou
are should summarize
in iambic as (meaning
pentameter much detail
theyassound
you can
like for
each “ta-TUM
chapter. ta-TUM ta-TUM ta-TUM ta-TUM”) will help you

7. identify True
the poem as a sonnet.

 Many modern poets write in free verse, but this doesn’t mean they
Not exactly! While your notes should be pretty thorough, you don’t
Chapter 4 |Module 4 Testing Literature 16
verse poetry just as you would in more formally structured poetry. community, bravery, warmth, safety, wealth, and civilization, so when
Grendel invades Heorot and murders warriors in their sleep there,
2. Identify the speaker and the audience of the poem, when
he’s violating everything about the Scyldings’ lives.
possible. This is particularly important for poems such as dramatic
monologues, where the speaker is definitely ‘’not’’ supposed to be the poet.
4. Remember that you don’t have to memorize poems you’re
Felicia Hemans, Robert Browning, and Alfred, Lord Tennyson all wrote
studying. Just make sure you know the basics such as structure of the
dramatic monologues from the points of view of characters very different
poem, themes, and overarching idea or story.
than themselves.
 It can sometimes be helpful to memorize a key line or two from a
 Identifying the speaker can be trickier in lyric poetry, such as the poem so that you can use it as evidence. For example, if you’re
type written by poets like Wordsworth or John Keats, because studying Walt Whitman’s huge poem Leaves of Grass, you might
these poems are often written in first-person but don’t make a want to memorize the short phrase “dismiss whatever insults your
clear distinction between the speaker and the poet. Nevertheless, own soul; and your very flesh shall be a great poem.” This short
even in poems that are written using first-person pronouns like “I”, quotation encapsulates much of the meaning from the larger text,
always refer to the speaker as the speaker, not the poet. and being able to drop it into an exam will help you support your
claims.
3. Write down any symbols in the poem and where they appear. Just
as with prose writing, symbolism shows up all the time in poetry. Be on the
5. Look up context for your poems. Context is just as important for poetry
lookout for repeated elements, especially things like colors or natural
as it is for fiction or drama. Knowing what types of issues the poet may
imagery.
have been addressing can help you understand the goal of the poetry.

 For example, in William Wordsworth’s poem “Tintern Abbey,”

 Contextual information can also be useful in keeping you from
the eye is an important symbol that represents many things,
making incorrect statements about poems. For example, it’s
including the poet’s imagination. Wordsworth will often play on the
important to know that Shakespeare’s sonnets are not all written
similarity of sound between I and eye, further relating the two
to female lovers, even though that was the standard for sonnets of
concepts.
the era. In fact, most of them are written to a “fair youth,” a
wealthy young man to whom the poet has some sort of deep,

Chapter 4 |Module 4 Testing Literature 17

LookMethod
for footnotes and other aids. Often in books edited for a student
4 Quiz (EXAMPLE)
audience, the editors will include explanatory footnotes, word definitions,
Which element is common in free verse poetry?
and other aids that can help you grasp what’s going on. Don’t ignore these!
They canAlliteration
really help clear up confusing passages.

2. Avoid skimming
Yes! Free lack  Especially
material.
verse may if you’rebut
a formal structure, reading poetrymean
that doesn’t or plays,
it won’t
reading
makeeverything
use of formalis very important.
techniques andSkipping
devices things such as Don’t
like alliteration. stage be
directions in ifa a Shakespeare
surprised play
free verse poet can mean
playfully you
repeats miss out
particular onofcrucial
parts speech to
information.
punch upLanguage in poems is precisely chosen and structured to have
their poem. .
a particular effect, so missing even a word or two could damage your
Meter
understanding of the whole text.
Not quite! Writing a poem in meter gives it a rigid formal structure. In other

3
words, a poem in meter is not free verse. Free verse poetry lacks a formal
structure, though it still has rhythm. 
3. Read Rhyming aloud. This technique works especially well with poetry
passagesscheme
and plays, but it can also work for long, dense passages of prose in a novel,
Nope! If
especially if ait’s
poem has a certain
something like a rhyming
Charles scheme
Dickens with
novelanwhere
established pattern,
sentences
can that
run tomeans it’s not written
a full paragraph. in free
Reading verse. However,
the language aloud willahelp
poem may
point out use
elements
elements suchofasrhyme yet alliteration,
rhythm, be free verse,
andbut only so which
repetition, long asare
rhyming doesn’t
all things
that dictate the entire
your exam may askstructure
you to of the poem. 
speak about.
Method5
Method 5 1.

Handling Difficult Texts

4
1.Re-read passages you don’t4.understand. Particularly in poetry, authors
may use language unconventionally in order to make a more powerful
impact on the reader. This can be confusing at first, but re-reading the
4.Make flashslowly
passage . If carefully
cardsand you’re having trouble
will reward yourremembering
attention things, make
yourself some flash cards. Sometimes, the transfer of material from one
medium to another (e.g., from written notes to flash cards) will help you

Chapter 4 |Module 4 Testing Literature 18

1. Identify topic sentences and the main idea of paragraphs. Literal simply refers to what the text says and inferential is using the text  as
a starting point to get a deeper meaning
The main idea of a paragraph is the author’s message about the topic
You can take a look at one of these exercises in this website: Literal and
Inferential Meaning
Remember that every paragraph usually includes a topic sentence that
identifies the main idea of the paragraph.
7. Inferring
2. General and Specific Ideas
Another while listening activity consist of Inferring the meaning of new
words using the context.
Distinguish between general and specific ideas.

 All language learners rely on context to decipher the meaning of a word, a

General ideas usually express the main point or main idea of a piece of reading strategy used quite a lot when you do extensive reading.
writing and Specific ideas provide evidence to further define the general or
main idea and prove that it is valid
  8. Coding Text
3.Identify the connectors to see how they link ideas within the text.
There are many types of connectors, for a full list of linking words, have a
Coding text involves teaching students a method of margin marking so they
look at these linking words grouped by category.
can place a question mark next to an statement they don’t understand or an
exclamation mark next to something that surprised them.
4. Confirm Prediction
Check whether or not predictions and guesses are confirmed. 
This is something that can be done when a reading class might starts 9. Student-to-student conversation
with one of these pre-reading activities.

5. Skim a Text for specific Information.  This type of activity is one that promotes the integration of two more
Skimming is the ability to locate the main idea within a text, using this skills since you read the paragraph, you talk to a classmate and you
reading strategy will help students  to become proficient readers. listen to what he or she has to say.
Skimming reading will also help students to be a flexible reader
you can ask students to have a conversation after they have finished a
6. Answer Literal and Inferential questions paragraph or a stanza of a poem so they can clear up any confusions they
might have.

10. Scan a text for specific information

Scanning is reading a text quickly in order to find specific information.

Chapter 4 |Module 4 Testing Literature 19

Self Assessments # 1 ……………………..10 pts. REFERENCES

Write your answer in a yellow paper. WASHBACK IN LANGUAGE TESTING: Research Contexts and Methods.
Mahwah, New Jersey London,
QUESTION
LAWRENCE ERLBAUM ASSOCIATES, PUBLISHERS. Heaton, J. B.
1. Choose your own poem and follow the different elements found in Longman Handbooks for Language Teachers: Writing English Language
Tests (New ed.).
 Method 1
London and New York: Longman Group UK Ltd. Hinkel, E. (Ed.). Handbook
 Method 2 of Research in Second Language Teaching and Learning. Mahwah, New
 Method 3 Jersey and London:
 Method 4
Lawrence Erlbaum Assoicates, Publishers . Hughes, A. Testing for
 Method 5 Language Teachers . Cambridge : Cambridge University Press. Madsen, H.
S.). Techinques in Testing . Oxford : Oxford University Press. McNamara, T.
Assessment # 2 …………………………10 pts. & Roever (unknown). Language Testing in the Social Dimension. Blackwell
Publishing Ltd
QUESTION
WEBSITES/INTERNETS
2. Which among the types of Literature Test struck you the most? Why?

Assessment # 3 …………………………..10 pts. https://sites.google.com/site/evaluationandlanguagetesting/stages-of-test-

development
3. Why is there a need to understand the context of a poem? Explain.

ACTIVITY # 1…………………………….10 pts.

1. Make your own poem written by a famous author.

ACTIVITY # 2. ………………………….10 pts.

2. Draw the message of the poem.

Chapter 4 |Module 4 Testing Literature 20

Chapter 4 |Module 4 Testing Literature 21
Chapter 4 |Module 4 Testing Literature 22