Week 3-4 Lessons: Week 3 - 4 Learning Resources & Assessment

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Code A17- Society and Literature

WEEK 3 - 4 LEARNING RESOURCES & Assessment
Week 3-4 Lessons

Learning Outcome:
1. Identify the types of conflict in Literature
2. Identify the elements of a short story;
3. Interpret the lines found in the stories; and
4. Describe the impact of poverty in the characters’ lives.
5. Share insights about human rights;
6. Read and understand the story “My Father goes to Court;
7. Familiarize the elements of a short story; and
8. Draw a caricature about the scene presented in the story.
Learning Content:
Introduction:
POVERTY IN THE PHILIPPINES
Causes of Poverty
The main causes of poverty in the country include the following:
low to moderate economic growth for the past 40 years;

low growth elasticity of poverty reduction;
weakness in employment generation and the quality of jobs generated;
failure to fully develop the agriculture sector;
high inflation during crisis periods;
high levels of population growth;
high and persistent levels of inequality (incomes and assets), which dampen the positive impacts of economic expansion; and
recurrent shocks and exposure to risks such as economic crisis, conflicts, natural disasters, and "environmental poverty."
Key Findings
The report's key findings include the following:
Economic growth did not translate into poverty reduction in recent years;
Poverty levels vary greatly by regions;
Poverty remains a mainly rural phenomenon though urban poverty is on the rise;
Poverty levels are strongly linked to educational attainment;
The poor have large families, with six or more members;
Many Filipino households remain vulnerable to shocks and risks;
Governance and institutional constraints remain in the poverty response;
There is weak local government capacity for implementing poverty reduction programs;
Deficient targeting in various poverty programs;
There are serious resource gaps for poverty reduction and the attainment of the MDGs by 2015;
Multidimensional responses to poverty reduction are needed; and
Further research on chronic poverty is needed.
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The report comprehensively analyzes the causes of poverty and recommends ways to accelerate poverty reduction and achieve more inclusive growth. In the immediate and short term, there
is a need to enhance the government's poverty reduction strategy and involve key sectors for a collective and coordinated response to the problem. In the medium and long-term, the
government should continue to pursue key economic reforms for sustained and inclusive growth.
Source: www.adb.org
HUMAN RIGHTS IN THE PHILIPPINES

Source: hurights.or.jp
Human rights are universal, inalienable, and indivisible. They are dynamic and continue to evolve in response to the growing needs, concerns, and aspirations of
individuals and communities. These rights are enriched in the course of the struggle for their full recognition. The human and peoples’ rights affirmed in this declaration
are wholly consistent with contemporary international standards. Nothing in this declaration shall be used to negate or deny any other rights – whether specified or
inferred found in national or international human rights instruments.
The promotion of human and peoples’ rights is pursued through individual and collective action. They are the product or purposive struggle and are linked to the
real conditions and concerns of the people. While much has been achieved, much remains to be done. In this new millennium, there will remain the need for human
rights defenders so long as repressive regimes, systems, and structures exist that threaten to thwart our gains.
In our world today, more and more people have become aware and thus aspire to live in an environment that protects the universal standards of human rights.
Human rights are a source of strength and power for people – they enable us to continue to work for peace, prosperity, progress, and sustainable development. The
cause of human rights enlivens our commitment to the realizations of the fullness of life. This is our collective task as a people in solidarity with all the people of the
world.
Lesson Proper:
As we are about to study a short story that can be best associated to poverty, it is but important to learn about the types of conflict in literature as this would allow us to better appreciate our
succeeding topic.
Types of Conflict
Literature without conflict is like living a monotonous life or watching a two-hour vlog of a person who recorded himself sleeping for two literal hours – it is dull and boring. Oftentimes, we feel a
tinge of pain as our favorite characters go through hardships.
Not to mention how much we cried when star-crossed lovers Romeo and Juliet had to die together; or how Game of Thrones character Ned Stark was beheaded just after we got so much
attached to his character; and how we hated the demigorgons for disturbing the coolest kids in Stranger Things. These struggles were necessary to keep us entertained, just as how the pain
that we experience adds color to the life that we are currently living.
So let's look at the seven of the most common types of conflict, using examples from famous novels to illustrate each type.
CONFLICT – is any struggle between opposing forces.


Conflict Drives Characterization
Most enduring stories contain more than one of these types of conflict, and one conflict can develop into another during a character's journey. It's important to understand your
character's traits, as well as what type of literary character he or she is, to comprehend more about any particular conflict.
Source: https://www.scribendi.com/academy/articles/types_of_conflict_in_literature.en.html
After studying the different conflicts in literature, here is a short story written by Jose Villa about one of the root causes of poverty. While looking into the conflicts in the story, notice how Villa
tries to wake up the youth of all generations from our deep slumber
by: Jose Garcia Villa
The sun was salmon and hazy in the west. Dodong thought to himself he would tell his father about Teang when he got home, after he had unhitched the carabao from the plow, and led it to
its shed and fed it. He was hesitant about saying it, he wanted his father to know what he had to say was of serious importance as it would mark a climacteric in his life. Dodong finally decided
to tell it, but a thought came to him that his father might refuse to consider it. His father was a silent hardworking farmer, who chewed areca nut, which he had learned to do from his mother,
Dodong’s grandmother.
I will tell him. I will tell it to him.
The ground was broken up into many fresh wounds and fragrant with a sweetish earthy smell. Many slender soft worms emerged from the further rows and then burrowed again deeper into
the soil. A short colorless worm marched blindly to Dodong’s foot and crawled clammily over it. Dodong got tickled and jerked his foot, flinging the worm into the air. Dodong did not bother to
look where into the air, but thought of his age, seventeen, and he said to himself he was not young anymore.
Dodong unhitched the carabao leisurely and gave it a healthy tap on the hip. The beast turned its head to look at him with dumb faithful eyes. Dodong gave it a slight push and the animal
walked alongside him to its shed. He placed bundles of grass before it and the carabao began to eat. Dodong looked at it without interest.
Dodong started homeward thinking how he would break his news to his father. He wanted to marry, Dodong did. He was seventeen, he had pimples on his face, the down on his upper lip was
dark – these meant he was no longer a boy. He was growing into a man – he was a man. Dodong felt insolent and big at the thought of it, although he was by nature low in stature. Thinking
himself man-grown, Dodong felt he could do anything.
He walked faster, prodded by the thought of his virility. A small angled stone bled his foot, but he dismissed it cursorily. He lifted his leg and looked at the hurt toe and then went on walking. In
the cool sundown, he thought wild young dreams of himself and Teang, his girl. She had a small brown face and small black eyes and straight glossy hair. How desirable she was to him. She
made him want to touch her, to hold her. She made him dream even during the day.
Dodong tensed with desire and looked at the muscle of his arms. Dirty. This fieldwork was healthy invigorating, but it begrimed you, smudged you terribly. He turned back the way he had
come, then marched obliquely to a creek.
Dodong stripped himself and laid his clothes, a gray under shirt and red kundiman shorts, on the grass. Then he went into the water, wet his body over and rubbed at it vigorously. He was not
long in bathing, then he marched homeward again. The bath made him feel cool.
It was dusk when he reached home. The petroleum lamp on the ceiling was already lighted and the low unvarnished square table was set for supper. He and his parents sat down on the floor
around the table to eat. They had fried freshwater fish, and rice, bananas and caked sugar.
Dodong ate fish and rice, but did not partake of the fruit. The bananas were overripe and when one held them, they felt more fluid than solid. Dodong broke off a piece of caked sugar, dipped it
in his glass of water and ate it. He got another piece and wanted some more, but he thought of leaving the remainder for his parents.
Dodong’s mother removed the dishes when they were through, and went out to the batalan to wash them. She walked with slow careful steps and Dodong wanted to help her carry the dishes
out, but he was tired and now felt lazy. He wished as he looked at her that he had a sister who could help his mother in the housework. He pitied her, doing all the housework alone.
His father remained in the room, sucking a diseased tooth. It was paining him, again. Dodong knew. Dodong had told him often and again to let the town dentist pull it out, but he was afraid,
his father was. He did not tell that to Dodong, but Dodong guessed it. Afterward, Dodong himself thought that if he had a decayed tooth, he would be afraid to go to the dentist; he would not be
any bolder than his father.
Dodong said while his mother was out that he was going to marry Teang. There it was out, what we had to say, and over which he had done so much thinking. He had said it without any effort
at all and without self-consciousness. Dodong felt relieved and looked at his father expectantly. A decresent moon outside shed its feeble light into the window, graying the still black temples of
his father. His father looked old now.
“I am going to marry Teang,” Dodong said.
His father looked at him silently and stopped sucking the broken tooth, the silence became intense and cruel, and Dodong wished his father would suck that troublous tooth again. Dodong was
uncomfortable and then became very angry because his father kept looking at him without uttering anything.
“I will marry Teang,” Dodong repeated. “I will marry Teang.”
His father kept gazing at him in inflexible silence and Dodong fidgeted in his seat.
“I asked her last night to marry me and she said…yes. I want your permission… I… want… it…” There was an impatient clamor in his voice, an exacting protest at his coldness, this
indifference. Dodong looked at his father sourly. He cracked his knuckles one by one, and the little sound it made broke the night stillness dully.
“Must you marry, Dodong?”
Dodong resented his father’s question; his father himself had married early. Dodong made a quick impassioned essay in his mind about selfishness, but later, he got confused.
“You are very young, Dodong.”
“I’m seventeen.”
“That’s very young to get married at.”
“I… I want to marry… Teang’s a good girl…
“Tell your mother,” his father said.
“You tell her, tatay.”
“Dodong, you tell your inay.”
“You tell her.”
“All right, Dodong.”
“You will let me marry Teang?”
“Son, if that is your wish… of course…” There was a strange helpless light in his father’s eyes. Dodong did not read it. Too absorbed was he in himself.
Dodong was immensely glad he had asserted himself. He lost his resentment toward his father. For a while he even felt sorry for him about the diseased tooth. Then he confined his mind
dreaming of Teang and himself. Sweet young dreams…
Dodong stood in the sweltering noon heat, sweating profusely so that his camiseta was damp. He was still as a tree and his thoughts were confused. His mother had told him not to leave the
house, but he had left. He wanted to get out of it without clear reason at all. He was afraid, he felt. Afraid of the house. It had seemed to cage him, to compress his thoughts with severe
tyranny. Afraid also for Teang. Teang was giving birth in the house; she gave screams that chilled his blood. He did not want her to scream like that, she seemed to be rebuking him. He began
to wonder madly if the process of childbirth was really painful. Some women, when they gave birth, did not cry.
In a few moments he would be a father. “Father, father,” he whispered the word with awe, with strangeness. He was young, he realized now contradicting himself of nine months ago. He was
very young… He felt queer, troubled, uncomfortable…“Your son,” people would soon be telling him. “Your son, Dodong.”
Dodong felt tired of standing. He sat down on a sawhorse with his feet close together. He looked at his calloused toes. Suppose he had ten children…What made him think that? What was the
matter with him? God!
He heard his mother’s voice from the house.
“Come up, Dodong. It is over.”
Suddenly, he felt terribly embarrassed as he looked at her. Somehow, he was ashamed to his mother of his youthful paternity. It made him feel guilty, as if he has taken something not properly
his. He dropped his eyes and pretended to dust off his kundiman shorts.
“Dodong,” his mother called again. “Dodong.”
He turned to look again and this time, he saw his father beside his mother.
“It is a boy.” His father said. He beckoned Dodong to come up.
Dodong felt more embarrassed and did not move. His parent’s eyes seemed to pierce through him so he felt limp. He wanted to hide or even run away from them.
“Dodong, you come up. You come up,” his mother said.
Dodong did not want to come up. He’d rather stayed in the sun.
“Dodong… Dodong.”
I’ll… come up.
Dodong traced the tremulous steps on the dry parched yard. He ascended the bamboo steps slowly. His heart pounded mercilessly in him. Within, he avoided his parent’s eyes. He walked
ahead of them so that they should not see his face. He felt guilty and untrue. He felt like crying. His eyes smarted and his chest wanted to burst. He wanted to turn back, to go back to the yard.
He wanted somebody to punish him.
His father thrust his hand in his and gripped it gently.
“Son,” his father said.
And his mother: “Dodong..”
How kind were their voices. They flowed into him, making him strong.
“Teang?” Dodong said.
“She’s sleeping. But you go on…”
His father led him into the small sawali room. Dodong saw Teang, his girl-wife, asleep on the papag with black hair soft around her face. He did not want her to look that pale.
Dodong wanted to touch her, to push away that stray wisp of hair that touched her lips. But again that feeling of embarrassment came over him, and before his parents, he did not want to be
demonstrative.
The hilot was wrapping the child. Dodong heard him cry. The thin voice pierced him quietly. He could not control the swelling of happiness in him.
“You give him to me. You give him to me,” Dodong said.
Blas was not Dodong’s only child. Many more children came. For six successive years, a new child came along. Dodong did not want any more children. But they came. It seemed that the
coming of children could not helped. Dodong got angry with himself sometimes.
Teang did not complain, but the bearing of children told on her. She was shapeless and thin now, even if she was young. There was interminable work to be done. Cooking. Laundering. The
house. The children. She cried sometimes, wishing she had not married. She did not tell Dodong this, not wishing him to dislike her. Yet she wished she had not married. Not even Dodong
whom she loved. There had been another suitor, Lucio, older than Dodong by nine years, and that was why she had chosen Dodong. Young Dodong. Seventeen. Lucio had married another
after her marriage to Dodong, but he was childless until now. If she had married Lucio, she wondered, would she have borne him children? Maybe not, either. That was a better lot. But she
loved Dodong…
Dodong whom life had made ugly.
One night, as he lay beside his wife, he rose and went out of the house. He stood in the moonlight, tired and querulous. He wanted to ask questions and somebody to answer him. He wanted
to be wise about many things.
One of them was why life did not fulfill all of the Youth’s dreams. Why it must be so. Why one was forsaken… after love.
Dodong could not find the answer. Maybe the question was not to be answered. It must be so to make youth Youth. Youth must be dreamfully sweet. Dreamfully sweet. Dodong returned to the
house, humiliated by himself. He had wanted to know a little wisdom but was denied it.
When Blas was eighteen, he came home one night, very flustered and happy. Dodong heard Blas’ steps for he could not sleep well of nights. He watched Blass undress in the dark and lie
down softly. Blas was restless on his mat and could not sleep. Dodong called his name and asked why he did not sleep.
“You better go to sleep. It is late,” Dodong said.
Blas raised himself on is elbow and muttered something in a low fluttering voice.
“Itay..” Blas called softly.
Dodong stirred and asked him what it was.
“I’m going to marry Tona. She accepted me tonight.”
Dodong lay on the red pillow without moving.
“Itay, you think its over.”
Dodong lay silent.
I loved Tona and… I want her.”
Dodong rose from his mat and told Blas to follow him. They descended to the yard where everything was still and quiet.The moonlight was cold and white.
“You want to marry Tona,” Dodong said. He did not want Blas to marry yet. Blas was very young. The life that would follow marriage would be hard…
“Yes.”
“Must you marry?”
Blas’ voice was steeled with resentment. “I will marry Tona.”
“You have objections, Itay?” Blas asked acridly.
“Son… n-none…” (But truly, God, I don’t want Blas to marry yet…not yet. I don’t want Blas to marry yet…)
But he was helpless. He could not do anything. Youth must triumph… now. Afterward… it will be Life.
As long ago Youth and Love did triumph for Dodong… and then Life.
Dodong looked wistfully at his young son in the moonlight. He felt extremely sad and sorry for him.
ELEMENTS OF THE STORY

• Dodong - Main character of the story who got married to Teang at the age of 17.
CHARACTERS
• Teang - Regretted marrying at an early age.
• Lucio - Teangs other suitor who got married after she did and who’s childless until now.
• Blas - Dodong and Teang’s oldest son who followed their footsteps in the end. Blas contemplated to
marry Tona when she was 18.
• Tona - The woman whom Blas wants to marry.
SETTING The setting is in a RURAL AREA. Specifically in a farm.
POINT OF VIEW The point of view is in Third Person.
• Exposition - The exposition of "Footnote to Youth" introduces Dodong, the protagonist, his fiance
and his father. It also introduces the conflict Dodong is facing, which is that he must tell his father
that he plans to marry. He knows his father will think he is too young, but he is determined to
marry the woman he loves.
• Rising Action - The rising action occurs when Dodong is interested in marrying Teang and tells his
father that he wants to do so. He considers marrying Teang as essential to his life and even holds
back momentarily from sharing it with his father, fearing resistance. He is only seventeen, as his
father reminds him, but Dodong is too stiff-necked to reconsider. He does not even notice the
helpless look in his father's eyes, which suggests that he should not marry.
• Climax - Dodong married Teang. After nine months, Teang gave birth to a child named Blas. For
six consecutive years, a new child came along. Teang did not complain even though she secretly
regretted being married at an early age. Sometimes she even wondered if she would have the
same life if Lucio, her other suitor who was nine years older than Dodong, was the one she
married.
Lucio has had no children since the time he married. When Teang and Dodong were twenty they
looked like they were fifty. When Blas was 18, he told his father that he would marry Tona.
Dodong did not object, but tried to make Blas think twice before rushing to marriage - because
PLOT OF THE Dodong doesn't want Blas to end up like him.
STORY
• Falling Action - Dodong comes to a realization that early marriage can ruin one's life. Dodong had
seven children. He is not only ashamed in front of his parents for his youthful paternity, but also
gets angry at himself because the birth of so many children could not be helped.
He is also humiliated. He realizes that life does not fulfill all the dreams of youth.
And also when Dodong can’t do anything to change the mind of his son into marrying Tona.
• Denouement - Dodong was helpless. He couldn’t do anything but to give his consent. Dodong felt
really sad and sorry for his son.
• Conclusion - “History repeats itself”

ü Footnote to youth talks about the youth as of today. It was written by Jose Garcia Villa in
1933.
ü It is the basic story of marrying at a very young age and questioning the wisdom of making
life choices at a young age that must be lived with.
ü It also shows that a father’s wisdom is not always something you can base your life on.
ü If you make a decision even at a young age, sometimes you must live with the
consequences.
• The theme of foot note to youth is teen marriage. The story revolves around the main character
Dodong , his pursuit of his love for Teang and the realization of the complexity of early marriage.
THEME
• It also speaks about responsibilities and realities and decision Making.
• Don’t rush things.

MORAL OF THE
• Don’t make decisions that will ruin your future.
STORY
• It’s better to use both our heart and mind.
LITERARY DEVICES
These are techniques which shape narrative to produce an effect on the reader.
Plot Device – is an object, character or concept introduced into the story by the author to advance its plot.
Plot Twist – any unexpected turn of the story that gives a new view on its entire topic. A plot twist at the end of the story is called a twist ending.
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Flashing Arrow – a technique used to focus the reader’s attention on an object or a location that will be important later in the story.
Red Herring – a plot device that distracts the reader’s attention from the plot twists that are important for the story. It is used to maintain tension and uncertainty.
Death trap – a plot device that the villain uses to try to kill the protagonist and satisfy his own sadistic desires.
Comic Book Death – a technique which makes a major character “die or disappear forever”, but the character re-appears later in the story.
Dark and Stormy Night – a cliché-like opening that usually includes darkness, violent lightning and a general mood of solitude.
Reverse Chronology – a technique where a story begins at the end and works back toward the beginning.
In medias res – a literary technique where the narrative starts in the middle of the story instead from its beginning. The characters, setting and conflict is often introduced through a series of
flashbacks.
Analepsis (flashback) – presents the events from previous to the current time frame. Flashbacks are usually presented as character’s memories and are used to explain their backgrounds
and the back-story.
Prolepsis (flash forward) – presents events that will occur in the future.
Foreshadowing – it is a premonition, much like a flash forward, but only hints at the future.
*FINALES. There are several patterns for story endings:
Cliff-hanger – an abrupt ending that leaves the plot incomplete, without denouement. It often leaves characters in a precarious or difficult situation which hint at the possibility of a sequel.
Twist Ending – an unexpected finale that gives an entirely new vision on the entire plot. It is a powerful technique but it can leave the reader dissatisfied or frustrated.
Happy Ending – a finale when everything ends in the best way for the hero
Poetic Justice – type of a happy ending where the virtue is rewarded and the vice is punished.
Deus ex machina – a plot device dating back to ancient Greek theatre, where the conflict is resolved through a means (by god, deus) that seem unrelated to the story. This allows the author
to end the story as desired without following the logic and continuity of the story.
My Father Goes to Court

By Carlos Bulosan
My Father Goes to Court is a humorous story by Carlos Bulosan. It is perhaps the most famous one among the stories in his collection The Laughter of my Father, published in New York by Harcourt and
Brace 1944, having previously appeared in The New Yorker on 13 November 1943.
My Father Goes to Court

By Carlos Bulosan
When I was four, I lived with my mother and brothers and sisters in a small town on the island of Luzon. Father’s farm had been destroyed in 1918 by one of our sudden Philippine floods,
so several years afterwards we all lived in the town though he preferred living in the country. We had as a next door neighbour a very rich man, whose sons and daughters seldom came out
of the house. While we boys and girls played and sang in the sun, his children stayed inside and kept the windows closed. His house was so tall that his children could look in the window of
our house and watched us played, or slept, or ate, when there was any food in the house to eat.
Now, this rich man’s servants were always frying and cooking something good, and the aroma of the food was wafted down to us form the windows of the big house. We hung about and
took all the wonderful smells of the food into our beings. Sometimes, in the morning, our whole family stood outside the windows of the rich man’s house and listened to the musical sizzling
of thick strips of bacon or ham. I can remember one afternoon when our neighbour’s servants roasted three chickens. The chickens were young and tender and the fat that dripped into the
burning coals gave off an enchanting odour. We watched the servants turn the beautiful birds and inhaled the heavenly spirit that drifted out to us.

Some days the rich man appeared at a window and glowered down at us. He looked at us one by one, as though he were condemning us. We were all healthy because we went out in the
sun and bathed in the cool water of the river that flowed from the mountains into the sea. Sometimes we wrestled with one another in the house before we went to play. We were always in
the best of spirits and our laughter was contagious. Other neighbours who passed by our house often stopped in our yard and joined us in laughter.
As time went on, the rich man’s children became thin and anaemic, while we grew even more robust and full of life. Our faces were bright and rosy, but theirs were pale and sad. The rich
man started to cough at night; then he coughed day and night. His wife began coughing too. Then the children started to cough, one after the other. At night their coughing sounded like the
barking of a herd of seals. We hung outside their windows and listened to them. We wondered what happened. We knew that they were not sick from the lack of nourishment because they
were still always frying something delicious to eat.
One day the rich man appeared at a window and stood there a long time. He looked at my sisters, who had grown fat in laughing, then at my brothers, whose arms and legs were like the
molave, which is the sturdiest tree in the Philippines. He banged down the window and ran through his house, shutting all the windows.
From that day on, the windows of our neighbour’s house were always closed. The children did not come out anymore. We could still hear the servants cooking in the kitchen, and no matter
how tight the windows were shut, the aroma of the food came to us in the wind and drifted gratuitously into our house.
One morning a policeman from the presidencia came to our house with a sealed paper. The rich man had filed a complaint against us. Father took me with him when he went to the town
clerk and asked him what it was about. He told Father the man claimed that for years we had been stealing the spirit of his wealth and food.
When the day came for us to appear in court, father brushed his old Army uniform and borrowed a pair of shoes from one of my brothers. We were the first to arrive. Father sat on a chair in
the centre of the courtroom. Mother occupied a chair by the door. We children sat on a long bench by the wall. Father kept jumping up from his chair and stabbing the air with his arms, as
though we were defending himself before an imaginary jury.
The rich man arrived. He had grown old and feeble; his face was scarred with deep lines. With him was his young lawyer. Spectators came in and almost filled the chairs. The judge entered
the room and sat on a high chair. We stood in a hurry and then sat down again.
After the courtroom preliminaries, the judge looked at the Father. “Do you have a lawyer?” he asked.
“I don’t need any lawyer, Judge,” he said.
“Proceed,” said the judge.
The rich man’s lawyer jumped up and pointed his finger at Father. “Do you or you do not agree that you have been stealing the spirit of the complaint’s wealth and food?”
“I do not!” Father said.
“Do you or do you not agree that while the complaint’s servants cooked and fried fat legs of lamb or young chicken breast you and your family hung outside his windows and inhaled the
heavenly spirit of the food?”
“I agree.” Father said.
“Do you or do you not agree that while the complaint and his children grew sickly and tubercular you and your family became strong of limb and fair in complexion?”
“I agree.” Father said.
“How do you account for that?”
Father got up and paced around, scratching his head thoughtfully. Then he said, “I would like to see the children of complaint, Judge.”
“Bring in the children of the complaint.”
They came in shyly. The spectators covered their mouths with their hands, they were so amazed to see the children so thin and pale. The children walked silently to a bench and sat down
without looking up. They stared at the floor and moved their hands uneasily.
Father could not say anything at first. He just stood by his chair and looked at them. Finally he said, “I should like to cross – examine the complaint.”
“Proceed.”
“Do you claim that we stole the spirit of your wealth and became a laughing family while yours became morose and sad?” Father said.
“Yes.”
“Do you claim that we stole the spirit of your food by hanging outside your windows when your servants cooked it?” Father said.
“Yes.”
“Then we are going to pay you right now,” Father said. He walked over to where we children were sitting on the bench and took my straw hat off my lap and began filling it up with centavo
pieces that he took out of his pockets. He went to Mother, who added a fistful of silver coins. My brothers threw in their small change.
“May I walk to the room across the hall and stay there for a few minutes, Judge?” Father said.
“As you wish.”
“Thank you,” father said. He strode into the other room with the hat in his hands. It was almost full of coins. The doors of both rooms were wide open.
“Are you ready?” Father called.
“Proceed.” The judge said.
The sweet tinkle of the coins carried beautifully in the courtroom. The spectators turned their faces toward the sound with wonder. Father came back and stood before the complaint.
“Did you hear it?” he asked.
“Hear what?” the man asked.
“The spirit of the money when I shook this hat?” he asked.
“Yes.”
“Then you are paid,” Father said.

The rich man opened his mouth to speak and fell to the floor without a sound. The lawyer rushed to his aid. The judge pounded his gravel.
“Case dismissed.” He said.
Father strutted around the courtroom the judge even came down from his high chair to shake hands with him. “By the way,” he whispered, “I had an uncle who died laughing.”
“You like to hear my family laugh, Judge?” Father asked?
“Why not?”
“Did you hear that children?” father said.
My sisters started it. The rest of us followed them soon the spectators were laughing with us, holding their bellies and bending over the chairs. And the laughter of the judge was the loudest
of all.
Aguila, Augusto Antonio A., Joyce L. Arriola and John Jack Wigley. Philippine Literatures: Texts, Themes, Approaches. Espana, Manila: Univesity of Santo Tomas Publishing House. Print.
Elements of the Short Story (My Fathers Goes to Court)

SETTING: In the City
CHARACTERS: the young narrator, poor father, wife and his children, rich man, rich man’s children, servants, policeman, judge and the lawyer
PLOT
Exposition:
There was a young narrator describing his family who lived in a town with a rich neighbor. This family's children often goes out to play along with each other and always find themselves
laughing, while the rich man's children are always kept inside the house. The family often hang and stand beside the rich man's window to see whatever they are up to. They always
unintentionally smell the rich aroma of those foods their neighbor's maids are cooking.
Rising Action:
As time went on, the rich man's children became thin and anemic, while the young narrator's family grew even more robust and full of life. Their faces were bright and rosy while the others
were pale and sad. Soon, the rich man started to cough and his wife began too. Then their children started to cough, one after the other. Until one day, the rich man suddenly closed their
windows after seeing the young narrator's siblings; healthy and full of life.
Climax:
One morning, a policeman from the presidencia came to the young narrator's house. The rich man had filed a complaint against them stating that they've been stealing the spirit of their wealth
and food. The day came for the two families to face the trial in the court. The rich man had a lawyer while the young narrator's father stood by his decision to not hire any.
Falling Action:
The trial began by the rich man's lawyer started to ask annoying questions to the father. After answering, the father requested to bring the complainant's children to the stand and began to ask
almost the same questions he answered. After being somehow proven guilty by the lawyer and the rich man's children, the father agreed to pay the crime they committed.
Denouement:
The father agreed to pay the crime they committed. He walked over to where his children were sitting and took his straw hat and began filling it up with centavo pieces. With the permission
from the judge, he strode into the other room with the hat full of coins in his hand while the doors of both rooms were wide open. The sweet tinkle of the coins carried beautifully in the
courtroom. All the people heard the sound. He talked to the rich man and said: "That's the spirit of money, you are paid". The rich man fell to the floor as the father stands the case to be
dismissed.
.....End of lesson... :)

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1/25/22, 6:16 PM Code A17- Society and Literature - https://usl-tuguegarao.neolms.com/student_lesson/show/3143360?

Code A17- Society and Literature

Week 3-4 Lessons

POVERTY IN THE PHILIPPINES

The main causes of poverty in the country include the following:

low to moderate economic growth for the past 40 years;

The report's key findings include the following:

HUMAN RIGHTS IN THE PHILIPPINES

CONFLICT – is any struggle between opposing forces.

Conflict Drives Characterization

by: Jose Garcia Villa

I will tell him. I will tell it to him.

“I am going to marry Teang,” Dodong said.

“I will marry Teang,” Dodong repeated. “I will marry Teang.”

“Must you marry, Dodong?”

“You are very young, Dodong.”

“That’s very young to get married at.”

“I… I want to marry… Teang’s a good girl…

“Tell your mother,” his father said.

“You tell her, tatay.”

“Dodong, you tell your inay.”

“You tell her.”

“All right, Dodong.”

“You will let me marry Teang?”

He heard his mother’s voice from the house.

“Come up, Dodong. It is over.”

“Dodong,” his mother called again. “Dodong.”

“It is a boy.” His father said. He beckoned Dodong to come up.

I’ll… come up.

His father thrust his hand in his and gripped it gently.

“Son,” his father said.

And his mother: “Dodong..”

“Teang?” Dodong said.

“She’s sleeping. But you go on…”

Dodong whom life had made ugly.

“You better go to sleep. It is late,” Dodong said.

“Itay..” Blas called softly.

Dodong stirred and asked him what it was.

“I’m going to marry Tona. She accepted me tonight.”

Dodong lay on the red pillow without moving.

“Itay, you think its over.”

Dodong lay silent.

I loved Tona and… I want her.”

“Must you marry?”

Blas’ voice was steeled with resentment. “I will marry Tona.”

“You have objections, Itay?” Blas asked acridly.

ELEMENTS OF THE STORY

• Tona - The woman whom Blas wants to marry.

SETTING The setting is in a RURAL AREA. Specifically in a farm.

POINT OF VIEW The point of view is in Third Person.

• Conclusion - “History repeats itself”

• Don’t rush things.

*FINALES. There are several patterns for story endings:

My Father Goes to Court

My Father Goes to Court

“I don’t need any lawyer, Judge,” he said.

“Proceed,” said the judge.