EED 15 Module

UNIT I
NATURE AND GENRES OF LITERATURE:

ITS ROLE IN THE ELEMENTARY GRADES
Critics, educators, and politicians had proclaimed the death of reading. “Kids don’t
read anymore” was a common observation. Teachers, librarians, and parents continually
seek to find right book for any particular child. There are thousand more “right books” just
waiting to be put into the hands of the young readers. This text will help you learn how to
do just that. Language and literacy are major domains of early childhood development.
These are connected areas but refer to different things. Language development involves
development of the development of the skills used to communicate with others through
languages, while literacy development involves ability to read and write. It is also said that
literacy is a key to lifelong learning and opportunities for success. Effective elementary
literacy instruction develops students’ linguistic and cognitive abilities through the explicit
integration of reading, writing, speaking, listening and watching into instruction across
all content areas and activities. Oral language, reading, writing, and content instruction
support and enrich each other. Students must be provided with experience in all these
areas if they are to achieve success.
Objectives
At the end of the unit, I am able to:
1. explain the purposes and genres under the literature umbrella; and
2. identify notable texts and authors appropriate for literature study in elementary
grades; and
3. discuss the target competencies to be met in English classes in K to 12 Basic
Education Curriculum.
TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 1

Activating Your Prior Knowledge
Children’s literature includes various stories, books, magazines, and poems that
are made for children to read and enjoy. Here are some of the stories that children have
loved through the years. Can you match the titles with the authors who wrote them? If so,
write the letter of the correct answer in the blank before the number.
__________ 1. The Chronicles of Narnia a. Lewis Carroll

__________ 2. Charlie and the Chocolate Factory b. Theodore Seuss Geisel
__________ 3. The Lion and the Mouse c. J. M. Barrie
__________ 4. The Lorax d. Roald Dahl
__________ 5. Alice in Wonderland e. C.S. Lewis
__________ 6. The Wizard of Oz f. Jeff Kinney
__________ 7. The Lightning Thief g. Frances Hodgson Burnett
__________ 8. Peter Pan h. Jerry Pinkney
__________ 9. The Secret Garden i. Rick Riordan
__________ 10. Diary of a Wimpy Kid j. L. Frank Baum
EXPANDING Your Knowledge
PURPOSES of CHILDREN’S Literature
Children’s books spell a big difference in the lives of little kids and young adult.
By reading children’s books, kids are encouraged to enjoy the habit of reading as well as
promote literacy in language learning. But why do we have to expose children to literature?
As future teachers, here are some of the purposes that will help you make your learners
love children’s literature.
1. Literature entertains and informs. It enables young people to explore and understand
their world. It enriches their lives and widens their horizons. They learn about people
and places on the other side of the world as well as the ones down the street. They can
travel back and forth in time to visit familiar places and people, to meet new friends,
and to see new worlds. They can explore their own feelings, shape their own values,
and imaginative lives beyond the one they live.
2. Literature contributes to language growth and development. When children and young
adults read or hear stories read to them, they learn new vocabulary. They encounter a
greater variety of words in books than they will ever hear in spoken conversation or on
television. Each learner builds an individual storehouse of language possibilities and
draws upon that wealth in speaking, writing, listening, and reading.
3. Literature helps students become better readers. Engaging stories, poetry and
information appeal to readers and entice them to read. The more they read, the better
they get. The better they read, the more they learn. The more they learn, the more
curious they become. Reading creates a self- fulfilling prophecy for success.
4. Literature helps students become better writers. When students read a lot, they notice
what writers do. They see that writers use structured patterns in their writing. When
readers write, they borrow the structures, patterns, and words from what they read.
5. Literature leads students to love reading. They seek out exciting stories, interesting
information, and humorous poems. They turn to reading as a source of pleasure and
entertainment.
6. Literature prompts students to explore their own feelings. They gain insight into
human experience and begin to understand themselves better. When they explore
their own feelings they also understand why other react as they do.

7. Literature reflects the diversity. Millions of children and young adults worldwide have
different backgrounds when it comes to their ethnicity, religion, nationality, and social
and economic status. Literature seeks to provide insights into realities and dreams
of young people and of the authors and illustrators who interpret those dreams and
realities. It reflects life throughout the course of time and across national boundaries.
It reflects life throughout the course of time and across national boundaries. Literature
keeps people’s dreams alive through folklore, myths, legends, and fairy tales. It presents
a vision of what is possible.
Genres OF LITERATURE FOR Young LEARNERS

Learners who want to read children’s literature may choose from a variety of
choices. Teachers like you can help your future students pick the most suitable materials
for their interests and levels of understanding. You may also find relevant examples that
belong to each genre of literature for children and young adult. In each genre, there are two
example; the first one is from a foreign author while the second example is from A Filipino
writer. Are you familiar with any of them? Have a look at these children’s literature and give
some time for yourself to read them online.
1. Picture Books. This shows the interdependence of art and text. The story or concept
is presented through a combination of texts and illustrations. Classification is based on
format, not genre. All genres appear in picture books.
Examples:
A picture storybook that has stood the test of time and is beloved by children today
as it was when published in 1902 is Beatrix Potter’s The Tale of Peter Rabbit.
Sandosenang Sapatos a storybook written by Dr. Luis P. Gatmaitan and won
first place in Maikling Kathang Pambata in 2001 Don Carlos Palanca Memorial
Awards for Literature. Sandosenang Sapatos is a heartwarming story of a father’s
incomparable love for his disabled daughter.
2. Poetry and Verse. Condensed language, imagery. Distilled, rhythmic expression of

imaginative thoughts and perceptions.
Examples:
The feelings expressed in poetry should have a ring of truthfulness. Whether
evoking laughter, telling a story, or expressing an emotion as Mary Ann Hoberman
does in “My Father”.
Sa Aking Mga Kabatà (English: To My Fellow Youth) is a poem about the love
of one’s native language written in Tagalog. It is widely attributed to the Filipino
national hero José Rizal, who supposedly wrote it in 1868 at the age of seven.
3. Folklore. Literary heritage of humankind. Traditional stories, myths, legends, nursery

rhymes, and songs from the past. Oral tradition; no known author.
Examples:
Mother Goose rhymes forms the foundation of a child’s literary heritage. Educators
and researchers recognize Mother Goose rhymes as essential learning material
for children. As it is true of all folklore, it does not have concise evidence of the
origins of Mother Goose rhymes, nor do we know whether a person with that name
actually existed.
The legend of Si Malakas at Si Maganda is the Philippine version of Adam and

Eve. Legend has it that the first Filipino man and woman were born from a bamboo
stalk. They both had brown skin and supple bodies. The man was named Malakas,
or “Strong One”; the woman, Maganda, or the “Beautiful One.” Two traits which
make the Filipino unique among its Asian neighbors -- their strength and resiliency
despite a lot of adversity and trials which come their way; and their beauty which
is reflected in their surroundings.

4. Fantasy. Imaginative worlds, make- believe. Stories set in places that do not exist, about
people and creatures that could not exist, or events that could not happen.
Examples:
Natalie Babbit’s Tuck Everlasting is an outstanding example of a novel for
intermediate grade students, which illustrates excellence in fantasy quite well. It
combines beautiful language, well-developed characters, a logical and consistent
plot, and a richly detailed setting. Some of the most memorable characters from
children’s literature are created in animal fantasy. Charlotte’s Web by E.B. White,
we find not only a delightful picture of the power of friendship and love, but also a
reminder that in the midst of life there is also death. Watership Down by Richard
Adams we confront, among other issues, the consequences of war.
Bob Ong’s novel Kapitan Sino explores the fleeting nature of heroism and what it
takes to be a hero. The story pointed out that being a hero is not about the name,
the costume, nor the superpowers, it is the intention or act of a person to sacrifice
his life to save other people’s lives.
5. Science Fiction. Based on extending physical laws and scientific principles to their
logical outcomes. Stories about what might occur in the future.
Examples:
One early example is John Christopher’s White Mountain trilogy. This series about
extraterrestrial invaders of Earth appeals to today’s readers in the upper elementary
grades. Humane characters are pitted against hostile aliens in a series of bizarre
encounters. Christopher’s narrative impels readers to ponder the values of life and
science.
Written by award-winning editors Dean Francis Alfar and Kenneth Yu’s Science
Fiction: Filipino Fiction for Young Adults explores the concerns and issues of
today’s youth through the lens of the science fiction genre.
6. Realistic Fiction. “What if” stories, illusion of reality. Events could happen in real world,
character seem real; contemporary setting.
Examples:
Phyllis Reynolds Naylor’s Shiloh is an outstanding example of realistic fiction.
Winner of the 1992 Newberry Medal. It is the first in a quartet about a young boy
and the title character, an abused dog. Naylor decided to write Shiloh after an
emotionally taxing experience in West Virginia where she encountered an abused
dog.
Noli Me Tángere, Latin for “Touch me not”, is an 1887 novel by José Rizal during
the colonization of the Philippines by Spain to describe perceived inequities of the
Spanish Catholic friars and the ruling government. Originally written in Spanish, the
book is more commonly published and read in the Philippines in either Tagalog or
English. Together with its sequel, El filibusterismo .
7. Historical Fiction. Set in the past, could have happened. Story reconstructs events of
past age, things that could have or did occur.
Examples:
Roll of Thunder, Hear My Cry is a 1976 novel by Mildred D. Taylor, sequel to her
1975 novella Song of the Trees. It is a book about racism in America during the
Great Depression and Jim Crow era. The novel won the 1977 Newbery Medal is
followed by two more sequels, Let the Circle Be Unbroken (1981), The Road to
Memphis (1990), and a prequel to the Logan family saga, The Land (2001). The
novel explores life in southern Mississippi in a climate of racism where many are
persecuted for the color of their skin. Throughout the book, the reader learns about
the importance of land and the effects of racism, at the same time as Cassie Logan
(the narrator) learns ‘the way things are’. It is key to this story that the narrator is
a child as it adds emphasis upon what it was like to grow up in “The South”, and it
also helps the reader to understand the true impact of racism at this time.

The Woman Who Had Two Navels is a 1961 historical novel by Nick Joaquin,
a National Artist for Literature and leading English-language writer from the
Philippines. It is considered a classic in Philippine literature. It was the recipient
of the first Harry Stonehill award. It tells the story of a Filipino elite woman who is
hallucinating, and is preoccupied with the notion that she has two navels or belly
buttons in order to be treated as an extraordinary person.
8. Biography. Plot and theme based on person’s life. An account of a person’s life, or part
of a life history; letters, memoirs, diaries, journals, autobiographies.
Examples:
Russell Freedman’s Lincoln: A Photobiography won the Newbery Medal in 1988.
This distinguished contribution to literature for children exemplifies the qualities
of great biography. It is an outstanding example of the vivid re- creation of the life
of a person who profoundly affected history, and thus our lives today.
Edna Zapanta Manalapaz’s Angela Manalang Gloria, A Literary Biography

presented a portrait of the leading Filipina poet in English in the first half of the
twentieth century. It talked about the myriad experiences of the poet constituting
her life story and the path trodden by the biographer as she presents an engrossing
narrative that spans almost 80 years.
9. Nonfiction. Facts about the real world. Informational books that explain a subject or
concept.
Examples:
Patricia Lauber’s Seeing Earth from Space uses NASA photographs in conjunction
with a well-written text to explain satellite photography and make a statement
about taking care of our earth. The photographs are absolutely essential and they
would not have been possible 20 years ago.
Doctor to the Barrios is a 1970 book written by Juan M. Flavier, a physician in the
Philippines, who later became Secretary of the Department of Health and two-term
Senator of the Philippines. Its complete title is Doctor to the Barrios, Experiences
with the Philippine Rural Reconstruction Movement. In this book, Flavier focused
on the common problems encountered by Filipinos living in rural areas. It tackles
topics related to barriers in obtaining health care such as “low wages, lack of
facilities, and medical supply”. He also discussed solutions in alleviating the rural
people’s health problems through the health workers or health care providers,
including how to handle superstitious beliefs, through principles of practicality and
simplicity.
LITERACY in the K to 12 Basic Education Curriculum
Children’s literature has been useful in developing literacy among Filipino learners.
Here in the Philippines, the K to 12 Basic Education Curriculum for elementary level
emphasizes the development of literacy in essential learning competencies across
subject areas. Children’s literature can be used to develop language learning, listening,
speaking, reading, and writing skills of Filipino learners. Let’s take a look at how the K to
12 Curriculum zooms in on these strands of learning.
End Goals of English Language Teaching
The end goals of teaching and learning English are communicative competence
and multiliteracies. Communicative competence is the student’s ability to understand and
use language appropriately and correctly to communicate in authentic situations.
The second goal of English language teaching is multiliteracies. The term comes
from the two words “multi “and “literacy” and implies that text is not the only way to
communicate. Text is combined with sounds and images. It is incorporated into movies,
billboards, almost any site on the internet and television. All these ways of communication
require the ability to understand a multimedia world.
At the base of the framework are theories of language teaching, theories of
language learning and acquisition and theories of language. This means that English
language teaching in K to 12 Curriculum is anchored on various theories.

COMMUNICATIVE COMPETENCE AND MULTILITERACIES
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THEORIES OF LANGUAGE TEACHING

THEORIES OF LANGUAGE LEARNING AND ACQUISITION
THEORIES OF LANGUAGE
Figure 1. Conceptual Framework
Making meaning is at the center of the framework for English language teaching.
What does this imply? Whatever concepts or skills are learned must make sense to the
learner, must have meaning to the learners and must capacitate learners to make meaning
through language. This is constructivism.
Assessment and feedback are essential elements of language teaching. The
words assessment and feedback are also found in the MTB- MLE framework.
The six main process that form part of the core of English language teaching are:
1.) construction, 2.) spiral progression, 3.) integration 4.) interaction, 5.) contextualization,
and 6.) learner- centered instruction. These are the guiding principles of English language
teaching.
The five macroskills that are found in MTB- MLE and Filipino frameworks namely:
1.) listening, 2.) speaking, 3.) reading, 4.) writing, and 5.) viewing are also found in the
frameworks for English language teaching. The curriculum framework for English language
teaching mentions more than five macroskills. It added responding and representing. The
addition of responding to reading and viewing ensures learners’ meaning making out of
what they read and view. The addition of representing to writing likewise ensures writing
with meaning.
In fact, at the center of the three circles that overlap is the phrase “making meaning
through language.” This implies that making meaning, making sense through language is
central to language teaching.
The Learning Area Standard
The Learning Area Standard specifies the intended outcomes of the English subject
from K to Grade 12. For the English subject the Learning Area Standard is:
“The learner demonstrates mastery of the basic skills in the English

Language Arts, communicates appropriately, fluently and orally and writes
for a variety of purposes in different social and academic context at his/her
level while carrying out real life tasks necessary to cope with the demands
of a functionally literate and competent, local, national and global citizen.”

The Key Stage Standards
What outcomes in every key stage of the K to 12 curriculum are expected to be

realized from the teaching of English? The key stages for basic education are as follows:
Grade 3: Students should be able to demonstrate eagerness to explore

and experience oral and written texts and to communicate meanings and
feelings effectively.
Grade 6: Students should be able to construct meaning and communicate

them using creative, appropriate and grammatically correct oral and written
language.
Grade Level Standards
The Grade Level Standards spell out the competencies from Grade 1 to Grade 6.
They are given below.
Grade 1: The learner listens to comprehension, speaks clearly and uses
appropriate expressions in talking about oneself, family, and other social
context interactions.
Grade 2: The learner listens critically to one- two paragraphs; use appropriate
expressions in varied situations; reads texts for pleasure and information
critically in meaningful thoughts units; responds properly to environmental
prints like signs, posters, commands and requests; and writes legibly simple
sentences and messages in cursive form.
Grade 3: The learner listens critically to get information from text heard,
demonstrates independence in using the basic language structure in oral
and written communication, and reads with comprehension.
Grade 4: The learner listens critically to news and reports and other radio
broadcasts and expresses ideas accurately in oral and written forms;
demonstrates confidence in the use of language to meet every day’s needs;
and reads independently and gets relevant information from various text
types.
Grade 5: The learner listens critically to different text types; expresses ideas
logically in oral and written forms; and demonstrates interest in reading to
meet various needs.
Grade 6: The learner listens critically; communicates feelings and ideas orally
and in writing with a high level of proficiency; and reads various text types
materials to serve learning needs in meeting a wide range of life’s purposes.
Alignment of the Language and Literacy Domains with the 5 sub-strands
The goals of English Language teaching are communicative competence and

multiliteracies. Communicative competence as a goal to language teaching was also
mentioned in MTB-MLE and Filipino as a teaching goal. The standards are expected to
be aligned ― learning areas/ programs standards, key stage standards and grade level
standards.
English language teaching consists of five (5) macro skills ― listening, speaking,
reading, writing and viewing. These are taught in relation to the fourteen (14) domains that
include:
1. oral language 8. writing and composition

2. phonology and awareness 9. grammar awareness and structure
3. book and print knowledge 10. vocabulary development
4. alphabet knowledge 11. reading competencies
5. phonics and word recognition 12. listening competencies
6. fluency 13. study strategies
7. spelling 14. attitudes toward language, literacy
and literature

INTEGRATED LANGUAGE
LISTENING SPEAKING READING WRITING VIEWING
ARTS DOMAINS
1. Oral Language √ √
2. Oral Language Phonological Awareness √
3. Book and Print Knowledge √
4. Alphabet Knowledge √ √ √ √ √
5. Phonics and Word Recognition √ √ √
6. Fluency √ √
7. Spelling √ √
8. Writing and Composition √ √ √ √
9. Grammar Awareness and Structure √ √ √ √
10. Vocabulary Development √ √ √ √ √
11. Reading Comprehension
11.1 schema & prior knowledge
11.2 strategies √ √ √
11.3 narrative text
11.4 informational text
12. Listening Comprehension √ √
13. Attitudes towards language, literacy
√ √ √ √ √
and literature
14. Study Strategies √ √ √ √ √
Criteria for Selecting Materials for Elementary GRADES

With the five (5) macro skills and 14 domains in mind, you also have to consider,
as future teachers, several other factors in selecting materials for your learners. However,
because the reading experience is largely subjective, there’s no definitive set of standards
on what makes a book good. Yet, some criteria below may help you answer the question,
“Will this children’s literature good enough for my pupils?”
Content. The primary consideration when selecting a material for children’s
literature is its content. The quality of the content will provide more satisfying experience
and clearer understanding of the text on the part of your learners. If the readers are able
to internalize the content and apply them to personal experiences, the material is not only
good but also of high quality.
Intended Audience. The material must suit your learners’ age, interests, levels of
understanding, culture and background. Meleen (2017) mentioned that it is important to
note children’s abilities are not in the same level. Children with advanced reading skills
need books with challenging vocabulary, but age-appropriate themes and content. Children
who struggle with reading seek high interest, low reading level books to keep their interest
without causing frustration. You do not give a Harry Potter series to Grade 1 pupils, right?
When you teach your learners, be sure to understand their backgrounds.
Theme. Appropriateness of topic in children’s books must be another factor to
consider. We teach our students to be critical about the materials they are reading; thus,
we have to remind them that children’s literature may expose them to various topics.
Romance, money and death are the usual topics of adult authors in writing materials
including children’s books (Lurie, 1990). If you have read fairy tales before, you would
notice that they carry these three themes. For example, the romance between Cinderella
and the prince. In Snow White and the Seven Dwarfs, the evil stepmother planned to kill
Snow White by giving her an apple with poison. Another fairy tale, Puss in Boots, talks
about money where Puss’ clever tactics as a swaggering trickster brought his young
master fame, fortune, and a fancy wife.
Today, children’s literature also venture in gender-based theme. For example,
Bernadette Neri’s Ang Ikaklit sa Aming Hardin (2012) talks about the story of a child who
has lesbian parents. Another is one is Rhandee Garlitos’ Ang Bonggang Bonggang Batang
Beki (2013) that tells about the story of a young boy who loves the color pink.

Characters. It is also essential to determine the characters presented in children’s
books. Characters embody various personalities. The teacher must be aware of such
character traits before asking the learners to read the materials. The teacher may ask
questions like: (1) Do characters represent people from a variety of cultural groups?; (2)
Do “good” characters reflect a variety of backgrounds?; and (3) Are females as well as
males depicted in leadership roles? By knowing the personalities, it will not only be easy
to discuss the material, but the teacher may also give reminders to the learners about the
conflicting characters.
Language. Students in your class must easily understand the language used in
the materials you will provide to them. But the language must also be thought-provoking
and paints a picture in their minds as opposed to just plain storytelling. There must also
be the presence of challenging vocabulary words or uncommon terms to help your future
learners develop critical thinking skills. The language must also be free from vulgarity,
profanity, and obscenity. When asking our learners to read children’s books, language
acquisition is essential and the last thing we want them to acquire are the foul words.
Settings. Children’s literature comes from different countries which reflect a
variety of settings. Settings refer to where the story happened and in what period. It is an
important factor to consider because children may raise questions relevant to settings
particularly about cultural context. Racial diversity may also be present in various settings
that must be tackled and explained well to the students. Most children’s books we know
feature Caucasian characters, but there are also stories involving characters of color and
from other cultures. Along these lines, settings must not present discrimination in any
form or language.
Illustration. Graphics and design must be appealing to your intended readers. At
present, books that include comic-like graphics and text are rapidly gaining popularity
among elementary grades learners. Illustration forms a big part of literacy learning
because most readers usually look at them first before reading the texts. When it comes
to illustration, one thing to consider is readability or the ease with which a reader can
understand a written text. The readability of text depends on its graphical presentation
and design. Some graphic books are overly illustrated that the readability of the materials
is compromised.
NEW TRENDS in Children’s Literature
The trends of children’s literature has changed overtime. Each time a new book for
children is produced, it is a bit more creative and enticing than the last. With the evolution
of children’s interests and reading habits, the trends in children’s literature also occur.
Here are some points on the progress of children’s literature as stated in Barone’s (2011)
Children’s Literature in the Classroom: Engaging Lifelong Readers.
Rise of picture storybook. Picture storybooks are gaining prominence among

readers in today’s generation. Children love to read books with accompanying pictures.
However, the difference now is the conflict between the presentation of text and images.
Early picture storybooks often presented text and illustrations that supported one another
and told one story. Newer versions may have text that is in conflict with illustrations or text
and illustrations that present multiple stories.
Growth of informational text. From baby board books onward, there has been an
explosion in quality informational text. Books are simultaneously entertaining children and
teaching them about presidents, dinosaurs, planets, natural disorders, and world wars.
They are bringing to life sports heroes and war heroes, artists and musicians. Books are
available on virtually every real-life topic.
The success of book series. The Harry Potter series is probably the most vivid
example of the popular book series, with children and adults clamoring to read the next
newest story written by J. K. Rowling. So successful was this format that millions of copies
of each book in the series were sold even before publication. Other successful book series
include The Magic Tree House Series (Osborne), which combines fiction and information;
the humorous The Wimpy Kid books (Kinney); and Twilight (Meyer), the vampire romance
collection.

A new division within children’s literature. The marketplace determined a new
category of consumers of books: tweens, which include children in the 8- to 12-year age
range (Marcus, 2008), the largest demographic group to purchase Harry Potter books.
New media for illustration. Because of technological advances in color
reproduction, illustrators are making greater use of color. They are also using computer-
generated art (Kiefer, 2008).
Books that have multimedia components. Many children’s books have Internet
connections, where the content of the book is expanded through games and other
extensions. For example, each book in the series 39 Clues: The Maze of Bones (Riordan,
2008) is extended at the 39 Clues website (www.the39clues.com). The website allows
readers to play the game, collect clue cards, and potentially win prizes.
Books written on the Internet. Jon Scieszka has teamed with other notable authors
such as Natalie Babbitt, Steven Kellogg, and Katherine Paterson to write The Exquisite
Corpse Adventure, which debuted at the 2009 Library of Congress Book Festival (read.
gov). Readers can turn pages with a click to read text, view images (often animated), and
hear sounds.
Accessibility to international books. Increasingly. books from other countries are
being translated and offered to children in the United States: for example, from Canada,
the picture books of Robert Munsch, and from Australia, the work of Mem Fox. Works
from renown authors from other countries, such as China, France, and Germany, are also
being made available.
REFERENCES
Books
Barone, D. M. (2011) Children’s Literature in the Classroom: Engaging Lifelong Readers. New York: Guilford
Publications
Corpuz, B. B. & Salandanan, G. G. (2015). Principles of Teaching (with TLE) 2. Quezon City: Lorimar Publishing,
Inc.
Cullinan, B. E. & Galda, L. (2002). Literature and the Child (Fifth Edition). Canada: Wadsworth/Thompson
Learning
Garlitos, R. & Peñaflorida, T. (2013). Ang Bonggang Bonggang Batang Beki. Manila: LG&M Corporation.
Neri, B. & de Silva, C.J. (2012). Ikaklit sa aming Hardin. Manila: Publikasyong Twamkittens.
Online
Meleen, M. (2017). How to Evaluate Children’s Literature. Retrieved from https://childrens-books.lovetoknow.
com/Evaluate_Children’s_Literature
https://www.goodreads.com/book/show/13569478-sandosenang-sapatos
https://en.wikipedia.org/wiki/Sa_Aking_Mga_Kabata
http://www.ph.net/htdocs/malakas.htm
https://booksinmybaggage.com/kapitan-sino-bob-ong-students-corner/
https://press.up.edu.ph/project/science-fiction-filipino-fiction-for-young-adults/
https://en.wikipedia.org/wiki/Noli_Me_T%C3%A1ngere_(novel)
https://en.wikipedia.org/wiki/The_Woman_Who_Had_Two_Navels
https://www.jstor.org/stable/42633474?seq=1
https://en.wikipedia.org/wiki/Doctor_to_the_Barrios

SYNTHESIZING Your Knowledge
Activity 4
Name: ___________________________________________________ Score: _______________

Course/Year Level/Section: _______________________________ Date: ________________
Directions: Match the genre of literature with its description. Write the letter of the correct
answer before the number.
Column 1 Column 2
__________ 1. Nonfiction a. interdependence of art and text
__________ 2. Picture Books b. facts about the real world
__________ 3. Biography c. oral tradition; no known author
__________ 4. Poetry and Verse d. plot and theme based on person’s life
__________ 5. Historical Fiction e. imaginative worlds, make- believe
__________ 6. Folklore f. set in the past, could have happened
__________ 7. Realistic Fiction g. “What if” stories, illusion of reality
__________ 8. Fantasy h. condensed language, imagery
__________ 9. Science Fiction i. stories about what might occur in the future
Activity 5
Directions: Answer the following questions below. Write your answer in the space provided.
1. Explain how the goals of K to 12 Curriculum help promote literacy among learners.
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2. How will the new trends in children’s literature affect the teaching of literacy in the
elementary grades?
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3. Do you think elementary pupils should be exposed to children’s literature that tackles
gender-based issues? Why or why not?
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Activity 6
Name: ___________________________________________________ Score: _______________

Direction: Research five (5) Filipino authors of children’s literature. Identify their books and
genres, then write in the table below a short synopsis about their works.
Genre Title Author Synopsis

UNIT II
TEACHING LITERATURE:
AN OVERVIEW
“Literature is the art of discovering something extraordinary about ordinary

people, and saying with ordinary words something extraordinary (Boris Pasternak).” As a
future teacher, teaching and learning literature as a subject and putting the learnings into
practice is your responsibility. The course is a comprehensive study of Literature from the
beginning to the present. It introduces students to the development of the various literary
genres and elements. It also enhance students’ awareness and appreciation of literary
pieces. Literature involves using museums, drama and theatre as well as developing
creativity, recitation skills and eloquence in the context of studying. Having a wide scope of
lessons, literature is about principles, techniques, and methodology of literature teaching;
it also includes critical reading of the mythologies and folklore of different geographical
and cultural groups. One of the challenges that teachers and students encounter when
studying literature is how to make this subject interesting and attract learners to appreciate
literature in spite of its complexity. Learning literature has evolved with new methods and
approaches to make it more fun and applicable to various learners. Thus, knowledge of
the different approaches can help us decide which is the most effective and best way to
teach literature.
Objectives

1. recognize important concepts in teaching literature in English;
2. identify appropriate methods and approaches to teach literature; and
3. discuss the right books, reading materials, and comprehension questions in
teaching literature.

Learning literature can be both fun and productive and can further develop our
skills in analyzing and interpreting what we read. There are various ways or approaches
that are used in teaching literature. These can be applied in different settings and the
intended outcomes that we need to achieve in studying literature.
As pre-assessment check, I would like to know what you already know about
literature, what you want to learn about it. Do not fill out the last column. Go back to it after
you have gone through the module.
Answer the table below. For Column 1, write all the things you know about literature;
what comes to your mind or what is your understanding about the subject. For Column 2,
write all the things you want to learn about literature. For Column 3, after going through
this module, go back to this part and write all the things you have learned about literature.
Check whether what you have thought what you already knew is correct. See if you learned
what you wanted to know about literature after studying the module.
WHAT I KNOW? WHAT I WANT TO LEARN? WHAT I HAVE LEARNED?
Now, ponder on the following questions before proceeding to the lesson proper.
Afterwards, you may go to Exploring Your Knowledge part and read about important
concepts related to literature. Once you are done, go back to these questions again and
see if your previous answers are still the same.
1. Why study literature? What is the importance of studying literature such as interpreting
poems, analyzing fictional materials and examining essays?
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2. Is it difficult to understand literature? Have you found it boring or interesting when you
study literature? How did your literature teachers make it more fun and enjoyable?
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Literature as a school subject (Ruubela, 2012) have to include the so-called

compulsory reading lists, which have always been part of the subject syllabi of general
comprehensive schools. In the modern world where young people are usually predisposed
to dislike recommended literature, believing it to be boring, difficult, and written too long
ago. While it is true that the classical literature of the world is old, that is no reason to
automatically reject it. What should be considered compulsory? In order to create shared
meaning, every ethnic group has to find common ground on which to establish universal
values and mutual understanding. Without a shared reading experience, there will be no
common ground for communication or the establishment of identity.
The British Council in teaching English (2012) wrote that John McRae distinguishes
between literature with a capital L - the classical texts e.g. Shakespeare, Dickens - and
literature with a small l, which refers to popular fiction, fables and song lyrics. The literature
used in English Language classrooms today is no longer restricted to canonical texts from
certain countries but includes the work of writers from a diverse range of countries and
cultures using different forms of English.
Literary texts can be studied in their original forms or in simplified or abridged
versions. An increasing number of stories in English are written specifically for learners
of other languages. The types of literary texts that can be studied inside and outside the
classroom include: short stories, poems, novels, plays and song lyrics.
Why use literature in the classroom?
Literary texts provide opportunities for multi-sensorial classroom experiences and

can appeal to learners with different learning styles. Texts can be supplemented by audio-
texts, music CDs, film clips, podcasts, all of which enhance even further the richness of
the sensory input that students receive.
Literary texts offer a rich source of linguistic input and can help learners to practice
the four skills - speaking, listening, reading and writing - in addition to exemplifying
grammatical structures and presenting new vocabulary.
Literature can help learners to develop their understanding of other cultures,
awareness of ‘difference’ and to develop tolerance and understanding. At the same time
literary texts can deal with universal themes such as love, war and loss that are not always
covered in the sanitized world of course books.
Literary texts are representational rather than referential (McRae, 1994).
Referential language communicates at only one level and tends to be informational.
The representational language of literary texts involves the learners and engages their
emotions, as well as their cognitive faculties. Literary works help learners to use their
imagination, enhance their empathy for others and lead them to develop their own
creativity. They also give students the chance to learn about literary devices that occur in
other genres e.g. advertising.
Literature lessons can lead to public displays of student output through posters of
student creations e.g. poems, stories or through performances of plays. So for a variety of
linguistic, cultural and personal growth reasons, literary texts can be more motivating than
the referential ones often used in classrooms.
How can literary texts be used?
Teachers can exploit literary texts in a large number of ways in the classroom.
Classroom work with literary works may involve pre-reading tasks, interactive work on the
text and follow up activities. Pulverness (2003) provides some useful advice:
1. Maximize pre-reading support. Teachers can introduce the topic or theme

of the text, pre-teach essential vocabulary items and use prediction tasks to
arouse the interest and curiosity of students.
2. Minimize the extent to which the teacher disturbs students’ reading.

3. Draw attention to stylistic peculiarity.
4. Help students to appreciate the ways that writers use language to achieve
particular effects.
5. Provide frameworks for creative response.
6. Invite learners to step into the shoes of the writer or invite them to modify,
extend or add to a text.
Factors Affecting Interests in Literature
Teachers and learners as well have different personalities, and from this premise, it
can be screwed that as individuals, people tend to have unique likes and dislikes. Same goes
with studying and from current views of what constitutes effective literature instruction,
there are factors affecting the interest to one subject or another. Some students may love
Science and Mathematics, others may opt to study Music and Arts the whole day, while a
few would like to explore the word of literature.
Will Rogers (Morson, 2015) once remarked that “we are all ignorant, only on
different subjects?” To teach anything well, you have to place yourself in the position of the
learner who does not already know the basics and has to be persuaded that the subject
is worth studying. You have to subtract knowledge and assumptions you have long since
forgotten having learned. And one of those assumptions is that literature is worth the
effort of reading it.
Literature and reading skills. Literature and reading are two inter-related ideas.
You will not love literary texts if you are a struggling reader. Narrow conceptions of
literature and reading, especially those that are marked by monologic rather than dialogic
practices, establish literature as a cultural icon with little room for students to develop
critical interpretive skills. These limited conceptions of literature and ways of reading
affect all students’ experiences with literature in school, whether they are struggling or
academically talented readers.
Literature and age of students. In terms of teaching literature, this position raises
questions about what kinds of literature instruction are effective for a wide range of
students. These questions are especially important students who are on the edge of the
transition between adolescence and adulthood. The preference on materials to read, films
to watch, and songs differ as child grow and mature.
Literature and teaching-learning styles. Although many discussions of literature
instruction presume that teachers use the same approaches to literature instruction, be
they effective or ineffective, with all their students, this is not the case. What is effective
in one class may not be effective for the one that follows, whether the teacher is moving
from one grade level to another or from one ability level to another. Some teachers realize
this and make adjustments; others do not. Thus, it is important to understand that English
teachers are not all alike and it is necessary to examine their beliefs about effective
literature instruction with different groups of students.
Literature and teachers ‘perceptions of students. Studies shows that the long-
debated practice of ability tracking and labeling students as “with honors,” “Advanced
Placement,” “technical preparation,” and “remedial” often establishes bounded, predefined
expectations not only for what they can do but also for what they cannot do (e.g., Oakes,
1985). Having expectations from teachers and the need to follow from these labels shape
the daily life of a classroom in ways that may alienate students from content or school
itself (e.g., Gutierrez, Rhymes, & Larson, 1995). In short, students are pre-judged and
this creates pressure to them, thus, they turn away from real reason behind studiyning
literature.
Literature and students’ home culture. Researchers have also found that the
experiences of some groups of students in English classrooms actually undermine a love
of reading and promote the idea that only certain kinds of literature and ways of reading are
valued. Students who come to school from home cultures that do not support traditional
school literacy practices tend to have antagonist behavior towards in the subject.

Approaches that Kill the Interest of Students to Literature
Time and again, in a commentary, students tell (Morson, 2015) the three common
ways in which most high school and college classes kill their interest in literature.
1. Technical approach-The teacher dedicates himself to the book as a piece

of craft. The characters are labeled, who is the lead , the pro, the anti. Above
all, this approach directs students to look for symbols. Water symbolism
can almost always be found, since someone sooner or later will see a river,
wash, or drink. In Huckleberry Finn, the Mississippi symbolizes freedom, while
the Widow Douglas’s house symbolizes civilization. In Anna Karenina, trains
symbolize fate. Or modernization. Or the transports of love.
2. The judgmental approach- the second most common way to kill interest in
literature is death by judgment. One faults or excuses author, character, or the
society depicted according to the moral and social standards prevalent today,
by which those standards shared by professional interpreters of literature.
These courses are really ways of inculcating those values and making students
into good little detectors of deviant thoughts. In this approach, the more that
authors and characters shared our beliefs, the more enlightened they were.
This is simply a form of ahistorical flattery; it makes us the wisest people who
ever lived, much more advanced than that Shakespeare guy.
3. The documentary approach – this often leads to teaching documents instead
of literature. Or perhaps cultural theory itself, taught pretty much without
reference to the cultural documents in which it is supposedly grounded. Or
perhaps second-rate literary works, which are a lot better than great ones either
as documents or as providers of simple What makes a work literary is that it
is interesting to people who do not care about its original context. Literariness
begins where documentariness ends. Dostoevsky illuminates psychological
and moral problems that are still pertinent, even outside Russia.
Summing it up, the technical, the judgmental, and the documentary— with these
three approaches, true things are said. Literature uses symbols, provides lessons in
currently fashionable problems, and can serve as a document of its times. The problem
is what these approaches do not achieve- they fail to give a reason for reading literature.
Models of Teaching Literature
Teachers in pursuit of holistic, balanced and integrated education for her students
try all approaches they deemed relevant in the formation individual who have high
standards. In teaching literature, it cannot be denied that teachers have to look after
learners’ reading skills.
Literature and reading in general are a controversial topic of our times. Teachers
claim that students read less and less, while students argue that the books they are
supposed to read for exams have outdated topics. Researchers have also different opinions
about the usefulness and effectiveness of teaching literature, especially in English as a
Foreign Language classes. Most of them consider that the language used in literary works
is too complex and difficult and therefore it does not support students in the acquisition
of grammar and lexical structures that can be used in their everyday lives. Scholars have
developed three main approaches to teaching literature (Carter and Long, 1991:2). They
are the language model, the cultural model and the personal growth model.
The Language Model relies on the development of students` knowledge by working
with familiar grammar, lexical and discourse categories. It focuses on the way language
is used in literary texts. It does not encourage creative thinking but the acquisition of
information related to the target text. This approach is considered too mechanistic and it
demotivates the pleasure of reading literature. Texts are approached in a systematic and
methodological manner and the techniques used in working with these texts are typical
for an EFL or English as a Foreign Language classroom: prediction exercises, jumbled
sentences, summaries, role-play, etc.

Since it relies on the development of students` knowledge by working with familiar
grammar, lexical and discourse categories, this is mostly applicable to elementary grades.
It focuses on the way language is used in literary texts. Looking on the advantage, it does
not motivate the learners to think creatively, and in the absence of “reading beyond the
lines’, it hinders the development of a child’s imaginary skills in analyzing literary text.
The Cultural Model encourages and teachers students how to deal with a literary
work in relation to the target language. In my opinion it is also a transdisciplinary approach
to teaching as it does not focus on mere language acquisition but also on the knowledge
of a country`s culture and ideologies. It helps students go beyond the lexis to other
components of a nation. Students are asked to explore and interpret the social, political,
literary and historical context of a text (Yimwilai, 2015:15).
The Personal Growth Model is an attempt to create a link between the language
model and the cultural model. The focus is placed on the use of language but used in
a specific cultural context. Students are not only passive receivers of teacher given
interpretations but they have to be intellectually and emotionally engaged in the lesson
and especially in the reading activity. Literature is used as a resource and not just a study
subject. In other words (Carter and Long, 1991: 3-4) students develop their knowledge
of and their knowledge about literature. During this approach to literature, students are
encouraged to express their opinions and beliefs, to make connections between their own
experiences and the text and use critical thinking.
Recommendations. Therefore, teachers should take into consideration a few

aspects when choosing their teaching materials:
1. texts should be interesting and appropriate for the students` age and interests;
2. they should facilitate students’ personal discovery and involvement in the text;
3. they should be a resource which contributes to the students` personal growth;
4. lessons should be student-centered as encouraged by learner centered
curriculum (Nunan, 1988) and teachers are only coordinators of certain
activities; and
5. teachers should use activities that encourage students` communication and
relate to their personal life. We advise teachers to use pre-reading, while-
reading and after reading activities and explore all resources that a text offers.
Activities such as prediction making, jigsaw reading, matching or gap-filling,
reading comprehension.
Approaches to Teaching Literature
An approach is a way of teaching content. Approach is broader term than method.

Approach has no limitations such as steps of presentation and time, like method, while
using approach in teaching, the importance is given to comprehension of content and
development of skills.
Categorizations of teaching literature was suggested by Gillian Lazer (Lazer 2009).
Different approaches to the study of literature have been put forward up to now. A general
understanding of these approaches is of great importance for teachers and learners so
as to understand the best way of benefit from literature in their classroom with their own
language learning and teaching purposes.
1. Language-Based Approach
Teaching of literature emphasizes the integration between language and literature

in classroom teaching (cited by Dhillon & Mogan, 2014). It is based on the principle that LBA
can provide teaching literature with both literature and language, working in a symbiotic
relationship. It emphasizes exploring the literary text and enhancing their language skills.
Advantages:
• It provides useful exposure to or revision of grammar and vocabulary in interesting
new contexts.
• Improves the knowledge of the language.
• A resource that provides stimulating language skills.
• Open to multiple interpretations that give way for classroom discussions.

Drawbacks:
• It focused on linguistic terms, less chance of personal interpretation.
• It will not pay sufficient attention to the text’s historical or political background
which provides students with valuable cultural knowledge to interpret what they
read.
List of Sample Activities

1. Use of poetry to develop vocabulary context.
• For example, choose a line or identify at least one expression or group of
words and provide own explanation and highlight the literary use of language
poetry (figure of speech, personification, similes, metaphors etc.)
• Read aloud or choral reading of the poem to improve reading skill.
2. Converting a prose text to a play.

• Ask students to write a play based on a short story then identify the characters,
the setting, plot, major actions and dialogues.
• It offers strategies and opportunities to read, plan, outline and rewrite stories
and listen to play rehearsals and videotape their plays.
• Provides opportunities to listen to, speak, read and write and proofread
language used.
3. Story development using students’ language resources.

• Students can be asked to compose short stories.
• Exposed them to creative composition by weaving ideas together in an
interesting and logical sequence.
2. Paraphrastic Approach
It is primarily paraphrasing and rewording the text to simpler language or use other
languages to translate it. Teachers use simple words or less complex sentence structure
to make the original text easy to understand (Divsar, 2014). It is teacher-centered and
does not contribute much interesting activities towards students (Hwang & Embi, 2007).
Some tips in paraphrasing are: (1) write in modern prose and change as many of
the original words as possible without altering meaning; (2) write in the same person and
tense as the original poem is written in; and (3) paraphrased poems are usually longer
than the original due to the need to clearly explain what each line means.
Example: This poem is entitled, All Things Can Tempt Me, by W. B. Yeats.
Original Version:
All things can tempt me from this craft of verse:
One time it was a woman’s face, or worse—
The seeming needs of my fool-driven land
Now nothing but comes readier to the hand
Than this accustomed toil…
Paraphrased Version:
Anything can distract me from writing poetry
Once I was distracted by a woman’s face, but I was even more distracted
By the requirements of my country which is governed by idiots.
At this point in my life, I find any task easier
Then the work, I’m used to doing
3. Moral-Philosophical Approach.
This approach incorporates moral values in student. Its focus is to discover moral
values while reading a particular literary text. “It seeks to find the worthiness of moral and
philosophical consideration behind one’s reading” (Rosli 22)
Moral is a person’s standards of behavior or beliefs concerning what is and is not
acceptable for them to do. Philosophical means relating or devoted to the study of the
fundamental nature of knowledge, reality, and existence.
Example:
The story The Adventures of Huckleberry Finn (by Mark Twain) paints a picture of
how badly African Americans were treated during the 1800s. The story is about the
adventures faced by Huck and Jim, a runaway slave, as they travel down the

Mississippi River on a raft. Throughout the book you see how badly one human
being can treat another, as Jim is recaptured, held prisoner, and sold. You can also
see the inhumanity of man in the bad behavior of Huck’s drunken father.
When you read The Adventures of Huckleberry Finn, you may be angered, shocked,
moved, or inspired. Some critics judge texts to be good if they are moving or morally
uplifting. This is called the moral-philosophical approach to literary criticism.
Moral-philosophical critics believe that the purpose of writing is not just to tell
a story. They think that the larger purpose of literature is to teach morality and to probe
philosophical issues. A text is considered good if it leads us to understand our inner
emotions.
This approach works for texts that have an obvious moral philosophy, like Alexander
Pope’s “An Essay on Man.” It’s also useful when you’re thinking about the theme of a story.
The story of Huck Finn is an example of this.
Critics of the philosophical approach think that literature should be judged mainly by its
quality as a piece of art. They think you actually shouldn’t place so much weight on the moral
or philosophical content. These critics think such an approach can be too “judgmental.”
The philosophical approach is a perfect approach to use when you’re reading a fable or a
parable. These types of stories are written specifically to convey a truth.”
4. Stylistic Approach
According to Leech (1969), stylistics is the study of the use of language in literature.
Abdulqadir (2012) elaborates this by defining it as a study of a literary discourse from
a linguistic orientation; it is an interdisciplinary subject. This approach focuses on the
syntactic, phonological, lexical, semantic, and graphological elements of style (Leech &
Short, 1981). In the stylistic approach, literature is considered a communicative discourse.
The goal of this approach is to “decode meaning and structural features of literary texts by
identifying linguistic patterns in the text” (Fakeye & Temitayo, 2013, p. 51). The researchers
also believe that the approach is practical as it makes use of the text and focuses on
analysis through communicative discourse, which also develops their communicative
abilities (Punchard, 2002). By allowing learners to express their opinions and ideas, and
to give their own interpretations of texts based on textual evidence in the classroom, the
teacher can guide and indirectly, or directly, teach language skills (Punchard, 2002).
When analyzing a poem, stylistic approach can be done into four parts as follows:
1. structural/syntactical analysis of the poem - this includes the structural and
aesthetic elements of the text. (for example: number of stanzas, number of
lines per stanza, indentions or alignment, repetition) what does it imply?
2. lexical analysis of the poem - the lexis or vocabulary should also be considered
in the interpretation of a poem. (for example: the choice of words in portraying
an image, the figurative choice of words such as personification) why these
types of words were used?
3. phonological analysis of the poem – these are elements such as rhyme,
assonance, and alliteration for example the language patterns that contribute
to the total effect and imagery of the poetry (Chapman, 1973) What’s does the
rhythmic signify? and;
4. theme analysis of the poem – what’s the poem all about, what occasion or
situation inspired the author of the poem.
Sample of Activities
1. Oral Reading and Summarizing the Poem
2. Structural/Syntactical Analysis of the Poem
3. Lexical Analysis of the Poem
a. Vocabulary Analysis
b. Pronominal Analysis
4. Phonological Analysis of the Poem
a. Alliteration and Consonance
b. Rhyme Pattern
c. Stress Pattern
d.
5. Theme Analysis of the Poem

REFERENCES
Articles
Articles
Basree, S. (2009). The Implementation of Contemporary Children’s Literature Program (CCL) in Malaysian Primary Schools:
Feedback from Stakeholders, 16(8).
Brumfit, C. J., Carter, R. A. (2000).Literature and Language Teaching. Seventh Edition. Oxford: University Press. Damrosch,
D. (2009). How to Read World Literature. Wiley-Blackwell. A John Wiley & Sons, Ltd., Publication.
Duff, A & Maley, A (2007) Literature (Resource Books for Teachers), Oxford University Press.
Maley, A (2001) ‘Literature in the language classroom’ in The Cambridge Guide to Teaching ESOL, Cambridge University
Press.
McRae, J (1994) Literature with a small ‘l’, Macmillan Education.
Pulverness, A ( 2003) ‘Literature’in English Teaching Professional, October, Issue 29, Modern English Publishing
Yimwilai, S. (2015) ANIntegrated Approach to Teaching Literature in an EFL Classroom, in English Language Teaching,Vol.8
No.2,page 15
Teaching materials: using literature in the EFL/ ESL classroom By Lindsay Clandfield http://www.onestopenglish.com/
methodology/methodology/teaching-materials/teaching-materials-using-literature-in-the-efl/-esl-classroom/146508.
article
CHAPTER-II Teaching Literature: Theories, Approaches, Methods and Techniques (Prose, Poetry, Drama and Fiction)
Open Resources for English Language Teaching: Module 5 – Language Through Literature ISBN: 978-1-894975-48-3 http://
creativecommons.org/licences/by-sa/3.0
Journals
Abdulmughni, S.A.S., (2019). Stylistics, Literary Criticism, Linguistics and Discourse Analysis. International Journal of
English Linguistics; Vol. 9, No. 2; 2019 ISSN 1923-869X E-ISSN 1923-8703
Dhillon, K.K. & Mogan, S., (2014). Language-Based Approaches to Understanding Literature: A Creative Activity Module. The
English Teacher Vol. XLIII (2) August 2014
Ling, S., & Ling, M., (2016). Types of English Literature Teaching Approaches Preferred by Teachers in Secondary Schools
in Miri, Sarawak.Available online at http://ijleal.ump.edu.my/International Journal of Language Education and Applied
Linguistics (IJLEAL) Copyright ©
Online
https://legacy.etap.org/demo/englishhs/lesson5/lahsl5_3.pdf
http://www.paraphraseexample.org/one-reasonable-online-paraphrasing-service/example-of-paraphrasing-a-poem/
https://legacy.etap.org/demo/englishhs/lesson5/lahsl5_3.pdf
https://files.eric.ed.gov/fulltext/ED566696.pdf

Activity 4
Name: ___________________________________________________ Score: _______________

Direction: Read the following questions and write your answer in space provided below.
1. How does literature affect the goals to achieve quality education? Give at least 3
answers.
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2. What factors influence your interest in literature? Why?

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3. What is the difference between language-based approach and stylistic approach?

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4. How do you paraphrase a certain literary text?

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5. What are the features of moral-philosophical approach in teaching literature?

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Activity 5
Name: ___________________________________________________ Score: _______________

Direction: Write a short summary of one Philippine folktale. Briefly describe the characters,
plot, setting and theme. Include in your summary, the values that can be learned from the
folktale. Then paste an image related to or representing those values.
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Title of Folktale
Paste the image here.
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Activity 6
Name: ___________________________________________________ Score: _______________

Direction: Write a discourse analysis of this unit by answering all the three guide questions
below. Explain your answer in not less than 150 words but not more than 200.
1. How does critical analysis of literary texts help achieve language proficiency?
2. Which of the models in teaching literature can best promote literacy among learners?
Why?
3. What approach should teacher employ for the 21st century learners in teaching literacy
through literature? Why?
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UNIT III
TEACHING POETRY
Poetry can still be reflected in three major classifications – comedy, tragedy, and
epic – as originally explained by one of the world’s great philosophers, Aristotle. However,
at the present time, many writers and literary enthusiasts have provided concrete standards
and criteria to clearly classify different works of poetry according to their similarities in
terms of style, form, pattern, structures, rhyme scheme, rhythm, and other related poetic
techniques and devices used. Accordingly, poetry can generally be classified as narrative,
lyric, and dramatic (Hess, 2020).
Objectives

1. adapt competency-based learning materials in teaching prose and drama
which respond to the various linguistic, cultural, socio-economic, and religious
backgrounds of learners;
2. identify a range of assessment strategies in teaching prose and drama that
address learners’ needs, progress, and achievement which are consistent with
the selected competencies;
3. craft a learning plan according to the English curricula that develops higher
order thinking skills of learners through the use of prose texts; and
4. conduct a teaching demonstration of a developmentally-sequenced learning
process using innovative teaching principles, skills, and strategies for teaching
prose and drama.

Directions: Assess what you know about Unit III: Teaching Poetry by completing the first
two columns in this K-W-L chart before you proceed to other activities. As you discover
new things throughout your engagement with this Unit, you can go back to complete the
third column (What I Learned). Good luck to you, future educator!
What I Know What I Want to Know What I Learned

about this Unit about this Unit in this Unit
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Genres of Poetry
Poetry can still be reflected into three major classifications – comedy, tragedy and
epic – as originally explained by one of the world’s great philosopher, Aristotle. However, at
the present time, many writers and literary enthusiasts have provided concrete standards
and criteria to clearly classify different works of poetry according to their similarities in
terms of style, form, pattern, structures, rhyme scheme, rhythm, and other related poetic
techniques and devices used. Accordingly, poetry can generally be classified as narrative,
lyric, and dramatic (Hess, 2020).
1. Narrative Poetry is a poem that tells a story. It almost always contains plot and other
elements of prose literature but written in verses and stanzas. It usually follows a fixed
versed such as rhyme scheme and meter but it is possible to have narrative poetry
following blank verse and free verse form.
Some other examples of narrative poetry include: The Canterbury Tales by Geoffrey
Chaucer, The Divine Comedy” by Dante, Hiawatha by Henry Wadsworth Longfellow,
Raven by Edgar Allan Poe, The Rape of Lucrece by Shakespeare and The Rape of Lock
by Alexander Pope (Hess, 2020).
Types of Narrative Poetry

(Marasigan, n.d.)
a. Ballad is a poem that tells a story. It is also a short narrative poem telling a
single incident in simple meter and stanzas. It is a poem almost similar to a
folk tale which uses a repeated refrain. Oftentimes, it can easily be put to music
Examples:
The Walrus and the Carpenter by Lewis Carroll,
The Ballad of Reading Gaol by Oscar Wilde,
Unchained Melody by Righteous Brothers
I Can’t Help Falling in Love With You by Elvis Presley

b. Epic is a long narrative poem usually about heroic deeds and supernatural
phenomenon that mainly involves characters/heroes or events of great
significance on tribal group or country.
Examples:
Beowulf and Iliad & Odyssey by Homer
Paradise Lost by John Milton,
The Life of Lam-Ang (an Ilocano epic)
The Ibalon (from the Bicol region)
c. Metrical Tale is a poem which has features of a prose story and typically about
an adventure quest, love, romance, and various phrases of life. This poem can
just be a brief story or as long as a novel. Usually, it has happy ending such a
knight on a quest who will have romantic reward for his accomplishments.
Examples:
The Lady of Shallot by Alfred Lord Tennyson
The Lady of the Lake by Sir Walter Scott
Florante at Laura by Francisco Balagtas
2. Lyric Poetry is a personal poem that appeals to emotions. It reveals poet’s strong
emotions, feelings and moods towards the subject. It usually follows a fixed versed
such as rhyme scheme and meter. Its name derived from “lyre”, a musical instrument
that can set emotion.
Types of Lyric Poetry

(Marasigan, n.d.)
a. Ode is an emotional but dignified poem written and delivered to praise someone
or something. Ode is the most majestic of all types of lyric poem.
Examples:
Ode to the West Wind by Percy Bysshe Shelley
The Progress of Poesy by Thomas Gray
Ode on a Grecian Urn by John Keats
b. Elegy is another emotional poem that intended to praise someone who passed
away. Though originally, this poem serves to praise the dead person, the poet
would probably turn it into grief and sorrow at the latter part of the poem.
Examples:
O Captain! My Captain! by Walt Whitman
Because I Could Not Stop For Death by Emily Dickinson
Adonais by Percy Shelley
In Memoriam A.H.H. by Alfred Lord Tennyson
c. Song is a lyric poem in a regular metrical pattern. It is originally patterned with
12 syllables set into music.
d. Sonnet is a lyric poem with definite structure and meter. It consists of 14-iambic
pentameter lines. Traditionally, it conveys idea of love. It has two basic kinds –
Shakespearean and Petrarchan sonnets.
d.1. English Sonnet is also called as Shakespearean Sonnet (because

Shakespeare is regarded as the most acclaimed and notable poet who
used this structure). Each line is written following an iambic pentameter
form. Its structure consists of 3 quatrains and a final couplet (14 lines
in all). It follows a rhyming pattern of ABAB, CDCD, EFEF, GG. Volta or
solution/conclusion is set in the final couplet. It comes from Italian word
“sonetto” which means “little song.”
Examples:
My Mistress’ Eyes Are Nothing Like the Sun and
Shall I Compare Thee To A Summers’ Day by William Shakespeare
I Carry Your Heart With Me by E.E. Cummings
Death Be Not Proud by John Donne

d.2. Italian Sonnet is also called as Petrarchan Sonnet (because Francesco
Petrarca simply known as Petrarch and is regarded as the most
acclaimed and notable poet who used this structure). It also has 14
line in all but its structure is divided into just two parts. The first stanza
is an octave (8 line-stanza) and the second is a sestet (6 line-stanza).
It follows ABBAABBA for the octave and CDCDCD or CDECDE for the
sestet. Volta is usually found in the 8th or 9th line.
Examples:
The World is Too Much with Us by William Wordsworth
On His Blindness by John Milton
How Do I Love Thee by Elizabeth Barrett Browning
3. Dramatic Poetry is sometimes called Dramatic Verse or Verse Drama which is an

emotional poem (dialogue written in verses) that is intended to be delivered and
can either be spoken or sung (Barnett, 2020). It is very useful in theatrical plays and
performances.
Types of Dramatic Poetry

(Barnett, 2020)
a. Soliloquy comes from Latin word “solo” which means “to himself” and
“loquor” which means “I speak.” It literally means “to speak to himself.” In play
performances, soliloquy is delivered when a character shared his thoughts,
feelings and emotions aloud to be heard and understood by audience but as if
speaking only to himself.
Examples: In the tragic play Hamlet by Shakespeare, there is a line where

Hamlet questions whether it is better to live or die”
b. Dramatic Monologue is another type of dramatic poetry normally used in plays

and theaters. Almost same concept with “soliloquy” however, it requires another
character. The character performing the monologue express his thoughts to
another character who does not have line or counter argument.
c. Character Sketch - used to let the audience feel something for the character
being described. Through this, audience will be emotionally attached to the
character.
d. Dialogue pertains to the line and exchange of conversation of one character
to other characters
Poetic Devices
Poetic devices refer to various techniques which includes form, style, diction,
meaning, and structure used to write poems. These are of primary important to create a
well-sounded, highly-appealing and even visually-concrete poems that appeals not just in
emotions but also to the intellect of anyone who will read it. Furthermore, it can also help
to add color and realistically powerful words that will increase readers unique experience
as he reads or hears to poem.
Poetic Diction
1. Sound is used to produce a synchronize blending and harmony through the used of
words which have same sounds or even lines with same number of syllables. This will
help the poet to convey his message by combining words with the same sounds to
create a more pleasing atmosphere or mood
a. Alliteration is the repetition of an initial consonant sound.

Examples:
Stellar students synthesize sweet sentences.
Becky’s beagle barked and bayed becoming bothersome for Billy.
Can you keep the cat from clawing the couch? It’s creating chaos.
b. Assonance - repetition of internal vowel sounds of neighboring words in every line

Examples:
Men sell the wedding bells.

I lie down by the side for my bride
Fleet feet sweep by sleeping geese
Hear the lark and harden to the
Barking of the dark fox gone to ground
(Pink Floyd)
c. Consonance is almost similar with alliteration because it also refers to repetition

of consonant sounds. However, unlike Alliteration which covers initial consonant
sounds, Consonance can happen through the repetition of consonant sounds
regardless of its position (initial, medial, final).
Examples:
All mammals named Sam are clammy.
The big frog was on a log.
All’s well that ends well.
d. Onomatopoeia is the use of words that suggest and produce imaginary sounds.
Examples:
Marky slipped with a whoop and bumped down onto the slide, swooshing to the
bottom. (The underlined words suggest vivid sounds of how Marky slides.)
Let’s have one day for girls and boyses

When you can make the grandest noises.
Screech, scream, holler, and yell –
Buzz a buzzer, clang a bell,
Sneeze – hiccup – whistle – shout,
Laugh until your lungs wear out.
(Excerpt: Noise Day by Shel Silverstein)
Other examples:
boom arf cock-a-doodle-do
pow whoosh drip-drops
2. Rhythm refers to how different blending and combination of words within the lines,
stanza or meter which produce harmonic effect and impact (learn.lexiconic.net, n.d.)
a. Repetition - intentional repetition of words, phrases or even the entire line to

emphasize a feeling or idea and to create balance rhythm
Examples:
The woods are lovely, dark, and deep
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
(Excerpt: Stopping by Woods On a Snowy Evening by Robert Frost)
b. Rhyme – repetition of similar sounds within each line or in every end of line in a
stanza
b.1. End Rhyme refers to the repetition of sounds at the end of two or more
lines
Examples:
“My mistress’ eyes are nothing like the sun; (a)
Coral is far more red than her lips’ red; (b)
If snow be white, why then her breasts are dun; (a)
If hairs be wires, black wires grow on her head.” (b)
(Sonnet 130 by William Shakespeare)
Note: The poem follows a rhyme scheme of “abab.”
b.2. Internal Rhyme occurs when same sound can be heard from different
words within a line. It can be heard in the middle of a line.
Examples:
“In mist or cloud, on mast or shoud
It perched for vespers nine;
While all the night, through fog smoke white,
Glimmered the white Moon-shine”
(The Rime of the Ancient Mariner by Samuel Taylor Colleridge)

3. Meaning. Words to be used in any type of poetry can have both denotative and/or
connotative meanings.
a. Denotation refers to the literal meaning of the word. It is the word meaning found
in general dictionaries (dictionary meaning).
b. Connotation refers to word’s implied or figurative meaning.
Figures of Speech as connotative devices (Nordquist, 2020)

a. Anaphora. Words, clauses or phrases at the beginning of succeeding lines/
phrases are repeated
Examples:
Five years have passed;
Five summers, with the length of
Five long winters! And again I hear these water.
(Tintern Abbey by William Wordsworth)
In every cry of every Man,

In every infant’s cry of fear,
In every voice, in every ban,
The mind-forged manacles I hear
(London by William Blake)
b. Antithesis refers to contradicting ideas put together and make the meaning
balance with one another.
Examples:
Many are called, but few are chosen. (Matthew 22:14)
That’s one small step for a man, one giant leap for mankind. (Neil Armstrong)
c. Apostrophe is addressing absent thing or person as if they are alive. It usually

has “Oh” or “O” as expression to address the nonexistent thing.
Examples:
O Jerusalem, Jerusalem, the city that kills the prophets and stones those sent
to her!” (Luke 13:34)
Twinkle, twinkle, little star

How I wonder what you are.
(Twinkle, Twinkle, Little Star by Jane Taylor)
O holy night!
The starts are brightly shining!
(O Holy Night by A. Adam & J.S. Dwight)
d. Euphemism is used of a safer word or phrase to soften the message of

offensive and harsh words.
Examples:
passed away instead of died or killed
misunderstanding instead of fight or argument
Don’t ever call me mad, Mycroft. I’m not mad.

I’m just…well, diffently moraled, that’s all
(The Eyre Affair by Jasper Fforde)
e. Hyperbole is the use of overstated or exaggerated words to make things bigger

as it is or to emphasize it.
Examples:
When my father snores, he raises the roof.
I am dying of shame.
Here once the embattled farmers stood
And fired the shot heard round the world.
(The Concord Hymn by Ralph Waldo Emerson)
f. Understatement is the opposite of hyperbole. It uses words to make thing less

important or not serious.
Examples:
An atomic blast is somewhat noisy.
Hitler was not a nice person.
Bill Gate is financially secure.
I have to have this operation. It isn’t very serious.

I have this tiny little tumor on the brain.
(Catcher in the Rye by Holden Caulfield)

g. Irony. Its literal meaning is opposite of what the speaker/writer wants to
express.
Examples:
Thank you, Officer, now that you have my license I can’t drive.
(The driver was mad and irritated but instead of directly expressing his anger.
The driver used irony in a way of thanking the officer but it means the opposite.)
h. Litotes is a way of expressing affirmation using two negative terms.

Examples:
The Rivera’s Clan is not infamous in the city.
The panel members aren’t unhappy of his presentation.
Not bad. Not bad at all.
i. Metaphor is an implied or indirect comparison between two or more things.

Examples:
You are the sunshine of my life.
His words are pearls of wisdom.
Love is walk in the rain at night,

Two hands holding onto each other tight;
Love is honey on a pair of lips,
Onto a tender heart it drips.
j. Metonymy is the use of words to substitute for another usually related into it.
Examples:
Pen is mightier than a sword. (Pen is used to as substitute for writing.)
Malacañang placed the entire Luzon under the ECQ. (Malacañang is used as
substitute for President.)
k. Oxymoron refers two contradicting words or ideas combined together

Examples:
cruel kindness beautiful disaster
living death deafening silence
l. Paradox is a sentence which somehow contradicts itself.

Examples:
Save money by spending it.
Men work together whether they work together or apart. (Robert Frost)
Whatever you do will be insignificant, but it is important that you do it. (Gandhi)
m. Personification is giving human qualities to inanimate things usually object or

abstract ideas.
Examples:
Your clothes invited my attention.
The moon looked down below the earth.
When all at once I saw a crowd

A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.
(I Wandered Lonely as a Cloud by William Wordsworth)
n. Simile is a direct comparison between two unlike things. It uses “like”, “as” and
“resembles” in comparing.
Examples:
You are like a rose.
His intentions are clear as crystal waters.
Your teeth are like stars;

They come out at night.
They come back at dawn
When they’re ready to bite.
(Your Teeth by Denise Rogers)
Twinkle, twinkle, little star
How I wonder what you are.
Up above the world so high,
Like a diamond in the sky.”
(Twinkle, Twinkle, Little Star by Jane Taylor)
o. Synecdoche is the use of a “part” to represent a whole.

Examples:
The western wave was all a-flame.
The day was well was nigh done!

Almost upon the western wave
Rested the broad bright Sun
(The Rime of the Ancient Mariner by Samuel Taylor Coleridge)
(Western wave” is a synecdoche as it refers to the “sea” by the name of one its
parts, a “wave.”)
Other Connotative Devices
1. Allusion is “a reference made by borrowing familiar phrases from literature, history or

contemporary life to enrich one’s writing.” (Dorcas et al., 2009)
2. Symbolism is the use of something or object beyond its literal meaning.
3. Symbol refers to something impliedly mention in poem but can be associated with it
through it
4. Imagery is the effective and powerful use of words to visually imagine something
expressed in the poem through appealing to the senses.
4.a Visual Imagery pertains to graphics, visual scenes, pictures, or the sense of sight.
4.b Auditory Imagery pertains to sounds, noises, music, or the sense of hearing.
4.c Olfactory Imagery pertains to odors, scents, or the sense of smell.
4.d Gustatory Imagery pertains to flavors, or the sense of taste.
4.e Tactile Imagery pertains to physical textures, or the sense of touch.
Poetic Form
1. Fixed Verse - type of poetry which highly follows a required or standard set of form
and pattern (e.g. consistent meter, stanza or rhyme scheme)
2. Blank Verse - type of poetry which has 10 syllables per line and follows “iambic
pentameter”; however, this is also called “unrhymed iambic pentameter” because the
end sound of every line does not rhyme
3. Free Verse - type of poetry which do not conform with any consistent number of lines
in each verse, rhyming pattern, poetic foot and meter, structure and others
Poetic Foot
refers to the recurring pattern of two or three syllables - strong (stressed) and weak
(unstressed) syllables (lexiconic.net, n.d.).
1. Iamb (Iambic) - weak syllable followed by strong syllable

2. Trochee (Trochaic) - strong syllable followed by a weak syllable
3. Anapest (Anapestic) - two weak syllables followed by a strong syllable
4. Dactyl (Dactylic) - a strong syllable followed by two weak syllables
5. Spondee (Spondaic) - two strong syllables (not common as lines, but appears as a
foot and usually found at the end of the line/poem).
Number of Feet (lexiconic.net, n.d.)

1. one foot = monometer
2. two feet = dimeter
3. three feet = trimeter
4. four feet = tetrameter
5. five feet = pentameter
6. six feet = hexameter (when hexameter is in iambic rhythm, it is called an alexandrine)
Number of Line per Verse (lexiconic.net, n.d.)

1. couplet (2 lines)
2. tercet (3 lines)
3. quatrain (4 lines)
4. cinquain (5 lines)
5. sestet (6 lines) (sometimes called a sexain)
6. septet (7 lines)
7. octave (8 lines)

Comprehending Poetry
The challenge to teach poetry among your learners is indeed a serious problem;
however, Kim (n.d.) from Study All Knight provides seven simple steps for the learners to
successfully comprehend with poetry.
1. Setup the Poem. It is important that you start with a positive introductory
activity before you present the poem to the learners. It is suggested that you gather “title
impression” of the learners, their prior knowledge about it or even what they expect from
reading it.
2. Always Read the Poem Twice. For better understanding, you have to design the
reading of the poem twice or even thrice. In the reading proper part, you can first read it
aloud while the learners are following you silently; then, for the 2nd reading, you can do it
in different ways. You can ask them to read it again on their own, you can group them and
ask them to have choral reading of the poem or you can let them read it aloud altogether.
3. Use Investigative Skills and Identify the Speaker of the Poem. In the reading
proper, help your learners recognize the speaker or narrator of the poem through the
evidences/situation mentioned in it. This requires great investigative skills of the learners
as they try to evaluate facts presented in it. Once they identified the speaker, it will help
them clearly understand what the poem is all about.
4. Identify the Setting. After the learners recognized the speaker of the poem, the
next thing that they will do is to look for evidences that will lead them to understand its
“where” and “when”. Through this, they will be able to point out the relation between the
speaker and the setting from which the context poem is directed.
5. Identify the Mood and Tone. Mood is the feeling that the learners feel while they
read the poem while Tone refers to the powerful words used by the author to create the
mood from the readers.
6. Summarize the Poem. To ensure that the learners clearly understand the
message of the poem, let them summarize its core using their own words.
7. Put the Poem in Action. This part refers to the “output” or “product” that the
learners will do after doing all the activities designed in your lesson plan. You can ask them
to draw mental pictures that they imagined as they read and understand it, a reflection
paper, or any product-based tasks.
Strategies in Teaching Poetry

For English language teachers teaching poetry is one of the most difficult lessons
to be learned and appreciated by the learners. Not just the learners but also the teachers
find it hard to ignite interest in poetry because most of them find it “boring” and “dull”.
However, it is only a matter of choosing appropriate strategies and lesson design to
achieve literary appreciation among them. As an English language teacher, it is suggested
to create your classroom a “thinking-classroom” as you will be required to design lessons
regarding the teaching of poetry in a more engaging and learner-centered approach.
Thus, Schoch (2013) suggested varieties of ways to teach poetry in a way that
learners will not be bored because their interest will be considered and they will have
unique experience in dealing with an enchanted world of poetry. Some of his suggested
approaches are listed below:
Approaches in Teaching Poetry

1. Activate Prior Knowledge. Learners will be more interested if you will try to let
them share what they know about the poetry being taught. As you try to let them connect
what they already know about the new learnings that they might get from a poetry lesson,
they will treat it in a more personal and serious way. Through this, initially, learners will be
more interested to unveil the lessons that they are about to learn from the poem.
Example:

Situation: You will teach Haiku (a dominant three-line poem from Japan with 5-7-5 syllable in
respective lines and usually focused on nature) entitled “The Year Comes Round” by
Sid Farrar. In the poem, each month is represented by a Haiku.
How to To activate learners’ prior knowledge, you will as them possible fruits or plants that
teach?: grow in every month or season. After that, you can also let them construct their own
Haiku focused on their identified fruit.
You can also focus on the figurative language used in the poem and let them identify
it (if you already taught them that topic).
2. Establish the Theme. Since reading poetry is sometimes uninteresting to the

learners because it uses figurative languages and other poetic devices, another approach
that you can do is to focus and establish its theme instead of highlighting its language
structures and other patterns.
Example:
Situation: You are about to teach “The World is Too Much With Us” by William Wordsworth.
How to Since the title of poem directly suggests its theme, you can ask your learners to write
teach?: a short reflection regarding what the author wanted to express to the readers.
3. Explore Language. Teaching poetry can be used as springboard to teach

grammar structures and poetic forms and devices to the learners. To make their learning
of grammar such as the different parts of speech, sentence pattern and structures, more
memorable and has more impact, you can use poems to level up the process of language
learning. However, it is also important to remind them about “poetic license” because is
some cases some lines in poetry do not conform with grammar rules just to follow its
unique form and structures.
Example:
Situation: You will teach a song “Impossible Dream” by Mitch Leigh and Joe Darion.
How to Provide the learners the copy of the lyrics and while listening and appreciating the
teach?: message of the song, let them underline all the “infinitives” (to + base form of the
verb) used in it.
4. Focus on Facts. As the learners try to analyze the poem, let them practice
objective analysis of it. Through appropriate poem, you can also teach them existing facts
about something mentioned in the poem directly or indirectly.
Example:
Situation: You decide to present them “Golden Domes and Silver Lanterns: A Muslim Book of
Colors” by Hena Khan.
How to Because it will also introduce them some beliefs and tradition of Islam, you can also
teach?: focus on all the facts presented into it. Consequently, you are not just teaching them
the poem itself but you are also giving them different experience to learn about the
norms and values our Muslim brothers.
5. Use Authentic Activities. It is more effective if you will provide real experiences
or at least connect the poem with real-life activities that learners have experienced or may
experience.
Example:
Situation: You will teach them a poem entitled “Crossroads” which expresses uncertainty in
making decision.
How to You can present them various situations that they have experienced or may
teach?: experience which requires crucial decisions. Let them choose only one decision and
tell them to explain why they chose it.
6. Provide Guide Questions. For the learners to easily grasp the message of the
poem, it is suggested to provide them questions that will guide to understand it clearly.
Example:
Situation: You want the learners to recognize the meaning of the poem “How Do I Love Thee”
by Elizabeth Barrett-Browning.
How to You will simply construct questions before hand and present it to the learners to
teach?: direct them to the exact message of the poem that you want them to understand.

Methods in Teaching Literature (Fumar, PNU)
1. Lecture Method. It is the traditional and basic method of teaching literature. It

can be formal, informal or straight recitation.
2. Discussion Method. It can be collaborative activities such question-and-answer,
pair work, buzz session or group work.
3. Public Speaking Method. It deals with memorizing and requires learners to
perform the piece of poetry with emotions, actions and other basic principles of speech.
Activities for this method include readers theater, chamber theater, debate or panel forum.
4. Audio-Visual Method. Another method which will surely provide enjoyable

experience to learners because more senses will function specifically their sense of sight
and hearing. It requires the use of slides, transparencies, films, television and others.
5. Project Method. This requires the learners to create something from what they
have learned. It can be a scrapbook, diorama, script, video etc.
6. Field Research Method. It will let them explore the real-world outside their
classroom. Activities include field trip or author interview.
7. Creative Writing Method. Through this method, learners will practice their
writing skills in terms of poetry. Activities can reflection paper, constructing a poem and
others.
Strategies and Techniques (Fumar, PNU)

1. Show and Tell/Blurb Writing. You will present to the students the title and cover/
book design of the poetry and let them write their ideas about it. For example, they will
write their initial impression of the poem from it.
2. Movie Poster/Movie Trailer. You will require the learners to create a poster or
trailer of the literary piece.
3. Mock Author Interview. You will assign learners to act as the author of the poem
and he/she will be interviewed about it. This require the learners to check the background
or profile of the author.
4. Biographical Montage. Your learners will have to compile authentic materials
about the author.
5. Graphic Representations. This activity will showcase students’ ability in drawing
for they you will ask them to do a sketch or any visual representation regarding the meaning
of the poem.
6. Sculpting. To improve learners’ creativity in sculpting, you can ask them to
identify specific symbol from the poem and carve or shape it using dry wood or soap
7. Creative Conversation/Speech Balloons/Thought Bubbles. From the characters
(if there are) found in the poem, learners will write conversation between/among them.
8. Transform. You will require your learners to transform the poem into another
genre such short story, essay etc.
Reading Strategies (Fumar, PNU)
1. Read Aloud. You will demonstrate to the learners who to read the poem while
they are observing the appropriate pronunciation, pausing, stress, emotion and other
external factors.
2. Shared Reading. You and your learners will read the poem together as you
provide them support so they can properly read it.

3. Guided Reading. You will group the learners according to their specific strength
and weakness so you can focus on improving their weakness in terms of reading and
understanding the poem.
4. Independent Reading. You will encourage the learners to do self-reading which
will lead to develop a deep sense of individuality and will also let them explore on their
reading abilities by themselves.
5. Echo Reading. You will read poem first and the learners are expected to echo
what you have read. Through this, they will probably imitate the way read each line of the
poem and you will be able to identify words that are difficult for them to pronounce.
6. Choral Reading. This means that learners will read in “chorus”. You can also
assign groups for specific parts of the poem and provide the ample time to rehearse their
parts for several times before the actual performance.
7. Partner Reading. This promotes collaboration among your learners for they will
be paired with another learner to help each other achieve maximum potential in reading a
poem.
Appreciation of Poetry
According to M.Phil/MA English Literature & Linguistics Online Academy (2019)
learners with the assistance of the teachers need to undergo critical reading of a poem
before they deeply appreciate it. Unlike the usual interpretation of the poem, to improve
literary appreciation among the learners, teachers should underscore the different poetic
devices employed by the writer (words, rhyme, scheme, style, figurative language, tone
and mode) and other internal factors (intertextuality, language and the general writing
style of the poet).
1. Meaning. Reading the poem once or twice does not guarantee understanding
of it. It should be read and reread for several times and take note the unfamiliar words or
phrases present in it to further enhance the interpretation of its meaning. It is important
also to analyze the title of the poem because it generally suggests its general meaning
and it serves a summary of what the poem is all about.
2. Rhyme Scheme. Rhyme scheme which can be identified at the end of each line
can also help the learners to understand the poem and later to deeply appreciate it.
3. Speaker. The learners should recognize the speaker or narrator of the poem for
it will help them to decide whether what they taught to be its message is true or not. As
the recognized the speaker, it will also lead them to unlock blurred ideas from it.
4. Setting. The background (where & when) of the poem will contribute to learners
understanding and appreciation of it.
5. Context. To understand the context of the poem, learners should first identify
the speaker and the setting.
6. Language. It is vital in understanding the poem. It includes the use of figurative
language, mood and tone, archaic words, length and structure of each line and rhythm.
7. Intertextuality. It refers to the poem reference to other works. As the learners
appreciate the poem, they will also see the interconnection of the new poem to the other
literary works.
8. Genre. It is also important for them to identify the category of the poem.
Poetry Appreciation Methods

For better understanding and critical appreciation of the poem, learners should:
1. Evaluate the Poetic Techniques. This includes the genre, figures of speech,
language style, tone and mode, and intertextuality.

2. Evaluate the Meaning. This includes title, speaker, denotation and connotation,
purpose of writing and movements from which the writer belongs.
Lesson Design in Teaching Poetry

Designing a lesson in poetry is almost the same with other topics or subjects in
different subject areas. However, for this part you will focus on two designs which are
traditional lesson plan, and lesson plan with focus on macro-skills (reading, writing,
speaking, listening and viewing).
Basically, the major parts are still the following:
a. Objectives;
b. Subject Matter;
c. Procedures/Learning Activities;
d. Evaluation; and
e. Assignment.
Traditional Lesson Design
Since for neophyte teachers just like you, it is required to use a “detailed lesson
plan” so we will have it as example.
I. Objectives
In the objectives, you will write at least three objectives (one for each domain –
cognitive, psychomotor and affective) that you want your students to achieve at the end
of the lesson or taken from the curriculum guides.
These objectives should be aligned in every activity that you will design especially
in the “evaluation” part.
It is important to note also that since you have three objectives, sometimes it
is difficult to design one activity in the “evaluation” part which covers all of these three
objectives. That is why sometimes, you can have activities in your “procedure/learning
activities” part which will lead to the achievement of psychomotor and affective objectives
and the cognitive objective will be achieved in the “evaluation” part.
II. Subject Matter

You will include in this part the following:
a. Topic
b. References (books and online references should follow APA citation)
c. Instructional Materials
d. Value Focus (this is important part especially in teaching of literary texts)
III. Procedure/Learning Activities

This will serve now as your guide/script in executing and delivering your instructions
and activities as you teach your learners. It will be divided into two columns namely –
Teacher’s Activities and Students’ Activities/Responses. It consists of the following parts:
A. Preparation/Classroom Management
1. Opening Prayer
2. Greetings
3. Attendance
4. Review (of the past lesson)
B. Motivation
This is the first activity that will set the mood of the learners to be ready and excited
to the lesson that they are about to learn.
C. Presentation of the Topic

This part will be the transition from your motivational activity to lesson. You need
to build connection between your motivation and discussion so that learners will easily
understand it.
D. Unlocking of Difficulties
Because poetry uses highfaluting words, it is important to define its meaning first
so that when the learners read the poem, they will easily understand what it means.

E. Discussion
This part now is the discussion of the poem or concept intended to be learned
by the learners. As a teacher, you have to make sure that this discussion part is not the
traditional discussion where the teacher provides all the information. It is suggested to
use inductive approach in this part, so that you can create your class a “thinking-class”.
Make sure also to use your “art-of-questioning” techniques to elicit responses from the
students. You can also a short activity in this part which will lead to the understanding of
the concept being taught. Remember that your role here is “facilitator” so make sure that
active participation of learners is still present in this part.
F. Application
This is another activity where you will require your learners to apply what they have
learned from the previous parts of your lesson especially in “discussion”. It can be an
individual, pair, small groups or depending on the design of your activity.
G. Generalization
This can range from sample “question-and-answer” regarding the important
concepts learned or another activity which will lead them to generalize on their learning
from that session.
IV. Evaluation
This part is an activity which will assess whether they achieve to objectives or not.
It can a collaborative activity but it is better to have individual activity in this part.
V. Assignment
This will serve as an additional or remediation activity to further improve learners
understanding of the lesson discussed or it can also be a preparation for the net lesson.
SAMPLE FORMAT
LESSON PLAN IN _______________
I. Objectives
At the end of the lesson, the students can:
a. Objective 1 – cognitive;
b. Objective 2 – psychomotor; and
c. Objective 3 – affective.
II. Subject Matter
Topic:
References:
Instructional Materials:
Value Focus:
III. Procedures/Learning Activities
Teacher’s Activities Students’ Activities/Responses
A. Preparation/Classroom Management
1. Opening Prayer
2. Greetings
3. Attendance
4.Review
B. Motivation
C. Presentation of the Topic
D. Unlocking of Difficulties
E. Discussion
F. Application
G. Generalization
IV. Evaluation
V. Assignment
Lesson Design focused on Macro-Skills
Another design can focus on the macro-skills - reading, writing, speaking, listening
and viewing. It has almost same format with that of traditional lesson design but some
parts have added/replaced to highlight that it has focused on specific macro-skill. It has
the following parts:

I. Objectives
II. Subject Matter

A. Topic
B. References (books and online references should follow APA citation)
C. Instructional Materials
D. Value Focus (this is important part especially in teaching of literary texts)
III. Procedure/Learning Activities

A. Pre-Reading (just change the term depending on the focused macro-skill)
1. Preparation/Classroom Management
a. Opening Prayer
b. Greetings
c. Attendance
d. Review (of the past lesson)
2. Motivation
3. Presentation of the Topic
4. Unlocking of Difficulties
B. Reading Proper (just change the term depending on the focused macro-skill).
For this part, the learners will just focus on the improvement of the macro-skills. You
can also include comprehension questions for better understanding of the poem.
C. Post-Reading (just change the term depending on the focused macro-skill)

1. Application
2. Generalization
IV. Evaluation
V. Assignment
SAMPLE FORMAT:
LESSON PLAN IN _______________
I. Objectives
At the end of the lesson, the students can:
a. Objective 1 – cognitive;
b. Objective 2 – psychomotor; and
c. Objective 3 – affective.
II. Subject Matter

Topic:
References:
Instructional Materials:
Value Focus:
III. Procedures/Learning Activities
Teacher’s Activities Students’ Activities/Responses

A. Pre-Reading
1. Preparation/Classroom Management
a. Opening Prayer
b. Greetings
c. Attendance
d. Review
2. Motivation
3. Presentation of the Topic
4. Unlocking of Difficulties
B. Reading Proper
1. Comprehension Questions
C. Post Reading
1. Application
2. Generalization
IV. Evaluation
V. Assignment

Assessment in Teaching Poetry
For most learners learning poetry is a difficult process because of its subjectivity in
nature. That why Layfield (2020) suggested varieties of method to assess the achievement
of poetry objectives in various ways such as:
1. Poetry Portfolio. This is a product-based assessment of how learners improve

in the lesson of poetry. It will give them enough time to assess their own learning as
they compile evidences of their improvements in their portfolio. “Portfolios allow room for
creativity, process and mechanics, while representing the student’s whole body of work.”
2. Teacher and Peer Conference. This method will provide positive effect in
terms of how learners will be motivated to improve learning of poetry as well as how
teachers evaluate their output. This provide opportunity for the teachers to give feedback
and constructive criticism regarding the output created by the learners. This means that
through conference, learners will see areas to be improved and developed. It can be used
together with portfolio or as standalone method.
3. Journals. It can be in various forms such as reflection, critical thinking and

connection of poetry in real-life. As the learners write their reflection, they will be able to
reflect within themselves and will be able to fully appreciate the poetry relating it to their
point of view in life, philosophy and various areas of their personality.
4. Rubrics and Checklist. This method is more objective in evaluating what

learners learned about any literary work. It includes set of criteria which will be observed
and graded by the teacher.
REFERENCES
Book
Delos Reyes, C. (2004). Echoes (pp. 30-31).Dalandanan, Valenzuela City, Philippines: Jo-Es Publishing
House, Inc.
Dorcas, A., Cruz, Ma.B., Trajano, M., Achas, A., Solon J.C., & Villahermosa, Joy. (2009). Effective
Writing: A Worktext (p. 32). Araneta University Village, Potrero, Malabon City, Philippines: Mutya Publishing
House, Inc.
Orosa, M.A.B. (2016). English in Perspective, Anglo-American Literature (pp. 129-131). Araneta Ave.,
Quezon City, Philippines: Abia Publishing House Inc.
Online
Barnett, T. (2020, June 02). What is Dramatic Poetry?. Wisegeek. https://www.wisegeek.com/what-is-
dramatic-poetry.htm#
CMICH, (n.d.). Common Rubric for a Lesson Plan – Assessment Retreat.
https://www.google.com/url?sa=t&source=web&rct=j&url=https://www.cmich.edu/colleges/
ehs/unit/peu/Documents/Common%2520Rubric%2520for%2520a%2520lesson%2520Plan_
Assessment%2520Retreat%252001072016.
Department of Education. (2016, January 21). Hiring Guidelines for Senior High School (SHS) Teaching
Positions Effective School Year (SY) 2016-2017. https://www.deped.gov.ph/2016/01/21/do-3-s
-2016-hiring-guidelines-for-senior-high-school-shs-teaching-positions-effective-school-year-sy-
2016-2017/
Fumar, V. R. (n.d.). The Teaching of Literature. Philippine Normal University.
Hess, G. (2020, January 22). Three Genres of Poetry. Poem of Quotes.
https://www.poemofquotes.com/articles/three-genres-of-poetry.php
Kim. (n.d.). Teaching Students to Comprehend Poetry in 7 Steps. Study All Knight.
https://www.studyallknight.com/teaching-students-to-comprehend-poetry-in-7-steps/
Layfield, E. (2020). Ways to Assess Poetry in a Middle School Classroom. Seattlepi.
https://education.seattlepi.com/ways-assess-poetry-middle-school-classroom-6287.html
Lexiconic. (n.d.). Elements of Poetry. https://learn.lexiconic.net/elementsofpoetry.htm
M. Phil/English Literature & Linguistic Online Academy. (2019). How to Write Critical Appreciation of
Poem. https://m.facebook.com/permalink.php?story_fbid=2461634160746174&id=206439502047
0092&refsrc =https%3A%2F%2Fm.facebook.com%2Flogin%2Fdevice-based%2Fpassword%2F&_rdr
Marasigan, N. (n.d). Two Divisions of Literature. Philippine Literature.
http://philliterature.weebly.com/two-divisions-of-literature.html
Nordquist, R. (2020, June 05). The Top 20 Figures of Speech. ThoughtCo.
https://www.thoughtco.com/top-figures-of-speech-1691818
Schoch, K. (2013). 10 Ways to Use Poetry in Your Classroom. Reading Rockets.
https://www.readingrockets.org/article/10-ways-use-poetry-your-classroom
Spacey, A. (2020, March 25). Summary and Full Analysis of Sonnet 18 by William Shakespeare.
Owlcation. https://owlcation.com/humanities/Summary-and-Full-Analysis-of-Sonnet-18-by-William-
Shakespeare
Writing Portfolio. (n.d.). Sonnet Rubric. Writing Portfolio Language Arts.
https://sites.google.com/site/writingportfoliolanguagearts/home/sonnet-rubric

Activity 7
Name: ___________________________________________________ Score: _______________

A. Multiple Choice.
Directions: Read each item carefully. Write the letter of your answer on the space provided.
_____1. Which of the following is a basic element of literary text?

A. Symbolism C. Point of View
B. Metaphor D. Romanticism
_____2. Mrs. Abello requires her students to create a scrap book regarding an epic entitled
“Beowulf”. What kind of method in teaching literature did she use?
A. Project Method C. Discussion Method
B. Field Research Method D. Audio-Visual Method
_____3. Mr. Atendido’s performance task for his poetry lesson is for the students to create
a short video clip of how Beowulf fights with Grendel’s mother. What strategy does
he plan to apply?
A. Transforms C. Movie Trailer
B. Blurb Writing D. Movie Poster
_____4. Ms. Bautista always prepares her Powerpoint presentation in every literature class.
What method does she use?
A. Discussion C. Lecture Method
B. Public Speaking D. Audio-Visual
_____5. Ms. Maducdoc provided the title of the narrative poem “The Pardoner’s Tale”
written by Geoffrey Chaucer and told her students to come up with an impression
summary of the poem based on their understanding from the title itself. What
strategy in teaching literature did she use?
A. Movie Poster C. Epilogue
B. Transforms D. Show and Tell
_____6. To fully understand the major themes and subjects of the 18th century, Mr. Dizon
decided to have an educational tour in the National Museum focusing on the area
of literature. What method did he use?
A. Project Method C. Lecture Method
B. Audio-Visual Method D. Field Research
_____7. Grade 10 students from Rio Chico NHS have compiled different works of a major
Victorian poet Alfred Lord Tennyson such as “The Lady of Shalott”, “Ulysses”, “In
Memoriam A.H.H.”, “The Charge of the Light Brigade” and “Crossing the Bar”. What
strategy in teaching literature has been employed in this activity?
A. Compilation of Works C. Show and Tell
B. Epilogue D. Biographical Montage
_____8. In a Grade 1 class, Mrs. Gaboy grouped the pupils into 5 and every afternoon
after the normal class one group will be left for them to read a text through her
supervision to ensure that “no pupil from her class will be left behind” when it
comes to reading ability. What reading strategy does Mrs. Gaboy use?
A. Partner Reading C. Echo Reading
B. Shared Reading D. Guided Reading
_____9. Most of the students feel unmotivated because their literature teacher seems to
be traditionalist with a very formal way of explaining basic concepts of literature.
They tend to feel bored because they feel that their teacher employed teacher-
centered instruction for every meeting. What specific method of teaching literature
does their teacher use?
A. Field Research C. Lecture Method
B. Public Speaking Method D. Creative Writing
_____10. As you read, your mind thinks ahead about where the text is going and what it
might tell you. What thinking strategy is this?
A. Predicting C. Visualizing
B. Connecting D. Monitoring

B. Identification
Directions: Identify the figures of speech used in the following sentences.
___________________11. You aren’t poor, you are economically disadvantaged.

___________________12. Oh, rose, how sweet you smell and how bright you look!
___________________13. A man looked out of the window to see the storm intensify.
He turned to his friend and said “wonderful weather we’re having!”
___________________14. He is not unaware of what you said behind his back.
___________________15. The detective listened to her tales with a wooden face.
___________________16. We have always remained loyal to the crown.
___________________17. The stars danced playfully in the moonlit sky.
___________________18. The truth was like a bad taste on his tongue.
___________________19. We are so poor; we don’t have two cents to rub together.
___________________20. That sword was not useless to the warrior now.
C. Poetry Analysis.
Directions: Read and understand the poem and answer the activities that follow.
La Belle Dame sans Merci

(The Beautiful Lady Without Mercy)
by John Keats
Ah, what can ail thee, wretched wight, She found me roots of relish sweet,
Alone and palely loitering; And honey wild, and manna dew;
The sedge is withered from the lake, And sure in language strange she said,
And no birds sing. I love thee true.
Ah, what can ail thee, wretched wight, She took me to her elfin grot,
So haggard and so woebegone? And there she gazed and sighed deep,
The squirrel’s granary is full, And there I shut her wild sad eyes –
And the harvest’s done. So kissed to sleep.
I see a lillly on thy brow, And there we slumbered on the moss,

With anguish moist and fever dew; And there I dreamed, ah woe betide,
And on thy check a fading rose The latest dream I ever dreamed
Fast withereth too. On the cold hill side.
I met a lady in the meads I saw pale kings, and prices too,
Full beautiful, a faery’s child; Pale warriors, death-pale were they all;
Her hair was long, her foot was light, Who cried – “La belle Dame sans merci
And her eyes were wild. Hath thee in thrall!”
I set her on my pacing steed, I saw their starved lips in the gloam
And nothing else saw all day long; With horrid warning gaped wide,
For sideways would she lean, and sing And I awoke, and found me here
A faery’s song. On the cold hill side.
I made a garland for her head, And this is why I sojourn here
And bracelets too, and fragrant zone; Alone and palely loitering,
She looked at me as she did love, Though the sedge is withered from the lake,
And made sweet moan. And no birds sing.

(Source: Rollins-Natividad V. (2016). English in Perspective: Anglo-American Literature. Araneta Ave., Quezon City: Abiva Publishing House, Inc.)
C.1. Find the 5 imagery used in the poem by filling in the chart below.
Lines from the poem Type of Imagery Explanation

C.2. Give 5 figures of speech used in the poem. Support your answer with lines from the
poem. Then explain the meaning of the selected lines.
Lines from the poem Figures of Speech Explanation
D. Sonnet Writing
Directions: Write your own sonnet (either Shakespearean or Petrarchan) expressing your admiration
to someone. Follow the given guidelines in writing a sonnet:
1. It should be written in iambic pentameter;
2. It should have fourteen lines;
3. It should have a set of appropriate rhyme scheme (either Shakespearean or Petrachan);
4. It should have “volta” placed on its proper line/s.
____________________________________________________________________________________
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Categories Excellent (5) Good (4) Fair (3) Poor (2)

Flawless use of iambic
Format 1-2 errors 3 errors 4 or more errors
pentameter
Rhyme Follows the appropriate 4 or more errors in
1 error in rhyme 3 errors in rhyme
Scheme rhyme scheme rhyme
Contains clear conclu- Does not contain a
Contains conclusion or Unclear conclusion or
Volta sion or counterargu- conclusion or counterar-
counterargument counterargument
ment gument
Clear subject, speaker, Clear subject and Contains a subject and Does not contain a
tone and message. message. message. subject or message.
Content Very creative – uses
imagery and creative Creative and imagina- Somewhat creative and Lacking in creativity
use of language tive imaginative
More than 3 mistakes
No grammatical, More than 6 errors that
1-2 mistakes using in conventions. Poem is
Conventions spelling or punctuation distract from the read-
conventions. hard to read because of
mistakes. ing of the poem.
distracting mistakes.
Rubrics adapted from Writing Portfolio Language Arts.

Activity 8
Name: ___________________________________________________ Score: _______________

A. Plan to teach Poetry

Directions: Read the poem below and design an activity/task that you will do to teach it
to your future learners. Create a title for the activity in each approach and write a short
description of how it will be executed in class.
How Do I Love Thee? (Sonnet 43)

by Elizabeth Barrett-Browning
How do I love thee? Let me count the ways. I love thee with the passion put to use
I love thee to the depth and breadth and height In my old griefs, and with my childhood’s faith.
My soul can reach, when feeling out of sight I love thee with a love I seemed to lose
For the ends of being and ideal grace. With my lost saints. I love thee with the breath,
I love thee to the level of every day’s Smiles, tears, of all my life; and, if God choose,
Most quiet need, by sun and candle-light. I shall but love thee better after death.
I love thee freely, as men strive for right.
I love thee purely, as they turn from praise.
1. Activate Prior Knowledge

Title of the Activity: _____________________________________________________________________
How to Teach?: _______________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
2. Establish the Theme

How to Teach?: _______________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
3. Explore Language
How to Teach?: _______________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
4. Focus on Facts
How to Teach?: _______________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
5. Use Authentic Activities

How to Teach?: _______________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________

6. Choose two methods in Teaching Literature (Fumar, PNU) that you will use in teaching
the poem to your future learners. Explain why you think these two are the most
appropriate methods.
METHOD 1
_______________________________________________________________________________________
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METHOD 2
_______________________________________________________________________________________
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7. Which Strategies/Techniques will you use if the design of your assessment is product-
based? Why did you choose it? How do you expect the learners will perform or do it?
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
______________________________________________________________________________________
8. Discuss briefly the importance of different reading strategies (Fumar, PNU) in ensuring
the achievement of one’s objective.
a. Read Aloud ________________________________________________________________________

_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
b. Guided Reading _____________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
c. Shared Reading _____________________________________________________________________

_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
d. Independent Reading _______________________________________________________________

_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
e. Echo Reading _______________________________________________________________________

_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
f. Partner Reading _____________________________________________________________________

_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
_______________________________________________________________________________________
g. Choral Reading _____________________________________________________________________

_______________________________________________________________________________________
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_______________________________________________________________________________________

Activity 9
Name: ___________________________________________________ Score: _______________

A. Lesson Planning
Directions: You will design your own detailed lesson plan in teaching poetry with focus on
specific macro-skill of your choice. Follow the given guidelines below:
1. Design your own detailed lesson plan in teaching poetry
2. Using a poem of your choice, design a lesson plan of how you will teach it focusing on
specific macro-skill.
3. You should use the poem as your springboard in teaching grammar.
4. You should have three objectives – cognitive, psychomotor and affective domain.
5. Consider the things that you have learned from this unit regarding the teaching of
poetry.
6. Make sure that the design of your lesson is students centered.
7. Provide authentic and real-life activities.
8. Avoid the traditional discussion of concepts.
9. Use the format for LP focused on Macro Skills
Rubrics for Lesson Planning

Preparing for Instructions Score:
_____Measurable learning objectives are identified.
_____Learning objectives are explicitly aligned with the lesson.
_____Appropriate materials, resources and tools are identified and their management is planned for.
_____Sequence of procedures and transitions is clear and logical.
_____Time allotted for each component of the lesson is achievable.
_____Lesson includes appropriate level of detail (conveys a mental picture; could be followed by others)
_____Lesson has been edited for proper grammar, spelling and punctuation.
Instructional Strategies Score:
_____Instructional strategies are aligned with learning objectives.
_____Instructional strategies reflect discipline-specific best practices.
_____Lesson design is engaging, student-centered and links to prior knowledge.
_____Technology is used, when appropriate, to enhance student learning.
_____Lesson design provides opportunities for student reflection and closure.
Assessment Score:
_____Assessment are aligned with learning objectives.
_____Lesson design includes opportunities for formative assessment and feedback.
_____Appropriate assessment tools are included.
_____Assessment tools are identified for formative or summative purposes.
Learner Development and Differences Score:
_____Instructional strategies and assessments are developmentally appropriate and challenging for all
students.
_____A variety of instructional strategies are used to address the needs of diverse learners.
_____Student understanding can be demonstrated in a variety of ways.
_____Possible accommodation for individual student needs are identified, when appropriate.
Content Knowledge and Application Content Score:
_____Accurate content knowledge is demonstrated in the design of the lesson plan.
_____Authentic contexts for concepts are incorporated (e.g. relevance to local and global issues).
Total Score
B. Demonstration Teaching.
1. After your teacher return your detailed lesson plan, make the necessary editing based
from your teacher’s recommendations.
2. After that, you can now prepare for the instructional materials that you will use for your
“recorded” demonstration teaching.
3. Once everything is ready, you can now record yourself (or live demonstration teaching
depending on the instruction of your teacher) as you execute and demonstrate how to
teach the lesson based on your revised lesson plan.
4. Assume that you are real classroom setting – wear formal or appropriate attire for your
demonstration teaching, demonstrate it as if you have real students as you provide
feedback based on their possible response, and act naturally like how you teach in a
normal “face-to-face” classes.
5. The rubrics to be used for your demonstration teaching is attached in the Appendix
“B”.
Rubrics for Teaching Demonstration (as per DepEd Order No. 3, s. 2016, pp. 18-24), please see link at
https://www.deped.gov.ph/wp-content/uploads/2016/01/DO_s2016_03.pdf.

APPENDIX A
SAMPLE SEMI-DETAILED LESSON PLAN
I. Objective
At the end of the lesson, the pupils shall be able to:
1. Infer the mood evoked by the literary pieces;
2. Perform an artistic choral reading of the poem; and
3. Appreciate the importance of courage in facing life difficulties.
II. Subject Matter

Topic: Mood
Reading: Crossroads
Reference: Glimpse of the 21st Century Literature
Abiva Publishing House, pp.131 – 133
Materials: laptop, projector, speaker, cartolina, chalk, and board
III. Learning Activities

A. Pre – reading
1. Daily Routine
a. Classroom Management
b. Establishing the purpose
2. Motivation
EMOTEdICONS
a. Group them into 8 and tell them to perform the following tasks.
Group Number Task Emotion

1 Singing
2 Dancing
3 Delivering a news
4 Yell
b. Process their activity and connect to the “Emotion.”
c. Give the following situations to them and let them share what they will feel if they are
in the given situations.
Situations:
1. Reporting a given topic in front of the class
2. Riding a roller coaster
3. Showing to your parents your failing grades
4. Walking in a dark street alone
5. Being the highest scorer in an examination
VMooder
a. Let them watch a short audio-visual presentation about how a literary piece provides
mood or atmosphere to the readers.
Think-Pair-Share
a. From their group, they have to choose their partner.
b. Show a star and ask each pair to talk about the representation of the star in their lives.
c. Call for volunteer partner to share their greatest dream/ambition in life. Process their
answers.
d. Gather their ideas about the factors/elements of “SUCCESS”
determination eagerness
focus perseverance
hard work faith
e. Show them a picture of two roads – smooth and rough roads. Let them associate these roads in
achieving their dreams.
PLEASE CHOOSE YOUR WAY.

f. Encourage them to dream big things and give all they can do to achieve it.
B. Reading Proper
1. Introduce the poem entitled “CROSSROADS”
2. Present the questions that they will answer after the reading activity. Call one student at
a time to read each question.
3. Read the poem to the students with the appropriate emotion, pronunciation, diction, and
stress.
4. Group the students into two and let each group read the poem. Remind them to observe
the correct intonation and to add actions and emotions while they are reading the poem.
CROSSROADS
Shall I follow the stream?

Or cross the sea?
Strive for a dream?
Or let my life be?
Shall it be neon lights that spell success?
Or a flickering lamplight for happiness?
Follow the thunder?
Follow the storm?
Follow the whisper that breeze and leaves form?
Follow my heartbeat?
Follow my head?
Where shall it bring me?
Where shall it lead?
Comprehension Questions:
1. If you are the author, will you strive for your dreams or will you let things happen without
doing anything? Why?
2. Which do you follow in making decisions, your heart or your mind? Cite example
situations.
3. What is the mood of the poem?
C. Post Reading
A. Analysis/Discussion and Practice
Video-MOODer
Play a short video taken from “Flipped Classroom” which will help them to clarify their idea
about what “Mood” is. Clarify and explain the information that they have seen in the video.
B. Generalization
Why does mood important in a work of literature?
How do effective techniques in presenting the mood moves the readers’ creative minds?
IV. Evaluation
1. They will watch trailers of movies and television program.
2. Tell them to identify the mood and feeling expressed by each trailer by completing this table.
Movie Title Words to describe the MOOD Techniques used to create the MOOD
Legal Wife
One More Chance
The Conjuring
V. Assignment
Write a one-paragraph short story using the given mood. Use the given words below each emotion
to accurately provide feeling or atmosphere of your one-paragraph short story.
Angry Happy Boring

aggravated, enraged, content, joyful, delighted, dreary, dull,
hostile, irate, violent ecstatic, elated uneventful, tiring

UNIT IV
TEACHING PROSE
Prose is a literary medium distinguished from poetry especially by its greater

irregularity and variety of rhythm and its closer correspondence to the patterns of
everyday speech (Merriam Dictionary).Furthermore, prose is derived from the Latin word
prosa, part of the phase prosa ratio, meaning straightforward speech. It is written or
spoken language in its ordinary form, without metrical structure. It is also written in full
grammatical structure. Having mentioned everything about prose, why is it important to
teach it? According to Rather (2018), teaching prose enables the students to understand
the passage, to read fluently, to enrich their vocabulary and to enjoy reading and writing.
More so, it enables the learners to extend their knowledge of vocabulary and structures
and to become more proficient in the four language skills.
Objectives

1. adapt competency-based learning materials in teaching prose and drama
which respond to the various linguistic, cultural, socio-economic, and religious
backgrounds of learners;
2. identify a range of assessment strategies in teaching prose and drama that
address learners’ needs, progress, and achievement which are consistent with
the selected competencies;
3. craft a learning plan according to the English curricula that develops higher
order thinking skills of learners through the use of prose texts; and
4. conduct a teaching demonstration of a developmentally-sequenced learning
process using innovative teaching principles, skills, and strategies for teaching
prose and drama.

Directions: Read each description carefully. Write PROSE if it pertains to the characteristics
of prose, otherwise write NO.
_________________ 1. Its format is written in poetic meter.

_________________ 2. It tells a story rather than describes an image or metaphor.
_________________ 3. This is written in verse.
_________________ 4. It might have a narrative, but it might not or it might be harder
to understand.
_________________ 5. It is written in paragraphs.
_________________ 6. It focuses on image-driven metaphors
_________________ 7. It generally, has characters and a plot.
_________________ 8. It can be fiction or non-fiction.
_________________ 9. It consists of lines with rhyme patterns.
_________________ 10. It is in a form of language that exhibits a grammatical structure
and a natural flow of speech.
Review on the Genres of Prose
Prose can be categorized into two: fiction and non-fiction.

1. Fiction. It is partly or totally imaginatively contrived. Authors can also choose to
include factual information in a made-up story. It is often referred to as narrative prose.
The following are the types of fiction.
1.1 Historical Fiction. The story takes the reader back to a particular time period
where they learn about the everyday life a person or group of persons.
1.2 Realistic Fiction usually presents a problem to be examined that could be
from a body’s life.
1.3 Science Fiction is a type of modern fantasy as it explores scientific fact.
1.4 Meta-fiction self-consciously and systemically draws attention to its status
as an artifact
1.5 Romance is a chivalric theme or relates improbable adventures of idealized
characters.
1.6 Short Story is organized into a plot that can be read in a single sitting.
1.7 Novel is an extended work of fiction and tells a story in considerable length
with multiple plot.
1.8 Drama is a story written to be performed by actors. It consists of one or
more large sections called acts, which also contains of any number of
smaller sections called scenes.
2. Non-fiction. It is an informational material that provides a factual information. It is also

based on facts rather than imagination. The types of non-fiction are as follows:
2.1 Biographies are a true account of a person’s life written, composed, or

produced by another.

2.2 Autobiographies are the biography of a person written by that person.
2.3 Essay is a composition with moderate length, usually expository in nature.
There are several types of essay.
2.4 Others: memoir, interview, article, diary, speech and letter
Strategies in Teaching Prose
A prose lesson is not merely for memorization but of learning the language. Prose
lessons contains structure, vocabulary, grammar, views and ideas and most importantly
comprehension. In teaching this genre, there are various strategies that you can use. Here
are the following:
1. Silent Reading. In silent reading there is no movement of the lips or the tongue. But
there should be full concentration and the thoughts should not wonder aimlessly while
you are reading silently. Silent reading provides the opportunity to learn the meanings of
many new words in context.
Precautions
1. Only those passages should be read which can be understood and appreciated
by students.
2. The duration of silent reading should differ according to the nature of the matter
and the standard of the class.
3. The weak students should be paid more attention.
4. The paragraph for reading should not be long.
5. Necessary instructions must be given before silent reading.
6. The teacher should be particular about giving students task of wide reading by
gradually selecting fresh and unseen paragraph.
Advantage
1. It saves time because it is quick.
2. It saves energy also.
3. It initiates self-education and deep study.
4. It develops the ability to read with interest.
5. It enables attention and energy to be concentrated on meaning and so saves a
division of attention resulting in a greater assimilation of information.
Limitations
1. It is not advantageous for beginners.
2. It is also uninteresting.
3. Sometimes students cannot understand some parts of the passage, but they
cannot take the help of teachers.
4. The mistakes done by students during silent reading cannot be corrected.
5. It does not teach correct pronunciation.
6. It cannot be checked if students are really reading
2. Prose Performances. Performance-based learning is when students participate in

performing tasks or activities that are meaningful and engaging. The purpose of this
kind of learning is to help students acquire and apply knowledge, practice skills, and
develop independent and collaborative work habits. The culminating activity or product
for performance-based learning is one that lets a student demonstrate evidence of
understanding through a transfer of skills (Kelly, 2019). To make the literature class more
interesting. You can provide various performances. These are some strategies that can be
done in teaching prose.
2.1 Using title and cover design. The teacher motivates the students by
showing them and interesting or intriguing book cover design. Students are
asked to guess or infer what the book is all about from the title and cover
design.

2.2 Getting into the mood. This is a kind of guided fantasy. The teacher asks
the students to make a mental picture of particular scenes in a story or a
scene depicted in a story. The class is invited to imagine the scene in their
minds. Once they have done this, students are asked what they saw and
felt.
2.3 Biographical montage. This is a good activity to use to talk about the author
before talking about his/her work. Students collect or make photos, objects,
things, pictures, etc. relevant to the author’s life. This can be mounted
in cartolina or illustration board, or even in a simple folder, and arranged
creatively.
2.4 Role Playing. Students are asked to reenact the scenes form the prose they
have read. This time they will be the actors/and actresses.
2.5 Graphic Presentation. Students are asked to make a visual representation

of the plot, characters, or the setting. Pencils and crayons, and other
materials can be used for creativity.
2.6 Movie poster. Students are asked to imagine the story as a movie. They
will make a movie poster just like the ones they see in a movie theater to
advertise films. They choose the actors to play the characters in the story,
the place where to shoot to reflect the setting, a design for the plot and the
blurb to reflect the theme of the story.
2.7 Movie trailer. Students prepare a 1-minute teaser about the story as it is
film. There is a voice over announcer to narrate something about the story.
Students will act the scenes from the story.
2.8 Gallery Walk. Students posts their work around the room. Anyone can have
a reflector on the outputs posted.
2.9 Storytelling. Students choose a literary piece/prose and will retell the story
in front of the class.
3. Dramatic Performance. Dramatic performances can be simply defined as actions that

are performed for audiences. A dramatic performance usually requires an audience and/
or an action of some kind, but it is not confined to a theatre (consider film) and does not
necessarily require written texts (consider improvisation) or actors (consider puppetry).
Although not dependent on written texts, a dramatic performance can still be
described as a text because it constructs meaning through the selection of different kinds
of actions and representations. Using various kinds of media such as film, television,
theatre, mime, dance, movement, spatial arrangements, visual imagery and sound, a
multitude of meanings can be constructed.
These are the activities that can be utilized in teaching dramatic performances:
3.1 Act out the Dialogue. One of the easiest ways to incorporate drama in the
classroom is to have students act out the dialogue from their textbooks.
Simply pair them up, have them choose roles, then work together to act
out the dialogue, figuring out for themselves the “blocking,” or stage
movements. This is effective for a beginning activity of incorporating drama
in the classroom.
3.2 Perform Reader’s Theater. Another good beginning exercise is to do

Reader’s Theater. Hand out copies of a short or one-act play, have students
choose roles, and then read the play from their seats without acting it out.
However, do encourage them to read dramatically, modeling as necessary.
3.3 Act out the Story. If students are reading a short story such as “The
Chaser,” about the man who buys a “love potion” for his unrequited love,
have students act out the story or part of the story, working in groups and
assigning roles and determining the blocking. This is particularly effective
with “short-shorts”: brief, one-scene stories with limited characters.

3.4 Write the Dialogue for a Scene. Watch a brief clip of a movie without the
sound on. Have students write the dialogue for it and act it out. Once
students have had some experience with the basics of character, dialogue,
and stage movement, they can move on to some more advanced dramatics,
involving more of students’ own creativity and critical thinking skills.
3.5 Act out and Put Words to an Emotion. Give students an emotion, such as
“anger” or “fear”. Have students, either singly or in groups, first act out that
emotion then put words to the emotion.
3.6 Give “Voice” to an Inanimate Object. What would a stapler say if it could
talk? Or an apple? Have students write monologues with inanimate objects
as the character. A monologue is a short scene with just one character
talking, either addressing the audience, God, or himself or herself. After
writing them, students can read the monologues aloud.
3.7 Create a Character. Have students develop a character, writing a one-page

profile on the character’s background, appearance, personality, etc. Then,
have them introduce the character to the class, explaining what interests
them about the characters.
3.8 Write a Monologue. Using the character, they have already developed, have
students write a monologue for that character then perform it.
3.9 Mime and Dubbing. Have students act out short scenes without dialogue.
The rest of the class then supplies the dialogue, developing the “script.”
Lesson Design in Teaching Prose
Planning the lesson in literature is very important. The following are the steps for
teaching prose:
1. Introducing the prose lesson

Introduction of a lesson is to fulfill two purposes: (a) To recollect the past
knowledge; and (b) To win student’s attention to the new subject.
Teachers should try to motivate the students to study the new lesson. The various
efforts made by the teacher to create interest or to attract the attention of the students
is known as preparation of the lesson. The teacher introduces the lesson by asking
appropriate questions. He uses models or pictures. The questions arouse the interest for
the new lesson. The teacher tests the previous knowledge of the students and links it to
the subject.
2. Teaching structures
A new structural item is presented by the teacher to enable the students to identify
the new structures. In introducing structures, substitution table is of great help. It highlights
the elements of the pattern and their order and nature.
Secondly, the teacher presents the structure in readily understandable situations.
It helps the students to cleat its meaning and use. This helps them not only to understand
the meaning of the new item but also its use in different contexts. Opportunities are
provided to the students to use the structures themselves.
3.Dividing the text into smaller units

Reading long passages of a text may be tiresome for the teacher. So, the text will
have to be split up into smaller, more manageable units or sections. This will facilitate the
teacher to present the lesson interestingly and efficiently.
4.Teaching vocabulary
The teacher uses an object, a model or a picture to give clear ideas about new
words and their meaning. The meaning may be explained through ‘real situation’. The
purposes of expositions are: (a) to clear the meaning of difficult words, phrases & idioms;
(b) to make the comprehension of the passage easy; and (c) to promote intensive reading.

5. Model Reading by the Teacher
The teacher reads the selected passage aloud. He should be careful about
pronunciation, words, phrases & intonation in his reading before the students. His reading
is observed by the learners and imitated. This model reading by the teachers helps the
students for aural comprehension. The teacher gives instructions regarding postures and
attention. The teacher should not be completely absorbed in his reading.
6.Silent Reading by the students

The teacher gives time for the students to read the passage silently. Silent reading
is helpful for rapid reading, learning of new words and a quick understanding of meaning.
A short time of five to ten minutes for silent reading is followed in every session.
7.Testing Comprehension
To check the students’ comprehension ability, the teacher asks questions to the
students. The questions are from the taught passage. The question should be direct, short
and objective based. The same procedure i.e. steps 4, 5, 6 & 7 can be followed for the
other units of the lesson.
8.Testing application
The aim of application test is to evaluate the achievement of the learners. The
questions may be of oral or written type. After teaching of structure or vocabulary, the
teacher normally asks the students to do the exercises given at the end of the lesson.
9. Loud reading by the students

The teacher asks the students to read the taught units loudly in the class one by
one. To develop clear pronunciation this loud reading is very much helpful. It improves the
tone, rhythm, and fluency. Each student is asked to read a short passage. At the end of
reading, the errors of pronunciations are corrected. Students should be asked to keep the
books 30 cm away from the eyes. They hold their books on the left hand and the right hand
is free. The teacher needs to exercise more care at the time of students’ reading.
10. Giving assignment

Assignments to the students are given by the teacher for the following purposes:
(a) to remember the meaning and spelling of new words; (b) to use the words in sentences;
(c) to write the gist of the passage; (d) to answer the questions; and (e) to do the exercises
based on the taught units.
Materials and Resources in Teaching Prose
Materials and resources are important things to consider in teaching prose. Think
about the following factors when you choose a piece of literature to use with learners:
1.Do you understand enough about the text to feel comfortable using it?
2.Is there enough time to work on the text in class?
3.Does it fit with the rest of your syllabus?
4.Is it something that could be relevant to the learners?
5.Will it be motivating for them?
6.How much cultural or literary background do the learners need to be able to deal
with the tasks?
7. Is the level of language in the text too difficult?
8. Does it fit the students’ ability?
9. Does it fit with the students’ culture?
10. Are the materials interesting?
A key feature of effective teaching is the selection of instructional materials that

meet the needs of students and fit the constraints of the teaching and learning environment.
There are many pressures for educators to match the audiovisual stimuli of television,
computers, and electronic games with which students are experienced. The speed of
personal computers and the ease of authoring systems permit instructors to design and
customize computer-based audiovisual presentations and to develop computer-based
assignments for their students. The tremendous increases in rates of information transfer,
access to the Internet, and posting of materials on the World Wide Web give instructors
and students an almost limitless supply of resource material.

In addition, the ease of electronic communications between an instructor and
students, and among students, provides new opportunities for sharing questions, answers,
and discussions during a course.
At the same time, there remains a major role for student use of textbooks and for
instructional use of demonstrations, films, videos, slides, and overhead transparencies.
Carefully scripted presentations and activities run the risk of emphasizing teacher delivery
rather than student learning. Carefully planned and prepared instructional resources
sometimes tempt instructors to race ahead and to cover more. The rapid-fire presentations
combined with audiovisual overload can tempt students to remain intellectually passive.
One way to avoid this is to intersperse activities which assess student understanding and
encourage reflection and critical thinking. Another possibility is to reduce the pace of the
class session, by pausing periodically to invite questions.
Instructional resources usually fall into one of two categories: student-centered and
teacher-centered. In the student-centered model, instructional resources can be used for
tutorials, problem solving, discovery, and review. In the teacher-centered model, resources
are used for presentations of supplementary or primary material in the classroom.
Materials can be taken from: (a) textbook used in teaching and learning; and (b)
information technology use in teaching and learning/ internet.
Assessment in Teaching Prose
Here are the requisites and demands in teaching literature:

1. Literary competence. Teachers of literature must not be only literature literate
but more importantly literary competent. He/she must read a lot of literary
pieces.
2. Broad reading background. Each should develop love of literature by reading a
lot.
3. Knowledge in different methods, strategies and techniques. Continue to find
ways to make the teaching of literature meaningful, interesting, enjoyable and
even unforgettable.
4. Knowledge of students’ reading ability, language ability and interest. Teacher
must know where the students are coming from- their ability level, what they
have already read, their abilities and skills and their hobbies and habits.
Analyze this paradigm.
Considerations Old Paradigm New Paradigm

Started on what the students
Stated in terms of literary
Objectives should know and be able to
knowledge know
Includes interdisciplinary and
Content Limited to literary text cultural connections
Limited to lower order thinking Develop higher order thinking
Skills skill- recall, memorization, skills and multiple intelligences
summarizing and valuing
The Learner Passive recipients Active learners and participative
Facilitates instructions, encour-

The Teacher The center of Instruction age cooperative learning and
discovery learning
Aside from textbooks, there are

also authentic materials, visual,
Materials Textbook as the primary source world wide web, films and other
resources
Assess students’ skills in variety

Assessment Paper and pencil-test of performance

REFERENCES
Books
Ahamed, S. Silent Reading and Reading Aloud. Enrol. No. GG-9839 Roll No. 17-BEDW-30 B.Ed. 2 nd Semester
Bachelard, Gaston. The Poetics of Space. Boston: Beacon, 1964.
Campbell, Patrick, ed. Analysing Performance: A Critical Reader. Manchester: Manchester UP, 1996.
Carlson, Marvin. Performance: A Critical Introduction. New York; London: Routledge, 1996.
de Marinis, Marco. The Semiotics of Performance. Bloomington: Indiana UP, 1993.
Rather, N. The teaching of English
Articles
Performance Literature and the Written Word: Lost in Transcription. Rosalind Tradition. Center Volume 20,
Number 1, March 2005 pp. 1-6
Online Resources
https://englishinternship.wordpress.com/tag/prose/#:~:text=Teaching%20prose%20enables%20the%20
students,in%20the%20four%20language%20skills.
https://www.slideshare.net/pipitkh/prose-41329376#:~:text=Prose%20is%20the%20ordinary%20
form,includes%20fictional%20characters%20and%20events.&text=Non%20fiction%20is%20called%20in-
formational%20materials.
https://englishinternship.wordpress.com/tag/prose/
https://study.com/academy/lesson/prose-poems-definition-famous-examples.html
https://www.slideshare.net/SOHAILAHAMED1/silent-reading-and-reading-aloud-with-a-expression?from_
action=save
https://www.slideshare.net/LjAyelsh/types-of-prose-67828454
https://www.teachthought.com/literacy/12-strategies-for-teaching-literature-in-the-21st-century/
https://www.readinghorizons.com/blog/14-classroom-activities-that-increase-student-engagement
https://busyteacher.org/6048-10-methods-to-incorporate-drama-in-the-esl.html
http://digilib.uinsby.ac.id/36265/3/Ainun%20Haniya_D75215079.pdf
https://www.wisegeek.com/what-are-the-different-types-of-nonfiction.htm
https://www.nap.edu/read/5287/chapter/8
https://shodhganga.inflibnet.ac.in/bitstream/10603/214100/5/chapter%205.pdf
https://books.google.com.ph/books?id=FfKPPBPBwt8C&sitesec=buy&source=gbs_vpt_read
https://www.thoughtco.com/ideas-for-performance-based-activities-
7686#:~:text=Performance%2Dbased%20learning%20is%20when,that%20are%20meaningful%20and%20
engaging.&text=The%20culminating%20activity%20or%20product,through%20a%20transfer%20of%20skills.

Activity 10
Name: ___________________________________________________ Score: _______________

Directions: Read the prose, “The Owl and the Pussycat., by Edward Lear.” Then, answer the
guide questions that follow.
The Owl and the Pussy-Cat

by Edward Lear
I And there in a wood a Piggy-wig stood
The Owl and the Pussy-cat went to sea With a ring at the end of his nose,
In a beautiful pea-green boat, His nose,
They took some honey, and plenty of money, His nose,
Wrapped up in a five-pound note. With a ring at the end of his nose.
The Owl looked up to the stars above,
And sang to a small guitar, III
“O lovely Pussy! O Pussy, my love, “Dear Pig, are you willing to sell for one
What a beautiful Pussy you are, shilling
You are, Your ring?” Said the Piggy, “I will.”
You are! So they took it away, and were married next
What a beautiful Pussy you are!” day
By the Turkey who lives on the hill.
II They dined on mince, and slices of quince,
Pussy said to the Owl, “You elegant fowl! Which they ate with a runcible spoon;
How charmingly sweet you sing! And hand in hand, on the edge of the sand,
O let us be married! too long we have tarried: They danced by the light of the moon,
But what shall we do for a ring?” The moon,
They sailed away, for a year and a day, The moon,
To the land where the Bong-Tree grows They danced by the light of the moon
1. What color was the boat they started out in?

_______________________________________________________________________________________
2. Why do you think they needed plenty of money?

_______________________________________________________________________________________
3. What did the Owl tell the Pussycat in the song?

_______________________________________________________________________________________
4. Did the Pussycat like the song? How do you know?

_______________________________________________________________________________________
5. Why do you think they went to the island in a smaller boat?

_______________________________________________________________________________________
6. Who married them?

_______________________________________________________________________________________
7. What did they eat at the wedding feast?

_______________________________________________________________________________________
8. Who are the major characters in this prose?

_______________________________________________________________________________________
9. How did the poem end?

_______________________________________________________________________________________
10. What is your realization after reading this?

_______________________________________________________________________________________

Activity 11
Name: ___________________________________________________ Score: _______________

Directions: Choose a children’s book and create a story telling video using your own voice.
Check out the sample video here: https://www.youtube.com/watch?v=fQMb3HMNcNs.
Then, write a four-paragraph reflection about your experience.
_______________________________________________________________________________________
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_______________________________________________________________________________________
_______________________________________________________________________________________
Activity 12
Name: ___________________________________________________ Score: _______________

Directions: After learning about the different strategies, lesson design, materials
development, and assessment on teaching prose texts, you are now ready to apply your
knowledge in writing a learning plan. Your next task is to design a detailed learning plan
in teaching prose texts based on a learning competency in the K to 12 English Curriculum
Guide. Be sure to include all the parts prescribed in writing a learning plan.

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UNIT I

NATURE AND GENRES OF LITERATURE:

At the end of the unit, I am able to:

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 1

__________ 1. The Chronicles of Narnia a. Lewis Carroll

EXPANDING Your Knowledge

PURPOSES of CHILDREN’S Literature

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 2

Genres OF LITERATURE FOR Young LEARNERS

2. Poetry and Verse. Condensed language, imagery. Distilled, rhythmic expression of

3. Folklore. Literary heritage of humankind. Traditional stories, myths, legends, nursery

The legend of Si Malakas at Si Maganda is the Philippine version of Adam and

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 3

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 4

Edna Zapanta Manalapaz’s Angela Manalang Gloria, A Literary Biography

LITERACY in the K to 12 Basic Education Curriculum

End Goals of English Language Teaching

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 5

THEORIES OF LANGUAGE TEACHING

Figure 1. Conceptual Framework

The Learning Area Standard

“The learner demonstrates mastery of the basic skills in the English

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 6

What outcomes in every key stage of the K to 12 curriculum are expected to be

Grade 3: Students should be able to demonstrate eagerness to explore

Grade 6: Students should be able to construct meaning and communicate

Grade Level Standards

Alignment of the Language and Literacy Domains with the 5 sub-strands

The goals of English Language teaching are communicative competence and

1. oral language 8. writing and composition

Criteria for Selecting Materials for Elementary GRADES

TEACHING LITERACY IN THE ELEMENTARY GRADES THROUGH LITERATURE 8

NEW TRENDS in Children’s Literature

Rise of picture storybook. Picture storybooks are gaining prominence among

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Genre Title Author Synopsis

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“Literature is the art of discovering something extraordinary about ordinary

At the end of the unit, I am able to:

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WHAT I KNOW? WHAT I WANT TO LEARN? WHAT I HAVE LEARNED?

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Literature as a school subject (Ruubela, 2012) have to include the so-called

Why use literature in the classroom?

Literary texts provide opportunities for multi-sensorial classroom experiences and

How can literary texts be used?

1. Maximize pre-reading support. Teachers can introduce the topic or theme

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Factors Affecting Interests in Literature

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1. Technical approach-The teacher dedicates himself to the book as a piece

Models of Teaching Literature

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Recommendations. Therefore, teachers should take into consideration a few

Approaches to Teaching Literature

An approach is a way of teaching content. Approach is broader term than method.

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