10

Department of Education
SCHOOLS DIVISION OF CITY OF MALOLOS
MARCELO H. DEL PILAR NATIONAL HIGH SCHOOL
Bagong Bayan, City of Malolos, BUlacan

ENGLISH 10
ACTIVITY SHEETS
QUARTER 3

Prepared by

Grade 10 English Teachers

Re
MELC 1
USING OF VARIETY OF INFORMATIVE, PERSUASIVE AND ARGUMENTATIVE
WRITING TECHNIQUES
I. OBJECTIVES
As you go through this lesson you are expected to:

● identify key structural elements and language features of an exposition/argument; and

● use modals, conjunctions and connectives in stating one’s position.

II. ACTIVATION
Activity 1 (PRE-TEST)
Use the chart below to brainstorm each part of your argument.

TOPIC: ___________________________________________________________________

Claim
What do you believe?
Evidence
Give examples that support your claim.
Counterargument
What might someone say if they disagree with
your idea?
Rebuttal
What would you say to the person who disagreed
to change their state of mind?
Conclusion
Restate your claim in a powerful way.

III. ACQUISITION
Activity 2 Read and Understand
Argumentative writing is sometimes called persuasive writing because it seeks to convince readers to support
a stand on a certain issue. It also requires the writer to examine a topic or issue which involves the collection,
generation and evaluation of exhibits and/or evidence. If further emphasizes the writer’s agreement or disagreement
on a particular proposition.
Proposition is very essential in argumentative writing. It serves as the point of reference of the argumentative
writer. It is where the writer decides whether to express his/her agreement or disagreement. In doing so, it is necessary
that he/she gathers information and/or evidence that would support his/her stand.
Remember, that an argumentative essay is an essay that presents a stand or a rationale on a given proposition
or issue. And the main objective of an argumentative essay is to convince or persuade the reader into considering your
stand or argument on an issue.

Key Structural Elements of Argumentative Writing

The basic components of an argument include:

a) a claim
b) reasons behind the claim
c) evidence to support this specific claim.

The pattern of idea development in argumentative writing may vary from one writer to another. The structure of
developing an argumentative essay largely depends on how a writer intends to present his or her main argument, and
how he or she wishes to develop the main idea presented by backing it up with supporting details or evidence.

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 As an essay is usually made up of an introduction, a body and a conclusion, an argumentative essay may use
a pattern or structure that conforms to how a writer intends to present and further establish a point.
Below are patterns of how ideas and arguments in an argumentative essay may be presented and developed:
Pattern A Pattern B Pattern C
a. Thesis Statement a. Thesis Statement a. Thesis Statement
b. First Pro b. Con(s)+Refutation(s) b. First Con + Refutation
c. Second Pro c. First Pro c. Second Con + Refutation
d. Con(s)+Refutation(s) d. Second Pro d. Third Con + Refutation
e. Conclusions e. Conclusion e. Conclusion

Pattern A, the thesis statement about the issue is presented in the topic sentence. It is followed by the first
set of pros (supporting ideas) relative to the thesis statement. Then the second set of pros (supporting ideas) is also
presented to further support and strengthen the claim regarding the thesis statement. It is followed by the
presentation of the cons (counterargument) and refutations. Lastly, a conclusion that summarizes the ideas presented
in the essay and highlights the benefits of the thesis statement is presented to the readers.
Pattern B, is almost similar to the first one. The only difference is that it presents the cons (opposing ideas)
and refutations first before building up the thesis statement using the pros (supporting ideas).
Pattern C, presents the simplest flow of arguments starting with the presentation of the thesis statement.
Then, the three (3) sets of cons (opposing ideas) are given in the pattern. It means that the conclusion needs to focus
on justifying the refutations to fully support the claim.

Language Features of an Argumentative Text

The use of language, particularly the choice of words is very essential in writing an argumentation. Since this
writing focuses on providing the worth of an argument or idea, there is a need to choose words that will contribute to
the main purpose of writing.
For example, the use of grammatical structures like modals and adverbs among others may greatly contribute
to achieving and compelling argumentative essay. The table below presents several language features of an
argumentative text.

Modals The use of modal verbs like should and must express suggestion and obligation, respectively,
contributes to the achievement of sentences that provide support to the main argument.
a. The public should consider wearing face shields as additional protection against COVID-19
infection.
b. Every Filipino must conserve water, energy and other natural resources.
The use of adverbs like the ones listed below also contributes to the attainment of the author’s
purpose for writing. These linguistic particles help indicate the mood or attitude of the writer with
respect to the ideas being presented.
usually, probably, necessarily, actually, apparently, certainly, definitely, essentially, in fact,
possibly, inarguably
Evaluative The use of evaluative language, usually in the form of adjectives, reflects the writer’s attitude
Language towards a certain idea. These words express feelings, opinions, or judgements on what they are
describing. Evaluative words, including the ones listed below, can have positive or negative effect
on an idea.
appalling, awful, disgusting, dreadful, horrendous, incredible, revolting, ridiculous, shocking,
terrible, wonderful

Transitions The use of appropriate transitional devices plays a great part in maintaining the smooth flow of
ideas in an argumentative text. Depending on the need to bridge one idea to the others, these words,
also known as connective, help achieve coherence in writing. Through these words, the danger of
the essay sounding like a group of rambling opinions can be avoided.
because, therefore, on the other hand, as a result, in summary, consequently, similarly, in
contrast, meanwhile, furthermore

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IV. APPLICATION
While expressing opinions or claims about an issue seems to be an easy thing to do, writing effective
argumentative texts, such as an argumentative essay, is actually not. It requires a clear understanding of what
argumentative writing is, knowing structural patterns of argumentative texts, employing techniques in researching
and supporting a claim, as well as using language features appropriate for argumentation.
Activity 3
Draft an argumentative essay for a given topic. Provide the key elements using the template given.

Topic: Face-to-Face Classes in the Time of Pandemic

Main Argument

Pros

Cons

Refutations

Conclusions

V. ASSESSMENT

Activity 4 Agree or Disagree

Read the statements carefully. Write AGREE if the statement expresses the truth and DISAGREE if it says
otherwise.

1. The main goal of an argumentative text is to tell a story.

2. An argumentative text persuades readers to believe a certain claim or opinion.
3. When writing an argumentative text such as an essay, it is important to include evidence that supports your
claim.
4. Argumentative texts basically present and describe a topic.
5. Understanding the pros and cons of an issue is an essential aspect of argumentative writing.
6. One’s choice of words matters to clearly express his/her arguments about an issue.
7. An argumentative essay presents a writer’s stand or rationale regarding a certain issue.
8. The pattern of idea development in an argumentative text is followed by every author.
9. Research plays a big role in ensuring the worth and validity of one’s claims and ideas in an argumentative
essay.
10. Argumentative writing usually shows a more subjective style of writing as the writer explains his or her views
about the topic.

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 MELC 2
COMPOSE AN ARGUMENTATIVE ESSAY

I. OBJECTIVES
As you go through this lesson you are expected to:
1. review the elements of an argumentative essay; and
2. compose an argumentative essay

II. ACTIVATION
Activity 1 (PRE-TEST)
Identify the words being described in the following sentences.

_ S_ _ Y 1. It is a focused piece of writing that explains, argues, describes, or narrates.

I_ T _ _ _ U_ _ I _ N 2. This part of an essay gives the reader an idea of what they are about to learn and
presents an argument in the form of a thesis statement.
__DY 3. This part of an essay provides evidence used to prove and persuade the reader to accept
the writer's particular point of view.
_ O _ _L U _ _ O _ 4. It is a part of an essay that summarizes the content and findings presented on the earlier
paragraphs.

III. ACQUISITION
Activity 2 Read and Understand

WHAT IS AN ARGUMENTATIVE ESSAY?

An argumentative essay presents two sides of a coin through written means. Sometimes both sides can be
presented equally, while in some, a particular side can be discussed profoundly than the other.
An argumentative essay is a piece of writing that takes a stance on an issue. In a good argumentative essay, a
writer attempts to persuade readers to understand and support their point of view about a topic by stating their
reasoning and providing evidence to back it up.

WHAT ARE THE PARTS OF AN ARGUMENTATIVE ESSAY AND HOW TO WRITE ONE?
Here are the 4 steps on how you will outline an argumentative essay.
Argumentative essays should have a straightforward structure, so they are easy for readers to follow. The goal
of an argumentative essay is to clearly outline a point of view, reasoning, and evidence.

A good argumentative essay should follow this structure:

1. Introductory paragraph. The first paragraph of your essay should outline the topic, provide background
information necessary to understand your argument, outline the evidence you will present and state your thesis.
Establish style, tone, and the significance of your issue.
2. The thesis statement. This is part of your first paragraph. It is a concise, one-sentence summary of your main
point and claim.
3. Body paragraphs. A typical argumentative essay comprises three or more paragraphs that explain the reasons
why you support your thesis. Each body paragraph should cover a different idea or piece of evidence and contain
a topic sentence that clearly and concisely explains why the reader should agree with your position. Body
paragraphs are where you back up your claims with examples, research, statistics, studies, and text citations.
Address opposing points of view and disprove them or explain why you disagree with them. In this part of your
essay, presenting pros and cons of the issue will help your readers to better understand the topic. Presenting
facts and considering a topic from every angle adds credibility and will help you gain a reader’s trust.
4. Conclusion. One paragraph that restates your thesis and summarizes all the arguments made in your body
paragraphs. Rather than introducing new facts or more arguments, a good conclusion will appeal to a reader’s
emotions. In some cases, writers will use a personal anecdote explaining how the topic personally affects them.
There are some writers who end their essay with a punch in the form of a question that serves as a call for action
to the readers. You can make a strong plea for action or invite your reader to refute your argument.

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 Once you decide what you are arguing and know your thesis statement, consider how you will present your
argument. There are five types of argument claims that can drive your essay, we already discussed three of these
five and so we have another two of them:

5 Types of Argument Claims

1. Fact: with this type of claim the writer explains whether the statement is true or false.
2. Policy: it tells why the reader should care and what they should do about it after reading.
3. Value: the writer delivers the importance of what you are arguing.
4. Definition: here, the dictionary definition of what you are arguing, plus your own personal interpretation of
it are presented.
5. Cause and effect: the writer mentions the cause of the problem in your essay and what effects it has.
Whether you are writing an essay as an artistic exercise or trying to get the attention of your target readers,
knowing how to correctly structure your point of view is the key to a good argumentative essay.

Read the following example of an argumentative essay and answer the questions that follow.

Argumentative Essay: Online Learning and Educational Access

Conventional learning is evolving with the help of computers and online technology. New ways of
learning are now available, and improved access is one of the most important benefits available. People all
around the world are experiencing improved mobility as a result of the freedom and potential that online
learning provides, and as academic institutions and learning organizations adopt online learning
technologies and remote-access learning, formal academic education is becoming increasingly legitimate.
This essay argues the contemporary benefits of online learning, and that these benefits significantly
outweigh the issues, challenges, and disadvantages of online learning.
Online learning is giving people new choices and newfound flexibility with their personal learning
and development. Whereas before, formal academic qualifications could only be gained by participating in
a full-time course on site, the internet has allowed institutions to expand their reach and offer recognized
courses on a contact-partial, or totally virtual, basis. Institutions can do so with relatively few extra
resources, and for paid courses this constitutes excellent value, and the student benefits with greater
educational access and greater flexibility to learn and get qualified even when there lots of other personal
commitments to deal with.
The biggest argument that raises doubt over online learning is the quality of online courses in
comparison to conventional courses. Are such online courses good enough for employers to take notice?
The second biggest argument is the current reality that faces many people from disadvantaged backgrounds,
despite the improvements made in this area in recent years – they do not have the level of basic access
needed to benefit from online learning. In fact, there are numerous sources of evidence that claim
disadvantaged students are not receiving anywhere near the sort of benefits that online learning institutions
and promoters are trying to instigate. Currently there are many organizations, campaigns and initiatives that
are working to expand access to higher education. With such high participation, it can be argued that it is
only a matter of time before the benefits are truly realized, but what about the global online infrastructure?
There is another argument that is very difficult to dispel, and that is the response of different types
of students to the online learning paradigm. Evidence shows that there are certain groups of students that
benefit from college distance learning much more than other groups. In essence, students must be highly
motivated and highly disciplined if they are to learn effectively in their own private environment.
In conclusion, access to education has become a fundamental aspect of human life. Online learning is
feasible, cheaper and convenient way through which individuals in need of education can attain their
objectives. While a few drawbacks are linked to virtual learning, the quality of education offered is
equivalent to that offered in traditional classrooms this it is an effective option for potential students.

Comprehension Questions:

1. What is the position or stand of the writer about online learning?

2. What evidence did the writer give to support his argument?
3. How did the writer conclude his argument?

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IV. APPLICATION
Activity 3 Pros and Cons
Provide the pros and cons on the topic on “IMPLEMENTING LIMITED FACE-TO-FACE CLASSES”.

Topic:
PROS CONS
Implementation of limited face-to-
face classes
Position:

Activity 4
GRASPS – Based Activity NO. 1
RAISE THE ARGUMENTATIVE BAR
Compose an argumentative essay stating your position on the implementation of limited face-to-face
Goal classes

Role A grade 10 representative for the Debate Society

MHPNHS Junior high school students
Audience
Situation You are going to raise your argument about a social issue that affects the students nowadays

Product / An argumentative essay presenting one’s stance or position towards an issue

Performance
RUBRICS FOR ARGUMENTATIVE ESSAY
Traits 4 3 2 1

Focus & There is one clear, well There is one clear, well There is one topic. Main The topic and main
Details focused topic. Main ideas focused topic. Main ideas are ideas are somewhat ideas are not clear.
are clear and are well clear but are not well clear.
supported by detailed and supported by detailed
Standards accurate information information.

and Criteria Organization The introduction is inviting, The introduction states the The introduction states There is no clear
for Success states the main topic, and main topic and provides an the main topic. A introduction,
provides an overview of the overview of the paper. A conclusion is included. structure, or
paper. Information is conclusion is included. conclusion.
relevant and presented in a
logical order. The conclusion
is strong.

Voice The author’s purpose of The author’s purpose of The author’s purpose of The author’s purpose
writing is very clear, there is writing is somewhat clear, writing is somewhat of writing is unclear.
strong evidence of attention and there is some evidence clear, and there is
to the audience. The of attention to the audience. evidence of attention to
author’s extensive The author’s knowledge the audience. The
knowledge and/or and/or experience with the author’s knowledge
experience with the topic topic is/are evident. and/or experience with
is/are evident. the topic is/are limited.

Sentence All sentences are well Most sentences are well Most sentences are well Sentences sound
Structure, constructed and have varied constructed and have varied constructed, but they awkward, are
Grammar, structure and length. The structure and length. The have a similar structure distractingly
Mechanics, & author makes no errors in author makes a few errors in and/or length. The repetitive, or are
Spelling grammar, mechanics, grammar, mechanics, and/or author makes several difficult to
and/or spelling spelling, but they do not errors in grammar, understand. The
interfere with understanding. mechanics, and/or author makes
spelling that interfere numerous errors in
with understanding. grammar, mechanics,
and/or spelling that
interfere with
understanding.

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 MELC 3

COMPOSING AN INDEPENDENT CRITIQUE OF A CHOSEN SELECTION

I. OBJECTIVES
As you go through this lesson you are expected to:
● understand the methodology of writing a formal and academic writing; and
● compose a critique paper.

II. ACTIVATION
Activity 1 (PRE-TEST)
TRUE OR FALSE. Write on the space provide the word TRUE if the statement is correct and FALSE if the
statement is not correct.
_______ 1. A critique has a part called “Critical evaluation” that shows systematic and detailed assessment of a certain
work.
_______ 2. In writing a critique, a critic must use constructive criticism instead of destructive approach in identifying
a mistake.
_______ 3. A critique is a genre of academic writing that briefly summarizes and evaluates a work.
_______ 4. The critic is the creator of critique.
_______ 5. A critique must be biased and non-logical.

III. ACQUISITION
Activity 2 Read and Understand

WHAT IS CRITIQUE?
A critique is a genre of academic writing that briefly summarizes and critically evaluates a work or concept.
Critiques can be used to carefully analyze a variety of works such as:
● Creative works – novels, exhibits, films, images, poetry
● Research – monographs, journal articles, systematic reviews, theories
● Media – news reports, feature articles.
To critique a piece of writing is to do the following:
✔ describe: give the reader a sense of the writer’s overall purpose and intent
✔ analyze: examine how the structure and language of the text convey its meaning
✔ interpret: state the significance or importance of each part of the text
✔ assess: make a judgment of the work’s worth or value

HOW TO WRITE A CRITIQUE

Before you start writing, it is important to have a thorough understanding of the work that will be critiqued.
1. Study the work discussion
2. Make notes on key parts of the work
3. Develop an understanding of the main argument or purpose being expressed in the work.
4. Consider how the work relates to a broader issue or context
Seven principles of effective critique that critics should adhere

1. Objective – limit your critique to the observed behavior of the writer and do not criticize her/his personality,
general psychological traits, or even the physical characteristics. Don’t allow you feelings color your
statements. Be kind but honest. Select your words carefully and say what needs to be said with minimum
emotions and without hurting the feelings of the receiver.
2. Specific – a student/ writer sometimes cannot understand an error and correct it if the critic is not specific
enough. For example, to say “your document is not good” means nothing to student since the statement has
no clues about correcting the situation. However, a specific statement like the following also offers its own
solution: “you should have used a sanserif font for your Header titles.”

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 3. Constructive – our world is awash in negativity. There is no point in being destructive when identifying a
mistake. Flattering someone just to make them good has no educational value either. So try to give support
for the writer’s true strength in your criticism while presenting the negative aspects as “issues that are open
to improvement”. Carefully selected euphemisms like using the phrase “room for improvement” instead
“that’s awful!” go a long way in this context.
4. Comprehensive – your critique should be balanced and include both good and bad points of the student. It
should not leave out any important points while prioritizing the solution steps. For example, there’s no point
in telling someone to come up with a better DTD if the person does not even know the first thing about XML
and structured authoring. Or if a student uses poetic language is user’s manual, one should praise the writer’s
imagination and creative writing skills while gently steering him towards a less-flowery and disciplined writing
style.
5. Acceptable – the critic must be perceived as a legitimate authority before the critique can be accepted by the
writer. When there are questions about the authority, knowledge, or fairness of the critic, the critique will fall
on deaf ears no matter how qualified and well-intentioned it might be. If that common ground of respect and
acceptance is not established beforehand, no critique will be useful.
6. Flexible – a critic should be able to shape his critique depending on the audience, context, etc. for example, in
a classroom setting students may be different mood from day to day. You must be flexible enough to take into
prior training of the audience.
7. Organized - a good critic takes the writer by the hand and leads him/her through as few steps as possible to
the desired goal of the instruction or critique session. Breaking a performance failure into smaller parts and
focusing on how to improve each part in logical order works well in most situations.

PARTS OF A CRITIQUE

1. Introduction
Typically, the introduction is short. Less than 10% of the word length and you should:
● Name the work of being reviewed as well as the date it was created and the name of the creator.
● Describe the main argument or purpose of the work.
● Explain the context in which the work was created. This could include the social or political context,
the place of the work in a creative or academic tradition, or the relationship between the work and
the creator’s life experience.
2. Summary
Briefly summarize the main points and objectively described how the creator portrays these using
techniques, styles, media, characters or symbols. This summary should not be the focus of the critique
and is usually shorter than the critical evaluation.
3. Critical evaluation
This section should give a systematic and detailed assessment of the different elements of the work,
evaluating how well the creator was able to achieve the purpose through these. For example:
● you would assess the plot structure, characterization and setting of a novel;
● an assessment of a painting would look at composition, brush stroke, color and light;
● a critique of a research project would look at subject selection, design of the experiment, analysis
of data and conclusions.

A critical evaluation does not simply highlight negative impressions. It should deconstruct the work and
identify both strength and weaknesses. It should examine the work and evaluate its success, in light of its purpose.

The examples of key critical questions that could help your assessment include:

● Who is the creator? Is work presented objectively or subjectively?

● What are the aims of the work? Were the aims achieved?
● What techniques, styles, media were used in the work? Are they effective in portraying the
purpose?
● What assumptions underlie the work? Do they affect its validity?
● What types of evidence or persuasion are used? Has the evidence been interpreted fairly?

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 ● How is the work structured? Does it favor a particular interpretation or point of view? Is it
effective?
● Does the work enhance understanding of the key ideas or theories? Does the work engage or
fail to engage with key concepts or other works in its discipline?
4. Conclusion
This is usually a very brief paragraph, which includes:
● A statement indicating the overall evaluation of the work.
● A summary of the key reasons, identified during the critical evaluation, why this evaluation was
formed; and
● In some circumstances, recommendations for improvement on the work may be appropriate.
5. Reference list
Include all resources cited in your critique. Check with your lecturer/tutor for which referencing style to
use.
6. Checklist for a critique
Have you:
● Mentioned the name of the work, the date of its creation and the name of the creator?
● Accurately summarized the work being critiqued.
● Mainly focused on the critical evaluation of the work.
● Systematically outlined an evaluation of each element of the work to achieve the overall purpose.
● Used evidence, from the work itself as well as other sources, to back and illustrate my assessment
of the elements of the work?
● Formed an overall evaluation of the work, based on critical reading?
● Used a well-structured introduction, body and conclusion?
● Used correct grammar, spelling, and punctuation; clear presentation; and appropriate referencing
style?

IV. APPLICATION

Activity 3 Critique the critic

Below is a critical response to The Yellow Wallpaper by Charlotte Perkins Gilman. Read and analyze the sample
critique then check whether the critic included elements discussed in the checklist above.

When speaking of feminist literature that is prominent and manages to touch on incredibly controversial
issues, The Yellow Wallpaper is the first book that comes to mind. Written from a first-person perspective,
magnifying the effect of the narrative, the short story by Charlotte Perkins Gilman introduces the reader to the
problem of the physical and mental health of the women of the 19th century. However, the message that is
intended to concern feminist ideas is rather subtle. Written in the form of several diary entries, the novel offers
a mysterious plot, and at the same time, shockingly realistic details.

What really stands out about the novel is the fact that the reader is never really sure how much of the story
takes place in reality and how much of it happens in the psychotic mind of the protagonist. In addition, the novel
contains a plethora of description that contributes to the strain and enhances the correlation between the
atmosphere and the protagonist’s fears: “The color is repellent, almost revolting; a smoldering unclean yellow,
strangely faded by the slow-turning sunlight” (Gilman).

Despite Gilman’s obvious intent to make the novel a feminist story with a dash of thriller thrown in, the
result is instead a thriller with a dash of feminism, as Allen (2009) explains. However, there is no doubt that the
novel is a renowned classic. Offering a perfect portrayal of the 19th-century stereotypes, it is a treasure that is
certainly worth the read.

https://www.artfuleditor.com/sample-critique

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 Checklist for a critique YES NO
1 Mentioned the name of the work, the date of its creation and the
name of the creator?
2 Accurately summarized the work being critiqued?
3 Mainly focused on the critical evaluation of the work?
4 Systematically outlined an evaluation of each element of the work to
achieve the overall purpose?
5 Used evidence, from the work itself as well as other sources, to back
and illustrate my assessment of the elements of the work?
6 Formed an overall evaluation of the work, based on critical reading?
7 Used a well-structured introduction, body and conclusion?
8 Used correct grammar, spelling, and punctuation; clear presentation;
and appropriate referencing style?

V. ASSESSMENT

Activity 4
A. Be the critique
Choose any selection of your choice, a short story that you have read, a novel, a poem, a news article or a film
that you have read or watched. Compose a short yet meaningful critique of the selection applying the concepts
discussed in this lesson. Also consider the given rubrics below in writing your output.

Objectives 5 – exemplary 4 – proficient 3 – apprentice 2 – novice

Recollection of Touches on every Cover the critical facts Covers majority of Contains only some of
facts important fact related to related to the topic facts related to the the obvious facts
the topic topic
Demonstrated Original wording, Steps beyond simple Recalls appropriate Apparent misconception
understanding analogies or examples. recall and attempts to concepts or examples or knowledge gap
Applies thought interpret ideas to to address question
concepts to answer the better answer the
question question
Linking of topics Carefully evaluates Incorporates multiple Answer the question Answer the question
multiple topics that concepts to answer using several concepts using a single concept
apply to question and question and or topics topic
synthesizes them into a demonstrates
coherent answer judgment in applying
concepts
Persuasive Every idea or conclusion Every idea or Relates ideas and Opinion and fact not
writing is logically supported by conclusion is logically conclusions to fact or clearly separated. Basis
relevant facts. Includes supported by relevant concepts taught as for opinion is unclear at
judgment of data facts fact times.
reliability

B. True or False
Write the word TRUE if the statement is correct and FALSE if the statement is not correct. Write your answer on
the space provided.
1. A critic should be able to shape his critique depending on the audience, context, etc. ________________
2. The critic must be perceived as a legitimate authority before the critique can be accepted by the writer.
______________________
3. The critique should be balanced and include both good and bad points of the writer. ___________________
4. A good critic takes the writer by the hand and leads him/her through as few steps as possible to the desired
goal of the instruction. ___________________
5. A critique must be Constructive and Specific. ______________________

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 MELC 4.1
CRITIQUING A LITERARY SELECTION BASED ON THE FOLLOWING APPROACHES:
STRUCTURALIST/FORMALIST, MORALIST, AND MARXIST

I. OBJECTIVES
As you go through this lesson, you are expected to:
● differentiate literary approaches (Structuralist/Formalist Approach, Moralist Approach, Marxist
Approach); and
● critique a literary selection

II. ACTIVATION
Activity 1 (PRE-TEST)
Identify the following descriptions/features if they are referring to Structuralist, Moralist, or Marxist Approach.
Write S for Structuralist, MO for Moralist, and MA for Marxist.
_____1. It views literature as a system of signs. S
_____2. The purpose of this literature is to teach morality and to probe philosophical issue. MO
_____3. This approach studies the social class to which an author belongs and the effects of the author to his or her
society. MA
_____4. It focused instead how human behavior is determined by cultural, social and psychological structures. S
_____5. It relates literary text to the society, to the history and cultural and political systems in which it is created.

III. ACQUISITION
Activity 2 Read and Understand

Literary Criticism
Literary Criticism refers to analysis and judgment of works of literature. It tries to interpret specific works of
literature, and also helps us to identify and understand different ways of examining and interpreting them.

The Purpose of Criticism. Literary criticism has at least three primary purposes.
1. To help us resolve a difficulty in the reading.
2. To help us choose the better of two conflicting readings.
3. To enable us to form judgments about literature.

FORMATTING A CRITIQUE
Here are two structures for critiques, one for nonfiction and one for fiction/literature.

The Critique Format for Nonfiction

1. Introduction
- name of author and work
- general overview of subject and summary of author's argument
- focusing (or thesis) sentence indicating how you will divide the whole work for discussion or the
particular elements you will discuss
2. Body
- objective description of a major point in the work
- detailed analysis of how the work conveys an idea or concept
- interpretation of the concept
- repetition of description, analysis, interpretation if more than one major concept is covered
3. Conclusion
- overall interpretation
- relationship of particular interpretations to subject as a whole
- critical assessment of the value, worth, or meaning of the work, both negative and positive

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The Critique Format for Fiction/Literature
1. Introduction
- name of author and work
- brief summary/description of work as a whole
- focusing sentence indicating what element you plan to examine
- general indication of overall significance of work
2. Body
- literal description of the first major element or portion of the work
- detailed analysis
- interpretation
- literal description of second major element
- detailed analysis
- interpretation (including, if necessary, the relationship to the first major point)
3. Conclusion
- overall interpretation of the elements studied
- consideration of those elements within the context of the work as a whole
- critical assessment of the value, worth, meaning, or significance of the work, both positive and negative
Remember also that a critique may express a positive as well as a negative assessment. Don't
confuse critique with criticize in the popular sense of the word, meaning “to point out faults.”
A critique is a careful analysis of an argument to determine what is said, how well the points are made, what
assumptions underlie the argument, what issues are overlooked, and what implications are drawn from such
observations. It is a systematic, yet personal response and evaluation of what you read.
There are different approaches in critiquing a literary piece. In this lesson we will be discussing how to critique
a literary piece using structuralist or formalist approach, moralist approach and Marxist approach.

STRUCTURALIST APPROACH
Structuralists view literature as a system of signs. They try to make plain the organizational codes that they
believe regulate all literature. The most famous practitioner is Michael Foucault.
In literary theory, structuralism challenged the belief that a work of literature reflected a given reality; instead,
a text was constituted of linguistic conventions and situated among other texts. Structuralist critics analyzed material
by examining underlying structures, such as characterization or plot, and attempted to show how these patterns were
universal and could thus be used to develop general conclusions about both individual works and the systems from
which they emerged.

MORALIST APPROACH
Moral/Philosophical critics believe that the larger purpose of literature is to teach morality and to probe
philosophical issues.

Practitioners:
● Matthew Arnold – argued works must have “high-seriousness”
● Plato – insisted literature must exhibit moralism and utilitarianism
● Horace – felt literature should be “delightful and instructive”

Advantages
This approach is useful for such works as Alexander Pope’s “An Essay on Man,” which does present an obvious
moral philosophy. It is also useful when considering the themes of works (for example, man’s inhumanity to man in
Mark Twain’s Huckleberry Finn). Finally, it does not view literature merely as “art” isolated from all moral implications;
it recognizes that literature can affect readers, whether subtly or directly, and that the message of a work—and not
just the decorous vehicle for that message—is important.

Disadvantages
Detractors argue that such an approach can be too “judgmental.” Some believe literature should be judged
primarily (if not solely) on its artistic merits, not its moral or philosophical content.

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MARXIST APPROACH
Marxist criticism is not merely a 'sociology of literature', concerned with how novels get published and
whether they mention the working class. Its aim is to explain the literary work more fully; and this means a sensitive
attention to its forms, styles and, meanings. But it also means grasping those forms, styles and meanings as the product
of a particular history.
The simplest goals of Marxist literary criticism can include an assessment of the political 'tendency' of a literary
work, determining whether its social content or its literary form are 'progressive'. It also includes analyzing the class
constructs demonstrated in the literature.

IV. APPLICATION

Activity 4
GRASPS – Based Activity NO. 2
Lit Crit is so lit NO. 1
Goal Critiquing a literary selection based either structuralist/formalist, moralist, and Marxist approach

Role A writer who is critiquing the works of other writers

High school students who love to read stories
Audience

Situation You are going to critique a selection which you will later on recommend to a high school readers

Product /
A literary criticism of the selection from “The Analects” by Confucius
Performance

RUBRICS FOR LITERARY CRITICISM

Standards and
Criteria for
Success

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READING SELECTION

From the Analects

by Confucius
translated by Arthur Waley

The Master said, “To learn and at due times to repeat what one has learnt, is that not after all a pleasure?
Those friends should come to one from afar, is this not after all delightful? To remain unsoured even though one’s
merits are unrecognized by others is that not after all what is expected of a gentleman?”
The Master said, “A young man’s duty is to behave well to his parents at home and to his elders abroad, to
be cautious in giving promises and punctual in giving them, to have kindly feelings towards everyone, but seek the
intimacy of good. If, when all that is done, he has any energy to spare, and then let him study the polite arts.”
The Master said, “The good man does not grieve that other people do not recognize his merits. His only
anxiety is lest he should fail to recognize theirs.”
The Master said, “He who rules by moral force is like the Pole star, which remains in its place where all the
lesser stars do homage to it.”
The Master said, “If out of three hundred songs I had to take one phrase to cover all my teaching, I would
say, “Let there be no evil in your thoughts.”
The Master said, “Govern the people by regulations, keep order among them by chastisements, and they will
flee from you, and lose all self-respect. Govern them by moral force, keep order among them by ritual, they will keep
their self-respect and come to you of their own accord.” Meng Wu Po asked about the treatment of parents.
The Master said, “Behave in such a way that your father and mother have no anxiety about you, except
concerning your health.”
The Master said, “A gentleman can see a question from all sides without bias. The small man is biased and
can see a question only from one side.”
The Master said, “You, shall I teach you what knowledge is? When you know a thing, to recognize that you
know it, and when you do not know a thing, to recognize that you do not know it. That is knowledge.”
The Master said, “High office filled by men of narrow views, ritual performed without reverence, the forms
of mourning observed without grief—these are things I cannot bear to see!”
The Master said, “In the presence of a good man, think all the time how you may learn to equal him. In the
presence of a bad man, turn your gaze within!”
The Master said, “In old days, a man kept hold on his words, fearing the disgrace that would ensue should he
himself fail to keep pace with them.”
The Master said, “A gentleman covets the reputation of being slow in word but prompt in deed.”
The Master said, “In old days, men studied for the sake of self-improvement; nowadays men study to impress
other people.”
The Master said, “A gentleman is ashamed to let his words outrun his deeds.”
The Master said, “He who will not worry about what is far off will soon find something worse than worry
close at hand.”
The Master said, “To demand much from oneself and little from others is the way (for a ruler) to banish discontent.”

V. ASSESSMENT
Activity 5 (POST – TEST)
Do some more research about the structuralist/formalist, moralist and Marxist approaches. Differentiate
each approach by filling -out the table below.

Structuralist/Formalist Moralist Marxist

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 MELC 4.2
CRITIQUING A LITERARY SELECTION BASED ON THE FOLLOWING APPROACHES:
HISTORICAL, FEMINIST AND READER-RESPONSE
I. OBJECTIVES
As you go through this lesson, you are expected to:
● demonstrate overall artistic value of the structure and elements of the selection; and
● show treatment of underlying or overarching issue concerning human experience

II. ACTIVATION
Activity 1 (PRE-TEST)
Read carefully the selection below, then answer the questions that follow.

A Fair Deal for the Youth

Do the youth deserve all the criticisms they’ve been getting lately?
The press, for instance, is generous with criticisms against the youth, to wit: they have no sense of
responsibility and social awareness, they prematurely experience adult pleasures, they are juvenile delinquents, they
are rebels without a cause.
But let us ask the more mature segments of our country: have we, the adults, tried to understand their needs
and problems? Have we shown them an example of a decent, wholesome life?
While we cannot devote all of our time fulfilling the needs of the youth, we cannot escape from the fact that
they need our attention. How these generations will shape the country in the future will depend on how they develop
and tap their natural talents, how to teach them social responsibility and how to help them fit into the community.
Pope Pius XII once said, “Understanding young people does not mean approving and admitting everything
they maintain in their ideas, their tastes, their caprices, their false enthusiasm. It consists fundamentally in finding out
what is solid in them and accepting this trustingly without remorse and anger.”
If the youth, in the exuberance of his childhood, commits mistake after mistake, he needs discipline, not unjust
punishment, understanding, not condemnation. He needs guidance, which does not mean doling out unsolicited
advice but helping him gather his bearings, adjust to his environment, cope with hos stresses, and thus rise from
whatever rut he may have fallen into. Then he can become a grown-up person with a worth wholly his own.

(Ref: English Developmental Workbook III, Santos & Glorioso)

QUESTIONS:
1. What acts of young people invite criticism?
2. How can the youth be led to the right path?
3. What is the role of adults in molding the youth?
4. Criticisms whether good or bad must be regarded as constructive criticisms.
a. No b. Yes c. Not sure d. None of these
5. Literary Criticism is an analysis of one’s
a. strengths alone c. fault
b. weaknesses alone d. both strengths and weaknesses
6. It is an approach of literary criticism that aims to investigate and discover the text’s primitive or original
meaning in its historical context and its literal sense.
a. Feminist b. Marxist c. Historical d. Reader-response
7. It is an analysis and judgment of works of literature.
a. Literary Device b. Literary Piece c. Literary Criticism d. Literary Style
8. It is an approach of literary criticism which attempts to describe what happens in the reader’s mind; meanings
of the text are derived only from the acts of individual readings.
a. Marxist b. Reader-response c. Feminist d. Historical
9. It is an approach of literary criticism that focuses on the belief that women should have equal rights to men.
a. Reader-response b. Historical c. Marxist d. Feminist
10. “A Fair Deal for the Youth” is a selection most appropriate for
a. Reader-response Criticism c. Marxist Criticism
b. Historical Criticism d. Feminist Criticism

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III. ACQUISITION
Activity 2 Read and Understand
When you criticize something, you do not look for faults, but you also have to look for good points. Criticism is
not mere faultfinding but an analysis of strengths as well as weaknesses.
Reading requires understanding. Get ready because in this lesson, you will have a taste of literary selections
with different approaches. Come on and let’s get started!

Literary Criticism
● refers to analysis and judgment of works of literature. It tries to interpret specific works of literature, and
also helps us to identify and understand different ways of examining and interpreting them.

HISTORICAL CRITICISM
● Its primary goal is to discover the text’s primitive or original meaning in its original historical context and
its literal sense
● It also seeks to establish a reconstruction of the historical situation of the author and recipients of the text.
● This approach "seeks to understand a literary work by investigating the social, cultural, and intellectual
context that produced it—a context that necessarily includes the artist's biography and milieu." A key goal
for historical critics is to understand the effect of a literary work upon its original readers.

READER’S RESPONSE CRITICISM

• It attempts “to describe what happens in the reader’s mind while interpreting a text” and reflects that reading,
like writing, is a creative process. According to reader-response critics, literary texts do not “contain” a
meaning; meanings derive only from the act of individual readings.
• It is a school of literary theory that focuses on the reader (or "audience") and their experience of a literary
work, in contrast to other schools and theories that focus attention primarily on the author or the content and
form of the work.

FEMINIST CRITICISM
▪ It aims to understand the nature of inequality and focuses on analyzing gender equality and promotion of
women's rights.
▪ It has two basic premises: women are presented in literature by male writers from male point of view; women
are presented in writing of female writers from female point of view.
▪ While Biology determines our sex (male or female), culture determines our gender (masculine or feminine).
All feminist activity, including feminist theory and literary criticism has its ultimate goal to change the world
by promoting gender equality.
▪ Gender issues play a part in every aspect of human production and experience including the production and
experience of literature, whether we are consciously aware of these issues or not.
▪ Feminist Criticism in the story “Lamb of the Slaughter” singles out the woman making her be regarded as a
servant and inferior, disrespectfully treated and spoken to by her husband, and unable to commit a crime
because she is a woman, while being given special treatment by the investigators because of her gender.

Activity 3
Read the poem silently. After that, answer comprehensively the given questions. (Ref: English for Secondary
Schools, De Guzman & Santos)

Spellbound
Emily Brontë
The night is darkening round me, Clouds beyond clouds above me,
The wild winds coldly blow; Wastes beyond wastes below;
But a tyrant spell has bound me But nothing drear can move me;
And I cannot, cannot go. I will not, cannot go.

The giant trees are bending

Their bare boughs weighed with snow.
And the storm is fast descending,
And yet I cannot go.

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QUESTIONS:
1. What is the night doing? What has bound the speaker?
2. What is above the speaker? Below the speaker?
3. What is the speaker’s response at the end of each stanza?
4. Give one word to describe the effect of the weather on the speaker. What is unusual about this effect?
5. Describe a situation in which being spellbound would be a positive experience. Do you think it is so in this
poem?
6. What is the central thought or emotion in the poem?
7. What is the persona in the poem going through?
8. Have you experienced the same as the speaker did?
9. Based on your own understanding of the poem, what does spell bound mean?
10. Have you already experienced being spellbound? by what? and how did you respond to it?

Activity 4
Read carefully the selection below, then answer the questions that follow.

Mother for Hire

Mrs. Punongbayan is one of hundreds of Filipino mothers who have temporarily left their offspring to
act as surrogate mothers to children in a foreign country. She does not like the idea at all. But now that
two of her three children are in college, she has to work in Hongkong where she earns so much more than
what she used to earn as a factory worker in the Philippines.
She claims her days and nights in Hongkong seem longer, but she still stays there for the sake of her
children. Only the letters from home, and the thought that her children benefit from her sacrifices, ease
her loneliness.

(Ref: English Developmental Workbook III, Santos & Glorioso)

QUESTIONS:
1. Why does Mrs. Punongbayan have to work in Hongkong?
2. What eases her loneliness in a foreign land?
3. Discuss the good and bad effects of a parent’s employment in a foreign country?
4. How are women stereotyped/categorized in the selection?
a. by being surrogate mothers to foreign children
b. by working abroad for their families
c. by sending their children to college
d. by going to Hongkong
5. Based on the nature of the short article, what approach of literary criticism does it signify?
a. Historical b. Feminist c. Reader-response d. Marxist

IV. APPLICATION
ACTIVITY 5
Below is the King James Translation of Psalm 96. As you read it, observe carefully how the language and the literary
style manifested the musical nature of this early poem. (Ref: Moving Ahead in English IV, Santos, et.al.)

Psalm 96
from King James Bible

O sing unto the LORD a new song.

Sing unto the LORD, all the earth.
Sing unto the LORD, bless his name;
Show forth his salvation from day to day.

Declare his glory among the heathen,

His wonders among all people.
For the LORD is great, and greatly to be praised:
He is to be feared above all gods.
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 For all the gods of the nations are idols, Say among the heathen that the LORD reigneth:
But the LORD made the heavens. The world also shall be established
Honour and majesty are before him: That it shall not be moved.
Strength and beauty are in his sanctuary. He shall judge the people righteously.

Give unto the LORD, O ye kindreds of the people, Let the heavens rejoice, and let the earth be glad;
Give unto the LORD glory and strength. Let the sea roar, and the fulness thereof.
Give unto the LORD the glory due unto his name. Let the field be joyful, and all that is therein:
Bring an offering, and come into his courts. Then shall all the trees of the wood rejoice

O worship the LORD in the beauty of holiness: Before the LORD: for he cometh, for he cometh
Fear before him, all the earth. To judge the earth: he shall judge the world
with righteousness,
And the people with his truth.

QUESTIONS:
1. How are the first three lines of Psalm 96 similar in meaning and in structure? How are lines 4-5 alike?
2. What reasons does the poet give for praising the Lord? According to the poet, in what ways can we praise the Lord?
3. The ancient Hebrew poets were fond of using images from nature. According to this poet, how will nature respond
to the knowledge of God? How does the poet use nature’s imagery to build a joyful climax?
4. As a reader, what literary criticism approach is best applied in this piece?

V. ASSESSMENT
Activity 6 (POST-TEST)
Read the following selection then answer the questions that follow.

"YOUTH"
Samuel Ullman
Youth is not a time of life; it is a state of mind; it is not a matter of rosy cheeks, red lips and supple knees; it is
a matter of the will, a quality of the imagination, a vigor of the emotions; it is the freshness of the deep springs of life.
Youth means a temperamental predominance of courage over timidity of the appetite, for adventure over the
love of ease. This often exists in a man of sixty more than a boy of twenty. Nobody grows old merely by a number of
years. We grow old by deserting our ideals.
Years may wrinkle the skin, but to give up enthusiasm wrinkles the soul. Worry, fear, self-distrust bows the
heart and turns the spirit back to dust.
Whether sixty or sixteen, there is in every human being's heart the lure of wonder, the unfailing child-like
appetite of what's next, and the joy of the game of living. In the center of your heart and my heart there is a wireless
station; so long as it receives messages of beauty, hope, cheer, courage and power from men and from the infinite, so
long are you young.
When the aerials are down, and your spirit is covered with snows of cynicism and the ice of pessimism, then
you are grown old, even at twenty, but as long as your aerials are up, to catch the waves of optimism, there is hope
you may die young at eighty.

QUESTIONS:
1. What is the writer’s definition of youth?
a. a matter of beauty
b. freshness of the physical body
c. a state of mind
d. a time of life
2. What feelings/attitudes make a person old?
a. cynicism b. activism c. pessimism d. A and C
3. What kind of messages keeps a person young?
a. beauty and hope
b. cheer and courage

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 c. power of man and the infinite
d. all of the given
4. Which one doesn’t describe a pessimist?
a. low-spirited b. self-trustful c. fearful d. worrisome
5. Which of the following descriptions doesn’t fit the optimist?
a. with unfailing childlike appetite of what is next
b. with unfailing love for the joy of the game of living
c. with unfailing love for entertainment and freshness of emotions
d. with unfailing love for growing and nourishing ideals
6. What is the writer’s perception of the meaning of youth?
a. Predominance of courage over timidity
b. Predominance of beauty over the unfreshness of ideals
c. Predominance for the love of adventure over love of ease
d. Both A and C
7. Based on the previous discussion, which approach of literary criticism is most applicable to be used by the
readers of this selection for a critique?
a. Marxist b. Feminist c. Reader-response d. Historical
8. When one’s critique involves appreciation for women and their role in the society, the approach used is
a. Reader-response b. Marxist c. Historical d. Feminist
9. If the critique demonstrates reactions and interpretations of the reader based on his experience, the approach
used is
a. Feminist b. Reader-response c. Marxist d. Historical
10. An analysis and judgment of specific literary work is known as
a. Literary Device c. Literary Manuscript
b. Literary Style d. Literary Criticism

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 MELC 4.3
CRITIQUING A LITERARY SELECTION BASED ON THE FOLLOWING APPROACHES:
HISTORICAL, FEMINIST AND READER-RESPONSE
I. OBJECTIVES
As you go through this lesson, you are expected to:
● identify gender roles and relationships of characters (EN10RC-IIId-22.4);
● point out the relevance of the selection to the historical context during which it was produced (EN10RC-IIIe-
22.5);
● write a critique of a short story (EN10WC-IIIg-14).

II. ACTIVATION
Activity 1
A. Classify each of the following things as a boy thing or girl thing based on your personal opinion.
BOY GIRL

1. Burping and farting 6. Rescuing

2. Dancing 7. Teaching
3. Cooking 8. Fixing cars
4. Cleaning 9. Taking diet drinks
5. Smoking 10. Computer programing

Why do you associate a particular activity to a girl and why are some of them associated with boys? Where do
these ideas come from? Is it true that these are just girls’ or boys’ things?

B. From an early age we have a clear idea of gender roles which includes what things we like, behaviors and choices
that are associated with being male or female. We then conform to those roles and identify with them. These ideas
come from all sorts of sources— our families, the media, what we see in our world. Studies have even shown that
parents speak differently to baby boys and girls and our cultural beliefs reinforce what is seen to be acceptable
behavior of males or females. This includes what we do, what we like and how we behave. How many of us actually
fit totally or at all into these gender roles? If we do, is that not perhaps because we had those ideas drummed into us
from an early age? Perhaps we can say that gender equality is more relevant nowadays. In the Middle Ages,
women were not entitled to a political vote and were not able to choose whether or not to marry
or have children. Women were also not generally able to work. Women did not generally have access to
education; women who chose to become nuns were able to receive basic education in addition to their Christian
devotion. In our world today, Women’s Liberation has given entitlements to women of various ages.

III. ACQUISITION
Activity 2 Read and Understand
This lesson will help you analyze a work of literature using some principles of literary criticisms. Among the
various approaches to understanding literary works--formalist, biographical, psychological, gender strategies--the
historical approach is one of the oldest. The historical approach to literature simply means that the critic--the person
trying to understand any work of literature--looks beyond the literature itself to the broader historical and cultural
events that might influence the author whose work is being considered. The critic will begin to research what was
going on in the world at the time the literary work was being written in order to see if the author either consciously or
unconsciously incorporated outside forces into the literary work.

For example, when you read the Anglo-Saxon poem Beowulf in your English 9, which was written sometime
around 700 to 800 AD, we notice that the poet often refers both to pagan gods and rituals and to Christianity. At
times, the poet may refer to the pagan concept of fate, Wyrd, and two lines later refer to the will of God, clearly an
intermingling of the Anglo-Saxon's first religion, paganism, with a religion they adopted beginning in about 600 AD,
Christianity. To understand this mix of religions in the work of literature, critics try to understand exactly how and
when the Anglo-Saxon people were converted from paganism to Christianity, so they look outside the text
of Beowulf to see what events led to the transition from paganism to Christianity and, more important for the literary
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critic, the timing of that transition. Understanding the timing may help literary critics to understand when the poem
was composed.
The historical approach, then, usually helps the critic and readers to understand all of the events and forces
that might affect the author as he or she is composing the work, and this gives us a more comprehensive understanding
of the work itself. (https://www.enotes.com/homework-help/literature-what-historical-theory-where-453034)

The following selections will enable you to understand the role of women in a particular period of human
history when they were written.

Read the short story below, then do the activities that follow:

The Wife of Bath’s Tale

The wife of Bath’s Tale is among the best-known of Geoffrey Chaucer’s

Canterbury Tales. It provides insight into the role of women in the
Late Middle Ages and was probably of interest to Chaucer himself, for
The character is one of his most developed ones.
**********************************************************
In the days of King Arthur, the Wife of Bath begins, the isle of
Britain was full of fairies and elves. Now, those creatures are gone
because their spots have been taken by the friars and other mendicants that seem to fill every nook and cranny of the
isle. And though the friars rape women, just as the incubi did in the days of the fairies, the friars only cause women
dishonor—the incubi always got them pregnant.
In Arthur’s court, however, a young, lusty knight comes across a beautiful young maiden one day. Overcome
by lust and his sense of his own power, he rapes her. The court is scandalized by the crime and decrees that the knight
should be put to death by decapitation. However, Arthur’s queen and other ladies of the court intercede on his behalf
and ask the king to give him one chance to save his own life. Arthur, wisely obedient to wifely counsel, grants their
request. The queen presents the knight with the following challenge: if, within one year, he can discover what women
want most in the world and report his findings back to the court, he will keep his life. If he cannot find the answer to
the queen’s question, or if his answer is wrong, he will lose his head.
The knight sets forth in sorrow. He roams throughout the country, posing the question to every woman he
meets. To the knight’s dismay, nearly every one of them answers differently. Some claim that women love money
best, some honor, some jolliness, some looks, some sex, some remarriage, some flattery, and some say that women
most want to be free to do as they wish. Finally, says the Wife, some say that women most want to be considered
discrete and secretive, although she argues that such an answer is clearly untrue, since no woman can keep a secret.
As proof, she retells Ovid’s story of Midas. Midas had two ass’s ears growing under his hair, which he concealed from
everybody except his wife, whom he begged not to disclose his secret. She swore she would not, but the secret burned
so much inside her that she ran down to a marsh and whispered her husband’s secret to the water. The Wife then says
that if her listeners would like to hear how the tale ends, they should read Ovid.
She returns to her story of the knight. When his day of judgment draws near, the knight sorrowfully heads for
home. As he rides near a forest, he sees a large group of women dancing and decides to approach them to ask his
question. But as he approaches, the group vanishes, and all he can see is an ugly old woman. The woman asks if she
can be of help, and the knight explains his predicament and promises to reward her if she can help him. The woman
tells the knight that he must pledge himself to her in return for her help, and the knight, having no options left, gladly
consents. She then guarantees that his life will be saved.
The knight and the old woman travel together to the court, where, in front of a large audience, the knight tells
the queen the answer with which the old woman supplied him: what women most desire is to be in charge of their
husbands and lovers. The women agree resoundingly that this is the answer, and the queen spares the knight’s life.
The old hag comes forth and publicly asks the knight to marry her. The knight cries out in horror. He begs her to take
his material possessions rather than his body, but she refuses to yield, and in the end he is forced to consent. The two
are married in a small, private wedding and go to bed together the same night. Throughout the entire ordeal, the
knight remains miserable.
While in bed, the loathsome hag asks the knight why he is so sad. He replies that he could hardly bear the
shame of having such an ugly, lowborn wife. She does not take offense at the insult, but calmly asks him whether real
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“gentillesse,” or noble character, can be hereditary (1109). There have been sons of noble fathers, she argues, who
were shameful and villainous, though they shared the same blood. Her family may be poor, but real poverty lies in
covetousness, and real riches lie in having little and wanting nothing. She offers the knight a choice: either he can have
her be ugly but loyal and good, or he can have her young and fair but also coquettish and unfaithful. The knight ponders
in silence. Finally, he replies that he would rather trust her judgment, and he asks her to choose whatever she thinks
best. Because the knight’s answer gave the woman what she most desired, the authority to choose for herself, she
becomes both beautiful and good. The two have a long, happy marriage, and the woman becomes completely
obedient to her husband. The Wife of Bath concludes with a plea that Jesus Christ sends all women husbands who are
young, meek, and fresh in bed, and the grace to outlive their husbands.
(Excerpt from “The Canterbury Tales by Geoffrey Chaucer)

A. Enriching Vocabulary
Complete each of the following sentences with the words found below them. Use the given meanings in the
parenthesis as clues.
1. My father gave me money to give to homeless _______ (beggars) along the route.
2. The man showed ________ (vile) behavior that made him one of the most notorious figures in history.
3. In the Middle Ages, men proved their ________ (Aristocratic birth) by showing noble character.
4. The children mistook the _______ (ugly old woman) for a witch.
5. It is very difficult to get out of this ________ (difficult situation). I have done all my best to overcome my challenge.
6. People in the province believe in the presence of ________ (an evil spirit that lies on persons in their sleep).
7. The criminal is sentenced to die through ________ (beheading).

*incubi *mendicants *decapitation *predicament *hag *gentilesse

*villainous
B. Understanding the Text
1. Why is Arthur’s knight sentenced to death?
2. What is the condition for the knight to live?
3. What are the various answers given to the knight during his quest?
4. What answer does the old hag give the knight on condition that he marries her if it’s right?
5. At the end of the story, what two choices does the old hag offer to the knight?
6. What does the knight choose?
C. Valuing
1. Do you agree that “in general, women wish to have control over both their husbands and love affairs and to be
masters of their men?”
2. Would you consider the statement above derogatory to women? Why or why not?
3. What insights have you gained from The Wife of Bath’s Tale?
4. Make a research on the role of women in the late Middle Ages. Is the development of the old hag’s character
reflective of the role of women in that particular period of human history?

D. Fill in the following concept map based on the story:

A Story Critique
What is the story all about?
What is the relationship of the two
Title Character
characters?
1
What I liked about What I didn't like
Character the story about the story
Author 2

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E. If you are to write an essay about the ideas you included in your concept map, how would you organize your
essay? Here are basic tips on writing a story critique:
(https://www.montgomery.k12.ky.us/userfiles/1501/Classes/686/shortStorycritique.pdf )

1. The introductory paragraph for the short story critique has 3 major elements: the background, your opinion
on the work as a whole, and the thesis. The background includes all of the relevant information (especially
who, what, when, where, and why) leading up to the thesis. The thesis includes the subject and opinion of
the paper followed by the main points. The most important element in writing a critique is a workable
thesis statement, which appears near the end of the introductory paragraph.

2. The development paragraphs can vary in length and in number. If you state 3 main points in your thesis,
you should have 3 development paragraphs. For this assignment you should have from 3-5 main points.
Here are a few ideas to choose from:

a. Opening
a.1 Hooks - Is the story grabbing from the first line? Does it make you want to read on?
a.2 Introduction of Central Character - Is the Central character introduced early in the story.
a.3 Scene Setting - Can you picture the scene early enough in the story or have you already imagined
your own?
a.4 Problem Description - Can you tell what problem confronts the central character soon enough or
are you left wondering what the story is all about?
b. Characterization
b.1 Central Character
- Does he/she appear in the first few lines?
- Is it clearly defined who the central character is?
- Do you have sympathy with the central character? (This does not mean likable).
b. 2 Other characters - Are they easily definable? or Do they get confused with others? Do they seem
authentic? Can you easily tell who they sympathize with?
c. Dialogue - Does the dialogue sound authentic? Is it all meaningful? Does it read well?
d. Conflicts - Are the conflicts in the story authentic or do they seem artificial? Or are they conflicts
original?
e. Suspense Value- Do you want to know what is going to happen next? Does the story go well from part
to part?
f. Ending-- Is the ending concise or does it ramble on? Does it need a lot of explanation? Is it clear/? What
has happened? Does it seem flat?
g. Structure- Has the plot been developed well throughout the story? Are the characters described in
time or after you've imagined them for yourself? Are the actions well planned and run well in
sequence? Do flashbacks seem well placed and relevant? Is the time span suitable for the story or
should it take place over a longer or shorter period of time? Is the time span feasible? (Could the
events have taken place in the given time span?)
h. Plot - Is it original? Does it sound authentic? Is it contrived?

3. The Closing Paragraph: Here you give your general impression of the story. Did you enjoy it?
In general are the descriptions clear, overemphasized or not clear enough? You should also briefly
summarize all the issues under discussions. Any additional opinions on the subject would be appropriate
at this time as well as any final conclusion.

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IV. APPLICATION

Activity 4
GRASPS – BASED ACTIVITY NO. 3
R
eady to write your story critique? On a sheet of yellow pad paper, write a three-paragraph critique of the
story “The Wife of Bath’s Tale”. Use the pointers given and the ideas included in your graphic organizer as your guide.

Lit Crit is so lit No. 2

Goal Critique a short story using different literary criticism approaches
Role A features editor in the school paper
High school students
Audience
You are tasked by your Editor-in-chief to write a critique of short story to be featured in the features
Situation
page of your school paper.
Product /
A literary criticism of the selection from “The Wife of Bath’s Tale” by Geoffrey Chaucer
Performance
RUBRICS FOR LITERARY CRITICISM

Standards and
Criteria for
Success

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 MELC 4.4
CRITIQUING A LITERARY SELECTION BASED ON THE FOLLOWING APPROACHES:
HISTORICAL, FEMINIST AND READER-RESPONSE
I. OBJECTIVES
As you go through this lesson, you are expected to:
● evaluate literature as a source of wisdom in expressing and resolving conflicts between individuals or
groups and nature;
● express appreciation of sensory images by responding to the selection read

II. ACTIVATION
Activity 1 (PRE-TEST)
Read or listen to the lyrics of the song “What a Wonderful World” by Louis Armstrong, then answer the
questions that follow.
A.
“What a Wonderful World” 1. What do trees of green symbolize?
a. Hope and life
I see trees of green, b. Freshness and freedom
red roses, too. c. Cleanliness and purity
I see them bloom, d. Health and wellness
for me and you. 2. The blooming of red roses signifies
And I think to myself, a. sharing of glory
what a wonderful world. b. bountiful blessings
c. love for the people
I see skies of blue, d. wealth that abounds
And clouds of white. 3. The bright blessed day and the dark sacred night are symbolisms for
The bright blessed day, a. challenges and trials
The dark sacred night. b. triumphs and dreams
And I think to myself, c. sorrows and problems
What a wonderful world. d. successes and failures
4. The colors of the rainbow which are on the faces of people convey
The colors of the rainbow, a. happiness and contentment
So pretty in the sky. b. lasting relationship among spouses
Are also on the faces, c. friendship and camaraderie
Of people going by, d. generosity and serenity
I see friends shaking hands. 5. The speaker in the song has
Saying, “How do you do?” a. no dreams to carry on
They’re really saying, b. a positive outlook in life
“I love you.” c. a pessimistic idea about nature
d. lousy disposition towards life
I hear babies cry,
I watch them grow, B. Free Association
They’ll learn much more,
Than I’ll ever know. 6. Draw a big circle then write words from the song that appeal to
And I think to myself, your senses.
What a wonderful world. 7. Sketch the image of one word that captures your interest the most.
8. Explain why such word captured your attention.
Yes, I think to myself, 9. Write a characteristic of a mother can be best likened to nature.
What a wonderful world. 10. Explain why is the green color always associated with nature?
Oh yeah.
What would life be without the wonders of nature? What if there are no
Source: bountiful gifts from nature? Can we survive in this world? In this lesson, you will
http://www.azlyrics.com/lyri be given the opportunity to show your appreciation of nature. Remember, life on
cs/louisarmstrong/whatawo earth is the greatest gift of nature, and it can be found in several hues and shapes.
nderfulworld.html The beauty of nature mesmerizes all of us for without nature, we would not know
the greatest gift of our existence.

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III. ACQUISITION
Activity 2. Read Roland
“The Song of Roland” is an epic poem and, as such, deals with the heroic deeds of great men. It was written in
the Medieval Period A. D. 450-1300.

Literary Criticism
refers to analysis and judgment of works of literature. It tries to interpret specific works of literature, and also helps
us to identify and understand different ways of examining and interpreting them.

HISTORICAL CRITICISM
▪ It is a branch of criticism that investigates the origins of ancient texts in order to understand “the world behind
the text.” It has also been applied to other religions and secular writings from various parts of the world and
periods of history.
▪ Its primary goal is to discover the text’s primitive or original meaning in its original historical context and its literal
sense
▪ It also seeks to establish a reconstruction of the historical situation of the author and recipients of the text.
▪ This approach "seeks to understand a literary work by investigating the social, cultural, and intellectual context
that produced it—a context that necessarily includes the artist's biography and milieu." A key goal for historical
critics is to understand the effect of a literary work upon its original readers.

Activity 3
Directions: Read and analyze the poem. Then answer the questions following it.

From THE SONG OF ROLAND

When Roland saw his coming foes, The heathens said, “We were born to And the word they spake, they put in
All proud and stern hi spirit rose; shame, proof,
Alive he shall never be brought to This day for our disaster came; They flung, with all their strength
yield: Our lords and leaders in battle lost, and craft,
Veillantif spurred he across the field, And Karl at hand with his marshaled Javelin, barb, and plumed shaft.
With golden spurs he pricked him host; Roland’s buckler was torn and
well, We hear the trumpets of France ring frayed,
To break the ranks of the infidel; out, His cuirass broken and disarrayed,
Archbishop Turpin by his side. And the cry Montjoie! their rallying Yet entrance none to his flesh they
“Let us flee and save us,” the shout. made.
heathen cried; Roland’s pride is of such a height, From thirty wounds Veillantif bled,
“These are the trumpets of France Not to be vanquished by moral Beneath his rider they cast him,
we hear--- wight; dead;
It is Karl, the mighty emperor, near.” Hurl we our missiles, and hold aloof.” Then from the field have the
heathens flown:
Roland remaineth, on fort, alone.

QUESTIONS:
1. Roland is generally regarded as the prototype of the perfect Christian Knight. Cite at least three of Roland’s
qualities that would personify such a Knight.
2. The chivalric code gave great attention to the concept of personal honor. Find evidence in which concern for
honor determines the conduct of Roland.
3. Do our leaders at present show the same honor and integrity compared to the time of King Charlemagne and
Roland?
4. Give at least three similarities and differences of the leaders and their leadership then and now.
5. This great epic portrays Christian values. Identify some of these values as depicted in the epic. Which of
these is still practiced by the Filipinos?
6. What is your idea of dying an “honorable death?”
7. Recall a character in our history who had died with honor. Explain and support your answer.
8. From your analysis of the poem, what approach to literary criticism is shown?
a.Marxist b. Feminist c. Historical d. Reader-response

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Activity 4
Day in the Country by Anton Pavlovich Chekhov (1860-1904)
Between eight and nine o'clock in the morning.
A dark leaden-coloured mass is creeping over the sky towards the sun. Red zigzags of lightning gleam here
and there across it. There is a sound of far-away rumbling. A warm wind frolics over the grass, bends the trees, and
stirs up the dust. In a minute there will be a spurt of May rain and a real storm will begin.
Fyokla, a little beggar-girl of six, is running through the village, looking for Terenty the cobbler. The white-
haired, barefoot child is pale. Her eyes are wide-open, her lips are trembling.
"Uncle, where is Terenty?" she asks every one she meets. No one answers. They are all preoccupied with the
approaching storm and take refuge in their huts. At last she meets Silanty Silitch, the sacristan, Terenty's bosom
friend. He is coming along, staggering from the wind.
"Uncle, where is Terenty?"
"At the kitchen-gardens," answers Silanty.
The beggar-girl runs behind the huts to the kitchen-gardens and there finds Terenty; the tall old man with a
thin, pock-marked face, very long legs, and bare feet, dressed in a woman's tattered jacket, is standing near the
vegetable plots, looking with drowsy, drunken eyes at the dark storm-cloud. On his long crane-like legs he sways in
the wind like a starling-cote.
"Uncle Terenty!" the white-headed beggar-girl addresses him. "Uncle, darling!"
Terenty bends down to Fyokla, and his grim, drunken face is overspread with a smile, such as come into
people's faces when they look at something little, foolish, and absurd, but warmly loved.
"Ah! Servant of God, Fyokla," he says, lisping tenderly, "where have you come from?"
"Uncle Terenty," says Fyokla, with a sob, tugging at the lapel of the cobbler's coat. "Brother Danilka has had
an accident! Come along!"
"What sort of accident? Ough, what thunder! Holy, holy, holy…. What sort of accident?"
"In the count's copse Danilka stuck his hand into a hole in a tree, and he can't get it out. Come along, uncle,
do be kind and pull his hand out!"
"How was it he put his hand in? What for?"
"He wanted to get a cuckoo's egg out of the hole for me."
"The day has hardly begun and already you are in trouble…."Terenty shook his head and spat
deliberately.”Well, what am I to do with you now? I must come… I must, may the wolf gobble you up, you naughty
children! Come, little orphan!"
Terenty comes out of the kitchen-garden and, lifting high his long legs, begins striding down the village street.
He walks quickly without stopping or looking from side to side, as though he were shoved from behind or afraid of
pursuit. Fyokla can hardly keep up with him.
They come out of the village and turn along the dusty road towards the count's copse that lies dark blue in the
distance. It is about a mile and a half away. The clouds have by now covered the sun, and soon afterwards there is
not a speck of blue left in the sky. It grows dark.
"Holy, holy, holy…" whispers Fyokla, hurrying after Terenty. The first rain-drops, big and heavy, lie, dark dots
on the dusty road. A big drop falls on Fyokla's cheek and glides like a tear down her chin.
"The rain has begun," mutters the cobbler, kicking up the dust with his bare, bony feet. "That's fine, Fyokla,
old girl. The grass and the trees are fed by the rain, as we are by bread. And as for the thunder, don't you be
frightened, little orphan. Why should it kill a little thing like you?"
As soon as the rain begins, the wind drops. The only sound is the patter of rain dropping like fine shot on the
young rye and the parched road.
"We shall get soaked, Fyokla," mutters Terenty. "There won't be a dry spot left on us….Ho-ho, my girl! It's
run down my neck! But don't be frightened, silly….The grass will be dry again, the earth will be dry again, and we
shall be dry again. There is the same sun for us all."
28 | P a g e
A flash of lightning, some fourteen feet long, gleams above their head. There is a loud peal of thunder, and it seems
to Fyokla that something big, heavy, and round is rolling over the sky and tearing it open, exactly over her head.
"Holy, holy, holy…" says Terenty, crossing himself.”Don't be afraid, little orphan! It is not from spite that it
thunders."
Terenty's and Fyokla's feet are covered with lumps of heavy, wet clay. It is slippery and difficult to walk, but
Terenty strides on more and more rapidly. The weak little beggar-girl is breathless and ready to drop.
But at last they go into the count's copse. The washed trees, stirred by a gust of wind, drop a perfect waterfall
upon them. Terenty stumbles over stumps and begins to slacken his pace.
"Whereabouts is Danilka?" he asks. "Lead me to him."
Fyokla leads him into a thicket, and, after going a quarter of a mile, points to Danilka. Her brother, a little
fellow of eight, with hair as red as ochre and a pale sickly face, stands leaning against a tree, and, with his head on
one side, looking sideways at the sky. In one hand he holds his shabby old cap, the other is hidden in an old lime tree.
The boy is gazing at the stormy sky, and apparently not thinking of his trouble. Hearing footsteps and seeing the
cobbler he gives sickly smile and says:
"A terrible lot of thunder, Terenty….I've never heard so much thunder in all my life."
"And where is your hand?"
"In the hole….Pull it out, please, Terenty!"
The wood had broken at the edge of the hole and jammed Danilka's hand: he could push it farther in, but
could not pull it out. Terenty snaps off the broken piece, and the boy's hand, red and crushed, is released.
"It's terrible how it's thundering," the boy says again, rubbing his hand. "What makes it thunder, Terenty?"
"One cloud runs against the other," answers the cobbler. The party come out of the copse, and walk along
the edge of it towards the darkened road. The thunder gradually abates, and its rumbling is heard far away beyond
the village.
"The ducks flew by here the other day, Terenty," says Danilka, still rubbing his hand. "They must be nesting
in the Gniliya Zaimishtcha marshes….Fyokla, would you like me to show you a nightingale's nest?"
"Don't touch it, you might disturb them," says Terenty, wringing the water out of his cap. "The nightingale is
a singing-bird, without sin. He has had a voice given him in his throat, to praise God and gladden the heart of man.
It's a sin to disturb him."
"What about the sparrow?"
"The sparrow doesn't matter, he's a bad, spiteful bird. He is like a pickpocket in his ways. He doesn't like man
to be happy. When Christ was crucified it was the sparrow brought nails to the Jews, and called 'alive! alive!' "
A bright patch of blue appears in the sky.
"Look!" says Terenty. "An ant-heap burst open by the rain! They've been flooded, the rogues!"
They bend over the ant-heap. The downpour has damaged it; the insects are scurrying to and fro in the mud,
agitated, and busily trying to carry away their drowned companions.
"You needn't be in such a taking, you won't die of it!" says Terenty, grinning. "As soon as the sun warms you, you'll
come to your senses again….It's a lesson to you, you stupid. You won't settle on low ground another time."
They go on.
"And here are some bees," cries Danilka, pointing to the branch of a young oak tree.
The drenched and chilled bees are huddled together on the branch. There are so many of them that neither bark nor
leaf can be seen. Many of them are settled on one another.
"That's a swarm of bees," Terenty informs them. "They were flying looking for a home, and when the rain came down
upon them they settled. If a swarm is flying, you need only sprinkle water on them to make them settle. Now if, say,
you wanted to take the swarm, you would bend the branch with them into a sack and shake it, and they all fall in."
Little Fyokla suddenly frowns and rubs her neck vigorously. Her brother looks at her neck, and sees a big
swelling on it.

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 "Hey-hey!" laughs the cobbler. "Do you know where you got that from, Fyokla, old girl? There are Spanish
flies on some tree in the wood. The rain has trickled off them, and a drop has fallen on your neck—that's what has
made the swelling."
The sun appears from behind the clouds and floods the wood, the fields, and the three friends with its warm
light. The dark menacing cloud has gone far away and taken the storm with it. The air is warm and fragrant. There is
a scent of bird-cherry, meadowsweet, and lilies-of-the-valley.
"That herb is given when your nose bleeds," says Terenty, pointing to a woolly-looking flower. "It does good."
They hear a whistle and a rumble, but not such a rumble as the storm-clouds carried away. A goods train
races by before the eyes of Terenty, Danilka, and Fyokla. The engine, panting and puffing out black smoke, drags
more than twenty vans after it. Its power is tremendous. The children are interested to know how an engine, not
alive and without the help of horses can move and drag such weights, and Terenty undertakes to explain it to them:
"It's all the steam's doing, children…. The steam does the work…. You see, it shoves under that thing near
the wheels, and it…you see…it works…"
They cross the railway line, and, going down from the embankment, walk towards the river. They walk not
with any object, but just at random, and talk all the way…. Danilka asks questions, Terenty answers them…
Terenty answers all his questions, and there is no secret in Nature which baffles him. He knows everything.
Thus, for example, he knows the names of all the wild flowers, animals, and stones. He knows what herbs cure
diseases; he has no difficulty in telling the age of a horse or a cow. Looking at the sunset, at the moon, or the birds,
he can tell what sort of weather it will be next day. And indeed, it is not only Terenty who is so wise. Silanty Silitch,
the innkeeper, the market-gardener, the shepherd, and all the villagers, generally speaking, know as much as he
does. These people have learned not from books, but in the fields, in the wood, on the river bank. Their teachers
have been the birds themselves, when they sang to them, the sun when it left a glow of crimson behind it at setting,
the very trees, and wild herbs.
Danilka looks at Terenty and greedily drinks in every word. In spring, before one is weary of the warmth and
the monotonous green of the fields, when everything is fresh and full of fragrance, who would not want to hear
about the golden may-beetles, about the cranes, about the gurgling streams, and the corn mounting into ear?
The two of them, the cobbler and the orphan, walk about the fields, talk unceasingly, and are not weary.
They could wander about the world endlessly. They walk, and in their talk of the beauty of the earth do not notice
the frail little beggar-girl tripping after them. She is breathless and moves with a lagging step. There are tears in her
eyes; she would be glad to stop these inexhaustible wanderers, but to whom and where can she go? She has no
home or people of her own; whether she likes it or not, she must walk and listen to their talk.
Towards midday, all three sit down on the river bank. Danilka takes out of his bag a piece of bread, soaked
and reduced to a mash, and they begin to eat. Terenty says a prayer when he has eaten the bread, then stretches
himself on the sandy bank and falls asleep. While he is asleep, the boy gazes at the water, pondering. He has many
different things to think of. He has just seen the storm, the bees, the ants, and the train. Now, before his eyes, fishes
are whisking about. Some are two inches long and more, others are no bigger than one's nail. A viper, with its head
held high, is swimming from one bank to the other.
Only towards the evening our wanderers return to the village. The children go for the night to a deserted
barn, where the corn of the commune used to be kept, while Terenty, leaving them, goes to the tavern. The children
lie huddled together on the straw, dozing.
The boy does not sleep. He gazes into the darkness, and it seems to him that he is seeing all that he has seen
in the day: the storm-clouds, the bright sunshine, the birds, the fish, lanky Terenty. The number of his impressions,
together with exhaustion and hunger, are too much for him; he is as hot as though he were on fire, and tosses from
side to side. He longs to tell someone all that is haunting him now in the darkness and agitating his soul, but there is
no one to tell. Fyokla is too little and could not understand.
"I'll tell Terenty to-morrow," thinks the boy.
The children fall asleep thinking of the homeless cobbler, and, in the night, Terenty comes to them, makes
the sign of the cross over them, and puts bread under their heads. And no one sees his love. It is seen only by the
moon which floats in the sky and peeps caressingly through the holes in the wall of the deserted barn.

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IV. APPLICATION
Activity 5
Think of the text you have read. Write five words that appeal to you having a personal significance as a
citizen of this world, Write them in each drawing.

Activity 6
Write an article comparing the collapse of the USSR to the Marital Law here in the Philippines. You may use the
following links to create and have a vivid imagination of how to live in both periods.
• How and why did the Soviet Union collapse = https://www.youtube.com/watch?v=qZdijf1U7OY
• Pres. Ferdinand Marcos declared Martial Law on Sept. 21, 1972 = https://www.youtube.com/watch?v=bDCHIIXEXes

V. ASSESSMENT
Critique the selection you have just read by supplying the answers to the given questions using the table below.
Questions
1. Who are the characters in the story?
2. when and where does the story take place?
3. What is the main problem of the story?
4. What happened in the story?
5. What is the author’s attitude toward the subject? What kind of
emotion or feeling is evoked in you after reading the story?
6. Do you think the history of a country can influence a certain
literary piece?
7. If you would alter the ending of the story, would you do the
same?

REFERENCES
Grammar (no date). Conjunctions. Capital Community College Foundation, Hartford, CT. Retrieved from
http://guidetogrammar.org/grammar/conjunctions.htm

De Boer J. (1982). Basic Language: Messages and Meaning. Harper & Row Publishers Inc. USA. SBN 06-537011-2

Grammar. (no date). Modals verbs and their meaning. Retrieved from
https://www.myenglishpages.com/site_php_files/grammar-exercise-modals-meaning.php

Grammar. (no date). Grammar Exercise – Modals. Retrieved from

https://www.myenglishpages.com/site_php_files/grammar-exercise- modals.php

Grammar. (no date). Grammar Exercise -Meaning of Modals. Retrieved from

https://www.myenglishpages.com/site_php_files/grammar-exercise-modals-meaning.php

Language Feature and Structure of Exposition. (2015). Australian Securities and Investments Commission. Retrieved from
https://static.moneysmart.gov.au/teaching/resources/smart-consumers-4-a-smart

Kemper D., Sebranek P., &Meyer V. (2012). Write Source: Writing Grammar. Orlando, FL: Houghton Mifflin Harcourt Publishing
Company. ISBN 978-0-547-48502-7

University of Hawaii –WO Writing Center (1998). Writing a Position Paper. Retrieved from
https://www.cs.rutgers.edu/~rmartin/teaching/fall17/Writing_a_Position_Paper.pdf

Barry J., Kermode F., Berry J., Rodriguez R., Desai A. (2010). Literature: The British Edition. Upper Saddle River, NJ: Pearson
Education Inc. ISBN 978-0-13-366681

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