G9 English Lesson Exemplar 3rd Quarter

English Literature (Cebu Normal University)

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Through Technology

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in one-
understanding of how Anglo- act play through utilizing effective
American literature and other text verbal and non-verbal strategies and
types serve as means of connecting ICT resources based on the following
to the world; also how to use ways of criteria: Focus, Voice, Delivery, and
analyzing one-act play and different Dramatic Conventions.
forms of verbals for him/her too
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9WC-IIIa-9: Compose forms of literary writing
EN9LC-IIIi-8.2: Judge the relevance and worth of information/ideas

Objectives:
1. Analyze the meaning and message of the poem
2. View an informative video clip and extract information from it
3. Compose an acrostic poem about the given topic
4. Relate poem content to particular social issues, concerns, or
dispositions in real life regarding the use of telephone and other
technologies

II. LEARNING CONTENT

Lesson: “The Telephone” by Edward Field
Materials:
1. Laptop
2. Projector/Monitor
3. Speaker
References:
1. K to 12 Curriculum Guide (May 2016) p. 206, 208
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 236-239
3. Online References

III. LEARNING TASKS

Introduction: How do you imagine the world without telephone?

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Preliminary Activity:
TASK 1: THE TELEPHONE AND ITS BEGINNING
1. The students will be asked to watch a video about the telephone‘s short
history.

Source: https://www.youtube.com/watch?v=TrLObtDvsa8

2. Guide Question:
 Who invented the telephone?
 When was the first phone call?
 How was the first telephone invented?

Activity:
TASK 2: THE TELEPHONE AND ITS IMPORTANCE

Pair Work:

1. Work with a partner.

2. Interview each other

on what one thinks is
the greatest
importance of a
telephone.

3. Write a one-
sentence answer of
your partner in the
speech bubble.

Analysis:
TASK 3: BREAKING BARRIERS
Listen carefully as your teacher reads the poem, ―The Telephone‖ by Edward
Field. Then, read it with your partner. (LM in English, p.237)
The Telephone
by Edward Field
My happiness depends on an electric appliance
And I do not mind giving it so much credit
With life in this city being what it is
Each person separated from
friends

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 By a tangle of subways and buses
Yes my telephone is my joy
It tells me that I am in the world and wanted
It rings and I am alerted to love or gossip
I go comb my hair which begins to sparkle
Without it I was like a bear in a cave
Drowsing through a shadowy winter
It rings and spring has come
I stretch and amble out into the sunshine
Hungry again as I pick up the receiver
For the human voice and the good news of friends
*Source: "The Telephone" by Edward Field, from Counting Myself Lucky. © Black Sparrow Press, 1992.

TASK 4: BONDING TOGETHER

Students work in five (5) groups to discuss the message of the poem. (LM, pp. 238-
239)
GRATITUDE
My happiness depends on an electric appliance
Group 1 And I do not mind giving it so much credit

1. What is the predominant feeling of the speaker in

these lines?
2. Why does he feel that way?

OBSTACLE
Group 2 With life in this city being what it is
Each person separated from friends

1. Why are friends disconnected?

PLEASURE
Group 3 Yes my telephone is my joy
It tells me that I am in the world and wanted
It rings and I am alerted to love or gossip
I go comb my hair which begins to sparkle

1. How does the speaker justify his joy of having

a telephone?

SPRING
Without it I was like a bear in a cave
Group 4 Drowsing through a shadowy winter
It rings and spring has come
1. To what does the speaker compare man‘s
situation
before the advent of the telephone?
2. What value do people give to the telephone
when he has the access to it?
3. What literary device is used here?
CONNNECTION
I stretch and amble out into the sunshine
Group 5 Hungry again as I pick up the receiver
For the human voice and the good news of friends

1. What does the speaker hunger for? Is he

capable of connecting to the world? Explain.

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Abstraction:
TASK 5: PRO’S AND CON’S OF TELEPHONE USE

Although telephone proves to have a lot of benefits, there are still

drawbacks in its use. Use the diagram to list the advantages and
disadvantages of using a phone.

ADVANTAG DISADVANTAGES
ES

Application:
TASK 6: FUN IN ACROSTIC
Now that you have explored the wonders and downside of a telephone and
its
use, create an acrostic poem featuring your own version of ―The Telephone‖.

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 WRITING AN ACROSTIC POEM RUBRIC
Criteria Exceeding Meeting Approaching Below
Standards Standar Standards Standar
4pts. ds 2pts. ds
3pts. 1pt.
Meaning and Poem is creative Poem is
Most of the poem is
and original. It is thoughtful and Poems appear to be
Originality evident that the creative. A couple
creative, but
thoughtless or
appears to be
poet put of phrases or rushed.
rushed. This is
thought into their ideas may be evident in the Work is very
words and uniquely revisited, but the repetitive, and
poet's redundancy
ideas
or use of cliches.
conveyed their overall product is are unoriginal.
ideas carefully written.
and emotions.
Sensory Details Vivid, detailed
images and Clear sensory
Some use of image, Difficult to visualize
intensely felt images are used to
idea, or emotion image or emotion
emotion make portray ideas or
the poem come emotions
alive.
Form The poem is The poem is written The poem is The poem is not
complete and in its proper forms somewhat written written in its
follows its intended with a few mistakes. in its proper form. proper form.
form.
Grammar A couple of
Proper use of There are
spelling or The poet's
English spelling numerous
grammar intended meaning
and grammar is spelling or
mistakes are is confusing by
used consistently grammar errors,
evident, but do several spelling or
throughout each making the
not diminish the grammar errors.
poem. Punctuation poems difficult to
meaning of the Punctuation may be
is utilized when understand.
poem. misused.
necessary. Punctuation is used
Punctuation is
incorrectly.
utilized when
necessary.
Source: http://www.rcampus.com/rubricshowc.cfm?sp=yes&code=J2359Bhttp://www.rcampus.com/rubricshowc.
cfm?sp=yes&code=J2359B

Assessment:
Students with best outputs will share their work to the class.

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Through Technology

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in one-
understanding of how Anglo- act play through utilizing effective
American literature and other text verbal and non-verbal strategies and
types serve as means of connecting ICT resources based on the following
to the world; also how to use ways of criteria: Focus, Voice, Delivery, and
analyzing one-act play and different Dramatic Conventions.
forms of verbals for him/her too
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9LT-IIIa-16: Analyze literature as a means of connecting to the world
EN9LC-IIId-6.5: Provide appropriate and critical feedback/reaction to
a specific context or situation

Objectives:
1. Analyze the radio play and relate it to actual experiences in
the modern world
2. Listen to the radio play and share thoughts regarding the
values gained from the text
3. Create infographics and disseminate information to the community
4. Share insights, feedback, and reaction to given situations that
require critical processing

II. LEARNING CONTENT

Lesson: “Sorry, Wrong Number” (A Radio Play) by Lucille Fletcher
Materials:
1. Laptop
2. Projector/Monitor
3. Speaker
References:
1. K to 12 Curriculum Guide (May 2016) pp. 206-207
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 240-253
3. Online References

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 III. LEARNING TASKS
Introduction: How do you respond to emergency situations? How willing
are you to help others caught in emergency situations?

Preliminary Activity:
TASK 1: LOOKING UP
How do you respond to an emergency situation? Whom do you call for help?
Group Work:
In strips of paper are critical situations. Present the situation in a role play
(maximum of 3 minutes) and focus on depicting your solution if you‘ll
be confronted with such. (LM, p. 235)

Somebody
Your A woman’s in fear and
neighbor’s purse is in
house is on snatched in panic calls on
fire. front of you your cell phone
inside a asking for your
jeepney. help.

Your mother A hazardous

complains of chemical in the
dizziness and Chemistry Lab
falls to the spills producing
ground smoke and a
unconscious. suffocating
scent.

ROLE PLAY RUBRIC

Exception Admirabl Acceptabl Attempte

Criteria
al e e 2pts. d 1pt.
4pts. 3pts.
Understandin Indicates a clear  Good
 Fair understanding  Presentation is off
g of Topic understanding understanding
of topic topic
of of
topic topic

All members  Some members  Few members  Group does not

Cooperation contribute by contribute by contribute by work together
playing role well playing role well playing role well in playing their
roles
Shows confidence  Shows
 Unsure of
Informative some  Portrayal stalls
responsibili
Entertaining; confidenc  Lacks information
ty
engage e  Audience bored
Presentation s  Presents
 Somewha
 Mumbles
t
audienc some  Body language is
informati
e information lacking;
ve
Speaks loudly and  Engages inappropriate
 Engages
clearly audience
audience
Appropriate use of  Can be heard
intermittently
body language  Some use of
 Hard to hear
body
 Some movement
language
Source: cte.sfasu.edu/wp-content/uploads/2012/01/Skit.doc
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Activity:

TASK 2: MUSIC CORNER

Listen to the song Reach Out by Take That.

Interpret the message of the song.

Source: https://www.youtube.com/watch?
v=E8tszVim_dk

TASK 3: TOUCHING YOU, TOUCHING ME

View the powerpoint slides to be presented by the teacher and respond

to it by interpreting the meaning expressed in the song ―Reach Out‖
by Take That.
(LM, p.236)

SLIDE 1

SLIDE 2

SLIDE 3

SLIDE 4

SLIDE 5

Analysis:

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TASK 4: LISTENING HUB

Listen to the radio excerpt as you read along

the copy of the script in your Learner‘s
Material on pages 240-251.

Source:
https://www.youtube.com/watch?v=_uDmNc8j9gA

TASK 5: COMPREHENSION CHECK

A. Crossing Difficulties
Give the meaning of the underlined words in these sentences.
Choose your answers from the synonyms in the box. (LM, p.252)
bossy complaining soft tolerant demoralize overbearing
1. Mrs. Stevenson is identified as a querulous and self-centered neurotic.
2. She became imperious when she could not connect to the
number she dialed.
3. When she dialed again, she only got a bland buzzing signal and
heard the conversation on the cross line.
4. The telephone operator‘s failed attempts to connect to her husband‘s
office
number unnerved her.
5. She gave a highhanded reply when she answered Sgt. Duffy did
not take action on her complaint.

B. Tracking of Events
Arrange the events according to their occurrence in the play.
Enter your answer in the box. (LM, p. 252)
1. 2. 3. 4. 5.
a. She accidentally overheard a conversation between two men
planning murder.
b. Desperate to prevent the crime, she began a series of calls
– to the operator, to the police, and others.
c. Mrs. Stevenson is an invalid confined to her bed and her only life
line was the telephone.
d. One night, while she was waiting for her husband to return
home, she picked up the phone and called his office.
e. Her conversation with Sgt. Duffy made her realize the
description of the crime scene and victim.

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 C. Discovering Traits
Describe the characters by putting traits on the strands. (LM, p.253)

Mrs.
Stevenson

Sgt.
Duffy

Abstraction:

TASK 6: FIRMING UP
Answer the following questions. (LM, p. 253)
1. Which parts of the story can you find
heightened tension and suspense? Which is its
effect on you?
2. Was Mrs. Stevenson able to connect to get help? How?
3. Would you be willing enough to face danger just
to help somebody in trouble? Explain your answer.

TASK 7: GETTING THE CHILL

1. Think of Filipino horror or suspense
movies that you have watched and
enjoyed.
2. Enter the movie title on the first
column and write on the second
column the word to describe their
effect on you: suspenseful,
frightening, horrifying, terrifying.

CHILL FACTOR CHART

Movie Effect

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Application:
TASK 8: MOCK RADIO PLAY
Each group will be assigned a portion of the
Sorry, Wrong Number‘s script. They are to
perform the radio drama.
Group 1: pp. 240-242
Group 2: pp. 243-244
Group 3: pp. 245-246
Group 4: pp. 247-248
Group 5: pp. 249-251

MOCK RADIO PLAY RUBRIC

Criteria 4pts. 3pts. 2pts. 1pt.
All vocals are
The majority Less than half of
clear and easy to Most vocals are
of vocals are the vocals are
Clarity understand
clear and clear and easy
not clear and
throughout the easy to
easy to to understand.
entire radio play. understand.
understand.
Most vocals are Less than half of Most vocals are
All vocals are at
at an appropriate the vocals are at not at an
an appropriate
Volume volume
volume an appropriate appropriate
throughout volume volume
throughout the
the entire radio throughout the throughout
entire radio play.
play. entire radio the entire radio
play. play.
All music and Most music and Some music and Most music and
sound
effects sound effects sound effects sound effects
Music/
enhance the enhance the distract from the distract from the
Sound overall radio overall radio play main content of main content of
Effects play in a in the the
positive
way. a positive way. radio play. radio play
The play is not There is little to
The play is told
The play very original and no originality or
and performed in
Originality an interesting and
shows some little creative creativity in the
originality storytelling presentation of
creativity way.
and is done or the play.
creativity. attempte
d.
Students indicate
a Some Characterization
strong character. characterization is lacking for the
Vocal choices are is heard and most part or not Very little
specific, well attempted. apparent. Little characterization
Characters thought out and Some good to no vocal is
vocal choices choices are heard or
applicable for are made and made or attempted.
chosen presented. attempted.
character(s).
Group Group Group Little expression
Vocal members members members is attempted or
are vocally are vocally are vocally heard
Expression expressive expressive for the expressive some of from group
throughout. most part. the time. members.
Presentation is
Presentation is The The presentation
for the most
well put together, presentation is is completed, but
Presentation organized and
part well put
well put poorly ordered
together,
professional. together and and put together
organized and
professional. organized but
inconsistently.
Source: https://mkistheatreanddrama.wikispaces.com/file/view/Radio+Play+Rubric.pdf

Assessment:

TASK 9: COMMUNITY INFORMANTS

Group Mission:
1. To create an infographic informing the public
about local hotlines to contact during
emergency situations;
2. Post or distribute the infographics to
members of the community (e.g. relatives,
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 friend, neighbors); and,
3. Provide evidence of
information
dissemination by
taking pictures

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Sample Infographics

Source: http://www.mommypracticality.
com/2012/08/MonsoonEmergency
PH.html

Source: https://kalongkong.wordpress.com/2012/08/07/pub
lic-service-emergency-hotlines-in-the-philippines/

Research. Make sure not to fabricate

information. Conduct research on the contact
information of the local agencies.

Be creative. Use your design and page

layout skills and creativity to come up with a
catchy infographic.

Take part. Keep in mind

your responsibilities as a
community member and
accomplish your task from
there.

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 INFOGRAPHIC RUBRIC

Exceeds
Meets Needs More
Component Expectatio
Expectation Work
ns
s 3pts. 1pt.
5pts.
Data Visualization The data visualization
The data visualization Other data visualization
formats chosen
formats chosen make formats should be
showcase the data,
the data presented easy chosen to best
but some may make it
for the viewer to showcase the data
difficult for the viewer
understand the presentation for the
to understand the
information. points. viewer`

Fonts The infographic includes

The infographic The font(s) used in the
an appropriate font to
includes multiple fonts infographic make the
both complement the
and/or the fonts do not text almost
content and make the
seem related to the unreadable.
text
infographics topic.
readable.
Colors The color choices
The color choices for
enhance the visibility of The color choices are
the infographic are not
the infographic. fine, but too many
visually pleasing and
Different saturations of colors may have been
detract from the
the same used.
infographic.
color are used wisely.
Layout The layout of the The layout of the
The infographic is
infographic adheres to infographic includes all
lacking one or two of
the inverted pyramid three components - main
the components of
style - main point on point, secondary point,
good infographic
top, secondary point and supporting details -
design - main point,
next, and supporting but is not organized in
secondary point, or
details at the the
supporting details.
bottom. inverted pyramid style.
Objects Some objects included
The objects included in
in the infographic are Too many different
the infographic are
repeated but the types of objects are
repeated to support
infographic did not used in the infographic
various data points and
seem to include enough and that makes it hard
to make it easier for the
repeated for the viewer to
viewer to understand
elements to make it understand the content.
the infographic.
understandable.
Source: http://www.schrockguide.net/uploads/3/9/2/2/392267/schrock_infographic_rubric.pdf

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 SORRY, WRONG NUMBER
Copy of the Script

SOUND: NUMBER BEING DIALED ON TELEPHONE -- THEN A BUSY

SIGNAL MRS. STEVENSON: (A QUERULOUS, SELF-CENTERED NEUROTIC)

Oh -- dear ... !

SOUND: SLAMS DOWN RECEIVER IMPATIENTLY AND DIALS OPERATOR ... RINGS FOUR TIMES

OPERATOR: (ON FILTER) Your call, please?

MRS. STEVENSON: Operator, I've been dialing Murray Hill 7-0093 now for the last three
quarters of an hour and the line is always busy. I don't see how it could be busy that
long. Will you try it for me, please?

OPERATOR: (ON FILTER) I will be glad to try that number for you. One moment,

please. SOUND: OPERATOR DIALS NUMBER UNDER FOLLOWING

MRS. STEVENSON: (RAMBLING, FULL OF SELF-PITY) I don't see how it could be busy all this
time. It's my husband's office. He's working late tonight, and I'm all alone here in the
house. My health is very poor and I've been feeling so nervous all day.

OPERATOR: (ON FILTER) Ringing Murray Hill 7-0093.

SOUND: TELEPHONE RINGING ... ALL CLEAR ... MRS. STEVENSON SIGHS IN RELIEF ...
RINGS FOUR TIMES ... THE RECEIVER IS PICKED UP AT THE OTHER END

MAN'S VOICE: (FILTER) (HEAVY, TOUGH VOICE) Hello?

MRS. STEVENSON: Hello...? (A LITTLE PUZZLED) Hello. Is - is Mr. Stevenson

there? MAN'S VOICE: (AS THOUGH HE HAD NOT HEARD) Hello?

(LOUDER) Hello?

2ND MAN'S VOICE: (FILTER) (ALSO OVER TELEPHONE BUT FARTHER AWAY ... A VERY
DISTINCTIVE QUALITY) Hello.

1ST MAN: Hello. George?

GEORGE: Yes, sir. This is George speaking.

MRS. STEVENSON: (LOUDER AND MORE IMPERIOUS) Hello. Who's this? What number am I
calling, please?

1ST MAN: I'm here with our client.

GEORGE: (PLEASED) Oh ... good. Is everything okay? Is the coast clear for

tonight? 1ST MAN: Yeah, George. He says the coast is clear for tonight.

GEORGE: Okay, okay.

1ST MAN: Where are you now?

GEORGE: In a phone booth. Don't worry. Everything's

okay. 1ST MAN: Very well. You know the address?

GEORGE: Yeah, yeah, I know. At eleven o'clock the private patrolman goes around
to the bar on Second Avenue for a beer.

1ST MAN: That's right. At eleven o'clock.

GEORGE: I will make sure that all the lights downstairs

are out. 1ST MAN: There should be only one light, visible

from the street.

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GEORGE: Yeah, yeah, I know. At eleven-fifteen a train crosses the bridge. It makes a
noise, in case her window's open and she should scream.

MRS. STEVENSON: (SHOCKED) Oh! ... Hello? What number is this,

please? GEORGE: Okay. I understand, I tell you. That's eleven-

fifteen, the train. 1ST MAN: Yeah. You remember everything

else, George?

GEORGE: Yeah, yeah, I make it quick. As little blood as

possible ... MRS. STEVENSON: (GASPS IN HORROR)

GEORGE: ... because ... (AS IF AMUSED) our client does not wish to make her

suffer long. 1ST MAN: That's right. You'll use a knife?

GEORGE: Yes. A knife will be okay. And afterwards I remove the rings and the bracelets
and the jewelry in the bureau drawer. Because ... our client wishes it to look like
simple robbery. Don't worry. Everything's okay. I never ma--

SOUND: THE CONVERSATION IS SUDDENLY CUT OFF ... AGAIN, MRS. STEVENSON HEARS
A PERSISTENT BUZZING SIGNAL

MRS. STEVENSON: (CLICKING PHONE) Oh... ! Oh, how awful. How unspeakably awful!

SOUND: SHE HANGS UP, THEN PICKS UP PHONE AND DIALS, MUMBLING "OPERATOR" TO
HERSELF, AMONG OTHER THINGS ... RING THRICE

OPERATOR: (FILTER) Your call, please?

MRS. STEVENSON: (UNNERVED AND BREATHLESS) Operator, I've just

been cut off. OPERATOR: (FILTER) I'm sorry. What number were you

calling?

MRS. STEVENSON: (RAPIDLY) Why, it was supposed to be Murray Hill 7-0093 but it wasn't.
Some wires must have crossed -- I was cut into a wrong number and I -- I - I've just
heard the most dreadful thing -- something about a - a murder and -- operator, you
simply have to retrace that call at once!

OPERATOR: (FILTER) I beg your pardon? May I help you?

MRS. STEVENSON: (FRANTIC) Oh, I know it was a wrong number, and I had no business
listening, but these two men -- they were cold-blooded fiends -- and they were going
to murder somebody, some poor innocent woman, who was all alone in a house near
a bridge and we've got to stop them -- we've got to --

OPERATOR: (FILTER) (PATIENTLY) Uh, what number were you calling, please?

MRS. STEVENSON: Well, that doesn't matter. This was a wrong number. And you
dialed it for me. And we've got to find out what it was immediately!

OPERATOR: (FILTER) What number did you call?

MRS. STEVENSON: Oh, why are you so stupid? What time is it? Do you mean to tell
me you can't find out what that number was just now?

OPERATOR: (FILTER) I'll connect you with the Chief Operator.

MRS. STEVENSON: Oh, I think it's perfectly shameful. Now, look. Look -- it was
obviously a case of some little slip of the finger. I told you to try Murray Hill 7-0093 for
me. You dialed it but your finger must have slipped and I was connected with some
other number -- and I could hear them, but they couldn't hear me. Now, I - I - I simply
fail to see why you couldn't make that same mistake again on purpose -- why you
couldn't try to dial Murray Hill 7-0093 in the same sort of careless way --

OPERATOR: (FILTER) Murray Hill 7-0093?

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MRS. STEVENSON: Yes!

OPERATOR: (FILTER) I'll try to get it for

you. MRS. STEVENSON: Well, thank you.

SOUND: OPERATOR DIALS -- THEN THE BUSY SIGNAL

OPERATOR: (FILTER) I'm sorry. Murray Hill 7-0093 is busy. I'll call you in twenty minutes--

MRS. STEVENSON: (FRANTICALLY CLICKING RECEIVER) Operator! Operator! Operator!

Operator! OPERATOR: (FILTER) Your call, please?

MRS. STEVENSON: You didn't try to get that wrong number at all. I asked you explicitly
and all you did was dial correctly.

OPERATOR: (FILTER) I'm sorry. What number are you calling?

MRS. STEVENSON: Well, can't you, for once, forget what number I'm calling and do
something for me? Now I want to trace that call. It's my civic duty and it's your civic
duty to trace that call and to apprehend those dangerous killers -- and if you won't...

OPERATOR: (FILTER) I will connect you with the Chief

Operator. MRS. STEVENSON: Please!

SOUND: RINGS FOUR TIMES

MRS. STEVENSON: (UNDER HER BREATH) Oh, dear

... SOUND: THE PHONE PICKS UP

CHIEF OPERATOR: (FILTER) This is the Chief Operator.

MRS. STEVENSON: Oh, uh, Chief Operator. I want you to trace a call, a telephone call,
immediately. I don't know where it came from, or who was making it, but it's
absolutely necessary that it be tracked down. Because it was about a murder that
someone's planning -- a terrible, cold-blooded murder of a poor innocent woman,
tonight, at eleven-fifteen.

CHIEF OPERATOR: (FILTER) I see.

MRS. STEVENSON: (HIGH-STRUNG, DEMANDING) Well, can you trace it for me? Can
you track down those men?

CHIEF OPERATOR: (FILTER) I'm not certain. It

depends. MRS. STEVENSON: Depends on what?

CHIEF OPERATOR: It depends on whether the call is still going on. If it's a live call, we
can trace it on the equipment. If it's been disconnected, we can't.

MRS. STEVENSON: Disconnected?

CHIEF OPERATOR: (FILTER) If the parties have stopped talking to each other.

MRS. STEVENSON: Oh, but of course they must have stopped talking to each other by
now. That was at least five minutes ago and they didn't sound like the type who
would make a long call.

CHIEF OPERATOR: (FILTER) Well -- I can try tracing it. May I have your name,

please? MRS. STEVENSON: Mrs. Stevenson. Mrs. Elbert Stevenson. But, listen --

CHIEF OPERATOR: (FILTER) (INTERRUPTING) And your telephone number,

please? MRS. STEVENSON: Plaza 4-2295. But if you go on wasting all this

time --

CHIEF OPERATOR: (FILTER) Why do you want this call traced, please?

Downloaded by MANGODA, Regine R.

MRS. STEVENSON: Wha--? I-- Well -- no reason. I - I mean, I merely felt very strongly that
something ought to be done about it. These men sounded like killers -- they're dangerous,
they're going to murder this woman at eleven-fifteen tonight and I thought the police
ought to know.

CHIEF OPERATOR: (FILTER) Have you reported this to the

police? MRS. STEVENSON: Well ... No. Not yet.

CHIEF OPERATOR: (FILTER) You want this call checked purely as a private

individual? MRS. STEVENSON: Yes, yes. But meanwhile --

CHIEF OPERATOR: (FILTER) I'm sorry, Mrs. Stevenson, but I'm afraid we couldn't make this
check for you and trace the call just on your say-so as a private individual. We'd
have to have something more official.

MRS. STEVENSON: Oh, for heaven's sake. You mean to tell me I can't report that
there's gonna be a murder without getting tied up in all this red tape? Why, it's
perfectly idiotic! (BEAT) Well, all right. I'll call the police.

CHIEF OPERATOR: (FILTER) Thank you. I'm sure that would be the best way

to-- SOUND: SHE SLAMS DOWN THE RECEIVER

MRS. STEVENSON: Ridiculous! Perfectly ridiculous!

SOUND: SHE DIALS THE OPERATOR ... RINGS FIVE

TIMES

MRS. STEVENSON: (UNDER HER BREATH) The thought of it! ... I can't see why I have to go to all
this trouble... (IMPATIENT AT THE THIRD RING) Oh ...!

SOUND: OPERATOR FINALLY PICKS UP

OPERATOR: (FILTER) Your call, please?

MRS. STEVENSON: The Police Department. Get me the Police Department -- please!

OPERATOR: (FILTER) Thank you.

SOUND: OPERATOR DIALS

MRS. STEVENSON: (FRUSTRATED) Oh, dear! Do you have to dial? Can't you ring them

direct? OPERATOR: (FILTER) Ringing the Police Department.

SOUND: RINGS THREE TIMES ... MRS. STEVENSON KEEPS MUTTERING UNDER HER BREATH

SERGEANT MARTIN: (FILTER) (BORED WITH HIS NIGHT DUTY ASSIGNMENT) Police Station, Precinct
43, Sergeant Martin speaking.

MRS. STEVENSON: Police Department? Ah, this is Mrs. Stevenson -- Mrs. Elbert Smythe
Stevenson of 53 North Sutton Place. I'm calling up to report a murder. I mean (FUMBLING
FOR WORDS) -- the murder hasn't been committed yet but I just overheard plans for it
over the telephone -- over a wrong number that the operator gave me. I've been trying
to trace down the call myself -- but everybody is so stupid -- and I guess in the end
you're the only people who can do anything.

SERGEANT MARTIN: (FILTER) (NOT TOO IMPRESSED BY ALL THIS) Yes, ma'am.

MRS. STEVENSON: (TRYING TO IMPRESS HIM) It was a perfectly definite murder. I heard
their plans distinctly. Two men were talking and they were going to murder some woman
at eleven-fifteen tonight. She lived in a house near a bridge. (BEAT) Are - are you
listening to me?

SERGEANT MARTIN: (FILTER) Yes. Uh, yes, ma'am.

MRS. STEVENSON: And there was a private patrolman on the street. He was going to
go around for a beer on Second Avenue. And there was some third man -- a client
who was paying to have this poor woman murdered. They were going to take her
Downloaded by MANGODA, Regine R.
rings and bracelets and - and use

Downloaded by MANGODA, Regine R.

a knife... Well -- it - it's unnerved me dreadfully -- (REACHING THE BREAKING POINT) -- and
I'm not well -- and I feel so nerv--

SERGEANT MARTIN: (FILTER) I see. (STOLIDLY) When was all this, ma'am?

MRS. STEVENSON: About eight minutes ago. (RELIEVED) Then - then you can do
something? You do understand --

SERGEANT MARTIN: (FILTER) What is your name, ma'am?

MRS. STEVENSON: (IMPATIENT) Mrs. Stevenson. Mrs. Elbert Stevenson.

SERGEANT MARTIN: (FILTER) And your address?

MRS. STEVENSON: 53 North Sutton Place. Five-three North Sutton Place. That's near a
bridge. The Queensboro Bridge, you know and -- and - and we have a private
patrolman on our street... and Second Avenue --

SERGEANT MARTIN: (FILTER) And what was that number you were calling?

MRS. STEVENSON: Murray Hill 7-0093. But that wasn't the number I overheard. I mean
Murray Hill 7- 0093 is my husband's office. He's working late tonight and I was trying to
reach him to ask him to come home. I'm an invalid, you know, and it's the maid's night
off and I hate to be alone, even though he says I'm perfectly safe as long as I have
the telephone right beside my bed.

SERGEANT MARTIN: (FILTER) (STOLIDLY) Well, we'll look into it, Mrs. Stevenson, and see if
we can check it with the telephone company.

MRS. STEVENSON: (GETTING IMPATIENT) But the telephone company said they couldn't
check the call if the parties had stopped talking. I've already taken care of that!

SERGEANT MARTIN: (FILTER) (A FAINT HINT OF SARCASM) Oh, you have?

MRS. STEVENSON: (HIGH-HANDED) Yes. And, personally, I feel you ought to do

something far more immediate and drastic than just check the call. What good does
checking the call do if they've stopped talking? By the time you tracked it down they'll
already have committed the murder.

SERGEANT MARTIN: (FILTER) (GIVING HER THE "BRUSH OFF") Well, we'll take care of it.
Don't you worry.

MRS. STEVENSON: Well, I'd say the whole thing calls for a search, a complete and
thorough search of the whole city. Now, I'm very near the bridge and I'm not far from
Second Avenue -- and I know I'd feel a whole lot better if you sent around a radio
car to this neighborhood at once!

SERGEANT MARTIN: (FILTER) And what makes you think the murder's going to be
committed in your neighborhood, ma'am?

MRS. STEVENSON: Well, I -- Oh, I don't know. Only the coincidence is so horrible. Second Avenue
-
- the patrolman -- the bridge.

SERGEANT MARTIN: (FILTER) Second Avenue is a very long street, ma'am. And you
know how many bridges there are in the city of New York alone?

MRS. STEVENSON: Yes, I know--

SERGEANT MARTIN: (FILTER) Not to mention Brooklyn, Staten Island, Queens, and the

Bronx. MRS. STEVENSON: I know that!

SERGEANT MARTIN: (FILTER) How do you know there isn't some little house on Staten
Island on some little Second Avenue you've never even heard about? How do you
know they're even talking about New York at all?

MRS. STEVENSON: But I heard the call on the New York dialing system.

SERGEANT MARTIN: (FILTER) Maybe it was a long-distance call you

overheard.

Downloaded by MANGODA, Regine R.

MRS. STEVENSON: Oh, don't--

SERGEANT MARTIN: (FILTER) Telephones are funny things. Look, lady, why don't you
look at it this way? Supposing you hadn't broken in on that telephone call?
Supposing you'd got your husband the way you always do. You wouldn't be so upset,
would you?

MRS. STEVENSON: Well, no, I suppose not. Only it sounded so inhuman -- so cold-blooded.

SERGEANT MARTIN: (FILTER) A lot of murders are plotted in this city every day,
ma'am. We manage to prevent almost all of 'em.

MRS. STEVENSON: But--

SERGEANT MARTIN: (FILTER) But a clue of this kind is so vague -- it isn't much more use to
us than no clue at all.

MRS. STEVENSON: But, surely, you --

SERGEANT MARTIN: (FILTER) Unless, of course, you have some reason for thinking this
call was phony and -- that someone may be planning to murder you.

MRS. STEVENSON: Me? Oh -- oh, no -- no, I hardly think so. I -- I mean, why should
anybody? I'm alone all day and night. I see nobody except my maid, Eloise, and --
she's a big girl, she weighs two hundred pounds -- she's too lazy to bring up my
breakfast tray and -- the only other person is my husband, Elbert. He's crazy about
me -- he - he just adores me. He waits on me hand and foot. He's scarcely left my
side since I took sick, well, twelve years ago....

SERGEANT MARTIN: (FILTER) Well, then, there's nothing for you to worry about. Now, if
you'll just leave the rest of this to us, we'll take care of it.

MRS. STEVENSON: (NOT COMPLETELY MOLLIFIED) But what will you do? It's so late ...
it's nearly eleven now!

SERGEANT MARTIN: (FILTER) (MORE FIRMLY) We'll take care of it, lady.

MRS. STEVENSON: Will you broadcast it all over the city? And send out squads? And
warn your radio cars to watch out -- especially in suspicious neighborhoods like mine
--

SERGEANT MARTIN: (FILTER) Lady, I said we'd take care of it. Just now I've got a couple
of other matters here on my desk that require immediate attention. Good night,
ma'am, and thank you.

MRS. STEVENSON: Oh, you--! You--!

SOUND: SHE SLAMS DOWN THE RECEIVER HARD

MRS. STEVENSON: Idiot! Oh, now, why did I hang up the phone like that? He'll think I
am a fool! (PAUSE) Oh -- why doesn't Elbert come home? Why doesn't he? Why
doesn't he come home?

SOUND: SHE SOBS, MUTTERS, AND DIALS THE OPERATOR ... RINGS FIVE TIMES

OPERATOR: (FILTER) Your call, please?

MRS. STEVENSON: Operator, for heaven's sake, will you ring that Murray Hill 7-
0093 number again? I can't think what's keeping him so long!

OPERATOR: (FILTER) I will try it for you.

SOUND: OPERATOR DIALS UNDER FOLLOWING

MRS. STEVENSON: Well, try! Try! (TO HERSELF) I don't see why he doesn't

answer it... SOUND: BUSY SIGNAL

OPERATOR: (FILTER) I'm sorry. Murray Hill 7-0093 is busy. I will--

MRS. STEVENSON: (NASTY) I can hear it. You don't have to tell me. I know

it's busy... SOUND: SHE SLAMS DOWN THE RECEIVER AND SIGHS

Downloaded by MANGODA, Regine R.

MRS. STEVENSON: (NERVOUSLY QUERULOUS) If I could only ... get out of this bed for a
little while. If I could get a breath of fresh air, just lean out the window and see the
street ...

SOUND: THE PHONE BELL RINGS ... SHE PICKS IT UP INSTANTLY

MRS. STEVENSON: Hello, Elbert? Hello? Hello? Hello?! Oh, what's the matter with this
phone? HELLO! HELLO!

SOUND: SHE SLAMS DOWN THE RECEIVER ... A SECOND'S PAUSE ... THE PHONE RINGS
AGAIN, ONCE ... SHE PICKS IT UP

MRS. STEVENSON: Hello? Hell--? Oh, for heaven's sake, who is this? Hello, Hello,

HELLO! SOUND: SHE SLAMS DOWN RECEIVER

MRS. STEVENSON: (TO HERSELF) Oh, who's trying to call me

... ? SOUND: DIALS OPERATOR ... RINGS FOUR TIMES

MRS. STEVENSON: (TO HERSELF, ON THE SECOND RING) Why doesn't she answer?

OPERATOR: (FILTER) Your call, please?

MRS. STEVENSON: Hello, Operator, I don't know what's the matter with this telephone
tonight, but it's positively driving me crazy. I've never seen such inefficient, miserable
service. Now, now, look. I'm an invalid, and I'm very nervous, and I'm not supposed
to be annoyed. But if this keeps on much longer...

OPERATOR: (FILTER) What seems to be the trouble, please?

MRS. STEVENSON: Well, everything's wrong! I haven't had one bit of satisfaction out
of one call I've made this evening! The whole world could be murdered for all you
people care. And now my phone keeps ringing and ringing and ringing and ringing
every five seconds and when I pick it up there's no one there!

OPERATOR: (FILTER) I'm sorry. If you will hang up, I will test it for you.

MRS. STEVENSON: I don't want you to test it for me! I want you to put that call through,
whatever it is, at once!

OPERATOR: (FILTER) I'm afraid I cannot do that.

MRS. STEVENSON: You can't?!? And why -- why, may I

ask? OPERATOR: (FILTER) The dial system is automatic.

MRS. STEVENSON: (GASPS IN EXASPERATION)

OPERATOR: (FILTER) If someone is trying to dial your number, there is no way to check it
if the call is coming through the system or not -- unless the person who's trying to
reach you complains to his particular operator.

MRS. STEVENSON: Well, of all the stupid -- and meanwhile I've got to sit here in my bed,
suffering every time that phone rings, imagining everything ...

OPERATOR: (FILTER) I will try to check the trouble for you.

MRS. STEVENSON: Check it! Check it! That's all anybody can do! Oh, what's the use
of talking to you? You're so stupid!

SOUND: SHE SLAMS DOWN THE RECEIVER.

MRS. STEVENSON: (TO HERSELF) Oh, I'll fix her! Of all the impudent ... How dare she
speak to me like that? How dare she?

SOUND: DIALS OPERATOR

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MRS. STEVENSON: (TO HERSELF) Call the operator

... SOUND: RINGS FIVE TIMES

MRS. STEVENSON: (TO HERSELF, ON THE SECOND RING) Oh, why does it take so long?

OPERATOR: (FILTER) Your call, please?

MRS. STEVENSON: Young woman, I don't know your name. But there are ways of
finding you out. And I'm going to report you to your superiors for the most
unpardonable rudeness and insolence it's ever been my privilege-- Give me the
business office at once!

OPERATOR: (FILTER) You may dial that number direct.

MRS. STEVENSON: Dial it direct? I'll do no such thing! I don't even know the number...

OPERATOR: (FILTER) The number is in the directory or you may secure it by dialing

Information. MRS. STEVENSON: Listen, here, you-- Oh, what's the use!

SOUND: SLAMS DOWN THE RECEIVER

MRS. STEVENSON: Oh, dear ...

SOUND: ALMOST INSTANTLY, THE PHONE RINGS

MRS. STEVENSON: Oh, for heaven's sake, I'm going out of my mind! Out of

my-- SOUND: SHE PICKS UP THE RECEIVER

MRS. STEVENSON: Hello?! HELLO! Stop ringing me, do you hear? Answer me! Who is
this? Do you realize you're driving me crazy? Who's calling me? What are you doing it
for? Now stop it! Stop it! Stop it! HELLO! HELLO! I - I - If you don't stop ringing me, I'm
going to call the police, do you hear?! THE POLICE!

SOUND: SHE SLAMS DOWN THE RECEIVER

MRS. STEVENSON: (SOBBING NERVOUSLY) Oh, if Elbert would only come

home! SOUND: THE PHONE RINGS SHARPLY, SEVEN TIMES UNDER THE

FOLLOWING

MRS. STEVENSON: (TO HERSELF) Oh, let it ring. Let it go on ringing. It's a trick of some
kind. I won't answer it. I won't. I won't. I won't, even if it goes on ringing all night. Oh,
you ring. Go ahead and ring.

SOUND: THE PHONE SUDDENLY STOPS -- THEN SILENCE

MRS. STEVENSON: (A TERRIFIED NOTE IN HER VOICE) Stopped. Now, now what's the
matter? Why did they stop ringing all of a sudden? Oh... (HYSTERICALLY) What time is it?
Where did I put that ... clock? Oh, here it is. Five to eleven ... oh, they've decided
something. They're sure I'm home. They heard my voice answer them just now.
That's why they've been ringing me -- why no one has answered me --

SOUND: SHE PICKS UP THE PHONE

MRS. STEVENSON: (TO HERSELF) I'll call the operator again.

SOUND: SHE DIALS OPERATOR ... RINGS FIVE TIMES

MRS. STEVENSON: (TO HERSELF, ON THE SECOND RING) Oh, where is she? Why
doesn't she answer? Why doesn't she answer?

OPERATOR: (FILTER) Your call, please?

MRS. STEVENSON: Where were you just now? Why didn't you answer at once? Give
me the Police Department.

SOUND: OPERATOR PUTS CALL THROUGH ... BUSY SIGNAL

Downloaded by MANGODA, Regine R.

OPERATOR: (FILTER) I'm sorry. The line is busy. I will call you--

MRS. STEVENSON: Busy? But that's impossible! The Police Department can't be busy.
There must be other lines available.

OPERATOR: (FILTER) The line is busy. I will try to get them for you later.

MRS. STEVENSON: (FRANTIC) No, no! I've got to speak to them now or it may be too
late. I've got to talk to someone!

OPERATOR: (FILTER) What number do you wish to speak to?

MRS. STEVENSON: (DESPERATELY): I don't know! But there must be someone to

protect people beside the police department! A - a - a -- detective agency -- a --

OPERATOR: (FILTER) You will find agencies listed in the Classified Directory.

MRS. STEVENSON: But I don't have a Classified! I mean -- I'm - I'm too nervous to look it up -- and
I
- I don't know how to use the--

OPERATOR: (FILTER) I'll connect you with Information. Perhaps she will be able to help you.

MRS. STEVENSON: (AGONIZEDLY) No! No! (FURIOUSLY) Oh, you're being spiteful, aren't
you? You don't care, do you, what happens to me? I could die and you wouldn't care.

SOUND: HANGS UP RECEIVER ... PHONE RINGS

MRS. STEVENSON: Oh! Stop it! Stop it! Stop it! I can't stand any

more. SOUND: SHE PICKS UP RECEIVER

MRS. STEVENSON: (YELLING FRENZIEDLY INTO PHONE) Hello! What do you want?! Stop
ringing, will you?! Stop it...!

3RD MAN: (FILTER) Hello, is this Plaza 4-2295?

MRS. STEVENSON: (IN A MORE SUBDUED VOICE): Yes. Yes, I'm .. I'm sorry. This ... this is Plaza 4-2295.

3RD MAN: (FILTER) This is Western Union. I have a telegram here for Mrs. Elbert
Stevenson. Is there anyone there to receive the message?

MRS. STEVENSON: (TRYING TO CALM HERSELF): I'm ... I'm Mrs. Stevenson.

3RD MAN: (FILTER) The telegram is as follows: Mrs. Elbert Stevenson, 53 North Sutton
Place, New York, New York. Darling. Terribly sorry. Tried to get you for last hour, but line
busy. Leaving for Boston eleven P.M. tonight, on urgent business. Back tomorrow
afternoon. Keep happy. Love. Signed, Elbert.

MRS. STEVENSON: (BREATHLESSLY, ALMOST TO HERSELF) Oh, no --

3RD MAN: (FILTER) Do you wish us to deliver a copy of the

message? MRS. STEVENSON: No. No, thank you.

3RD MAN: (FILTER) Thank you, madam. Good-

night. SOUND: WESTERN UNION HANGS UP

MRS. STEVENSON: (MECHANICALLY) Good-night.

SOUND: SHE HANGS UP

MRS. STEVENSON: (SUDDENLY BURSTING OUT) Oh, no. No -- I don't believe it. He couldn't
do it. He couldn't do it. Not when he knows I'll be all alone. It's some trick -- some
fiendish trick --

SOUND: SHE DIALS OPERATOR ... RINGS FIVE TIMES

Downloaded by MANGODA, Regine R.

MRS. STEVENSON: (TO HERSELF, SOBBING) ... some trick .. why doesn't

she ...? OPERATOR: (FILTER) Your call, please?

MRS. STEVENSON: Operator, try that Murray Hill 7-0093 number for me, just once more,

please. OPERATOR: (FILTER) You may dial that number direct ...

SOUND: MRS. STEVENSON HANGS UP

MRS. STEVENSON: (WRETCHEDLY) Oh

...

SOUND: SHE PICKS UP AND NERVOUSLY DIALS THE NUMBER DIRECT, SOUNDING OUT THE
NUMBERS UNDER HER BREATH ... IT GOES THROUGH, RING AFTER LONG RING ... SEVEN
TIMES ... NO ANSWER

MRS. STEVENSON: Oh ... He's gone. He's gone. Oh, Elbert, how could you? How could

you --? SOUND: SHE HANGS UP THE PHONE

MRS. STEVENSON: (SOBS, PITYING HERSELF) How could you? I - I can't be alone tonight. I
can't. If I'm alone one more second, I'll go mad. I don't care what he says -- or what the
expense is -- I'm a sick woman ... I'm entitled ... I'm entitled ...

SOUND: SHE DIALS INFORMATION ... RINGS THREE TIMES

INFORMATION: (FILTER) Information. May I help you?

MRS. STEVENSON: I - I want the telephone number of Henchley

Hospital. INFORMATION: (FILTER) Henchley Hospital? Do you have the

street address?

MRS. STEVENSON: No. No. It's somewhere in the seventies. It's a very small, private, and
exclusive hospital where I had my appendix out two years ago. Henchley -- uh, H-E-N-
C --

INFORMATION: (FILTER) One moment, please.

MRS. STEVENSON: Please hurry. And please -- what is the time?

INFORMATION: (FILTER) You may find out the time by dialing Meridian

7-1212.

MRS. STEVENSON: (IRRITATED) Oh, for heaven's sake ... I've no time to be dialing ...

INFORMATION: (FILTER) The number of Henchley Hospital is Butterfield 7-0105.

MRS. STEVENSON: Butterfield 7-0105.

SOUND: SHE HANGS UP BEFORE SHE FINISHES SPEAKING, AND DIALS NUMBER EVEN AS SHE SPEAKS
... RINGS FOUR TIMES

WOMAN: (FILTER) (SOLID, FIRM, PRACTICAL) Henchley Hospital. Good

evening. MRS. STEVENSON: Nurses' registry.

WOMAN: (FILTER) Who was it you wished to speak to, please?

MRS. STEVENSON: (HIGH-HANDED) I want the nurse's registry, at once. I want a trained
nurse. I want to hire her immediately for the night.

WOMAN: (FILTER) I see. And what is the nature of the case, madam?

MRS. STEVENSON: Nerves. I'm very nervous. I need soothing -- companionship. You see,
my husband is away and I'm--

WOMAN: (FILTER) Have you been recommended to us by any doctor in particular, madam?

Downloaded by MANGODA, Regine R.

MRS. STEVENSON: No. But I really don't see why all this catechizing is necessary. I
just want a trained nurse. I was a patient in your hospital two years ago. And after all, I do
expect to pay this person for attending me.

Downloaded by MANGODA, Regine R.

WOMAN: (FILTER) We quite understand that, madam. But these are war times,

you know. MRS. STEVENSON: Well--

WOMAN: (FILTER) Registered nurses are very scarce just now -- and our superintendent
has asked us to send people out only on cases where the physician in charge feels
that it is absolutely necessary.

MRS. STEVENSON: (HIGH-HANDED) Well, it is absolutely necessary. I'm a sick woman. I'm
- I'm very upset. Very. I'm alone in this house -- and I'm an invalid -- and tonight I
overheard a telephone conversation that upset me dreadfully. In fact (BEGINNING TO
YELL) if someone doesn't come at once, I'm afraid I'll go out of my mind!

WOMAN: (FILTER) (CALMLY) I see. Well -- I'll speak to Miss Phillips as soon as she comes
in. And what is your name, madam?

MRS. STEVENSON: Miss Phillips? And when do you expect her in?

WOMAN: (FILTER) Well, I really couldn't say. She went out to supper at eleven o'clock.

MRS. STEVENSON: Eleven o'clock! But it's not eleven yet! (SHE CRIES OUT) Oh -- oh, my
clock has stopped. I thought it was running down. What time is it?

WOMAN: (FILTER) (PAUSING AS THOUGH GLANCING AT WRIST WATCH) Just fifteen minutes past
eleven....

SOUND: TELEPHONE RECEIVER BEING LIFTED ON THE SAME LINE AS MRS. STEVENSON'S

MRS. STEVENSON: (CRYING OUT) What - what was that?

WOMAN: (FILTER) What was ... what, madam?

MRS. STEVENSON: That -- that click -- just now, in my own telephone. As though
someone had lifted the receiver off the hook of the extension telephone downstairs.

WOMAN: (FILTER) Well, I didn't hear it, madam. Now, about this--

MRS. STEVENSON: (TERRIFIED): But I did. There's someone in this house. Someone
downstairs in the kitchen. And they're -- they're listening to me now. They're --

SOUND: MRS. STEVENSON HANGS UP

MRS. STEVENSON: (IN A SUFFOCATED VOICE) I won't pick it up. I -- I won't let them hear
me. I'll be quiet and they'll think... (WITH GROWING TERROR) Oh, but if I don't call
someone now while they're still down there, there'll be no time... .

SOUND: SHE PICKS UP RECEIVER AND DIALS OPERATOR ... RING THREE TIMES

OPERATOR: (FILTER) Your call, please?

MRS. STEVENSON: (IN A DESPERATE WHISPER) Operator. Operator. I'm in desperate

trouble. OPERATOR: (FILTER) I'm sorry. I cannot hear you. Please speak louder.

MRS. STEVENSON: (STILL WHISPERING) I don't dare. I -- there's someone listening. Can you
hear me now?

OPERATOR: (FILTER) I'm sorry.

MRS. STEVENSON: (DESPERATELY) But you've got to hear me. Oh, please. You've got to
help me. There's someone in this house. Someone who's going to murder me. And
you've got to get in touch with ...

SOUND: CLICK OF RECEIVER BEING PUT DOWN ON MRS. STEVENSON'S LINE

MRS. STEVENSON: (BURSTING OUT WILDLY) Oh -- there it is. There it is. Did you hear it?
He's put it down -- he's put down the extension phone. He's coming up... (HER VOICE IS
HOARSE WITH FEAR)

Downloaded by MANGODA, Regine R.

He's coming up the stairs. Give me the Police Department ... the police department ...
police department ... give it to me ...

OPERATOR: (FILTER) One moment, please -- I will

connect you. SOUND: CALL IS PUT THROUGH

MRS. STEVENSON: I can -- I can hear him. He's nearer. (WEAKLY) Oh, I hear him, I hear
him. Hurry. Hurry. Hurry.

SOUND: AS MRS. STEVENSON BECOMES INCOHERENT WITH FEAR AND BEGINS TO

SCREAM, A TRAIN APPROACHES AND ROARS OVER A NEARBY BRIDGE ... AS IT FADES, WE
HEAR A BODY THUMP TO THE FLOOR ... THEN IT PASSES AND WE HEAR THE PHONE STILL
RINGING AT THE OTHER END ... THE TELEPHONE IS PICKED UP

SERGEANT MARTIN: (FILTER) Police Department, Sergeant Martin speaking ... Police
Department. Sergeant Martin speaking ... Police Department. Sergeant Martin speaking
... Police Department. Sergeant Martin speaking.

GEORGE: (SAME DISTINCTIVE VOICE AS IN BEGINNING OF PLAY) Police Department? Oh, I'm
sorry. Must have got the wrong number. Don't worry. Everything's okay.

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Through Technology

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in
understanding of how Anglo- one-act play through utilizing
American literature and other text effective verbal and non-verbal
types serve as a means of connecting strategies and ICT resources based
to the world; also how to use ways of on the following criteria: Focus,
analysing one-act play and different Voice, Delivery, and Dramatic
forms of verbals for him/her to Conventions.
skillfully perform in one-act play.

I. LEARNING COMPETENCY
EN9G-IIIa-21: Use verbals

Objectives:
1. Give the meaning of gerund
2. Identify the gerund and its uses in given sentences
3. Use verbals in the form of gerunds in making observations
about pictures shown to them
4. Demonstrate ease in using gerunds to sentences depicting
pictures with local relevance

II. LEARNING CONTENT

Lesson: Gerund and Its Uses
Materials:
1. Worksheets
2. Illustrations
References:
1. K to 12 Curriculum Guide (May 2016) p. 206
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 255-257
3. Interactive English pp.153-155
4. Online References

III. LEARNING TASKS

Introduction: What activities do you usually do in your everyday
living? Form an inventory in your mind with action words ending in –ing.

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 Preliminary
Activity:
TASK 1: GUESS THE –ING WORD
Volunteers will be picking a slip of paper containing
an – ing word. S/he will act it out to let their
classmates guess the action word.
e.g. reading, singing, dancing, painting

Activity:
TASK 2: PICTURE ANALYSIS
Students will be given some pictures and they will write on the board
what they have observed.

Source: https://societyofhonor.files.wordpress.com /2014/

Source: http://www.asianews.it/news-en/Two-fishermen-killed-
11/technology-inquirer.jpg
demonstrating-in-defence-of-their-fishing-turf-14458.html

Source: https://internationalneeds.wordpress.com/2014/05/ Source: http://pba.inquirer.net/64035/meralco-bolts-vs-alaska-

aces-dec-3

Source: http://www.sarahgeronimo.com/forums/index. Source: https://twitter.com/rapplerdotcom/status/69589647

php /topic /26734-sarah-geronimo-receives-ani-ng-dangal 5155435521

-award-ncaa-names-her/page-2

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Analysis:

TASK 3: SPOT THE DIFFERENCES

Analyse the underlined words in Set A and Set B. What can you
say about the words ending in -ing in set A? Set B?
A B
1. Team Eagles is winning the 1. Winning is less important
game.
than sportsmanship.
2. Bea is reading a poem. 2. During her free time, Michelle
enjoys
3. She is singing a rock reading.
song. 3. Her favourite activity is singing

Abstraction:
Sample sentences will be given leading to the discussion of the
different functions of a gerund in a sentence as presented in the
powerpoint.

References:
https://owl.english.purdue.edu/owl/owlprint/
627/ LM, p. 255

Application:
TASK 4: PRACTICE ZONE
Underline the gerund in each sentence and give its use.

1. Helping a friend is an automatic yes in your book.

2. Individuals may even get mad for saying no to them.
3. Won‘t people see you as jerk in refusing to help them?
4. Her pastime, baking cakes, proved very lucrative.
5. Our art teacher encouraged experimenting on different
colors.
6. She suggested going to museum.
7. The miser hated spending money.
8. Staying at home is her form of relaxation.
9. He is afraid of hurting your feelings.
10. Her par time job, encoding data, gave her extra money.

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Assessment:

TASK 5: TEST YOURSELF

Underline the gerund in the sentence and give

its use. Write your answer on the spaces
provided before each number.

1. Soaking in a hot tub is relaxing after a long day at work.

2. Ellie loves playing in the sandbox.
3. Before mopping the floor, you must sweep it thoroughly.
4. Max became ill from eating too much ice cream at the party.
5. A major challenge was writing my persuasive essay on animal
communication.
6. I certainly dislike receiving calls from telephone solicitors.
7. The group‘s project was creating a butterfly garden.
8. I enjoy watching fireworks every 31st of December.
9. Making good grades requires time and effort.
10. Elena does not mind lending the money.
11. Listening to Bach‘s music helped the class understand his greatness.
12. My favourite sport, running, takes a great deal of effort.
13. Smoking costs a lot of money.
14. Paul avoids using chemicals on the vegetables he grows.
15. He remembered sending the fax.

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Through Technology
Content Standard: Performance Standard:
The learner demonstrates The learner skillfully performs in
understanding one-act
of how Anglo-American literature play through utilizing effective verbal
and and
other text types serve as means of non-verbal strategies and ICT
resources
connecting to the world; also how to based on the following criteria:
use Focus,
ways of analysing one-act play and Voice, Delivery, and
Dramatic
different forms of verbals for him/her Conventions.
to skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9LT-IIIa-20.1: Explain how elements specific to a one-act play contribute to
the development of its theme
EN9LT-IIIa-16.1: Identify the distinguishing features of Anglo-American
one-act plays

Objectives:
1. Identify the characters, setting, problem, solution, beginning,
middle, and end of a one-act Anglo-American play
2. Create a character map, setting illustration, problem/solution
graphic organizer, events and theme graphic organizer to
distinguish features of one-act plays
3. Demonstrate understanding of the theme presented in a one-act
play by explaining the elements that contributed to its
development
4. Foster enthusiasm in the classroom activities related to the featured play

II. LEARNING CONTENT

Lesson: Elements of One-Act Play
Materials:
1. Monitor and Speaker
2. Worksheets
3. Illustration Boards
References:
1. K to 12 Curriculum Guide (May 2016) p. 206
2. A Journey through Anglo-American Literature Learner‘s Material for
English
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 pp. 257-258
3. Online References

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III. LEARNING TASKS
Introduction: How would you recount a story that captured your interest?

Preliminary Activity:
Students recall the play/drama they have watched before and narrate
the events to the class.

Activity:
TASK 1: GETTING INTO THE WORLD OF LAUGHTER AND TEARS
A. AGREEING-DISAGREEING
Put a check mark if you agree with the statement; if you
disagree. Explain your answer to your partner. (LM, p.257)
1. Theater is the same as theatre.
2. Drama is different from a play.
3. A script is written conversation in a play.
4. A change in time is one scene in a play.
5. A one-act play has all the elements of
drama.

Analysis:
TASK 2: CHARACTER MAP
Students choose a seatmate and describe him or her by completing the
character map.

Source: https://www.pinterest.com/johufford/character-traits/

TASK 3: SET IT IN!

Students, in a group of three, describe something
they see inside the classroom. The teacher guides
a discussion about setting by saying, "If we were
characters in a story, then our classroom would be
the setting. It is where our story takes place. The
setting can be location, weather,
or time." Then, students have to illustrate their setting in an illustration board.

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 TASK 4: PROBLEM AND SOLUTION
Students watch the story of the ―Three Little Pigs‖ and identify the
problem and the solution of the problem in the story.

Source: https://www.youtube.com/watch?v=QLR2pLUsl-Y

Source: http://oakdome.com/k5/lesson-
plans/word/common-core-graphic-
organizer-problem-and-solution.php

TASK 5: PAIR-SHARE A LOVELY SATURDAY

Students think about their ideal Saturday. Ask
them to turn to their partners and describe their
day from beginning to end. Ask a few volunteers
to share their descriptions with the whole class.

Abstraction

TASK 6: REVISITING THE RADIO PLAY

Refer to the one-act radio play script to answer these
questions:
1. Is Sorry, Wrong Number a one-act play?

2. The elements of a one-act play are found in the script. Fill in the
grid below with the needed information.

ELEMENTS OF ONE-ACT PLAY DETAILS

1. Setting

2. Plot and Plot Structure

3. Character and Characterization

4. Conflict

5. Theme
6. Suspense and Atmosphere

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Application
TASK 7: COMPLETE ME
Based from the radio one-act play, ―Sorry, Wrong Number”, complete the
Theme Graphic Organizer.

Source: http://www.gridgit.com/post_thematic-essay-graphic-organizer_498445/

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Through Technology

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in
understanding of how Anglo- one-act play through utilizing
American literature and other text effective verbal and non-verbal
types serve as means of connecting strategies and ICT resources based
to the world; also how to use ways of on the following criteria: Focus,
analyzing one-act play and different Voice, Delivery, and Dramatic
forms of verbals for him/her to Conventions.
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9WC-IIIb-9.4: Identify types and features of a play synopsis
EN9WC-IIIe-9.5: Use literary devices and techniques to craft a play synopsis

Objectives:
1. Identify the features and format of a play synopsis
2. Follow the guidelines on writing a synopsis
3. Craft a play synopsis applying the techniques learned
4. Exhibit giving importance to following proper format when writing
a play synopsis

II. LEARNING CONTENT

Lesson: Writing a Plot Summary
Materials:
1. PowerPoint Presentation
2. Paper and Pen
References:
2. K to 12 Curriculum Guide (May 2016) p. 206-207
3. A Journey through Anglo-American Literature Learner‘s Material for
English
p. 259
4. Online References

III. LEARNING TASKS

Introduction: Have you already seen a stage play? Are you familiar
with techniques and guidelines on how to craft a play synopsis if you will
be asked to write one?

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Preliminary Activity:
TASK 1: BRAINSTORMING
In writing a play synopsis, can we include anything that
does not appear in the original text? Are we to include
personal comments or evaluation?

Activity:

TASK 2: LOOKING CLOSER

Read the following plot summary or synopsis of ―Sorry, Wrong
Number‖. (LM, p.259)

Mrs. Stevenson is sick and confined to her bed. Her only lifeline is
the telephone. One night, while waiting for her husband to return home,
she impatiently tries to locate him. She picks up the phone and
accidentally overhears a conversation through a crossline, between two
men planning to murder a woman who lives near a bridge on Second
Avenue at 11:15 at night on that day. She begins a series of calls--to
the operator, to the police, and others, desperate to prevent the crime.

 Are you satisfied with how it is written? Rate from 1 to 10.

Analysis

TASK 3: SYNOPSIS CRITIQUING

Analyze further the given synopsis above. Use the

checklist below in evaluating. Put in the

statements that are satisfied.
Time and place are indicated at the beginning of
the
synopsis.

Brief description of the main characters is given.

The events are told chronologically the same

manner as
they took place in the story.

Dramatic scenes are described within the synopsis.

It‘s less than 250 words.

The synopsis is told in present tense and in third

person.

Dialogues are not included.

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 Abstraction:
Guidelines in Writing a Play Synopsis
1. The time and place should be indicated at the
beginning of the synopsis.
2. A brief description of the main characters should be
given as they appear in the story.
3. The synopsis should begin at the opening of the story and
told in
the same order as the play, and end at the play‘s conclusion.
4. Dramatic scenes that propel the story forward, including climatic
scenes should be described within the synopsis.
5. The synopsis must be no longer than 250 words long.
6. The story must be told in the present tense and in the third
person.
7. When telling the story, dialogue should not be included. The
story should be related in an informal way.

Application

TASK 4: WRITE SHOP

In a small group of 5, students will write their own version of the
synopsis of the play ―Sorry, Wrong Number‖.

SYNOPSIS WRITING RUBRIC

Criteria Excellent Good Below Average Ineffective

Main Idea Main idea is
Main idea is The main idea is not
Main idea is clear. unclear- not
established. present.
specifically stated
in the writing.
Supporting Important details
All important Some critical Synopsis contains
are included but
Details details are
some
information is missing. only some
included. details.
might be missing.
Format Details are in logical Ideas are not in a
Most of the ideas Ideas are in random
order because the logical order
are in logical order and not
format is followed. because format is
order. logical.
not observed.
Content Clear understanding Adequate Basic Little or no
of information in understanding is understanding of understanding is
the text is demonstrated. information in text is demonstrated.
demonstrated. demonstrated.

Source: www.studyzone.org/testprep/ela4/h/summaryrubric.htm

Assessment:

TASK 5: MY LEARNINGS
Complete the statement:
This lesson enables me to

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Making a Difference

Content Standard: Performance Standard:

The learner demonstrates The learner skilfully performs in one-
understanding of how Anglo- act play through utilizing effective
American literature and other text verbal and non-verbal strategies and
types serve as a means of connecting ICT resources based on the following
to the world; also how to use ways of criteria: Focus, Voice, Delivery, and
analysing one-act play and different Dramatic Conventions.
forms of verbals for him/her to
skilfully perform in one-act play

I. LEARNING COMPETENCY
EN9LT-IIIc-16: Analyze literature as a means of connecting to the world
EN9LT-IIIg-2.11: Determine tone, mood, technique, and purpose of the author

Objectives:
1. Analyze a selection and understand its relevance to the modern world
2. Determine the tone, mood, technique, and purpose of the
author in the prose piece
3. Perform different tasks highlighting the value of human interaction
4. Make a poster depicting the importance of human interaction
rather than the use of communications technology
5. Show cooperation in performing the different tasks related to the piece
6. Summarize and reflect on the topic by writing their own quotation

II. LEARNING CONTENT

Lesson: “For Conversation, Press # 1” by Michael Alvear
Materials:
1. Illustrations
2. Pen and Paper
3. Art Materials
References:
1. K to 12 Curriculum Guide (May 2016) p. 207
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 265-268
3. Teacher‘s Guide
4. Online References

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III. LEARNING TASKS
Introduction: Give your comments about this quote.

Source: http://bernardgoldberg.com/einstein-may-not-have-said-it-but-its-still-true/

Preliminary Activity:
TASK 1: PICTURE ANALYSIS
What can you say about these pictures? Do you think they are important in
our everyday living?

Source: http://www.bu.edu/geneva/life-housing/cellphones/

Source: Source: http://marlacummins.com/adhdemail-

http://www.thisismoney.co.uk/money/
productivity/
cardsloans/article-2097807/Sold-19-British-
bank- customers-credit-card-details-avai
lable-Russian- websites.html

Activity:

TASK 2: WORD BANK

Give a synonym for the following words:

1. Option – c o c
2. Setback - ro le
3. Consequences - utc me
4. Conceivable - p ss b l

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 Analysis:

For Conversation, Press

# 1 By Michael Alvear

A funny thing happened in the way to communications

revolution: we stopped talking to one another.
I was walking in the park with a friend recently, and his cell
phone rang, interrupting our conversation. There we were,
walking and talking on a beautiful sunny day and ----poof! I
became invisible, absent from the
conversation because a gadget designed to make communication easier.
The park was filled with people talking on their cell phones. They
were passing other people without looking at them, saying hello,
noticing their babies or stopping to pet their puppies. Evidently, the
untethered electronic voice is preferable to human contact.
The telephone used to connect you to the absent. Now it makes
people sitting next to you feel absent.
Why is it that the more connected we get, the more disconnected
I feel? Every advance in communication technology is a setback to
the intimacy of human interaction. Write e-mail and instant
messaging over the Internet, we can now communicate without
seeing or talking to one another. In making deposit at the bank, you
can just insert your card into the ATM. With voice mail, you can
conduct entire conversations without ever reaching anyone. If my
mom has a question, I just leave the answer on her machine..
As almost every conceivable contact between human beings
gets automated, the alienation index goes up.
I am no Luddite. I own a cell phone, an ATM card, a voice-mail
system, and an e-mail account. Giving them up isn‘t an option
----------------------------------------------------------------------------------they‘re great
for
what they‘re intended to do. It‘s their unintended consequences that make
me cringe.
So I‘ve put myself on technology restrictions: no instant
messaging with people who live near me, no cell-phoning in the
presence of friends, no letting the voice mail pick up when I‘m
home.
Readers Digest pp. 143-145, July 2000

TASK 3: UNDERSTANDING THE TEXT

Answer the following questions related to the text
that you have read. Encircle the letter of the answer
that best completes the statements.

1. The author‘s purpose in writing the article is to make us realize that .

a. communications technology is interfering with human contact
b. people are communicating less than they did in the past
c. the advances in communications technology are unnecessary
d. people are forgetting how to communicate with others
2. The question ―Why is it that the more connected we get, the more
disconnected
I feel?‖ .
a. reveals the author‘s confusion about technology.
b. invites the reader to disagree with the author
c. highlights the author‘s examples and arguments
d. challenges the reader to find answers to problems.

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3. The author‘s tone throughout the selection is .
a. amusement c. hostility
b. criticism d. indifference
4. The third and fourth paragraphs give emphasis on how cell phone .
a. provides convenience c. isolate people
b. threatens safety d. efficiently works
5. The idea that bothers the author most about the effect of
communications technology on his life is .
a. Limited communication with strangers
b. Lack of social formula
c. Extreme preference for cell phone
d. Deviation from meaningful interaction

Abstraction:

TASK 4: DIFFERENTIATED ACTIVITIES

Form five groups to work on these activities:

Group 1 – ACTORS
In a role play, show the proper etiquette when
using a cell phone and telephone.

Group 2 – DANCERS
Through a dance, interpret a song that discusses the author‘s desire to
have
human contact rather than use of technology in communication.

Group 3 – MATHEMATICIANS
Make a computation on how much your weekly expenses allotted
for load and phone bills amount to. Think of how you can still use
technology but lessen the expenses.

Group 4 – RESEARCHERS
List the advantages and disadvantages of communications
technology. Use the chart below.
COMMUNICATIONS TECHNOLOGY
Unit Advantages Disadvantages
Telephone
Cell phone
Fax
Machine E-
mail
Voice mail

Group 5 – SINGERS
Compose a jingle about communications technology highlighting its
importance but not losing interaction with others, then sing it.

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 Application:
TASK 5: POSTER MAKING
Make a poster depicting the importance of human
interaction rather than the use of communications
technology. Be guided by the rubric.

POSTER MAKING RUBRIC

CRITERIA 10pts. 8pts. 6pts. 4pts.
Relevance All graphics are All graphics are
related to the related to the All graphics relate Graphics do not
topic and make it topic and most to the topic. Most relate to the topic
easier to make it easier to borrowed OR several
understand. All understand. graphics have a borrowed
borrowed All borrowed source citation. graphics do not
graphics have a
graphics have a have a source
source citation.
source citation. citation.
Originality Several of the
One or two of the
graphics used on The graphics are
graphics used on
the poster reflect made by the No graphics made
the poster reflect
a exceptional student, but are by the student are
student creativity
degree of student based on the included.
in their creation
creativity in their designs or ideas of
and/or display.
creation others.
and/or display.
Attractiveness The poster is
The poster is The poster is The poster is
exceptionally
attractive in terms acceptably distractingly messy
attractive in terms
of design, layout attractive though or very poorly
of design, layout,
and neatness. it may be a bit designed. It is not
and
messy. attractive.
neatness.
Source: http://rubistar.4teachers.org/index.php?screen=ShowRubric&rubric_id=1357669&

Assessment:
TASK 6: WRITESHOP
Write your own definition or meaning of ―human
interaction‖ as if writing a quotation such as that of
Einstein that was presented in the lesson‘s introduction.

QUOTATION WRITING RUBRIC

1 2 3 4 5
Does Not Partially Does Not Meets Exceeds
Meet Meets Fully Meet
Content/ Writing is
Writing is
extremely Writes Writing is
Ideas limited in
Writing is
related, purposeful
confident and
limited in clearly
communicating quality and focused.
communicatin focused.
knowledge, sentences, Piece
g knowledge. It holds the
with no central but with little contains
reader‘s
theme. or no details. some details.
attention.
Vocabulary/ Careless or
inaccurate Shows some Effective and
Word Choice word choice,
Language is
use of varied
Purposeful use
engaging use
trite, vague or of word
which word choice. of word
flat. choice.
obscures choice.
meaning.
Reference: http://www.readwritethink.org/files/resources/lesson_images/lesson401/Rubric.pdf

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Making a Difference

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in
understanding of how Anglo- one-act play through utilizing
American literature and other text effective verbal and non-verbal
types serve as means of connecting strategies and ICT resources based
to the world; also how to use ways of on the following criteria: Focus,
analyzing one-act play and different Voice, Delivery, and Dramatic
forms of verbals for him/her to Conventions.
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9F-IIIb-3.11: Produce the English sounds correctly and effectively
when delivering lines in a one-act play

Objectives:
1. Produce words with ―th‖ sounds correctly and effectively
2. Deliver lines from a one-act play observing the correct
pronunciation of words with ―th‖ sounds
3. Demonstrate active participation in practicing saying of words
with
voiced and voiceless ―th‖ sounds
4. Pay particular attention to words with voiced and voiceless ―th‖
sounds
when encountered in texts

II. LEARNING CONTENT

Lesson: Sounding Words Correctly - Voiced and Voiceless TH
Materials:
1. Video Clip
2. Tarpapel
3. Bucket with Hearts
References:
1. K to 12 Curriculum Guide (May, 2016) p. 206
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 271-272
3. Teacher‘s Guide pp. 147-148
4. Online References

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III. LEARNING TASKS
Introduction: How well can you distinguish ―th” sounds?

Preliminary Activity:
TASK 1: WORD BANK
Fill in each blank with the appropriate word from the bank.

Missing Word Sentences

Questions to Answer:
 How is th pronounced in the following words?
Thursday, three, think, thin, thick, tooth, thunder, father

 Did you notice any difference?

Activity:

TASK 2: VIEWING
View this clip from https://www.youtube.com/watch?
v=2jxm7EeVXWs

A
n The IPA symbol for the voiced th sound is
/ð/.
a The IPA symbol for the voiceless th sound
l The /ð/ is the sound you hear at the beginning of frequently
y used words such as the, this, that, those. You also hear this
s sound in the middle of many common words such as: mother, father,
i brother and rather. To make the /ð/ sound, place your tongue slightly
s between your teeth. Your tongue and teeth should be touching. Since
: this is a voiced sound you should feel your vocal chords vibrate when
you make the sound.
To make the/θ/ sound, place your tongue slightly between your
teeth. Your tongue and teeth should be touching lightly. When the air
flows out of your mouth it should feel gentle. The /θ/ is the sound
you hear in words such as:

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 Abstraction:
TASK 3: GAME OF HEARTS
Directions:
1. Prepare as many as you can a heart shape card with
words with th sound.
2. Place them in a pile (bucket or box)
3. Have your students to pick one and read. If the word is said
correctly, the student keeps it; if not, card goes back into pile.
4. The student with most cards by the end of the session wins.

Application:

TASK 4: TRY THIS!

Using the following words with the th sound complete the

table below.

throw Math theme

thanks those month
with thing thirst
mother their then
anything something thematic
brother Thursday that
there father
The 'voiced th' /ð/ The 'voiceless th' /θ/

Assessment:
TASK 5: SAY THEM IN LINES
Deliver the following lines taken from William
Shakespeare‘s Romeo and Juliet. Pay particular attention
to the words with th sounds. Pronounce them correctly.

Servant: When good manners shall lie all in one or two men's hands and
they unwashed too, 'tis a foul thing.
First Servant: Away with the joint-stools, remove the court-cupboard,
look to the plate.
Second Capulet: 'Tis more, 'tis more, his son is elder, sir; His son is
thirty. Capulet: Will you tell me that?
Romeo: Beauty too rich for use, for earth too
dear! Tybalt: Come hither, cover'd with an
antic face.
Capulet: Go to, go to; You are a saucy boy: is't so, indeed? This trick
may chance to scathe you, I know what:

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 DELIVERING LINES RUBRIC
Criteria Exception Goo Fair Poor
al d 2pts 1pt.
4pts. 3pts .
.
Voice Student projects Student strives
Student
their voice Student varies to enunciate and
exhibits poor
clearly and add vocal
utilizes their voice to voice pitch and variations, but
enunciation
include variations of tone, and overall effect is
reflects and no
pitch, rate, volume, some level of flimsy - due to variations in
volume and/or
and tone consistent to expressiveness. either too much
their character. pitch.
or
too little
expression.
Pronunciation Students fail to
Students fail to Students fail to
Students are able to pronounce
pronounce one pronounce two
pronounce all words three or more
word with th words with th
with th sound words with th
sound correctly. sound correctly.
correctly. sound
correctly.
Reference: http://www.rcampus.com/rubricshowc.cfm?code=S3WX6B&sp=true

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Making a Difference

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in one-
understanding of how Anglo- act play through utilizing effective
American literature and other text verbal and non-verbal strategies and
types serve as means of connecting ICT resources based on the following
to the world; also how to use ways of criteria: Focus, Voice, Delivery, and
analyzing one-act play and different Dramatic Conventions.
forms of verbals for him/her too
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9V-IIId-29: Get familiar with the technical vocabulary for drama
and theatre (like stage directions)

Objectives:
1. Familiarize oneself with technical vocabulary for drama and
theatre specifically stage directions
2. Illustrate correctly the different types of stage regarding the
audience and stage location
3. Apply knowledge on stage directions in accomplishing a task in
labeling a blank stage layout
4. Apply knowledge in recognizing the type of stage when
given the chance to watch an actual play

II. LEARNING CONTENT

Lesson: Types of Stage and Stage Directions
Materials:
1. Laptop
2. Projector/Monitor
3. Pen and Paper
References:
1. K to 12 Curriculum Guide (May 2016) p. 207
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 275-276
3. Online References

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III. LEARNING TASKS
Introduction:
Have you ever seen a stage play? Are you familiar with the type of stage
used? If you will be a stage actor/actress, do you know stage directions
if the director prompts you during blockings?

Preliminary Activity:
TASK 1: STAGE PLAY TICKETS ON THE HOUSE
It‘s your lucky day. You will be given a chance to have a free ticket to one
of these Filipino stage plays. You will be picking a number via draw lots
and your teacher will announce later to which play you‘ll be an
audience.

Maxie The Musical: Ang Pagdadalaga ni Maximo Oliveros is an

original Filipino stage musical adapted from the award-
winning movie Ang Pagdadalaga ni Maximo Oliveros. It‘s
about a 12-year- old gay boy Maxie fell in love with a cop.
This play directed by Dexter M. Santos provided a
rollercoaster of entertainment. It will make you laugh out
loud, cry, and then, laugh once more. More than the kilig
and funny moments, one thing is for sure – the play will
transport you back to those days of kulitan with your
family, times when things were simpler.
Sources:
*http://www.gmanetwork.com/news/story/338412/ lifestyle/theater-review-a-whirlwind-bromance-in-maxie-the-musicale
* https://joyfullyurs.blogspot.com/2013_11_01_archive.html

"Bona" is a contemporary stage adaptation of the 1980 Lino

Brocka movie classic, with Domingo taking on the iconic
film role of veteran actress Nora Aunor. Director Soxy
Topacio and playwright Layeta Bucoy traded the film's
melodrama to create a laugh-out- loud comedy. In the stage
version, Bona is a middle-aged, single call center agent
who becomes obsessed with Gino Sanchez (film actor Edgar
Allan Guzman), a contestant of the TV talent search "Star of
Tomorrow." She spearheads his fan club, Gino's Angels, and
stalks the wannabe actor on social networking sites, as well
as in mall tours.
Sources:
* http://news.abs-cbn.com/lifestyle/08/24/12/review-bona-eugene-domingo-show
* http://www.vintersections.com/2012/08/peta-relives-film-bona-onstage-august.html

Take a local rock band‘s songs of broken hearts

and unrequited love, add a talented cast of singer-
actors, mix them up with a compelling narrative by
an award-winning playwright, and you‘ve got the
recipe for a successful rock/comedy musical. The
Philippine Educational Theater Association‘s (PETA)
latest offering, ―Rak of Aegis‖, uses Aegis‘s songs
in the key of sawi to tell a story of human resilience
and recovery after a devastating natural calamity.
The title is a pun on ―Rock of Ages‖, the five-time
Sources:
*Tony-nominated rock musical featuring classic rock
songs from ‗80s glam metal bands.
http://www.gmanetwork.com/news/story/349642/lifestyle/theater
- review-rak-of-aegis-is-joyful-storm-of-humor-and-music
* http://3xhcch.blogspot.com/2014/02/review-of-rak-of-aegis-singing-in-flood.html
* http://www.gmanetwork.com/news/story/349642/lifestyle/theater-review-rak-of-aegis-is-joyful-storm-of-humor-and-music

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 Stories of magical spells, kings, and their kingdoms are
back to enchant young audiences as Christine Bellen‘s
“Mga Kuwento ni Lola Basyang” returns to the
Philippine Educational Theater Association (PETA).
PETA‘s longest-running play coincides with the 20th
National Children‘s Month, which promotes freedom of
expression among children and encourages them to
participate in public activities. PETA‘s ―Mga Kuwento
ni Lola Basyang‖ includes three stories that are rich in
morals, namely
―Ang Prinsipeng Mahaba ang Ilong,‖ ―Ang Binibining
Tumalo sa Mahal na Datu,‖ plus a new story, ―Ang
Sources:
http://petatheater.com/2012/10/12/celebrate-national-childrens-month-with-petas-mga-kuwento-ni-
lola-basyang/ http://www.aktivshow.com/category/musical-play/

Activity:
TASK 2: WHERE’S MY SEAT?
Now, you are already given your free tickets for the stage play. You
might be curious to how the seats of the audience are arranged so
you‘ll check beforehand. The next pictures will show you the picture
of the theatre for each play. Indicate in which parts you as the
audience can sit. (e.g. front of the stage, side of the stage)
 For the play “Maxie” (1)

Where can you possibly sit?

 For the play “Bona” (2)

Where can you possibly sit?

 For the play “Rak of Aegis” (3)

Where can you possibly sit?

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  For the play “Mga Kwento ni Lola Basyang” (4)

Where can you possibly sit?

Analysis:
TASK 3: FAMILIARIZING WITH TYPES OF STAGES
When you’re devising a drama, you’ll need to think about how to stage your
performance and what type of stage to use. With a partner, study the four
types of stage. Rearrange the letters to find out the term for the particular
stage and identify the play assigned with this type of stage in your previous
activity.
(LM, pp. 275-276)

Source: https://cassstudio6.wordpress.com/types/
R T H T U S
This stage is the oldest known fixed type of staging in the world, and
it is thousands of years old. The play is assigned with
this type of stage.

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 Source: https://cassstudio6.wordpress.com/types/

O P E U I R C N M S
This is a stage where the audience sits on one side only. The
audience faces one side of the stage directly, and normally sits at a
lower height. The play
is assigned with this type of stage.

Source: https://theatredesigner.wordpress.com/theatre-design-101/stage-types-theatre-in-the-round/

N I - H E T - N R U O D
This stage is positioned at the center of the audience - i.e., there
is audience around the whole stage. This type of stage creates quite an
intimate atmosphere, and is good for drama that needs audience
involvement. The play
is assigned with this type of stage.

Source: https://theatredesigner.wordpress.com/theatre-design-101/stage-types-traverse/

V T R A E S E R
This is a stage where the audience sits on two sides. Also, this type
of stage is good for creating an intimate
atmosphere. The play
is assigned with this type of stage.

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Abstraction:

TASK 4: FAMILIARIZING WITH STAGE DIRECTIONS

 In a play, stage directions are instructions from the playwright to

the actors and stage crew. Though usually placed in brackets
within scripts, they are not spoken. Stage directions relate the
author's intentions for actors' entrances, exits, movement,
intonation and essential behaviors. In addition, they provide
guidance for the crew regarding their responsibilities, including
what the lighting should be and any sounds, such as music, that
must be added.
 Stage directions sometimes provide information about what is
happening on stage in the background, away from the main
action. They also indicate the mood and environment envisioned
by the playwright.
 Stage directions often tell actors how they should speak, and
these are indicated at the beginning of lines.
 An important aspect of stage directions tells
the actors their locations on stage.
Source: https://www.reference.com/art-literature/stage-directions-play-9baa44c85fc89b56#

Study the stage layout below. Directions are indicated based on

the
actor‘s perspective.

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Application:

TASK 5: WORK WITH CELEBRITIES

Below are pictures of famous teen
celebrities nowadays. Cut out their picture
and paste them to their stage assignment.
The last portion indicates where they
should be positioned in the stage layout.

STAGE LAYOUT

1. Kathryn Bernado should be on DOWNSTAGE LEFT.

2. Alden Richards should be on UPSTAGE LEFT.
3. Liza Soberano should be on UPSTAGE CENTER.
4. Dhaniel Padilla should be on DOWNSTAGE CENTER.
5. Nadine Lustre should be on STAGE RIGHT.
6. Enrique Gil should be on STAGE LEFT
7. Maine Mendoza should be on DOWNSTAGE RIGHT.
8. James Reid should be on UPSTAGE RIGHT

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Assessment:

TASK 6: CHECKPOINT
A.Illustrate the different types of stage. Use
rectangles to represent the audience and circle to
represent the stage. Example:
Traverse Stage

1 2 3 4
Proscenium In-the-round Traverse Thrust

B. Label this stage layout with the correct stage direction terms.

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Despite Differences in Points of View

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in
understanding of how Anglo- one-act play through utilizing
American literature and other text effective verbal and non-verbal
types serve as means of connecting strategies and ICT resources based
to the world; also how to use ways of on the following criteria: Focus,
analyzing one-act play and different Voice, Delivery, and Dramatic
forms of verbals for him/her to Conventions.
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9LC-IIId-6.5: Recognize faulty logic, unsupported facts, and
emotional appeal EN9VC-IIId-4.3/5.3: Analyze the information contained
in the material viewed

Objectives:
1. Recognize faulty logic, unsupported facts, and emotional
appeal in statements and advertisements
2. Explain faulty logic, unsupported facts, and emotional appeal
found in the material viewed or listened to
3. Promote openness and transparency in evaluating
statements and advertisements commonly encountered

II. LEARNING CONTENT

Lesson: Logic, Facts or Appeal
Materials:
1. PowerPoint Presentation
2. Paper and Pen
3. Laptop, Speaker and Projector
References:
1. K to 12 Curriculum Guide (May 2016) p. 207
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 282-283
3. Teacher‘s Guide p. 154
4. Online References

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III. LEARNING TASKS
Introduction: Have you ever found yourself arguing with a friend over
something you knew to be true but you just couldn‘t find a way to
convince him to believe you? In everything we do and say we have to
be wise. We need to be a critical thinker to determine the worth of our
ideas.

Preliminary Activity:
TASK 1: SHARING THOUGHTS
How are you going to sell someone a product
you know nothing about?
What are you going to do to convince someone
of what you are talking about?

Activity:

TASK 2: PHILIPPINE TV ADS

The students will be shown three (3) TV commercials in the
Philippines.

Source: https://www.youtube.com/watch?v=-VSN Source: https://www.youtube.com/watch?v=8Vd

qAWD5c0
G8eCxors

Source: https://www.youtube.com/watch?v=oG2jPG
pN0Zs

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 Analysis:

Questions to Answer:
1. In which of the commercials are you most convinced?
2. What makes the commercial convincing? If not, what‘s
wrong with them?
3. In the first commercial, is there any connection
with the tag line and the situation?
4. In the second commercial, are you convinced to buy the products more than
you‘re moved with the story it presents?
5. In the third commercial, is there an evidence supporting the claim
that the product is the best?

Abstraction:
TASK 3: FIRMING UP
Read the discussion below and decide which among the commercials
falls under each.

Faulty
1. logic is a kind of persuasive technique having fault or
imperfect reasoning or sound judgment.
Unsupported
2. fact is not upheld by evidence or facts;
unsubstantiated (unconfirmed).
An
3. emotional appeal is a method of persuasion appealing
to both the brain and the heart.

Application:

TASK 4: BE

WISE In everything you do and say you have to be wise. You

should choose whether it is something to believe or not.
Likewise, you have to think several times before making a
claim so you can convince people to believe you.

Let us test your critical thinking skill in determining the worth of ideas.
Listen to the following statements. Identify the statements which have
faulty logic, unsupported facts, or emotional appeal.

1. I argued with Mrs. Bam before I turned in my homework so I got a

bad grade on my paper.
2. A teenager argues against the family's vacation plans and mother
responds by saying, "When you pay the bills, you can make the
decisions."
3. After making it clear that he values employee "loyalty" a
supervisor asks for "volunteers" to help a fellow supervisor move
on the weekend.

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4. Exercising makes you feel good.
5. I know why you failed all your classes last semester. You study.

Faulty Logic Unsupported Facts Emotional Appeal

1
2
3
4
5

Assessment:

TASK 5: CHECKPOINT
Identify the statements which have faulty logic,
unsupported facts or emotional appeal.
1. Everyone wants to get married someday. A good self-
concept is important in attracting a husband or wife.
Therefore, everyone should develop a good self-
concept.
2. An ordinary Jew was required to wash and change his clothes before
visiting the inner court of the temple.
3. Students who take earth science instead of physics are lazy. Susie
took earth science instead of physics. She should be kicked out of
school.
4. ―I loved that movie we saw last night with Brad Pitt. I am going to rent
all of his movies, and I am sure I‘ll like all of them.‖
5. Ms. Bauer is an incompetent math teacher. She is "a big fat idiot."
6. "Science shows that the Earth is billions of years old!"
7. There must be objective rights and wrongs in the universe. If not,
how can you possibly say that torturing babies for fun could ever be
right?
8. As Mayor, my top priority will be improving education. So my first act
of office will be to cut funding for our public schools.
9. I know why you failed all your classes last semester. You don‘t study.
10.I met a little boy with cancer who lived just 20 miles from a power
line who looked into my eyes and said, in his weak voice, ―Please
do whatever you can so that other kids won‘t have to go through
what I am going through.‖

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Despite Differences in Points of View
Content Standard: Performance Standard:
The learner demonstrates The learner skilfully performs in
understanding of how Anglo- one-act play through utilizing
American literature and other text effective verbal and non-verbal
types serve as a means of strategies and ICT resources based
connecting to the world; also how to on the following criteria: Focus,
use ways of analysing one-act play Voice, Delivery, and Dramatic
and different forms of verbals for Conventions.
him/her to skilfully perform in one-

I. LEARNING COMPETENCY
EN9LT-IIIe-16: Analyze literature as a means of connecting to the world
EN9V-IIIe-29: Get familiar with the technical vocabulary for drama and
theatre (like stage directions)

Objectives:
1. Analyze the initial scenes of a world renowned Shakespearean play
2. Familiarize oneself with theatre related terminologies
3. Identify sensory images used in the text
4. Write their own act and version of Romeo and Juliet
5. Exhibit active participation in discussing Romeo and Juliet
through collaborative activities

II. LEARNING CONTENT

Lesson: “Romeo and Juliet” (First Encounter) by William Shakespeare
Materials:
1. Copy of the Text
2. Laptop, Speaker, Projector
References:
1. K to 12 Curriculum Guide (May 2016) pp. 207
2. A Journey through Anglo-American Literature Learner‘s Material for
English pp.
283-293
3. Teacher‘s Guide pp.154-159
4. Online References

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 III. LEARNING TASKS
Introduction: ―To believe in love, to be ready to give up anything for it,
To be willing to risk your life for it, is the ultimate tragedy.‖

Preliminary Activity:
TASK 1: EYES HERE
Watch a music video from popular romantic and tragic play
―Romeo and Juliet‖.
Source: http://www.youtube.com/watch?v=4FHpmn-KYec

 Fill up the requited information in the Visualization Plot Worksheet

below to analyze the music video. (LM, p. 284)

The story begins with…

A problem the character has is …

They try to solve the problem by…

They finally solve the problem when …

TASK 2: UNSCRAMBLE THE LETTERS

As Romeo and Juliet is a stage play, learn who are the persons involved in the
performance of a play. Arrange the letters on the right to define what is
being described on the left. (LM, pp. 284-285)

The backstage technical crew responsible

for running the show
In small theater companies the same GSATE WECR
persons build the set and handle the load-
in. Then, during the performances, they
change the scenery and
handle the curtain.

A male or female person who performs a

role in a TRSAIT
play, television, or movie

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The person who oversees the entire
process of
CREORDTI
staging a production

A group of theatrical artists working

together to BNSELNEM
create theatrical production.

Activity:

TASK 3: SEARCH AND MATCH

Look for the words in the chart that match the meanings
below. (LM, p. 285-286)

P E R N I C I O U S
U W R D S A H T S T
N D R Q L S F G W A
I S P I I L X C B B
S B E N V G J L M W
H F A D E A M O O Q
M B F D G A L E D P
E L D N M O S L S E
N A L T O M B E R S
T L S M O P Q R S T

1. Send away from a country or place as an official punishment

2. A wound produced by a pointed object or weapon

3. Causing great harm or damage often in a way that is not easily

seen or noticed

4. A penalty inflicted on an offender through judicial procedure

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Analysis:

TASK 4: READING CORNER

Read ―The Story of Romeo and Juliet‖ on pages 286 to 291 of
your
English module.

TASK 5: MAKING CONNECTIONS

A. What the Text Says
Each group will choose a question word. Afterwards the
teacher will reveal the complete question. (LM, p. 292)

What two families are

feuding? Explain the
reason for the family
feud.

Who are the

characters in the
story? Make a

Where does
the
story take

When does the

story
take place?

Why does Lady

Capulet want Juliet
to
marry Paris?

B. What the Text Means

Answer the questions below. (LM, p.293)
B1. Discuss the relationships between parents and children in
Romeo and Juliet . How do Romeo and Juliet interact with their
parents? Are they rebellious, in the modern sense? Explain your
answer. How do the parents feel about them?
B2. What is Romeo‘s fear ? What does the line? ―some
consequence, yet hanging in the stars‖ has to do with his
feeling of dread? What does it convey?

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 B3. The feud between the families seems to be an ever-present
concern for the characters. How do the characters manifest this
feud?

C. Take to Mean
Who said the following lines and why? (LM, p. 292)
a. ―Is she a Capulet? O, dear, account, my lie is a foe of debt!‖
b. ―My only love sprung from m only hate. Too early seen unknown
and
known too late.‖

Abstraction:
TASK 6: PICK A CARD
Group yourselves into two. Get one card and act out the
conversation in the given situation.

CARD 1 CARD 2
ROLE PLAY RUBRIC
You are 15. You know a You are 15. You‘ve heard
very beautiful girl called from yourRATING
friends that a
CRITERIA boy called Paris would like
Juliet and you would like to 5 4 3 2 1
marry her. You have to marry you. He‘s very
Speech was clear to
decided with
go appropriate
and talk to volume and rich and handsome but
inflection.her. Prepare what you are not really your type and
Role was played
going toinsay
a convincing,
to make a consistent manner. you don‘t love him. What
good are you going to say when
Arguments andimpression. Let her
viewpoints expressed fit role played.
know how you feel. You he comes to speak to you.
Role-play are
wasrich
organized.
and handsome
and know that you are
Role-play captured and maintained audience interest.
good catch.
Total

Application:

TASK 7: SENSORY IMAGES

From the excerpted play of Romeo and Juliet identify the scenes that
appeal to the senses. Accomplish the graphic organizer on the next page.
Use another sheet of paper for this task. (LM, p. 293)

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 Sigh
t Hearin
g

Tast
e

Touc
h
Smel
l

Assessment:

TASK 8: LIGHTS CAMERA ACTION!

1. Group yourselves into three, act out the first part
of the play Romeo and Juliet.
2. You are given time to work on a rough
script (15 minutes) and then to practice
(15 minutes).
3. You must write out the dialogue in modern
English. Refer to your text. (LM, p. 301)

ROLE PLAY RUBRIC

Exception Admirabl Acceptabl Attempte

Criteria
al e e 2pts. d 1pt.
4pts. 3pts.
Understandin Indicates a clear  Good
 Fair understanding  Presentation is off
g of Topic understanding understanding
of topic topic
of of
topic topic

All members  Some  Few  Group does not

Cooperation contribute by members members work together
playing role well contribute contribute in playing their
by by roles
playing role well playing role well
Shows confidence  Shows
 Unsure of
Informative some  Portrayal stalls
responsibili
Entertaining; confidenc  Lacks information
ty
engage e  Audience bored
Presentation s  Presents
 Somewha
 Mumbles
t
audienc some  Body language is
informati
e information lacking;
ve
Speaks loudly and  Engages inappropriate
 Engages
clearly audience
audience
Appropriate use of  Can be heard
intermittently
body language  Some use of
 Hard to hear
body
 Some movement
language
Source: cte.sfasu.edu/wp-content/uploads/2012/01/Skit.doc

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 The Story of ROMEO & JULIET
Based on the play by William Shakespeare, as told by Bart Marks

In the town of Verona lived two families, the Capulets and the Montagues,
engaged in a bitter feud. Among the Montagues was Romeo, a hot-blooded lad
with an eye for the ladies.

One day, Romeo was recounting for his friends his love for Rosaline, a haughty
beauty from a well-to-dofamily. Romeo's friends chided him for his "love of love"
but agreed to a plan to attend the feast of the Capulets', a costume party where
Rosaline was expected to make an appearance. The disguises would provide
Romeo and his friends a bit of sport and the opportunity to gaze undetected upon
the fair Rosaline. Once there, however, Romeo's eyes fell upon Juliet, and he
thought of Rosaline no more.

Asking around to learn the identity of Juliet, Romeo's voice is recognized by

Tybalt, a member of the Capulet clan. Tybalt calls for his sword, but the elder
Capulet intervenes, insisting that no blood be shed in his home. So Romeo is
tolerated long enough to find an opportunity to speak to Juliet alone, still unaware
of her identity.

A hall in Capulet's house.

Musicians waiting.
Enter Servingmen with
napkins First Servant
Where's Potpan, that he helps not to take
away? He shift a trencher? He scrape a
trencher!

Second Servant
When good manners shall lie all in one or two
men's hands and they unwashed too, 'tis a foul
thing.

First Servant
Away with the joint-stools, remove the
court-cupboard, look to the plate. Good thou,
save me a piece of marchpane; and, as thou
lovest me, let the porter let in Susan
Grindstone and Nell.
Antony, and Potpan!

As yonder lady o'er her fellows shows.

The measure done, I'll watch her place of
stand, And, touching hers, make blessed
my rude hand.
Did my heart love till now? forswear it,
sight! For I ne'er saw true beauty till this
night.

TYBALT
Second Capulet
'Tis more, 'tis more, his son is elder,
sir; His son is thirty.

CAPULET
Will you tell me that?
His son was but a ward two years ago.

ROMEO
[To a Servingman] What lady is that,
which doth enrich the hand
Of yonder knight?

Servant
I know not, sir.

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ROMEO
O, she doth teach the torches to burn bright!

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It seems she hangs upon the cheek of
night Like a rich jewel in an Ethiope's
ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows, 2

CAPULET
He shall be endured:
What, goodman boy! I say, he shall: go
to; Am I the master here, or you? go
to.
You'll not endure him! God shall mend my
soul! You'll make a mutiny among my
guests!
You will set cock-a-hoop! you'll be the
man! This, by his voice, should be a
Montague.
Fetch me my rapier, boy. What dares the
slave Come hither, cover'd with an antic
face,
To fleer and scorn at our
solemnity? Now, by the stock and
honour of my kin, To strike him dead,
I hold it not a sin.

CAPULET
Why, how now, kinsman! wherefore storm you so?

TYBALT
Uncle, this is a Montague, our
foe, A villain that is hither come
in spite, To scorn at our
solemnity this night.

CAPULET
Young Romeo is it?

TYBALT
'Tis he, that villain Romeo.

CAPULET
Content thee, gentle coz, let him
alone; He bears him like a portly
gentleman; And, to say truth,
Verona brags of him
To be a virtuous and well-govern'd
youth: I would not for the wealth of all
the town Here in my house do him
disparagement: Therefore be patient,
take no note of him: It is my will, the
which if thou respect,
Show a fair presence and put off these
frowns, And ill-beseeming semblance for a
feast.

TYBALT
It fits, when such a villain is a
guest: I'll not endure him.

CAPULET
He shall be endured: 3
Ay, pilgrim, lips that they must use in
prayer What, goodman boy! I say, he
shall: go to; Am I the master here, or
you? go to.
You'll not endure him! God shall mend
my soul! You'll make a mutiny among my
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guests!
You will set cock-a-hoop! you'll be the man!

TYBALT
Why, uncle, 'tis a shame.
CAPULET
Go to, go to;
You are a saucy boy: is't so, indeed?

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This trick may chance to scathe you, I know
what: You must contrary me! marry, 'tis
time.
Well said, my hearts! You are a princox;
go: Be quiet, or--More light, more light!
For shame! I'll make you quiet. What,
cheerly, my hearts!

TYBALT
Patience perforce with wilful choler meeting
Makes my flesh tremble in their different
greeting. I will withdraw: but this intrusion
shall
Now seeming sweet convert to bitter
gall. Exit

ROMEO
[To JULIET] If I profane with my unworthiest
hand This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.

JULIET
Good pilgrim, you do wrong your hand too
much, Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands
do touch,
And palm to palm is holy palmers' kiss.

ROMEO
Have not saints lips, and holy palmers too?

JULIET
Ay, pilgrim, lips that they must use in prayer.

ROMEO
O, then, dear saint, let lips do what hands
do; They pray, grant thou, lest faith turn to
despair.

CAPULET
Go to, go to;
You are a saucy boy: is't so, indeed?
This trick may chance to scathe you, I
know what:
You must contrary me! marry, 'tis time.
Well said, my hearts! You are a princox;
go: Be quiet, or--More light, more light!
For shame! I'll make you quiet. What,
cheerly, my hearts!

TYBALT
Patience perforce with wilful choler
meeting Makes my flesh tremble in their
different greeting.
I will withdraw: but this intrusion shall
Now seeming sweet convert to bitter
gall. Exit

ROMEO
[To JULIET] If I profane with my
unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.

JULIET
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Good pilgrim, you do wrong your hand too

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much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands
do touch,
And palm to palm is holy palmers' kiss.

ROMEO
Have not saints lips, and holy palmers too?

BENVOLIO
Away, begone; the sport is at the best.

ROMEO
Ay, so I fear; the more is my unrest.

CAPULET
Nay, gentlemen, prepare not to be
gone; We have a trifling foolish
banquet towards. Is it e'en so? why,
then, I thank you all
I thank you, honest gentlemen; good
night. More torches here! Come on then,
let's to bed. Saints do not move, though
grant for prayers' sake.

ROMEO
Then move not, while my prayer's effect I
take. Thus from my lips, by yours, my sin is
purged.

JULIET
Then have my lips the sin that they have took.

ROMEO
Sin from thy lips? O trespass sweetly
urged! Give me my sin again.

JULIET
You kiss by the book.

Nurse
Madam, your mother craves a word with you.

ROMEO
What is her mother?

Nurse
Marry, bachelor,
Her mother is the lady of the house,
And a good lady, and a wise and virtuous
I nursed her daughter, that you talk'd
withal; I tell you, he that can lay hold
of her
Shall have the chinks.

ROMEO
Is she a Capulet?
O dear account! my life is my foe's debt.

JULIET
My only love sprung from my only hate!
Too early seen unknown, and known too
late! Prodigious birth of love it is to me,
That I must love a loathed enemy.

Nurse

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What's this? what's this?

JULIET
A rhyme I learn'd even now
Ah, sirrah, by my fay, it waxes late:
I'll to my rest.

Exeunt all but JULIET and Nurse

JULIET
Come hither, nurse. What is yond gentleman?

Nurse
The son and heir of old Tiberio.

JULIET
What's he that now is going out of door?

Nurse
Marry, that, I think, be young Petrucio.

JULIET
What's he that follows there, that would not dance?

Nurse
I know not.

JULIET
Go ask his name: if he be married.
My grave is like to be my wedding bed.

Nurse
His name is Romeo, and a
Montague; The only son of your
great enemy.
Of one I danced withal.
One calls within 'Juliet.'

Nurse
Anon, anon!
Come, let's away; the strangers all are gone.

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Despite Differences in Points of View

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in one-
understanding of how Anglo- act play through utilizing effective
American literature and other text verbal and non-verbal strategies and
types serve as means of connecting ICT resources based on the following
to the world; also how to use ways of criteria: Focus, Voice, Delivery, and
analyzing one-act play and different Dramatic Conventions.
forms of verbals for him/her too
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9LT-IIIe-20.2: Explain the literary devices used

Objectives:
1. Define the different literary devices
2. Explain the literary devices used in given passages or lines
3. Express appreciation in the use of different literary devices in
creating own sample statements

II. LEARNING CONTENT

Lesson: Literary Devices - Simile, Foreshadowing, Rhyme,
Repetition, Oxymoron, Metaphors
Materials:
1. Manila Paper and Marker
References:
1. K to 12 Curriculum Guide (May 2016) p. 207
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 293-295
3. Online References

III. LEARNING TASKS

Introduction: The English language encompasses a host of literary
devices that make it so rich and expressive. They provide a broad structure
under which all the types of literature are classified, studied, and
understood. The importance of literature in the portrayal of human
emotions is best understood by the application of these devices.

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Preliminary Activity:

TASK 1: WORD HUNT

Search in the puzzle the following words:
Simile, Foreshadowing, Rhyme,
Repetition, Oxymoron, Metaphor

A K B F O R E S H A D O W I N G
B Q K F X R S I V T C U T M L C
F C X B Y F J M E T A P H O R J
A R H Y M E C I W C K A H N L S
P D O E O D A L H B I G J B H R
A G Y B R E P E T I T I O N B C
P N Z G O D Y J X M L E K V W Q
O J E F N E U G I J D I L H M P

Activity:

TASK 2: AN
OVERVIEW

Match the given passages or lines in Box A to the technique employed in Box B.

A B

Life is like a book, full of Description gives us the clue

chapters and stories. with something that is about
to happen
Life is a rose, beautiful yet
full of thorns. Two objects or ideas are
compared in an obvious way
The deafening silence is
Word is mentioned twice in
creepy. O Tyger, Tyger,
the line
burning bright!
Two objects or ideas are
I think that I shall never compared without using
see, A poem as lovely as word that would make it
a tree. obvious

Last word in each line sound alike

He didn‘t bring his
umbrella but the ominous Two contradicting words are
clouds told him he made put next to each other within
the wrong move. the sentence

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Analysis:
TASK 3: IN THE KNOW
The meaning of the different literary devices encountered in the puzzle will
be revealed. Find out which statement in Task 2 fall under each literary
device. Place the statements on the wooden board provided for the sample
under each type of literary device. (LM, pp. 293-295)

 SIMILES are one of the most commonly used

literary devices; referring to the practice of
drawing parallels or comparisons between
two unrelated and dissimilar things, people,
beings, places, and concepts. They are
marked by the use of words ―as‖ or ―such
as‖ or ―like‖.

 FORESHADOWING refers to the use

of indicative words/phrases and hints
that set the stage for a story to unfold
and give the reader a hint of
something that is going to happen
without revealing the story or spoiling
the suspense. Foreshadowing is used
to suggest an upcoming outcome to
the story.

 RHYME is the practice of placing rhyming

words often at the end of the lines in prose
or poetry. It refers to the corresponding
of sounds between words or the ending
of words,

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  REPETITION is just the simple repetition
of a word, within a sentence or a
poetical line, with no particular
placement of the words. This is such a
common literary device that it is
almost never even noted as a figure
of speech.

 OXYMORON is a significant literary

device as it allows the author to use
contradictory, contrasting concepts
placed together in a manner that
actually ends up making sense in a
strange and slightly complex manner.
It helps to perceive a deeper level of
truth and explore different layers of
semantics while writing.

 METAPHORS are one of the most

extensively used by way of another. In
a metaphor, one subject is implied to
be another so as to draw a
comparison between their similarities
and shared traits.

Abstraction:

TASK 4: WRITE ON!

Try writing your own sample statements
using the literary device prescribed in each
item to make them more interesting. On
the left box is the
original statement. Write the improved statement on the right box.

Example:
Metaphor
Before: Love can bring happiness to a person’s life.
After: Love is a fire that envelopes one in warmth and bliss.

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 SIMILE

Life is both easy

and hard.

METAPHOR

Love is the
most wonderful
feeling in the
world. FORESHADOWING

Today is my lucky
day.

REPETITION

President, hear our

pleas.

RHYME

High school life is

the best…

Application:

TASK 5: COLLABORATIVE WRITING

The class will be divided into six (6) groups. Each group will
be assigned to one literary device discussed. The group is to
come up with five examples for the literary device assigned
to them. Outputs will be written in a manila paper.

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Assessment:

TASK 6: CHECKPOINT
Identify the literary device used in the following lines lifted
from Romeo and Juliet. Write SIM for simile, MET for
metaphor, OXY for oxymoron, REP for repetition, RHY for
rhyme, and FOR for foreshadowing. (LM, p. 296)
1. Parting is such a sweet sorrow.
2. Oh loving hate!
3. Romeo, Romeo, where art thou Romeo?
4. My life is a foe of debt!
5. ―And to ‗thy go like lightning‖
6. Romeo: By some vile forfeit of the untimely death
7. Prodigious birth of love is it to me,
That I must love a loathed enemy.

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Despite Differences in Points of View

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in one-
understanding of how Anglo- act play through utilizing effective
American literature and other text verbal and non-verbal strategies and
types serve as means of connecting ICT resources based on the following
to the world; also how to use ways of criteria: Focus, Voice, Delivery, and
analysing one-act play and different Dramatic Conventions.
forms of verbals for him/her to
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9G-IIIe-21: Use verbals

Objectives:
1. Recognize the use of infinitives in sentences
2. Match sentence halves with verbs and expressions that are
followed by infinitives
3. Use the correct form of infinitives in completing sentences
4. Share personal insights through constructing sentences with
verbals such as infinitives

II. LEARNING CONTENT

Lesson: Infinitives
Materials:
1. Worksheets
2. Metacards
References:
1. K to 12 Curriculum Guide (May 2016) p. 207
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 295-296
3. Teacher‘s Guide
4. Online References

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III. LEARNING TASKS
Introduction: Why do we do something? In this lesson, you will have to
explain why you do things and complete the phrases by using a
particular grammatical construct.
Preliminary Activity:
TASK 1: COMPLETE ME BOARD GAME
Draw a dice and complete the phrases on the board.

Source:
https://en.islcollective.com/resources/printables/worksheets_
doc_docx/infinitive_with_to_board_game/gerunds-and-infinitives/3
2322

Activity:
TASK 2: DEFINE ITS PURPOSE!
A. Split class into teams. Each team has 30 seconds to describe the
purpose of the objects on the cards.

B. Match the sentences halves 1-6 a-f to make complete sentences.

1. I go to the gym 3 times a week a. to give to her mother.
2. I went to the supermarket b. to see the Train To Busan film.
3. We went to the cinema c. to do the weekly shop.
4. I drove all night just d. to clean underneath it.
5. He lifted up the sofa e. to keep fit.
6. She bought chocolates f. to see you.

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 Analysis
TASK 3: INFINITIVES AT WORK
Infinitives are the “to” form of the verb. The infinitive form of
“learn‖ is A.
“to following
Read the learn.” lines from the play ―Romeo and Juliet” and underline
the infintives.

To strike him dead, I hold it not a

sin. To scorn at our solemnity this

night.

To be a virtuous and well governed

youth. To smooth the rough touch with

tender kiss.

B. Look for a partner and ask each other the following questions using
infinitives.

1. What do you hope to accomplish in five

years?

2. What are you willing to sacrifice for your

family?

Abstraction:

FUNCTIONS OF INFINITIVES
 INFINITIVES AS NOUNS
Infinitives can be used as the subject, the complement or the
object of a sentence.
Examples: To err is human. – Subject
Maria’s dream is to finish her studies. –
Complement Monica always wanted to dance. -
Object

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 INFINITIVES AS ADJECTIVES
Infinitives used as adjectives modify/ describe nouns.

Examples: The candidate to trust is Tony.

He has the great ability to paint.

 INFINITIVES AS ADVERBS
Infinitives used as adverbs modify/describe verbs,
adjectives and other adverbs .

Examples: My grandmother has come to stay.

The team was too slow to score.

TASK 4: TRY THIS!

Read the following lines and identify the use of the
infinitives in each sentence.
Uncle, this is a Montague, our foe; a villain, that is hither
come in
Spite to score at our solemnity this night.
I must another way, to fetch a ladder, by the which your love must climb a bird’s nest
soon when it is dark.
These times of woe afford no times to woo.
Come, is the bride ready to go to church?
Here is a friar, and slaughtered Romeo’s man, with instruments upon them fit to open
these dead men’s tombs.

TASK 5: FIT AND RIGHT

Write the infinitive in each sentence. Then beside each write ADJ if it is used
as an adjective and ADV if it is used as an adverb.
1. The choir was ready to perform.
2. He worked to get ahead in the ladder of education.
3. He gave me a book to read.
4. The passage from the Bible is hard to translate.
5. The boys are coming this weekend to play tennis

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 Application:

TASK 6: BIG LEAGUE

Complete the following sentences with the infinitive used as
indicated inside the parentheses.

1. Here is the lesson . ( adjective)

2. The team was ready . (adverb)
3. My friend were sorry . (adjective)
4. She promised never . (adverb)
5. I don‘t have time . (adjective)

Assessment:

TASK 7: CHECKPOINT
Circle the infinitives in the sentences below. Write the
infinitive‘s function in the sentence in the blank under the
sentence.

1. His goal was to succeed.

2. To refuse was not an option, so we agreed with their demands.

3. My brother likes to sing.

4. The team must score to win.

5. The counselor has the ability to help.

6. Her dog just wanted to play.

7. To laugh seemed rude, but the story was funny.

8. For the dishes tonight, your job is to dry.

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: With Fortitude and Determination

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in one-
understanding of how Anglo- act play through utilizing effective
American literature and other text verbal and non-verbal strategies and
types serve as means of connecting ICT resources based on the following
to the world; also how to use ways of criteria: Focus, Voice, Delivery, and
analysing one-act play and different Dramatic Conventions.
forms of verbals for him/her to
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9LT-IIIf-20.2: Explain the literary devices used
EN9WC-IIIf-9.5: Use literary devices and techniques to craft a play synopsis

Objectives:
1. Acquire a clear understanding on the concept of literary devices
namely apostrophe and understatement
2. Employ the use of these two literary devices in writing a play synopsis
3. Demonstrate appreciation of tasks involving explanation of literary
devices employed in writing

II. LEARNING CONTENT

Lesson: Literary Devices - Apostrophe, Metaphor, Personification,
Hyperbole and Understatement
Materials:
1. Metacards
2. Tarpapel
3. Paper and Markers
References:
1. K to 12 Curriculum Guide (May 2016) pp. 207-208
2. A Journey through Anglo-American Literature Learner‘s Material for
English
p. 312
3. Online References
http://www.literarydevices.com/
understatement/
http://literarydevices.net/apostrophe/
https://blog.udemy.com/metaphor-poem-
examples/
http://literarydevices.net/personification/

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III. LEARNING TASKS
Introduction: Figurative language is said to be linguistic miracles. Let‘s
get to know five literary devices that can transform simple statements to
more emotionally evocative ones.

Preliminary Activity:

TASK 1: SHARING
Which line/s from the play Romeo and Juliet is your
favorite? Why?

Activity:

TASK 2: ONE-ACT
Deliver the following lines taken from the play Juliet.
Romeo and
"Ay, ay, a scratch; marry, ‘tis enough."

“I am no pilot; yet, wert thou as far/ As that vast shore

wash’d with the farthest sea,/ I would adventure for
such merchandise.”
“Arise, fair sun, and kill the envious moon.”

“But soft! what light through yonder window breaks? It is the

east,
and Juliet is the sun.”
“Every cat and dog/ And little mouse, every unworthy thing,/
Live
here in heaven and may look upon her.”

Analysis:

TASK 3: LOOKING CLOSELY

Given here are the definitions and examples of different
literary devices. Identify which among the lines you
delivered in the previous activity falls under each.

Apostrophe – is an address to someone who is absent and cannot

hear the speaker, or to something nonhuman that cannot understand
what is said. An apostrophe allows the speaker to think aloud, and
reveals those thoughts to the audience.

Examples:
O God! Can I not grasp
Them with a tighter
clasp? O God! can I not
save
One from the pitiless wave?
~ ―A Dream within a Dream‖ -1827 Lines 19-22

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―Oh, lady bright! can it be right— / This window open to the night?‖
―Oh, lady dear, hast thou no fear? / Why and what art thou dreaming here?‖
~―The Sleeper‖ – 1831 Lines 18-19, 31-32

"O Romeo, Romeo! wherefore art thou Romeo?"

―O happy dagger, /This is thy sheath. / There rust and let me die.‖
―Arise, fair sun, and kill the envious moon. ―
~Romeo and Juliet

Metaphor – is a comparison of two things that are basically dissimilar in

which one is described in terms of the other.

Examples:
―She is all states, and all princes, I.‖
~―The Sun Rising‖
―I‘m a riddle in nine syllables,
An elephant, a ponderous house,
A melon strolling on two tendrils.‖
~Sylvia Plath
―The Moon‘s a snowball. See the
drifts Of white that cross the
sphere.‖
~What the Snow Man Said
Personification – is a figure of speech in which an object, abstract idea,
or animal is given human characteristics.

Examples:
―The woods are getting ready to sleep—they are not yet asleep but they
are disrobing and are having all sorts of little bed-time conferences and
whisperings and good-nights.‖
~The Green Gables Letters
―Loveliest of trees, the cherry now/ Is hung with bloom along the bough,/ And
stands
about the woodland ride/ Wearing white for Eastertide.‖
~Loveliest of Trees the Cherry Now

Hyperbole – is exaggeration for emphasis; overstatement.

Examples:
―I‘ll love you till the ocean
Is folded and hung up to dry.‖
~As I Walked One Evening

―I had to wait in the station for ten days-an eternity.‖

~The Heart of Darkness

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 Understatement – is way of speaking which minimizes the significance of
something. When using understatement, a speaker or writer often
employs restraint in describing the situation at hand and uses an
expression with less emphasis or strength than would be expected.

Examples:
"A soiled baby, with a neglected nose, cannot be conscientiously
regarded as a thing of beauty."
~(Mark Twain)
"I have to have this operation. It isn't very serious. I have this tiny little tumor
on the brain."
~(Holden Caulfield in The Catcher In The
Rye "Last week I saw a woman flayed, and you will hardly believe how
much it altered her person for the worse."
~A Tale of a
Tub "The grave's a fine and private place,
But none, I think, do there embrace."
~Andrew Marvell, "To His Coy
Mistress" "I am just going outside and may be some time."
~ Captain Lawrence Oates, Antarctic explorer,
before walking out into a blizzard to face
certain death, 1912
Abstraction

TASK 4: PRACTICE ON LITERARY DEVICES

A. Encircle the letter of your answer.
1. Choose the correct definition of apostrophe as a
literary device.
A. A punctuation mark that stands in place of omitted letters.
B. An exclamatory figure of speech when a character turns from
addressing one party to another party or inanimate object.
C. The act of omitting information necessary to the plot to keep readers
guessing.

2. Which of the following quotes from Herman Melville‘s story ―Bartleby, the
Scrivener‖
is an example of apostrophe?
A. Ah Bartleby! Ah Humanity!
B. I would prefer not to.
C. Nothing so aggravates an earnest person as a passive resistance.
3. Why is the following excerpt from Shakespeare‘s Romeo and Juliet an
example of apostrophe as a literary device?
JULIET: Yea, noise? Then I’ll be brief. O happy dagger! This is thy sheath; there rust,
and let me die.

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 B. Write an understatement on the following situations:
1. When one is sweating profusely in a sauna or traveling
through a desert at midday
2. After completing a marathon
3. After having not slept all night long
4. When cornered in battle
5. Surrounded by sharks while in a lifeboat

C. What would be your reaction in the

following situations? Write statements using
hyperbole.
1. You win 100 million pesos in a lottery.
2. Your team loses to its opponent 50 to
0 in a basketball match.
3. You lost your new iphone7.
4. You receive a bouquet of red roses and a box of chocolates.
5. You are trapped in a dark room.

D. Identify if the statements used personification or

hyperbole. Write PER for personification and HYP for
hyperbole.
1. The dog was a jack-in-the-box, trying to jump up
on the visitors.
2. The full moon guided me through the dark streets.
3. The pool was a boiling cauldron on that hot summer day.
4. "Chocolate is my ray of sunshine on a bad day," admitted Reena.
5. Cars danced across the icy road.

Application

TASK 5: YOU’RE THE BOSS

Write a short synopsis or summary of your own play or
drama you imagine writing about. Include at least three
statements using any of the three literary devices
discussed.

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 SYNOPSIS WRITING RUBRIC

Criteria Excellent Good Below Average Ineffective

Main Idea Main idea is
Main idea is The main idea is not
Main idea is clear. unclear- not
established. present.
specifically stated
in the writing.
Supporting Important details
All important Some critical Synopsis contains
are included but
Details details are
some
information is missing. only some
included. details.
might be missing.
Format Details are in logical Ideas are not in a
Most of the ideas Ideas are in random
order because the logical order
are in logical order and not
format is followed. because
order. logical.
format is not observed.
Content The synopsis The synopsis
The synopsis There is no use
contains at least contains only two
contains only one of literary
three (3) (2) statements
(1) statement using devices as
statements using using
literary device. required.
literary device. literary device.

Reference: www.studyzone.org/testprep/ela4/h/summaryrubric.htm

Assessment

TASK 6: CHECKPOINT
Identify the literary devices (APOSTROPHE, METAPHOR,
PERSONIFICATION, HYPERBOLE, or UNDERSTATEMENT) used in the
following passsages:

1. O, pardon me, thou bleeding piece of

earth, That I am meek and gentle with
these butchers! Thou art the ruins of the
noblest man
That ever lived in the tide of times."
~Shakespeare, Julius Caesar, Act 3, Scene 1

2. BENVOLIO: What, art thou hurt?

MERCUTIO: Ay, ay, a scratch, a scratch. Marry, ‘tis enough.
Where is my page?—Go, villain, fetch a surgeon.
ROMEO: Courage, man. The hurt cannot be much.
MERCUTIO: No, ‘tis not so deep as a well nor so wide as a
church- door, but ‘tis enough, ‘twill serve. Ask for
me tomorrow, and you shall find me a grave man.
I am peppered, I warrant, for this world. A plague
o‘ both your houses! Zounds, a dog, a rat, a
mouse, a cat to scratch a man to death!

3. "Death, be not proud, though some have

called thee Mighty and dreadful, for thou art
not so."
~John Donne, Holy Sonnet X

4. Hey diddle, Diddle,

The cat and the fiddle,
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 The cow jumped over the moon;

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 The little dog
laughed To see such
sport,
And the dish ran away with the spoon.
~ Hey Diddle, Diddle

5. "Hello darkness, my old friend

I've come to talk with you again."
~Paul Simon, The Sounds of Silence

6. I‘ve got a nice place here,‖ he said, his eyes flashing about
restlessly.

7. ―I‘ll go with you and I‘ll stay with you all the time. They just let
the air in and then it‘s all perfectly natural.‖

8. But tree, I have seen you taken and

tossed, And if you have seen me
when I slept,
You have seen me when I was taken and
swept And all but lost.
~ Tree at My Window

9. Love is a guest that comes, unbidden.

10. It's a slow burg. I spent a couple of weeks there one day.

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: With Fortitude and Determination

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in one-
understanding of how Anglo- act play through utilizing effective
American literature and other text verbal and non-verbal strategies and
types serve as means of connecting ICT resources based on the following
to the world; also how to use ways of criteria: Focus, Voice, Delivery, and
analysing one-act play and different Dramatic Conventions.
forms of verbals for him/her to
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9V-IIIf-29: Get familiar with the technical vocabulary for drama and
theatre (like stage directions)
EN9OL-IIIa-3.7: Employ varied verbal and non-verbal strategies while
performing in a one-act play

Objectives:
1. Familiarize oneself to vocabulary terminologies essential in
performing a one- act play
2. Analyze the famous scene from the play Romeo and Juliet through a
comics
3. Employ appropriate verbal and non-verbal strategies upon
performing an act from the discussed literary piece
4. Express appreciation of the literary piece by demonstrating its
understanding during the major performance

II. LEARNING CONTENT

Lesson: “Romeo and Juliet” (Balcony Scene) by William Shakespeare
Materials:
1. Pen and Paper
2. Copies of the Comics
References:
1. K to 12 Curriculum Guide (May 2016) pp. 206-207
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 305-319
3. Online References

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III. LEARNING TASKS
Introduction: Whatever your age or gender, professing love to your sweetheart is a
terrifying experience. The three little words, "I love you," make your heart
race, hands sweat, and lips tremble with trepidation. If Cupid is benevolent,
your dearest may reciprocate with love. (Khurana, 2016)

Preliminary Activity:
TASK 1: SHARING
Have you experienced confessing your feelings to
someone? How about someone confessing his/her
feelings to you? Share it to the class.

Activity:

TASK 2: WORD BANK

To be discussed is one of the scenes in the world
renowned piece Romeo and Juliet which is a stage play.
Get to know first words that have something to do with
theatre. Find the missing letters to complete the word that
corresponds to the given definition.
(LM, p. 318-319)

1. b k g

the planning and working out of the movements of actors on stage

2. r s

a movement from one part of the stage to another

3. s t n

the direction an actor is facing relative to the audience, but from the actor’s
perspective

4. g s r

an expressive movement of the body or limits

5. b e u

a silent and motionless depiction of a scene created by actors, often from a

picture

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 TASK 3: THE PAST
In the previous lesson, the story of Romeo and Juliet was introduced to you.
Salient points like how Romeo met Juliet and how they fell in love with each
other were put into light. How much do you know Romeo and Juliet?
Complete the character map below. Put the traits that would describe
Romeo and Juliet on the boxes. (LM, p. 306)

JULIET ROMEO
CAPULET MONTAGUE

Source: http://panchi178.deviantart.com/art
/Shame-the-Stars-341251421

Analysis:
TASK 4: FAMOUS SCENE
The next scene you are about to read is called the balcony
scene which is very famous. Romeo secretly enters the
Capulet orchard. Juliet comes out on her balcony alone,
Romeo and Juliet then speak of their love for each other. Read
this comics version of the scene.
Source:
http://grammarmancomic.com/wp-content/uploads/2015/06/romeosto
ry.pdf LM, pp. 307-308

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TASK 5: FACTUAL REACOUNT
Answer the following questions in the speech bubbles based from your
understanding of the comics. (LM, p.309)

What is Juliet worried Who knows what they

about while they were are talking secretly
talking in the about in the
balcony? balcony?

How does Romeo Where does Romeo

react to what Juliet hide while talking to
said? Juliet?

What does
What proof of his love
Romeo plan to
does Juliet ask from
do when he
Romeo?
leaves Juliet?

Abstraction:

TASK 6: MODERN REVISION

Group yourselves into three. Rewrite the balcony scene in
everyday speech or modern dialogue. Be sure to preserve
the original intent and meaning of the balcony scene. (LM, p.
319)
Application:

TASK 7: A TWIST
Re-enact the balcony scene of Romeo and Juliet using the
modern dialogue you have written.

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 CREATIVE REENACTMENT RUBRIC

Exception Admirabl Acceptabl Attempted

Criteria
al e e 2pts. 1pt.
4pts. 3pts.
Understandin  Indicates a  Good
 Fair understanding  Presentation is off
g of Topic clear understanding
of topic topic
understanding of
of topic
topic

All members  Some  Few  Group does not

Cooperation contribute by members members work together
playing role well contribute contribute in playing their
by by roles
playing role well playing role well
Shows confidence  Shows  Unsure of
 Portrayal stalls
Informative some responsibili
 Lacks information
Entertaining; confidenc ty
 Audience bored
Presentation engages audience e  Somewha
 Mumbles
Speaks loudly and  Presents t
 Body language is
clearly some informati
ve lacking;
Appropriate use of information
 Engages inappropriate
body language  Engages
audience audience
 Can be heard intermittently
 Some use of body  Hard to hear
language  Some movement
Source: cte.sfasu.edu/wp-content/uploads/2012/01/Skit.doc

Assessment:
TASK 8: UNDER THE SPOTLIGHT
As a major performance output, you are expected
to perform a one-act play. You will be performing
the balcony scene of Romeo and Juliet. Be guided
with the script and rubric that will be given to you.

ONE-ACT PLAY RUBRIC

Source: http://www.rcampus.com/rubricshowc.cfm?code=T538WW&sp=true

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 ROMEO AND JULIET SCRIPT
The Balcony
Scene William
Shakespeare

Juliet: (to herself) Ay me! me. Juliet: If they do see thee, they will murder
Romeo: (to himself) She thee. Romeo: Alack, there lies more peril in thine
speaks. eye
O, speak again, bright angel for thou Than twenty of their swords!
art Juliet: I would not for the world they saw thee here.
As glorious to this night, being o‘er my Romeo: I have night‘s cloak to hide me from their
head, eyes;
As is a winged messenger of heaven
Unto the white-upturned wondering
eyes Of mortals that fall back to
gaze on him.
Juliet: (to herself) O, Romeo, Romeo.
Wherefore art thou Romeo?
Deny thy father and refuse thy
name; Or, if thou wilt not, be but
sworn my love, And I‘ll no longer
be a Capulet.
Romeo: (to himself) Shall I hear more, or shall I
speak at this?
Juliet: ‗Tis but thy name that is my enemy.
Thou art thyself, though not a
Montague, What‘s Montague? It is nor
hand, nor foot, Nor arm, nor face, nor
any other part Belonging to a man. O, be
some other name! What‘s in a name?
That which we call a rose By any other
name would smell as sweet.
So Romeo would, were he not Romeo
call‘d, Retain that dear perfection
which he owes Without that title,
Romeo, doff thy name; And for thy
name, which is no part of thee, Take all
myself.
Romeo: (reveals himself, to Juliet) I take thee at
thy word.
Call me but love, and I‘ll be new
baptized;
Henceforth I never will be Romeo.
Juliet: (surprised) What man art thou that, thus
bescreen‘d in night,
So stumblest on my counsel?
Romeo: By a name
I know not how to tell thee who I am.
My name, dear saint, is hateful to
myself, Because it is an enemy to
thee.
Had I written it, I would tear the word.
Juliet: My ears have yet not drunk a hundred
words Of thy tongue‘s uttering, yet I
know the sound.
Art thou not Romeo, and a Montague?
Romeo: Neither, fair maid, if either thee
dislike.
Juliet: How camest thou hither, tell me, and
wherefore?
The orchard walls are high and hard to
climb, And the place death, considering
who thou art,
If any of my kinsmen find thee here.
Romeo: With love‘s light wings did I o‘erperch
these
walls;
For stony limits cannot hold love
out, And what love can do, that
dares love attempt.
Therefore thy kinsmen are no stop to

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 And but thou love me, let them
find me here.
My life were better ended by their
hate That death prorogued,
wanting of thy love.
Juliet: By whose direction found‘st thou out this
place?
Romeo: By love, that first did prompt me to
inquire.
He lent me counsel, and I lent
him eyes. I am no pilot; yet, wert
thou as far
As that vast shore washed with the
farthest sea,
I should adventure for such merchandise.
Juliet: Dost thou love me? I know thou wilt say
―Aye‖;
And I will take thy word. Yet, if thou
swear‘st, Thou mayst prove false. At
lovers‘ perjuries, They say Jove laughs.
O gentle Romeo,
If thou dost love, pronounce it
faithfully. Romeo: Lady, by yonder
blessed moon I vow,
That tips with silver all these fruit-tree
tops ---
Juliet: O, swear not by the moon, th‘
inconstant
moon,
That monthly changes in her
circled orb, Lest that thy love
prove likewise variable.
Romeo: What shall I swear
by? Juliet: Do not swear at
all;
Or if thou wilt, swear by thy
gracious self, Which is the god of
my idolatry,
And I‘ll believe thee.
Romeo: If my heart‘s dear love ---
Juliet: Well, do not swear. Although I joy
in thee, I have no joy of this
contract tonight.
It is too rash, too unadvised, too sudden;
Too like the lightning, which doth
cease to be Ere one can say it
lightens. Sweet, good night!
Romeo: O, wilt thou leave me unsatisfied?
Juliet: What satisfaction canst though have
tonight?
Romeo: Th‘ exchange of thy love‘s faithful
vow for
mine.
Juliet: I gave thee mine before thou didst
request it; And yet I would it were to
give again.
Romeo: Wouldst thou withdraw it? For
what purpose, love?
Juliet: But to be frank, and give it thee
again. And yet I wish but for the
thing I have. My bounty is as
boundless as the sea,
My love as deep; the more I give
to thee, The more I have, for
both are infinite. (Hears the
nurse calling.)
I hear some noise within. Dear love,
adieu!

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Making a Difference
Sub-Theme: Across Time
Content Standard: Performance Standard:
The learner demonstrates The learner skillfully performs in one-
understanding of how Anglo- act play through utilizing effective
American literature and other text verbal and non-verbal strategies and
types serve as means of connecting ICT resources based on the following
to the world; also how to use ways of criteria: Focus, Voice, Delivery, and
analysing one-act play and different Dramatic Conventions.
forms of verbals for him/her to
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9V-IIIg-29: Get familiar with the technical vocabulary for drama and
theatre (like stage directions)
EN9WC-IIIg-9: Compose forms of literary writing

Objectives:
1. Define the different forms of literary writing to be able to
distinguish a play from other forms
2. Familiar oneself with the technical vocabulary for drama and theater
3. Demonstrate involvement in composing a script about an
alternative ending to the literary piece discussed

II. LEARNING CONTENT

Lesson: “Romeo and Juliet” (Wedding to End) by William Shakespeare
Materials:
1. Copies of the Literary Text
2. Worksheet
References:
1. K to 12 Curriculum Guide (May 2016) p. 208
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 327-342
3. Online References

We are an emerging division where excellence is a habit and allegiance for quality is a pledge.

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 III. LEARNING TASKS
Introduction: People‘s lives are shaped by the circumstances of the
time and place in which they live (family and social mores, religion,
power relations, etc.). Circumstances of life and the choices we make
change and mold us.

Preliminary Activity:
TASK 1: GENRE SENSITIVITY!
Match the literary genre on the left to its definition on
the right. Write your answer on the space provided.

Fiction

Biography

Informational

Realistic Fiction

Nonfiction

Poetry

Drama

Poetry

Source: http://bryanbibb.com/2014/11/18/can-a-genre-be-
errant/

TASK 2: THEATRICAL TEXT-TWIST

Arrange the letters to form a word that matches the
given meaning. Do this in your notebook. (LM, pp. 341-342)

the degree of loudness

U E L V O M or intensity of sound

the tempo of an
G N I P A C entire theatrical
performance

We are an emergin g division where excellence is a habit and allegiance for quality is pledge.
a
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 E
a group of theatrical
E N L S B E M artists working
together to create a
theatrical
production

the orientation of the

actor to the audience
P N O O S I I T (e.g. full front, right
profile, left profile)

the highness or lowness

C T P I H of voice

the planning and

N G I C K L O B working out of the
movements of
actors on stage

Activity:

TASK 3: FIND YOUR MATCH

Match the word in Romeo‘s column with the definition
given in Juliet‘s. Use the sentences below as your clues.
(LM, p. 326)

a. an angry
disagreeme
__ 1. terrible nt
__ 2. execute b. a building or
chamber above
__ 3. tomb
or below the n
__ 4. ground i which d
argument a dead bo y
__
5. c. a small room with shelves
cupboard where you keep
cups, dishes, or
food
d. very shocking and upsetting
e. to kill (someone)
especially as
punishment for a crime

1. Juliet my dear, something terrible happened.

2. The Prince is not going to execute you.
3. I‘ll be in the tomb, with the dead bodies around me.
4. Oh, you Montagues and Capulets, what a stupid argument.
5. He goes to a cupboard and takes out a bottle

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We are an emerging division where excellence is a habit and allegiance for quality is a pledge.

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 Analysis:

TASK 4: PIECE OF A PUZZLE

Divide the class into groups of 10. Each
member of the group will read the assigned
part in Romeo and Juliet and will take turns in
explaining their part of the story to the rest of
the group.

 Student 1: Act II, Scene IV: A Secret Wedding (p. 327)

 Student 2: Act III, Scene I: More Trouble (p. 327-329)
 Student 3: Act III, Scene II: Another Message (p. 329)
 Student 4: Act III, Scene III: Bad News for Romeo (p. 329-330)
 Student 5: Act III, Scene IV: Lord Capulet‘s Plan (p. 330-332)
 Student 6: Act IV, Scene I: Father Lawrence‘s Medicine (p. 332-333)
 Student 7: Act IV, Scene II: Another Wedding (p. 333-334)
 Student 8: Act IV, Scene III: Juliet Drinks the Medicine
Act IV, Scene IV: The Capulets Find Juliet (p. 334-335)
 Student 9: Act V, Scene I: News from Verona (p. 335-336)
 Student 10: Act V, Scene II: Together Again (p. 336-337)

TASK 5: FACTUAL RECOUNT

Answer the following question from the context of the
story. Do this in your notebook. (LM, p. 338)

1. Who are Romeo and Juliet? What is going on

between the families of the two?
2. Where is Romeo exiled? Why does Romeo feel that
banishment is worse than death?
3. How does Lord Capulet react to Juliet‘s refusal? What
ultimatum
does he give her?
4. Why is there such a rush to see Juliet married?

TASK 6: THINK THROUGH

Answer the following questions with your group. Write
your answers in a manila paper for your insights to be
presented to the class later. (LM, p. 338)
Group 1

 Friar Lawrence gives this advice to Romeo and Juliet: ―Love

moderately; long love doth so.‖ What is he telling the young
lovers? Do you agree with him? Should he have given them any
other advice?

We are an emergin g division where excellence

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by MANGODA, habit and
R. allegiance for quality is pledge.
a
 Group 2
 What could have been done to prevent this tragedy from occurring?

Group 3
 What would have happened to Romeo and Juliet if they hadn‘t
died? Is their relationship sustainable over the time? Do they
have anything to offer each other once the initial burst of passion
calmed down? Would Romeo move on from Juliet as quickly as he
moved on from Rosaline?

Group 4
 In what ways do the young adopt the beliefs of the old, and
in what ways do they ignore them or fight against them?

Group 5
 Should Romeo and Juliet‘s relationship be viewed as a rebellion
of the young against the old? In other words, is this play‘s
motto, ―Kids these days,‖ or ―Mover over, Grandpa?‖

Abstraction:

TASK 7: SMALL UNDERTAKINGS

Do the following activity with your
group. (LM, p.343-344)

Group 1: News Flash

Suppose you were a reporter and your beat
is to cover a crime report. You decided
to make a news report about the Tragedy
in Verona concerning the ill-fated lovers
Romeo and Juliet

Group 2: Dance of Love

Design a costume, select the music, and perform an interpretative dance
about a secret wedding. Turn in a paragraph explaining what your
group is trying to convey (How does your costume, music and
choreography capture important events and themes of the act?).

Group 3: Sing Your Heart Out

Write and perform an original song, including lyrics and music, for the
wedding of Romeo and Juliet.

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We are an emerging division where excellence is a habit and allegiance for quality is a pledge.

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 Group 4: Paint My Love
Create a timeline highlighting the feud between the two families
resulting in the untimely death of the two young lovers.

Group 5: A Love Story Untold

Reorganize the summary of the last scene of the play, Romeo and
Juliet. Write it in a different form like a newspaper article, a novel
chapter, a diary entry, a sonnet or a letter.

Application:

TASK 8: AN ALTERNATIVE ENDING

If you will be given a chance to give Romeo and
Juliet a different ending, what would it be?
Write a script showing an alternative ending of the
play. Then, with your group, perform a role play following
the script.

WRITING A SCRIPT RUBRIC

1 2 3 4
There are more
There are few There are no
The final draft than a few
grammar, grammar,
has many grammar,
Conventions capitalization, capitalization,
grammar, capitalization,
spelling, or spelling, or
capitalization, spelling, or
punctuation punctuation
spelling, and punctuation
errors in the errors in the
punctuation errors
in the final draft. final draft. final draft.
errors.
The story is very
The plot is pretty
The plot is a little well organized.
Ideas and well organized.
hard to follow. One idea or
scenes seem to One idea or
Clarity be randomly
The transitions
scene may seem
scene follows
are sometimes another in a
arranged. out of place.
not clear. logical sequence
Clear transitions
with clear
are used. transitions.
There is little The story
The story The story
evidence of contains many
contains a few contains creative
creativity. The creative details
creative details details and/or
Creativity playwright
and/or descriptions that
and/or
does not seem descriptions that
descriptions, but contribute to the
to have used contribute to the
they distract reader's
much reader's
from the story. enjoyment
imagination. enjoyment.
It is usually clear
Hard to follow It is usually clear It is always clear
which character
characters' which character which character
is speaking.
dialogue and is speaking. is speaking.
Dialogue Dialogue is well
minimal effort is Dialogue is Dialogue is well
developed,
put into choppy and not developed and
but could be more
conversations. well developed. varied.
varied in
structure.
Source: https://www.google.com.ph/#q=script+writing+rubric+high+school

We are an emergin g division where excellence is a habit and allegiance for quality is pledge.
a
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 ROMEO AND JULIET (WEDDING TO END)

A wedding was a joyous event that was celebrated by many friends and
relatives. After the ceremony, the guests followed the couple through the
streets to the home of the bride or groom. Then a wedding feast was held that
lasted into the night. Notice how different Juliet‘s wedding is from a typical
ceremony of the day.

Act Two, Scene Four: A Secret Wedding

Father Lawrence's house. Father Lawrence and Romeo are
talking. Romeo: Juliet will be here very soon. I'll be very happy
when we're married.
Father Lawrence: Listen, Romeo. You only loved Rosaline for a few weeks.
Remember, if you marry Juliet, you must love her, and stay
with her, for the rest of your life.
Romeo: Yes Father, I understand. I'll always love her. (Juliet enters, and kisses Romeo.)
Juliet: The Nurse told me to meet you here. She said that Father Lawrence
would marry us.
Father Lawrence: And I will. Come with me.

Act Three, Scene One: More Trouble

A busy street in Verona. Some people are walking along the street.
Mercutio and Benvolio are talking.
Benvolio: It's hot today, isn't it? I don't like this weather. People feel angry
when it's so hot. (Tybalt and some friends enter.)
Mercutio: Look! It's the Capulets – over there!
Benvolio: Don't start an argument, we don't want
trouble. Mercutio: I'm not afraid of Tybalt.
Tybalt: Where is Romeo? He's your friend, isn't he?
Mercutio: That's none of your business.
Tybalt: I'm looking for him. And I'm going to find
him. Mercutio: Are you looking for a fight?
Benvolio: Stop it, you two! (Romeo enters.)
Tybalt: There he is! Romeo! Come here! (He pulls out his sword.) You came to
our house last night, didn't you? Well, we don't want the Montagues in
our house. I'm going to teach you a lesson. Come on, get out your
sword and fight!
Romeo: Tybalt, I'm not your enemy! (Laughing) The Montagues and Capulets
are going to be good friends. Something wonderful has happened.
Tybalt: What are you talking about?
Mercutio: Why won't you fight with him, Romeo? (He pulls out his sword.) Well, I'll
fight.
Come on! (Mercutio and Tybalt start fighting.)
Romeo: Stop fighting! Don't you remember what Prince Escalus said?
Benvolio, help me to stop them. (Benvolio and Romeo try to stop
them. Tybalt stabs Mercutio and runs away. Mercutio falls.)
Mercutio: Why did you stand between us? I – I'm
hurt! Romeo: I'm sorry, Mercutio – I was trying to
help.
Mercutio: I need a doctor. Oh, you Montagues and Capulets, what a stupid
argument! You're both wrong, to fight, and hate, and fight again like
this! Ah – I'm dying! (Mercutio dies.)
Romeo: Mercutio! He's dead! Tybalt! Come back! (He pulls out his sword angrily.)
You've killed my friend. Now I'm going to kill you! (Tybalt enters again.
They fight, and Romeo kills him. Some people who are watching start
shouting.)
Benvolio: This is terrible! Romeo, run away! You'll be in trouble if the Prince
finds you here!
Romeo: Oh, no! What have I done? (He runs away.)
(Prince Escalus, Lord and Lady Montague, Lord and Lady Capulet,
servants and others enter.)
Prince Escalus: What's happened? How did these men die?
Benvolio: Tybalt killed Mercutio, sir. Mercutio was Romeo's friend. Romeo
was very angry, and he killed Tybalt.
Lady Capulet: Romeo must die! He's a murderer! He killed my
nephew Tybalt! Prince Escalus: But Tybalt was a murderer too, Lady
Capulet.
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Lady Capulet: No, he wasn't! That's what Benvolio says, but he's a
Montague. Romeo must die!

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Lord Montague: Sir, our son is not a murderer. He killed Tybalt because he was angry.
Prince Escalus: Listen, all of you. I have decided not to execute Romeo. But he
must leave Verona, and he can never come back. Tell him
that he must leave immediately. If he ever comes back to
Verona, he will die. Now go home, and keep the peace.

Act Three, Scene Two: Another

Message Juliet is alone in her room.
Juliet: I'm so excited! Romeo is going to be with me tonight! We're married
now, but the only people who know are Father Lawrence and my Nurse.
Here she is now. (The
Nurse enters.)
Nurse: Juliet, my dear, something terrible has happened. (She starts crying)
He's dead, he's dead.
Juliet: Who's dead? Not Romeo? Not my husband?
Nurse: No, Tybalt is dead.
Juliet: Oh, no! My cousin Tybalt! How did he
die? Nurse: There was a fight, and Romeo
killed him. Juliet: It can't be true! Romeo
never fights.
Nurse: But it is true. Tybalt killed Romeo's friend Mercutio, and Romeo was very
angry.
The two of them started fighting, and Romeo killed
Tybalt. Juliet: Where's Romeo now? And what's going to
happen to him?
Nurse: Romeo is hiding in Father Lawrence‘s house. The Prince has told Lord
Montague
that Romeo must leave Verona and never come back.
Juliet: So I'll never see him again! (She starts crying.)
Nurse: Don't cry, my dear. Listen. I'll go to Father Lawrence's house and tell
Romeo to come here secretly tonight, to say goodbye to you.
Juliet: Thank you, Nurse. You're very kind. Wait – take this ring. (She gives her
a ring.) Give it to Romeo, and tell him that I love him.

Act Three, Scene Three: Bad News for Romeo

Father Lawrence's house. Romeo is hiding. Father Lawrence enters.
Father Lawrence: Romeo – where are you? It's me, Father Lawrence. (Romeo
comes out.)
Romeo: What did Prince Escalus say? Am I going to die?
Father Lawrence: No. Killing Tybalt was wrong. But the Prince is not going to
execute you. He said that you must leave Verona
immediately, and never come back.
Romeo: This is terrible! (He starts crying.) Leaving Juliet is worse than dying.
Father Lawrence: Just listen, Romeo! You are lucky. The Prince has been
kind to you. Romeo: But I want to die! I can't live without Juliet! (There is a
knock on the door.) Father Lawrence: Hide, Romeo! If anyone finds you
here, there will be trouble!
Romeo: It doesn't matter. I want to die. (The Nurse enters.)
Father Lawrence: I'm happy to see you, Nurse. Have you been with Juliet?
Nurse: Yes. I saw her a few minutes ago, crying and shaking, just like Romeo
here. Romeo: But I killed her cousin. Does she still love me?
Nurse: Yes, of course she does. (She gives Romeo Juliet's ring.) She sends you this ring.
Father Lawrence: Listen, Romeo. You can go to see Juliet tonight. But then you
must leave Verona. Later, I will tell everybody that you and
Juliet are married, and I will ask the Prince to think again.
Perhaps you can come back to Verona soon. But you have
to leave Verona tonight and go to Mantua. Do you agree
to do that?
Romeo: Yes, Father. How long must I stay in Mantua?
Father Lawrence: I'm not sure. Stay there until I send you a message. Don't
come back until you hear from me. Now go and say goodbye
to Juliet.

Act Three, Scene Four: Lord Capulet‘s Plan

The Capulets' house. Lord and Lady Capulet and Paris are talking.
Lord Capulet: Paris, my daughter is very unhappy. Her cousin Tybalt died this
morning.
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 Lord Montague's son killed
him. Paris: I'm sorry to hear that. Can I talk
to Juliet?
Lady Capulet: Not at this moment, Paris. She is in her room. It's very late, and
she needs to rest.

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Lord Capulet: Listen. I've just thought of something. I want Juliet to forget about
Tybalt's death. I think that she'll be happy when she marries. I know
that you love Juliet, and that you would like to marry her. The two of
you must marry as soon as possible. What day is it today?
Paris: It's Monday night, sir.
Lord Capulet: Right. The wedding will be on
Thursday. Paris: That's wonderful.
Lord Capulet: (To his wife) Go and tell Juliet what I have decided, my dear. We
must hurry! Don't forget, Paris – the wedding will be in three
days!
Paris: I won't forget, sir.

Act Three, Scene Five: Trouble for Juliet

Juliet's room. Romeo and Juliet are
together.
Romeo: I'm sorry, my love, but I have to go. Look outside – it's nearly morning.
Juliet: Please don't say that. I want you to stay with me. You are my husband
now. You needn't go.
Romeo: You know that I have to go. If anyone finds me here, the Prince will
execute me. I'm going to stay in Mantua. Father Lawrence is going to
talk to our families, and to the Prince. Then I'll be back soon.
Juliet: I hope so. Romeo, my only love! (There is a knock at the
door.) Romeo: Kiss me! Goodbye, my love. (He climbs out of
the window.) Lady Capulet: (Entering) Juliet – you're already out
of bed. It's very early. Juliet: I know. I can't sleep.
Lady Capulet: You're still very unhappy about your cousin Tybalt. Don't worry,
my dear. We'll find Romeo. And when we find him, he'll die. Now
listen, I have some exciting news. Your father has said that Paris
and you can marry. And the wedding will be on Thursday. (Juliet
screams.)
Juliet: I won't marry Paris. It's just not possible!
Lady Capulet: What do you mean? (Lord Capulet and the Nurse
enter.) Lord Capulet: Have you told her the news?
Lady Capulet: She says that she won't marry Paris.
Lord Capulet: What? Why not? Listen, Juliet. Paris is a good, kind man. He's an
important man, too, and a friend of the Prince's. You are a very
lucky girl!
Juliet: Father, listen. I know that you're trying to help me, but I will never marry
Paris. I don't love him. I don't even know him.
Lord Capulet: That doesn't matter. You will marry him on Thursday. Do you
understand? (Lord and Lady Capulet leave.)
Juliet: This is terrible. What shall I do? They don't know that I've married Romeo!
Nurse: Listen, my dear. Romeo is in Mantua. Perhaps you'll never see him
again. Your mother and father are right, you know. Paris is a kind
man, and good-looking too. He'll be a better husband than Romeo.
Marry him. Forget about Romeo. That's the best thing to do. (She
leaves.)
Juliet: I will never listen to my Nurse again. I thought that she would help me,
but she won't. I'm going to see Father Lawrence. Perhaps he can help
me.

Act Four, Scene One: Father Lawrence‘s Medicine

Father Lawrence's house. Paris and Father Lawrence are talking.
Father Lawrence: What! On Thursday! That's in two days. This is very sudden!
Paris: I know. I'm very excited. I've loved Juliet for a long time, and soon
we'll be married!
Father Lawrence: But you don't know her very well. You wait, Paris. Thursday is
too soon. Paris: But her father has already decided. I'm very happy!
Juliet: (Entering) Good morning, Paris.
Paris: Hello, Juliet, my love. (Laughing) You'll soon be my
wife. Juliet: Perhaps. I've come to talk to the priest.
Paris: Are you going to tell him how much you
love me? Juliet: I've come to talk to him alone.
Father Lawrence: Can you leave us, please, Paris?
Paris: Of course, Father. Goodbye, my love. (He kisses Juliet.) We'll be
married soon! (He leaves.)
Juliet: What shall I do? (She starts crying.) I want to die.
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Father Lawrence: You must marry Paris. What else can you do?

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Juliet: Father, I'll never marry Paris. Don't you understand? I love Romeo. He
is my husband. Look, I have a knife. (She pulls out a knife.) If you tell me
to marry Paris, I'll kill myself.
Father Lawrence: Stop! Put down the knife. Listen, Juliet, I've just thought of
something. (He goes to a cupboard and takes out a bottle.)
Juliet: What's that? Is it poison? Will you kill me?
Father Lawrence: No, Juliet, it's not poison, but it's a very, very strong medicine.
Anyone who drinks this will sleep for two days.
Juliet: What do you want me to do?
Father Lawrence: I want you to drink this medicine the night before your
wedding. You'll sleep very, very deeply, and it won't be
possible to wake you up. You will be cold and still. Everyone
will think that you are dead.
Juliet: What'll happen then?
Father Lawrence: They will put your body in your family's tomb, next to your
cousin Tybalt. Later, you'll wake up. (Juliet screams.) Don't
worry, I'll send a message to Romeo in Mantua and tell him
to come back to Verona when it's dark, I'll tell him to go to
the tomb and open it at night. Then the two of you can run
away together to Mantua. Will you do it? It's very
dangerous, but if you don't do this, you have to marry Paris.
Juliet: Yes, Father, I'll do it. I'll do anything to be with Romeo. Thank you, Father.
(Juliet takes the bottle and leaves.)
Father Lawrence: Father John! Father John! (Father John enters. Father
Lawrence quickly writes a message and gives it to him.)
Take this message to Romeo in Mantua. It's very, very
important.

Act Four, Scene Two: Another Wedding

The Capulets' house. Lord and Lady Capulet, the Nurse and servants are all busy.
Lord Capulet: (To a servant) Go and ask all our friends to come to the
wedding. (To another servant) Go and find the best cooks in Verona. This will
be a very special wedding. (To the Nurse) Where's Juliet?
Nurse: She's with the priest, sir. She'll be back soon. Look, here she is now. She
look very happy.
Juliet: (Entering) I'm sorry,
father. Lord Capulet: What?
Juliet: You told me to marry Paris, and you were right. I'm not going to cry any
more. He is the right man for me. I'm sorry that I didn't agree at first.
Lord Capulet: This is wonderful news! Oh, I'm so happy! Listen, everybody!
The wedding will be tomorrow morning. Go and tell Paris.
Lady Capulet: Tomorrow? But tomorrow is Wednesday. You said that the
wedding would be on Thursday. We won't be ready tomorrow!
Lord Capulet: That doesn't matter. Juliet and Paris must marry as soon as
possible. Hurry,hurry! Nobody will sleep tonight – we're all going to
be too busy. Nurse – go and help Juliet with her wedding-dress!
Oh, I'm so happy!

Four, Scene Three: Juliet Drinks the Medicine

Juliet's room. Juliet is wearing her wedding-dress. The Nurse and Lady Capulet
are with her.
Nurse: You look beautiful, my dear.
Lady Capulet: You must go to bed now, Juliet. It's very late, and you need to
rest. Good night. (The Nurse and Lady Capulet leave.)
Juliet: They think that I'm going to marry Paris tomorrow, but they're wrong,
(She takes out Father Lawrence's bottle.) When I drink this, I'll fall
asleep. They'll think I'm dead. Oh, I'm so afraid! I won't wake up for two
days. When I wake up, I'll be in the tomb, with dead bodies around me.
But I must do it. Romeo will come and find me, and we'll be together
again! (She drinks the medicine and lies down on her bed.)

Act Four, Scene Four: The Capulets Find Juliet

The Capulets' house. It is early in the morning, and Lord and Lady Capulet, the
Nurse,
servants and cooks are all moving around busily.
Lady Capulet: We need more food! And more tables
and chairs!
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Lord Capulet: Bring those flowers over here! Hurry up, there isn't much
time left! Nurse: Why don't you go to bed, sir? It's very late.
Lord Capulet: I can't sleep – I'm too excited! My daughter is going to marry Paris
in the morning! After the wedding, we're going to have a party. It'll
be the best party I've ever had!
Lady Capulet: Paris will be here soon. Nurse – go and wake Juliet up. (The
Nurse goes out.)
Lord Capulet: I can hear music. Paris is coming, with his musicians. (The
musicians play outside.)
Nurse: Help! Help! (Some servants run to help her.)
Lady Capulet: What's the matter? (The Nurse and servants come back, carrying
Juliet.
They are crying.)
Nurse: She is dead! (Everyone stops moving.)
Lady Capulet: Juliet! My only child! (Holding Juliet) Please, wake up! Oh, she's
cold!
She's dead!
Lord Capulet: She was the sweetest child in the world. She was only thirteen,
and now she's dead. (Father Lawrence, Paris and the musicians
enter. The musicians are still playing.)
Paris: I've come here to take Juliet to church! (They see Juliet's body. The
musicians stop playing.)
Lady Capulet: She was our only child. Now our lives are empty. We will never
be happy again.
Paris: Juliet – dead? This is the worst day of my life.
Father Lawrence: Carry her to the church. We will put her in your family's
tomb, next to her cousin. Put flowers on her body. (They put
flowers on her body and carry her out.)

Act Five, Scene One: News from Verona

Romeo is walking along a street in Mantua. There are some shops in the street.
Romeo: Oh, I'm so lonely without Juliet I want to go back to Verona, but I can't
go back yet. I must wait until Father Lawrence sends a message. I'll
hear some news soon, I hope. (One of Lord Montague's servants
enters.) Did Father Lawrence send you?
Servant: No, but I've got some news. It's bad news, I'm afraid. Juliet is dead. I
saw them put her body in the Capulets' tomb yesterday.
Romeo: What! I must go back, I must find out what's happened.
Servant: Wait, my lord. Don't go back yet. Wait until Father Lawrence sends some
news.
Romeo: No! I'm going to Verona now. Leave me alone. (The servant leaves) If
Juliet is dead, I want to die too. I'm going to see Juliet once more, and
then I'm going to die. I need some poison. Where can I find some
poison? I remember seeing a shop near here. Where was it? Here it is.
(He stops outside a shop.) You! You sell medicines, don't you?
Shopkeeper: Yes, sir.
Romeo: I want some poison. It must be strong. Do you
understand? Shopkeeper: Sir, I sell medicines to help people,
not poison to kill them.
Romeo: Here. (He takes some gold from his pocket.) I will give you as much
gold as you want. You look poor and hungry.
Shopkeeper: Yes, sir, I am. (He goes to a cupboard and takes out a bottle.) I have
some poison. It is very dangerous. Anyone who drinks this will die
immediately. But I can't sell it to you, I'll be in trouble.
Romeo: Don't worry. I won't tell anyone that it came from your shop. (He
takes some more gold from his pocket.) Here, have all my gold. I don't
need it. (The shopkeeper gives him the bottle, and Romeo leaves.)
Father John: (Entering) Where's Romeo? I've got a message for him. It's from
Father Lawrence. He said that the message was very important.
(Running up and down the street) Romeo! Romeo! Where are
you? Romeo! Oh, no! He's not here!

Act Five, Scene Two: Together Again

A garden outside a church. It is late at night. Paris is standing near the
Capulets' tomb. It is a very large tomb with a big, heavy door.

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Paris: Oh, Juliet! I loved you more than anyone else in the world. I wanted you
to be my wife, but now you're dead. (Putting flowers on the tomb) I'm
going to come to your tomb every night. What's that noise? Someone's
coming! (He hides. Romeo enters.)
Romeo: Juliet – I must see your sweet face again! (Paris comes out. Romeo
opens the door of the tomb.)
Paris: Stop! You're Romeo, aren't you? You're the one of the Montagues. What
are you doing to Juliet's tomb?
Romeo: Who are you? Leave me alone! (The two men fight, and Romeo kills
Paris. (Romeo goes into the tomb, and takes the bottle of the poison
out of his pocket.) Juliet, my love, my wife! You are dead, but you are
still beautiful. This will be our last kiss. (He kisses her, then drinks the
poison.) So with a kiss, he dies. (He dies.)
Father Lawrence: (Entering) Juliet will wake up very soon. Where's Romeo!
Father John took a message to him, and the message told him
to meet me here. Romeo! (He goes to the tomb.) The door's
open! What's happened?
Juliet: (Waking up) Father Lawrence! It's good to see you. Where's Romeo?
Father Lawrence: Juliet – something terrible has happened. Romeo is lying
next to you, but he's dead! Quickly – get out of the tomb, and
come with me. If anyone finds us here, there will be trouble!
Juliet: No, Father, I want to be with Romeo. (Father Lawrence runs away.)
Romeo, my love, what's happened? (She sees the bottle of poison.) He's
killed himself! Well, I'm going to die too. I can't live without him. Romeo,
perhaps there's poison on your lips. (She kisses him.) I'm still alive, but I
want to die. I'm not afraid of death. (She takes out a knife, stabs herself
and dies. Some people enter.)
People: (Shouting) What's happened? Look, here's Paris – he's dead! And
Romeo's dead, too! Someone's opened the tomb! Find the Prince!
Find the Capulets and the Montagues! (Prince Escalus, the Capulets,
Montagues and servants enter.)
Prince Escalus: Dead! Romeo and Juliet?(Some more people enter, with
Father Lawrence.) Father Lawrence, do you know anything
about this?
Father Lawrence: Just a few days ago, Romeo married Juliet. (Everyone shouts
in surprise, and Lady Capulet starts crying.) I married them
secretly, because the Capulets and Montagues are
enemies. Juliet didn't want to marry Paris, so I told her to
take some special medicine. She wasn't dead, she was
asleep. I wanted to send a message to Romeo in Mantua,
but he didn't get the message. And they have both killed
themselves.
Prince Escalus: Lord Capulet, Lord Montague – come here. (They stand in front
of the Prince.)This has happened because you are enemies.
Romeo, Juliet, Paris, Mercutio and Tybalt are all dead.
Lord Capulet: Sir, our arguments have finished. We're friends now, and we will
never fight again. (They shake hands unhappily.)
Lord Montague: We'll build a statue of Romeo and Juliet. It will be made of
gold. No one will ever forget them.
Prince Escalus: Perhaps Verona will be peaceful now. (He looks up at the sky.)
There is no sun this morning. Go home now, all of you, and
remember this unhappy story of Juliet and her Romeo.

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Despite Differences in Social Class

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in a
understanding of how Anglo- one-act play through utilizing
American literature and other text effective verbal and non-verbal
types serve as means of connecting strategies and ICT resources based on
to the world; also how to use ways of the following criteria: Focus, Voice,
analyzing one-act play and different Delivery, and Dramatic Conventions.
forms of verbals for him/her to
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9RC-IIIf-20: Analyze a one-act play
EN9V-IIIg-29: Get familiar with technical vocabulary for drama and
theatre (like stage directions)

Objectives:
1. Familiarize oneself with the elements and definition of a one-act play
2. Write a character sketch by following the given content guide
3. Analyze the one-act play as a means of valuing the importance
of being true to oneself and to others

II. LEARNING CONTENT

Lesson: “While the Auto Waits” by O. Henry
Materials:
1. Copies of the Literary Text
2. Photographs of Local Personalities
References:
1. K to 12 Curriculum Guide (May 2016) p. 207
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 348-370
3. Online References

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 III. LEARNING TASKS
Introduction: We can be anything we want to be, but we can't be
anyone we want to be. You have no choice but to be yourself. Rather,
you have no other wise choice than to be yourself. Pretending to be
someone you‘re not will cause you to lose the person you really are,
which may cause unhappiness – and eventually cause you to fail – crash
and burn.

Preliminary Activity:
TASK 1: MEANING MENACE
A. Arrange the jumbled words that will lead you to arrive at the
definition of a one-act play.

1. tac 2. pyla
A one-act play is a play
with only one
3. lementes . An act is a
part of a
defined by
such as rising action,
, and
.
4. maclix 5.
sorelution

Source: http://www.philstar.com/arts-and-culture/2014/06/09/1332050/peta-re-stages-rock-aegis

Clues:
1. A division or unit of a drama
2. A dramatic performance
3. The simplest or essential parts
4. The most exciting and important part of a play
5. T h. e part of the story‘s plot line in which the problem
of the story is resolved

B. Guess the words hidden in the constellation of letters. Use the

description as a clue.

G
T G T
A
E N
S S E
I
T
1. 2.

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 A R D A G
S
I U
T C C E L

O
A H R E

3. 4.

Clues:
1. Place where the story happened
2. Platform on which the actors perform
3. People involved in the story
4. Words/Lines the characters say in a story,
movie, play, etc.

Activity:

TASK 2: THE GREAT PRETENDERS

Have you ever been tempted to pretend that you were someone else?
In this activity, impersonate the following local
personalities.

Pres. Rodrigo
Vice Ganda
Duterte

PNP Dir. Gen “Bato” Dela Ms. Universe Pia

Rosa Wurtzbach
Sources:
http://www.getrealphilippines.com/blog/2016/02/vice-gandas-vulgar-behavior-damages-the-image-of-the-
philippines-gay-community/
http://pinoynewsonline.info/mayor-rodrigo-duterte-last-jokes-before-becoming-the-president-of-the-philippines/
https://en.wikipedia.org/wiki/Ronald_dela_Rosa
http://www.philstar.com/nation/2016/01/15/1542543/list-routes-affected-pia-wurtzbachs-homecoming-parade

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  How does it feel to pretend that you were someone else?
 Would you rather be the person you impersonated or the person
that you are now?

Analysis:

TASK 3: READING CORNER

Read the copy of ―While the Auto Waits‖ by O. Henry
then answer the questions below on pages 352 to 358
of your module.

1. Who met at the park? Describe how the characters reacted

on their first meeting.
2. What do you think are the intentions of the characters
for not revealing their true status in life?
3. Would you consider the situations of the characters a ―white
lie?‖ Why
or why not?
4. What does the last scene of the story tell us about the young
man?
5. If you were the author, how would you end the play?

TASK 4: PLAY IN PROCESS

Group 1: Story Grammar
Complete the story grammar below by writing the details
about the play, While the Auto Waits.
While the Auto Waits
Characters Plot Setting Conflict
Who Event 1: Time (When) 1.
a. 2.
b. Event 2: 3.
c. Place (Where) 4.

Group 2: Character Analysis

Fill out the character analysis sketch to give characterization to the

characters of the play, While the Auto Waits.
Part of the
Trait Evidence play where it
was
revealed
Character 1
Character 2

Character 3

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Group 3: Plot Diagram

The plot diagram shows how the main events in the play are
organized into a plot.

 Introduction or Exposition: explains the situation with which

the story begins
 Rising Action or Involution: complication is presented
 Climax: highest point of interest, usually a question is raised
 Falling Action or Resolution: solutions to the problem are
presented
 Conclusion: situation with which the story ends.

 Come up with a plot diagram of the play While the Auto Waits.

Abstraction:

TASK 5: WRITING YOUR OWN

A one-act play usually has a small number of
characters who are a part of the story. Use what you
have learned in this lesson and draw up a cast of
characters for a show that you watch regularly. Here
are the steps:

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 Identify the show and write the cast of characters. List the
characters in their approximate order of importance. List only
the characters that appear regularly.

For each character on the cast list, write no more than two
sentences describing him or her. Be sure to mention the
character‘s most striking characteristics – both good and
bad.

Exchange your cast list with a classmate who watches the

same show. Ask if your classmate agrees with your choice of
characters and their

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 Application:

TASK 6: WRITING A CHARACTER SKETCH

Can you draw your friend in words? Write a character
sketch for someone you know. It could be a friend, family
member, or anybody you know well. Do this in your
notebook. Here‘s a list of things to include in your
 Opening –character
Introducesketch.
the topic (your friend).
 Explain how you met.
 Give a physical description – appearance, clothes, voice,
habits, mannerisms, etc.
 Personality trait #1, and supporting evidence
 Personality trait #2, and supporting evidence
 Personality trait #3, and supporting evidence
 Closing comment – Try to reconnect to your friend.

CHARACTER SKETCH WRITING RUBRIC

Needs Fai Goo Very
Criteria Work r d Goo
1pt. 2pts 3pts d
. . 4pts
.
Includes basic facts about the character‘s
background and a description of his/her
physical appearance and personality
Includes a description of the character‘s
thoughts, feelings and actions
Vocabulary (e.g. range of vocabulary,
inclusion of specific details)
Grammar (e.g. use of appropriate verb
tense, subject-verb
agreement)
Mechanics (e.g. spelling,
capitalization,
punctuation)
Source: http://www.edb.gov.hk/attachment/en/curriculum-development/resource-support/net/
assessment%20form%202.2-%20character%20sketch%20rubric%20(peer%20assessment).pdf

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 WHILE THE AUTO WAITS
by O. Henry
adapted for the stage by Walter Wykes

CHARACTERS
GIRL
YOUNG
MAN
WAITRESS
CHAUFFEUR

TIME
1920
s

[Twilight. The quiet corner of a city park. A GIRL in gray sits alone on a bench,
reading her book. A large-meshed veil hangs over her face, which
nevertheless shines through with a calm and unconscious beauty. When she
turns a page, the book slips from her hand, and a YOUNG MAN, who has
been hovering nearby, pounces upon it. He returns it to her with a gallant
and hopeful air.]

GIRL: Oh, thank you.

YOUNG MAN: Nice weather we‘re having.

GIRL: Yes.

[Pause.]

YOUNG MAN: Well …

GIRL: You may sit down, if you like.

YOUNG MAN: [Eagerly.] Are you sure? I don‘t want to interrupt your reading.

GIRL: Really, sit. I would like very much to have you do so. The light is too
bad for reading. I would prefer to talk.

YOUNG MAN: Well, if you insist. [He slides hopefully onto the seat next to her.]
You know, you‘ve got to be the stunningest girl I‘ve ever seen. Honest. I had my
eye on you since yesterday.

GIRL: Yesterday?

YOUNG MAN: Didn't know somebody was bowled over by those pretty lamps
of yours, did you, honeysuckle?

GIRL: Whoever you are, you must remember that I am a lady. I will excuse
the remark you have just made because the mistake was, doubtless, not an
unnatural one—in your circle. I asked you to sit down; if the invitation must
constitute me your honeysuckle, consider it withdrawn.

YOUNG MAN: Sorry. I‘m sorry. I didn‘t mean to offend you. I just thought … well,
I
mean, there are girls in parks, you know—that is, of course, you don't

know, but— GIRL: Abandon the subject, if you please. Of course I know.

YOUNG MAN: Right.

GIRL: Now, tell me about these people passing and crowding, each way, along
these paths. Where are they going? Why do they hurry so? Are they happy?

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YOUNG MAN: It is interesting to watch them—isn‘t it? The wonderful drama
of life. Some are going to supper and some to—er—other places. One can‘t
help but wonder what their histories are.

GIRL: Yes! How fascinating they seem to me—rushing about with their petty
little dreams and their common worries! I come here to sit because here,
only, can I be near the great, common, throbbing heart of humanity. My part in
life is cast where its beating is never felt. Can you surmise why I spoke to you,
Mr.—?

YOUNG MAN: Parkenstacker. And your name…?

[He waits, eager and hopeful, but she only holds up a slender finger and smiles
slightly.]

GIRL: No, you would recognize it immediately. It is simply impossible to keep

one's name out of the papers. Or even one's portrait. This veil and this hat—
my maid‘s, of course—are my only protection. They furnish me with an incog.
You should have seen the chauffeur staring when he thought I did not see.
Candidly, there are five or six names that belong in the holy of holies, and
mine, by the accident of birth, is one of them. I spoke to you, Mr. Stackenpot—

YOUNG MAN: Parkenstacker.

GIRL: —Mr. Parkenstacker, because I wanted to talk, for once, with a natural
man—a real man—one unspoiled by the despicable gloss of wealth and
supposed social superiority. Oh! You have no idea how weary I am of it—
money, money, money! And of the men who surround me, dancing like little
marionettes all cut from the same pattern. I am sick of pleasure, of jewels, of
travel, of society, of luxuries of all kinds!

YOUNG MAN: I always had the idea that money must be a pretty good thing.

GIRL: A competence is to be desired, certainly. But when you have so many

millions that—! [She concludes the sentence with a gesture of despair.] It is
the monotony of it that palls. Drives, dinners, theatres, balls, suppers, balls,
dinners, more balls, followed of course by dinners and suppers, with the
gilding of superfluous wealth over it all. Sometimes the very tinkle of the ice in
my champagne glass nearly drives me mad.

YOUNG MAN: You know … I‘ve always liked to read up on the habits and
customs of the wealthy class. I consider myself a bit of a connoisseur on the
subject. But I like to have my information accurate. Now, I had formed the
opinion that champagne is cooled in the bottle and not by placing ice in the
glass.

[The GIRL gives a musical laugh of genuine amusement.]

GIRL: You must understand that we of the non-useful class depend for our
amusement upon departure from precedent. Just now it is a fad to put ice
in champagne. The idea was originated by a visiting Prince of Tartary while
dining at the Waldorf. It will soon give way to some other whim. Just as, at a
dinner party this week on Madison Avenue, a green kid glove was laid by the
plate of each guest to be put on and used while eating olives.

YOUNG MAN: [Humbly.] I see.

GIRL: These special diversions of the inner circle do not become familiar to the
common public, of course.

YOUNG MAN: Of course. It‘s all quite fascinating. I‘ve always wanted to participate
in,
or at least witness first hand, the rituals of the elite.

GIRL: We are drawn to that which we do not understand.

YOUNG MAN: I guess that‘s

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GIRL: For my part, I have always thought that if I should ever love a man it
would be one of lowly station. One who is a worker and not a drone. But,
doubtless, the claims of caste and wealth will prove stronger than my
inclination. Just now I am besieged by two suitors. One is Grand Duke of a
German principality. I think he has, or has had, a wife, somewhere, driven
mad by his intemperance and cruelty. The other is an English Marquis, so cold
and mercenary that I prefer even the diabolical nature of the Duke. What is it
that impels me to tell you these things, Mr. Packenwacker?

YOUNG MAN:

Parkenstacker. GIRL: Of

course.

YOUNG MAN: I don‘t know why you should bare your soul to a common man like
me,
but you can‘t know how much I appreciate your confidences.

[The girl contemplates him with the calm, impersonal regard that befits the
difference in their stations.]

GIRL: What is your line of business, if you don‘t mind my asking?

YOUNG MAN: A very humble one. But I hope to rise in the world

someday. GIRL: You have aspirations?

YOUNG MAN: Oh, yes. There‘s so much I want to do.

GIRL: I admire your enthusiasm. I, myself, can find very little to be enthused
about, burdened, as I am, by the constant pleasures and diversions of my
class.

YOUNG MAN: Did you really mean it, before, when you said you could love
a man of lowly station?

GIRL: Indeed I did. But I said

―might.‖ YOUNG MAN: Why only

―might?‖

GIRL: Well, there is the Grand Duke and the Marquis to think of, you know.

YOUNG MAN: But you‘ve said yourself—they‘re so cold.

GIRL: I am sure you understand when I say there are certain expectations of a
young lady in my position. It would be such a disappointment to certain
members of my family if I were to marry a commoner as we like to call
them. You simply cannot imagine the scandal it would cause. All the
magazines would remark upon it. I might even be cut off from the family
fortune. And yet … no calling could be too humble were the man I loved all
that I wish him to be.

YOUNG MAN: I work in a

restaurant. [The girl shrinks

slightly.]

GIRL: Not as a waiter? Labor is noble, but personal attendance, you know
—valets and—

YOUNG MAN: Not a waiter. I‘m a cashier in … in that restaurant over there.

GIRL: [With a strange, suspicious look.] That … that one there? [He nods.] That one?
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YOUNG MAN: Yes.

GIRL: [Confused.] Are you sure?

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YOUNG MAN: Quite sure.

GIRL: But—

[Suddenly the GIRL consults a tiny watch set in a bracelet of rich design upon
her wrist. She rises with a start.]

GIRL: Oh!

YOUNG MAN: What is it? What‘s wrong?

GIRL: I … I am late for an important engagement.

YOUNG MAN: An

engagement? GIRL: Yes!

YOUNG MAN: Some sort of ball or—

GIRL: Yes, yes!

YOUNG MAN: Will I see you again?

GIRL: I do not know. Perhaps—but the whim may not seize me again. I must go
quickly now. There is a dinner, and a box at the play—and, oh! The same old
round! Perhaps you noticed an automobile at the upper corner of the park as
you came. One with a white body.

YOUNG MAN: [Knitting his brow strangely.] And red running gear?

GIRL: Yes. I always come in that. Pierre waits for me there. He supposes me
to be shopping in the department store across the square. Conceive of the
bondage of the life wherein we must deceive even our chauffeurs. Good-
night.

YOUNG MAN: Wait! It‘s getting dark, and the park is full of questionable
characters. Can‘t I walk you to your—

GIRL: [Quickly.] No! I mean … no. If you have the slightest regard for my
wishes, you will remain on this bench for ten minutes after I have left. I do not
mean to question your intentions, but you are probably aware that autos
generally bear the monogram of their owner. Again, good-night.

[Suddenly a WAITRESS approaches, wearing a soiled, dirty uniform—evidently

just coming off her shift.]

WAITRESS: Mary-Jane! Mary-Jane Parker! What on earth are you doing out here?!
Don‘t you know what time it is?!

GIRL: [A little flustered.] To whom are you speaking,

Madame? WAITRESS: To whom am I … to you! Who do you

think, you ninny?! GIRL: Then I‘m sure I don‘t know what

you‘re talking about.

WAITRESS: You‘re shift started fifteen minutes ago! Mr. Witherspoon‘s in a

rage! This is the third time this month you‘ve been late! You‘d better get
yourself over there and into uniform before he cuts you loose for good!

GIRL: I—

WAITRESS: Go on, now! I know you can‘t afford to miss a

paycheck!

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GIRL: [Attempting to maintain her dignity.] You must have me confused with
—with someone else.

WAITRESS: Confused with—why, Mary-Jane Parker, we‘ve known each other

for three years! We swap shifts! Have you been drinking?! Why are you
wearing that ridiculous hat?!

GIRL: [To the YOUNG MAN.] I … I‘m sorry, Mr. Porkenblogger—

YOUNG MAN:

Parkenstacker. GIRL:

Parkenstacker.

WAITRESS: Parkenstacker?

YOUNG MAN: Yes,

Parkenstacker.

WAITRESS: As in THE Parkenstackers?! From the society

pages?! GIRL: The society pages?

YOUNG MAN: If only I were so fortunate.

GIRL: You … you must excuse me. My chauffeur is waiting.

WAITRESS: Chauffeur?! What kind of crazy airs are you putting on?! You‘ve
never had a chauffeur in your life! You don‘t even own an automobile!

GIRL: I do so!

WAITRESS: Since when?!

GIRL: Since … Oh, get away from me! I don‘t know you!

WAITRESS: Don‘t know me?! You have been drinking! I‘m going to tell your mother!

[The GIRL rushes off, followed closely by the WAITRESS. The YOUNG MAN
picks up her book where she has dropped it.]

YOUNG MAN: Wait! You forgot your—

[But they are gone. After a few moments, a CHAUFFEUR approaches

cautiously.] CHAUFFEUR: Begging your pardon, sir.

YOUNG MAN: Yes, Henri?

CHAUFFEUR: I don‘t mean to intrude, but your dinner reservation—shall I cancel

or— YOUNG MAN: No … I‘m coming.

CHAUFFEUR: Very good, sir. The auto is waiting.

[The CHAUFFEUR exits and leaves the YOUNG MAN standing alone for a
moment as the lights fade.]

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We are an emerging division where excellence is a habit and allegiance for quality is a pledge.

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Despite Differences in Social Class

Content Standard: Performance Standard:

The learner demonstrates The learner skilfully performs in
understanding of how Anglo- one-act play through utilizing
American literature and other text effective verbal and non-verbal
types serve as a means of connecting strategies and ICT resources based
to the world; also how to use ways of on the following criteria: Focus,
analysing one-act play and different Voice, Delivery, and Dramatic
forms of verbals for him/her to Conventions.
skilfully perform in one-act play.

I. LEARNING COMPETENCY
EN9G-IIIg-21: Use verbals

Objectives:
1. Give the meaning of participle
2. Identify the participle and the word it modifies in given sentences
3. Use participle in creating sentences depicting pictures presented to
them

II. LEARNING CONTENT

Lesson: Participle
Materials:
1. Pictures
2. Worksheets
References:
1. K to 12 Curriculum Guide (May 2016) p. 208
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 363-364
3. Online References

III. LEARNING TASKS

Introduction: How do you describe your family, friends, things, food,
and places you like?

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pledge.
a
 Preliminary
Activity:
TASK 1: DESCRIBING WORDS INVENTORY
Use words to describe the following pictures. List down
as many as you can.

Sources: http://www.dfordog.co.nz/Training+Articles/Scared+dog+
+Reassure+or+Ignore.html
http://www.ayurvedicherbalcure.com/blog/useful-home-remedies-for-ankle-swelling-quickest-ways-to-get-rid-of-it
http://wallpaperfolder.com/wallpapers/falling+star
https://www.dreamstime.com/royalty-free-stock-photography-clown-face-illustration-happy-image31030937

Now, see if any in your list match the words below.

To describe the scared To describe the swollen
dog: ankle:
To describe the falling To describe the juggling
star: clown:
What have you noticed in these describing words?

Activity:
TASK 2: ASSIGNING DESCRIPTIONS
Choose the appropriate words in box B to describe the words in box A.

1. dog 6. gift
2. child 7. sun
3. pencils 8. crow delayed relaxing
d polluted crying
4. massag
e 9. arriva coloring irritating
l
5. manner rising howling
shouting unexpected

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We are an emerging division where excellence is a habit and allegiance for quality is a pledge.

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Analysis:
TASK 3: LOOKING CLOSELY
Provided below is the definition of a verbal called participle. Analyse
the set of given sentences below.

The participle is a verb used as an adjective.

A participle may make use of the past participle of
the verb or its present participle (-ing form). The
one-word participle comes before the noun it
modifies. (LM, p.364)

Set A Set B
1. The defeated team left the field. 1. The LPNHS team defeated the
2. The senator‘s convincing other school.
speech amazes the audience. 2. The girl is convincing her
3. Her broken leg was put in a cast. parents to let her attend the
4. She argued with the learned ball.
professor.
3. They had broken the rules.
5. The shining star is a sign for Megan
4. I learned a lot from my speech
to change. class.
5. The boy is shining his father‘s
shoes.

Abstraction:

TASK 4: FIRMING UP
Based from the activities you did, what is the
definition of participle? How do you form the
participle? What is the function of participle?
How does it differ from a gerund? a verb?

Application:
TASK 5: EXERCISES ON PARTICIPLE

A. Encircle the participle and underline the

word it modifies.
1. Laura returned the borrowed book this morning.
2. In David‘s dream, he rode on a flying carpet.
3. The dismayed crowd threw tomatoes on the performer.
4. The detective had a puzzled expression on his face.
5. Can you repair the broken vase.
6. My favourite dessert is baked apples.
7. The dry cleaner had a pressing appointment.
8. Keith is a leading hitter in our team.
9. An amused smile played across her face.
10.Mark auditioned for the casting director.

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 B. On each line on the right, write whether the underlined word is
a verb or participle.
1. The plane has been delayed by the weather.
2. The delayed game will be played next week.
3. A growing child needs nutritious foods.
4. Queen Ann‘s lace was growing by the roadside.
5. You will find the information on the following pages.
6. Someone has been following me for the last block.
7. Some spots are becoming color.
8. That dress is a very becoming color.
9. This restaurant has interesting but limited menu.
10.My parents have limited nights out to weekends.

Assessment:
TASK 6: CHECKPOINT
A. Encircle the participle and underline the word it
modifies.

1. Have you had an interesting day?

2. It was an embarrassing situation for us.
3. Hey, I have a fascinating idea regarding our upcoming
reunion.
4. What a shocking thought!
5. It is a tiring job.
6. He came up with a disappointing remark.
7. Malou submitted a nicely written article.
8. My little sister got a newly painted room.
9. I have never seen such a boring film.
10.What exactly is a liberated woman?

B. Give the appropriate participle for the given pictures then use the
participle and the word it modifies in your own sentence. Use the table
provided.

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 Sources:
https://www.shutterstock.com/search/melting+can
dle http://www.pixelstalk.net/sun-and-clouds-
wallpaper/ http://damagemax.com/sell-damaged-
cars-rhode-island
https://www.shutterstock.com/search/rotten+toma
to
http://dublinmortgageblog.com/mischief/2012/02/03/the-parrot-and-why-he-has-returned/parrots-mating/

Participle Word it Modifies

1.
Sentence:
2.
Sentence:
3.
Sentence:
4.
Sentence:
5.
Sentence:

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a
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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Despite Racial Differences

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in one-
understanding of how Anglo- act play through utilizing effective
American literature and other text verbal and non-verbal strategies and
types serve as means of connecting ICT resources based on the following
to the world; also how to use ways of criteria: Focus, Voice, Delivery, and
analyzing one-act play and different Dramatic Conventions.
forms of verbals for him/her to
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9LT-IIIh-16: Analyze literature as a means of connecting to the world
EN9V-IIIh-29: Get familiar with the technical vocabulary for drama and
theatre (like stage directions)

Objectives:
1. Identify technical vocabulary for drama and theater
2. Analyze literature as a means of finding usual situations at
present in comparison to the events depicted in the play
3. Write a dialogue for a given situation
4. Show active participation in group tasks requiring analysis of the
play by part and performing a creative rendition

II. LEARNING CONTENT

Lesson: “Driving Miss Daisy” by Alfred Uhry
Materials:
1. Copies of the Literary Text
2. Handouts/Worksheets
References:
1. K to 12 Curriculum Guide (May 2016) p. 206
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 372-400
3. Teacher‘s Guide p. 2-7
4. Learning Package (Second Quarter) pp. 1-6
5. Online References

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 III. LEARNING TASKS
Introduction: Prejudice is so easy to embrace when it‘s seen at a distance, and
nearly impossible to sustain when viewed up close.

Preliminary Activity:

TASK 1: CHECKPOINT
How much do you know about drama and theater
lingo? Complete the puzzle by filling in the boxes with the
letter of the words defined below the puzzle. (LM, p.373)

1 2

4 5

Across
1. The actions of a play printed in the script by the publisher
6. The stage representation of an action or a story
7. The conversation between actors on stage
7. A theatrical work that is intentionally humorous

Down

1. The distinctive and unique manner in which a writer arranges

words to achieve particular effects
2. A play that demonstrates a character‘s fall from grace, power, position,
or
moral standing through his/her own actions
3. A main type of literary form
8. Printed words, including dialogue and the stage direction for a script

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 Activity:

TASK 2: MEET NEW WORDS

There are eight hidden words in the puzzle below. Use the
descriptions as clues to figure out the words which you
will find in the play you are about to read. Some letters
are given as clues. (LM, p.372)

1. I am another word for ―storeroom.‖P T

2. I am ―a hand tool.‖ T R W

3. I am the opposite of ―generous.‖ S I G Y

4. I mean ―gravestone.‖ T O B T E

5. I mean ―annoy.‖ P S R U R

6. I am ―employed
C H A F F R
to drive a private
car.‖
A X C B

7. I am a ―car for hire.‖

S Y
8. I mean ―rude and disrespectful.‖ A

TASK 3: LOOK WHO’S TALKING

What is your idea of friendship? How do you choose your
friends? Work with a classmate and discuss the
meaning of the following quote.

A friend in need is a friend in deed.

Analysis:
TASK 4: READING CORNER
Read your copy of ―Driving Miss Daisy‖ by Alfred Uhry on pages
375 to 390 of your module then answer the following questions:

1. Who is Daisy? How old is she?

2. What event led her to have a personal driver?
3. Who is Hoke? What did you observe about his personality and the
manner of his speaking?
4. At the end of the play, what did Miss Daisy discover about Hoke?
How did she react to that?

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5. What kind of relationship would they have if Miss Daisy continued
to be impolite to Hoke?
6. Explain how important education is to man. As a student, what can
you do in order to help or assist people like Hoke?

TASK 5: DELVING DEEPER

What can you say about the play, Driving Miss Daisy? Read the
following passages from the play and then answer the
questions that follow to help you deepen your understanding.
(LM, pp. 396-397)

Daisy: I don’t need you. I don’t want you. And I don’t like
you saying I’m rich.
Hoke: I won’t say it, then.
Daisy: Is that what you and Idella talk about in the kitchen?
Oh, I hate this! I hate being discussed behind my back in
my own house! I was born on Forsyth Street and, believe
me; I knew the value of penny. My brother Manny brought
home a white cat one day and Papa said we couldn’t keep
it because we couldn’t afford to feed it. My sisters saved
up money so I could go to school and be a teacher. We
didn’t have anything!
Hoke: Yassum, but look like you doin’ all right now.
Daisy: And I’ve ridden the trolley with groceries plenty of times!

 How did Daisy describe the economic conditions in which she grew up?
 Did Daisy‘s upbringing help explain her attitude toward Hoke and the
idea of having a chauffeur?

Hoke: You is rich, Miz Daisy!

Daisy: No I’m not! And nobody can ever say I put on airs.
On Forsyth Street we only had meat once a week. We made
a meal off grits and gravy, I taught the fifth grade at the
Crew Street School! I did without plenty of times. I can tell
you.
Hoke: And now you doin’ with. What so terrible in
that? Daisy: You! Why do I talk to you? You don’t
understand me.
Hoke: Nome, I don’t. I truly don’t. Cause if I ever was to get
ahold of what you got I be shakin’ it around for everybody
in the world to see.
Daisy:That’s vulgar. Don’t talk to me! (Hoke mutters something
under his breath) What? What did you say? I heard that!
Hoke: Miz Daisy, you need a chauffeur and Lawd know, I need a
job. Let’s jes leave it at dat.

 How did Daisy describe the economic conditions in which she grew up?
 Did Daisy‘s upbringing help explain her attitude toward Hoke
and the idea of having a chauffeur?

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 Daisy: It was mine. I bought it and I put it there and he
went into my pantry and took it and he never said a word.
I leave him plenty of food every day and I always tell him
exactly what it is. They are like having little children in
the house. They want something so they just take it. Not
a smidgin of manners. No conscience. He’ll never admit
this. (Hoke enters in an overcoat.) Hoke: Mornin, Miz
Daisy. I b’leve it fixin’ to clear up. S’cuse me, I didn’t
know you was here Mist’ Werthan.
Boolie: Hoke, I think we have to talk.
Hoke: Jes’ a minute. Lemme put my coat away. I be right
back. (He pulls a brown paper bag out of his overcoat.)
Oh., Miz Daisy. Yestiddy when you out with yo sister I
ate a can o’your salmon. I know you say eat the leff over
pork chops, but they stiff. Here, I done buy you another
can. You want me to put it in the pantry fo’ you?
Daisy: Yes. Thank you, Hoke.
Hoke: I’ll be right with you Mist’Wertham. (Hoke exits. Daisy looks
at the empty can in her hand.)
Daisy: (trying for dignity) I’ve got to get dressed now. Goodbye,
son. (She pecks his Vucheek and exits.)

 How did Daisy describe Hoke‘s honesty?

 Describe Daisy by the time Hoke exits. What does she feel
about herself after realizing her wrong judgment of others?

Abstraction:

TASK 6: MULTIMEDIA MEISTER

With your group, perform the following tasks by using
different multi-media resources. (LM, p. 398)

Group 1 Group 2
Choose a scene or Write an open letter to Hoke
excerpt from Driving persuading him to study
Miss Daisy and perform even if he is already old.
it in a radio play.
Group 3 Group 4
Draw a picture showing the Compose a song depicting
most interesting scene of the theme of the play.
the play.

Application:
TASK 7: JUST THE TWO OF YOU
One of the most enjoyable elements in Driving Miss Daisy is the
naturalness of the dialogue. The playwright uses familiar patterns of
speech (Anything over seven dollars is robbery. Highway robbery) and
references to real-life places (the

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 grocery store). Reading or hearing this dialogue makes the situation
authentic and believable. (LM, pp. 398-400)

 With a partner, develop a two or three-minute

conversation that you might hear in the cafeteria.
Make the conversation real and believable. Then
present the dialogue in the class.

WRITING A DIALOGUE RUBRIC

1 2 3 4
There are
The final There are few There are no
more than a
draft has grammar, grammar,
few grammar,
many capitalization, capitalization,
Conventions capitalization,
grammar, spelling, or spelling, or
spelling, or
capitalizatio punctuation punctuation
punctuation
n, spelling, errors in the errors in the
errors in the
and final draft. final draft.
final
punctuation draft.
errors.
The story is
The plot is
very well
The plot is a pretty well
Ideas and organized. One
little hard to organized.
scenes seem to idea or scene
Clarity be randomly
follow. The One idea or
transitions are scene may follows another
arranged. in a logical
sometimes not seem out of
clear. place. sequence with
Clear transitions clear
are used. transitions.
The story The story
There is little The story
contains contains many
evidence of contains a few
creative details creative
creativity. The creative details
and/or details and/or
Creativity playwright and/or
descriptions descriptions
does not seem descriptions,
that contribute that contribute
to have used but they
to the reader's to the reader's
much distract from
enjoyment enjoyment.
imagination. the story.
It is usually
Hard to It is usually clear which It is always
follow clear which character is clear which
characters' character is speaking. character is
Dialogue dialogue and speaking. Dialogue is speaking.
minimal effort Dialogue is well Dialogue is
is put into choppy and developed, well
conversation not well but could be developed
s. developed. more varied and varied.
in structure.

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 DRIVING MISS DAISY
In the dark we hear a car ignition turn on, and then a horrible crash. Bangs and booms and
wood splintering. When the noise is very loud, it stops suddenly and the lights come up on
Daisy Werthan‘s living room,or a portion thereof. Daisy, age 72, is wearing a summer dress
and high heeled shoes. Her hair, her clothes, her walk, everything about her suggests bristle
and feist1 and high energy. She appears to be in excellent health. Her son, Boolie
Werthan, 40, is a businessman, Junior Chamber of Commerce style. He has a strong,
capable air. The Werthans are Jewish, but they have strong Atlanta accents.
DAISY: No!
BOOLIE:
Mama!
DAISY: No!
BOOLIE: Mama!
DAISY: I said no, Boolie, and that‘s the end of it.
BOOLIE: It‘s a miracle you‘re not laying in Enory Hopital – or decked out at the funeral
home.
Look at you! You didn‘t even break your glasses.
DAISY: It was the car‘s fault.
BOOLIE: Mama, the car didn‘t just back over the driveway and land on the Pollard‘s garage
all
by itself. You had it in the wrong gear.
DAISY: I did not!
BOOLIE: You put it in reverse instead of drive. The police report shows that.
DAISY: You should have let me keep my La Salle.
BOOLIE: Your La Salle was eight years old.
DAISY: I don‘t care. It never would have behaved this way. And you know it.
BOOLIE: Mama, cars, don‘t behave. They are behaved upon. The fact is you, all by
yourself, demolished that Packard.
DAISY: Think what you want. I know the truth.
BOOLIE: The truth is you shouldn‘t be allowed to drive a car any more.
DAISY: No.
BOOLIE: Mama, we are just going to have to hire somebody to drive you.
DAISY: No, we are not. This is my business.
BOOLIE: Your insurance policy is written so that they are going to have to give you a
brand new car.
DAISY: Not another Packard. I hope.
BOOLIE: Lord Almighty! Don‘t you see what I‘m saying?
DAISY: Quit talking so ugly to your mother.
BOOLIE: Mama, you are seventy–two years old and you just cost the insurance company
twenty- seven hundred dollars. You are a terrible risk. Nobody is going to issue
you a policy after this.
DAISY: You‘re just saying that to be hateful.
BOOLIE: O.k. Yes. Yes I am. I‘m making it all up. Every insurance company in America
is lined up in the driveway waving their fountain pens and falling all over
themselves to get you to sign on. Everybody wants Daisy Werthan, the only
woman in the history of driving to demolish a three week old Packard, a two
car garage and a free standing tool shed in one fell swoop!
DAISY: You talk so foolish sometimes, Boolie.
BOOLIE: And even if you could get a policy somewhere, it wouldn‘t be safe. I‘d
worry all the time. Look at how many of your friends have men to drive
them. Miss Ida Jacobs, Miss Ethel Hess, Aunt Nonie–
DAISY: They‘re all rich.
BOOLIE: Daddy left you plenty enough for this. I‘ll do the interviewing at the plant.
Oscar in the freight elevator knows every colored man in Atlanta worth talking
about. I‘m sure in two weeks time I can find you somebody perfectly–
DAISY: No!
BOOLIE: You won‘t even have to do anything, Mama. I told you. I‘ll do all the interviewing, all
the
reference checking, all the–
DAISY: No. Now stop running your mouth! I am seventy-two years old as you gallantly
reminded me and I am a widow, but unless they rewrote the Constitution and
didn‘t tell me, I still have rights. And one of my rights is the right to invite who I
want–not who you want–into my house. You do accept the fact that this is my
house? What I do not want–and absolutely will not have is some– (She gropes for
a bad enough word.) some chauffeur sitting in my kitchen, gobbling my food,
running up my phone bill. Oh, I hate all that in my house!
BOOLIE: You have Idella.
DAISY: Idella is different. She‘s been coming to me three times a week since you were
in the eighth grade and we know how to stay out of each other‘s way. And even
so there are nicks and chips in most of my wedding china and I‘ve seen her
throw silver forks in the garbage more than once.
BOOLIE: Do you think Idella has a vendetta 2 against your silverware?

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 DAISY: Stop being sassy. You know what I mean. I was brought up to do myself. On Forsyth
Street
we couldn‘t afford them and we did for ourselves. That‘s still the best way, if you ask me.
BOOLIE: Them! You sound like Governor Talmadge.
DAISY: Why, Boolie! What a thing to say! I‘m not prejudiced! Aren‘t you ashamed?
BOOLIE: I‘ve got to go home. Florine‘ll be having a fit.
DAISY: Y‘all must have plans tonight.
BOOLIE: Going to the Ansleys for a dinner party.
DAISY: I see.
BOOLIE: You see what?
DAISY: The Ansleys. I‘m sure Florine bought another new dress. This is her idea of heaven
on
earth, isn‘t it?
BOOLIE: What?
DAISY: Socializing with Episcopalians.
BOOLIE: You‘re a doodle, Mama. I guess Aunt Nonie can run you anywhere you need to go
for
the time being.
DAISY: I‘ll be fine.
BOOLIE: I‘ll stop by tomorrow evening.
DAISY: How do you know I‘ll be here? I‘m certainly not dependent on you for company.
BOOLIE: Fine. I‘ll call first. And I still intend to interview colored men.
DAISY: No!
BOOLIE: Mama!
DAISY: (singing to end discussion)
After the ball is over
After the break of
morn
After the dancers
leaving After the stars
are gone Many a heart
is aching
If you could read them all –
(Lights fade on her as she sings and come up on Bollie at his desk at the Werthan Company.
He sits at a desk piled with papers, and speaks into an intercom.)
BOOLIE: Ok, Miss McClatchey. Send him on in. (He continues working at his desk. Hoke
Coleburn enters, a black man of about 60, dressed in a somewhat shiny suit and
carrying a fedora, a man clearly down on his luck but anxious to keep up
appearances.) Yes, Hoke, isn‘t it?
HOKE: Yassuh. Hoke Coleburn.
BOOLIE: Have a seat there. I‘ve got to sign these letters. I don‘t want Miss McClatchey
fussing at
me.
HOKE: Keep right on with it. I got all the time in the worl‘.
BOOLIE: I see. How long you been out of work?
HOKE: Since back befo‘ las November.
BOOLIE: Long time.
HOKE: Well, Mist‘ Werthan, you try bein‘ me and looking for work. They hirin‘ young if
they hirin‘ colored, an‘ they ain‘ even hirin‘ much young, seems like. (Boolie is
involved with his paperwork.) Mist‘ Werthan? Y‘all people Jewish, ain‘ you?
BOOLIE: Yes we are. Why do you ask?
HOKE: I‘d druther drive for Jews. People always talkin‘ bout they stingy and they
cheap, but don‘ say none of that ‗roun‘ me.
BOOLIE: Good to know you feel that way. Now, tell me where you worked before.
HOKE: Yassuh. That‘s what I‘m getting at. One time I workin‘ for this woman over near
Little Five Points. What was that woman‘s name? I forget. Anyway, she president
of the Ladies Auxiliary over yonder to the Ponce De Leon Baptist Church and
seem like she always bringing up God and Jesus and do unto others. You
know what I‘m talkin ‗bout?
BOOLIE: I‘m not sure. Go on.
HOKE: Well, one day, Mist‘ Werthan, one day that woman say to me, she say
―Hoke, come on back in the back wid me. I got something for you.‖ And
we go on back yonder and, Lawd have mercy, she have all these old shirts
and collars be on the bed, yellow, you know, and nasty like they been stuck
off in a chiffarobe and forgot about. Thass‘ right. And she say ―Ain‘ they
nice? They b‘long to my daddy befo he pass and we fixin‘ to sell
‗em to you for twenty five cent apiece.
BOOLIE: What was her name?
HOKE: Thass‘ what I‘m thinkin‘. What WAS that woman‘s name? Anyway, as I was
goin‘ on to say, any fool see the whole bunch of them collars and shirts together
ain‘ worth a nickel! Them‘s the people das callin‘ Jews cheap! So I say
―Yassum, I think about it‖ and I get me another job fas‘ as I can.
BOOLIE: Where was that?

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HOKE: Mist‘ Harold Stone, Jewish gentlemen jes like you. Judge, live over yonder on
Lullwater
Road.
BOOLIE: I knew Judge
Stone.

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HOKE: You doan‘ say! He done give me this suit when he finish wid it. An‘ this necktie too.
BOOLIE: You drove for Judge Stone?
HOKE: Seven years to the day nearabout. An‘ I be there still if he din‘ die, and Miz
Stone decide to close up the house and move to her people in Savannah.
And she say ―Come on down to Savannah wid‘ me, Hoke.‖ Cause my wife
dead by then and I say ― No thank you.‖ I didn‘t want to leave my
grandbabies and I don‘ get along with that Geechee trash they got down
there.
BOOLIE: Judge Stone was a friend of my father‘s.
HOKE: You doan‘ mean! Oscar say you need a driver for yo‘ family. What I be doin‘?
Runnin‘ yo children to school and yo‘ wife to the beauty parlor and like dat?
BOOLIE: I don‘t have any children. But tell me–
HOKE: Thass‘ a shame! My daughter bes ‗ thing ever happen to me. But you
young yet. I wouldn‘t worry none.
BOOLIE: I won‘t. Thank you. Did you have a job after Judge Stone?
HOKE: I drove a milk truck for the Avondale Dairy thru the whole war–the one jes‘ was.
BOOLIE: Hoke, what I am looking for is somebody to drive my mother around.
HOKE: Excuse me for askin‘, but how come she ain‘ hire fo‘ herself?
BOOLIE: Well, it‘s a delicate situation.
HOKE: Mmmm Hmm. She done gone ‗roun‘ the bend a little? That‘ll happen when they get
on.
BOOLIE: Oh no. Nothing like that. She‘s all there. Too much there is the problem. It just
isn‘t safe for her to drive any more. She knows it, but she won‘t admit it. I‘ll be
frank with you. I‘m a little desperate.
HOKE: I know what you mean ‗bout dat. Once I was outta work my wife said to me
―Oooooh, Hoke, you ain‘ gon get noun nother job.‖ And I say ―What you
talkin‘ bout, woman?‖ And the very next week I go to work for that woman in
Little Five Points. Cahill! Ms. Frances Cahill. And then I go to Judge Stone and
they the reason I happy to hear you Jews.
BOOLIE: Hoke, I want you to understand, my mother is a little high-strung. She doesn‘t
want anybody driving her. But the fact is you‘d be working for me, She can say
anything she likes but she can‘t fire for you. You understand?
HOKE: Sho‘I do. Don‘t worry none about it. I hold on no matter what way she run
me. When I nothin‘ but a little boy down there on the farm above Macon, I
use to wrastle hogs to the ground at killin‘ time, and ain‘ no hog get away
from me yet.
BOOLIE: How does twenty dollars a week sound?
HOKE: Soun‘ like you got yo‘ Mama a chauffeur. (Lights fade on them and come up on
Daisy who enters her living room with the morning paper. She reads with interest.
Hoke enters the living room. He carries a chauffeur’s cap instead of his hat. Daisy’s
concentration on the paper becomes fierce when she senses Hoke’s presence.)
Mornin‘, Miz Daisy.
DAISY: Good morning.
HOKE: Right cool in the night, wadn‘t it?
DAISY: I wouldn‘t know. I was
asleep. HOKE: Yassum. What yo
plans today? DAISY: That‘s my
business.
HOKE: You right about dat. Idella say we runnin‘ outa coffee and Dutch Cleanser.
DAISY: We?
HOKE: She say we low on silver polish too.
DAISY: Thank you. I will go to the Piggly Wiggly on the trolley this afternoon.
HOKE: Now, Miz daisy, how come you doan‘ let me carry you?
DAISY: No thank you.
HOKE: Aint dat what Mist‘ Werthan hire me for?
DAISY: That‘s his problem.
HOKE: All right den. I find something to do. I tend yo zinnias.
DAISY: Leave my flower bed alone.
HOKE: Yassum. You got a nice place back beyond the garage ain‘ doin‘ nothin‘ but
sittin‘ there. I could put you in some butterbeans and some tomatoes and
even some Irish potatoes could we get some ones with good eyes.
DAISY: If I want a vegetable garden. I‘ll plant it for myself.
HOKE: Well, I go out and set in the kitchen, then, like I been doin‘ all week.
DAISY: Don‘t talk to Idella. She has work to do.
HOKE: Nome, I jes sit there till five o‘clock.
DAISY: That‘s your affair.
HOKE: Seem a shame, do. That fine Oldsmobile settin out there in the garage. Ain‘t
move a inch from when Mist‘ Werthan rode it over here from Mitchell Motors.
Only got nineteen miles on it. Seem like that insurance company give you a
whole new car for nothin‘.
DAISY: That‘s your opinion.
HOKE: Yassum. And my other opinion is a fine rich Jewish lady like you doan b‘long
draggin‘ up the steps of no bus, luggin‘ no grocery store bags. I come along

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 and carry them fo‘ you.
DAISY: I don‘t need you. I don‘t want you. And I don‘t like you saying I‘m rich.

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HOKE: I won‘t say it, then.
DAISY: Is that what you and Idella talk about in the kitchen? Oh, I hate this! I hate
being discussed behind my back in my own house! I was born on Forsyth
Street and, believe me, I knew the value of penny. My brother Manny
brought home a white cat one day and Papa said we couldn‘t keep it
because we couldn‘t afford to feed it. My sisters saved up money so I
could go to school and be a teacher. We didn‘t have anything!
HOKE: Yassum, but look like you doin‘ all right now.
DAISY: And I‘ve ridden the trolley with groceries plenty of times!
HOKE: Yassum, but I feel bad takin‘ Mist‘ Werthan‘s money for doin‘ nothin‘. You
understand?
(She cut him off in the speech.)
DAISY: How much does he pay you?
HOKE: That between me and him, Miz Daisy.
DAISY: Anything over seven dollars a week is robbery. Highway robbery!
HOKE: Specially when I doan do nothin‘ but sit on a stool in the kitchen all day
long. Tell you what, while you goin on the trolley to the Piggly Wiggly, I hose
down yo‘ front steps. (Daisy is putting on her hat.)
DAISY: All right.
HOKE: All right I hose yo steps?
DAISY: All right the Piggly Wiggly. And then home. Nowhere else.
HOKE: Yassum.
DAISY: Wait. You don‘t know how to run the Oldsmobile!
HOKE: Miz Daisy, a gear shift like a third arm to me. Anyway, thissun automatic. Any
fool can run it.
DAISY: Any fool but me, apparently.
HOKE: Ain‘ no need to be so hard on yoseff now. You cain‘ drive but you probably do
alota
things I cain‘ do. It all work out.
DAISY: (calling offstage) I‘m gone to the market, Idella.
HOKE: (also calling) And I right behind her! (Hoke puts on his cap and helps Daisy into the
car. He sits at the wheel and backs the car down the driveway. Daisy, in the rear, is in
full bristle.) I love a new car smell. Doan‘ you? ( Daisy slides over to the other side of
the seat.)
DAISY: I‘m nobody‘s fool, Hoke.
HOKE: Nome.
DAISY: I can see the speedometer as well as you can.
HOKE: I see dat.
DAISY: My husband taught me how to run a car.
HOKE: Yassum.
DAISY: I still remember everything he said. So don‘t you even think for a second
that you can– Wait! You‘re speeding! I see it!
HOKE: We ain goin‘ but nineteen miles an hour.
DAISY: I like to go under the speed limit.
HOKE: Speed limit thirty five here.
DAISY: The slower you go, the more you save on gas. My husband told me that.
HOKE: We barely movin‘. Might as well walk to the Piggly Wiggly.
DAISY: Is this your car?
HOKE: Nome.
DAISY: Do you pay for the gas?
HOKE: Nome.
DAISY: All right then. My fine son my think I‘m losing my abilities, but I am still in control of
what
goes on in my car. Where are you going?
HOKE: To the grocery store.
DAISY: Then why didn‘t you turn on Highland Avenue?
HOKE: Piggly Wiggly ain‘ on Highland Avenue. It on Euclid down there near–
DAISY: I know where it is and I want to go to it the way I always go. On Highland Avenue.
HOKE: That three blocks out of the way, Miz Daisy.
DAISY: Go back! Go back this minute!
HOKE: We in the wrong lane! I cain‘ jes–
DAISY: Go back I said! If you don‘t, I‘ll get out of this car and walk!
HOKE: We movin‘! You cain‘ open the do‘!
DAISY: This is wrong! Where are you taking
me? HOKE: The sto‘.
DAISY: This is wrong. You have to go back to Highland Avenue!
HOKE: Mmmm Hmmmm.
DAISY: I‘ve been driving to the Piggly Wiggly since the day they put it up and
opened it for business. This isn‘t the way! Go back! Go back this minute!
HOKE: Yonder the Piggly
Wiggly.
DAISY: Get ready to turn

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HOKE: Yassum
DAISY: Look out! There‘s a little boy behind that shopping cart!
HOKE: I see dat.
DAISY: Pull in next to the blue car.
HOKE: We closer to the do‘ right here.
DAISY: Next to the blue car! I don‘t park in the sun! It fades the upholstery.
HOKE: Yassum. (He pulls in, and gets out as Daisy springs out of
the back seat.)
DAISY: Wait a minute. Give me the car keys.
HOKE: Yassum.
DAISY: Stay right here by the car. And you don‘t have to tell everybody my business.
HOKE: Nome. Don‘ forget the Dutch Cleanser now. (She fixes him with a look meant to
kill and exits. Hoke waits by the car for a minute, then hurries to the phone booth at
the corner.) Hello? Miz McClatchey? Hoke Coleburn here. Can I speak to him?
(pause) Mornin sir, Mist‘ Werthan. Guess where I‘m at? I‘m at dishere phone
booth on Euclid Avenue right next to
the Piggly Wiggly. I jes drove yo‘ Mama to the market. (pause) She flap a little on the
way. But she all right. She in the store. Uh oh, Miz Daisy look out the store
window and doan‘ see me, she liable to throw a fit right there by the checkout.
(pause) Yassuh, only took six days. Same time it take the Lawd to make the
worl‘. (Lights out on him. We hear a choir singing.)
CHOIR.
May the words of my mouth
And the meditations of my
heart
Be acceptable in Thy sight, O Lord
My strength and my redeemer, Amen.
(Light up on Hoke waiting by the car, looking at a newspaper. Daisy enters in a
different hat and a fur piece.)
HOKE: How yo‘ Temple this mornin‘, Miz Daisy?
DAISY: Why are you here?
HOKE: I bring you to de Temple like you tell me. (He is helping her into the car.)
DAISY: I can get myself in. Just go. (She makes a tight little social smile and a wave out
the window.) Hurry up out of here! (Hoke starts up the car.)
HOKE: Yassum.
DAISY: I didn‘t say speed. I said get me away from here.
HOKE: Somethin‘ wrong back yonder?
DAISY: No.
HOKE: Somethin‘ I
done?
DAISY: No. (a beat) Yes.
HOKE: I ain‘ done
nothin‘!
DAISY: You had the car right in front of the front door of the Temple! Like I was
Queen of Romania! Everybody saw you! Didn‘t I tell you to wait for me in the
back?
HOKE: I jes trying‘ to be nice. They two other chauffeurs right behind me.
DAISY: You made me look like a fool. A g.d. fool!
HOKE: Lawd knows you ain‘ no fool, Miz Daisy.
DAISY: Slow down. Miriam and Beulah and them, I could see what they were thinking
when we came out of services.
HOKE: What that?
DAISY: That I‘m trying to pretend I‘m rich.
HOKE: You is rich, Miz Daisy!
DAISY: No I‘m not! And nobody can ever say I put on airs. On Forsyth Street we only
had meat once a week. We made a meal off of grits and gravy, I taught the
fifth grade at the Crew Street School! I did without plenty of times. I can tell
you.
HOKE: And now you doin‘ with. What so terrible in that?
DAISY: You! Why do I talk to you? You don‘t understand me.
HOKE: Nome, I don‘t. I truly don‘t. Cause if I ever was to get ahold of what you got I be shakin
it
around for everybody in the world to see.
DAISY: That‘s vulgar3. Don‘t talk to me! (Hoke mutters something under his breath,) What?
What did you say? I heard that!
HOKE: Miz Daisy, you need a chauffeur and Lawd know, I need a job. Let‘s jes leave it at
dat.
(Light out on them and up on Boolie, in his shirtsleeves. He has a phone to his ear.)
BOOLIE: Good morning, Mama. What‘s the matter? (pause) What? Mama, you‘re
talking so fast I… What? All right. All right. I‘ll come by on my way to work. I‘ll be
there as soon as I can. (Light out on him and up on Daisy, pacing around her
house in a winter bathrobe. Boolie enters in a topcoat and scarf.) I didn‘t expect
to find you in one piece.

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DAISY: I wanted you to be here when he comes. I wanted you to hear it for yourself.
BOOLIE: Hear what? What‘s going on?
DAISY: He‘s stealing from me!

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BOOLIE: Hoke? Are you sure?
DAISY: I don‘t make empty accusations. I have proof!
BOOLIE: What proof?
DAISY: This! (She triumphantly pulls an empty can of salmon out of her robe pocket.) I
caught him red handed! I found this hidden in the garbage pail under some
coffee grounds.
BOOLIE: You mean he stole a can of salmon?
DAISY: Here it is! Oh I knew. I knew something was funny. They all take things, you
know. So I counted.
BOOLIE: You counted?
DAISY: The silverware first and the linen dinner napkins and then I went into the
pantry. I turned on the light and the first thing that caught my eye was a hole
behind the corned beef. And I knew right away. There were only eight cans of
salmon. I had nine. Three for a dollar on sale.
BOOLIE: Very clever, Mama. You made me miss my breakfast and be late for a
meeting at the bank for a thirty-three cent can of salmon. (He jams his hand in his
pocket and pulls out some bills.) Here! You want thirty-three cents? Here‘s a
dollar! Here‘s ten dollars! Buy a pantry full of salmon!
DAISY: Why, Boolie! The idea! Waving money at me like I don‘t know what! I don‘t want
the
money. I want my things!
BOOLIE: One can of salmon?
DAISY: It was mine. I bought it and I put it there and he went into my pantry and took
it and he never said a word. I leave him plenty of food everyday and I always
tell him exactly what it is. They are like having little children in the house.
They want something so they just take it. Not a smidgin of manners. No
conscience. He‘ll never admit this. ―Nome,‖ he‘ll say, ―I doan know nothin‘
bout that.‖ And I don‘t like it! I don‘t like living this way! I have no privacy.
BOOLIE: Mama!
DAISY: Go ahead. Defend him. You always do.
BOOLIE: All right. I give up. You want to drive yourself again, you just go ahead and
arrange it with the insurance company. Take your blessedtrolley. Buy yourself
a taxicab. Anything you want. Just leave me out of it.
DAISY: Boolie… (Hoke enters in an overcoat)
HOKE: Mornin, Miz daisy. I b‘leve it fixin‘ to clear up. S‘cuse me, I didn‘t know you was here
Mist‘
Werthan.
BOOLIE: Hoke, I think we have to have a talk.
HOKE: Jes‘ a minute. Lemme put my coat away. I be right back. (He pulls a brown
paper bag out of his overcoat.) Oh., Miz Daisy. Yestiddy when you out with yo
sister I ate a can o‘your salmon. I know you say eat the leff over pork chops,
but they stiff. Here, I done buy you another can. You want me to put it in the
pantry fo‘ you?
DAISY: Yes. Thank you, Hoke.
HOKE: I‘ll be right wit you Mist‘ Wertham. (Hoke exits. Daisy looks at the empty can in her hand.)
DAISY: (trying for dignity) I‘ve got to get dressed now. Goodbye, son. (She pecks his cheek
and exits. Lights out on him. We hear sounds of birds twittering. Lights come up
brightly–hot sun. Daisy, in light dress, is kneeling, a trowel in her hand, working by a
gravestone. Hoke, jacket in hand,
sleeves rolled up, stands nearby.)
HOKE: I jess thinkin‘, Miz Daisy. We bin out heah to the cemetery three times dis
mont already and ain‘ even the twentieth yet.
DAISY: It‘s good to come in nice weather.
HOKE: Yassum. Mist‘ Sig‘s grave mighty well tended. I b‘leve you the best widow in the
state of
Georgia.
DAISY: Boolie‘s always pestering me to let the staff out here tend to this plot. Perpetual care
they
call it.
HOKE: Doan‘ you do it. It right to have somebody from the family lookin‘ after you.
DAISY: I‘ll certainly never have that. Boolie will have me in perpetual care before I‘m cold.
HOKE: Come on now, Miz Daisy.
DAISY: Hoke, run back to the car and get that pot of azaleas for me and set it on Leo
Bauer‘s
grave.
HOKE: Miz Rose Bauer‘s husband?
DAISY: That‘s right. She asked me to bring it out here for her. She‘s not very good about
coming.
And I believe today would‘ve been Leo‘s birthday.
HOKE: Yassum. Where the grave at?
DAISY: I‘m not exactly sure. But I know it‘s over that way on the other side of the weeping
cherry.
You‘ll see the headstone. Bauer.
HOKE: Yassum.
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DAISY: What‘s the matter?
HOKE: Nothin‘ the matter. (He exits. She works with her trowel. In a moment Hoke returns
with flowers.) Miz Daisy…

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DAISY: I told you it‘s over on the other side of the weeping cherry. It says Bauer on
the headstone.
HOKE: How‘d that look?
DAISY: What are you talking about?
HOKE: (deeply embarrassed) I‘m talkin‘ bout I cain‘ read.
DAISY: What?
HOKE: I cain‘ read.
DAISY: That‘s ridiculous. Anybody can read.
HOKE: Nome. Not me.
DAISY: Then how come I see you looking at the paper all the time?
HOKE: That‘s it. Jes lookin‘. I dope out what‘s happening from the pictures.
DAISY: You know your letters, don‘t you?
HOKE: My ABC‘s? Yassum, pretty good. I jes‘ cain‘ read.
DAISY: Stop saying that. It‘s making me mad. If you know your letters then you can
read. You just don‘t know you can read. I taught some of the stupidest
children God ever put on the face of this earth and all of them could read
enough to find a name on a tombstone. The name is Bauer, Buh buh buh buh
Bauer. What does that buh letter sound like?
HOKE: Sound like a B.
DAISY: Of course. Buh Bauer. Er er er er er. BauER. That‘s the last part. What letter sounds like
er?
HOKE: R?
DAISY: So the first letter is a–
HOKE: B.
DAISY: And the last letter is an–
HOKE: R.
DAISY: B-R.B-R.B-R.Brr. Brr. Brr. It even sounds like Bauer, doesn‘t it?
HOKE: Sho‘do Miz Daisy. Thass it?
DAISY: That‘s it. Now go over there like I told you in the first place and look for a
headstone with a B at the beginning and an R the end and that will be Bauer.
HOKE: We ain‘ gon‘ worry ‗bout what come n‘ the middle?
DAISY: Not right now. This will be enough for you to find it. Go on now.
HOKE: Yassum.
DAISY: And don‘t come back here telling me you can‘t do it. You can.
HOKE: Miz Daisy…
DAISY: What now?
HOKE: I ‗preciate this, Miz Daisy.
DAISY: Don‘t be ridiculous! I didn‘t do anything. Now would you please hurry up? I‘m burning
up
out here.

Source: Best Plays Middle Level by Thomas, Brandon, Susan Glaspell

Contemporary Publishing Group Incorporated, 1998

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Despite Racial Differences

Content Standard: Performance Standard:

The learner demonstrates The learner skillfully performs in
understanding of how Anglo- one-act play through utilizing
American literature and other text effective verbal and non-verbal
types serve as means of connecting strategies and ICT resources based
to the world; also how to use ways of on the following criteria: Focus,
analyzing one-act play and different Voice, Delivery, and Dramatic
forms of verbals for him/her to Conventions.
skillfully perform in a one-act play.

I. LEARNING COMPETENCY
EN9LT-IIIh-2.11: Determine tone, mood, technique, and purpose of the author

Objectives:
1. Define tone, mood, technique, and purpose of the author
2. Identify the tone, mood, technique, and purpose of the author in
writing the literary piece discussed
3. Exhibit cooperation in performing group tasks

II. LEARNING CONTENT

Lesson: Tone, Mood, Technique, and Purpose of Author
Materials:
1. Tarpapel
2. Paper and Pen
References:
1. K to 12 Curriculum Guide (May 2016) p. 208
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 392
3. Teacher‘s Guide
4. Online References

III. LEARNING TASKS

Introduction: Have you ever wondered how powerful words are? Only the
unwise disregard what words can do. Words changed the lives of men, the
social
and theorder
course of histories of nations. Words found in the
newspapers and

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magazines, on billboards and even in the Internet may influence or
persuade you to take some kind of action.

Preliminary Activity:

TASK 1: LIKE METER

Did you like the play "Driving Miss Daisy?"
Rate from 1 to 10 how much you liked it, 10 being the highest.

Activity:

TASK 2: REVISITING THE TEXT

Form groups of four (4). Choose dialogues or lines from the play
―Driving Ms. Daisy‖ that show the following:

Group 1
Group 2 Group 3 Group 4
Mood of the
Tone of the Technique of the Purpose of the
Writer
Writer Writer Writer

Analysis:

TASK 3: REPORTERS’ BLOCK

Each group will assign a leader to report the result of
the activity given to them. Read the following tips to
calm down and gear up for a super performance.
1. Practice what you've written.
2. Once you stand, take a moment to gather your thoughts or relax.
Don't be afraid to give yourself a silent pause before you begin. Look
through your paper for a moment. If your heart is beating hard, this
will give it an opportunity to calm. If you do this right, it actually looks
very professional. If you start to speak and your voice is shaky, take
a pause. Clear your throat. Take a few relaxing breaths and start
again.
3. Focus on someone in the back of the room. This has a calming
effect on some speakers. It feels weird, but it doesn't look weird.
4. If there is a microphone, talk to it. Many speakers concentrate on
the microphone and pretend it's the only person in the room. This
works well.
5. Take the stage. Pretend you're a professional on TV. This gives confidence.
6. Prepare an "I don't know" answer if people will be asking questions.
Don't be afraid to say you don't know. You can say something like, "That
is a great question. I'll look into that."
7. Prepare a good ending line. Avoid an awkward moment at the
end. Don't back away, mumbling "Well, I guess that's all."

Source: http://homeworktips.about.com/od/paperassignments/ht/oralreport.htm

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 Abstraction:

TASK 4: WRAPPING UP
Match column A with column B to define the key concepts
covered in this lesson.

A B
1. The overall feeling of the piece, or passage
a. tone
2. The literary devices, or methods the creator of
b. mood
a narrative uses to convey what they want — in
c. purpose
other words, a strategy used in the making of
d. technique
a narrative to relay information to the
audience and, particularly, to "develop" the
narrative, usually in order to make it more
complete, complicated, or interesting
3. The effect the writer wants to create, the work
can be formal or informal, sober or whimsical
(unusual or creative), assertive or pleading,
straightforward or sly (clever)
4. To enlighten the readers to make or to take
action or to be active or to be operative

Application:
TASK 5: PRACTICE
Read and answer the questions carefully. Encircle the letter of
the correct answer.

1. Read the following poem, "A Birthday" by Christina Rossetti. What

mood do the details of the poem convey?

My heart is like a singing bird

My heart is like a rainbow shell
Whose nest is a weathered shoot;
That paddles in a peaceful sea;
My heart is like an apple-tree
My heart is gladder than all
Whose boughs are bent with thick-set fruit;
these Because my love comes
to me.
A. Sorrow B. Happiness C. Excitement D. Nervousness

2. Which tone is represented in the following passage?

Wow! With a top speed of one hundred fifty miles per hour, that car
can almost fly!
A. Calm B. Annoyed C. Scary D. Excited

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a
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 3. Which tone is represented in the following passage?
She delicately placed the cooing baby on a soft, freshly cleaned blanket.
A. Calm B. Annoyed C. Scary D. Excited

4. The story of a young man who learns to resist the influences of

drugs and gangs .
A. Entertain B. Inform C. Persuade D. Argue

5. What is the purpose of the author in the following statements?

Everyone should visit Spain, at least once in their life, because it is an
incredibly beautiful place. It has breath-taking scenery, enjoyable music
and mouth-watering food.
A. Entertain B. Inform C. Persuade D. Argue

Assessment:

TASK 6: WHAT’S ON YOUR MIND?

Read the following quotes. What does it convey?

1. ―Thousands of candles can be lighted from a single candle, and the life of the
candle will not be shortened. Happiness never decreases by being shared.‖
- Buddha
2. ―If you want happiness for an hour — take a nap.‘
If you want happiness for a day — go fishing.
If you want happiness for a year — inherit a fortune.
If you want happiness for a lifetime — help someone else.‖
- Chinese Proverb

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 CITY SCHOOLS DIVISION OF TAYABAS
Tayabas City

LESSON EXEMPLAR
Grade 9-English
Quarter: THIRD
Theme: Connecting to the World
Sub-Theme: Transcending Differences

Content Standard: Performance Standard:

The learner demonstrates The learner skilfully performs in
understanding of how Anglo- one-act play through utilizing
American literature and other text effective verbal and non-verbal
types serve as a means of connecting strategies and ICT resources based
to the world; also how to use ways of on the following criteria: Focus,
analysing one-act play and different Voice, Delivery, and Dramatic
forms of verbals for him/her to Conventions.
skilfully perform in one-act play.

I. LEARNING COMPETENCY
EN9LT-IIIi-3: Explain how a selection may be influenced by culture, history,
environment, or other factors
EN9WC-IIIi-9: Compose forms of literary writing

Objectives:
1. Sequence the events of the story and explain how the
selection is influenced by various factors
2. Perform small group dynamics leading to in-depth analysis of the play
3. Appreciate the significance of equality among men as pointed
out in the theme of the literary piece
4. Compose a play synopsis by following the steps in constructing one

II. LEARNING CONTENT

Lesson: Driving Miss Daisy ( Part II ) by Alfred Uhry
Materials:
1. Film Clips of Viewing Inputs
2. Pictures
References:
1. K to 12 Curriculum Guide (May 2016) pp. 208-209
2. A Journey through Anglo-American Literature Learner‘s Material for
English
pp. 402-409
3. Teacher‘s Guide
4. Online References

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a
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 III. LEARNING TASKS
Introduction: Ponder in this thought:

Source: http://www.elephantjournal.com/2013/12/ the-poem-

that-got-nelson-mandela-through-27-years-in-prison/

Preliminary Activity:

TASK 1: ALL EARS

Students listen as the teacher reads a text about Nelson
Mandela.
Source: http://www.thedailystar.net/news/mandela-icon-of-peace

Activity:

TASK 2: SMALL GROUP DYNAMICS

Form four groups and perform the given
tasks. (LM, pp. 403-405)

Group 1

 Give your insights regarding the

suffering of people who
attempted to live as human
beings.

Source: https://i.ytimg.com/vi/C00mK6aUaq8/hqdefault.jpg
Group 2

 Cite situations that prove

the relevance and worth
of this quote.

Source: http://www.funshifter.com/wp-content/uploads/2015/04/Nelson-Mandela-Education-
Quotes-Wallpaper.jpg

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 Group 3

 Apartheid is a policy or system of

segregation or discrimination on
grounds of race. Analyze the editorial
cartoon.

Source: https://pbs.twimg.com/profile_images
/874801278/29269_1452411875881_1400813952
_31251533_7624529_n.jpg

Group 4

No Bullying
 Have you
Anything in life that we don‘t experienced being
accept Will simply make trouble
for us until we make peace with bullied in school, at
it. home, or in
-Shakti Gawain

TASK 3: LEVEL UP
A. With a partner, read and give your reaction to this
quotation.

Prejudice is a burden that confuses the past,

Threatens the future and renders the present inaccessible.
-Maya Angelou

1. What idea flashes to your mind as you read the quotation?

2. Who do you think of as you read this quotation? Why?

B. Look closely at the picture.

Source: https://www.google.com.ph/url?sa=i&rct=j&q=&esrc
=s&source=images&cd=&ved=&url=https%3A%2F%2Fptop.only.wip.la%3A443%2Fhttp%2Fchica

1. What are you reminded of by the

illustration?
2. What message does this illustration
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where excellence is aRegine R. allegiance for quality is
habit and pledge.
 3. What could be the social problem depicted in the picture?
4. What is your idea of racism?
5. Where do racism and discrimination take place the most?

Analysis:

TASK 4: READING CORNER

Read Driving Miss Daisy (Part II) by Alfred Uhry on pages 405
to408 of your module. (LM, pp. 408-409)

TASK 5: COMPREHENSION CHECK

A. Sequencing Events
Arrange the following events accordingly. Use numbers 1-12.
When Daisy found out that Hoke was illiterate, she
taught him how to read.
Daisy told Hoke that he was her best friend.
Boolie hired a driver –Hoke Coleburn, an uneducated African-American.
Daisy was on her way to the temple, but there was a bad traffic jam.
Daisy refused to let Hoke drive her anywhere.
As Miss Daisy and Hoke spent time together, she gained an
appreciation to his many skills and the two became friends.
Hoke told Daisy that the temple had been bombed.
As Daisy get older, she began to lose her reason.
Daisy accused of Hoke stealing a can of salmon from her pantry.
Daisy showed signed of dementia.
Boolie arranged for Miss Daisy to enter a nursing home.
Hoke and Boolie visited her on Thanksgiving.

B. Establishing Links
1. What is the play about?
2. How did the writer present a moving description of the
characters? Cite parts of the play that could prove this,
3. What interesting details did the writer share in the play?
Interesting Details

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 Application:
TASK 6: PONDER ON
On your notebook, answer the following questions.
1. What is the implication of the lesson in your life?
2. How will it make you a better person?

Assessment:

TASK 7: DRIVING MS. DAISY, THE MOVIE

To give you a clearer picture of the play ―Driving Ms.

Daisy‖, watch the film adaptation directed by Bruce
Beresford with Morgan Freeman, Jessic Tandy, Dan
Aykroyd, and Patti LuPone. This will further help you in
composing your plot synopsis. (LM, p. 418)

Source: https://www.youtube.com/watch?v=zJb1pu6QCWU

TASK 8: COMPOSING A PLOT SYNOPSIS

In this task, you will use what you have learned in the lesson
to compose a play synopsis of Driving Ms. Daisy.
Composing a play synopsis is essential as it will
demonstrate your understanding of the play. Below are
the steps in
1. crafting one.
Start with (LM, p. 418)
a hook.

2. Introduce the characters.

3. Construct the body of your synopsis.

4. Use three or four paragraphs to write the

crisis resolution.

5. Rewrite.

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 PLOT SYNOPSIS RUBRIC

Criteria Excellent Good Below Average Ineffective

4pts. 3pts. 2pts. 1pt.
Main Idea Main idea is
Main idea is clear Main idea is The main idea is not
unclear- not
and well- established. present.
specifically stated
established.
in the writing.
Supporting Important details Some critical
All important Synopsis contains
are included but information
Details details are
some are are
only some
included. details.
not clearly stated. missing.
Format Details are in logical Ideas are not in a
Most of the ideas Ideas are in random
order because the logical order
are in logical order and not
format is followed. because
order. logical.
format is not observed.
Content Clear Adequate Basic understanding Little or no
understanding of understanding is of information in text understanding is
information in the demonstrated. is demonstrated.
text is demonstrated. demonstrated.

Source: www.studyzone.org/testprep/ela4/h/summaryrubric.htm

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 DRIVING MISS DAISY
by Alfred Uhry (Part II)

Plot Synopsis
The play spans a period of twenty-five years in an unbroken series of
segments. At the beginning of the play, Daisy Werthan, a seventy-two-year-
old, southern Jewish widow, has just crashed her brand new car while backing
it out of the garage. After the accident, her son Boolie insists that she is not
capable of driving. Over her protests, he hires a driver — Hoke Coleburn, an
uneducated African American who is sixty. At first, Daisy wants nothing to do
with Hoke. She is afraid of giving herself the airs of a rich person, even though
Boolie is paying Hoke's salary. She strongly values her independence, so she
also resents having someone around her house.
For the first week or so of Hoke's employment, Daisy refuses to let him
drive her anywhere. He spends his time sitting in the kitchen. One day,
however, he points out that a lady such as herself should not be taking the
bus. He also points out that he is taking her son's money for doing nothing.
Daisy responds by reminding Hoke that she does not come from a wealthy
background, but she relents and allows him to drive her to the rocery store.
She insists on maintaining control, however, elling him where to turn and how
fast to drive. On nother outing, she gets upset when he parks in front of the
temple to pick er up, afraid that people will thinking she is giving herself airs.
One morning Boolie comes over after Daisy calls him up, extremely
upset. She has discovered that Hoke is stealing from her—a can of salmon.
She wants Boolie to fire Hoke right away. Her words also show her prejudice
against African Americans. Boolie, at last, gives up. When Hoke arrives,
Boolie calls him aside for a talk. First, however, Hoke wants to give something
to Daisy—a can of salmon to replace the one he ate the day before. Daisy,
trying to regain her dignity, says goodbye to Boolie. Hoke continues to drive
for Daisy. She also teaches him to read and write. When she gets a new car,
he buys her old one from the dealer.
When Daisy is in her eighties, she makes a trip by car to Alabama for a
family birthday party. She is upset that Boolie will not accompany her, but he
and his wife are going to New York and already have theater tickets. On the
trip, Daisy learns that this is Hoke's first time leaving Georgia. Suddenly,
Daisy realizes that Hoke has taken a wrong turn. She gets frantic and wishes
aloud that she had taken the train instead. The day is very long. It is after
nightfall that they near Mobile. Hoke wants to stop to urinate, but Daisy
forbids him from doing so as they are already late. At first Hoke obeys her, but
then he pulls over to the side of the road. Daisy exclaims at his impertinence,
but Hoke does not back down.
Hoke is exceedingly loyal to Daisy, but not so loyal that he does not use
another job offer as leverage to get a pay raise. He tells Boolie how much
he enjoys being fought over. One winter morning, there is an ice storm. The
power hasfrozen
roads are gone out and
over. Onthethe telephone, Boolie tells Daisy he will be over as
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roads are clear. Right away, however, Hoke comes in. He has experience
driving on icy roads from his days as a deliveryman. When Boolie calls back,
Daisy tells him not to worry about coming over because Hoke is with her.
In the next segment, Daisy is on her way to temple, but there is a bad
traffic jam. Hoke tells her that the temple has been bombed. Daisy is shocked
and distressed. She says the temple is Reformed and can't understand why it
was bombed. Hoke tells his own story of seeing his friend's father hanging
from a tree, when he was just a boy. Daisy doesn't see why Hoke tells the
story—it has nothing to do with the temple—and she doesn't even believe
that Hoke got the truth. She refuses to see Hoke's linkage of prejudice against
Jews and African Americans. Though she is quite upset by what has
happened, she tries to deny it.
Another ten years or so has passed. Daisy and Boolie get into an
argument about a Jewish organization's banquet for Martin Luther King, Jr.
Daisy assumes Boolie will go with her, but he doesn't want to. He says it will
hurt his business. Daisy plans on going, nonetheless. Hoke drives her to the
dinner. At the last minute, she offhandedly invites Hoke to the dinner, but he
refuses because she didn't ask him beforehand, like she would anyone else.

As Daisy gets older, she begins to lose her reason. One day Hoke must
call Boolie because Daisy is having a delusion. She thinks she is a
schoolteacher and she is upset because she can't find her students' papers.
Before Boolie's arrival, she has a moment of clarity, and she tells Hoke that he
is her best friend.

In the play's final segment, Daisy is ninety-seven and Hoke is eighty-

five. Hoke no longer drives; instead, he relies on his granddaughter to get
around. Boolie is about to sell Daisy's house—she has been living in a nursing
home for two years. Hoke and Boolie go to visit her on Thanksgiving. She
doesn't say much to either of them, but when Boolie starts talking she asks
him to leave, reminding him that Hoke came to see her. She tries to pick up
her fork and eat her pie. Hoke takes the plate and the fork from her and
feeds her a small bite of pie.

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